| The first excerpt represents the past or something you must release, and is drawn from Frances Waldeaux by Rebecca Davis: "It is the ancestral seat of the Dukes of Argyll."
"Oh!" Lucy gave a little sigh. Prince Hugo was
undeniably fat and very slow to catch a joke, but there
was certainly a different flavor in this talk of dukes
and ancestral seats to the gossip about the Whites and
Greens at home.
Indeed, the whole party, including even Mr. Perry,
experienced a sensation of sudden vacancy and
flatness when his Highness left them. It was as though
they had been sheltering a royal eagle that was used to
dwelling in sunlit heights unknown to them, and now they
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Black Tulip by Alexandre Dumas: all safe, took up his quarters at a good hotel in the town,
and there he waited.
Chapter 25
The President van Systens
Rosa, on leaving Cornelius, had fixed on her plan, which was
no other than to restore to Cornelius the stolen tulip, or
never to see him again.
She had seen the despair of the prisoner, and she knew that
it was derived from a double source, and that it was
incurable.
On the one hand, separation became inevitable, -- Gryphus
The Black Tulip |
The third excerpt represents the future or something you must embrace, and is drawn from The Picture of Dorian Gray by Oscar Wilde: The highest as the lowest form of criticism is a mode of autobiography.
Those who find ugly meanings in beautiful things are corrupt without
being charming. This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated.
For these there is hope. They are the elect to whom beautiful things
mean only beauty.
There is no such thing as a moral or an immoral book.
Books are well written, or badly written. That is all.
The nineteenth century dislike of realism is the rage of Caliban
seeing his own face in a glass.
The nineteenth century dislike of romanticism is the rage of
The Picture of Dorian Gray |
