| The first excerpt represents the past or something you must release, and is drawn from The Devil's Dictionary by Ambrose Bierce: at great length in support of their view and by careful observance of
the laws of health enjoyed for long terms of years the honors of
successful controversy.
"Life's not worth living, and that's the truth,"
Carelessly caroled the golden youth.
In manhood still he maintained that view
And held it more strongly the older he grew.
When kicked by a jackass at eighty-three,
"Go fetch me a surgeon at once!" cried he.
Han Soper
LIGHTHOUSE, n. A tall building on the seashore in which the
The Devil's Dictionary |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Case of The Lamp That Went Out by Grace Isabel Colbron and Augusta Groner: through a flagged walk to the park-like garden that surrounded it
on the sides and rear. Down this walk came a young woman. She came
so quickly that one might almost call it running. She was evidently
excited about something. Muller imagined what this something might
be, and he remained to hear what she had to say. He was not
mistaken. The woman, it was Mrs. Schmiedler, the gardener's wife,
began her story at once. "Haven't you heard yet?" she said
breathlessly. "No, you can't have heard it yet or you wouldn't
stand there so quietly, Mrs. Bernauer."
"What's the matter?" asked the woman whom Muller took to be the
housekeeper.
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The third excerpt represents the future or something you must embrace, and is drawn from The Bride of Lammermoor by Walter Scott: more remote origin in the ancient heathen mythology. All,
however, agreed that the spot was fatal to the Ravenswood family;
and that to drink of the waters of the well, or even approach its
brink, was as ominous to a descendant of that house as for a
Grahame to wear green, a Bruce to kill a spider, or a St. Clair
to cross the Ord on a Monday.
It was on this ominous spot that Lucy Ashton first drew breath
after her long and almost deadly swoon. Beautiful and pale as
the fabulous Naiad in the last agony of separation from her
lover, she was seated so as to rest with her back against a part
of the ruined wall, while her mantle, dripping with the water
The Bride of Lammermoor |
