| The first excerpt represents the past or something you must release, and is drawn from She Stoops to Conquer by Oliver Goldsmith: word, a very well-looking house; antique but creditable.
MARLOW. The usual fate of a large mansion. Having first ruined the
master by good housekeeping, it at last comes to levy contributions as
an inn.
HASTINGS. As you say, we passengers are to be taxed to pay all these
fineries. I have often seen a good sideboard, or a marble
chimney-piece, though not actually put in the bill, inflame a
reckoning confoundedly.
MARLOW. Travellers, George, must pay in all places: the only
difference is, that in good inns you pay dearly for luxuries; in bad
inns you are fleeced and starved.
She Stoops to Conquer |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Oscar Wilde Miscellaneous by Oscar Wilde: Moore is also an art critic of distinction, and his learned works on
Durer (1905) and Correggio (1906) are more widely known (I am sorry
to say) than his powerful and enthralling poems.
Once again I must express my obligations to Mr. Stuart Mason for
revising and correcting the proofs of this new edition.
ROBERT ROSS
A FLORENTINE TRAGEDY--A FRAGMENT
CHARACTERS:
GUIDO BARDI, A Florentine prince
SIMONE, a merchant
BIANNA, his wife
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The third excerpt represents the future or something you must embrace, and is drawn from Charmides by Plato: far from certain, that the slighter effort preceded the greater one. (ii)
Their eristic, or rather Socratic character; they belong to the class
called dialogues of search (Greek), which have no conclusion. (iii) The
absence in them of certain favourite notions of Plato, such as the doctrine
of recollection and of the Platonic ideas; the questions, whether virtue
can be taught; whether the virtues are one or many. (iv) They have a want
of depth, when compared with the dialogues of the middle and later period;
and a youthful beauty and grace which is wanting in the later ones. (v)
Their resemblance to one another; in all the three boyhood has a great
part. These reasons have various degrees of weight in determining their
place in the catalogue of the Platonic writings, though they are not
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