| The first excerpt represents the past or something you must release, and is drawn from The Arrow of Gold by Joseph Conrad: Basque, and he trolled out in Castilian that song you know,
"'Oh bells of my native village,
I am going away . . . good-bye!'
He had a good voice. When the last note had floated away I
remounted, but there was a charm in the spot, something particular
and individual because while we were looking at it before turning
our horses' heads away the singer said: 'I wonder what is the name
of this place,' and the other man remarked: 'Why, there is no
village here,' and the first one insisted: 'No, I mean this spot,
this very place.' The wounded trooper decided that it had no name
probably. But he was wrong. It had a name. The hill, or the
The Arrow of Gold |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Amazing Interlude by Mary Roberts Rinehart: "You will not come back, mademoiselle. You do not care to live, and to
such -"
"Those are the ones who live on," said Sara Lee gravely, and poured out
her soup.
She went quite alone. There was a great deal of noise, but no shells
fell near her. She led the little horse by its head, and its presence
gave her comfort. It had a sense that she had not, too, for it kept her
on the road.
In those still early days the Belgian trenches were quite accessible
from the rear. There were no long tunneled ways to traverse to reach
them. One went along through the darkness until the sound of men's
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The third excerpt represents the future or something you must embrace, and is drawn from Records of a Family of Engineers by Robert Louis Stevenson: admit.
When as many stones were built as comprised this day's
work, the demand for mortar was proportionally increased, and
the task of the mortar-makers on these occasions was both
laborious and severe. This operation was chiefly performed by
John Watt - a strong, active quarrier by profession, - who was
a perfect character in his way, and extremely zealous in his
department. While the operations of the mortar-makers
continued, the forge upon the gallery was not generally in
use; but, as the working hours of the builders extended with
the height of the building, the forge could not be so long
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