| The first excerpt represents the past or something you must release, and is drawn from The Secret Agent by Joseph Conrad: briskly. Mrs Verloc leaned a little more over the counter.
"No. He isn't here. I wrote that label myself."
"Where's your brother now?"
"He's been away living with - a friend - in the country."
"The overcoat comes from the country. And what's the name of the
friend?"
"Michaelis," confessed Mrs Verloc in an awed whisper.
The Chief Inspector let out a whistle. His eyes snapped.
"Just so. Capital. And your brother now, what's he like - a
sturdy, darkish chap - eh?"
"Oh no," exclaimed Mrs Verloc fervently. "That must be the thief.
The Secret Agent |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Picture of Dorian Gray by Oscar Wilde: and bring the things back to you."
Campbell scrawled a few lines, blotted them, and addressed an envelope
to his assistant. Dorian took the note up and read it carefully.
Then he rang the bell and gave it to his valet, with orders to return
as soon as possible and to bring the things with him.
As the hall door shut, Campbell started nervously, and having got up
from the chair, went over to the chimney-piece. He was shivering with
a kind of ague. For nearly twenty minutes, neither of the men spoke.
A fly buzzed noisily about the room, and the ticking of the clock was
like the beat of a hammer.
As the chime struck one, Campbell turned round, and looking at Dorian Gray,
The Picture of Dorian Gray |
The third excerpt represents the future or something you must embrace, and is drawn from The Passionate Pilgrim by William Shakespeare: Tempteth my better angel from my side,
And would corrupt my saint to be a devil,
Wooing his purity with her fair pride.
And whether that my angel be turn'd fiend,
Suspect I may, yet not directly tell:
For being both to me, both to each friend,
I guess one angel in another's hell:
The truth I shall not know, but live in doubt,
Till my bad angel fire my good one out.
III.
Did not the heavenly rhetoric of thine eye,
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