| The first excerpt represents the past or something you must release, and is drawn from From London to Land's End by Daniel Defoe: not so long. Those together might be called the Great Gallery of
Wilton, and might vie for paintings with the Gallery of Luxembourg,
in the Faubourg of Paris.
These two rooms are filled with the family pieces of the house of
Herbert, most of them by Lilly or Vandyke; and one in particular
outdoes all that I ever met with, either at home or abroad; it is
done, as was the mode of painting at that time, after the manner of
a family piece of King Charles I., with his queen and children,
which before the burning of Whitehall I remember to hang at the
east end of the Long Gallery in the palace.
This piece fills the farther end of the great room which I just now
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Secret Places of the Heart by H. G. Wells: had had any illusions about the working class possessing as a
class any profounder political wisdom or more generous public
impulses than any other class, those illusions had long since
departed. People were much the same, she thought, in every
class; there was no stratification of either rightness or
righteousness.
He found he could talk to her of his work and aims upon the
Fuel Commission and of the conflict and failure of motives he
found in himself, as freely as he had done to Dr. Martineau
and with a surer confidence of understanding. Perhaps his
talks with the doctor had got his ideas into order and made
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The third excerpt represents the future or something you must embrace, and is drawn from Beyond Good and Evil by Friedrich Nietzsche: like Buddha and Schopenhauer, under the dominion and delusion of
morality,--whoever has done this, has perhaps just thereby,
without really desiring it, opened his eyes to behold the
opposite ideal: the ideal of the most world-approving, exuberant,
and vivacious man, who has not only learnt to compromise and
arrange with that which was and is, but wishes to have it again
AS IT WAS AND IS, for all eternity, insatiably calling out de
capo, not only to himself, but to the whole piece and play; and
not only the play, but actually to him who requires the play--and
makes it necessary; because he always requires himself anew--and
makes himself necessary.--What? And this would not be--circulus
Beyond Good and Evil |
