| The first excerpt represents the past or something you must release, and is drawn from Rinkitink In Oz by L. Frank Baum: They all settled down very comfortably in the new
palace and the Queen gathered her maids about her once
more and set them to work embroidering new draperies
for the royal throne. Inga placed the three Magic
Pearls in their silken bag and again deposited them in
the secret cavity under the tiled flooring of the
banquet hall, where they could be quickly secured if
danger ever threatened the now prosperous island.
King Rinkitink occupied a royal guest chamber built
especially for his use and seemed in no hurry to leave
his friends in Pingaree. The fat little King had to
Rinkitink In Oz |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Aeroplanes and Dirigibles of War by Frederick A. Talbot: the dirigible. It is stated, however, that this upper gun has
proved unsatisfactory, owing to the stresses and strains imposed
upon the framework of the envelope of the Zeppelin during firing,
and it has apparently been abandoned. The position, however, is
still available for a sniper or sharpshooter.
The position in the sky between two such combatants is closely
analogous to that of a torpedo boat and a Dreadnought. The
latter, so long as it can keep the former at arm's, or rather
gun's, distance is perfectly safe. The torpedo boat can only
aspire to harass its enemy by buzzing around, hoping that a lucky
opportunity will develop to enable it to rush in and to launch
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The third excerpt represents the future or something you must embrace, and is drawn from A Daughter of Eve by Honore de Balzac: forms of poesy. The lover thus became one of their leading topics,--a
being rare in point of act and much desired. The few affairs which
were known gave rise to discussions, and these discussions were, as
usually happens, carried on by immaculate women.
A fact worthy of remark is the aversion shown to such conversations by
women who are enjoying some illicit happiness; they maintain before
the eyes of the world a reserved, prudish, and even timid countenance;
they seem to ask silence on the subject, or some condonation of their
pleasure from society. When, on the contrary, a woman talks freely of
such catastrophes, and seems to take pleasure in doing so, allowing
herself to explain the emotions that justify the guilty parties, we
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