| The first excerpt represents the past or something you must release, and is drawn from Chita: A Memory of Last Island by Lafcadio Hearn: could only be seen from one point, behind the furthest house,
where the ground was high. "Never go there," said Carmen; "there
is a Dead Man there,--will bite you!" And yet, one day, while
Carmen was unusually busy, Chita went there.
In the early days of the settlement, a Spanish fisherman had
died; and his comrades had built him a little tomb with the
surplus of the same bricks and other material brought down the
bayou for the construction of Viosca's cottages. But no one,
except perhaps some wandering duck hunter, had approached the
sepulchre for years. High weeds and grasses wrestled together
all about it, and rendered it totally invisible from the
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Songs of Travel by Robert Louis Stevenson: Song, tuneful song, built a palace in the wild.
Now, when day dawns on the brow of the moorland,
Lone stands the house, and the chimney-stone is cold.
Lone let it stand, now the friends are all departed,
The kind hearts, the true hearts, that loved the place of old.
Spring shall come, come again, calling up the moorfowl,
Spring shall bring the sun and rain, bring the bees and
flowers;
Red shall the heather bloom over hill and valley,
Soft flow the stream through the even-flowing hours;
Fair the day shine as it shone on my childhood -
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The third excerpt represents the future or something you must embrace, and is drawn from Flatland: A Romance of Many Dimensions by Edwin A. Abbot: on the East is a small door for the Women; on the West a much
larger one for the Men; the South side or floor is usually doorless.
Square and triangular houses are not allowed, and for this reason.
The angles of a Square (and still more those of an equilateral
Triangle), being much more pointed than those of a Pentagon,
and the lines of inanimate objects (such as houses) being dimmer
than the lines of Men and Women, it follows that there is
no little danger lest the points of a square or triangular
house residence might do serious injury to an inconsiderate
or perhaps absent-minded traveller suddenly therefore,
running against them: and as early as the eleventh century
Flatland: A Romance of Many Dimensions |
