| The first excerpt represents the past or something you must release, and is drawn from Lucile by Owen Meredith: But there "Hold!" he exclaim'd,
Interrupting, "Forbear!" . . . his whole face was inflamed
With the heart's swarthy thunder which yet, while she spoke,
Had been gathering silent--at last the storm broke
In grief or in wrath . . .
"'Tis to him, then," he cried, . . .
Checking suddenly short the tumultuous stride,
"That I owe these late greetings--for him you are here--
For his sake you seek me--for him, it is clear,
You have deign'd at the last to bethink you again
Of this long-forgotten existence!"
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Egmont by Johann Wolfgang Von Goethe: laugh at.
Brackenburg. Once! Clara. Well, let us sing.
Brackenburg. As you please.
Clara. Merrily, then, and sing away! 'Tis a soldier's song, my favourite.
(She winds yarn, and sings with Brackenburg.)
The drum is resounding,
And shrill the fife plays;
My love, for the battle,
His brave troop arrays;
He lifts his lance high,
And the people he sways.
Egmont |
The third excerpt represents the future or something you must embrace, and is drawn from Eighteenth Brumaire of Louis Bonaparte by Karl Marx: what better to do than to parody at one time the year 1789, at another
the revolutionary traditions of 1793-95 Thus does the beginner, who has
acquired a new language, keep on translating it back into his own mother
tongue; only then has he grasped the spirit of the new language and is
able freely to express himself therewith when he moves in it without
recollections of the old, and has forgotten in its use his own
hereditary tongue.
When these historic configurations of the dead past are closely observed
a striking difference is forthwith noticeable. Camille Desmoulins,
Danton, Robespierre, St. Juste, Napoleon, the heroes as well as the
parties and the masses of the old French revolution, achieved in Roman
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