| The first excerpt represents the past or something you must release, and is drawn from Life in the Iron-Mills by Rebecca Davis: people, and then they began to talk of something else.
Nineteen years! How easy that was to read! What a simple word
for Judge Day to utter! Nineteen years! Half a lifetime!
Hugh Wolfe sat on the window-ledge of his cell, looking out.
His ankles Were ironed. Not usual in such cases; but he had
made two desperate efforts to escape. "Well," as Haley, the
jailer, said, "small blame to him! Nineteen years' inprisonment
was not a pleasant thing to look forward to." Haley was very
good-natured about it, though Wolfe had fought him savagely.
"When he was first caught," the jailer said afterwards, in
telling the story, "before the trial, the fellow was cut down at
Life in the Iron-Mills |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Puck of Pook's Hill by Rudyard Kipling: is a splendid place. It is lighted by a foot-square window,
called Duck Window, that looks across to Little Lindens
Farm, and the spot where Jack Cade was killed.
When they had climbed the attic ladder (they called it
'the mainmast tree', out of the ballad of Sir Andrew
Barton, and Dan 'swarved it with might and main', as the
ballad says) they saw a man sitting on Duck Window-sill.
He was dressed in a plum-coloured doublet and tight
plum-coloured hose, and he drew busily in a red-edged book.
'Sit ye! Sit ye!' Puck cried from a rafter overhead. 'See
what it is to be beautiful! Sir Harry Dawe - pardon, Hal -
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The third excerpt represents the future or something you must embrace, and is drawn from Protagoras by Plato: a great extent remain uncertain. (3) There is another class of
difficulties, which may be ascribed to preconceived notions of
commentators, who imagine that Protagoras the Sophist ought always to be in
the wrong, and his adversary Socrates in the right; or that in this or that
passage--e.g. in the explanation of good as pleasure--Plato is inconsistent
with himself; or that the Dialogue fails in unity, and has not a proper
beginning, middle, and ending. They seem to forget that Plato is a
dramatic writer who throws his thoughts into both sides of the argument,
and certainly does not aim at any unity which is inconsistent with freedom,
and with a natural or even wild manner of treating his subject; also that
his mode of revealing the truth is by lights and shadows, and far-off and
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