| The first excerpt represents the past or something you must release, and is drawn from The Case of the Golden Bullet by Grace Isabel Colbron and Augusta Groner: kindest-hearted man in the world, he is a human bloodhound when
once the lure of the trail has caught him. He scarcely eats or
sleeps when the chase is on, he does not seem to know human
weakness nor fatigue, in spite of his frail body. Once put on
a case his mind delves and delves until it finds a clue, then
something awakes within him, a spirit akin to that which holds
the bloodhound nose to trail, and he will accomplish the apparently
impossible, he will track down his victim when the entire machinery
of a great police department seems helpless to discover anything.
The high chiefs and commissioners grant a condescending permission
when Muller asks, "May I do this? ... or may I handle this case
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Charmides by Plato: religious association, it disturbs the even flow of the style. It may be
used to reproduce in the translation the quaint effect of some antique
phrase in the original, but rarely; and when adopted, it should have a
certain freshness and a suitable 'entourage.' It is strange to observe
that the most effective use of Scripture phraseology arises out of the
application of it in a sense not intended by the author. (c) Another
caution: metaphors differ in different languages, and the translator will
often be compelled to substitute one for another, or to paraphrase them,
not giving word for word, but diffusing over several words the more
concentrated thought of the original. The Greek of Plato often goes beyond
the English in its imagery: compare Laws, (Greek); Rep.; etc. Or again the
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The third excerpt represents the future or something you must embrace, and is drawn from Theaetetus by Plato: account of him. His philosophy may be resolved into two elements--first,
change, secondly, law or measure pervading the change: these he saw
everywhere, and often expressed in strange mythological symbols. But he
has no analysis of sensible perception such as Plato attributes to him; nor
is there any reason to suppose that he pushed his philosophy into that
absolute negation in which Heracliteanism was sunk in the age of Plato. He
never said that 'change means every sort of change;' and he expressly
distinguished between 'the general and particular understanding.' Like a
poet, he surveyed the elements of mythology, nature, thought, which lay
before him, and sometimes by the light of genius he saw or seemed to see a
mysterious principle working behind them. But as has been the case with
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