| The first excerpt represents the past or something you must release, and is drawn from To the Lighthouse by Virginia Woolf: ill tied in brown paper. He sent Cam for a cloak. He had all the
appearance of a leader making ready for an expedition. Then, wheeling
about, he led the way with his firm military tread, in those wonderful
boots, carrying brown paper parcels, down the path, his children
following him. They looked, she thought, as if fate had devoted them
to some stern enterprise, and they went to it, still young enough to be
drawn acquiescent in their father's wake, obediently, but with a pallor
in their eyes which made her feel that they suffered something beyond
their years in silence. So they passed the edge of the lawn, and it
seemed to Lily that she watched a procession go, drawn on by some
stress of common feeling which made it, faltering and flagging as it
To the Lighthouse |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Lord Arthur Savile's Crime, etc. by Oscar Wilde: out of his room at all, except to keep the blood-stain in proper
repair. However, by taking great care of himself, he recovered,
and resolved to make a third attempt to frighten the United States
Minister and his family. He selected Friday, the 17th of August,
for his appearance, and spent most of that day in looking over his
wardrobe, ultimately deciding in favour of a large slouched hat
with a red feather, a winding-sheet frilled at the wrists and neck,
and a rusty dagger. Towards evening a violent storm of rain came
on, and the wind was so high that all the windows and doors in the
old house shook and rattled. In fact, it was just such weather as
he loved. His plan of action was this. He was to make his way
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The third excerpt represents the future or something you must embrace, and is drawn from Cousin Betty by Honore de Balzac: genuine lustre by Boulle will sell at a public auction for three
thousand francs; the same thing reproduced by casting may be made for
a thousand or twelve hundred; one is archaeologically what a picture
by Raphael is in painting, the other is a copy. At what would you
value a copy of a Raphael? Thus Crevel's mansion was a splendid
example of the luxury of idiots, while Josepha's was a perfect model
of an artist's home.
"War is declared," said Crevel, going up to Madame Marneffe.
She rang the bell.
"Go and find Monsieur Berthier," said she to the man-servant, "and do
not return without him. If you had succeeded," said she, embracing
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