| The first excerpt represents the past or something you must release, and is drawn from The School For Scandal by Richard Brinsley Sheridan: no bearing your Temper.
SIR PETER. No--no--my dear--the fault's in your own temper.
LADY TEAZLE. Aye you are just what my Cousin Sophy said you
would be--
SIR PETER. Your Cousin Sophy--is a forward impertinent Gipsey--
LADY TEAZLE. Go you great Bear--how dare you abuse my Relations--
SIR PETER. Now may all the Plagues of marriage be doubled on me,
if ever I try to be Friends with you any more----
LADY TEAZLE. So much the Better.
SIR PETER. No--no Madam 'tis evident you never cared a pin for me--
I was a madman to marry you--
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Phoenix and the Turtle by William Shakespeare: Lest the requiem lack his right.
And thou, treble-dated crow,
That thy sable gender mak'st
With the breath thou giv'st and tak'st,
'Mongst our mourners shalt thou go.
Here the anthem doth commence:
Love and constancy is dead;
Phoenix and the turtle fled
In a mutual flame from hence.
So they lov'd, as love in twain
Had the essence but in one;
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The third excerpt represents the future or something you must embrace, and is drawn from Tono Bungay by H. G. Wells: immensely disproportionate developments of the hotel-frequenting
and restaurant-using population during the last twenty years.
It is not only, I think, that there are crowds of people who,
like we were, are in the economically ascendant phase, but whole
masses of the prosperous section of the population must be
altering its habits, giving up high-tea for dinner and taking to
evening dress, using the week-end hotels as a practise-ground
for these new social arts. A swift and systematic conversion to
gentility has been going on, I am convinced, throughout the whole
commercial upper-middle class since I was twenty-one. Curiously
mixed was the personal quality of the people one saw in these
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