| The first excerpt represents the past or something you must release, and is drawn from The Insidious Dr. Fu-Manchu by Sax Rohmer: until we were come to our journey's end. Then:
"What's this?" muttered my friend hoarsely.
Constables were moving on a little crowd of curious idlers who pressed
about the steps of Sir Crichton Davey's house and sought to peer in at
the open door. Without waiting for the cab to draw up to the curb,
Nayland Smith recklessly leaped out and I followed close at his heels.
"What has happened?" he demanded breathlessly of a constable.
The latter glanced at him doubtfully, but something in his voice
and bearing commanded respect.
"Sir Crichton Davey has been killed, sir."
Smith lurched back as though he had received a physical blow, and clutched
The Insidious Dr. Fu-Manchu |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Helen of Troy And Other Poems by Sara Teasdale: In the lights of Union Square.
Central Park at Dusk
Buildings above the leafless trees
Loom high as castles in a dream,
While one by one the lamps come out
To thread the twilight with a gleam.
There is no sign of leaf or bud,
A hush is over everything --
Silent as women wait for love,
The world is waiting for the spring.
Young Love
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The third excerpt represents the future or something you must embrace, and is drawn from Puck of Pook's Hill by Rudyard Kipling: fresh an' shinin' all over the Marsh like snails after
wet. An' that while the Widow Whitgift sat grievin'
on the Wall. She might have belieft us - she might
have trusted her sons would be sent back! She
fussed, no bounds, when their boat come in after three days.'
'And, of course, the sons were both quite cured?' said Una.
'No-o. That would have been out o' nature. She got 'em
back as she sent 'em. The blind man he hadn't seen
naught of anythin', an' the dumb man nature-ally he
couldn't say aught of what he'd seen. I reckon that was
why the Pharisees pitched on 'em for the ferryin' job.'
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