| The first excerpt represents the past or something you must release, and is drawn from Second Inaugural Address by Abraham Lincoln: of the nation, little that is new could be presented. The progress
of our arms, upon which all else chiefly depends, is as well known
to the public as to myself; and it is, I trust, reasonably satisfactory
and encouraging to all. With high hope for the future, no prediction
in regard to it is ventured.
On the occasion corresponding to this four years ago, all thoughts
were anxiously directed to an impending civil war. All dreaded it--
all sought to avert it. While the inaugural address was being delivered
from this place, devoted altogether to saving the Union without war,
insurgent agents were in the city seeking to destroy it without war--
seeking to dissolve the Union, and divide effects, by negotiation.
Second Inaugural Address |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Pool of Blood in the Pastor's Study by Grace Isabel Colbron and Augusta Groner: the murdered pastor himself.
Of course there was always the possibility that some one had moved
the chair without realising it. This clue, therefore, could not be
looked upon as an absolutely certain one had it stood alone. But
there was other evidence far more important. The great pool of
blood was just half-way between the door of the passage and the
armchair. It was here, therefore, that the attack had taken place.
The pastor could not have turned in this direction in the hope of
flight, for there was nothing here to give him shelter, no weapon
that he could grasp, not even a cane. He must have turned in this
direction to meet and greet the invader who had entered his room in
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The third excerpt represents the future or something you must embrace, and is drawn from Essays & Lectures by Oscar Wilde: there were no kings there and so their art was as noble and simple
as sincere. But if you want to know what kind of art the folly of
kings will impose on a country look at the decorative art of France
under the GRAND MONARQUE, under Louis the Fourteenth; the gaudy
gilt furniture writhing under a sense of its own horror and
ugliness, with a nymph smirking at every angle and a dragon
mouthing on every claw. Unreal and monstrous art this, and fit
only for such periwigged pomposities as the nobility of France at
that time, but not at all fit for you or me. We do not want the
rich to possess more beautiful things but the poor to create more
beautiful things; for ever man is poor who cannot create. Nor
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