| The first excerpt represents the past or something you must release, and is drawn from The Passionate Pilgrim by William Shakespeare: Although I know my years be past the best,
I smiling credit her false-speaking tongue,
Outfacing faults in love with love's ill rest.
But wherefore says my love that she is young?
And wherefore say not I that I am old?
O, love's best habit is a soothing tongue,
And age, in love, loves not to have years told.
Therefore, I'll lie with love, and love with me,
Since that our faults in love thus smother'd be.
II.
Two loves I have, of comfort and despair,
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Touchstone by Edith Wharton: indifference stealing through his veins? He tried to brace
himself with the remembrance of his wife's scorn. He had not
forgotten the note on which their conversation had closed. If he
had ever wondered how she would receive the truth he wondered no
longer--she would despise him. But this lent a new insidiousness
to his temptation, since her contempt would be a refuge from his
own. He said to himself that, since he no longer cared for the
consequences, he could at least acquit himself of speaking in
self-defence. What he wanted now was not immunity but
castigation: his wife's indignation might still reconcile him to
himself. Therein lay his one hope of regeneration; her scorn was
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The third excerpt represents the future or something you must embrace, and is drawn from Tom Grogan by F. Hopkinson Smith: songs with certain tender allusions to their present frame of mind
and their future state of happiness. "Where was Moses when the
light went out!" and "Little Annie Rooney" had undergone so subtle
a change when sung at the top of Mr. James Finnegan's voice that
while the original warp and woof of those very popular melodies
were entirely unrecognizable to any but the persons interested, to
them they were as gall and wormwood. This was Cully's invariable
way of expressing his opinions on current affairs. He would sit
on the front-board of his cart,--the Big Gray stumbling over the
stones as he walked, the reins lying loose,--and fill the air with
details of events passing in the village, with all the gusto of a
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