| The first excerpt represents the past or something you must release, and is drawn from The Odyssey by Homer: folded the raiment and stored it in the goodly wain, and
yoked the mules strong of hoof, and herself climbed into
the car. Then she called on Odysseus, and spake and hailed
him: 'Up now, stranger, and rouse thee to go to the city,
that I may convey thee to the house of my wise father,
where, I promise thee, thou shalt get knowledge of all the
noblest of the Phaeacians. But do thou even as I tell thee,
and thou seemest a discreet man enough. So long as we are
passing along the fields and farms of men, do thou fare
quickly with the maidens behind the mules and the chariot,
and I will lead the way. But when we set foot within the
The Odyssey |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Call of Cthulhu by H. P. Lovecraft: from an unknown thing which had stolen upon them in the night.
It was voodoo, apparently, but voodoo of a more terrible sort
than they had ever known; and some of their women and children
had disappeared since the malevolent tom-tom had begun its incessant
beating far within the black haunted woods where no dweller ventured.
There were insane shouts and harrowing screams, soul-chilling
chants and dancing devil-flames; and, the frightened messenger
added, the people could stand it no more.
So a body of twenty
police, filling two carriages and an automobile, had set out in
the late afternoon with the shivering squatter as a guide. At
Call of Cthulhu |
The third excerpt represents the future or something you must embrace, and is drawn from Catherine de Medici by Honore de Balzac: the manners of that period gave a role in private life like that of
the boudoirs of our day, can still be traced.
By an almost inexplicable chance, when we consider the state of
dilapidation into which the Crown has allowed the chateau of Blois to
fall, the admirable woodwork of Catherine's cabinet still exists; and
in those delicately carved panels, persons interested in such things
may still see traces of Italian splendor, and discover the secret
hiding-places employed by the queen-mother. An exact description of
these curious arrangements is necessary in order to give a clear
understanding of what was now to happen. The woodwork of the oratory
then consisted of about a hundred and eighty oblong panels, one
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