| The first excerpt represents the past or something you must release, and is drawn from Stories From the Old Attic by Robert Harris: of her heart moved forward. "I'm winning! I'm winning!"
"Patience, my child," said her father. "In horse racing, unlike in
life, we look only at the finish, not at the progress."
"I sure hope that's true," the boy said, "because Sure Win is
running fifth."
"Yes, my son," replied his father, trying to soften an inevitable
blow, "although you know you cannot gamble and be sure at the
same time."
At length the horses came into the final stretch, and, except for
King Alphonso, who trailed rather substantially, there were only a
few lengths between the leader and the trailing horse. But in that
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Moon-Face and Other Stories by Jack London: see them--ay, not in the blaze of a thousand suns could we see them! And so I
say, with the right pigments, properly compounded, an absolutely black paint
could be produced which would render invisible whatever it was applied to."
"It would be a remarkable discovery," I said non-committally, for the whole
thing seemed too fantastic for aught but speculative purposes.
"Remarkable!" Lloyd slapped me on the shoulder. "I should say so. Why, old
chap, to coat myself with such a paint would be to put the world at my feet.
The secrets of kings and courts would be mine, the machinations of diplomats
and politicians, the play of stock-gamblers, the plans of trusts and
corporations. I could keep my hand on the inner pulse of things and become the
greatest power in the world. And I--" He broke off shortly, then added, "Well,
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The third excerpt represents the future or something you must embrace, and is drawn from Cousin Pons by Honore de Balzac: supported financially by wealthy admirers of feminine charms revealed
by the costume of the ballet.
Gaudissart and Company, who, be it said, made their fortune, hit upon
the grand idea of operas for the people, and carried it out in a
boulevard theatre in 1834. A tolerable conductor, who could adapt or
even compose a little music upon occasion, was a necessity for ballets
and pantomimes; but the last management had so long been bankrupt,
that they could not afford to keep a transposer and copyist. Pons
therefore introduced Schmucke to the company as copier of music, a
humble calling which requires no small musical knowledge; and
Schmucke, acting on Pons' advice, came to an understanding with the
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