| The first excerpt represents the past or something you must release, and is drawn from Shakespeare's Sonnets by William Shakespeare: Stirr'd by a painted beauty to his verse,
Who heaven itself for ornament doth use
And every fair with his fair doth rehearse,
Making a couplement of proud compare'
With sun and moon, with earth and sea's rich gems,
With April's first-born flowers, and all things rare,
That heaven's air in this huge rondure hems.
O! let me, true in love, but truly write,
And then believe me, my love is as fair
As any mother's child, though not so bright
As those gold candles fix'd in heaven's air:
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tono Bungay by H. G. Wells: hands in his trouser pockets; he halted and surveyed her
critically.
"Couldn't tell you from a duchess, Susan," he remarked. "I'd
like to have you painted, standin' at the fire like that.
Sargent! You look--spirited, somehow. Lord!--I wish some of
those damned tradesmen at Wimblehurst could see you."...
They did a lot of week-ending at hotels, and sometimes I went
down with them. We seemed to fall into a vast drifting
crowd of social learners. I don't know whether it is due simply
to my changed circumstances, but it seems to me there have been
immensely disproportionate developments of the hotel-frequenting
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The third excerpt represents the future or something you must embrace, and is drawn from New Poems by Robert Louis Stevenson: Trammelled so vilely in verse;
He who writes but aims at fame and his bread and his butter,
Won with a groan and a curse.
LONG TIME I LAY IN LITTLE EASE
LONG time I lay in little ease
Where, placed by the Turanian,
Marseilles, the many-masted, sees
The blue Mediterranean.
Now songful in the hour of sport,
Now riotous for wages,
She camps around her ancient port,
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