| The first excerpt represents the past or something you must release, and is drawn from Poems of William Blake by William Blake: Is this a Worm? I see they lay helpless & naked: weeping
And none to answer, none to cherish thee with mothers smiles.
The Clod of Clay heard the Worms voice & rais'd her pitying head:
She bowd over the weeping infant, and her life exhald
In milky fondness, then on Thel she fix'd her humble eyes
O beauty of the vales of Har, we live not for ourselves,
Thou seest me the meanest thing, and so I am indeed:
My bosom of itself is cold, and of itself is dark,
But he that loves the lowly, pours his oil upon my head
And kisses me, and binds his nuptial bands around my breast.
And says; Thou mother of my children, I have loved thee
Poems of William Blake |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Art of War by Sun Tzu: 5th century B.C. Further proof of Sun Tzu's antiquity is
furnished by the archaic or wholly obsolete meanings attaching to
a number of the words he uses. A list of these, which might
perhaps be extended, is given in the HSU LU; and though some of
the interpretations are doubtful, the main argument is hardly
affected thereby. Again, it must not be forgotten that Yeh Shui-
hsin, a scholar and critic of the first rank, deliberately
pronounces the style of the 13 chapters to belong to the early
part of the fifth century. Seeing that he is actually engaged in
an attempt to disprove the existence of Sun Wu himself, we may be
sure that he would not have hesitated to assign the work to a
The Art of War |
The third excerpt represents the future or something you must embrace, and is drawn from The Commission in Lunacy by Honore de Balzac: the door bowed slightly, and pushed forward two chairs, which he
offered by a gesture to the doctor and the judge; then, when they had
seated themselves, he leaned against the wall again, crossing his
arms.
A word as to this man. There is living now, in our day, a painter--
Decamps--who possesses in the very highest degree the art of
commanding your interest in everything he sets before your eyes,
whether it be a stone or a man. In this respect his pencil is more
skilful than his brush. He will sketch an empty room and leave a broom
against the wall. If he chooses, you shall shudder; you shall believe
that this broom has just been the instrument of crime, and is dripping
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