| The first excerpt represents the past or something you must release, and is drawn from Love Songs by Sara Teasdale: My day is barren and broken,
Bereft of light and song,
A sea beach bleak and windy
That moans the whole day long.
To the empty beach at ebb tide,
Bare with its rocks and scars,
Come back like the sea with singing,
And light of a million stars.
I Would Live in Your Love
I would live in your love as the sea-grasses live in the sea,
Borne up by each wave as it passes, drawn down by each wave that recedes;
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from On Horsemanship by Xenophon: up bodily against his jaws; just as it does not matter at what point a
man takes hold of a bar of iron,[5] he lifts it as a whole. The other
flexibly constructed type acts like a chain (only the single point at
which you hold it remains stiff, the rest hangs loose); and while
perpetually hunting for the portion which escapes him, he lets the
mouthpiece go from his bars.[6] For this reason the rings are hung in
the middle from the two axles,[7] so that while feeling for them with
his tongue and teeth he may neglect to take the bit up against his
jaws.
[5] Or, "poker," as we might say; lit. "spit."
[6] Schneid. cf. Eur. "Hippol." 1223.
On Horsemanship |
The third excerpt represents the future or something you must embrace, and is drawn from Island Nights' Entertainments by Robert Louis Stevenson: idea of a hound like you eavesdropping, and I give you notice to
clear out."
"I don't take it, though," says Case.
"I'll show you, then," said I.
"We'll have to see about that," said he.
He was quick with his hands, but he had neither the height nor the
weight, being a flimsy creature alongside a man like me, and,
besides, I was blazing to that height of wrath that I could have
bit into a chisel. I gave him first the one and then the other, so
that I could hear his head rattle and crack, and he went down
straight.
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