| The first excerpt represents the past or something you must release, and is drawn from Through the Looking-Glass by Lewis Carroll: The King was saying, `I assure, you my dear, I turned cold to
the very ends of my whiskers!'
To which the Queen replied, `You haven't got any whiskers.'
`The horror of that moment,' the King went on, `I shall never,
NEVER forget!'
`You will, though,' the Queen said, `if you don't make a
memorandum of it.'
Alice looked on with great interest as the King took an
enormous memorandum-book out of his pocket, and began writing. A
sudden thought struck her, and she took hold of the end of the
pencil, which came some way over his shoulder, and began writing
Through the Looking-Glass |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Gorgias by Plato: may be said to have improved the Athenians, who found them worse and made
them better, from the day that he began to make speeches? for, indeed, I do
not know of such a man.
CALLICLES: What! did you never hear that Themistocles was a good man, and
Cimon and Miltiades and Pericles, who is just lately dead, and whom you
heard yourself?
SOCRATES: Yes, Callicles, they were good men, if, as you said at first,
true virtue consists only in the satisfaction of our own desires and those
of others; but if not, and if, as we were afterwards compelled to
acknowledge, the satisfaction of some desires makes us better, and of
others, worse, and we ought to gratify the one and not the other, and there
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The third excerpt represents the future or something you must embrace, and is drawn from Pierre Grassou by Honore de Balzac: distant connection of the Orgemonts) made himself a painter simply by
the fact of an obstinacy which constitutes the Breton character. What
he suffered, the manner in which he lived during those years of study,
God only knows. He suffered as much as great men suffer when they are
hounded by poverty and hunted like wild beasts by the pack of
commonplace minds and by troops of vanities athirst for vengeance.
As soon as he thought himself able to fly on his own wings, Fougeres
took a studio in the upper part of the rue des Martyrs, where he began
to delve his way. He made his first appearance in 1819. The first
picture he presented to the jury of the Exhibition at the Louvre
represented a village wedding rather laboriously copied from Greuze's
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