| The first excerpt represents the past or something you must release, and is drawn from Allan Quatermain by H. Rider Haggard: place, which had been only finally completed within the last
fifty years. Nothing was spared that the country could produce,
and the result was indeed worthy of the effort, not so much on
account of its size -- for there are larger fanes in the world
-- as because of its perfect proportions, the richness and beauty
of its materials, and the wonderful workmanship. The building
(that stands by itself on a space of some eight acres of garden
ground on the hilltop, around which are the dwelling-places of
the priests) is built in the shape of a sunflower, with a dome-covered
central hall, from which radiate twelve petal-shaped courts,
each dedicated to one of the twelve months, and serving as the
Allan Quatermain |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Frances Waldeaux by Rebecca Davis: you thought of some thing new for me to see?" She
glanced at Miss Vance, well pleased that she should see
the lad's foolish fondness for her.
George forced a smile. He looked worn and jaded. Miss
Vance noticed that his usually neat cravat was awry and
his hands were gloveless. "Yes," he said. "It is a lit-
tle church. The oldest in London. I want to show it to
you."
Miss Vance tied on Mrs. Waldeaux's bonnet, smoothing her
hair affectionately. "There are too many gray hairs
here for your age, Frances," she said. "George, you
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The third excerpt represents the future or something you must embrace, and is drawn from The Hidden Masterpiece by Honore de Balzac: perfection. The two men turned towards him with one accord, beginning
to comprehend, though vaguely, the ecstasy in which he lived.
"He means it in good faith," said Porbus.
"Yes, my friend," answered the old man, rousing from his abstraction,
"we need faith; faith in art. We must live with our work for years
before we can produce a creation like that. Some of these shadows have
cost me endless toil. See, there on her cheek, below the eyes, a faint
half-shadow; if you observed it in Nature you might think it could
hardly be rendered. Well, believe me, I took unheard-of pains to
reproduce that effect. My dear Porbus, look attentively at my work,
and you will comprehend what I have told you about the manner of
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