| The first excerpt represents the past or something you must release, and is drawn from The Case of the Golden Bullet by Grace Isabel Colbron and Augusta Groner: of the study. He attempted to open the door, but it resisted all
pressure. The heavy key was in the inner side of the big lock with
its medieval iron ornamentation. But the key was turned so that
the lower part of the lock was free, a round opening of unusual size.
Horn made sure of this by holding a lighted match to the door.
"You are right," he said to the valet, "the door is locked from the
inside. We'll have to go through the bedroom. Johann, bring me a
chisel or a hatchet. Muller, you stay here and open the door when
the doctor comes."
Muller nodded. Johann disappeared, returning in a few moments with
a small hatchet, and followed the commissioner through the
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Domestic Peace by Honore de Balzac: appeal.
"Madame," said he, as the quadrille ended, "do not go back to the
odious corner where you have been burying your face and your dress
until now. Is admiration the only benefit you can obtain from the
jewels that adorn your white neck and beautifully dressed hair? Come
and take a turn through the rooms to enjoy the scene and yourself."
Madame de Soulanges yielded to her seducer, who thought she would be
his all the more surely if he could only show her off. Side by side
they walked two or three times amid the groups who crowded the rooms.
The Comtesse de Soulanges, evidently uneasy, paused for an instant at
each door before entering, only doing so after stretching her neck to
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The third excerpt represents the future or something you must embrace, and is drawn from The Girl with the Golden Eyes by Honore de Balzac: going in and out, and bound at the top and bottom by bands of poppy-
colored stuff, on which were designs in black arabesque.
Below the muslin the poppy turned to rose, that amorous color, which
was matched by window-curtains, which were of Indian muslin lined with
rose-colored taffeta, and set off with a fringe of poppy-color and
black. Six silver-gilt arms, each supporting two candles, were
attached to the tapestry at an equal distance, to illuminate the
divan. The ceiling, from the middle of which a lustre of unpolished
silver hung, was of a brilliant whiteness, and the cornice was gilded.
The carpet was like an Oriental shawl; it had the designs and recalled
the poetry of Persia, where the hands of slaves had worked on it. The
The Girl with the Golden Eyes |
