| 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 An Open Letter on Translating by Dr. Martin Luther: So that this curse of the Lord and the entire Church might be
avoided, I must publish this letter which came into my possession
through a good friend. I could not withhold it, as there has been
much discussion about the translating of the Old and New
Testaments. It has been charged by the despisers of truth that
the text has been modified and even falsified in many places,
which has shocked and startled many simple Christians, even among
the educated who do not know any Hebrew or Greek. It is devoutly
hoped that with this publication the slander of the godless will
be stopped and the scruples of the devout removed, at least in
part. It may even give rise to more writing on such matters and
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The third excerpt represents the future or something you must embrace, and is drawn from Familiar Studies of Men and Books by Robert Louis Stevenson: far as it regards the technical change that came over modern
prose romance, has never perhaps been explained with any
clearness.
To do so, it will be necessary roughly to compare the two
sets of conventions upon which plays and romances are
respectively based. The purposes of these two arts are so
much alike, and they deal so much with the same passions and
interests, that we are apt to forget the fundamental
opposition of their methods. And yet such a fundamental
opposition exists. In the drama the action is developed in
great measure by means of things that remain outside of the
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