|The first excerpt represents the past or something you must release, and is drawn from The Lost Princess of Oz by L. Frank Baum:
"I hope not. I believe it has stopped for good," said Princess
"Then stand from under, so you won't get hurt!" shouted the
PatchworkGirl, and as soon as they had obeyed this request, she let go the
chandelier and came tumbling down heels over head and twisting and
turning in a very exciting manner. Plump! She fell on the tiled
floor, and they ran to her and rolled her and patted her into shape
THE DEFIANCE OF UGU THE SHOEMAKER
The delay caused by Scraps had prevented anyone from running to the
The Lost Princess of Oz
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from Wyoming by William MacLeod Raine:
the semicircle, and passed within fifty yards of the second man
from the end, the one she had picked out as the leader of the
party. He was a black, swarthy fellow in plain leather chaps and
blue shirt. As they passed he took a long, steady aim.
"Duck!" shouted the man beside her, and dragged her down on the
seat so that his body covered hers.
A puff of wind fanned the girl's cheek.
"Near thing," her companion said coolly. He looked back at the
swarthy man and laughed softly. "Some day you'll mebbe wish you
had sent your pills straighter, Mr. Judd Morgan."
Yet a few wheel-turns and they had dipped forward out of range
|The third excerpt represents the future or something you must embrace, and is drawn from The Commission in Lunacy by Honore de Balzac:
the metal screech; all kinds of industries combine to produce a noise
which the number of instruments renders distracting.
The general system of decoration in this passage, which is neither
courtyard, garden, nor vaulted way, though a little of all, consists
of wooden pillars resting on square stone blocks, and forming arches.
Two archways open on to the little garden; two others, facing the
front gateway, lead to a wooden staircase, with an iron balustrade
that was once a miracle of smith's work, so whimsical are the shapes
given to the metal; the worn steps creak under every tread. The
entrance to each flat has an architrave dark with dirt, grease, and
dust, and outer doors, covered with Utrecht velvet set with brass