| The first excerpt represents the past or something you must release, and is drawn from Heroes by Charles Kingsley: made the forecourt of the temple of Hephaistos in Memphis,
and a statue of himself within it, and many another wondrous
work. And for Minos he made statues which spoke and moved,
and the temple of Britomartis, and the dancing-hall of
Ariadne, which he carved of fair white stone. And in
Sardinia he worked for I”laos, and in many a land beside,
wandering up and down for ever with his cunning, unlovely and
accursed by men.
But Theseus stood before Minos, and they looked each other in
the face. And Minos bade take them to prison, and cast them
to the monster one by one, that the death of Androgeos might
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Return of the Native by Thomas Hardy: The pole lay with one end supported on a trestle, and women
were engaged in wreathing it from the top downwards with
wild-flowers. The instincts of merry England lingered on
here with exceptional vitality, and the symbolic customs
which tradition has attached to each season of the year
were yet a reality on Egdon. Indeed, the impulses of all
such outlandish hamlets are pagan still--in these spots
homage to nature, self-adoration, frantic gaieties,
fragments of Teutonic rites to divinities whose names
are forgotten, seem in some way or other to have survived
mediaeval doctrine.
Return of the Native |
The third excerpt represents the future or something you must embrace, and is drawn from The Taming of the Shrew by William Shakespeare: BIANCA.
Now let me see if I can construe it: 'Hic ibat Simois,' I
know you not; 'hic est Sigeia tellus,' I trust you not; 'Hic
steterat Priami,' take heed he hear us not; 'regia,' presume not;
'celsa senis,' despair not.
HORTENSIO.
Madam, 'tis now in tune.
LUCENTIO.
All but the base.
HORTENSIO.
The base is right; 'tis the base knave that jars.
The Taming of the Shrew |
