|The first excerpt represents the past or something you must release, and is drawn from The Touchstone by Edith Wharton:
weighing the temptation than of submitting his scruples to a man
like Flamel, and affecting to appeal to sentiments of delicacy on
the absence of which he had consciously reckoned. But he had
reached a point where each word seemed to compel another, as each
wave in a stream is forced forward by the pressure behind it; and
before Flamel could speak he had faltered out--"You don't think
people could say . . . could criticise the man. . . ."
"But the man's dead, isn't he?"
"He's dead--yes; but can I assume the responsibility without--"
Flamel hesitated; and almost immediately Glennard's scruples gave
way to irritation. If at this hour Flamel were to affect an
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Hidden Masterpiece by Honore de Balzac:
elements. Drawing gives the skeleton, and color gives the life; but
life without the skeleton is a far more incomplete thing than the
skeleton without the life. But there is a higher truth still,--namely,
that practice and observation are the essentials of a painter; and
that if reason and poesy persist in wrangling with the tools, the
brushes, we shall be brought to doubt, like Frenhofer, who is as much
excited in brain as he is exalted in art. A sublime painter, indeed;
but he had the misfortune to be born rich, and that enables him to
stray into theory and conjecture. Do not imitate him. Work! work!
painters should theorize with their brushes in their hands."
"We will contrive to get in," cried Poussin, not listening to Porbus,
|The third excerpt represents the future or something you must embrace, and is drawn from Tarzan of the Apes by Edgar Rice Burroughs:
terror to her lips, and like a frightened child the huge woman
ran to bury her face on her mistress' shoulder.
Jane, turning at the cry, saw the cause of it lying prone
upon the floor before them--the whitened skeleton of a man.
A further glance revealed a second skeleton upon the bed.
"What horrible place are we in?" murmured the awe-struck
girl. But there was no panic in her fright.
At last, disengaging herself from the frantic clutch of the still
shrieking Esmeralda, Jane crossed the room to look into the little
cradle, knowing what she should see there even before the tiny
skeleton disclosed itself in all its pitiful and pathetic frailty.
Tarzan of the Apes