| The first excerpt represents the past or something you must release, and is drawn from Louis Lambert by Honore de Balzac: remember:
"If you look at me again in that way, Lambert, you will get the
strap."
At these words every nose was in the air, every eye looked alternately
at the master and at Louis. The observation was so utterly foolish,
that the boy again looked at the Father, overwhelming him with another
flash. From this arose a standing feud between Lambert and his master,
resulting in a certain amount of "strap." Thus did he first discover
the power of his eye.
The hapless poet, so full of nerves, as sensitive as a woman, under
the sway of chronic melancholy, and as sick with genius as a girl with
Louis Lambert |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Ball at Sceaux by Honore de Balzac: generously agreed not to expect in the future any compensation for the
advantage thus given to a too favored child."
"In their position!" said Emilie, with an ironical toss of her head.
"My dear, do not so depreciate those who love you. Only the poor are
generous as a rule; the rich have always excellent reasons for not
handing over twenty thousand francs to a relation. Come, my child, do
not pout, let us talk rationally.--Among the young marrying men have
you noticed Monsieur de Manerville?"
"Oh, he minces his words--he says Zules instead of Jules; he is always
looking at his feet, because he thinks them small, and he gazes at
himself in the glass! Besides, he is fair. I don't like fair men."
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The third excerpt represents the future or something you must embrace, and is drawn from The Age of Innocence by Edith Wharton: then forgotten him; but Archer felt more curious than
mortified. The atmosphere of the room was so different
from any he had ever breathed that self-consciousness
vanished in the sense of adventure. He had been before
in drawing-rooms hung with red damask, with pictures
"of the Italian school"; what struck him was the way
in which Medora Manson's shabby hired house, with
its blighted background of pampas grass and Rogers
statuettes, had, by a turn of the hand, and the skilful
use of a few properties, been transformed into something
intimate, "foreign," subtly suggestive of old
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