| The first excerpt represents the past or something you must release, and is drawn from Beyond Good and Evil by Friedrich Nietzsche: point the very knack and lucky grasp of the genius: he knew what
was then lacking in Germany, the want of which was a hundred
times more alarming and serious than any lack of culture and
social form--his ill-will to the young Frederick resulted from
the anxiety of a profound instinct. MEN WERE LACKING; and he
suspected, to his bitterest regret, that his own son was not man
enough. There, however, he deceived himself; but who would not
have deceived himself in his place? He saw his son lapsed to
atheism, to the ESPRIT, to the pleasant frivolity of clever
Frenchmen--he saw in the background the great bloodsucker, the
spider skepticism; he suspected the incurable wretchedness of a
Beyond Good and Evil |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tom Sawyer Abroad by Mark Twain: children everywhere, and the men was as red as copper,
and fine and strong and handsome. And the city was
a curiosity. Such narrow streets -- why, they were
just lanes, and crowded with people with turbans, and
women with veils, and everybody rigged out in blazing
bright clothes and all sorts of colors, and you wondered
how the camels and the people got by each other in
such narrow little cracks, but they done it -- a perfect
jam, you see, and everybody noisy. The stores warn't
big enough to turn around in, but you didn't have to
go in; the storekeeper sat tailor fashion on his counter,
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The third excerpt represents the future or something you must embrace, and is drawn from Vendetta by Honore de Balzac: Napoleon's captivity on the "Bellerophon," and Labedoyere's arrest.
The girls of the aristocratic group of pupils belonged to the most
devoted royalist families in Paris. It would be difficult to give an
idea of the exaggerations prevalent at this epoch, and of the horror
inspired by the Bonapartists. However insignificant and petty Amelie's
action may now seem to be, it was at that time a very natural
expression of the prevailing hatred. Ginevra Piombo, one of Servin's
first pupils, had occupied the place that was now taken from her since
the first day of her coming to the studio. The aristocratic circle had
gradually surrounded her. To drive her from a place that in some sense
belonged to her was not only to insult her, but to cause her a species
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