| The first excerpt represents the past or something you must release, and is drawn from The Works of Samuel Johnson by Samuel Johnson: marriage.
He was now so well satisfied with his own
accomplishments, that he determined to commence
fortune-hunter; and when his apprenticeship
expired, instead of beginning, as was expected, to
walk the Exchange with a face of importance, or
associating himself with those who were most
eminent for their knowledge of the stocks, he at once
threw off the solemnity of the counting-house,
equipped himself with a modish wig, listened to
wits in coffee-houses, passed his evenings behind the
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Vailima Letters by Robert Louis Stevenson: Simele's family, who attended on his dignity; then Metu, the
meat-man - you have never heard of him, but he is a great
person in our household - brought a lady and a boy - and
there was another infant - eight guests in all. And we sat
down thirty strong. You should have seen our procession,
going (about two o'clock), all in our best clothes, to the
hall of feasting! All in our Sunday's best. The new house
had been hurriedly finished; the rafters decorated with
flowers; the floor spread, native style, with green leaves;
we had given a big porker, twenty-five pounds of fresh beef,
a tin of biscuit, cocoanuts, etc. Our places were all
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The third excerpt represents the future or something you must embrace, and is drawn from A Daughter of Eve by Honore de Balzac: witty and contemptuous sayings, he was wont to remark that fame is a
poison good to take in little doses.
From the moment when the man we speak of, Raoul Nathan, after a long
struggle, forced his way to the public gaze, he had put to profit the
sudden infatuation for form manifested by those elegant descendants of
the middle ages, jestingly called Young France. He assumed the
singularities of a man of genius and enrolled himself among those
adorers of art, whose intentions, let us say, were excellent; for
surely nothing could be more ridiculous than the costume of Frenchmen
in the nineteenth century, and nothing more courageous than an attempt
to reform it. Raoul, let us do him this justice, presents in his
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