| The first excerpt represents the past or something you must release, and is drawn from The Great God Pan by Arthur Machen: authorities at Scotland Yard are unable to suggest any
explanation of these terrible occurrences."
Austin put down the paper in mute horror.
"I shall leave London to-morrow," he said, "it is a
city of nightmares. How awful this is, Villiers!"
Mr. Villiers was sitting by the window quietly looking
out into the street. He had listened to the newspaper report
attentively, and the hint of indecision was no longer on his
face.
"Wait a moment, Austin," he replied, "I have made up my
mind to mention a little matter that occurred last night. It
The Great God Pan |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Magic of Oz by L. Frank Baum: So all the party left the clearing and proceeded to the place where
the giants still stood among the trees. Hundreds of monkeys, apes,
baboons and orangoutangs had gathered round, and their wild chatter
could be heard a mile away. But the Gray Ape soon hushed the babel of
sounds, and the Wizard lost no time in breaking the enchantments.
First one and then another giant soldier disappeared and became an
ordinary monkey again, and the six were shortly returned to their
friends in their proper forms.
This action made the Wizard very popular with the great army of
monkeys, and when the Gray Ape announced that the Wizard wanted to
borrow twelve monkeys to take to the Emerald City for a couple of
The Magic of Oz |
The third excerpt represents the future or something you must embrace, and is drawn from Dark Lady of the Sonnets by George Bernard Shaw: is eminent and pretentious, the champion of his enemies. To the
Archbishop he is an atheist, to the atheist a Catholic mystic, to the
Bismarckian Imperialist an Anacharsis Klootz, to Anacharsis Klootz a
Washington, to Mrs Proudie a Don Juan, to Aspasia a John Knox: in
short, to everyone his complement rather than his counterpart, his
antagonist rather than his fellow-creature. Always provided, however,
that the persons thus confronted are respectable persons. Sophie
Perovskaia, who perished on the scaffold for blowing Alexander II to
fragments, may perhaps have echoed Hamlet's
Oh God, Horatio, what a wounded name--
Things standing thus unknown--I leave behind!
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