| The first excerpt represents the past or something you must release, and is drawn from The Scarecrow of Oz by L. Frank Baum: her heart became visible, at first frosted with ice but
slowly growing brighter and warmer until all the frost
had disappeared and it was beating as softly and
regularly as any other heart. And now the cloud dispersed
and disclosed Gloria, her face suffused with joy, smiling
tenderly upon the friends who were grouped about her.
Poor Pon stepped forward -- timidly, fearing a repulse,
but with pleading eyes and arms fondly outstretched
toward his former sweetheart -- and the Princess saw him
and her sweet face lighted with a radiant smile. Without
an instant's hesitation she threw herself into Pon's arms
The Scarecrow of Oz |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Communist Manifesto by Karl Marx: production must bring with it the abolition of the community
of women springing from that system, i.e., of prostitution
both public and private.
The Communists are further reproached with desiring to abolish
countries and nationality.
The working men have no country. We cannot take from them what
they have not got. Since the proletariat must first of all
acquire political supremacy, must rise to be the leading class of
the nation, must constitute itself the nation, it is, so far,
itself national, though not in the bourgeois sense of the word.
National differences and antagonisms between peoples are daily
The Communist Manifesto |
The third excerpt represents the future or something you must embrace, and is drawn from La Grenadiere by Honore de Balzac: asked one of the incessant idle questions which convey so much to a
mother's ears, then the smile brightened, and expressed the joys of a
mother's love. Her gait was slow and dignified. Her dress never
varied; evidently she had made up her mind to think no more of her
toilette, and to forget a world by which she meant no doubt to be
forgotten. She wore a long, black gown, confined at the waist by a
watered-silk ribbon, and by way of scarf a lawn handkerchief with a
broad hem, the two ends passed carelessly through her waistband. The
instinct of dress showed itself in that she was daintily shod, and
gray silk stockings carried out the suggestion of mourning in this
unvarying costume. Lastly, she always wore a bonnet after the English
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