| The first excerpt represents the past or something you must release, and is drawn from The Outlaw of Torn by Edgar Rice Burroughs: such a duel as no man there had ever seen before, nor
is it credible that its like was ever fought before or
since.
The world's two greatest swordsmen: teacher and
pupil--the one with the strength of a young bull, the
other with the cunning of an old gray fox; and both
with a lifetime of training behind them, and the lust
of blood and hate before them--thrust and parried and
cut until those that gazed awestricken upon the mar-
vellous sword play scarcely breathed in the tensity of
their wonder.
The Outlaw of Torn |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from A Sentimental Journey by Laurence Sterne: off twenty different dialogues with me, which I could have fairly
wrote down and sworn to.
I was going one evening to Martini's concert at Milan, and, was
just entering the door of the hall, when the Marquisina di F- was
coming out in a sort of a hurry: - she was almost upon me before I
saw her; so I gave a spring to once side to let her pass. - She had
done the same, and on the same side too; so we ran our heads
together: she instantly got to the other side to get out: I was
just as unfortunate as she had been, for I had sprung to that side,
and opposed her passage again. - We both flew together to the other
side, and then back, - and so on: - it was ridiculous: we both
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The third excerpt represents the future or something you must embrace, and is drawn from Stories From the Old Attic by Robert Harris: wall, blocking the pass between two mountains. Just below the wall
was a path leading around the mountains--a path made possible by
a bridge connecting it across a deep chasm directly in front of
the wall.
Now, the wall and the bridge were always bickering. One day when an
old peddler leading an even older mule with a load of shabby wares
crossed the bridge on the way to a distant fair, the wall said to
the bridge, "You know, the trouble with you is that you have
absolutely no discretion. You let just anyone walk over you. In
fact, you're the slut of architectural forms, granting promiscuous
entry to all and sundry."
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