| The first excerpt represents the past or something you must release, and is drawn from Paradise Lost by John Milton: Millions of spiritual creatures walk the earth
Unseen, both when we wake, and when we sleep:
All these with ceaseless praise his works behold
Both day and night: How often from the steep
Of echoing hill or thicket have we heard
Celestial voices to the midnight air,
Sole, or responsive each to others note,
Singing their great Creator? oft in bands
While they keep watch, or nightly rounding walk,
With heavenly touch of instrumental sounds
In full harmonick number joined, their songs
Paradise Lost |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Songs of Travel by Robert Louis Stevenson: Fall insignificant on my closing ears,
What sound shall come but the old cry of the wind
In our inclement city? what return
But the image of the emptiness of youth,
Filled with the sound of footsteps and that voice
Of discontent and rapture and despair?
So, as in darkness, from the magic lamp,
The momentary pictures gleam and fade
And perish, and the night resurges - these
Shall I remember, and then all forget.
Apemama.
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The third excerpt represents the future or something you must embrace, and is drawn from Middlemarch by George Eliot: fine art must be forgiven her, considering the small tinkling
and smearing in which they chiefly consisted at that dark period.
She smiled and looked up at her betrothed with grateful eyes.
If he had always been asking her to play the "Last Rose of Summer,"
she would have required much resignation. "He says there is only an old
harpsichord at Lowick, and it is covered with books."
"Ah, there you are behind Celia, my dear. Celia, now,
plays very prettily, and is always ready to play. However,
since Casaubon does not like it, you are all right. But it's
a pity you should not have little recreations of that sort,
Casaubon: the bow always strung--that kind of thing, you know--will not do."
Middlemarch |
