| The first excerpt represents the past or something you must release, and is drawn from Charmides by Plato: Platonic 'Ideas.' He supposes that in the mind of Plato they took, at
different times in his life, two essentially different forms:--an earlier
one which is found chiefly in the Republic and the Phaedo, and a later,
which appears in the Theaetetus, Philebus, Sophist, Politicus, Parmenides,
Timaeus. In the first stage of his philosophy Plato attributed Ideas to
all things, at any rate to all things which have classes or common notions:
these he supposed to exist only by participation in them. In the later
Dialogues he no longer included in them manufactured articles and ideas of
relation, but restricted them to 'types of nature,' and having become
convinced that the many cannot be parts of the one, for the idea of
participation in them he substituted imitation of them. To quote Dr.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Recruit by Honore de Balzac: hopes, and so increase the strength of her illusions.
"Ah! madame, he will come. He is not far off. I haven't a doubt he is
living, and on his way," replied Brigitte. "I put a key in the Bible,
and I held it on my fingers while Cottin read a chapter in the gospel
of Saint John; and, madame, the key never turned at all!"
"Is that a good sign?" asked the countess.
"Oh! madame, that's a well-known sign. I would wager my salvation, he
still lives. God would not so deceive us."
"Ah! if he would only come--no matter for his danger here."
"Poor Monsieur Auguste!" cried Brigitte, "he must be toiling along the
roads on foot."
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The third excerpt represents the future or something you must embrace, and is drawn from Study of a Woman by Honore de Balzac: those extremely clever young men who try all things, and seem to sound
others to discover what the future has in store. While awaiting the
age of ambition, he scoffs at everything; he has grace and
originality, two rare qualities because the one is apt to exclude the
other. On this occasion he talked for nearly half an hour with madame
de Listomere, without any predetermined idea of pleasing her. As they
followed the caprices of conversation, which, beginning with the opera
of "Guillaume Tell," had reached the topic of the duties of women, he
looked at the marquise, more than once, in a manner that embarrassed
her; then he left her and did not speak to her again for the rest of
the evening. He danced, played at ecarte, lost some money, and went
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