| The first excerpt represents the past or something you must release, and is drawn from Confidence by Henry James: she over-played it. Her empty chatter, her futility,
her childish coquetry and frivolity--such light wares could
hardly be the whole substance of any woman's being; there was
something beneath them which Blanche was keeping out of sight.
She had a scrap of a mind somewhere, and even a little particle
of a heart. If one looked long enough one might catch
a glimpse of these possessions. But why should she keep
them out of sight, and what were the ends that she proposed
to serve by this uncomfortable perversity? Bernard wondered
whether she were fond of her husband, and he heard it intimated
by several good people in New York who had had some observation
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Door in the Wall, et. al. by H. G. Wells: tired of it, and then creeping back upon the senses again, was this
trombone note of the big machine. The floor never felt steady and
quiet beneath one's feet, but quivered and jarred. It was a
confusing, unsteady place, and enough to send anyone's thoughts
jerking into odd zigzags. And for three months, while the big
strike of the engineers was in progress, Holroyd, who was a
blackleg, and Azuma-zi, who was a mere black, were never out of the
stir and eddy of it, but slept and fed in the little wooden shanty
between the shed and the gates.
Holroyd delivered a theological lecture on the text of his big
machine soon after Azuma-zi came. He had to shout to be heard in
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The third excerpt represents the future or something you must embrace, and is drawn from Sophist by Plato: or the spontaneous working of nature, but by divine reason and knowledge.
And there are not only divine creations but divine imitations, such as
apparitions and shadows and reflections, which are equally the work of a
divine mind. And there are human creations and human imitations too,--
there is the actual house and the drawing of it. Nor must we forget that
image-making may be an imitation of realities or an imitation of
appearances, which last has been called by us phantastic. And this
phantastic may be again divided into imitation by the help of instruments
and impersonations. And the latter may be either dissembling or
unconscious, either with or without knowledge. A man cannot imitate you,
Theaetetus, without knowing you, but he can imitate the form of justice or
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