| The first excerpt represents the past or something you must release, and is drawn from A treatise on Good Works by Dr. Martin Luther: ignorant, blind teachers, who have never taught them the faith,
and have led them so deeply into works. They must be gently and
gradually led back again to faith, as a sick man is treated, and
must be allowed for a time, for their conscience sake, to cling
to some works and do them as necessary to salvation, so long as
they rightly grasp the faith; lest if we try to tear them out so
suddenly, their weak consciences be quite shattered and confused,
and retain neither faith nor works. But the hardheaded, who,
hardened in their works, give no heed to what is said of faith,
and fight against it, these we must, as Christ did and taught,
let go their way, that the blind may lead the blind.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Arrow of Gold by Joseph Conrad: her. She never looked round. She walked to the door, opened it
without haste, and on the landing in the diffused light from the
ground-glass skylight there appeared, rigid, like an implacable and
obscure fate, the awful Therese - waiting for her sister. The
heavy ends of a big black shawl thrown over her head hung massively
in biblical folds. With a faint cry of dismay Dona Rita stopped
just within my room.
The two women faced each other for a few moments silently. Therese
spoke first. There was no austerity in her tone. Her voice was as
usual, pertinacious, unfeeling, with a slight plaint in it;
terrible in its unchanged purpose.
The Arrow of Gold |
The third excerpt represents the future or something you must embrace, and is drawn from Lay Morals by Robert Louis Stevenson: aware of two things: first, that the man can draw, and,
second, that he possesses the gift of an imagination.
'Obstinate reviles,' says the legend; and you should see
Obstinate reviling. 'He warily retraces his steps'; and
there is Christian, posting through the plain, terror and
speed in every muscle. 'Mercy yearns to go' shows you a
plain interior with packing going forward, and, right in the
middle, Mercy yearning to go - every line of the girl's
figure yearning. In 'The Chamber called Peace' we see a
simple English room, bed with white curtains, window valance
and door, as may be found in many thousand unpretentious
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