| The first excerpt represents the past or something you must release, and is drawn from Cromwell by William Shakespeare: Stands with your liking, I'll wait on you.
GOVERNOUR.
I am glad that all things do accord so well:
Come, Master Bowser, let us in to dinner:
And, Mistress Banister, be merry, woman!
Come, after sorrow now let's cheer your spirit;
Knaves have their due, and you but what you merit.
[Exit omnes.]
ACT III. SCENE I. The principal bridge at Florence.
[Enter Cromwell and Hodge in their shirts, and
without Hats.]
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Little Britain by Washington Irving: moonlight nights; and are supposed to be the shades of the
ancient proprietors in their court-dresses.
Little Britain has likewise its sages and great men. One of
the most important of the former is a tall, dry old gentleman, of
the name of Skryme, who keeps a small apothecary's shop. He
has a cadaverous countenance, full of cavities and projections;
with a brown circle round each eye, like a pair of horned
spectacles. He is much thought of by the old women, who
consider him a kind of conjurer, because he has two of three
stuffed alligators hanging up in his shop, and several snakes in
bottles. He is a great reader of almanacs and newspapers, and
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The third excerpt represents the future or something you must embrace, and is drawn from Tales of the Klondyke by Jack London: this. Hitchcock was strong, and his strength had been impressed
upon them in the course of many an event in their precarious life.
So they stood in a certain definite awe and curiosity as to what
his conduct would be when he moved to action.
But his silence was long, and the fire nigh out, when Wertz
stretched his arms and yawned, and thought he'd go to bed. Then
Hitchcock stood up his full height.
"May God damn your souls to the deepest hells, you chicken-hearted
cowards! I'm done with you!" He said it calmly enough, but his
strength spoke in every syllable, and every intonation was
advertisement of intention. "Come on," he continued, "whack up,
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