| The first excerpt represents the past or something you must release, and is drawn from Fanny Herself by Edna Ferber: procession--traveling men, school children, housewives,
farmers, worried hostesses, newly married couples bent on
house furnishing, business men.
She learned that it was the girls from the paper mills who
bought the expensive plates--the ones with the red roses and
green leaves hand-painted in great smears and costing two
dollars and a half, while the golf club crowd selected for a
gift or prize one of the little white plates with the faded-
looking blue sprig pattern, costing thirty-nine cents. One
day, after she had spent endless time and patience over the
sale of a nondescript little plate to one of Winnebago's
Fanny Herself |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Catriona by Robert Louis Stevenson: seemed to have no thought of our position, no sense of my struggles;
welcomed any mark of my weakness with responsive joy; and when I was
drove again to my retrenchments, did not always dissemble her chagrin.
There were times when I have thought to myself, "If she were over head
in love, and set her cap to catch me, she would scarce behave much
otherwise;" and then I would fall again into wonder at the simplicity
of woman, from whom I felt (in these moments) that I was not worthy to
be descended.
There was one point in particular on which our warfare turned, and of
all things, this was the question of her clothes. My baggage had soon
followed me from Rotterdam, and hers from Helvoet. She had now, as it
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The third excerpt represents the future or something you must embrace, and is drawn from De Profundis by Oscar Wilde: artist - an intense and flamelike imagination. He realised in the
entire sphere of human relations that imaginative sympathy which in
the sphere of Art is the sole secret of creation. He understood
the leprosy of the leper, the darkness of the blind, the fierce
misery of those who live for pleasure, the strange poverty of the
rich. Some one wrote to me in trouble, 'When you are not on your
pedestal you are not interesting.' How remote was the writer from
what Matthew Arnold calls 'the Secret of Jesus.' Either would have
taught him that whatever happens to another happens to oneself, and
if you want an inscription to read at dawn and at night-time, and
for pleasure or for pain, write up on the walls of your house in
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