| The first excerpt represents the past or something you must release, and is drawn from The School For Scandal by Richard Brinsley Sheridan: Raillery is suppressed will ever appear tedious and insipid--
MARIA. Well I'll not debate how far Scandal may be allowable--
but in a man I am sure it is always contemtable.--We have Pride,
envy, Rivalship, and a Thousand motives to depreciate each other--
but the male-slanderer must have the cowardice of a woman before
He can traduce one.
LADY SNEERWELL. I wish my Cousin Verjuice hadn't left us--she
should embrace you.
SURFACE. Ah! she's an old maid and is privileged of course.
Enter SERVANT
Madam Mrs. Candour is below and if your Ladyship's at leisure will
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Richard III by William Shakespeare: We go to use our hands and not our tongues.
GLOUCESTER. Your eyes drop millstones when fools' eyes fall
tears.
I like you, lads; about your business straight;
Go, go, dispatch.
FIRST MURDERER. We will, my noble lord. Exeunt
SCENE 4.
London. The Tower
Enter CLARENCE and KEEPER
KEEPER. Why looks your Grace so heavily to-day?
CLARENCE. O, I have pass'd a miserable night,
Richard III |
The third excerpt represents the future or something you must embrace, and is drawn from Ann Veronica by H. G. Wells: about her. She tried to think what she should do in this
eventuality or that. Her mind had been and was full of the
thought of Capes, a huge generalized Capes-lover. And in some
incomprehensible way, Ramage was confused with Capes; she had a
grotesque disposition to persuade herself that this was really
Capes who surrounded her, as it were, with wings of desire. The
fact that it was her trusted friend making illicit love to her
remained, in spite of all her effort, an insignificant thing in
her mind. The music confused and distracted her, and made her
struggle against a feeling of intoxication. Her head swam. That
was the inconvenience of it; her head was swimming. The music
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