| The first excerpt represents the past or something you must release, and is drawn from The Call of the Wild by Jack London: surging and wrestling with it. Wherever the hatchet fell on the
outside, he was there on the inside, snarling and growling, as
furiously anxious to get out as the man in the red sweater was
calmly intent on getting him out.
"Now, you red-eyed devil," he said, when he had made an opening
sufficient for the passage of Buck's body. At the same time he
dropped the hatchet and shifted the club to his right hand.
And Buck was truly a red-eyed devil, as he drew himself together
for the spring, hair bristling, mouth foaming, a mad glitter in
his blood-shot eyes. Straight at the man he launched his one
hundred and forty pounds of fury, surcharged with the pent passion
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Charmides by Plato: of truth may contribute greatly to the improvement of character.
The reasons why the Charmides, Lysis, Laches have been placed together and
first in the series of Platonic dialogues, are: (i) Their shortness and
simplicity. The Charmides and the Lysis, if not the Laches, are of the
same 'quality' as the Phaedrus and Symposium: and it is probable, though
far from certain, that the slighter effort preceded the greater one. (ii)
Their eristic, or rather Socratic character; they belong to the class
called dialogues of search (Greek), which have no conclusion. (iii) The
absence in them of certain favourite notions of Plato, such as the doctrine
of recollection and of the Platonic ideas; the questions, whether virtue
can be taught; whether the virtues are one or many. (iv) They have a want
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The third excerpt represents the future or something you must embrace, and is drawn from Several Works by Edgar Allan Poe: Gothic window looked out upon a closed corridor which pursued the
windings of the suite. These windows were of stained glass whose
colour varied in accordance with the prevailing hue of the
decorations of the chamber into which it opened. That at the
eastern extremity was hung, for example in blue--and vividly blue
were its windows. The second chamber was purple in its ornaments
and tapestries, and here the panes were purple. The third was
green throughout, and so were the casements. The fourth was
furnished and lighted with orange--the fifth with white--the sixth
with violet. The seventh apartment was closely shrouded in black
velvet tapestries that hung all over the ceiling and down the
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