|The first excerpt represents the past or something you must release, and is drawn from The Lamentable Tragedy of Locrine and Mucedorus by William Shakespeare:
breakfast with a woodcoke pie.
Go, sir, you were best leave this knavery.
Come on, my Lords, let's now to court,
Where we may finish up the joyfullest day
That ever hapt to a distressed King.
Were but thy Father, the Valencia Lord,
Present in view of this combining knot.
[A shout within. Enter a Messenger.]
What shout was that?
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from Chance by Joseph Conrad:
get terrified. She had pushed her face so near mine and her teeth
looked as though she wanted to bite me. Her eyes seemed to have
become quite dry, hard and small in a lot of horrible wrinkles. I
was too afraid of her to shudder, too afraid of her to put my
fingers to my ears. I didn't know what I expected her to call me
next, but when she told me I was no better than a beggar--that there
would be no more masters, no more servants, no more horses for me--I
said to myself: Is that all? I should have laughed if I hadn't
been too afraid of her to make the least little sound."
It seemed that poor Flora had to know all the possible phases of
that sort of anguish, beginning with instinctive panic, through the
|The third excerpt represents the future or something you must embrace, and is drawn from Wyoming by William MacLeod Raine:
"Forty-three, sure as shootin', except twict a week when it comes
to Slauson's, and that's only twenty miles," he assured her.
"Used to be seventy-two, but the Government got busy with its
rural free delivery, and now we get it right at our doors."
"You must have big doors," she laughed.
"All out o' doors," he punned. "Y'u see, our house is under our
hat, and like as not that's twenty miles from the ranchhouse when
"Dear me!" She swept his graceful figure sarcastically. "And, of
course, twenty miles from a brush, too."