| The first excerpt represents the past or something you must release, and is drawn from Nada the Lily by H. Rider Haggard: doctors had fallen from them.
At last it was done, and we drew back from the heap of the dead.
Nothing was heard there now--no more cries or prayers or curses. The
witch-fingers travelled the path on which they had set the feet of
many. The king drew near to look. He came alone, and all who had done
his bidding bent their heads and crept past him, praising him as they
went. Only I stood still, covered, as I was with mire and filth, for I
did not fear to stand in the presence of the king. Chaka drew near,
and looked at the piled-up heaps of the slain and the cloud of dust
that yet hung over them.
"There they lie, Mopo," he said. "There lie those who dared to
Nada the Lily |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Vendetta by Honore de Balzac: consciousness of their strength.
By a singular caprice of nature, the charm of her face was, in some
degree, contradicted by a marble forehead, on which lay an almost
savage pride, and from which seemed to emanate the moral instincts of
a Corsican. In that was the only link between herself and her native
land. All the rest of her person, her simplicity, the easy grace of
her Lombard beauty, was so seductive that it was difficult for those
who looked at her to give her pain. She inspired such keen attraction
that her old father caused her, as matter of precaution, to be
accompanied to and from the studio. The only defect of this truly
poetic creature came from the very power of a beauty so fully
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The third excerpt represents the future or something you must embrace, and is drawn from The Elixir of Life by Honore de Balzac: spectacle of a corpse so wasted and shrunken that it seemed like
a skeleton, and only the face was uncovered. This mummy-like
figure lay in the middle of the room. The limp clinging linen
lent itself to the outlines it shrouded--so sharp, bony, and
thin. Large violet patches had already begun to spread over the
face; the embalmers' work had not been finished too soon.
Don Juan, strong as he was in his scepticism, felt a tremor as he
opened the magic crystal flask. When he stood over that face, he
was trembling so violently, that he was actually obliged to wait
for a moment. But Don Juan had acquired an early familiarity with
evil; his morals had been corrupted by a licentious court, a
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