| The first excerpt represents the past or something you must release, and is drawn from Christ in Flanders by Honore de Balzac: houses and three hundred cottages, huts or hovels built of the
driftwood of wrecked vessels, it nevertheless rejoiced in the
possession of a governor, a garrison, a forked gibbet, a convent, and
a burgomaster, in short, in all the institutions of an advanced
civilization.
Who reigned over Brabant and Flanders in those days? On this point
tradition is mute. Let us confess at once that this tale savors
strongly of the marvelous, the mysterious, and the vague; elements
which Flemish narrators have infused into a story retailed so often to
gatherings of workers on winter evenings, that the details vary widely
in poetic merit and incongruity of detail. It has been told by every
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Love Songs by Sara Teasdale: Do you mind in years gone by
All my dreaming?
Spring was like a call to me
That I could not answer,
I was chained to loneliness,
I, the dancer.
Willow, twinkling in the sun,
Still your leaves and hear me,
I can answer spring at last,
Love is near me!
The Wanderer
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The third excerpt represents the future or something you must embrace, and is drawn from Bunner Sisters by Edith Wharton: toward the end of the day, when traffic had been active, the
fissured pavement formed a mosaic of coloured hand-bills, lids of
tomato-cans, old shoes, cigar-stumps and banana skins, cemented
together by a layer of mud, or veiled in a powdering of dust, as
the state of the weather determined.
The sole refuge offered from the contemplation of this
depressing waste was the sight of the Bunner Sisters' window. Its
panes were always well-washed, and though their display of
artificial flowers, bands of scalloped flannel, wire hat-frames,
and jars of home-made preserves, had the undefinable greyish tinge
of objects long preserved in the show-case of a museum, the window
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