|The first excerpt represents the past or something you must release, and is drawn from The Cruise of the Jasper B. by Don Marquis:
"But I will not attempt to influence you. Elmer, are you also
afraid of inspiring a hopeless passion?"
"Mister Cleggett," said Elmer gloomily and huskily, out of one
corner of his mouth, "I ain't takin' a chance. D' youse get me?
Not a chancet. Oncet youse reformed, Mr. Cleggett, youse can't be
Cleggett returned to the vessel. Miss Pringle the elder was
leaving it. Miss Henrietta Pringle was following. Cleggett
gathered that the niece left reluctantly, and under the coercion
of the aunt.
Miss Pringle the elder was about to join the Rev. Mr. Calthrop in
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from Essays & Lectures by Oscar Wilde:
modern milliner, we hear ladies boast that they do not wear a dress
more than once. In the old days, when the dresses were decorated
with beautiful designs and worked with exquisite embroidery, ladies
rather took a pride in bringing out the garment and wearing it many
times and handing it down to their daughters - a process that
would, I think, be quite appreciated by a modern husband when
called upon to settle his wife's bills.
And how shall men dress? Men say that they do not particularly
care how they dress, and that it is little matter. I am bound to
reply that I do not think that you do. In all my journeys through
the country, the only well-dressed men that I saw - and in saying
|The third excerpt represents the future or something you must embrace, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw:
generations of the nineteenth century.
The result was inevitable. In the nineteenth century it was no
longer necessary to be a born pattern designer in sound to be a
composer. One had but to be a dramatist or a poet completely
susceptible to the dramatic and descriptive powers of sound. A
race of literary and theatrical musicians appeared; and
Meyerbeer, the first of them, made an extraordinary impression.
The frankly delirious description of his Robert the Devil in
Balzac's short story entitled Gambra, and Goethe's astonishingly
mistaken notion that he could have composed music for Faust, show
how completely the enchantments of the new dramatic music upset