| The first excerpt represents the past or something you must release, and is drawn from The Autocrat of the Breakfast-Table by Oliver Wendell Holmes: the "Metropolitan" boat-clubs, - find yourself in a tepid streak, a
narrow, local gulf-stream, a gratuitous warm-bath a little
underdone, through which your glistening shoulders soon flashed, to
bring you back to the cold realities of full-sea temperature? Just
so, in talking with any of the characters above referred to, one
not unfrequently finds a sudden change in the style of the
conversation. The lack-lustre eye rayless as a Beacon-Street door-
plate in August, all at once fills with light; the face flings
itself wide open like the church-portals when the bride and
bridegroom enter; the little man grows in stature before your eyes,
like the small prisoner with hair on end, beloved yet dreaded of
The Autocrat of the Breakfast-Table |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Sons and Lovers by D. H. Lawrence: They put out the light, and it was still.
Morel was in bed. Nurse did not come. Annie and Paul came
to look at her at about eleven. She seemed to be sleeping as usual
after her draught. Her mouth had come a bit open.
"Shall we sit up?" said Paul.
"I s'll lie with her as I always do," said Annie. "She might
wake up."
"All right. And call me if you see any difference."
"Yes."
They lingered before the bedroom fire, feeling the night big
and black and snowy outside, their two selves alone in the world.
Sons and Lovers |
The third excerpt represents the future or something you must embrace, and is drawn from The Two Noble Kinsmen by William Shakespeare: And let mine honour downe, and never charge?
PALAMON.
Yes, if he be but one.
ARCITE.
But say that one
Had rather combat me?
PALAMON.
Let that one say so,
And use thy freedome; els if thou pursuest her,
Be as that cursed man that hates his Country,
A branded villaine.
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