| The first excerpt represents the past or something you must release, and is drawn from Chita: A Memory of Last Island by Lafcadio Hearn: deeper water,--sees before him the green quaking of unbroken
swells,--and far beyond him Mateo leaping on the bar,--and beside
him, almost within arm's reach, a great billiard-table swaying,
and a dead woman clinging there, and ... the child.
A moment more, and Feliu has lifted himself beside the waifs ...
How fast the dead woman clings, as if with the one power which is
strong as death,--the desperate force of love! Not in vain; for
the frail creature bound to the mother's corpse with a silken
scarf has still the strength to cry out:--"Maman! maman!" But
time is life now; and the tiny hands must be pulled away from the
fair dead neck, and the scarf taken to bind the infant firmly to
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Complete Poems of Longfellow by Henry Wadsworth Longfellow: Screamed the feathered Minnesingers
For the children of the choir.
Time has long effaced the inscriptions
On the cloister's funeral stones,
And tradition only tells us
Where repose the poet's bones.
But around the vast cathedral,
By sweet echoes multiplied,
Still the birds repeat the legend,
And the name of Vogelweid.
DRINKING SONG
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The third excerpt represents the future or something you must embrace, and is drawn from The Lock and Key Library by Julian Hawthorne, Ed.: admittance, in a night whose terrors ought to soften all the
miserable petty local passions into one awful feeling of fear for
the Power who caused it, and compassion for those who were exposed
to it.--But Stanton felt there was something more than national
bigotry in the exclamations of the old woman; there was a peculiar
and personal horror of the English.--And he was right; but this did
not diminish the eagerness of his. . . .
. . . . .
The house was handsome and spacious, but the melancholy appearance
of desertion . . . .
. . . . .
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