| The first excerpt represents the past or something you must release, and is drawn from Men of Iron by Howard Pyle: It was a bright day in April when he and Gascoyne rode clattering
out through Temple Bar, leaving behind them quaint old London
town, its blank stone wall, its crooked, dirty streets, its high-
gabled wooden houses, over which rose the sharp spire of St.
Paul's, towering high into the golden air. Before them stretched
the straight, broad highway of the Strand, on one side the great
houses and palaces of princely priests and powerful nobles; on
the other the Covent Garden, (or the Convent Garden, as it was
then called), and the rolling country, where great stone
windmills swung their slow-moving arms in the damp, soft April
breeze, and away in the distance the Scottish Palace, the White
Men of Iron |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Thuvia, Maid of Mars by Edgar Rice Burroughs: Quickly she took a step backward, tearing herself from
his grasp. But the momentary contact had aroused within
Tario all the long-buried passions of his loveless existence.
With a muffled cry he sprang upon her, throwing his
arms about her and attempting to drag her lips to his.
"Woman!" he cried. "Lovely woman! Tario would make
you queen of Lothar. Listen to me! Listen to the love
of the last jeddaks of Barsoom."
Thuvia struggled to free herself from his embrace.
"Stop, creature!" she cried. "Stop! I do not love you.
Stop, or I shall scream for help!"
Thuvia, Maid of Mars |
The third excerpt represents the future or something you must embrace, and is drawn from Maitre Cornelius by Honore de Balzac: ceilings, and the lateral chapels, always sombre, even at mid-day.
The crowd presented effects that were no less picturesque. Certain
figures were so vaguely defined in the "chiaroscuro" that they seemed
like phantoms; whereas others, standing in a full gleam of the
scattered light, attracted attention like the principal heads in a
picture. Some statues seemed animated, some men seemed petrified. Here
and there eyes shone in the flutings of the columns, the floor
reflected looks, the marbles spoke, the vaults re-echoed sighs, the
edifice itself seemed endowed with life.
The existence of Peoples has no more solemn scenes, no moments more
majestic. To mankind in the mass, movement is needed to make it
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