| The first excerpt represents the past or something you must release, and is drawn from Barnaby Rudge by Charles Dickens: upper end of the hall, and, looking in that direction, saw Lord
George Gordon coming in, with a crowd of people round him.
There was a lurking look of triumph, though very differently
expressed, in the faces of his two companions, which made it a
natural impulse on Mr Haredale's part not to give way before this
leader, but to stand there while he passed. He drew himself up
and, clasping his hands behind him, looked on with a proud and
scornful aspect, while Lord George slowly advanced (for the press
was great about him) towards the spot where they were standing.
He had left the House of Commons but that moment, and had come
straight down into the Hall, bringing with him, as his custom was,
Barnaby Rudge |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Louis Lambert by Honore de Balzac: the most sensitive chastity and passion mingled with pride.
As soon as Louis saw Mademoiselle de Villenoix, he discerned the angel
within. The richest powers of his soul, and his tendency to ecstatic
reverie, every faculty within him was at once concentrated in
boundless love, the first love of a young man, a passion which is
strong indeed in all, but which in him was raised to incalculable
power by the perennial ardor of his senses, the character of his
ideas, and the manner in which he lived. This passion became a gulf,
into which the hapless fellow threw everything; a gulf whither the
mind dare not venture, since his, flexible and firm as it was, was
lost there. There all was mysterious, for everything went on in that
Louis Lambert |
The third excerpt represents the future or something you must embrace, and is drawn from Scenes from a Courtesan's Life by Honore de Balzac: chatter of the prisoner placed to entrap him.
These were the strange circumstances under which the Corsican had been
condemned to death. Though the case is a very curious one, our account
of it must be brief. It is impossible to introduce a long digression
at the climax of a narrative already so much prolonged, since its only
interest is in so far as it concerns Jacques Collin, the vertebral
column, so to speak, which, by its sinister persistency, connects Le
Pere Goriot with Illusions perdues, and Illusions perdues with this
Study. And, indeed, the reader's imagination will be able to work out
the obscure case which at this moment was causing great uneasiness to
the jury of the sessions, before whom Theodore Calvi had been tried.
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