| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Red Badge of Courage by Stephen Crane: by lucky chances, he said, before they had had
opportunities to flee or before they had been
really tested. Yet they would receive laurels
from tradition. He cried out bitterly that their
crowns were stolen and their robes of glori-
ous memories were shams. However, he still
said that it was a great pity he was not as
they.
A defeat of the army had suggested itself to
him as a means of escape from the consequences
of his fall. He considered, now, however, that it
The Red Badge of Courage |
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Eryxias by Platonic Imitator: have been acquainted with the 'Laws' of Plato (compare Laws). An incident
from the Symposium is rather clumsily introduced, and two somewhat
hackneyed quotations (Symp., Gorg.) recur. The reference to the death of
Archelaus as having occurred 'quite lately' is only a fiction, probably
suggested by the Gorgias, where the story of Archelaus is told, and a
similar phrase occurs;--ta gar echthes kai proen gegonota tauta, k.t.l.
There are several passages which are either corrupt or extremely ill-
expressed. But there is a modern interest in the subject of the dialogue;
and it is a good example of a short spurious work, which may be attributed
to the second or third century before Christ.
ERYXIAS
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| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Charmides by Plato: 'lacquey by the side of his author, but to mount up behind him.'
(Dedication to the Aeneis.) He must carry in his mind a comprehensive view
of the whole work, of what has preceded and of what is to follow,--as well
as of the meaning of particular passages. His version should be based, in
the first instance, on an intimate knowledge of the text; but the precise
order and arrangement of the words may be left to fade out of sight, when
the translation begins to take shape. He must form a general idea of the
two languages, and reduce the one to the terms of the other. His work
should be rhythmical and varied, the right admixture of words and
syllables, and even of letters, should be carefully attended to; above all,
it should be equable in style. There must also be quantity, which is
|
The fourth excerpt represents the element of Earth. It speaks of physical influences and the impact of the unseen on the visible world, and is drawn from The Chouans by Honore de Balzac: Sacred Heart. Above this sign were the words, "Marie Lambrequin," no
doubt the man's name.
"Look at that, Clef-des-Coeurs," said Beau-Pied; "it would take you a
hundred years to find out what that accoutrement is good for."
"What should I know about the Pope's uniform?" replied Clef-des-Coeurs,
scornfully.
"You worthless bog-trotter, you'll never learn anything," retorted
Beau-Pied. "Don't you see that they've promised that poor fool that he
shall live again, and he has painted his gizzard in order to find
himself?"
At this sally--which was not without some foundation--even Hulot
The Chouans |
