| The first excerpt represents the past or something you must release, and is drawn from The Lamentable Tragedy of Locrine and Mucedorus by William Shakespeare: [She sits her down.]
[Enter Bremo looking about, hastily taketh hold
of her.]
BREMO.
A happy prey! now, Bremo, feed on flesh.
Dainties, Bremo, dainties, thy hungry panch to fill!
Now glut thy greedy guts with luke warm blood!
Come, fight with me, I long to see thee dead.
AMADINE.
How can she fight that weapons cannot wield?
BREMO.
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tik-Tok of Oz by L. Frank Baum: "I must in some way prevent these people from
reaching my dominions. Where are they now?"
"Just now they are crossing the Rubber Country,
Your Majesty."
"Good! Are your magnetic rubber wires in working
order?"
"I think so," replied Kaliko. "Is it your Royal
Will that we have some fun with these invaders?"
"It is," answered Ruggedo. "I want to teach
them a lesson they will never forget."
Now, Shaggy had no idea that he was in a
Tik-Tok of Oz |
The third excerpt represents the future or something you must embrace, and is drawn from Westward Ho! by Charles Kingsley: the sweep of her lines, and also by stockades ("close fights and
cage-works") on the poop and forecastle, thus giving to the men a
shelter, which was further increased by strong bulkheads
("cobridgeheads") across the main-deck below, dividing the ship
thus into a number of separate forts, fitted with swivels ("bases,
fowlers, and murderers") and loopholed for musketry and arrows.
But the great source of superiority was, after all, in the men
themselves. The English sailor was then, as now, a quite
amphibious and all-cunning animal, capable of turning his hand to
everything, from needlework and carpentry to gunnery or hand-to-
hand blows; and he was, moreover, one of a nation, every citizen of
|
