|The first excerpt represents the past or something you must release, and is drawn from Beyond Good and Evil by Friedrich Nietzsche:
-TO DO AWAY WITH SUFFERING; and we?--it really seems that WE
would rather have it increased and made worse than it has ever
been! Well-being, as you understand it--is certainly not a goal;
it seems to us an END; a condition which at once renders man
ludicrous and contemptible--and makes his destruction DESIRABLE!
The discipline of suffering, of GREAT suffering--know ye not that
it is only THIS discipline that has produced all the elevations
of humanity hitherto? The tension of soul in misfortune which
communicates to it its energy, its shuddering in view of rack and
ruin, its inventiveness and bravery in undergoing, enduring,
interpreting, and exploiting misfortune, and whatever depth,
Beyond Good and Evil
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Gentle Grafter by O. Henry:
Presbyterian widow to swim.
"But I was going to tell you about mine and Andy's summer vacation
that wasn't one.
"We was tired of finance and all the branches of unsanctified
ingenuity. Even Andy, whose brain rarely ever stopped working, began
to make noises like a tennis cabinet.
"'Heigh ho!' says Andy. 'I'm tired. I've got that steam up the yacht
Corsair and ho for the Riviera! feeling. I want to loaf and indict my
soul, as Walt Whittier says. I want to play pinochle with Merry del
Val or give a knouting to the tenants on my Tarrytown estates or do a
monologue at a Chautauqua picnic in kilts or something summery and
|The third excerpt represents the future or something you must embrace, and is drawn from The Octopus by Frank Norris:
new odour, or the faint mingling of many odours, the smell of the
roses that lingered in her hair, of the lilies that exhaled from
her neck, of the heliotrope that disengaged itself from her hands
and arms, and of the hyacinths with which her little feet were
redolent, And then, suddenly, it was herself--her eyes, heavy-
lidded, violet blue, full of the love of him; her sweet full lips
speaking his name; her hands clasping his hands, his shoulders,
his neck--her whole dear body giving itself into his embrace; her
lips against his; her hands holding his head, drawing his face
down to hers.
Vanamee, as he remembered all this, flung out an arm with a cry