| The first excerpt represents the past or something you must release, and is drawn from Salome by Oscar Wilde: horrible, il est horrible ton corps! . . . C'est de tes cheveux que
je suis amoureuse, Iokanaan. Tes cheveux ressemblent e des grappes
de raisins, e des grappes de raisins noirs qui pendent des vignes
d'Edom dans le pays des Edomites. Tes cheveux sont comme les cedres
du Liban, comme les grands cedres du Liban qui donnent de l'ombre
aux lions et aux voleurs qui veulent se cacher pendant la journee.
Les longues nuits noires, les nuits ou la lune ne se montre pas, ou
les etoiles ont peur, ne sont pas aussi noires. Le silence qui
demeure dans les forets n'est pas aussi noir. Il n'y a rien au
monde d'aussi noir que tes cheveux . . . Laisse-moi toucher tes
cheveux.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Grimm's Fairy Tales by Brothers Grimm: and passed on.
At last she came to Mother Holle's house, and as she had heard all
about the large teeth from her sister, she was not afraid of them, and
engaged herself without delay to the old woman.
The first day she was very obedient and industrious, and exerted
herself to please Mother Holle, for she thought of the gold she should
get in return. The next day, however, she began to dawdle over her
work, and the third day she was more idle still; then she began to lie
in bed in the mornings and refused to get up. Worse still, she
neglected to make the old woman's bed properly, and forgot to shake it
so that the feathers might fly about. So Mother Holle very soon got
Grimm's Fairy Tales |
The third excerpt represents the future or something you must embrace, and is drawn from The Turn of the Screw by Henry James: But an extraordinary impression dropped on me as I
extracted a meaning from the boy's embarrassed back--
none other than the impression that I was not barred now.
This inference grew in a few minutes to sharp intensity
and seemed bound up with the direct perception that it was
positively HE who was. The frames and squares of the great
window were a kind of image, for him, of a kind of failure.
I felt that I saw him, at any rate, shut in or shut out.
He was admirable, but not comfortable: I took it in with a
throb of hope. Wasn't he looking, through the haunted pane,
for something he couldn't see?--and wasn't it the first time
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