| The first excerpt represents the past or something you must release, and is drawn from Tarzan and the Jewels of Opar by Edgar Rice Burroughs: patting it down. He knew then that the jewels were
buried.
It was an hour before Werper moved again, then he
rolled over facing Tarzan and opened his eyes. The
ape-man slept. By reaching out his hand Werper could
touch the spot where the pouch was buried.
For a long time he lay watching and listening.
He moved about, making more noise than necessary,
yet Tarzan did not awaken. He drew the sacrificial knife
from his belt, and plunged it into the ground.
Tarzan did not move. Cautiously the Belgian pushed the
Tarzan and the Jewels of Opar |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Case of the Registered Letter by Grace Isabel Colbron and Augusta Groner: in his apologies for the accident, and tried to take out the spots
with blotting paper. Then at last, when I insisted upon going, he
looked out to see whether there was still a light on the stairs, and
led me down to the door himself, standing there for some time
looking after me.
"I was slightly alarmed as well as angry at his actions. I believe
that he could not have been quite in his right mind, that the strain
of nervousness which was apparent in his nature had really made him
ill. For I remember several peculiar incidents of my visit to him.
One of these was that he almost insisted upon my taking away with me,
ostensibly to take care of them, several valuable pieces of jewelry
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The third excerpt represents the future or something you must embrace, and is drawn from The Soul of Man by Oscar Wilde: sometimes, and, now and then, one comes across it in popular
newspapers. It is, of course, a ridiculous word to apply to a work
of art. For what is morbidity but a mood of emotion or a mode of
thought that one cannot express? The public are all morbid,
because the public can never find expression for anything. The
artist is never morbid. He expresses everything. He stands
outside his subject, and through its medium produces incomparable
and artistic effects. To call an artist morbid because he deals
with morbidity as his subject-matter is as silly as if one called
Shakespeare mad because he wrote 'King Lear.'
On the whole, an artist in England gains something by being
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