| The first excerpt represents the past or something you must release, and is drawn from The Case of The Lamp That Went Out by Grace Isabel Colbron and Augusta Groner: fate. The detective had permission to see the man as often as
he wished to. Knoll had been proven a thief, but the accusation
of murder against him had not been strengthened by anything but
the most superficial circumstantial evidence, therefore it was
necessary that Muller should talk with him in the hope of
discovering something more definite.
Knoll lay asleep on his cot as the detective and the warder entered
the cell. Muller motioned the attendant to leave him alone with
the prisoner and he stood beside the cot looking down at the man.
The face on the hard pillow was not a very pleasant one to look at.
The skin was roughened and swollen and had that brown-purple tinge
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Economist by Xenophon: tributary nations, there is a governor to each, and every governor has
orders from the king what number of cavalry, archers, slingers and
targeteers[3] it is his business to support, as adequate to control
the subject population, or in case of hostile attack to defend the
country. Apart from these the king keeps garrisons in all the
citadels. The actual support of these devolves upon the governor, to
whom the duty is assigned. The king himself meanwhile conducts the
annual inspection and review of troops, both mercenary and other, that
have orders to be under arms. These all are simultaneously assembled
(with the exception of the garrisons of citadels) at the mustering
ground,[4] so named. That portion of the army within access of the
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The third excerpt represents the future or something you must embrace, and is drawn from Glaucus/The Wonders of the Shore by Charles Kingsley: of these three families, at least, has "sported off" from one
common ancestor - one archetypal Palm, one archetypal Orchid, one
archetypal Euphorbia, simple, it may be, in itself, but endowed
with infinite possibilities of new and complex beauty, to be
developed, not in it, but in its descendants. He has asked
himself, sitting alone amid the boundless wealth of tropic forests,
whether even then and there the great God might not be creating
round him, slowly but surely, new forms of beauty? If he chose to
do it, could He not do it? That man found himself none the worse
Christian for the thought. He has said - and must be allowed to
say again, for he sees no reason to alter his words - in speaking
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