| The first excerpt represents the past or something you must release, and is drawn from The Secrets of the Princesse de Cadignan by Honore de Balzac: for the purpose of excitement and I may say of notoriety. I felt that
I must conquer my independence. I led a life of dissipation. To divert
my mind, to forget my real life in fictitious enjoyments I was gay, I
shone, I gave fetes, I played the princess, and I ran in debt. At home
I could forget myself in the sleep of weariness, able to rise the next
day gay, and frivolous for the world; but in that sad struggle to
escape my real life I wasted my fortune. The revolution of 1830 came;
it came at the very moment when I had met, at the end of that Arabian
Nights' life, a pure and sacred love which (I desire to be honest) I
had longed to know. Was it not natural in a woman whose heart,
repressed by many causes and accidents, was awakening at an age when a
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Twilight Land by Howard Pyle: it away, until at last they came to the sea-shore. There they
flung chest and all into the water, and it floated away like a
cork. And that is how the king set about to ruin the poor beggar-man.
Well, the chest floated on and on for three days, and then at
last it came to the shore of a country far away. There the waves
caught it up, and flung it so hard upon the rocks of the sea-beach that the chest was burst open by
the blow, and the beggar
crawled out with eyes as big as saucers and face as white as
dough. After he had sat for a while, and when his wits came back
to him and he had gathered strength enough, he stood up and
looked around to see where Fate had cast him; and far away on the
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The third excerpt represents the future or something you must embrace, and is drawn from The Amazing Interlude by Mary Roberts Rinehart: allowed the frailest of old ebony and rosewood crucifixes to remain
nharmed.
Great generals, often as tall as they were great, stopped at the little
house to implore Sara Lee to leave. But she only shook her head.
"Not unless you send me away," she always said; "and that would break
my heart."
"But to move, mademoiselle, only to the next village!" they would
remonstrate, and as a final argument: " You are too valuable to risk an
injury."
"I must remain here," she said. And some of them thought they
understood. When an unusually obdurate officer came along, Sara Lee
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