| The first excerpt represents the past or something you must release, and is drawn from Journey to the Center of the Earth by Jules Verne: grew by the extinction of the lesser craters, supplied an egress to
lava, ashes, and scoriae, of which I could see lengthened screes
streaming down the sides of the mountain like flowing hair.
Such was the succession of phenomena which produced Iceland, all
arising from the action of internal fire; and to suppose that the
mass within did not still exist in a state of liquid incandescence
was absurd; and nothing could surpass the absurdity of fancying that
it was possible to reach the earth's centre.
So I felt a little comforted as we advanced to the assault of Snæfell.
The way was growing more and more arduous, the ascent steeper and
steeper; the loose fragments of rock trembled beneath us, and the
Journey to the Center of the Earth |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tales of the Klondyke by Jack London: friends the other. A great truth came to me when I was yet a boy.
I learned that to your kind and you was given the earth; that the
Siwash could not withstand you, and like the caribou and the bear,
must perish in the cold. So I came into the warm and sat among
you, by your fires, and behold, I became one of you, I have seen
much in my time. I have known strange things, and bucked big, on
big trails, with men of many breeds. And because of these things,
I measure deeds after your manner, and judge men, and think
thoughts. Wherefore, when I speak harshly of one of your own
kind, I know you will not take it amiss; and when I speak high of
one of my father's people, you will not take it upon you to say,
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The third excerpt represents the future or something you must embrace, and is drawn from The Tapestried Chamber by Walter Scott: PICTURA POESIS is an ancient and undisputed axiom--although
poetry and painting both address themselves to the same object of
exciting the human imagination, by presenting to it pleasing or
sublime images of ideal scenes--yet the one conveying itself
through the ears to the understanding, and the other applying
itself only to the eyes, the subjects which are best suited to
the bard or tale-teller are often totally unfit for painting,
where the artist must present in a single glance all that his art
has power to tell us. The artist can neither recapitulate the
past nor intimate the future. The single NOW is all which he can
present; and hence, unquestionably, many subjects which delight
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