|The first excerpt represents the past or something you must release, and is drawn from Mother by Owen Wister:
murmured to herself.
Richard continued. "It concerns the circumstances under which I became
engaged to my wife."
There was a movement from Ethel as she sat by the sofa.
"Not all the circumstances, of course," the narrator continued, with a
certain guarded candour in his tone. "There are certain circumstances
which naturally attend every engagement between happy and--and devoted--
young people that they keep to themselves quite carefully, in spite of
the fact that any one who has been through the experience of being
engaged two or three times--"
There was another movement from Ethel by the sofa.
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from Egmont by Johann Wolfgang Von Goethe:
misapprehended and perplexed, when the crowd esteem him light-hearted
and gay; beloved by a people who do not know their own minds; honoured
and extolled by the intractable multitude; surrounded by friends in whom
he dares not confide; observed by men who are on the watch to supplant
him; toiling and striving, often without an object, generally without a
reward. O let me conceal how it fares with him, let me not speak of his
feelings! But this Egmont, Clara, is calm, unreserved, happy, beloved and
known by the best of hearts, which is also thoroughly known to him, and
which he presses to his own with unbounded confidence and love. (He
embraces her.) This is thy Egmont.
Clara. So let me die! The world has no joy after this!
|The third excerpt represents the future or something you must embrace, and is drawn from The Hidden Masterpiece by Honore de Balzac:
with the jealous frenzy of a true lover.
"Gillette!" he cried; "let us go."
At this cry, with its accent of love, his mistress raised her eyes
joyfully and looked at him; then she ran into his arms.
"Ah! you love me still?" she whispered, bursting into tears.
Though she had had strength to hide her suffering, she had none to
hide her joy.
"Let me have her for one moment," exclaimed the old master, "and you
shall compare her with my Catherine. Yes, yes; I consent!"
There was love in the cry of Frenhofer as in that of Poussin, mingled
with jealous coquetry on behalf of his semblance of a woman; he seemed