| The first excerpt represents the past or something you must release, and is drawn from Several Works by Edgar Allan Poe: followed him on account of a deadly terror that had seized upon
all. He bore aloft a drawn dagger, and had approached, in rapid
impetuosity, to within three or four feet of the retreating figure,
when the latter, having attained the extremity of the velvet
apartment, turned suddenly and confronted his pursuer. There was
a sharp cry--and the dagger dropped gleaming upon the sable carpet,
upon which, instantly afterwards, fell prostrate in death the
Prince Prospero. Then, summoning the wild courage of despair, a
throng of the revellers at once threw themselves into the black
apartment, and, seizing the mummer, whose tall figure stood erect
and motionless within the shadow of the ebony clock, gasped in
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Door in the Wall, et. al. by H. G. Wells: He stopped--but I said nothing.
"The face of a dream--the face of a dream. She was beautiful.
Not that beauty which is terrible, cold, and worshipful, like the
beauty of a saint; nor that beauty that stirs fierce passions; but
a sort of radiation, sweet lips that softened into smiles, and
grave gray eyes. And she moved gracefully, she seemed to have part
with all pleasant and gracious things--"
He stopped, and his face was downcast and hidden. Then he
looked up at me and went on, making no further attempt to disguise
his absolute belief in the reality of his story.
"You see, I had thrown up my plans and ambitions, thrown up
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The third excerpt represents the future or something you must embrace, and is drawn from Moran of the Lady Letty by Frank Norris: manner the action had been planned, or what led up to it, Wilbur
could not afterward satisfactorily explain. There was a rush
forward--he remembered that much--a dull thudding of feet over the
resounding beach surface, a moment's writhing struggle with a
half-naked brown figure that used knife and nail and tooth, and
then the muffling silence again, broken only by the sound of their
own panting. In that whirl of swift action Wilbur could
reconstruct but two brief pictures: the Chinaman, Hoang's
companion, flying like one possessed along the shore; Hoang
himself flung headlong into the arms of the "Bertha's" coolies,
and Moran, her eyes blazing, her thick braids flying, brandishing
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