| The first excerpt represents the past or something you must release, and is drawn from The Taming of the Shrew by William Shakespeare: It may not be.
GREMIO.
Let me entreat you.
PETRUCHIO.
It cannot be.
KATHERINA.
Let me entreat you.
PETRUCHIO.
I am content.
KATHERINA.
Are you content to stay?
The Taming of the Shrew |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Madame Firmiani by Honore de Balzac: were stamping on the pavement of the silent courtyard, while the
coachman was asleep on his box after cursing for the hundredth time
his tardy customer.
The next morning about eight o'clock the old gentleman mounted the
stairs of a house in the rue de l'Observance where Octave de Camps was
living. If there was ever an astonished man it was the young professor
when he beheld his uncle. The door was unlocked, his lamp still
burning; he had been sitting up all night.
"You rascal!" said Monsieur de Bourbonne, sitting down in the nearest
chair; "since when is it the fashion to laugh at uncles who have
twenty-six thousand francs a year from solid acres to which we are the
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The third excerpt represents the future or something you must embrace, and is drawn from Dark Lady of the Sonnets by George Bernard Shaw: deceased husband's brother.
Here, too, Shakespear betrays for once his religious sense by making
Hamlet, in his agony of shame, declare that his mother's conduct makes
"sweet religion a rhapsody of words." But for that passage we might
almost suppose that the feeling of Sunday morning in the country which
Orlando describes so perfectly in As You Like It was the beginning and
end of Shakespear's notion of religion. I say almost, because
Isabella in Measure for Measure has religious charm, in spite of the
conventional theatrical assumption that female religion means an
inhumanly ferocious chastity. But for the most part Shakespear
differentiates his heroes from his villains much more by what they do
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