| The first excerpt represents the past or something you must release, and is drawn from The Enchanted Island of Yew by L. Frank Baum: wise scholar and magician, had made were two large enchanted mirrors,
which were set on each side of the great hallway of the castle. Heavy
curtains were drawn over the surfaces of these mirrors, because they
both possessed a dreadful magical power. For whenever any one looked
into one of them his reflection was instantly caught and imprisoned in
the mirror, and his body at the same time became invisible to all
earthly eyes, only the mirror retaining his form.
While considering a way to prevent the prince from freeing the Lady
Seseley, the Red Rogue happened to think of these mirrors, which had
never yet been used. So he went stealthily into the great hall and
drew aside the covering from one of the mirrors. He did not dare look
The Enchanted Island of Yew |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Ruling Passion by Henry van Dyke: opinion and gossip in the village was too strong for her. By the
time of the affair of the "chopping-down" at Lac des Caps, her heart
was swinging to and fro like a pendulum. One week she would walk
home from mass with Raoul. The next week she would loiter in the
front yard on a Saturday evening and talk over the gate with
Prosper, until her father called her into the shop to wait on
customers.
It was in one of these talks that the pendulum seemed to make its
last swing and settle down to its resting-place. Prosper was
telling her of the good crops of sugar that he had made from his
maple grove.
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The third excerpt represents the future or something you must embrace, and is drawn from Sesame and Lilies by John Ruskin: I think, from preparing any lecture for you on the subject of art in
a form which might be permanently useful. Pardon me, therefore, in
so far as I must transgress such limitation; for indeed my
infringement will be of the letter--not of the spirit--of your
commands. In whatever I may say touching the religion which has
been the foundation of art, or the policy which has contributed to
its power, if I offend one, I shall offend all; for I shall take no
note of any separations in creeds, or antagonisms in parties:
neither do I fear that ultimately I shall offend any, by proving--or
at least stating as capable of positive proof--the connection of all
that is best in the crafts and arts of man, with the simplicity of
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