| The first excerpt represents the past or something you must release, and is drawn from Richard III by William Shakespeare: To her go I, a jolly thriving wooer.
Enter RATCLIFF
RATCLIFF. My lord!
KING RICHARD. Good or bad news, that thou com'st in so
bluntly?
RATCLIFF. Bad news, my lord: Morton is fled to Richmond;
And Buckingham, back'd with the hardy Welshmen,
Is in the field, and still his power increaseth.
KING RICHARD. Ely with Richmond troubles me more near
Than Buckingham and his rash-levied strength.
Come, I have learn'd that fearful commenting
Richard III |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Around the World in 80 Days by Jules Verne: It was Passepartout who, playing his part with a happy audacity,
had passed through the crowd amid the general terror.
A moment after all four of the party had disappeared in the woods,
and the elephant was bearing them away at a rapid pace. But the cries
and noise, and a ball which whizzed through Phileas Fogg's hat,
apprised them that the trick had been discovered.
The old rajah's body, indeed, now appeared upon the burning pyre;
and the priests, recovered from their terror, perceived that an abduction
had taken place. They hastened into the forest, followed by the soldiers,
who fired a volley after the fugitives; but the latter rapidly increased
the distance between them, and ere long found themselves beyond the reach
Around the World in 80 Days |
The third excerpt represents the future or something you must embrace, and is drawn from Symposium by Plato: antiquity of love he cannot agree; love is not of the olden time, but
present and youthful ever. The speech may be compared with that speech of
Socrates in the Phaedrus in which he describes himself as talking
dithyrambs. It is at once a preparation for Socrates and a foil to him.
The rhetoric of Agathon elevates the soul to 'sunlit heights,' but at the
same time contrasts with the natural and necessary eloquence of Socrates.
Agathon contributes the distinction between love and the works of love, and
also hints incidentally that love is always of beauty, which Socrates
afterwards raises into a principle. While the consciousness of discord is
stronger in the comic poet Aristophanes, Agathon, the tragic poet, has a
deeper sense of harmony and reconciliation, and speaks of Love as the
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