| The first excerpt represents the past or something you must release, and is drawn from My Bondage and My Freedom by Frederick Douglass: point of difference.
The slaveholder himself, the daily robber of his equal brother,
discourses eloquently as to the excellency of justice, and the
man who employs a brutal driver to flay the flesh of his negroes,
is not offended when kindness and humanity are commended. Every
time the abolitionist speaks of justice, the anti-abolitionist
assents says, yes, I wish the world were filled with a
disposition to render to every man what is rightfully due him; I
should then get what is due me. That's right; let us have
justice. By all means, let us have justice. Every time the
abolitionist speaks in honor of human liberty, he touches a chord
My Bondage and My Freedom |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Children of the Night by Edwin Arlington Robinson: And wander like sad shadows till, at last,
Out of the flare of life,
Out of the whirl of years,
Into the mist they go,
Into the mist of death.
O shades of you that loved him long before
The cruel threads of that black sail were spun,
May loyal arms and ancient welcomings
Receive him once again
Who now no longer moves
Here in this flickering dance of changing days,
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The third excerpt represents the future or something you must embrace, and is drawn from Mrs. Warren's Profession by George Bernard Shaw: find the dramatic method that I have no doubt I shall at last
persuade even London to take its conscience and its brains with
it when it goes to the theatre, instead of leaving them at home
with its prayer-book as it does at present. Consequently, I am
the last man in the world to deny that if the net effect of
performing Mrs Warren's Profession were an increase in the number
of persons entering that profession, its performance should be
dealt with accordingly.
Now let us consider how such recruiting can be encouraged by the
theatre. Nothing is easier. Let the King's Reader of Plays,
backed by the Press, make an unwritten but perfectly well
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