| The first excerpt represents the past or something you must release, and is drawn from Sons and Lovers by D. H. Lawrence: rows of trucks, and the headstocks, and the steam in the daytime,
and the lights at night. When I was a boy, I always thought
a pillar of cloud by day and a pillar of fire by night was a pit,
with its steam, and its lights, and the burning bank,--and I thought
the Lord was always at the pit-top."
As they drew near home she walked in silence, and seemed
to hang back. He pressed her fingers in his own. She flushed,
but gave no response.
"Don't you want to come home?" he asked.
"Yes, I want to come," she replied.
It did not occur to him that her position in his home would
Sons and Lovers |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Ancient Regime by Charles Kingsley: embryology--go only to justify that old and general belief of man.
If man be told that the microscope and scalpel show no difference,
in the first stage of visible existence, between him and the lower
mammals, then he has a right to answer--as he will answer--So much
the worse for the microscope and scalpel: so much the better for my
old belief, that there is beneath my birth, life, death, a
substratum of supernatural causes, imponderable, invisible,
unknowable by any physical science whatsoever. If you cannot render
me a reason how I came hither, and what I am, I must go to those who
will render me one. And if that craving be not satisfied by a
rational theory of life, it will demand satisfaction from some
|
The third excerpt represents the future or something you must embrace, and is drawn from The Elixir of Life by Honore de Balzac: "There is very little of it," his son remarked.
Though Bartolommeo could no longer speak, he could still hear and
see. When those words dropped from Don Juan, his head turned with
appalling quickness, his neck was twisted like the throat of some
marble statue which the sculptor had condemned to remain
stretched out for ever, the wide eyes had come to have a ghastly
fixity.
He was dead, and in death he lost his last and sole illusion.
He had sought a shelter in his son's heart, and it had proved to
be a sepulchre, a pit deeper than men dig for their dead. The
hair on his head had risen and stiffened with horror, his
|
