| The first excerpt represents the past or something you must release, and is drawn from Beyond Good and Evil by Friedrich Nietzsche: everywhere in full bloom, and in its best springtime--which does
not mean to imply that in this case self-praise smells sweet.
Here also the instinct of the populace cries, "Freedom from all
masters!" and after science has, with the happiest results,
resisted theology, whose "hand-maid" it had been too long, it now
proposes in its wantonness and indiscretion to lay down laws for
philosophy, and in its turn to play the "master"--what am I
saying! to play the PHILOSOPHER on its own account. My memory--
the memory of a scientific man, if you please!--teems with the
naivetes of insolence which I have heard about philosophy and
philosophers from young naturalists and old physicians (not to
Beyond Good and Evil |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Songs of Innocence and Experience by William Blake: The virgins of youth and morning bear.
'Does spring hide its joy,
When buds and blossoms grow?
Does the sower
Sow by night,
Or the ploughman in darkness plough?
'Break this heavy chain,
That does freeze my bones around!
Selfish, vain,
Eternal bane,
That free love with bondage bound.'
Songs of Innocence and Experience |
The third excerpt represents the future or something you must embrace, and is drawn from End of the Tether by Joseph Conrad: of a keen chill seemed to cleave through the warm air
of the earth. At the moment of stepping into the sam-
pan to go and try for the command of the Sofala Cap-
tain Whalley shivered a little.
When on his return he landed on the quay again Venus,
like a choice jewel set low on the hem of the sky, cast
a faint gold trail behind him upon the roadstead, as
level as a floor made of one dark and polished stone.
The lofty vaults of the avenues were black--all black
overhead--and the porcelain globes on the lamp-posts
resembled egg-shaped pearls, gigantic and luminous,
End of the Tether |
