| The first excerpt represents the past or something you must release, and is drawn from Life in the Iron-Mills by Rebecca Davis: mouth just then was bitterer than death. She took his passive
hand and kissed it.
"Hur'll never see Deb again!" she ventured, her lips growing
colder and more bloodless.
What did she say that for? Did he not know it? Yet he would
not be impatient with poor old Deb. She had trouble of her own,
as well as he.
"No, never again," he said, trying to be cheerful.
She stood just a moment, looking at him. Do you laugh at her,
standing there, with her hunchback, her rags, her bleared,
withered face, and the great despised love tugging at her heart?
Life in the Iron-Mills |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from All's Well That Ends Well by William Shakespeare: When I should take possession of the bride,
End ere I do begin.
LAFEU.
A good traveller is something at the latter end of a dinner;
but one that lies three-thirds and uses a known truth to pass a
thousand nothings with, should be once heard and thrice beaten.--
God save you, Captain.
BERTRAM.
Is there any unkindness between my lord and you, monsieur?
PAROLLES.
I know not how I have deserved to run into my lord's displeasure.
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The third excerpt represents the future or something you must embrace, and is drawn from Salome by Oscar Wilde: LE JEUNE SYRIEN [faisant un signe au troisieme soldat] Faites sortir
le prophete . . . La princesse Salome veut le voir.
SALOME. Ah!
LE PAGE D'HERODIAS. Oh! comme la lune a l'air etrange! On dirait
la main d'une morte qui cherche e se couvrir avec un linceul.
LE JEUNE SYRIEN. Elle a l'air tres etrange. On dirait une petite
princesse qui a des yeux d'ambre. A travers les nuages de
mousseline elle sourit comme une petite princesse.
[Le prophete sort de la citerne. Salome le regarde et recule.]
IOKANAAN. Ou est celui dont la coupe d'abominations est deje
pleine? Ou est celui qui en robe d'argent mourra un jour devant
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