| The first excerpt represents the past or something you must release, and is drawn from The Waste Land by T. S. Eliot: Line 161 ALRIGHT. This spelling occurs also in
the Hogarth Press edition -- Editor.
By the waters of Leman I sat down and wept . . .
Sweet Thames, run softly till I end my song,
Sweet Thames, run softly, for I speak not loud or long.
But at my back in a cold blast I hear
The rattle of the bones, and chuckle spread from ear to ear.
A rat crept softly through the vegetation
Dragging its slimy belly on the bank
While I was fishing in the dull canal
On a winter evening round behind the gashouse 190
The Waste Land |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Secret Adversary by Agatha Christie: "What about that crevice there?"
Julius replied in an awestricken voice:
"That's it--for sure."
They looked at each other.
"When I was in France," said Tommy reminiscently, "whenever my
batman failed to call me, he always said that he had come over
queer. I never believed it. But whether he felt it or not,
there IS such a sensation. I've got it now! Badly!"
He looked at the rock with a kind of agonized passion.
"Damn it!" he cried. "It's impossible! Five years! Think of
it! Bird's-nesting boys, picnic parties, thousands of people
Secret Adversary |
The third excerpt represents the future or something you must embrace, and is drawn from Alcibiades I by Plato: the words of Socrates. For the disparaging manner in which Schleiermacher
has spoken of this dialogue there seems to be no sufficient foundation. At
the same time, the lesson imparted is simple, and the irony more
transparent than in the undoubted dialogues of Plato. We know, too, that
Alcibiades was a favourite thesis, and that at least five or six dialogues
bearing this name passed current in antiquity, and are attributed to
contemporaries of Socrates and Plato. (1) In the entire absence of real
external evidence (for the catalogues of the Alexandrian librarians cannot
be regarded as trustworthy); and (2) in the absence of the highest marks
either of poetical or philosophical excellence; and (3) considering that we
have express testimony to the existence of contemporary writings bearing
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