| The first excerpt represents the past or something you must release, and is drawn from The Glimpses of the Moon by Edith Wharton: "Well, then, Susy, be reasonable. Come!"
"Reasonable--oh, reasonable!" she sobbed through laughter.
"Unreasonable, then! That's even better."
She freed herself, and drew back gently. "Nick, I swore I
wouldn't leave them; and I can't. It's not only my promise to
their mother--it's what they've been to me themselves. You
don't, know ... You can't imagine the things they've taught me.
They're awfully naughty at times, because they're so clever; but
when they're good they're the wisest people I know." She
paused, and a sudden inspiration illuminated her. "But why
shouldn't we take them with us?" she exclaimed.
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Wrong Box by Stevenson & Osbourne: muse, and dashed into 'The girl I left behind me'. He was a
great, rather than a fine, performer; he lacked the bird-like
richness; he could scarce have extracted all the honey out of
'Cherry Ripe'; he did not fear--he even ostentatiously displayed
and seemed to revel in he shrillness of the instrument; but in
fire, speed, precision, evenness, and fluency; in linked agility
of jimmy--a technical expression, by your leave, answering to
warblers on the bagpipe; and perhaps, above all, in that
inspiring side-glance of the eye, with which he followed the
effect and (as by a human appeal) eked out the insufficiency of
his performance: in these, the fellow stood without a rival.
|
The third excerpt represents the future or something you must embrace, and is drawn from The Letters of Robert Louis Stevenson by Robert Louis Stevenson: We'll walk the woods no more,
But stay beside the fire,
To weep for old desire
And things that are no more.
The woods are spoiled and hoar,
The ways are full of mire;
We'll walk the woods no more,
But stay beside the fire.
We loved, in days of yore,
Love, laughter, and the lyre.
Ah God, but death is dire,
|
