| The first excerpt represents the past or something you must release, and is drawn from God The Invisible King by H. G. Wells: that he changes and becomes more even as a man's purpose gathers
itself together; that somewhere in the dawning of mankind he had a
beginning, an awakening, and that as mankind grows he grows. With
our eyes he looks out upon the universe he invades; with our hands,
he lays hands upon it. All our truth, all our intentions and
achievements, he gathers to himself. He is the undying human
memory, the increasing human will.
But this, you may object, is no more than saying that God is the
collective mind and purpose of the human race. You may declare that
this is no God, but merely the sum of mankind. But those who
believe in the new ideas very steadfastly deny that. God is, they
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Rivers to the Sea by Sara Teasdale: But Colin only looked at me
And never kissed at all.
Strephon's kiss was lost in jest,
Robin's lost in play,
But the kiss in Colin's eyes
Haunts me night and day.
SPRING
IN Central Park the lovers sit,
On every hilly path they stroll,
Each thinks his love is infinite,
And crowns his soul.
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The third excerpt represents the future or something you must embrace, and is drawn from Fables by Robert Louis Stevenson: greatly taken with their wayside questioner, and told him things of
weight. The wearing of gyves (they said) was no command of
Jupiter's. It was the contrivance of a white-faced thing, a
sorcerer, that dwelt in that country in the Wood of Eld. He was
one like Glaucus that could change his shape, yet he could be
always told; for when he was crossed, he gobbled like a turkey. He
had three lives; but the third smiting would make an end of him
indeed; and with that his house of sorcery would vanish, the gyves
fall, and the villagers take hands and dance like children.
"And in your country?" Jack would ask.
But at this the travellers, with one accord, would put him off;
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