| The first excerpt represents the past or something you must release, and is drawn from All's Well That Ends Well by William Shakespeare: If thou engrossest all the griefs are thine,
Thou robb'st me of a moiety. He was my son:
But I do wash his name out of my blood,
And thou art all my child.--Towards Florence is he?
FIRST GENTLEMAN.
Ay, madam.
COUNTESS.
And to be a soldier?
FIRST GENTLEMAN.
Such is his noble purpose: and, believe 't,
The duke will lay upon him all the honour
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Charmides and Other Poems by Oscar Wilde: Some unfrequented height, and coming down
The autumn forests treacherously slew
What Sparta held most dear and was the crown
Of far Eurotas, and passed on, nor knew
How God had staked an evil net for him
In the small bay at Salamis, - and yet, the page grows dim,
Its cadenced Greek delights me not, I feel
With such a goodly time too out of tune
To love it much: for like the Dial's wheel
That from its blinded darkness strikes the noon
Yet never sees the sun, so do my eyes
|
The third excerpt represents the future or something you must embrace, and is drawn from Beyond Good and Evil by Friedrich Nietzsche: veritable, actual negation of life--there is, as is generally
acknowledged nowadays, no better soporific and sedative than
skepticism, the mild, pleasing, lulling poppy of skepticism; and
Hamlet himself is now prescribed by the doctors of the day as an
antidote to the "spirit," and its underground noises. "Are not
our ears already full of bad sounds?" say the skeptics, as lovers
of repose, and almost as a kind of safety police; "this
subterranean Nay is terrible! Be still, ye pessimistic moles!"
The skeptic, in effect, that delicate creature, is far too easily
frightened; his conscience is schooled so as to start at every
Nay, and even at that sharp, decided Yea, and feels something
Beyond Good and Evil |
