| The first excerpt represents the past or something you must release, and is drawn from Othello by William Shakespeare: Oth. Not a iot, not a iot
Iago. Trust me, I feare it has:
I hope you will consider what is spoke
Comes from your Loue.
But I do see y'are moou'd:
I am to pray you, not to straine my speech
To grosser issues, nor to larger reach,
Then to Suspition
Oth. I will not
Iago. Should you do so (my Lord)
My speech should fall into such vilde successe,
Othello |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Mistress Wilding by Rafael Sabatini: hurried away with her.
Trenchard stood staring after them a moment. "Odd!" said he; "did you
mark that girl's discomposure?"
But Wilding's thoughts were elsewhere. "Come, Nick! If I am to render
myself fit to sit at table with Monmouth, we'll need to hasten."
They went their way, but not so fast as went Diana, urging with her her
protesting and short-winded mother.
"Where is your mistress?" the girl asked excitedly of the first servant
she met at Lupton House.
"In her room, madam," the man replied, and to Ruth's room went Diana
breathlessly, leaving Lady Horton gaping after her and understanding
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The third excerpt represents the future or something you must embrace, and is drawn from Parmenides by Plato: not; or has or has not a beginning or end; or is or is not infinite, or
infinitely divisible. Or again: if God is or is not identical with his
laws; or if man is or is not identical with the laws of nature. We can
easily see that here are many subjects for thought, and that from these and
similar hypotheses questions of great interest might arise. And we also
remark, that the conclusions derived from either of the two alternative
propositions might be equally impossible and contradictory.
When we ask what is the object of these paradoxes, some have answered that
they are a mere logical puzzle, while others have seen in them an Hegelian
propaedeutic of the doctrine of Ideas. The first of these views derives
support from the manner in which Parmenides speaks of a similar method
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