| The first excerpt represents the past or something you must release, and is drawn from The Recruit by Honore de Balzac: spare you if they discover that you are sacrificing yourself to the
interests of your heart."
At these words Madame de Dey looked at the old man with a wild and
bewildered air, that made him shudder.
"Come," she said, taking him by the hand and leading him into her
bedroom. After assuring herself that they were quite alone, she drew
from her bosom a soiled and crumpled letter.
"Read that," she said, making a violent effort to say the words.
She fell into a chair, seemingly exhausted. While the old man searched
for his spectacles and rubbed their glasses, she raised her eyes to
him, and seemed to study him with curiosity; then she said in an
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Chessmen of Mars by Edgar Rice Burroughs: from the chamber. Over her shoulder she called back to him:
"Remember, Ghek, you still live!" Then they led her along the
interminable tunnels to where Luud awaited her.
When she was conducted into his presence he was squatting in a
corner of the chamber upon his six spidery legs. Near the
opposite wall lay his rykor, its beautiful form trapped in
gorgeous harness--a dead thing without a guiding kaldane. Luud
dismissed the warriors who had accompanied the prisoner. Then he
sat with his terrible eyes fixed upon her and without speaking
for some time. Tara of Helium could but wait. What was to come
she could only guess. When it came would be sufficiently the time
The Chessmen of Mars |
The third excerpt represents the future or something you must embrace, and is drawn from De Profundis by Oscar Wilde: what is perfect should have a use. Dante describes the soul of a
man as coming from the hand of God 'weeping and laughing like a
little child,' and Christ also saw that the soul of each one should
be A GUISA DI FANCIULLA CHE PIANGENDO E RIDENDO PARGOLEGGIA. He
felt that life was changeful, fluid, active, and that to allow it
to be stereotyped into any form was death. He saw that people
should not be too serious over material, common interests: that to
be unpractical was to be a great thing: that one should not bother
too much over affairs. The birds didn't, why should man? He is
charming when he says, 'Take no thought for the morrow; is not the
soul more than meat? is not the body more than raiment?' A Greek
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