| The first excerpt represents the past or something you must release, and is drawn from Aeroplanes and Dirigibles of War by Frederick A. Talbot: vouchsafing the fact that the airship has proved completely
successful in every respect; conclusive testimony of this is
offered by the inclusion of the vessel in the active aerial fleet
of Germany.
But it is the Parseval which is regarded as the finest type of
airship flying the German flag. This vessel is the product of
slow evolution, for it is admitted to be a power-driven balloon.
Even the broad lines of the latter are preserved, the shape being
that of a cylinder with rounded ends. It is the direct outcome
of the "Drachen-Balloon," perfected by Parseval and Siegsfeld,
the captive balloon which is an indispensable part of the German
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Road to Oz by L. Frank Baum: thunder, only not a cloud was in the sky; it was like the roar of
countless breakers on a rugged seashore, only there was no sea or
other water anywhere about.
They hesitated to advance; but, as the noise did no harm, they entered
through the whitewashed wall and quickly discovered the cause of the
turmoil. Inside were suspended many sheets of tin or thin iron, and
against these metal sheets a row of donkeys were pounding their heels
with vicious kicks.
The shaggy man ran up to the nearest donkey and gave the beast a sharp
blow with his switch.
"Stop that noise!" he shouted; and the donkey stopped kicking the
The Road to Oz |
The third excerpt represents the future or something you must embrace, and is drawn from Eighteenth Brumaire of Louis Bonaparte by Karl Marx: accelerated powers of motion through a revolution, suddenly finds itself
transferred back to a dead epoch, and, lest there be any mistake
possible on this head, the old dates turn up again; the old calendars;
the old names; the old edicts, which long since had sunk to the level of
the antiquarian's learning; even the old bailiffs, who had long seemed
mouldering with decay. The nation takes on the appearance of that crazy
Englishman in Bedlam, who imagines he is living in the days of the
Pharaohs, and daily laments the hard work that he must do in the
Ethiopian mines as gold digger, immured in a subterranean prison, with a
dim lamp fastened on his head, behind him the slave overseer with a long
whip, and, at the mouths of the mine a mob of barbarous camp servants
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