The first excerpt represents the past or something you must release, and is drawn from Enoch Arden, &c. by Alfred Tennyson: Tall and erect, but bending from his height
With half-allowing smiles for all the world,
And mighty courteous in the main--his pride
Lay deeper than to wear it as his ring--
He, like an Aylmer in his Aylmerism,
Would care no more for Leolin's walking with her
Than for his old Newfoundland's, when they ran
To loose him at the stables, for he rose
Twofooted at the limit of his chain,
Roaring to make a third: and how should Love,
Whom the cross-lightnings of four chance-met eyes
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Human Drift by Jack London: FITZSIMMONS. For you.
MAUD. For me?
FITZSIMMONS. You are not Harry Jones. And not only are you an
impostor, but you are a thief.
MAUD. [Indignantly.] How dare you?
FITZSIMMONS. You have stolen my cigarette case.
MAUD. [Remembering and taken aback, pulls out cigarette case.]
Here it is.
FITZSIMMONS. Too late. It won't save you. This club must be
kept respectable. Thieves cannot be tolerated.
MAUD. [Growing alarm.] But you won't have me arrested?
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The third excerpt represents the future or something you must embrace, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw: instance the hackneyed historic example of the austerity of the
Commonwealth being followed by the licence of the Restoration.
You cannot persuade any moral enthusiast to accept this as a pure
oscillation from action to reaction. If he is a Puritan he looks
upon the Restoration as a national disaster: if he is an artist
he regards it as the salvation of the country from gloom, devil
worship and starvation of the affections. The Puritan is ready to
try the Commonwealth again with a few modern improvements: the
Amateur is equally ready to try the Restoration with modern
enlightenments. And so for the present we must be content to
proceed by reactions, hoping that each will establish some
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