| The first excerpt represents the past or something you must release, and is drawn from Flatland: A Romance of Many Dimensions by Edwin A. Abbot: | <----------- A'>|| ------------------------+(>
| / || _ -
| / || _ -
|__ / || _ -
---___ / || _ -
---___/ _ -E'
B'
It will be obvious, to every child in Spaceland who has touched
the threshold of Geometrical Studies, that, if I can bring my eye so
that its glance may bisect an angle (A) of the approaching stranger,
my view will lie as it were evenly between his two sides that are
Flatland: A Romance of Many Dimensions |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Padre Ignacio by Owen Wister: saw serenity had returned to his features; but for some reason they began
to watch those features with more care.
"Still," they said, "he is not old." And as the months went by they would
repeat: "We shall have him yet for many years."
Thus the season rolled round, bringing the time for the expected messages
from the world. Padre Ignacio was wont to sit in his garden, waiting for
the ship, as of old.
"As of old," they said, cheerfully, who saw him. But Renunciation with
Contentment they could not see; it was deep down in his silent and
thanked heart.
One day Felipe went to call him from his garden seat, wondering why the
|
The third excerpt represents the future or something you must embrace, and is drawn from Amy Foster by Joseph Conrad: arms from a mound no loftier than a rubbish heap,
and a Martello tower squatting at the water's edge
half a mile to the south of the Coastguard cottages,
are familiar to the skippers of small craft. These
are the official seamarks for the patch of trust-
worthy bottom represented on the Admiralty charts
by an irregular oval of dots enclosing several fig-
ures six, with a tiny anchor engraved among them,
and the legend "mud and shells" over all.
The brow of the upland overtops the square
tower of the Colebrook Church. The slope is
Amy Foster |
