| The first excerpt represents the past or something you must release, and is drawn from Phaedrus by Plato: towards the god Love, and as worthy only of some haunt of sailors to which
good manners were unknown. The meaning of this and other wild language to
the same effect, which is introduced by way of contrast to the formality of
the two speeches (Socrates has a sense of relief when he has escaped from
the trammels of rhetoric), seems to be that the two speeches proceed upon
the supposition that love is and ought to be interested, and that no such
thing as a real or disinterested passion, which would be at the same time
lasting, could be conceived. 'But did I call this "love"? O God, forgive
my blasphemy. This is not love. Rather it is the love of the world. But
there is another kingdom of love, a kingdom not of this world, divine,
eternal. And this other love I will now show you in a mystery.'
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Tapestried Chamber by Walter Scott: strongly prevailed among the domestics, and was also known in the
neighbourhood and to many of my friends, I feared some prejudice
might be entertained by the first occupant of the Tapestried
Chamber, which might tend to revive the evil report which it had
laboured under, and so disappoint my purpose of rendering it a
useful part or the house. I must confess, my dear Browne, that
your arrival yesterday, agreeable to me for a thousand reasons
besides, seemed the most favourable opportunity of removing the
unpleasant rumours which attached to the room, since your courage
was indubitable, and your mind free of any preoccupation on the
subject. I could not, therefore, have chosen a more fitting
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The third excerpt represents the future or something you must embrace, and is drawn from Hermione's Little Group of Serious Thinkers by Don Marquis: of Hamlet in him."
"Yes, a strain of Hamlet," said Voke Easeley.
"A strain of Hamlet in his nature, Aurelia -- and
more than a strain of Tristram!"
"It is a thing that Maeterlinck should have writ-
ten, in his earlier manner," said Mrs. Voke Easeley.
"The story has its Irish counterpart, too," said
Leila Brown, who rather specializes, you know, on
all those lovely Lady Gregory things. "I have al-
ways wondered why Yeats or Synge hasn't used it."
"The essential story is older than Ireland," said
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