| The first excerpt represents the past or something you must release, and is drawn from To-morrow by Joseph Conrad: "Not for sixteen years at least," he laughed.
"To a rabbit hutch, and get a confounded old
shovel . . ."
"A ship is not so very big," she taunted.
"No, but the sea is great."
She dropped her head, and as if her ears had
been opened to the voices of the world, she heard,
beyond the rampart of sea-wall, the swell of yester-
day's gale breaking on the beach with monotonous
and solemn vibrations, as if all the earth had been
a tolling bell.
To-morrow |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from In Darkest England and The Way Out by General William Booth: not all pious. It would be quite another matter to going
single-handed on to a farm, or into a melancholy family.
Then there would be the prospect of doing well for themselves in
the future, together with all the religious life, meetings, music,
and freedom of the Salvation Army.
But what says our experience?
If there be one class which is the despair of the social reformer,
it is that which is variously described, but which we may term the lost
women of our streets. From the point of view of the industrial
organiser, they suffer from almost every fault that human material can
possess. They are, with some exceptions, untrained to labour,
In Darkest England and The Way Out |
The third excerpt represents the future or something you must embrace, and is drawn from Malbone: An Oldport Romance by Thomas Wentworth Higginson: silken hair, and, without trusting himself to kiss it, held it
firmly in the candle. It crisped and sparkled, and sent out a
pungent odor, then turned and writhed between his fingers, like
a living thing in pain. What part of us has earthly immortality
but our hair? It dies not with death. When all else of human
beauty has decayed beyond corruption into the more agonizing
irrecov-erableness of dust, the hair is still fresh and
beautiful, defying annihilation, and restoring to the powerless
heart the full association of the living image. These
shrinking hairs, they feared not death, but they seemed to fear
Malbone. Nothing but the hand of man could destroy what he was
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