| The first excerpt represents the past or something you must release, and is drawn from Democracy In America, Volume 1 by Alexis de Toqueville: excites as much as for the gain it procures.
Sometimes the progress of man is so rapid that the desert
reappears behind him. The woods stoop to give him a passage, and
spring up again when he has passed. It is not uncommon in
crossing the new States of the West to meet with deserted
dwellings in the midst of the wilds; the traveller frequently
discovers the vestiges of a log house in the most solitary
retreats, which bear witness to the power, and no less to the
inconstancy of man. In these abandoned fields, and over these
ruins of a day, the primeval forest soon scatters a fresh
vegetation, the beasts resume the haunts which were once their
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Marriage Contract by Honore de Balzac: qualities.
Though the outlines of Natalie's face had something august about them,
her chin was slightly "empate,"--a painter's expression which will
serve to show the existence of sentiments the violence of which would
only become manifest in after life. Her mouth, a trifle drawn in,
expressed a haughty pride in keeping with her hand, her chin, her
brows, and her beautiful figure. And--as a last diagnostic to guide
the judgment of a connoisseur--Natalie's pure voice, a most seductive
voice, had certain metallic tones. Softly as that brassy ring was
managed, and in spite of the grace with which its sounds ran through
the compass of the voice, that organ revealed the character of the
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The third excerpt represents the future or something you must embrace, and is drawn from An Ideal Husband by Oscar Wilde: smoking-room.]
LORD CAVERSHAM. Well, sir? am I to wait attendance on you?
LORD GORING. [Considerably perplexed.] In a moment, father. Do
excuse me. [LORD CAVERSHAM goes back.] Well, remember my
instructions, Phipps - into that room.
PHIPPS. Yes, my lord.
[LORD GORING goes into the smoking-room. HAROLD, the footman shows
MRS. CHEVELEY in. Lamia-like, she is in green and silver. She has
a cloak of black satin, lined with dead rose-leaf silk.]
HAROLD. What name, madam?
MRS. CHEVELEY. [To PHIPPS, who advances towards her.] Is Lord
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