| The first excerpt represents the past or something you must release, and is drawn from Egmont by Johann Wolfgang Von Goethe: Mother. Alas! I was too indulgent; I am always too indulgent.
Clara. When Egmont rode by, and I ran to the window, did you chide me
then? Did you not come to the window yourself? When he looked up,
smiled, nodded, and greeted me, was it displeasing to you? Did you not
feel yourself honoured in your daughter?
Mother. Go on with your reproaches.
Clara (with emotion). Then, when he passed more frequently, and we felt
sure that it was on my account that he came this way, did you not remark
it yourself with secret joy? Did you call me away when I stood behind the
window-pane and awaited him?
Mother. Could I imagine that it would go so far?
Egmont |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from An Ideal Husband by Oscar Wilde: it, and for that I love you, Robert.
SIR ROBERT CHILTERN. Oh, love me always, Gertrude, love me always!
LADY CHILTERN. I will love you always, because you will always be
worthy of love. We needs must love the highest when we see it!
[Kisses him and rises and goes out.]
[SIR ROBERT CHILTERN walks up and down for a moment; then sits down
and buries his face in his hands. The Servant enters and begins
pulling out the lights. SIR ROBERT CHILTERN looks up.]
SIR ROBERT CHILTERN. Put out the lights, Mason, put out the lights!
[The Servant puts out the lights. The room becomes almost dark. The
only light there is comes from the great chandelier that hangs over
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The third excerpt represents the future or something you must embrace, and is drawn from The Touchstone by Edith Wharton: which he had risen.
XI
As Glennard, in the raw February sunlight, mounted the road to the
cemetery, he felt the beatitude that comes with an abrupt
cessation of physical pain. He had reached the point where self-
analysis ceases; the impulse that moved him was purely intuitive.
He did not even seek a reason for it, beyond the obvious one that
his desire to stand by Margaret Aubyn's grave was prompted by no
attempt at a sentimental reparation, but rather by the vague need
to affirm in some way the reality of the tie between them.
The ironical promiscuity of death had brought Mrs. Aubyn back to
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