| The first excerpt represents the past or something you must release, and is drawn from The Reef by Edith Wharton: I don't know why you think your going or staying can in any
way affect our relations."
"You mean that you HAVE given him up--because of me? Oh,
how could you? You can't really love him!--And yet," the
girl suddenly added, "you must, or you'd be more sorry for
me!"
"I'm very sorry for you," Anna said, feeling as if the iron
band about her heart pressed on it a little less inexorably.
"Then why won't you hear me? Why won't you try to
understand? It's all so different from what you imagine!"
"I've never judged you."
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Dawn O'Hara, The Girl Who Laughed by Edna Ferber: we will seat ourselves at one of the tables, and I will
wave my hand, and one of the stout waiters will come
flying. `Will you have coffee, _Fraulein_, or beer?' It
sounds prosaic, but it is very, very good, as you will
see. Pathways in Germany always end in coffee and Kuchen
and waiters in white aprons."
But, "Oh, no!" I exclaimed, for his mood was
infectious. "This is France. Please! The golden
pathway will end in a picturesque little French farm,
with a dairy. And in the doorway of the farmhouse there
will be a red-skirted peasant woman, with a white cap!
|
The third excerpt represents the future or something you must embrace, and is drawn from Georgics by Virgil: And far Olympus bellow back the roar.
Nor wont the champions in one stall to couch;
But he that's worsted hies him to strange climes
Far off, an exile, moaning much the shame,
The blows of that proud conqueror, then love's loss
Avenged not; with one glance toward the byre,
His ancient royalties behind him lie.
So with all heed his strength he practiseth,
And nightlong makes the hard bare stones his bed,
And feeds on prickly leaf and pointed rush,
And proves himself, and butting at a tree
Georgics |
