|The first excerpt represents the past or something you must release, and is drawn from War and Peace by Leo Tolstoy:
and firmness. "No one can attain to truth by himself. Only by laying
stone on stone with the cooperation of all, by the millions of
generations from our forefather Adam to our own times, is that
temple reared which is to be a worthy dwelling place of the Great
God," he added, and closed his eyes.
"I ought to tell you that I do not believe... do not believe in God,
said Pierre, regretfully and with an effort, feeling it essential to
speak the whole truth.
The Mason looked intently at Pierre and smiled as a rich man with
millions in hand might smile at a poor fellow who told him that he,
poor man, had not the five rubles that would make him happy.
War and Peace
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Three Musketeers by Alexandre Dumas:
face, just before so beautiful, distorted with passion and almost
hideous. The artful creature at once comprehended that she was
injuring herself by allowing him thus to read her soul; she
collected her features, and in a complaining voice said: "In the
name of heaven, sir, tell me if it is to you, if it is to your
government, if it is to an enemy I am to attribute the violence
that is done me?"
"No violence will be offered to you, madame, and what happens to
you is the result of a very simple measure which we are obliged
to adopt with all who land in England."
"Then you don't know me, sir?"
The Three Musketeers
|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