| The first excerpt represents the past or something you must release, and is drawn from In the Cage by Henry James: found her account in the slowness--she certainly could bear it if
HE could. The great pang was that just thereabouts post-offices
were so awfully thick. She was always seeing him in imagination in
other places and with other girls. But she would defy any other
girl to follow him as she followed. And though they weren't, for
so many reasons, quick at Cocker's, she could hurry for him when,
through an intimation light as air, she gathered that he was
pressed.
When hurry was, better still, impossible, it was because of the
pleasantest thing of all, the particular element of their contact--
she would have called it their friendship--that consisted of an
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Ion by Plato: thing which any man might say: that when a man has acquired a knowledge of
a whole art, the enquiry into good and bad is one and the same. Let us
consider this matter; is not the art of painting a whole?
ION: Yes.
SOCRATES: And there are and have been many painters good and bad?
ION: Yes.
SOCRATES: And did you ever know any one who was skilful in pointing out
the excellences and defects of Polygnotus the son of Aglaophon, but
incapable of criticizing other painters; and when the work of any other
painter was produced, went to sleep and was at a loss, and had no ideas;
but when he had to give his opinion about Polygnotus, or whoever the
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The third excerpt represents the future or something you must embrace, and is drawn from Charmides by Plato: world of scholars; yet he himself may be excused for thinking it a kind of
glory to have lived so many years in the companionship of one of the
greatest of human intelligences, and in some degree, more perhaps than
others, to have had the privilege of understanding him (Sir Joshua
Reynolds' Lectures: Disc. xv.).
There are fundamental differences in Greek and English, of which some may
be managed while others remain intractable. (1). The structure of the
Greek language is partly adversative and alternative, and partly
inferential; that is to say, the members of a sentence are either opposed
to one another, or one of them expresses the cause or effect or condition
or reason of another. The two tendencies may be called the horizontal and
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