|The first excerpt represents the past or something you must release, and is drawn from The Mysterious Affair at Styles by Agatha Christie:
It was handed to the jury who scrutinized it attentively.
"I fear it does not help us much," said the Coroner, with a sigh.
"There is no mention of any of the events of that afternoon."
"Plain as a pikestaff to me," said Miss Howard shortly. "It
shows clearly enough that my poor old friend had just found out
she'd been made a fool of!"
"It says nothing of the kind in the letter," the Coroner pointed
"No, because Emily never could bear to put herself in the wrong.
But I know her. She wanted me back. But she wasn't going to own
The Mysterious Affair at Styles
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tarzan and the Jewels of Opar by Edgar Rice Burroughs:
to distract one's attention along the way.
Chulk was, at first, for rushing rapidly ahead as
though the village of the raiders lay but an hour's
march before them instead of several days; but within a
few minutes a fallen tree attracted his attention with
its suggestion of rich and succulent forage beneath,
and when Tarzan, missing him, returned in search, he
found Chulk squatting beside the rotting bole, from
beneath which he was assiduously engaged in digging out
the grubs and beetles, whose kind form a considerable
proportion of the diet of the apes.
Tarzan and the Jewels of Opar
|The third excerpt represents the future or something you must embrace, and is drawn from The Princess by Alfred Tennyson:
Sad as the last which reddens over one
That sinks with all we love below the verge;
So sad, so fresh, the days that are no more.
'Ah, sad and strange as in dark summer dawns
The earliest pipe of half-awakened birds
To dying ears, when unto dying eyes
The casement slowly grows a glimmering square;
So sad, so strange, the days that are no more.
'Dear as remembered kisses after death,
And sweet as those by hopeless fancy feigned
On lips that are for others; deep as love,