| The first excerpt represents the past or something you must release, and is drawn from Dead Souls by Nikolai Vasilievich Gogol: stain, and one of his boots worn through. Nevertheless he seemed
delighted to see his visitors.
"What?" he exclaimed. "Constantine Thedorovitch and Platon Mikhalitch?
Really I must rub my eyes! Never again in this world did I look to see
callers arriving. As a rule, folk avoid me like the devil, for they
cannot disabuse their minds of the idea that I am going to ask them
for a loan. Yes, it is my own fault, I know, but what would you? To
the end will swine cheat swine. Pray excuse my costume. You will
observe that my boots are in holes. But how can I afford to get them
mended?"
"Never mind," said Constantine. "We have come on business only. May I
Dead Souls |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Crito by Plato: when they see how widely they differ. Tell me, then, whether you agree
with and assent to my first principle, that neither injury nor retaliation
nor warding off evil by evil is ever right. And shall that be the premiss
of our argument? Or do you decline and dissent from this? For so I have
ever thought, and continue to think; but, if you are of another opinion,
let me hear what you have to say. If, however, you remain of the same mind
as formerly, I will proceed to the next step.
CRITO: You may proceed, for I have not changed my mind.
SOCRATES: Then I will go on to the next point, which may be put in the
form of a question:--Ought a man to do what he admits to be right, or ought
he to betray the right?
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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: with, not by the King's Reader, but by the police, do not involve
adultery, nor any allusion to Mrs Warren's profession, nor to the
fact that the children of any polyandrous group will, when they
grow up, inevitably be confronted, as those of Mrs Warren's group
are in my play, with the insoluble problem of their own possible
consanguinity. In short, by depending wholly on the coarse
humors and the physical fascination of sex, they comply with all
the formulable requirements of the Censorship, whereas plays in
which these humors and fascinations are discarded, and the social
problems created by sex seriously faced and dealt with,
inevitably ignore the official formula and are suppressed. If
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