| The first excerpt represents the past or something you must release, and is drawn from A Lover's Complaint by William Shakespeare: Upon whose weeping margent she was set;
Like usury applying wet to wet,
Or monarchs' hands, that lets not bounty fall
Where want cries 'some,' but where excess begs all.
Of folded schedules had she many a one,
Which she perus'd, sigh'd, tore, and gave the flood;
Crack'd many a ring of posied gold and bone,
Bidding them find their sepulchres in mud;
Found yet mo letters sadly penn'd in blood,
With sleided silk feat and affectedly
Enswath'd, and seal'd to curious secrecy.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tales of Unrest by Joseph Conrad: and into his room. He locked the door, snatched his revolver, and
stood panting. In less than a minute Carlier was kicking at the door
furiously, howling, "If you don't bring out that sugar, I will shoot
you at sight, like a dog. Now then--one--two--three. You won't? I
will show you who's the master."
Kayerts thought the door would fall in, and scrambled through the
square hole that served for a window in his room. There was then the
whole breadth of the house between them. But the other was apparently
not strong enough to break in the door, and Kayerts heard him running
round. Then he also began to run laboriously on his swollen legs. He
ran as quickly as he could, grasping the revolver, and unable yet to
Tales of Unrest |
The third excerpt represents the future or something you must embrace, and is drawn from The Hidden Masterpiece by Honore de Balzac: picture. If seen near by this sort of work has a woolly effect, and is
wanting in nicety and precision; but go a few steps off and the parts
fall into place; they take their proper form and detach themselves,--
the body turns, the limbs stand out, we feel the air circulating
around them.
"Nevertheless," he continued, sadly, "I am not satisfied; there are
moments when I have my doubts. Perhaps it would be better not to
sketch a single line. I ask myself if I ought not to grasp the figure
first by its highest lights, and then work down to the darker
portions. Is not that the method of the sun, divine painter of the
universe? O Nature, Nature! who has ever caught thee in thy flights?
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