| The first excerpt represents the past or something you must release, and is drawn from Running a Thousand Miles for Freedom by William and Ellen Craft: apply it to the corner of her eyes. But my master
could not see that it was at all soiled.
The silence which prevailed for a few moments
was broken by the gentleman's saying, "As your
'July' was such a very good girl, and had served
you so faithfully before she lost her health, don't
you think it would have been better to have eman-
cipated her?"
"No, indeed I do not!" scornfully exclaimed
the lady, as she impatiently crammed the fine
handkerchief into a little work-bag. "I have no
Running a Thousand Miles for Freedom |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Black Tulip by Alexandre Dumas: William watched all his movements with evident interest and
curiosity.
"Then you don't know this young girl?" said the Prince.
"No, your Highness!"
"And you, child, do you know Master Boxtel?"
"No, I don't know Master Boxtel, but I know Master Jacob."
"What do you mean?"
"I mean to say that at Loewestein the man who here calls
himself Isaac Boxtel went by the name of Master Jacob."
"What do you say to that, Master Boxtel?"
"I say that this damsel lies, your Highness."
The Black Tulip |
The third excerpt represents the future or something you must embrace, and is drawn from Tom Sawyer Abroad by Mark Twain: behind us like nothing, but never gaining an inch on it
-- and all of a sudden it was gone again! Jim stag-
gered, and 'most fell down. When he got his breath
he says, gasping like a fish:
"Mars Tom, hit's a GHOS', dat's what it is, en I
hopes to goodness we ain't gwine to see it no mo'.
Dey's BEEN a lake, en suthin's happened, en de lake's
dead, en we's seen its ghos'; we's seen it twiste, en
dat's proof. De desert's ha'nted, it's ha'nted, sho;
oh, Mars Tom, le''s git outen it; I'd ruther die den
have de night ketch us in it ag'in en de ghos' er dat
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