| The first excerpt represents the past or something you must release, and is drawn from The Tanach: Psalms 73: 11 And they say: 'How doth God know? And is there knowledge in the Most High?'
Psalms 73: 12 Behold, such are the wicked; and they that are always at ease increase riches.
Psalms 73: 13 Surely in vain have I cleansed my heart, and washed my hands in innocency;
Psalms 73: 14 For all the day have I been plagued, and my chastisement came every morning.
Psalms 73: 15 If I had said: 'I will speak thus', behold, I had been faithless to the generation of Thy children.
Psalms 73: 16 And when I pondered how I might know this, it was wearisome in mine eyes;
Psalms 73: 17 Until I entered into the sanctuary of God, and considered their end.
Psalms 73: 18 Surely Thou settest them in slippery places; Thou hurlest them down to utter ruin.
Psalms 73: 19 How are they become a desolation in a moment! They are wholly consumed by terrors.
Psalms 73: 20 As a dream when one awaketh, so, O Lord, when Thou arousest Thyself, Thou wilt despise their semblance.
Psalms 73: 21 For my heart was in a ferment, and I was pricked in my reins.
The Tanach |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from My Bondage and My Freedom by Frederick Douglass: and make all manner of joyful noises--so they do; but it is a
great mistake to suppose them happy because they sing. The songs
of the slave represent the sorrows, rather than the joys, of his
heart; and he is relieved by them, only as an aching heart is
relieved by its tears. Such is the constitution of the human
mind, that, when pressed to extremes, it often avails itself of
the most opposite methods. Extremes meet in mind as in matter.
When the slaves on board of the "Pearl" were overtaken, arrested,
and carried to prison--their hopes for freedom blasted--as they
marched in chains they sang, and found (as Emily Edmunson tells
us) a melancholy relief in singing. The singing of a man cast
My Bondage and My Freedom |
The third excerpt represents the future or something you must embrace, and is drawn from Maitre Cornelius by Honore de Balzac: and all the jewels of the Duke of--"
"Let us hear about that," said Louis XI., going out into the courtyard
of Plessis, followed by his silversmith, Coyctier his physician,
Olivier de Daim, and the captain of his Scottish guard. "Tell me about
it. Another man to hang for you! Hola, Tristan!"
The grand provost, who was walking up and down the courtyard, came
with slow steps, like a dog who exhibits his fidelity. The group
paused under a tree. The king sat down on a bench and the courtiers
made a circle about him.
"Sire, a man who pretended to be a Fleming has got the better of me--"
began Cornelius.
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