| The first excerpt represents the past or something you must release, and is drawn from The Battle of the Books by Jonathan Swift: They never importune his grace,
Nor ever cringe to men in place;
Nor undertake a dirty job,
Nor draw the quill to write for Bob.
Fraught with invective they ne'er go
To folks at Paternoster Row:
No judges, fiddlers, dancing-masters,
No pickpockets, or poetasters
Are known to honest quadrupeds:
No single brute his fellows leads.
Brutes never meet in bloody fray,
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Circular Staircase by Mary Roberts Rinehart: shoulder, and she refused to go to bed.
"Let me stay in your dressing-room, Miss Rachel," she begged.
"If you don't, I'll sit in the hall outside the door. I'm not
going to be murdered with my eyes shut."
"If you're going to be murdered," I retorted, "it won't make any
difference whether they are shut or open. But you may stay in
the dressing-room, if you will lie on the couch: when you sleep
in a chair you snore."
She was too far gone to be indignant, but after a while she came
to the door and looked in to where I was composing myself for
sleep with Drummond's Spiritual Life.
The Circular Staircase |
The third excerpt represents the future or something you must embrace, and is drawn from The Princess by Alfred Tennyson: Brooked not, but clamouring out 'Mine--mine--not yours,
It is not yours, but mine: give me the child'
Ceased all on tremble: piteous was the cry:
So stood the unhappy mother open-mouthed,
And turned each face her way: wan was her cheek
With hollow watch, her blooming mantle torn,
Red grief and mother's hunger in her eye,
And down dead-heavy sank her curls, and half
The sacred mother's bosom, panting, burst
The laces toward her babe; but she nor cared
Nor knew it, clamouring on, till Ida heard,
|
