| The first excerpt represents the past or something you must release, and is drawn from The Lesson of the Master by Henry James: daughters, a wife with as many gowns, a house with as many
servants, a stable with as many horses, a heart with as many
aches." The Master got up when he had spoken thus - he stood a
moment - near the sofa looking down on his agitated pupil. "Are
you possessed of any property?" it occurred to him to ask.
"None to speak of."
"Oh well then there's no reason why you shouldn't make a goodish
income - if you set about it the right way. Study ME for that -
study me well. You may really have horses."
Paul sat there some minutes without speaking. He looked straight
before him - he turned over many things. His friend had wandered
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Beyond Good and Evil by Friedrich Nietzsche: effect on the higher orders of men, the conditions of whose lives
are delicate, diverse, and difficult to determine. What, then, is
the attitude of the two greatest religions above-mentioned to the
SURPLUS of failures in life? They endeavour to preserve and keep
alive whatever can be preserved; in fact, as the religions FOR
SUFFERERS, they take the part of these upon principle; they are
always in favour of those who suffer from life as from a disease,
and they would fain treat every other experience of life as false
and impossible. However highly we may esteem this indulgent and
preservative care (inasmuch as in applying to others, it has
applied, and applies also to the highest and usually the most
Beyond Good and Evil |
The third excerpt represents the future or something you must embrace, and is drawn from Edingburgh Picturesque Notes by Robert Louis Stevenson: steep cliff, and often joyfully hailed by tourists as the
Castle. In the one, you may perhaps see female prisoners
taking exercise like a string of nuns; in the other,
schoolboys running at play and their shadows keeping step
with them. From the bottom of the valley, a gigantic
chimney rises almost to the level of the eye, a taller
and a shapelier edifice than Nelson's Monument. Look a
little farther, and there is Holyrood Palace, with its
Gothic frontal and ruined abbey, and the red sentry
pacing smartly too and fro before the door like a
mechanical figure in a panorama. By way of an outpost,
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