| The first excerpt represents the past or something you must release, and is drawn from Apology by Plato: breathes the spirit of Socrates, but has been cast anew in the mould of
Plato.
There is not much in the other Dialogues which can be compared with the
Apology. The same recollection of his master may have been present to the
mind of Plato when depicting the sufferings of the Just in the Republic.
The Crito may also be regarded as a sort of appendage to the Apology, in
which Socrates, who has defied the judges, is nevertheless represented as
scrupulously obedient to the laws. The idealization of the sufferer is
carried still further in the Gorgias, in which the thesis is maintained,
that 'to suffer is better than to do evil;' and the art of rhetoric is
described as only useful for the purpose of self-accusation. The
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from An Episode Under the Terror by Honore de Balzac: "That is not the name, I think," he said.
"But, monsieur," Sister Marthe broke in quickly, "we have no priest
here, and----"
"In that case you should be more careful and on your guard," he
answered gently, stretching out his hand for a breviary that lay on
the table. "I do not think that you know Latin, and----"
He stopped; for, at the sight of the great emotion in the faces of the
two poor nuns, he was afraid that he had gone too far. They were
trembling, and the tears stood in their eyes.
"Do not fear," he said frankly. "I know your names and the name of
your guest. Three days ago I heard of your distress and devotion to
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The third excerpt represents the future or something you must embrace, and is drawn from Juana by Honore de Balzac: years, from day to day, all things have changed. First, I wanted
flowers here--and I have them, lovely flowers! Then I wanted--but I
want nothing now," she added, after a pause, smiling at Montefiore.
"Have you not said that you would love me always?"
"Yes, my Juana," cried Montefiore, softly, taking her round the waist
and pressing her to his heart, "yes. But let me speak to you as you
speak to God. Are you not as beautiful as Mary in heaven? Listen. I
swear to you," he continued, kissing her hair, "I swear to take that
forehead for my altar, to make you my idol, to lay at your feet all
the luxuries of the world. For you, my palace at Milan; for you my
horses, my jewels, the diamonds of my ancient family; for you, each
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