| The first excerpt represents the past or something you must release, and is drawn from American Notes by Rudyard Kipling: a "skid" road, hauling a forty-foot log along a rudely made
slide.
A valley full of wheat and cherry-trees succeeded, and halting at
a house, we bought ten-pound weight of luscious black cherries
for something less than a rupee, and got a drink of icy-cold
water for nothing, while the untended team browsed sagaciously by
the road-side. Once we found a way-side camp of horse-dealers
lounging by a pool, ready for a sale or a swap, and once two
sun-tanned youngsters shot down a hill on Indian ponies, their
full creels banging from the high-pommelled saddle. They had
been fishing, and were our brethren, therefore. We shouted aloud
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Selected Writings of Guy De Maupassant by Guy De Maupassant: He related to us at some length the enormous results obtained by
English scientists and the doctors of the medical school at
Nancy, and the facts which he adduced appeared to me so strange,
that I declared that I was altogether incredulous.
"We are," he declared, "on the point of discovering one of the
most important secrets of nature, I mean to say, one of its most
important secrets on this earth, for assuredly there are some up
in the stars, yonder, of a different kind of importance. Ever
since man has thought, since he has been able to express and
write down his thoughts, he has felt himself close to a mystery
which is impenetrable to his coarse and imperfect senses, and he
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The third excerpt represents the future or something you must embrace, and is drawn from Essays & Lectures by Oscar Wilde: have seen yet in America - all this is not enough. A school of
design we must have too in each city. It should be a stately and
noble building, full of the best examples of the best art of the
world. Furthermore, do not put your designers in a barren
whitewashed room and bid them work in that depressing and
colourless atmosphere as I have seen many of the American schools
of design, but give them beautiful surroundings. Because you want
to produce a permanent canon and standard of taste in your workman,
he must have always by him and before him specimens of the best
decorative art of the world, so that you can say to him: 'This is
good work. Greek or Italian or Japanese wrought it so many years
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