| The first excerpt represents the past or something you must release, and is drawn from The War in the Air by H. G. Wells: trees, and the black figure that had been struggling in the ropes
fell back, or jumped back, into the car. In another moment it
was quite close. It seemed a huge affair, as big as a house, and
it floated down swiftly towards the sands; a long rope trailed
behind it, and enormous shouts came from the man in the car. He
seemed to be taking off his clothes, then his head came over the
side of the car. "Catch hold of the rope!" they heard, quite
plain.
"Salvage, Bert!" cried Grubb, and started to head off the rope.
Bert followed him, and collided, without upsetting, with a
fisherman bent upon a similar errand. A woman carrying a baby in
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Exiles by Honore de Balzac: direction, as a vulture, confined for the first time in a cage,
exhausts itself in vain efforts. The Shade was free to do this; he
could wander through the zones of Hell icy, fetid, or scorching
without enduring their pangs; he glided into that vastness as a
sunbeam makes its way into the deepest dark.
" 'God has not condemned him to any torment,' said the Master; 'but
not one of the souls you have seen suffering their various punishments
would exchange his anguish for the hope that is consuming this soul.'
"And just then the Shade came back to us, brought thither by an
irresistible force which condemned him to perch on the verge of Hell.
My divine Guide, guessing my curiosity, touched the unhappy Shade with
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The third excerpt represents the future or something you must embrace, and is drawn from Catherine de Medici by Honore de Balzac: cabinet, where Christophe was about to be introduced, would bear
sufficient testimony to the elegances of Art which peopled these
apartments with animated designs in which salamanders sparkled among
the wreaths, and the palette of the sixteenth century illumined the
darkest corners with its brilliant coloring. In this cabinet an
observer will still find traces of that taste for gilding which
Catherine brought with her from Italy; for the princesses of her house
loved, in the words of the author already quoted, to veneer the
castles of France with the gold earned by their ancestors in commerce,
and to hang out their wealth on the walls of their apartments.
The queen-mother occupied on the first upper floor of the apartments
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