The first excerpt represents the past or something you must release, and is drawn from Moral Emblems by Robert Louis Stevenson: Thrones rose and fell; and still the crescent,
Unsanative and now senescent,
A plastered skeleton of lath,
Looked forward to a day of wrath.
In the dead night, the groaning timber
Would jar upon the ear of slumber,
And, like Dodona's talking oak,
Of oracles and judgments spoke.
When to the music fingered well
The feet of children lightly fell,
The sire, who dozed by the decanters,
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from An Inland Voyage by Robert Louis Stevenson: window on either side of the rudder, and perhaps a jug or a flower-
pot in one of the windows; a dinghy following behind; a woman
busied about the day's dinner, and a handful of children. These
barges were all tied one behind the other with tow ropes, to the
number of twenty-five or thirty; and the line was headed and kept
in motion by a steamer of strange construction. It had neither
paddle-wheel nor screw; but by some gear not rightly comprehensible
to the unmechanical mind, it fetched up over its bow a small bright
chain which lay along the bottom of the canal, and paying it out
again over the stern, dragged itself forward, link by link, with
its whole retinue of loaded skows. Until one had found out the key
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The third excerpt represents the future or something you must embrace, and is drawn from To-morrow by Joseph Conrad: and come slowly to the fence. There was a charm
in these gentle ravings. He was determined that
his son should not go away again for the want of a
home all ready for him. He had been filling the
other cottage with all sorts of furniture. She im-
agined it all new, fresh with varnish, piled up as
in a warehouse. There would be tables wrapped
up in sacking; rolls of carpets thick and vertical
like fragments of columns, the gleam of white mar-
ble tops in the dimness of the drawn blinds. Cap-
tain Hagberd always described his purchases to
 To-morrow |