|The first excerpt represents the past or something you must release, and is drawn from Old Indian Legends by Zitkala-Sa:
the wall, father badger queried: "How, my friend! What?"
The bear took one stride forward and shook his paw in the
badger's face. He said: "I am strong, very strong!"
"Yes, yes, so you are," replied the badger. From the farther
end of the room mother badger muttered over her bead work: "Yes,
you grew strong from our well-filled bowls."
The bear smiled, showing a row of large sharp teeth.
"I have no dwelling. I have no bags of dried meat. I have no
arrows. All these I have found here on this spot," said he,
stamping his heavy foot. "I want them! See! I am strong!"
repeated he, lifting both his terrible paws.
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from Cousin Pons by Honore de Balzac:
Cibot. Remonencq always asked advice of Elie Magus when he met him in
the streets; and more than once Magus had lent him money through
Abramko, knowing Remonencq's honesty. The Chaussee des Minimes is
close to the Rue de Normandie, and the two fellow-conspirators reached
the house in ten minutes.
"You will see the richest dealer in curiosities, the greatest
connoisseur in Paris," Remonencq had said. And Mme. Cibot, therefore,
was struck dumb with amazement to be confronted with a little old man
in a great-coat too shabby for Cibot to mend, standing watching a
painter at work upon an old picture in the chilly room on the vast
ground floor. The old man's eyes, full of cold feline malignance, were
|The third excerpt represents the future or something you must embrace, and is drawn from Pierre Grassou by Honore de Balzac:
the fact of an obstinacy which constitutes the Breton character. What
he suffered, the manner in which he lived during those years of study,
God only knows. He suffered as much as great men suffer when they are
hounded by poverty and hunted like wild beasts by the pack of
commonplace minds and by troops of vanities athirst for vengeance.
As soon as he thought himself able to fly on his own wings, Fougeres
took a studio in the upper part of the rue des Martyrs, where he began
to delve his way. He made his first appearance in 1819. The first
picture he presented to the jury of the Exhibition at the Louvre
represented a village wedding rather laboriously copied from Greuze's
picture. It was rejected. When Fougeres heard of the fatal decision,