| The first excerpt represents the past or something you must release, and is drawn from Commentary on the Epistle to the Galatians by Martin Luther: were cast out of the house by Jesus. We are children of the promise like
Isaac, born of grace and faith unto an everlasting inheritance.
VERSE 29. But as that he that was born after the flesh persecuted him
that was born after the Spirit, even so it is now.
This is a cheering thought. We who are born of the Gospel, and live in
Christ, and rejoice in our inheritance, have Ishmael for our enemy. The
children of the Law will always persecute the children of the Gospel. This is
our daily experience. Our opponents tell us that everything was at peace
before the Gospel was revived by us. Since then the whole world has been
upset. People blame us and the Gospel for everything, for the disobedience
of subjects to their rulers, for wars, plagues, and famines, for revolutions,
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Maitre Cornelius by Honore de Balzac: exclamations of grief, he locked up the room and returned to the king.
Louis XI. was struck with the expression of sorrow on the moistened
features of his old friend.
"What is the matter?" he asked.
"Ah! sire, misfortunes never come singly. My sister is dead. She
precedes me there below," he said, pointing to the floor with a
dreadful gesture.
"Enough!" cried Louis XI., who did not like to hear of death.
"I make you my heir. I care for nothing now. Here are my keys. Hang
me, if that's your good pleasure. Take all, ransack the house; it is
full of gold. I give up all to you--"
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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.: the storm, hurried away, bearing the corpses with them. Even
Stanton's fears were subdued by his astonishment, and, turning to
the stranger, who remained standing on the same spot, he asked the
reason of such an outrage on humanity. The stranger, slowly
turning round, and disclosing a countenance which--(Here the
manuscript was illegible for a few lines), said in English--(A long
hiatus followed here, and the next passage that was legible, though
it proved to be a continuation of the narrative, was but a
fragment.)
. . . . .
The terrors of the night rendered Stanton a sturdy and unappeasable
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