| The first excerpt represents the past or something you must release, and is drawn from Dawn O'Hara, The Girl Who Laughed by Edna Ferber: steady oneself by, and because I needed them most just
then, and because I longed with my whole soul to place
both my weary hands in those strong capable ones and to
bring those dear, cool, sane fingers up to my burning
cheeks, I put one foot on the first stair and held out
two chilly fingertips. "Good-night, Herr Doktor," I
said, "and thank you, not only for myself, but for her.
I have felt what she feels to-night. It is not a
pleasant thing to be ashamed of one's husband."
Von Gerhard's two hands closed over that one of mine.
"Dawn, you will let me help you to find comfortable
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Shadow Line by Joseph Conrad: he was a priceless man altogether. Soul as firm
as the muscles of his body.
He was the only man on board (except me, but I
had to preserve my liberty of movement) who had
a sufficiency of muscular strength to trust to. For
a moment I thought I had better ask him to take
the wheel. But the dreadful knowledge of the
enemy he had to carry about him made me hesi-
tate. In my ignorance of physiology it occurred
to me that he might die suddenly, from excitement,
at a critical moment.
The Shadow Line |
The third excerpt represents the future or something you must embrace, and is drawn from Beyond Good and Evil by Friedrich Nietzsche: case something which must be surmounted. The surmounting of
morality, in a certain sense even the self-mounting of morality--
let that be the name for the long-secret labour which has been
reserved for the most refined, the most upright, and also the
most wicked consciences of today, as the living touchstones of
the soul.
33. It cannot be helped: the sentiment of surrender, of sacrifice
for one's neighbour, and all self-renunciation-morality, must be
mercilessly called to account, and brought to judgment; just as
the aesthetics of "disinterested contemplation," under which the
emasculation of art nowadays seeks insidiously enough to create
Beyond Good and Evil |
