| The first excerpt represents the past or something you must release, and is drawn from Lost Continent by Edgar Rice Burroughs: Snider.
I was angry with myself that I permitted that matter to
affect me as it had. I did not wish to admit to myself that
I was angry with this uncultured little savage, that it made
the slightest difference to me what she did or what she did
not do, or that I could so lower myself as to feel personal
enmity towards a common sailor. And yet, to be honest, I
was doing both.
Finding nothing to detain us about the spot where Ostend
once had stood, we set out up the coast in search of the
mouth of the River Rhine, which I purposed ascending in
Lost Continent |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Mrs. Warren's Profession by George Bernard Shaw: and Tolstoy, not to mention our own contemporary playwrights, is
as much in place in Mr Redford's office as a pickpocket is in Bow
Street. Further, it is not true that the Censorship, though it
certainly suppresses Ibsen and Tolstoy, and would suppress
Shakespear but for the absurd rule that a play once licensed is
always licensed (so that Wycherly is permitted and Shelley
prohibited), also suppresses unscrupulous playwrights. I
challenge Mr Redford to mention any extremity of sexual
misconduct which any manager in his senses would risk presenting
on the London stage that has not been presented under his license
and that of his predecessor. The compromise, in fact, works out
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The third excerpt represents the future or something you must embrace, and is drawn from The Faith of Men by Jack London: and Kink Mitchell scrawled his initials on the dust-covered bar.
"Where's the girls?" Hootchinoo Bill shouted, with affected
geniality.
"Gone," was the ancient bar-keeper's reply, in a voice thin and
aged as himself, and as unsteady as his hand.
"Where's Bidwell and Barlow?"
"Gone."
"And Sweetwater Charley?"
"Gone."
"And his sister?"
"Gone too."
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