| The first excerpt represents the past or something you must release, and is drawn from Tattine by Ruth Ogden [Mrs. Charles W. Ide]: was not more than a foot and a half from the ground, and it was filled with
all sorts of weeds that flourished without sunshine. Still the little puppy
cries were persistently wafted out from some remote corner, and, pulling off
his jacket, Rudolph started to crawl in and investigate. It did not seem
possible that he could make his way, for the place was not high enough for him
even to crawl on his hands and knees, and he had rather to worm himself along
on his elbows in quite indescribable fashion. Still, Tattine and Mabel were
more than ready to have him try, and waited patiently, bending over with their
hands upon their knees, and gazing in through the weed-grown hole in
breathless, excited fashion.
"I believe I'll have to give it up," Rudolph called back; "the cries seem as
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Alexandria and her Schools by Charles Kingsley: maintained, and truly, that Porphyry, Proclus, and the rest, had
entirely misunderstood Aristotle, when they attempted to reconcile him
with Plato, or incorporate his philosophy into Platonism. Aristotle was
henceforth the text-book of Arab savants. It was natural enough. The
Mussulman mind was trained in habits of absolute obedience to the
authority of fixed dogmas. All those attempts to follow out metaphysic
to its highest object, theology, would be useless if not wrong in the
eyes of a Mussulman, who had already his simple and sharply-defined
creed on all matters relating to the unseen world. With him metaphysic
was a study altogether divorced from man's higher life and aspirations.
So also were physics. What need had he of Cosmogonies? what need to
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The third excerpt represents the future or something you must embrace, and is drawn from Hiero by Xenophon: Euphrosyne."
[38] For {polu diapherontos} cf. Browning ("Abt Vogler"), not indeed
of Aphrodisia conjoined with Eros, but of the musician's gift:
That out of three sounds he frame not a fourth sound, but a
star.
[39] i.e. "Eros, the Lord of Passion, must lend his hand." "But," he
proceeds, "the god is coy; he has little liking for the breasts of
kings. He is more likely to be found in the cottage of the peasant
than the king's palace."
But least of all is true love's passion wont to lodge in the hearts of
monarchs, for love delights not to swoop on ready prey; he needs the
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