|The first excerpt represents the past or something you must release, and is drawn from Juana by Honore de Balzac:
the man, he belongs to ME. The whole earth could not tear him from my
grasp. Go, go! I forgive you. I see plainly that the girl is a Marana.
You, your religion, your virtue, were too weak to fight against my
She gave a dreadful sigh, turning her dry eyes on them. She had lost
all, but she knew how to suffer,--a true courtesan.
The door opened. The Marana forgot all else, and Perez, making a sign
to his wife, remained at his post. With his old invincible Spanish
honor he was determined to share the vengeance of the betrayed mother.
Juana, all in white, and softly lighted by the wax candles, was
standing calmly in the centre of her chamber.
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Virginian by Owen Wister:
the end, capitulate to love. And the next day, with the bishop's
blessing, and Mrs. Taylor's broadest smile, and the ring on her
finger, the Virginian departed with his bride into the mountains.
XXXVI. AT DUNBARTON
For their first bridal camp he chose an island. Long weeks
beforehand he had thought of this place, and set his heart upon
it. Once established in his mind, the thought became a picture
that he saw waking and sleeping. He had stopped at the island
many times alone, and in all seasons; but at this special moment
of the year he liked it best. Often he had added several needless
miles to his journey that he might finish the day at this point,
|The third excerpt represents the future or something you must embrace, and is drawn from Ion by Plato:
the argument. And in his highest moments of inspiration he has an eye to
his own gains.
The old quarrel between philosophy and poetry, which in the Republic leads
to their final separation, is already working in the mind of Plato, and is
embodied by him in the contrast between Socrates and Ion. Yet here, as in
the Republic, Socrates shows a sympathy with the poetic nature. Also, the
manner in which Ion is affected by his own recitations affords a lively
illustration of the power which, in the Republic, Socrates attributes to
dramatic performances over the mind of the performer. His allusion to his
embellishments of Homer, in which he declares himself to have surpassed
Metrodorus of Lampsacus and Stesimbrotus of Thasos, seems to show that,