| The first excerpt represents the past or something you must release, and is drawn from Mosses From An Old Manse by Nathaniel Hawthorne: lurid blaze against the sky, at the hour of midnight. He paused,
in a lull of the tempest that had driven him onward, and heard
the swell of what seemed a hymn, rolling solemnly from a distance
with the weight of many voices. He knew the tune; it was a
familiar one in the choir of the village meeting-house. The verse
died heavily away, and was lengthened by a chorus, not of human
voices, but of all the sounds of the benighted wilderness pealing
in awful harmony together. Goodman Brown cried out, and his cry
was lost to his own ear by its unison with the cry of the desert.
In the interval of silence he stole forward until the light
glared full upon his eyes. At one extremity of an open space,
Mosses From An Old Manse |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Pool in the Desert by Sara Jeanette Duncan: hours.
Strobo was in Calcutta to meet a friend, an Austrian, who was
shortly leaving India in the Messagerie Maritimes steamer Dupleix
after agreeable wanderings disguised as a fakir in Tibet; and to
this friend was attached, in what capacity I never thought well to
inquire, a lady who was a Pole, and played and sang as well as
Strobo fiddled. I believe they dined together every night, this
precious quartet, and exchanged in various tongues their impressions
of India under British control. 'A houri in stays,' the lady who
was a Pole described it. I believe she herself was a houri without
them. And at midnight, when the south wind was cool and strong from
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The third excerpt represents the future or something you must embrace, and is drawn from The Two Brothers by Honore de Balzac: was a Holy Family by Albano, a Saint-Jerome of Demenichino, a Head of
Christ by Gian Bellini, a Virgin of Leonardo, a Bearing of the Cross
by Titian, which formerly belonged to the Marquis de Belabre (the one
who sustained a siege and had his head cut off under Louis XIII.); a
Lazarus of Paul Veronese, a Marriage of the Virgin by the priest
Genois, two church paintings by Rubens, and a replica of a picture by
Perugino, done either by Perugino himself or by Raphael; and finally,
two Correggios and one Andrea del Sarto.
The Descoings had culled these treasures from three hundred church
pictures, without knowing their value, and selecting them only for
their good preservation. Many were not only in magnificent frames, but
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