| The first excerpt represents the past or something you must release, and is drawn from Pivot of Civilization by Margaret Sanger: persuasion, the moron and the imbecile from producing his large family
of feeble-minded offspring.
In my own experience, I recall vividly the case of a feeble-minded
girl who every year, for a long period, received the expert attention
of a great specialist in one of the best-known maternity hospitals of
New York City. The great obstetrician, for the benefit of interns and
medical students, performed each year a Caesarian operation upon this
unfortunate creature to bring into the world her defective, and, in
one case at least, her syphilitic, infant. ``Nelly'' was then sent to
a special room and placed under the care of a day nurse and a night
nurse, with extra and special nourishment provided. Each year she
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Virginibus Puerisque by Robert Louis Stevenson: shall please even in the intervals of active pleasing, and may
never discredit speech with uncouth manners or become
unconsciously our own burlesques. But of all unfortunates
there is one creature (for I will not call him man)
conspicuous in misfortune. This is he who has forfeited his
birthright of expression, who has cultivated artful
intonations, who has taught his face tricks, like a pet
monkey, and on every side perverted or cut off his means of
communication with his fellow-men. The body is a house of
many windows: there we all sit, showing ourselves and crying
on the passers-by to come and love us. But this fellow has
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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: payable in advance--five cents.
In Germany they always hear one thing at an opera
which has never yet been heard in America, perhaps--I
mean the closing strain of a fine solo or duet.
We always smash into it with an earthquake of applause.
The result is that we rob ourselves of the sweetest
part of the treat; we get the whiskey, but we don't get
the sugar in the bottom of the glass.
Our way of scattering applause along through an act seems
to me to be better than the Mannheim way of saving it
all up till the act is ended. I do not see how an actor
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