| The first excerpt represents the past or something you must release, and is drawn from The Taming of the Shrew by William Shakespeare: [Beats him.]
That feed'st me with the very name of meat.
Sorrow on thee and all the pack of you
That triumph thus upon my misery!
Go, get thee gone, I say.
[Enter PETRUCHIO with a dish of meat; and HORTENSIO.]
PETRUCHIO.
How fares my Kate? What, sweeting, all amort?
HORTENSIO.
Mistress, what cheer?
KATHERINA.
The Taming of the Shrew |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tarzan and the Jewels of Opar by Edgar Rice Burroughs: mighty cities and her cultivated fields and her great
commerce and culture and riches sank into the sea long
ages since, she took with her all but a handful of her
colonists working the vast gold mines of Central
Africa. From these and their degraded slaves and a
later intermixture of the blood of the anthropoids
sprung the gnarled men of Opar; but by some queer freak
of fate, aided by natural selection, the old Atlantean
strain had remained pure and undegraded in the females
descended from a single princess of the royal house of
Atlantis who had been in Opar at the time of the great
Tarzan and the Jewels of Opar |
The third excerpt represents the future or something you must embrace, and is drawn from The Redheaded Outfield by Zane Grey: that any of us ever discovered, it was a slow
curve and change of pace. But I doubted if Vane
would dare to use slow balls to Ash at that critical
moment. I had yet to learn something of Vane.
He gave Ash a slow, wide-sweeping sidewheeler,
that curved round over the plate. Ash always
took a strike, so this did not matter. Then Vane
used his deceptive change of pace, sending up a
curve that just missed Ash's bat as he swung.
``Oh! A-h-h! hit!'' wailed the bleachers.
Vane doubled up like a contortionist, and shot
The Redheaded Outfield |
