| The first excerpt represents the past or something you must release, and is drawn from The Scarlet Letter by Nathaniel Hawthorne: infirmity had no business to touch. His voice and laugh, which
perpetually re-echoed through the Custom-House, had nothing of
the tremulous quaver and cackle of an old man's utterance; they
came strutting out of his lungs, like the crow of a cock, or the
blast of a clarion. Looking at him merely as an animal -- and
there was very little else to look at -- he was a most
satisfactory object, from the thorough healthfulness and
wholesomeness of his system, and his capacity, at that extreme
age, to enjoy all, or nearly all, the delights which he had ever
aimed at or conceived of. The careless security of his life in
the Custom-House, on a regular income, and with but slight and
The Scarlet Letter |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Z. Marcas by Honore de Balzac: to be tied by the absurdities of the Contract; it is bound, ready to
be the victim.
"Louis XIV., Napoleon, England, all were or are eager for intelligent
youth. In France the young are condemned by the new legislation, by
the blundering principles of elective rights, by the unsoundness of
the ministerial constitution.
"Look at the elective Chamber; you will find no deputies of thirty;
the youth of Richelieu and of Mazarin, of Turenne and of Colbert, of
Pitt and of Saint-Just, of Napoleon and of Prince Metternich, would
find no admission there; Burke, Sheridan, or Fox could not win seats.
Even if political majority had been fixed at one-and-twenty, and
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The third excerpt represents the future or something you must embrace, and is drawn from Ion by Plato: know.
SOCRATES: Well, but is the art of the rhapsode the art of the general?
ION: I am sure that I should know what a general ought to say.
SOCRATES: Why, yes, Ion, because you may possibly have a knowledge of the
art of the general as well as of the rhapsode; and you may also have a
knowledge of horsemanship as well as of the lyre: and then you would know
when horses were well or ill managed. But suppose I were to ask you: By
the help of which art, Ion, do you know whether horses are well managed, by
your skill as a horseman or as a performer on the lyre--what would you
answer?
ION: I should reply, by my skill as a horseman.
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