|The first excerpt represents the past or something you must release, and is drawn from The Master of Ballantrae by Robert Louis Stevenson:
could hope. Let us go back now; we can do nothing in the dark."
As we went houseward, the wind being again subsided, we were aware
of a strong pattering noise about us in the night; and when we
issued from the shelter of the trees, we found it raining smartly.
Throughout the whole of this, my lord's clearness of mind, no less
than his activity of body, had not ceased to minister to my
amazement. He set the crown upon it in the council we held on our
return. The freetraders had certainly secured the Master, though
whether dead or alive we were still left to our conjectures; the
rain would, long before day, wipe out all marks of the transaction;
by this we must profit. The Master had unexpectedly come after the
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from Myths and Myth-Makers by John Fiske:
that throughout the whole course of human history no other
works, save the best tragedies of Shakespeare, have ever been
written which for combined keenness of observation, elevation
of thought, and sublimity of style can compare with the
Homeric poems, we must admit that the argument has very great
weight indeed. Let us take, for example, the sixth and
twenty-fourth books of the Iliad. According to the theory of
Lachmann, the most eminent champion of the Wolfian hypothesis,
these are by different authors. Human speech has perhaps never
been brought so near to the limit of its capacity of
expressing deep emotion as in the scene between Priam and
Myths and Myth-Makers
|The third excerpt represents the future or something you must embrace, and is drawn from Egmont by Johann Wolfgang Von Goethe:
reason penetrate to thy heart! Dost thou deem me a coward? Dost thou
doubt that for thy sake I would peril my life? Here we are both mad, I as
well as thou. Dost thou not perceive that thy scheme is impracticable? Oh,
be calm! Thou art beside thyself.
Clara. Beside myself! Horrible. You, Brackenburg, are beside yourself.
When you hailed the hero with loud acclaim, called him your friend, your
hope, your refuge, shouted vivats as he passed;--then I stood in my corner,
half opened the window, concealed myself while I listened, and my heart
beat higher than yours who greeted him so loudly. Now it again beats
higher! In the hour of peril you conceal yourselves, deny him, and feel not,
that if he perish, you are lost.