| The first excerpt represents the past or something you must release, and is drawn from Heart of the West by O. Henry: with colic.
"Hello, Andy," says Mack, out of his face. "Glad to see you back.
Things have happened since you went away."
"I know it," says I, "and a sacrilegious sight it is. God never made
you that way, Mack Lonsbury. Why do you scarify His works with this
presumptuous kind of ribaldry?"
"Why, Andy," says he, "they've elected me justice of the peace since
you left."
I looked at Mack close. He was restless and inspired. A justice of the
peace ought to be disconsolate and assuaged.
Just then a young woman passed on the sidewalk; and I saw Mack kind of
Heart of the West |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Insidious Dr. Fu-Manchu by Sax Rohmer: "An impasse," said Fu-Manchu. "I have a proposal to make.
I assume that you would not accept my word for anything?"
"I would not," replied Smith promptly.
"Therefore," pursued the Chinaman, and the occasional guttural
alone marred his perfect English, "I must accept yours.
Of your resources outside this cabin I know nothing.
You, I take it, know as little of mine. My Burmese friend and
Doctor Petrie will lead the way, then; you and I will follow.
We will strike out across the marsh for, say, three hundred yards.
You will then place your pistol on the ground, pledging me your
word to leave it there. I shall further require your assurance
The Insidious Dr. Fu-Manchu |
The third excerpt represents the future or something you must embrace, and is drawn from The Deserted Woman by Honore de Balzac: second time. I cannot understand how it is that I am living yet, after
the anguish of that first week of the most fearful crisis in a woman's
life. Only from three years of loneliness would it be possible to draw
strength to speak of that time as I am speaking now. Such agony,
monsieur, usually ends in death; but this--well, it was the agony of
death with no tomb to end it. Oh! I have known pain indeed!"
The Vicomtesse raised her beautiful eyes to the ceiling; and the
cornice, no doubt, received all the confidences which a stranger might
not hear. When a woman is afraid to look at her interlocutor, there is
in truth no gentler, meeker, more accommodating confidant than the
cornice. The cornice is quite an institution in the boudoir; what is
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