| The first excerpt represents the past or something you must release, and is drawn from Eighteenth Brumaire of Louis Bonaparte by Karl Marx: parties and the masses of the old French revolution, achieved in Roman
costumes and with Roman phrases the task of their time: the emancipation
and the establishment of modern bourgeois society. One set knocked to
pieces the old feudal groundwork and mowed down the feudal heads that
had grown upon it; Napoleon brought about, within France, the conditions
under which alone free competition could develop, the partitioned lands
be exploited the nation's unshackled powers of industrial production be
utilized; while, beyond the French frontier, he swept away everywhere
the establishments of feudality, so far as requisite, to furnish the
bourgeois social system of France with fit surroundings of the European
continent, and such as were in keeping with the times. Once the new
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Woman and Labour by Olive Schreiner: case of the robber-barons of the Middle Ages, who lived by capturing and
despoiling all who passed by their castles; or as in the case of the share
speculators, stock-jobbers, ring-and-corner capitalists, and monopolists of
the present day, who feed upon the productive labours of society without
contributing anything to its welfare. But even males so occupied are
compelled to expend a vast amount of energy and even a low intelligence in
their callings; and, however injurious to their societies, they run no
personal risk of handing down effete and enervated constitutions to their
race. Whether beneficially or unbeneficially, the human male must,
generally speaking, employ his intellect, or his muscle, or die.
The position of the unemployed modern female is one wholly different. The
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The third excerpt represents the future or something you must embrace, and is drawn from The Wife, et al by Anton Chekhov: didn't expect me? I have come here, too. . . . I have come, too!"
She sits down and goes on, hesitating and not looking at me.
"Why don't you speak to me? I have come, too . . . today. . . . I
found out that you were in this hotel, and have come to you."
"Very glad to see you," I say, shrugging my shoulders, "but I am
surprised. You seem to have dropped from the skies. What have you
come for?"
"Oh . . . I've simply come."
Silence. Suddenly she jumps up impulsively and comes to me.
"Nikolay Stepanovitch," she says, turning pale and pressing her
hands on her bosom -- "Nikolay Stepanovitch, I cannot go on
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