| The first excerpt represents the past or something you must release, and is drawn from Facino Cane by Honore de Balzac: surrounded the walls to the height of five feet.
"I thought the jailer would go mad. He sang and laughed and danced and
capered among the gold, till I threatened to strangle him if he made a
sound or wasted time. In his joy he did not notice at first the table
where the diamonds lay. I flung myself upon these, and deftly filled
the pockets of my sailor jacket and trousers with the stones. Ah!
Heaven, I did not take the third of them. Gold ingots lay underneath
the table. I persuaded my companion to fill as many bags as we could
carry with the gold, and made him understand that this was our only
chance of escaping detection abroad.
" 'Pearls, rubies, and diamonds might be recognized,' I told him.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from 1984 by George Orwell: and day for symptoms of unorthodoxy. Nearly all children nowadays were
horrible. What was worst of all was that by means of such organizations as
the Spies they were systematically turned into ungovernable little savages,
and yet this produced in them no tendency whatever to rebel against the
discipline of the Party. On the contrary, they adored the Party and
everything connected with it. The songs, the processions, the banners, the
hiking, the drilling with dummy rifles, the yelling of slogans, the worship
of Big Brother--it was all a sort of glorious game to them. All their
ferocity was turned outwards, against the enemies of the State, against
foreigners, traitors, saboteurs, thought-criminals. It was almost normal
for people over thirty to be frightened of their own children. And with
1984 |
The third excerpt represents the future or something you must embrace, and is drawn from The Country Doctor by Honore de Balzac: merchant, to whom I owe the confidence and good-will of the people
here. He was one of the promoters of the road which you have admired.
I have no need to tell you the profession of this gentleman," Benassis
added, turning to the curate. "Here is a man whom no one can help
loving."
There was an irresistible attraction in the moral beauty expressed by
the cure's countenance, which engrossed Genestas' attention. Yet a
certain harshness and austerity of outline might make M. Janvier's
face seem unpleasing at a first glance. His attitude, and his slight,
emaciated frame, showed that he was far from strong physically, but
the unchanging serenity of his face bore witness to the profound
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