| The first excerpt represents the past or something you must release, and is drawn from Taras Bulba and Other Tales by Nikolai Vasilievich Gogol: something occurred which gave him a powerful shock, and disturbed the
whole tenor of his life.
One day he found upon his table a note, in which the Academy of
Painting begged him, as a worthy member of its body, to come and give
his opinion upon a new work which had been sent from Italy by a
Russian artist who was perfecting himself there. The painter was one
of his former comrades, who had been possessed with a passion for art
from his earliest years, had given himself up to it with his whole
soul, estranged himself from his friends and relatives, and had
hastened to that wonderful Rome, at whose very name the artist's heart
beats wildly and hotly. There he buried himself in his work from which
Taras Bulba and Other Tales |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Vision Splendid by William MacLeod Raine: information. He knew that Philip Farnum had come out of the war
with a constitution weakened by the hardships of the service.
Rumors had drifted to him that the taste for liquor acquired in
camp as an antidote for sickness had grown upon his comrade and
finally overcome him. From Jeff he learned that after his father's
death the widow had sold her mortgaged place and moved to the
Pacific Coast. She had invested the few hundreds left her in some
river-bottom lots at Verden and had later discovered that an
unscrupulous real estate dealer had unloaded upon her worthless
property. The patched and threadbare clothes of the boy told him
that from a worldly point of view the affairs of the Farnums were
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The third excerpt represents the future or something you must embrace, and is drawn from The Underground City by Jules Verne: a way as to change simple presumptions into certainties.
In the meantime the explorers' situation was bad enough.
They had now, in the midst of black darkness, to follow
the passage leading to the Dochart pit for nearly five miles.
There they would still have an hour's walk before reaching the cottage.
"Come along," said Simon Ford. "We have no time to lose.
We must grope our way along, like blind men. There's no fear
of losing our way. The tunnels which open off our road are
only just like those in a molehill, and by following the chief
gallery we shall of course reach the opening we got in at.
After that, it is the old mine. We know that, and it won't
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