| The first excerpt represents the past or something you must release, and is drawn from The Pocket Diary Found in the Snow by Grace Isabel Colbron and Augusta Groner: "Yes, sir."
They were now in the lower corridor, where they found Amster walking
up and down. The woman opened the door of the little room, and took
a glove from a cupboard. Muller put it in his pocket and told the
woman not to leave the house for anything, as she might be sent for
to come to the police station at any moment. Then he went out into
the street with Amster. When they were outside in the sunlight, he
looked at the glove. It was a remarkably small size, made for a
man with a slender, delicate hand, not at all in accordance with the
large stout body of the man described by the landlady. Muller put
his hand into the glove and found something pushed up into the
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Commission in Lunacy by Honore de Balzac: de Langeais, or de Maufrigneuse, or of a Lady Dudley does not bestow
immense pleasure? If only you knew how much value the cold, severe
style of such a woman gives to the smallest evidence of their
affection! What a delight it is to see a periwinkle piercing through
the snow! A smile from below a fan contradicts the reserve of an
assumed attitude, and is worth all the unbridled tenderness of your
middle-class women with their mortgaged devotion; for, in love,
devotion is nearly akin to speculation.
"And, then, a woman of fashion, a Blamont-Chauvry, has her virtues
too! Her virtues are fortune, power, effect, a certain contempt of all
that is beneath her----"
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The third excerpt represents the future or something you must embrace, and is drawn from The Hidden Masterpiece by Honore de Balzac: reflections gleamed through the russet shadows on the silvered
breastplate of a horseman's cuirass of the fourteenth century as it
hung from the wall, or sent sharp lines of light upon the carved and
polished cornice of a dresser which held specimens of rare pottery and
porcelains, or touched with sparkling points the rough-grained texture
of ancient gold-brocaded curtains, flung in broad folds about the room
to serve the painter as models for his drapery. Anatomical casts in
plaster, fragments and torsos of antique goddesses amorously polished
by the kisses of centuries, jostled each other upon shelves and
brackets. Innumerable sketches, studies in the three crayons, in ink,
and in red chalk covered the walls from floor to ceiling; color-boxes,
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