| The first excerpt represents the past or something you must release, and is drawn from The Great God Pan by Arthur Machen: familiar to me."
"You must have seen her in the Row."
"No, I am sure I never set eyes on the woman before; it
is that which makes it puzzling. And to the best of my belief I
have never seen anyone like her; what I felt was a kind of dim
far-off memory, vague but persistent. The only sensation I can
compare it to, is that odd feeling one sometimes has in a dream,
when fantastic cities and wondrous lands and phantom personages
appear familiar and accustomed."
Villiers nodded and glanced aimlessly round the room,
possibly in search of something on which to turn the
The Great God Pan |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tanglewood Tales by Nathaniel Hawthorne: nonsense, my little fellow! Don't you see I'm sleepy? There is
not a Giant on earth for whom I would take the trouble to get
up."
But the Pygmy looked again, and now perceived that the stranger
was coming directly towards the prostrate form of Antaeus. With
every step, he looked less like a blue mountain, and more like
an immensely large man. He was soon so nigh, that there could
be no possible mistake about the matter. There he was, with the
sun flaming on his golden helmet, and flashing from his
polished breastplate; he had a sword by his side, and a lion's
skin over his back, and on his right shoulder he carried a
Tanglewood Tales |
The third excerpt represents the future or something you must embrace, and is drawn from Essays of Travel by Robert Louis Stevenson: to fancy, nothing to expect, nothing to see by the wayside, save here
and there an unhomely-looking homestead, and here and there a
solitary, spectacled stone-breaker; and you were only accompanied, as
you went doggedly forward, by the gaunt telegraph-posts and the hum
of the resonant wires in the keen sea-wind. To one who had learned
to know their song in warm pleasant places by the Mediterranean, it
seemed to taunt the country, and make it still bleaker by suggested
contrast. Even the waste places by the side of the road were not, as
Hawthorne liked to put it, 'taken back to Nature' by any decent
covering of vegetation. Wherever the land had the chance, it seemed
to lie fallow. There is a certain tawny nudity of the South, bare
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