| The first excerpt represents the past or something you must release, and is drawn from The Prince by Nicolo Machiavelli: this or else to keep there a great number of cavalry and infantry. A
prince does not spend much on colonies, for with little or no expense
he can send them out and keep them there, and he offends a minority
only of the citizens from whom he takes lands and houses to give them
to the new inhabitants; and those whom he offends, remaining poor and
scattered, are never able to injure him; whilst the rest being
uninjured are easily kept quiet, and at the same time are anxious not
to err for fear it should happen to them as it has to those who have
been despoiled. In conclusion, I say that these colonies are not
costly, they are more faithful, they injure less, and the injured, as
has been said, being poor and scattered, cannot hurt. Upon this, one
The Prince |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from On the Origin of Species by Charles Darwin: Absence or rarity of transitional varieties -- Transitions in habits of
life -- Diversified habits in the same species -- Species with habits
widely different from those of their allies -- Organs of extreme perfection
-- Means of transition -- Cases of difficulty -- Natura non facit saltum --
Organs of small importance -- Organs not in all cases absolutely perfect --
The law of Unity of Type and of the Conditions of Existence embraced by the
theory of Natural Selection.
Long before having arrived at this part of my work, a crowd of difficulties
will have occurred to the reader. Some of them are so grave that to this
day I can never reflect on them without being staggered; but, to the best
of my judgment, the greater number are only apparent, and those that are
On the Origin of Species |
The third excerpt represents the future or something you must embrace, and is drawn from Cousin Pons by Honore de Balzac: countries; and still there was room for a vast studio, where Moret,
most skilful of restorers of pictures, a craftsman whom the Musee
ought to employ, was almost always at work for Magus. The rest of the
rooms on the ground floor were given up to Magus' daughter, the child
of his old age, a Jewess as beautiful as a Jewess can be when the
Semitic type reappears in its purity and nobility in a daughter of
Israel. Noemi was guarded by two servants, fanatical Jewesses, to say
nothing of an advanced-guard, a Polish Jew, Abramko by name, once
involved in a fabulous manner in political troubles, from which Elie
Magus saved him as a business speculation. Abramko, porter of the
silent, grim, deserted mansion, divided his office and his lodge with
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