| The first excerpt represents the past or something you must release, and is drawn from Glaucus/The Wonders of the Shore by Charles Kingsley: COUNTERBALANCE EACH OTHER; the animal's blood being purified by the
oxygen given off by the plants, the plants fed by the carbonic acid
breathed out by the animals.
On the same principle, Mr. Warrington first kept, for many months,
in a vase of unchanged water, two small gold fish and a plant of
Vallisneria spiralis; and two years afterwards began a similar
experiment with sea-water, weeds, and anemones, which were, at
last, as successful as the former ones. Mr. Gosse had, in the
meanwhile, with tolerable success begun a similar method, unaware
of what Mr. Warrington had done; and now the beautiful and curious
exhibition of fresh and salt water tanks in the Zoological Gardens
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Maria, or the Wrongs of Woman by Mary Wollstonecraft: deliverance, so sacred the pleasure of being thus wrapped up in
myself, that I slept profoundly, and woke with a mind composed to
encounter the struggles of the day. Mr. Venables did not wake till
some hours after; and then he came to me half-dressed, yawning and
stretching, with haggard eyes, as if he scarcely recollected what
had passed the preceding evening. He fixed his eyes on me for a
moment, then, calling me a fool, asked 'How long I intended to
continue this pretty farce? For his part, he was devilish sick of
it; but this was the plague of marrying women who pretended to know
something.'
"I made no other reply to this harangue, than to say, 'That
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The third excerpt represents the future or something you must embrace, and is drawn from A Tramp Abroad by Mark Twain: are all fig-leaved now. Yes, every one of them.
Nobody noticed their nakedness before, perhaps; nobody can
help noticing it now, the fig-leaf makes it so conspicuous.
But the comical thing about it all, is, that the fig-leaf
is confined to cold and pallid marble, which would be still
cold and unsuggestive without this sham and ostentatious
symbol of modesty, whereas warm-blood paintings which do
really need it have in no case been furnished with it.
At the door of the Uffizzi, in Florence, one is confronted
by statues of a man and a woman, noseless, battered, black with
accumulated grime--they hardly suggest human beings--
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