| The first excerpt represents the past or something you must release, and is drawn from The Iliad by Homer: weight of the spear that was dragging from his wound. They were
in such haste and stress as they bore him that no one thought of
drawing the spear from his thigh so as to let him walk uprightly.
Meanwhile the Achaeans carried off the body of Tlepolemus,
whereon Ulysses was moved to pity, and panted for the fray as he
beheld them. He doubted whether to pursue the son of Jove, or to
make slaughter of the Lycian rank and file; it was not decreed,
however, that he should slay the son of Jove; Minerva, therefore,
turned him against the main body of the Lycians. He killed
Coeranus, Alastor, Chromius, Alcandrus, Halius, Noemon, and
Prytanis, and would have slain yet more, had not great Hector
 The Iliad |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Richard III by William Shakespeare: KING EDWARD. Dorset, embrace him; Hastings, love Lord
Marquis.
DORSET. This interchange of love, I here protest,
Upon my part shall be inviolable.
HASTINGS. And so swear I. [They embrace]
KING EDWARD. Now, princely Buckingham, seal thou this
league
With thy embracements to my wife's allies,
And make me happy in your unity.
BUCKINGHAM. [To the QUEEN] Whenever Buckingham
doth turn his hate
 Richard III |
The third excerpt represents the future or something you must embrace, and is drawn from Under the Andes by Rex Stout: hours.
In the mean time the great Le Mire kept herself secluded in
her hotel. She had appeared but once in the public dining-room,
and on that occasion had nearly caused a riot, whereupon she had
discreetly withdrawn. She remained unseen while the town shouted
itself hoarse.
I had not mentioned her name to Harry, nor had I heard him
speak of her, until one evening about two weeks after my return.
We were at dinner and had been discussing some commonplace
subject, from which, by one of the freaks of association, the
conversation veered and touched on classical dancing.
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