| The first excerpt represents the past or something you must release, and is drawn from Glaucus/The Wonders of the Shore by Charles Kingsley: The smallest bits of stone are sufficient, provided the sea-weeds
have hold of them; for they have no real roots, but adhere by a
small disc, deriving no nourishment from the rock, but only from
the water. Take care, meanwhile, that there be as little as
possible on the stone, beside the weed itself. Especially scrape
off any small sponges, and see that no worms have made their
twining tubes of sand among the weed-stems; if they have, drag them
out; for they will surely die, and as surely spoil all by
sulphuretted hydrogen, blackness, and evil smells.
Put your weeds into your tank, and settle them at the bottom; which
last, some say, should be covered with a layer of pebbles: but let
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Across The Plains by Robert Louis Stevenson: dwell upon the thought of it; or we shall soon dwell upon it with
inverted pleasure. If we cannot drive it from our minds - one
thing of two: either our creed is in the wrong and we must more
indulgently remodel it; or else, if our morality be in the right,
we are criminal lunatics and should place our persons in restraint.
A mark of such unwholesomely divided minds is the passion for
interference with others: the Fox without the Tail was of this
breed, but had (if his biographer is to be trusted) a certain
antique civility now out of date. A man may have a flaw, a
weakness, that unfits him for the duties of life, that spoils his
temper, that threatens his integrity, or that betrays him into
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The third excerpt represents the future or something you must embrace, and is drawn from Essays & Lectures by Oscar Wilde: came away - a breakfast room in blue and yellow. The ceiling was a
light blue, the cabinet-work and the furniture were of a yellow
wood, the curtains at the windows were white and worked in yellow,
and when the table was set for breakfast with dainty blue china
nothing can be conceived at once so simple and so joyous.
The fault which I have observed in most of your rooms is that there
is apparent no definite scheme of colour. Everything is not
attuned to a key-note as it should be. The apartments are crowded
with pretty things which have no relation to one another. Again,
your artists must decorate what is more simply useful. In your art
schools I found no attempt to decorate such things as the vessels
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