|The first excerpt represents the past or something you must release, and is drawn from Mrs. Warren's Profession by George Bernard Shaw:
FRANK. I give him due credit for that. [Rising and flinging
down his paper] But just imagine his telling Crofts to bring the
Warrens over here! He must have been ever so drunk. You know,
my dear Praddy, my mother wouldnt stand Mrs Warren for a moment.
Vivie mustnt come here until she's gone back to town.
PRAED. But your mother doesnt know anything about Mrs Warren,
does she? [He picks up the paper and sits down to read it].
FRANK. I dont know. Her journey to town looks as if she did.
Not that my mother would mind in the ordinary way: she has stuck
like a brick to lots of women who had got into trouble. But they
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from Prince Otto by Robert Louis Stevenson:
Meanwhile, with his usual ponderous grace, he bent before the lady.
'I propose,' she said in a strange voice, not known to her till
then, 'that we release the Prince and do not prosecute the war.'
'Ah, madam,' he replied, ' 'tis as I knew it would be! Your heart,
I knew, would wound you when we came to this distasteful but most
necessary step. Ah, madam, believe me, I am not unworthy to be your
ally; I know you have qualities to which I am a stranger, and count
them the best weapons in the armoury of our alliance:- the girl in
the queen - pity, love, tenderness, laughter; the smile that can
reward. I can only command; I am the frowner. But you! And you
have the fortitude to command these comely weaknesses, to tread them
|The third excerpt represents the future or something you must embrace, and is drawn from The Jolly Corner by Henry James:
had heard behind him the click of his great house-door, began for
him, on the jolly corner, as beguilingly as the slow opening bars
of some rich music follows the tap of the conductor's wand.
He always caught the first effect of the steel point of his stick
on the old marble of the hall pavement, large black-and-white
squares that he remembered as the admiration of his childhood and
that had then made in him, as he now saw, for the growth of an
early conception of style. This effect was the dim reverberating
tinkle as of some far-off bell hung who should say where? - in the
depths of the house, of the past, of that mystical other world that
might have flourished for him had he not, for weal or woe,