| The first excerpt represents the past or something you must release, and is drawn from Dream Life and Real Life by Olive Schreiner: woman, if you tell it him plainly."
"If I speak to him I must speak openly. He is my friend. I cannot fence
with him. I have never fenced with him in my own affairs." She moved as
though she were going away from the fireplace, then she turned and said:
"Have you thought of what love is between a man and a woman when it means
marriage? That long, long life together, day after day, stripped of all
romance and distance, living face to face: seeing each other as a man sees
his own soul? Do you realize that the end of marriage is to make the man
and woman stronger than they were; and that if you cannot, when you are an
old man and woman and sit by the fire, say, 'Life has been a braver and a
freer thing for us, because we passed it hand in hand, than if we had
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Taming of the Shrew by William Shakespeare: And well we may come there by dinner-time.
KATHERINA.
I dare assure you, sir, 'tis almost two,
And 'twill be supper-time ere you come there.
PETRUCHIO.
It shall be seven ere I go to horse.
Look what I speak, or do, or think to do,
You are still crossing it. Sirs, let 't alone:
I will not go to-day; and ere I do,
It shall be what o'clock I say it is.
HORTENSIO.
The Taming of the Shrew |
The third excerpt represents the future or something you must embrace, and is drawn from The Jolly Corner by Henry James: first, as he was well aware, quite on the brain: the strange
apparition, at the far end of one of them, of his baffled "prey"
(which had become by so sharp an irony so little the term now to
apply!) was the form of success his imagination had most cherished,
projecting into it always a refinement of beauty. He had known
fifty times the start of perception that had afterwards dropped;
had fifty times gasped to himself. "There!" under some fond brief
hallucination. The house, as the case stood, admirably lent
itself; he might wonder at the taste, the native architecture of
the particular time, which could rejoice so in the multiplication
of doors - the opposite extreme to the modern, the actual almost
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