|The first excerpt represents the past or something you must release, and is drawn from Virginibus Puerisque by Robert Louis Stevenson:
what alone was really important, that he may have entertained
the thought of other women with any show of complacency, is a
burthen almost too heavy for his self-respect. But it is the
thought of another past that rankles in his spirit like a
poisoned wound. That he himself made a fashion of being alive
in the bald, beggarly days before a certain meeting, is
deplorable enough in all good conscience. But that She should
have permitted herself the same liberty seems inconsistent
with a Divine providence.
A great many people run down jealousy, on the score that
it is an artificial feeling, as well as practically
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from Rezanov by Gertrude Atherton:
her hands pressed against her heart, she might, save
for her empty arms, have been the eidolon of the
Madonna di San Sisto. In her eyes was the same
expression of vague arrested horror as she looked
out on that world of menacing imperfections the
blind forces of nature and man had created; her
body was instinct with the same nervous leashed im-
The white rain clouds, rolling as ever like a nervous
intruder over the great snow peaks behind the steep
|The third excerpt represents the future or something you must embrace, and is drawn from The Figure in the Carpet by Henry James:
He wasn't acting - it was the absurd truth.
"She DIDN'T tell you - ?"
"Nothing about Hugh Vereker."
I was stupefied; the room went round. It had been too good even
for that! "Upon your honour?"
"Upon my honour. What the devil's the matter with you?" he
"I'm astounded - I'm disappointed. I wanted to get it out of you."
"It isn't in me!" he awkwardly laughed. "And even if it were - "
"If it were you'd let me have it - oh yes, in common humanity. But
I believe you. I see - I see!" I went on, conscious, with the full