| The first excerpt represents the past or something you must release, and is drawn from Prufrock/Other Observations by T. S. Eliot: I grow old ... I grow old ...
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Prufrock/Other Observations |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Thus Spake Zarathustra by Friedrich Nietzsche: Where ye are, there must always be dregs at hand, and much that is spongy,
hollow, and compressed: it wanteth to have freedom.
'Freedom' ye all roar most eagerly: but I have unlearned the belief in
'great events,' when there is much roaring and smoke about them.
And believe me, friend Hullabaloo! The greatest events--are not our
noisiest, but our stillest hours.
Not around the inventors of new noise, but around the inventors of new
values, doth the world revolve; INAUDIBLY it revolveth.
And just own to it! Little had ever taken place when thy noise and smoke
passed away. What, if a city did become a mummy, and a statue lay in the
mud!
Thus Spake Zarathustra |
The third excerpt represents the future or something you must embrace, and is drawn from The Jolly Corner by Henry James: and stature waited there to measure himself with his power to
dismay. This only could it be - this only till he recognised, with
his advance, that what made the face dim was the pair of raised
hands that covered it and in which, so far from being offered in
defiance, it was buried, as for dark deprecation. So Brydon,
before him, took him in; with every fact of him now, in the higher
light, hard and acute - his planted stillness, his vivid truth, his
grizzled bent head and white masking hands, his queer actuality of
evening-dress, of dangling double eye-glass, of gleaming silk
lappet and white linen, of pearl button and gold watch-guard and
polished shoe. No portrait by a great modern master could have
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