| The first excerpt represents the past or something you must release, and is drawn from Resurrection by Leo Tolstoy: felt himself caught in the meshes of a stupid, empty, valueless,
frivolous life, out of which he saw no means of extricating
himself even if he wished to, which he hardly did. He remembered
how proud he was at one time of his straightforwardness, how he
had made a rule of always speaking the truth, and really had been
truthful; and how he was now sunk deep in lies: in the most
dreadful of lies--lies considered as the truth by all who
surrounded him. And, as far as he could see, there was no way out
of these lies. He had sunk in the mire, got used to it, indulged
himself in it.
How was he to break off his relations with Mary Vasilievna and
Resurrection |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from To-morrow by Joseph Conrad: come back he throws a confounded shovel at my
head to keep me out. It grazed my shoulder."
She shuddered.
"I wouldn't care," he began, "only I spent my
last shillings on the railway fare and my last two-
pence on a shave--out of respect for the old man."
"Are you really Harry Hagberd?" she asked.
"Can you prove it?"
"Can I prove it? Can any one else prove it?"
he said jovially. "Prove with what? What do I
want to prove? There isn't a single corner in the
To-morrow |
The third excerpt represents the future or something you must embrace, and is drawn from Paradise Lost by John Milton: In forest wild, in thicket, brake, or den;
Among the trees in pairs they rose, they walked:
The cattle in the fields and meadows green:
Those rare and solitary, these in flocks
Pasturing at once, and in broad herds upsprung.
The grassy clods now calved; now half appeared
The tawny lion, pawing to get free
His hinder parts, then springs as broke from bonds,
And rampant shakes his brinded mane; the ounce,
The libbard, and the tiger, as the mole
Rising, the crumbled earth above them threw
Paradise Lost |
