| The first excerpt represents the past or something you must release, and is drawn from A Connecticut Yankee in King Arthur's Court by Mark Twain: smooth surface with lingering touch, and scanned the
mysterious characters with fascinated eyes. These
grouped bent heads, these charmed faces, these speak-
ing eyes -- how beautiful to me! For was not this my
darling, and was not all this mute wonder and interest
and homage a most eloquent tribute and unforced
compliment to it? I knew, then, how a mother feels
when women, whether strangers or friends, take her
new baby, and close themselves about it with one
eager impulse, and bend their heads over it in a
tranced adoration that makes all the rest of the uni-
A Connecticut Yankee in King Arthur's Court |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Shadow out of Time by H. P. Lovecraft: power. Then a sudden return of rightful consciousness, intermittently
plagued ever after with vague unplaceable dreams suggesting fragments
of some hideous memory elaborately blotted out.
And the close
resemblance of those nightmares to my own - even in some of the
smallest particulars - left no doubt in my mind of their significantly
typical nature. One or two of the cases had an added ring of faint,
blasphemous familiarity, as if I had heard of them before through
some cosmic channel too morbid and frightful to contemplate. In
three instances there was specific mention of such an unknown
machine as had been in my house before the second change.
Shadow out of Time |
The third excerpt represents the future or something you must embrace, and is drawn from The Fall of the House of Usher by Edgar Allan Poe: silent, yet importunate and terrible influence which for
centuries had moulded the destinies of his family, and which made
him what I now saw him--what he was. Such opinions need no
comment, and I will make none.
Our books--the books which, for years, had formed no small
portion of the mental existence of the invalid--were, as might be
supposed, in strict keeping with this character of phantasm. We
pored together over such works as the Ververt et Chartreuse
of Gresset; the Belphegor of Machiavelli; the Heaven and
Hell of Swedenborg; the Subterranean Voyage of Nicholas Klimm by
Holberg; the Chiromancy of Robert Flud, of Jean D'Indagine,
The Fall of the House of Usher |
