| The first excerpt represents the past or something you must release, and is drawn from The Children of the Night by Edwin Arlington Robinson: Or weaker, perhaps my scorn had saved me,
Given me strength to crush my sorrow
With hate for her and the world that praised her --
To have left her, then and there -- to have conquered
That old false life with a new and a wiser, --
Such things are easy in words. You listen,
And frown, I suppose, that I never mention
That beautiful word, FORGIVE! -- I forgave her
First of all; and I praised kind Heaven
That I was a brave, clean man to do it;
And then I tried to forget. Forgiveness!
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Marie by H. Rider Haggard: a nephew again. Oh! I thought I smelt him! Your nephew has betrayed us
to these Zulus that he may bring Allan to his death. Ask them, Allan,
what this Dingaan has done with the stinkcat."
So I asked, and was informed they believed that the king had let Pereira
go on to his own people in payment of the information that he had given
him.
"My God!" said the vrouw, "I hoped that he had knocked him on the head.
Well, what is to be done now?"
"I don't know," I answered. Then an idea occurred to me, and I said to
Kambula:
"It seems to be me, the son of George, that your king wants. Take me,
Marie |
The third excerpt represents the future or something you must embrace, and is drawn from Under the Andes by Rex Stout: Incas ever at our heels. Without Desiree we would have made our
goal with little difficulty, but half of the time we had to carry
her.
Several times Harry hurled her bodily across a chasm or a
crevice, while I received her on the other side.
Often I covered the retreat, holding the Incas at bay while
Harry assisted Desiree up the steep face of a boulder or across a
narrow ledge. There was less danger now from their spears,
protected as we were by the maze of rocks, but I was already
bleeding in a dozen places on my legs and arms and body, and Harry
was in no better case.
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