| The first excerpt represents the past or something you must release, and is drawn from Ten Years Later by Alexandre Dumas: I shall pursue my own course."
"This is madness, De Guiche! you cannot advance another step
without risking your own ruin to-day, perhaps your life
to-morrow."
"Whatever may happen, I have done with reflections; listen."
"And you hope to succeed; you believe that Madame will love
you?"
"Raoul, I believe nothing; I hope, because hope exists in
man, and never abandons him till death."
"But, admitting that you obtain the happiness you covet,
even then, you are more certainly lost than if you had
Ten Years Later |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Amazing Interlude by Mary Roberts Rinehart: with a mourning band on his sleeve carried a wailing child.
The officers lighted cigarettes. The civilians formed a line on the
jetty under the roof of the shed, and waited, passports in hand, before
a door that gleamed with yellow light. Faces looked pale and anxious.
The blockade was on, and Germany had said that no ships would cross
that night.
As if defiantly the Boulogne boat, near at hand, was ablaze, on the shore
side at least, with lights. Stewards came and went. Beyond it lay the
harbor, dark and mysterious save where, from somewhere across, a
flashlight made a brave effort to pierce the fog.
One of the buyers ahead of Sara' Lee seemed exhilarated by the danger
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The third excerpt represents the future or something you must embrace, and is drawn from Royalty Restored/London Under Charles II by J. Fitzgerald Molloy: fronts of which, being supported by strong pillars, afforded
broad walks, known as the Piazza, and found convenient in wet and
sultry weather.
Here amongst other houses was that of my Lord Brouncker, where
Mr. Pepys enjoyed a most noble French dinner and much good
discourse, in return for which he gave much satisfaction by the
singing of a new ballad, to wit, Lord Dorset's famous song, "To
all ye ladies now on land." Not far distant, its face turned to
the Strand, was the stately residence of the Duke of Bedford, a
large dark building, fronted by a great courtyard, and backed by
spacious gardens enclosed by red-brick walls. Likewise in the
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