| The first excerpt represents the past or something you must release, and is drawn from The Wrong Box by Stevenson & Osbourne: Declare his uncle's death? He couldn't! Since the body was lost
Joseph had (in a legal sense) become immortal.
There was no created vehicle big enough to contain Morris and his
woes. He paid the hansom off and walked on he knew not whither.
'I seem to have gone into this business with too much
precipitation,' he reflected, with a deadly sigh. 'I fear it
seems too ramified for a person of my powers of mind.'
And then a remark of his uncle's flashed into his memory: If you
want to think clearly, put it all down on paper. 'Well, the old
boy knew a thing or two,' said Morris. 'I will try; but I don't
believe the paper was ever made that will clear my mind.'
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from De Profundis by Oscar Wilde: utterance a very trumpet through which they might call to heaven.
And feeling, with the artistic nature of one to whom suffering and
sorrow were modes through which he could realise his conception of
the beautiful, that an idea is of no value till it becomes
incarnate and is made an image, he made of himself the image of the
Man of Sorrows, and as such has fascinated and dominated art as no
Greek god ever succeeded in doing.
For the Greek gods, in spite of the white and red of their fair
fleet limbs, were not really what they appeared to be. The curved
brow of Apollo was like the sun's disc crescent over a hill at
dawn, and his feet were as the wings of the morning, but he himself
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The third excerpt represents the future or something you must embrace, and is drawn from The Witch, et. al by Anton Chekhov: miles to the right and as far to the left, and the end of it was
out of sight. The moon was now not over the yard, but behind the
church. One side of the street was flooded with moonlight, while
the other side lay in black shadow. The long shadows of the
poplars and the starling-cotes stretched right across the street,
while the church cast a broad shadow, black and terrible that
enfolded Dyudya's gates and half his house. The street was still
and deserted. From time to time the strains of mu sic floated
faintly from the end of the street -- Alyoshka, most likely,
playing his concertina.
Someone moved in the shadow near the church enclosure, and Sofya
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