| The first excerpt represents the past or something you must release, and is drawn from Moon-Face and Other Stories by Jack London: came to their senses. They would have drowned there, had no one rescued them.
When Paul Tichlorne entered college, he let it be generally understood that he
was going in for the social sciences. Lloyd Inwood, entering at the same time,
elected to take the same course. But Paul had had it secretly in mind all the
time to study the natural sciences, specializing on chemistry, and at the last
moment he switched over. Though Lloyd had already arranged his year's work and
attended the first lectures, he at once followed Paul's lead and went in for
the natural sciences and especially for chemistry. Their rivalry soon became a
noted thing throughout the university. Each was a spur to the other, and they
went into chemistry deeper than did ever students before--so deep, in fact,
that ere they took their sheepskins they could have stumped any chemistry or
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The White Moll by Frank L. Packard: "The fact that I can assure you that, whoever else it may be, the
person outside there cannot be Rough Rorke, is simply a proof that,
if I had the opportunity, I could be of real assistance to the White
Moll," he said imperturbably. "Well" - a grim little smile flickered
suddenly across his lips - "do you hear any one now?"
Quite low, but quite unmistakably, the short, ladder-like steps just
outside the door were voicing a creaky protest now as some one
mounted them. Rhoda Gray did not move. It seemed as though she
could hear the sudden thumping of her own heart. Who was it this
time? How was she to act? What was she to say? It was so easy to
make the single little slip of word or manner that would spell ruin
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The third excerpt represents the future or something you must embrace, and is drawn from The Soul of Man by Oscar Wilde: like the tedious; and burlesque and farcical comedy, the two most
popular forms, are distinct forms of art. Delightful work may be
produced under burlesque and farcical conditions, and in work of
this kind the artist in England is allowed very great freedom. It
is when one comes to the higher forms of the drama that the result
of popular control is seen. The one thing that the public dislike
is novelty. Any attempt to extend the subject-matter of art is
extremely distasteful to the public; and yet the vitality and
progress of art depend in a large measure on the continual
extension of subject-matter. The public dislike novelty because
they are afraid of it. It represents to them a mode of
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