|The first excerpt represents the past or something you must release, and is drawn from The Pool in the Desert by Sara Jeanette Duncan:
when I could no longer listen to Dora Harris's theories to account
for him, wild idealizations as most of them were of any man's
circumstances and intentions. 'Why don't you ask him point-blank?'
I said, and she replied, frowning slightly, 'Oh, I couldn't do that.
It would destroy something--I don't know what, but something
valuable--between us.' This struck me as an exaggeration,
considering how far, by that time, they must have progressed towards
intimacy, and my mouth was opened. She heard me without the
exclamations I expected, her head bent over the pencil she was
sharpening, and her silence continued after I had finished. The
touch of comedy I gave the whole thing--surely I was justified in
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Taming of the Shrew by William Shakespeare:
Are you content to stay?
I am content you shall entreat me stay;
But yet not stay, entreat me how you can.
Now, if you love me, stay.
Grumio, my horse!
Ay, sir, they be ready; the oats have eaten the horses.
The Taming of the Shrew
|The third excerpt represents the future or something you must embrace, and is drawn from The Professor by Charlotte Bronte:
relations, my soul rebelled. sometimes almost ungovernably,
against living in the house and discharging the service of such a
man; but who is free from the constraint of circumstances? At
that time, I was not: I used to rise each morning eager to shake
off his yoke, and go out with my portmanteau under my arm, if a
beggar, at least a freeman; and in the evening, when I came back
from the pensionnat de demoiselles, a certain pleasant voice in
my ear; a certain face, so intelligent, yet so docile, so
reflective, yet so soft, in my eyes; a certain cast of character,
at once proud and pliant, sensitive and sagacious, serious and
ardent, in my head; a certain tone of feeling, fervid and modest,