| The first excerpt represents the past or something you must release, and is drawn from Gettysburg Address by Abraham Lincoln: But, in a larger sense, we cannot dedicate. . .we cannot consecrate. . .
we cannot hallow this ground. The brave men, living and dead,
who struggled here have consecrated it, far above our poor power
to add or detract. The world will little note, nor long remember,
what we say here, but it can never forget what they did here.
It is for us the living, rather, to be dedicated here to the unfinished
work which they who fought here have thus far so nobly advanced.
It is rather for us to be here dedicated to the great task remaining
before us. . .that from these honored dead we take increased devotion
to that cause for which they gave the last full measure of devotion. . .
that we here highly resolve that these dead shall not have died in vain. . .
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Pride and Prejudice by Jane Austen: of the hand, "that it is usual with young ladies to reject the
addresses of the man whom they secretly mean to accept, when
he first applies for their favour; and that sometimes the refusal is
repeated a second, or even a third time. I am therefore by no
means discouraged by what you have just said, and shall hope to
lead you to the altar ere long."
"Upon my word, sir," cried Elizabeth, "your hope is a rather
extraordinary one after my declaration. I do assure you that I
am not one of those young ladies (if such young ladies there are)
who are so daring as to risk their happiness on the chance of
being asked a second time. I am perfectly serious in my refusal.
Pride and Prejudice |
The third excerpt represents the future or something you must embrace, and is drawn from The Hidden Masterpiece by Honore de Balzac: joyfully and looked at him; then she ran into his arms.
"Ah! you love me still?" she whispered, bursting into tears.
Though she had had strength to hide her suffering, she had none to
hide her joy.
"Let me have her for one moment," exclaimed the old master, "and you
shall compare her with my Catherine. Yes, yes; I consent!"
There was love in the cry of Frenhofer as in that of Poussin, mingled
with jealous coquetry on behalf of his semblance of a woman; he seemed
to revel in the triumph which the beauty of his virgin was about to
win over the beauty of the living woman.
"Do not let him retract," cried Porbus, striking Poussin on the
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