|The first excerpt represents the past or something you must release, and is drawn from The Duchess of Padua by Oscar Wilde:
Is that so?
These ragged knaves who come before us here,
With mouths chock-full of treason.
Good my Lord,
Fill up our mouths with bread; we'll hold our tongues.
Ye shall hold your tongues, whether you starve or not.
My lords, this age is so familiar grown,
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from Intentions by Oscar Wilde:
to get a thoroughly good blue. The fine Chinese blue, which we all
so much admire, takes two years to dye, and the English public will
not wait so long for a colour. Peacock blue, of course, has been
employed on the stage, notably at the Lyceum, with great advantage;
but all attempts at a good light blue, or good dark blue, which I
have seen have been failures. The value of black is hardly
appreciated; it was used effectively by Mr. Irving in HAMLET as the
central note of a composition, but as a tone-giving neutral its
importance is not recognised. And this is curious, considering the
general colour of the dress of a century in which, as Baudelaire
says, 'Nous celebrons tous quelque enterrement.' The archaeologist
|The third excerpt represents the future or something you must embrace, and is drawn from Tom Grogan by F. Hopkinson Smith:
could only help me! He wanted such great things for Jennie. It
ud be easier if he hadn't saved Patsy. Don't speak to me ag'in
about it, father dear; it hurts me."
The old man rose from his chair and walked slowly into the house.
All his talks with his daughter ended in this way. It was always
what Tom would have thought. Why should a poor crazy cripple like
her husband, shut up in an asylum, make trouble for Jennie?
When the light faded and the trees grew indistinct in the gloom,
Tom still sat where Pop had left her. Soon the shadows fell in
the little valley, and the hill beyond the cedars lost itself in
the deepening haze that now crept in from the tranquil sea.