| The first excerpt represents the past or something you must release, and is drawn from Tales of the Klondyke by Jack London: instantly challenge. Thus it was with Floyd Vanderlip. Flossie
was coming, and a low buzz went up when Loraine Lisznayi rode down
the main street behind his wolf-dogs. She accompanied the lady
reporter of the "Kansas City Star" when photographs were taken of
his Bonanza properties, and watched the genesis of a six-column
article. At that time they were dined royally in Flossie's cabin,
on Flossie's table linen. Likewise there were comings and goings,
and junketings, all perfectly proper, by the way, which caused the
men to say sharp things and the women to be spiteful. Only Mrs.
Eppingwell did not hear. The distant hum of wagging tongues rose
faintly, but she was prone to believe good of people and to close
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Philebus by Plato: of the Philebus to the Republic, and to other dialogues.
I. The paradox of the one and many originated in the restless dialectic of
Zeno, who sought to prove the absolute existence of the one by showing the
contradictions that are involved in admitting the existence of the many
(compare Parm.). Zeno illustrated the contradiction by well-known examples
taken from outward objects. But Socrates seems to intimate that the time
had arrived for discarding these hackneyed illustrations; such difficulties
had long been solved by common sense ('solvitur ambulando'); the fact of
the co-existence of opposites was a sufficient answer to them. He will
leave them to Cynics and Eristics; the youth of Athens may discourse of
them to their parents. To no rational man could the circumstance that the
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The third excerpt represents the future or something you must embrace, and is drawn from De Profundis by Oscar Wilde: of Chopin's music. It is in the discontent that haunts Burne-
Jones's women. Even Matthew Arnold, whose song of Callicles tells
of 'the triumph of the sweet persuasive lyre,' and the 'famous
final victory,' in such a clear note of lyrical beauty, has not a
little of it; in the troubled undertone of doubt and distress that
haunts his verses, neither Goethe nor Wordsworth could help him,
though he followed each in turn, and when he seeks to mourn for
THYRSIS or to sing of the SCHOLAR GIPSY, it is the reed that he has
to take for the rendering of his strain. But whether or not the
Phrygian Faun was silent, I cannot be. Expression is as necessary
to me as leaf and blossoms are to the black branches of the trees
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