| The first excerpt represents the past or something you must release, and is drawn from A Treatise on Parents and Children by George Bernard Shaw: The most horrible of all religions: that which teaches us to regard
ourselves as the helpless prey of a series of senseless accidents
called Natural Selection, is allowed and even welcomed in so-called
secular schools because it is, in a sense, the negation of all
religion; but for school purposes a religion is a belief which affects
conduct; and no belief affects conduct more radically and often so
disastrously as the belief that the universe is a product of Natural
Selection. What is more, the theory of Natural Selection cannot be
kept out of schools, because many of the natural facts that present
the most plausible appearance of design can be accounted for by
Natural Selection; and it would be so absurd to keep a child in
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Chinese Boy and Girl by Isaac Taylor Headland:
The child constructed the picture of a Buddhist priest, who, with
staff in hand, and a mug of wine, was viewing the beautiful
mountains in the distance. He then changed it to one in which an
intoxicated man was leaning on a boy's shoulder, the inscription
to which said: "Any one is willing to assist a drunken man to
return home."
"This," he went on as he changed his blocks, "is a picture of Li
Pei, China's greatest poet. He lived more than a thousand years
ago. This represents the closing scene in his life. He was
|
The third excerpt represents the future or something you must embrace, and is drawn from The Soul of Man by Oscar Wilde: Shakespeare it is quite obvious that the public really see neither
the beauties nor the defects of his plays. If they saw the
beauties, they would not object to the development of the drama;
and if they saw the defects, they would not object to the
development of the drama either. The fact is, the public make use
of the classics of a country as a means of checking the progress of
Art. They degrade the classics into authorities. They use them as
bludgeons for preventing the free expression of Beauty in new
forms. They are always asking a writer why he does not write like
somebody else, or a painter why he does not paint like somebody
else, quite oblivious of the fact that if either of them did
|
