| The first excerpt represents the past or something you must release, and is drawn from Ozma of Oz by L. Frank Baum: you have little idea of the extent of the task you have undertaken.
Come with me for a moment."
He arose and took Ozma's hand, leading her to a little door at one
side of the room. This he opened and they stepped out upon a balcony,
from whence they obtained a wonderful view of the Underground World.
A vast cave extended for miles and miles under the mountain, and in
every direction were furnaces and forges glowing brightly and Nomes
hammering upon precious metals or polishing gleaming jewels. All
around the walls of the cave were thousands of doors of silver and
gold, built into the solid rock, and these extended in rows far away
into the distance, as far as Ozma's eyes could follow them.
Ozma of Oz |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Myths and Myth-Makers by John Fiske: negroes--has a right to ask whether it is in the natural
course of things for two such wonderful poets, strangely
agreeing in their minutest psychological characteristics, to
be produced at the same time. And the difficulty thus raised
becomes overwhelming when we reflect that it is the
coexistence of not two only, but at least twenty such geniuses
which the Wolfian hypothesis requires us to account for. That
theory worked very well as long as scholars thoughtlessly
assumed that the Iliad and Odyssey were analogous to ballad
poetry. But, except in the simplicity of the primitive
diction, there is no such analogy. The power and beauty of the
Myths and Myth-Makers |
The third excerpt represents the future or something you must embrace, and is drawn from Essays of Travel by Robert Louis Stevenson: have been a singing in his ears, but he fancies he was followed as he
ran by a peal of Titanic laughter. Nothing has ever transpired to
clear up the mystery; it may be they were automata; or it may be (and
this is the theory to which I lean myself) that this is all another
chapter of Heine's 'Gods in Exile'; that the upright old man with the
eyebrows was no other than Father Jove, and the young dragoon with
the taste for music either Apollo or Mars.
MORALITY
Strange indeed is the attraction of the forest for the minds of men.
Not one or two only, but a great chorus of grateful voices have
arisen to spread abroad its fame. Half the famous writers of modern
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