| The first excerpt represents the past or something you must release, and is drawn from Study of a Woman by Honore de Balzac: "Take these," he said, "and deliver them."
Joseph departed without a word; admirable servant!
We began to talk of the expedition to Morea, to which I was anxious to
be appointed as physician. Eugene remarked that I should lose a great
deal of time if I left Paris. We then conversed on various matters,
and I think you will be glad if I suppress the conversation.
When the Marquise de Listomere rose, about half-past two in the
afternoon of that day, her waiting-maid, Caroline, gave her a letter
which she read while Caroline was doing her hair (an imprudence which
many young women are thoughtless enough to commit).
"Dear angel of love," said the letter, "treasure of my life and
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Woman and Labour by Olive Schreiner: human female and another for the licentious human male; whether the claim
of the female to the offspring she bears shall or shall not equal that of
the male who begets it; whether an act of infidelity on the part of the
male shall or shall not terminate the contract which binds his female
companion to him, as completely as an act of infidelity on her part would
terminate her claim on him; it is not a matter of indifference whether a
body elected to adjudicate on such points as these consists of males
solely, or females solely, or of both combined. As it consists of one, or
the other, or of both, so not only will the answers vary, but, in some
cases, will they be completely diverse. Here we come into that very
narrow, but important, region, where sex as sex manifestly plays its part;
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The third excerpt represents the future or something you must embrace, and is drawn from The Art of Writing by Robert Louis Stevenson: fact as welcome to admission if it be the ground of brilliant
handiwork; or, again, into the error of the modern landscape-
painter, who is apt to think that difficulty overcome and
science well displayed can take the place of what is, after
all, the one excuse and breath of art - charm. A little
further, and he will regard charm in the light of an unworthy
sacrifice to prettiness, and the omission of a tedious
passage as an infidelity to art.
We have now the matter of this difference before us. The
idealist, his eye singly fixed upon the greater outlines,
loves rather to fill up the interval with detail of the
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