| The first excerpt represents the past or something you must release, and is drawn from Aeroplanes and Dirigibles of War by Frederick A. Talbot: application. In this instance it is suggested that the mines
should be sent aloft, but should not be of the contact type, and
should not be fired by impact detonators, but that dependence
should be placed rather upon the disturbing forces of a severe
concussion in the air. The mines would be floating aoft, and
the advance of the airship would be detected. The elevation
of the mines in the vicinity of the invading craft would be
known, while the altitude of the airship in relation thereto
could be calculated. Then, it is proposed that a mine within d
certain radius of the approaching craft, and, of course, below
it, should be fired electrically from the ground. It is
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Selected Writings of Guy De Maupassant by Guy De Maupassant: other side of things, the bad side; I have not been able to
perceive the good side since that day. What things have passed in
my mind, what strange phenomena have warped my ideas, I do not
know. But I no longer have a taste for anything, a wish for
anything, a love for anybody, a desire for anything whatever, no
ambition, no hope. And I can always see my poor mother lying on
the ground, in the avenue, while my father was maltreating her.
My mother died a few years after; my father lives still. I have
not seen him since. Waiter, a 'bock.' "
A waiter brought him his "bock," which he swallowed at a gulp.
But, in taking up his pipe again, trembling as he was, he broke
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The third excerpt represents the future or something you must embrace, and is drawn from Intentions by Oscar Wilde: Shakespeare stood to the Renaissance and the Reformation, to the
age of Elizabeth and the age of James; he must be familiar with the
history of the struggle for supremacy between the old classical
forms and the new spirit of romance, between the school of Sidney,
and Daniel, and Johnson, and the school of Marlowe and Marlowe's
greater son; he must know the materials that were at Shakespeare's
disposal, and the method in which he used them, and the conditions
of theatric presentation in the sixteenth and seventeenth century,
their limitations and their opportunities for freedom, and the
literary criticism of Shakespeare's day, its aims and modes and
canons; he must study the English language in its progress, and
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