| The first excerpt represents the past or something you must release, and is drawn from Juana by Honore de Balzac: reproach you, my friend, only to explain my want of money. All that
you gave me went to pay masters and--"
"Enough!" cried Diard, violently. "Thunder of heaven! every instant is
precious! Where are your jewels?"
"You know very well I have never worn any."
"Then there's not a sou to be had here!" cried Diard, frantically.
"Why do you shout in that way?" she asked.
"Juana," he replied, "I have killed a man."
Juana sprang to the door of her children's room and closed it; then
she returned.
"Your sons must hear nothing," she said. "With whom have you fought?"
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Commentary on the Epistle to the Galatians by Martin Luther: absent in the flesh, I am with you in spirit and in my doctrine which you
ought to retain by all means because through it you received the Holy
Spirit."
VERSE 19. My little children, of whom I travail in birth again until
Christ be formed in you.
With every single word the Apostle seeks to regain the confidence of the
Galatians. He now calls them lovingly his little children. He adds the
simile: "Of whom I travail in birth again." As parents reproduce their
physical characteristics in their children, so the apostles reproduced their
faith in the hearts of the hearers, until Christ was formed in them. A
person has the form of Christ when he believes in Christ to the exclusion
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The third excerpt represents the future or something you must embrace, and is drawn from Early Short Fiction of Edith Wharton by Edith Wharton: "I don't understand you," he exclaimed. Again the feeling that
his surprise was genuine gave an air of obliquity to her own
attitude. She was not sure that she understood herself.
"Won't you explain?" he said with a tinge of impatience.
Her eyes wandered about the familiar drawing-room which had been
the scene of so many of their evening confidences. The shaded
lamps, the quiet-colored walls hung with mezzotints, the pale
spring flowers scattered here and there in Venice glasses and
bowls of old Sevres, recalled, she hardly knew why, the apartment
in which the evenings of her first marriage had been passed--a
wilderness of rosewood and upholstery, with a picture of a Roman
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