| The first excerpt represents the past or something you must release, and is drawn from Mistress Wilding by Rafael Sabatini: The lawyer's full face was usually pale; to-night it was, in addition,
solemn, and the smile that haunted his lips was a courtesy smile that
expressed neither mirth nor satisfaction. He cleared his throat, as if
nervous. He avoided the Duke's question as to the quality of the news
he brought by answering that he had made all haste to come to Lyme upon
hearing of His Grace's landing. He was surprised, he said; as well he
might be, for the arrangement was that having done his work he was to
return to Holland and report to Monmouth upon the feeling of the gentry.
"But your news, Battiscomb," the Duke insisted. "Aye," put in Grey; "
in Heaven's name, let us hear that."
Again there was the little nervous cough from Battiscomb. "I have
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Faith of Men by Jack London: their fires, had another version. The assistant was a shrunken-
shouldered, hollow-chested man, with a cadaverous face and
cavernous cheeks that his sparse black beard could not hide. He
coughed much, as though consumption gripped his lungs, while his
eyes had that mad, fevered light common to consumptives in the last
stage. Pentley was his name--Amos Pentley--and Bonner did not like
him, though he felt a pity for the forlorn and hopeless devil.
They did not get along together, these two men who, of all men,
should have been on good terms in the face of the cold and silence
and darkness of the long winter.
In the end, Bonner concluded that Amos was partly demented, and
|
The third excerpt represents the future or something you must embrace, and is drawn from Lesser Hippias by Plato: writings are separated from his later ones by as wide an interval of
philosophical speculation as that which separates his later writings from
Aristotle.
The dialogues which have been translated in the first Appendix, and which
appear to have the next claim to genuineness among the Platonic writings,
are the Lesser Hippias, the Menexenus or Funeral Oration, the First
Alcibiades. Of these, the Lesser Hippias and the Funeral Oration are cited
by Aristotle; the first in the Metaphysics, the latter in the Rhetoric.
Neither of them are expressly attributed to Plato, but in his citation of
both of them he seems to be referring to passages in the extant dialogues.
From the mention of 'Hippias' in the singular by Aristotle, we may perhaps
|
