| The first excerpt represents the past or something you must release, and is drawn from Eve and David by Honore de Balzac: that I cannot speak."
"Hurrah for the writer of The Archer of Charles IX.! . . . Hurrah for
the poet of the Marguerites! . . . Long live Lucien de Rubempre!"
After these three salvos, taken up by some few voices, three crowns
and a quantity of bouquets were adroitly flung into the room through
the open window. Ten minutes later the Place du Murier was empty, and
silence prevailed in the streets.
"I would rather have ten thousand francs," said old Sechard, fingering
the bouquets and garlands with a satirical expression. "You gave them
daisies, and they give you posies in return; you deal in flowers."
"So that is your opinion of the honors shown me by my fellow-townsmen,
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Parmenides by Plato: constant process of growth and transmutation; sometimes veiled in poetry
and mythology, then again emerging as fixed Ideas, in some passages
regarded as absolute and eternal, and in others as relative to the human
mind, existing in and derived from external objects as well as transcending
them. The anamnesis of the Ideas is chiefly insisted upon in the mythical
portions of the dialogues, and really occupies a very small space in the
entire works of Plato. Their transcendental existence is not asserted, and
is therefore implicitly denied in the Philebus; different forms are
ascribed to them in the Republic, and they are mentioned in the Theaetetus,
the Sophist, the Politicus, and the Laws, much as Universals would be
spoken of in modern books. Indeed, there are very faint traces of the
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The third excerpt represents the future or something you must embrace, and is drawn from The Underdogs by Mariano Azuela: I barely make a living with the sweat of my brow. Don't
be hard on a poor widower!"
"Don't you worry about women, Uncle," said Meco,
who was rubbing his feet with tallow, "we've got War
Paint here with us; you can have her for nothing."
The man smiled bitterly.
"She's only got one fault," Pancracio observed,
stretched out on the ground, staring at the blue sky,
"she goes mad over any man she sees."
They laughed loudly; but Venancio with utmost gravity
pointed to the chapel door. The stranger entered timidly
The Underdogs |
