| The first excerpt represents the past or something you must release, and is drawn from Letters of Robert Louis Stevenson by Robert Louis Stevenson: me when I get hold of it. Gower Woodseer is now an ancient, lean,
grim, exiled Scot, living and labouring as for a wager in the
tropics; still active, still with lots of fire in him, but the
youth - ah, the youth where is it? For years after I came here,
the critics (those genial gentlemen) used to deplore the relaxation
of my fibre and the idleness to which I had succumbed. I hear less
of this now; the next thing is they will tell me I am writing
myself out! and that my unconscientious conduct is bringing their
grey hairs with sorrow to the dust. I do not know - I mean I do
know one thing. For fourteen years I have not had a day's real
health; I have wakened sick and gone to bed weary; and I have done
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Hated Son by Honore de Balzac: met the duke twelve miles from Herouville.
"Come with me to the gate of the courtyard," said Gabrielle to her
friend when they were alone.
The pair passed through the cardinal's library, and went down through
the tower, in which was a door, the key of which Etienne had given to
Gabrielle. Stupefied by the dread of coming evil, the poor youth left
in the tower the torch he had brought to light the steps of his
beloved, and continued with her toward the cottage. A few steps from
the little garden, which formed a sort of flowery courtyard to the
humble habitation, the lovers stopped. Emboldened by the vague alarm
which oppressed them, they gave each other, in the shades of night, in
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The third excerpt represents the future or something you must embrace, and is drawn from Maggie: A Girl of the Streets by Stephen Crane: In the hero's erratic march from poverty in the first act, to
wealth and triumph in the final one, in which he forgives all the
enemies that he has left, he was assisted by the gallery, which
applauded his generous and noble sentiments and confounded the
speeches of his opponents by making irrelevant but very sharp
remarks. Those actors who were cursed with villainy parts were
confronted at every turn by the gallery. If one of them rendered
lines containing the most subtile distinctions between right and
wrong, the gallery was immediately aware if the actor meant
wickedness, and denounced him accordingly.
The last act was a triumph for the hero, poor and of the
Maggie: A Girl of the Streets |
