| The first excerpt represents the past or something you must release, and is drawn from Tarzan the Untamed by Edgar Rice Burroughs: field surrounded by innumerable comrades rather than alone
in the heart of an unexplored African wilderness. It was
typical of the man that he should be wholly indifferent to his
surroundings, although his looks entirely belied any assump-
tion that he was of particularly heroic strain.
Lieutenant Harold Percy Smith-Oldwick was fair-hatred,
blue-eyed, and slender, with a rosy, boyish face that might
have been molded more by an environment of luxury, indo-
lence, and ease than the more strenuous exigencies of life's
sterner requirements.
And not only was the young lieutenant outwardly careless
Tarzan the Untamed |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Woman and Labour by Olive Schreiner: would remain the same in volume and intensity, the forms in which it would
express itself, and, above all, the relative power of individuals to
command the gratification of their instincts and desires, would be
fundamentally altered, and in many cases inverted.
In the barbarian state of societies, where physical force dominates, it is
the most muscular and pugilistically and brutally and animally successful
male who captures and possesses the largest number of females; and no doubt
he would be justified in regarding any social change which gave to woman a
larger freedom of choice, and which would so perhaps give to the less
brutal but perhaps more intelligent male, whom the woman might select, an
equal opportunity for the gratification of his sexual wishes and for the
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The third excerpt represents the future or something you must embrace, and is drawn from Familiar Studies of Men and Books by Robert Louis Stevenson: The moral end that the author had before him in the
conception of NOTRE DAME DE PARIS was (he tells us) to
"denounce" the external fatality that hangs over men in the
form of foolish and inflexible superstition. To speak
plainly, this moral purpose seems to have mighty little to do
with the artistic conception; moreover it is very
questionably handled, while the artistic conception is
developed with the most consummate success. Old Paris lives
for us with newness of life: we have ever before our eyes the
city cut into three by the two arms of the river, the boat-
shaped island "moored" by five bridges to the different
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