| The first excerpt represents the past or something you must release, and is drawn from The Works of Samuel Johnson by Samuel Johnson: forgiveness. We know not to what degree of malignity
any injury is to be imputed; or how much its guilt,
if we were to inspect the mind of him that committed
it, would be extenuated by mistake, precipitance,
or negligence; we cannot be certain how
much more we feel than was intended to be inflicted,
or how much we increase the mischief to ourselves
by voluntary aggravations. We may charge to design
the effects of accident; we may think the blow
violent only because we have made ourselves delicate
and tender; we are on every side in danger of errour
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Purse by Honore de Balzac: the art of compromise, which was the moving genius of that period
of shifting politics. Is it not a rare merit to be able to take
the measure of the time? This coat, which the young men of the
present day may conceive to be fabulous, was neither civil nor
military, and might pass for civil or military by turns. Fleurs-
de-lis were embroidered on the lapels of the back skirts. The
gilt buttons also bore fleurs-de-lis; on the shoulders a pair of
straps cried out for useless epaulettes; these military
appendages were there like a petition without a recommendation.
This old gentleman's coat was of dark blue cloth, and the
buttonhole had blossomed into many colored ribbons. He, no doubt,
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The third excerpt represents the future or something you must embrace, and is drawn from Polity of Athenians and Lacedaemonians by Xenophon: Xenophon and Plato, the very demigods of literature, though they
had sat at the feet of Socrates, sometimes forget themselves in
the pursuit of such pretty conceits? The former in his account of
the Spartan Polity has these words: 'Their voice you would no more
hear, than if they were of marble, their gaze is as immovable as
if they were cast in bronze. You would deem them more modest than
the very maidens in their eyes.' To speak of the pupils of the
eyes as modest maidens was a piece of absurdity becoming
Amphicrates rather than Xenophon; and then what a strange notion
to suppose that modesty is always without exception, expressed in
the eye!"--H. L. Howell, "Longinus," p. 8. See "Spectator," No.
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