| The first excerpt represents the past or something you must release, and is drawn from Sense and Sensibility by Jane Austen: only a few days before! But these objections had all,
with that happy ardour of youth which Marianne and her mother
equally shared, been overcome or overlooked; and Elinor,
in spite of every occasional doubt of Willoughby's constancy,
could not witness the rapture of delightful expectation
which filled the whole soul and beamed in the eyes
of Marianne, without feeling how blank was her own prospect,
how cheerless her own state of mind in the comparison,
and how gladly she would engage in the solicitude of
Marianne's situation to have the same animating object
in view, the same possibility of hope. A short, a very
Sense and Sensibility |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Long Odds by H. Rider Haggard: into the waggon and had a good sleep till half-past two or so in the
afternoon, when I rose and cooked some meat, and had my dinner, washing
it down with a pannikin of black coffee--for it was difficult to get
preserved milk in those days. Just as I had finished, and the driver, a
man called Tom, was washing up the things, in comes the young scoundrel
of a voorlooper driving one ox before him.
"'Where are the other oxen?' I asked.
"'Koos!' he said, 'Koos! the other oxen have gone away. I turned my
back for a minute, and when I looked round again they were all gone
except Kaptein, here, who was rubbing his back against a tree.'
"'You mean that you have been asleep, and let them stray, you villain.
Long Odds |
The third excerpt represents the future or something you must embrace, and is drawn from Charmides by Plato: 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
conclusive. No arrangement of the Platonic dialogues can be strictly
chronological. The order which has been adopted is intended mainly for the
convenience of the reader; at the same time, indications of the date
supplied either by Plato himself or allusions found in the dialogues have
not been lost sight of. Much may be said about this subject, but the
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