| The first excerpt represents the past or something you must release, and is drawn from In a German Pension by Katherine Mansfield: promptly did the same, crying at the top of her voice, "Mother, Hans is
making faces at me!"
"That's right," said Hans; "go on howling, and when you're in bed to-night
I'll wait till you're asleep, and then I'll creep over and take a little
tiny piece of your arm and twist and twist it until--" He leant over the
table making the most horrible faces at Lena, not noticing that Anton was
standing behind his chair until the little boy bent over and spat on his
brother's shaven head.
"Oh, weh! oh, weh!"
The Child-Who-Was-Tired pushed and pulled them apart, muffled them into
their coats, and drove them out of the house.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Recruit by Honore de Balzac: Toward seven o'clock on this memorable evening, her guests were all
assembled in a wide circle around the fireplace. The mistress of the
house, sustained in her part by the sympathizing glances of the old
merchant, submitted with wonderful courage to the minute questioning
and stupid, or frivolous, comments of her visitors. At every rap upon
her door, every footfall echoing in the street, she hid her emotions
by starting topics relating to the interests of the town, and she
raised such a lively discussion on the quality of ciders, which was
ably seconded by the old merchant, that the company almost forgot to
watch her, finding her countenance quite natural, and her composure
imperturbable. The public prosecutor and one of the judges of the
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The third excerpt represents the future or something you must embrace, and is drawn from The Case of The Lamp That Went Out by Grace Isabel Colbron and Augusta Groner: visitor, and then turned without an answer to some documents on his
desk. There was silence in the room for a few moments. Finally a
gentle voice came from Muller's corner again: "Dr. von Riedau?"
The commissioner raised his head and looked around. "Oh, are you
still there?" he asked with a drawl.
Muller knew what this drawl meant. It was the manner adopted by
the amiable commissioner when he was in a mood which was not amiable.
And Muller knew also the cause of the mood. It was his own last
remark, the words he addressed to Bormann. Muller himself recognised
the fact that this remark was out of place, that it was almost an
impertinence, because it was in direct contradiction to a statement
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