| The first excerpt represents the past or something you must release, and is drawn from The Jungle by Upton Sinclair: every door where there were signs of activity. Out of some she had been
ordered with curses; but Marija was not afraid of man or devil, and asked
every one she saw--visitors and strangers, or workpeople like herself,
and once or twice even high and lofty office personages, who stared at
her as if they thought she was crazy. In the end, however, she had reaped
her reward. In one of the smaller plants she had stumbled upon a room
where scores of women and girls were sitting at long tables preparing
smoked beef in cans; and wandering through room after room, Marija came
at last to the place where the sealed cans were being painted and labeled,
and here she had the good fortune to encounter the "forelady." Marija did
not understand then, as she was destined to understand later, what there
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Weir of Hermiston by Robert Louis Stevenson: some acute phase of boredom, had written him a letter. It had contained
something in the nature of an invitation or a reference to an invitation
- precisely what, neither of them now remembered. When Innes had
received it, there had been nothing further from his mind than to bury
himself in the moors with Archie; but not even the most acute political
heads are guided through the steps of life with unerring directness.
That would require a gift of prophecy which has been denied to man. For
instance, who could have imagined that, not a month after he had
received the letter, and turned it into mockery, and put off answering
it, and in the end lost it, misfortunes of a gloomy cast should begin to
thicken over Frank's career? His case may be briefly stated. His
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The third excerpt represents the future or something you must embrace, and is drawn from Sarrasine by Honore de Balzac: Ah! how sharply I felt at that moment those pangs of jealousy in which
a poet had tried in vain to make me believe! the jealousy of
engravings, of pictures, of statues, wherein artists exaggerate human
beauty, as a result of the doctrine which leads them to idealize
everything.
"It is a portrait," I replied. "It is a product of Vien's genius. But
that great painter never saw the original, and your admiration will be
modified somewhat perhaps, when I tell you that this study was made
from a statue of a woman."
"But who is it?"
I hesitated.
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