| The first excerpt represents the past or something you must release, and is drawn from Rivers to the Sea by Sara Teasdale: Laying out the dead,
Bringing a child to birth--
The sorrow, the torpor, the bitterness, the frail joy
Come up to us
Like a cold fog wrapping us round.
Oh in a hundred years
Not one of these blood-warm bodies
RIVERS TO THE SEA
But will be worthless as clay.
The anguish, the torpor, the toil
Will have passed to other millions
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Beauty and The Beast by Bayard Taylor: "By no means, lady!" said the Prince. "The streets are rough, and
here are no lamps. If a second accident were to happen, you would
be helpless. Will you not allow me to protect you?"
She looked him in the face. In the dusky light, she saw not the
peevish, weary features of the worldling, but only the imploring
softness of his eyes, the full and perfect honesty of his present
emotion. She made no further objection; perhaps she was glad that
she could trust the elegant stranger.
Boris, never before at a loss for words, even in the presence of
the Empress, was astonished to find how awkward were his attempts
at conversation. She was presently the more self-possessed of the
|
The third excerpt represents the future or something you must embrace, and is drawn from Aeroplanes and Dirigibles of War by Frederick A. Talbot: numerically inferior, to gain its mastery of the air so
unostentatiously and yet so completely.
All things considered an aeroplane duel is regarded as a fairly
equal combat. But what of a duel between an aeroplane and a
dirigible? Which holds the advantage? This question has not
been settled, at any rate conclusively, but it is generally
conceded that up to a certain point the dirigible is superior.
It certainly offers a huge and attractive target, but rifle fire
at its prominent gas-bag is not going to cause much havoc. The
punctures of the envelope may represent so many vents through
which the gas within may effect a gradual escape, but
|
