| The first excerpt represents the past or something you must release, and is drawn from Animal Farm by George Orwell: pig, when they were astonished to see Benjamin come galloping from the
direction of the farm buildings, braying at the top of his voice. It was
the first time that they had ever seen Benjamin excited--indeed, it was
the first time that anyone had ever seen him gallop. "Quick, quick!" he
shouted. "Come at once! They're taking Boxer away!" Without waiting for
orders from the pig, the animals broke off work and raced back to the farm
buildings. Sure enough, there in the yard was a large closed van, drawn by
two horses, with lettering on its side and a sly-looking man in a
low-crowned bowler hat sitting on the driver's seat. And Boxer's stall was
empty.
The animals crowded round the van. "Good-bye, Boxer!" they chorused,
Animal Farm |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Venus and Adonis by William Shakespeare: And twenty echoes twenty times cry so.
She marking them, begins a wailing note,
And sings extemporally a woeful ditty; 836
How love makes young men thrall and old men dote;
How love is wise in folly foolish-witty:
Her heavy anthem stili concludes in woe,
And still the choir of echoes answer so. 840
Her song was tedious, and outwore the night,
For lovers' hours are long, though seeming short:
If pleas'd themselves, others, they think, delight
In such like circumstance, with such like sport: 844
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The third excerpt represents the future or something you must embrace, and is drawn from Dark Lady of the Sonnets by George Bernard Shaw: people who have no genius attach so much importance. No leader who
had not been tampered with by the psychopathic monomaniacs could ever
put any construction but the obvious and innocent one on these
passages. But the general vocabulary of the sonnets to Pembroke (or
whoever "Mr W. H." really was) is so overcharged according to modern
ideas that a reply on the general case is necessary.
Shakespear's alleged Sycophancy and Perversion
That reply, which Mr Harris does not hesitate to give, is twofold:
first, that Shakespear was, in his attitude towards earls, a
sycophant; and, second, that the normality of Shakespear's sexual
constitution is only too well attested by the excessive susceptibility
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