| The first excerpt represents the past or something you must release, and is drawn from The Voyage Out by Virginia Woolf: right over the hotel. The rain swished with it, and immediately
there were all those sounds of windows being shut and doors slamming
violently which accompany a storm.
The room grew suddenly several degrees darker, for the wind
seemed to be driving waves of darkness across the earth. No one
attempted to eat for a time, but sat looking out at the garden,
with their forks in the air. The flashes now came frequently,
lighting up faces as if they were going to be photographed,
surprising them in tense and unnatural expressions. The clap
followed close and violently upon them. Several women half rose
from their chairs and then sat down again, but dinner was continued
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Ancient Regime by Charles Kingsley: only argument against manhood suffrage, which would admit many--but
too many, alas!--who are still mere boys in mind. To a reasonable
household suffrage it cannot apply. The man who (being almost
certainly married, and having children) can afford to rent a 5 pound
tenement in a town, or in the country either, has seen quite enough
of life, and learnt quite enough of it, to form a very fair judgment
of the man who offers to represent him in Parliament; because he has
learnt, not merely something of his own interest, or that of his
class, but--what is infinitely more important--the difference
between the pretender and the honest man.
The causes of this state of society, which is peculiar to Britain,
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The third excerpt represents the future or something you must embrace, and is drawn from The Hidden Masterpiece by Honore de Balzac: knowing this theory of art as a theory.
"Yes," continued the old man vehemently, "you draw a woman, but you do
not SEE her. That is not the way to force an entrance into the arcana
of Nature. Your hand reproduces, without an action of your mind, the
model you copied under a master. You do not search out the secrets of
form, nor follow its windings and evolutions with enough love and
perseverance. Beauty is solemn and severe, and cannot be attained in
that way; we must wait and watch its times and seasons, and clasp it
firmly ere it yields to us. Form is a Proteus less easily captured,
more skilful to double and escape, than the Proteus of fable; it is
only at the cost of struggle that we compel it to come forth in its
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