| The first excerpt represents the past or something you must release, and is drawn from Caesar's Commentaries in Latin by Julius Caesar: silvarum quae intercederent inter ipsos atque Ariovistum, aut rem
frumentariam, ut satis commode supportari posset, timere dicebant. Non
nulli etiam Caesari nuntiabant, cum castra moveri ac signa ferri
iussisset, non fore dicto audientes milites neque propter timorem signa
laturos.
Haec cum animadvertisset, convocato consilio omniumque ordinum ad id
consilium adhibitis centurionibus, vehementer eos incusavit: primum, quod
aut quam in partem aut quo consilio ducerentur sibi quaerendum aut
cogitandum putarent. Ariovistum se consule cupidissime populi Romani
amicitiam adpetisse; cur hunc tam temere quisquam ab officio discessurum
iudicaret? Sibi quidem persuaderi cognitis suis poslulatis atque
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Adam Bede by George Eliot: her pale cheek as she put her hand in his and looked up at him
timidly.
"It's an errand to you brought me, Dinah," said Adam, apparently
unconscious that he was holding her hand all the while; "mother's
a bit ailing, and she's set her heart on your coming to stay the
night with her, if you'll be so kind. I told her I'd call and ask
you as I came from the village. She overworks herself, and I
can't persuade her to have a little girl t' help her. I don't
know what's to be done."
Adam released Dinah's hand as he ceased speaking, and was
expecting an answer, but before she had opened her lips Mrs.
Adam Bede |
The third excerpt represents the future or something you must embrace, and is drawn from Symposium by Plato: touch of Socratic irony, (8) which admits of a wide application and reveals
a deep insight into the world:--that in speaking of holy things and persons
there is a general understanding that you should praise them, not that you
should speak the truth about them--this is the sort of praise which
Socrates is unable to give. Lastly, (9) we may remark that the banquet is
a real banquet after all, at which love is the theme of discourse, and huge
quantities of wine are drunk.
The discourse of Phaedrus is half-mythical, half-ethical; and he himself,
true to the character which is given him in the Dialogue bearing his name,
is half-sophist, half-enthusiast. He is the critic of poetry also, who
compares Homer and Aeschylus in the insipid and irrational manner of the
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