| The first excerpt represents the past or something you must release, and is drawn from Montezuma's Daughter by H. Rider Haggard: 'Then there is nothing more to be said,' I answered quietly, though
a cold fear froze my blood.
'There is something,' answered Cortes. 'Though your crimes have
been so many, I am ready to give you your life and freedom upon a
condition. I am ready to do more, to find you a passage to Europe
on the first occasion, where you may perchance escape the echoes of
your infamy if God is good to you. The condition is this. We have
reason to believe that you are acquainted with the hiding place of
the gold of Montezuma, which was unlawfully stolen from us on the
night of the noche triste. Nay, we know that this is so, for you
were seen to go with the canoes that were laden with it. Choose
Montezuma's Daughter |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Aeroplanes and Dirigibles of War by Frederick A. Talbot: and strikes the ground with decisive force.
On the other hand, a missile discharged into space from a weapon
on the earth has to combat this action of gravity, which
exercises a powerful nullifying influence upon its flight and
velocity, far in excess of the mere resistance offered by the
air. In other words, whereas the projectile launched from
aloft has the downward pull of the earth or gravitational force
in its favour, the shell fired from the ground in the reverse
direction has to contend against this downward pull and its
decelerating effect.
At the time when aircraft entered the realms of warfare very
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The third excerpt represents the future or something you must embrace, and is drawn from Travels with a Donkey in the Cevenne by Robert Louis Stevenson: equal size, which came down to join it through a broad nude valley
in Vivarais. The weather had somewhat lightened, and the clouds
massed in squadron; but the fierce wind still hunted them through
heaven, and cast great ungainly splashes of shadow and sunlight
over the scene.
Luc itself was a straggling double file of houses wedged between
hill and river. It had no beauty, nor was there any notable
feature, save the old castle overhead with its fifty quintals of
brand-new Madonna. But the inn was clean and large. The kitchen,
with its two box-beds hung with clean check curtains, with its wide
stone chimney, its chimney-shelf four yards long and garnished with
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