| The first excerpt represents the past or something you must release, and is drawn from An Historical Mystery by Honore de Balzac: forest a few moments after the countess, whom Marthe had guided to the
appointed place.
"Go home now," he said to Marthe. "The forest is watched and it is
dangerous to remain here. We need all our freedom."
Michu unfastened his horse and asked the countess to follow him.
"I shall not go a step further," said Laurence, "unless you give me
some proof of the interest you seem to have in us--for, after all, you
are Michu."
"Mademoiselle," he answered, in a gentle voice; "the part I am playing
can be explained to you in two words. I am, unknown to the Marquis de
Simeuse and his brother, the guardian of their property. On this
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Maggie: A Girl of the Streets by Stephen Crane: (See?) an' he wanned a drink damnquick. Dat's what he said. See?"
"Sure," repeated Jimmie.
Pete continued. "Say, I jes' jumped deh bar an' deh way I
plunked dat blokie was great. See? Dat's right! In deh jaw!
See? Hully gee, he t'rowed a spittoon true deh front windee. Say,
I taut I'd drop dead. But deh boss, he comes in after an' he says,
'Pete, yehs done jes' right! Yeh've gota keep order an' it's all
right.' See? 'It's all right,' he says. Dat's what he said."
The two held a technical discussion.
"Dat bloke was a dandy," said Pete, in conclusion, "but he
hadn' oughta made no trouble. Dat's what I says teh dem: 'Don'
Maggie: A Girl of the Streets |
The third excerpt represents the future or something you must embrace, and is drawn from Chita: A Memory of Last Island by Lafcadio Hearn: sugar-landing, where there is ever a pushing and flocking of
steam craft--all striving for place to rest their white breasts
against the levee, side by side,--like great weary swans. But
the miniature steamboat on which you engage passage to the Gulf
never lingers long in the Mississippi: she crosses the river,
slips into some canal-mouth, labors along the artificial channel
awhile, and then leaves it with a scream of joy, to puff her free
way down many a league of heavily shadowed bayou. Perhaps
thereafter she may bear you through the immense silence of
drenched rice-fields, where the yellow-green level is broken at
long intervals by the black silhouette of some irrigating
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