| The first excerpt represents the past or something you must release, and is drawn from Sons and Lovers by D. H. Lawrence: He courted her now like a lover. Often, when he grew hot,
she put his face from her, held it between her hands, and looked in
his eyes. He could not meet her gaze. Her dark eyes, full of love,
earnest and searching, made him turn away. Not for an instant
would she let him forget. Back again he had to torture himself
into a sense of his responsibility and hers. Never any relaxing,
never any leaving himself to the great hunger and impersonality
of passion; he must be brought back to a deliberate, reflective creature.
As if from a swoon of passion she caged him back to the littleness,
the personal relationship. He could not bear it. "Leave me
alone--leave me alone!" he wanted to cry; but she wanted him to
Sons and Lovers |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Eighteenth Brumaire of Louis Bonaparte by Karl Marx: alliance with England kept them perpetually on the alert. The
"National" owed a large portion of its following under Louis Philippe to
this covert imperialism, that, later under the republic, could stand up
against it as a deadly competitor in the person of Louis Bonaparte. The
fought the aristocracy of finance just the same as did the rest of the
bourgeois opposition. The polemic against the budget, which in France,
was closely connected with the opposition to the aristocracy of finance,
furnished too cheap a popularity and too rich a material for Puritanical
leading articles, not to be exploited. The industrial bourgeoisie was
thankful to it for its servile defense of the French tariff system,
which, however, the paper had taken up , more out of patriotic than
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The third excerpt represents the future or something you must embrace, and is drawn from Selected Writings of Guy De Maupassant by Guy De Maupassant: saying expressively puts it, "swift foot, eagle eye," and who are
attuned to all the whisperings of nature.
The only confidences that he has ever permitted his pen to tell
of the intoxication of a free, animal existence are in the
opening pages of the story entitled "Mouche," where he recalls,
among the sweetest memories of his youth, his rollicking canoe
parties upon the Seine, and in the description in "La Vie
Errante" of a night spent on the sea,--"to be alone upon the
water under the sky, through a warm night,"--in which he speaks
of the happiness of those "who receive sensations through the
whole surface of their flesh, as they do through their eyes,
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