| The first excerpt represents the past or something you must release, and is drawn from The First Men In The Moon by H. G. Wells: was due to the streams and cascades of water - "no doubt containing some
phosphorescent organism" - that flowed ever more abundantly downward
towards the Central Sea. And as he descended, he says, "The Selenites also
became luminous." And at last far below him he saw, as it were, a lake of
heatless fire, the waters of the Central Sea, glowing and eddying in
strange perturbation, "like luminous blue milk that is just on the boil."
"This Lunar Sea," says Cavor, in a later passage "is not a stagnant ocean;
a solar tide sends it in a perpetual flow around the lunar axis, and
strange storms and boilings and rushings of its waters occur, and at times
cold winds and thunderings that ascend out of it into the busy ways of the
great ant-hill above. It is only when the water is in motion that it
The First Men In The Moon |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Gone With the Wind by Margaret Mitchell: with hands that were blistered and slapped them fiercely on the
horse's back, her aching arms burning at the movement.
If she could only reach the kind arms of Tara and Ellen and lay
down her burdens, far too heavy for her young shoulders--the dying
woman, the fading baby, her own hungry little boy, the frightened
negro, all looking to her for strength, for guidance, all reading
in her straight back courage she did not possess and strength which
had long since failed.
The exhausted horse did not respond to the whip or reins but
shambled on, dragging his feet, stumbling on small rocks and
swaying as if ready to fall to his knees. But, as twilight came,
Gone With the Wind |
The third excerpt represents the future or something you must embrace, and is drawn from Polly of the Circus by Margaret Mayo: game, she said, and needed Willie and Jennie for the set.
"My children do not play in promiscuous games," said the widow,
icily.
"Oh, but this isn't pro-pro-pro"--Polly stammered. "It's a new
game. You put two here, and two here, and----"
"I don't care to know." The widow turned away, and pretended to
talk to Julia.
"Oh!" gasped Polly, stunned by the widow's rebuff.
She stood with bowed head in the centre of the circle. The blood
flew from her cheeks, then she turned to go.
Douglas stepped quickly to her side. "Wait a minute," he said.
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