| The first excerpt represents the past or something you must release, and is drawn from Criminal Sociology by Enrico Ferri: that the responsible conductors are punished when the evil has
been done.--Similarly there ought to be some restriction upon the
right of admission to police-courts and assizes, where our women
hustle each other as the Roman women of the decline scrambled to
be present at the imperial circus-shows, and where our young men
and our hardened criminals receive lessons in the art of
committing crimes with greater smartness and precaution.
The instances which I have given, and which might be multiplied
into a preventive code as long as the penal code, prove to
demonstration how large a part is played by social factors in the
genesis of crime, and especially of occasional crime. But they
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Journey to the Center of the Earth by Jules Verne: Here was the vegetation of the tertiary period in its fullest blaze
of magnificence. Tall palms, belonging to species no longer living,
splendid palmacites, firs, yews, cypress trees, thujas,
representatives of the conifers. were linked together by a tangled
network of long climbing plants. A soft carpet of moss and hepaticas
luxuriously clothed the soil. A few sparkling streams ran almost in
silence under what would have been the shade of the trees, but that
there was no shadow. On their banks grew tree-ferns similar to those
we grow in hothouses. But a remarkable feature was the total absence
of colour in all those trees, shrubs, and plants, growing without the
life-giving heat and light of the sun. Everything seemed mixed-up and
Journey to the Center of the Earth |
The third excerpt represents the future or something you must embrace, and is drawn from The $30,000 Bequest and Other Stories by Mark Twain: friend and comrade, and with my feet together and my fingers spread
over my heart, I say, in the language of Alabama, "You do me proud.")
I stand guilty of the authorship of the article, but I did not mean
any harm. I saw by an item in the Boston ADVERTISER that a solemn,
serious critique on the English edition of my book had appeared
in the London SATURDAY REVIEW, and the idea of SUCH a literary
breakfast by a stolid, ponderous British ogre of the quill was too
much for a naturally weak virtue, and I went home and burlesqued it--
reveled in it, I may say. I never saw a copy of the real SATURDAY
REVIEW criticism until after my burlesque was written and mailed
to the printer. But when I did get hold of a copy, I found it
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