| The first excerpt represents the past or something you must release, and is drawn from Edingburgh Picturesque Notes by Robert Louis Stevenson: lantern on dark nights. Gigantic females, 'stentoriously
laughing and gaping with tehees of laughter' at
unseasonable hours of night and morning, haunted the
purlieus of his abode. His house fell under such a load
of infamy that no one dared to sleep in it, until
municipal improvement levelled the structure to the
ground. And my father has often been told in the nursery
how the devil's coach, drawn by six coal-black horses
with fiery eyes, would drive at night into the West Bow,
and belated people might see the dead Major through the
glasses.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from End of the Tether by Joseph Conrad: bridge-ladder his knees knocked together a little. The
waiting part was the worst of it. At times he would
begin to pant quickly, as though he had been running,
and then breathe largely, swelling with the intimate
sense of a mastered fate. Now and then he would hear
the shuffle of the Serang's bare feet up there: quiet, low
voices would exchange a few words, and lapse almost
at once into silence. . . .
"Tell me directly you see any land, Serang."
"Yes, Tuan. Not yet."
"No, not yet," Captain Whalley would agree.
End of the Tether |
The third excerpt represents the future or something you must embrace, and is drawn from Somebody's Little Girl by Martha Young: moving things, and of which great grown people had told her, ``No,
Bessie Bell, there is no such window in all the world.''
So in her own way she thought that maybe after awhile that the big,
big violet might drift away, away, and great grown people might say,
``No, Bessie Bell, there never was a violet in all the world like
that.''
It was the people--and all the people--of that new world that seemed
so strange to Bessie Bell.
There were children, and children in all the summer cabins on that
high mountain.
And those children did not walk in rows.
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