| The first excerpt represents the past or something you must release, and is drawn from Melmoth Reconciled by Honore de Balzac: fails, as the swimmer borne along by the current clings to the branch
that snaps in his hand.
Towards four o'clock that afternoon Castanier appeared among the
little knots of men who were transacting private business after
'Change. He was personally known to some of the brokers; and while
affecting to be in search of an acquaintance, he managed to pick up
the current gossip and rumors of failure.
"Catch me negotiating bills for Claparon & Co., my boy. The bank
collector went round to return their acceptances to them this
morning," said a fat banker in his outspoken way. "If you have any of
their paper, look out."
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Yates Pride by Mary E. Wilkins Freeman: Eudora flushed slightly, and, as if in response, the old man
flushed, also. "No, I thank you, Wilson," she said, and moved on.
The boy, who was raking dry leaves, stood gazing at them with a
shrewd, whimsical expression. He was the old man's grandson.
"Is that a boy or a girl kid, grandpa?" he inquired, when the
gardener returned.
"Hold your tongue!" replied the old man, irascibly. Suddenly he
seized the boy by his two thin little shoulders with knotted old
hands.
"Look at here, Tommy, whatever you know, you keep your mouth
shet, and whatever you don't know, you keep your mouth shet, if
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The third excerpt represents the future or something you must embrace, and is drawn from Essays & Lectures by Oscar Wilde: sphere of the pure intellect, the spirit of which may be found in
the Euripidean treatment of tragedy and the later schools of art,
as well as in the Platonic conception of science.
History, no doubt, has splendid lessons for our instruction, just
as all good art comes to us as the herald of the noblest truth.
But, to set before either the painter or the historian the
inculcation of moral lessons as an aim to be consciously pursued,
is to miss entirely the true motive and characteristic both of art
and history, which is in the one case the creation of beauty, in
the other the discovery of the laws of the evolution of progress:
IL NE FAUT DEMANDER DE L'ART QUE L'ART, DU PASSE QUE LE PASSE.
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