| The first excerpt represents the past or something you must release, and is drawn from A Voyage to Arcturus by David Lindsay: was quite unexpected. Teargeld was high in the sky to their left,
shining down on them from behind. Straight in front, like an
enormously wide, smoothly descending road, lay the great ridge which
went on to Adage, though Adage itself was out of sight. It was never
less than two hundred yards wide. It was covered with green snow, in
some places entirely, but in other places the naked rocks showed
through like black teeth. From where they stood they were unable to
see the sides of the ridge, or what lay underneath. On the right
hand, which was north, the landscape was blurred and indistinct.
There were no peaks there; it was the distant, low-lying land of
Barey. But on the left hand appeared a whole forest of mighty
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Father Sergius by Leo Tolstoy: other considerations. Only his sister, who was as proud and
ambitious as he, understood him.
She understood that he had become a monk in order to be above
those who considered themselves his superiors. And she understood
him correctly. By becoming a monk he showed contempt for all
that seemed most important to others and had seemed so to him
while he was in the service, and he now ascended a height from
which he could look down on those he had formerly envied. . . .
But it was not this alone, as his sister Varvara supposed, that
influenced him. There was also in him something else--a sincere
religious feeling which Varvara did not know, which intertwined
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The third excerpt represents the future or something you must embrace, and is drawn from The American by Henry James: at him with an intensity too marked not to be innocent,
for coquetry is more finely shaded. She apparently wanted to ask
him something or tell him something; he wondered what it was.
But he was shy of giving her an opportunity, because, if her
communication bore upon the aridity of her matrimonial lot,
he was at a loss to see how he could help her. He had
a fancy, however, of her coming up to him some day and saying
(after looking around behind her) with a little passionate hiss,
"I know you detest my husband; let me have the pleasure of assuring
you for once that you are right. Pity a poor woman who is married
to a clock-image in papier-mache!" Possessing, however, in default
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