| The first excerpt represents the past or something you must release, and is drawn from Sarrasine by Honore de Balzac: Ah! how sharply I felt at that moment those pangs of jealousy in which
a poet had tried in vain to make me believe! the jealousy of
engravings, of pictures, of statues, wherein artists exaggerate human
beauty, as a result of the doctrine which leads them to idealize
everything.
"It is a portrait," I replied. "It is a product of Vien's genius. But
that great painter never saw the original, and your admiration will be
modified somewhat perhaps, when I tell you that this study was made
from a statue of a woman."
"But who is it?"
I hesitated.
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Man against the Sky by Edwin Arlington Robinson: Ethereal, and he heard no more men speaking;
He saw their shaken heads, but no long sight
Was his but for the end that he went seeking.
The end he sought was not the end; the crown
He won shall unto many still be given.
Moreover, there was reason here to frown:
No fury thundered, no flame fell from heaven.
Another Dark Lady
Think not, because I wonder where you fled,
That I would lift a pin to see you there;
You may, for me, be prowling anywhere,
|
The third excerpt represents the future or something you must embrace, and is drawn from The Case of the Registered Letter by Grace Isabel Colbron and Augusta Groner: garden amid groups of beautiful old trees. When he sent up his card
to Miss Graumann, the old lady tripped down stairs in a flutter of
excitement.
"Did you see him?" she asked. "You have been to the prison? What
do you think? How does he seem?"
"He seems calm to-day," replied Muller, "although the confinement
and the anxiety are evidently wearing on him."
"And you heard his story? And you believe him innocent?"
"I am inclined to do so. But there is more yet for me to investigate
in this matter. It is certainly not as simple as the police here
seem to believe. May I speak to your ward, Miss Roemer? She is at
|
