|The first excerpt represents the past or something you must release, and is drawn from Massimilla Doni by Honore de Balzac:
wax lights, a bed dressed in lace, a silent palace, and Venice! Two
young and beautiful creatures! every ravishment at once.
Emilio snatched up his trousers, jumped out of bed, escaped into the
dressing-room, put on his clothes, came back and hurried to the door.
These were his thoughts while dressing:--
"Massimilla, beloved daughter of the Doni, in whom Italian beauty is
an hereditary prerogative, you who are worthy of the portrait of
/Margherita/, one of the few canvases painted entirely by Raphael to
his glory! My beautiful and saintly mistress, shall I not have
deserved you if I fly from this abyss of flowers? Should I be worthy
of you if I profaned a heart that is wholly yours? No; I will not fall
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from In the South Seas by Robert Louis Stevenson:
a minute at a time, the same hard and thoughtful stare. As he thus
looked he seemed to forget himself, the subject and the company,
and to become absorbed in the process of his thought; the look was
wholly impersonal; I have seen the same in the eyes of portrait-
painters. The counts upon which whites have been deported are
mainly four: cheating Tembinok', meddling overmuch with copra,
which is the source of his wealth, and one of the sinews of his
power, 'PEAKING, and political intrigue. I felt guiltless upon
all; but how to show it? I would not have taken copra in a gift:
how to express that quality by my dinner-table bearing? The rest
of the party shared my innocence and my embarrassment. They shared
|The third excerpt represents the future or something you must embrace, and is drawn from The Chouans by Honore de Balzac:
Hulot mistook the young woman for an old one, naturally enough.
Wrinkles, coming long before their time, furrowed her face and neck;
she was clothed so grotesquely in a worn-out goatskin that if it had
not been for a dirty yellow petticoat, a distinctive mark of sex,
Hulot would hardly have known the gender she belonged to; for the
meshes of her long black hair were twisted up and hidden by a red
worsted cap. The tatters of the little boy did not cover him, but left
his skin exposed.
"Ho! old woman!" called Hulot, in a low voice, approaching her, "where
is the Gars?"
The twenty men who accompanied Hulot now jumped the hedge.