| The first excerpt represents the past or something you must release, and is drawn from A treatise on Good Works by Dr. Martin Luther: holidays, hear masses, say our prayers, establish churches, and
more such spiritual finery, which God has not commanded. We shine
resplendently and excessively, as if we were the most holy
Christians there ever were. And so because of these mirrors and
masks we allow God's Commandment to go to complete ruin, and no
one considers or examines himself, how near or how far he be from
meekness and the fulfilment of this Commandment; although God has
said, that not he who does such works, but he who keeps His
Commandments, shall enter into eternal life.
Now, since no one lives on earth upon whom God does not bestow
an enemy and opponent as a proof of his own anger and wickedness,
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Emerald City of Oz by L. Frank Baum: might entertain his guests, and the three stories above that were
bed-chambers exquisitely furnished and decorated.
"From these rooms," said the Scarecrow, proudly, "one may obtain fine
views of the surrounding cornfields. The corn I grow is always husky,
and I call the ears my regiments, because they have so many kernels.
Of course I cannot ride my cobs, but I really don't care shucks about that.
Taken altogether, my farm will stack up with any in the neighborhood."
The visitors partook of some light refreshment and then hurried away
to resume the road to the Emerald City. The Scarecrow found a seat in
the wagon between Omby Amby and the Shaggy Man, and his weight did not
add much to the load because he was stuffed with straw.
The Emerald City of Oz |
The third excerpt represents the future or something you must embrace, and is drawn from House of Mirth by Edith Wharton: exigencies of the final effect. Their appearance confirmed the
impression that the show had been staged regardless of expense,
and emphasized its resemblance to one of those "costume-plays" in
which the protagonists walk through the passions without
displacing a drapery. The ladies stood in unrelated attitudes
calculated to isolate their effects, and the men hung about them
as irrelevantly as stage heroes whose tailors are named in the
programme. It was Selden himself who unwittingly fused the group
by arresting the attention of one of its members.
"Why, Mr. Selden!" Mrs. Fisher exclaimed in surprise; and with a
gesture toward Mrs. Jack Stepney and Mrs. Wellington Bry, she
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