| The first excerpt represents the past or something you must release, and is drawn from Criminal Sociology by Enrico Ferri: to the latter, and inborn and habitual crime to the former. With
the born criminal it is, above all, the lack or the weakness of
moral sense which fails to withstand crime, whereas with the
occasional criminal the moral sense is almost normal, but
inability to realise beforehand the consequences of his act causes
him to yield to external influences.
Every man, however pure and honest he may be, is conscious now and
then of a transitory notion of some dishonest or criminal action.
But with the honest man, exactly because he is physically and
morally normal, this notion of crime, which simultaneously summons
up the idea of its grievous consequences, glances off the surface
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Christ in Flanders by Honore de Balzac: languid had grown the soul that was melted within me. The west wind
had slackened the springs of my intelligence. A cold gray light poured
down from the heavens, and the murky clouds that passed overhead gave
a boding look to the land; all these things, together with the
immensity of the sea, said to me, "Die to-day or die to-morrow, still
must we not die?" And then--I wandered on, musing on the doubtful
future, on my blighted hopes. Gnawed by these gloomy thoughts, I
turned mechanically into the convent church, with the gray towers that
loomed like ghosts though the sea mists. I looked round with no
kindling of the imagination at the forest of columns, at the slender
arches set aloft upon the leafy capitals, a delicate labyrinth of
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The third excerpt represents the future or something you must embrace, and is drawn from Gorgias by Plato: spirit of Plato, and the amount of direct evidence which can be urged in
support of them. When a theory is running away with us, criticism does a
friendly office in counselling moderation, and recalling us to the
indications of the text.
Like the Phaedrus, the Gorgias has puzzled students of Plato by the
appearance of two or more subjects. Under the cover of rhetoric higher
themes are introduced; the argument expands into a general view of the good
and evil of man. After making an ineffectual attempt to obtain a sound
definition of his art from Gorgias, Socrates assumes the existence of a
universal art of flattery or simulation having several branches:--this is
the genus of which rhetoric is only one, and not the highest species. To
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