| The first excerpt represents the past or something you must release, and is drawn from Charmides by Plato: successors in the Peripatetic School, is a question which has never been
determined, and probably never can be, because the solution of it depends
upon internal evidence only. To 'the height of this great argument' I do
not propose to ascend. But one little fact, not irrelevant to the present
discussion, will show how hopeless is the attempt to explain Plato out of
the writings of Aristotle. In the chapter of the Metaphysics quoted by Dr.
Jackson, about two octavo pages in length, there occur no less than seven
or eight references to Plato, although nothing really corresponding to them
can be found in his extant writings:--a small matter truly; but what a
light does it throw on the character of the entire book in which they
occur! We can hardly escape from the conclusion that they are not
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Give Me Liberty Or Give Me Death by Patrick Henry: strong alone; it is to the vigilant, the active, the brave. Besides, sir,
we have no election. If we were base enough to desire it, it is now too late
to retire from the contest. There is no retreat but in submission and slavery!
Our chains are forged! Their clanking may be heard on the plains of Boston!
The war is inevitable--and let it come! I repeat it, sir, let it come.
It is in vain, sir, to extenuate the matter. Gentlemen may cry, Peace, Peace--
but there is no peace. The war is actually begun! The next gale that sweeps
from the north will bring to our ears the clash of resounding arms!
Our brethren are already in the field! Why stand we here idle?
What is it that gentlemen wish? What would they have? Is life so dear,
or peace so sweet, as to be purchased at the price of chains and slavery?
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The third excerpt represents the future or something you must embrace, and is drawn from A Distinguished Provincial at Paris by Honore de Balzac: with conscience; of supreme power and want of principle; of treachery
and pleasure; of mental elevation and bondage--all this made his head
swim, he seemed to be watching some strange unheard-of drama.
Finot was talking with the manager. "Do you think du Bruel's piece
will pay?" he asked.
"Du Bruel has tried to do something in Beaumarchais' style. Boulevard
audiences don't care for that kind of thing; they like harrowing
sensations; wit is not much appreciated here. Everything depends on
Florine and Coralie to-night; they are bewitchingly pretty and
graceful, wear very short skirts, and dance a Spanish dance, and
possibly they may carry off the piece with the public. The whole
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