| The first excerpt represents the past or something you must release, and is drawn from The Iron Puddler by James J. Davis: to face with a raw continent in their fight with Nature. And by
their muscle they drove Nature back and she surrendered. She went
down like crumpled Germany, and she signed a treaty. Hard were
the treaty terms our fighting fathers made with Nature. They took
an indemnity. She delivered to them more houses than her cyclones
had destroyed, she furnished them millions of cattle in place of
the wild deer and buffalo. She yielded up her coal regions to
warm them in payment for the torture her winters had inflicted.
By this treaty she gave them everything she had and promised to
be good.
We are the inheritors of the good things of that peace treaty.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Road to Oz by L. Frank Baum: body to push the words out of its mouth. It's a very slimpsy affair
altogether, that bear rug, and the old woman is sorry it came to life.
Every day she has to scold it, and make it lie down flat on the parlor
floor to be walked upon; but sometimes when she goes to market the
rug will hump up its back skin, and stand on its four feet, and trot
along after her."
"I should think Dyna would like that," said Dorothy.
"Well, she doesn't; because every one knows it isn't a real bear, but
just a hollow skin, and so of no actual use in the world except for a
rug," answered the Tin Woodman. "Therefore I believe it is a good
thing that all the Magic Powder of Life is now used up, as it can not
The Road to Oz |
The third excerpt represents the future or something you must embrace, and is drawn from Menexenus by Plato: a Platonic authorship. In reference to the last point we are doubtful, as
in some of the other dialogues, whether the author is asserting or
overthrowing the paradox of Socrates, or merely following the argument
'whither the wind blows.' That no conclusion is arrived at is also in
accordance with the character of the earlier dialogues. The resemblances
or imitations of the Gorgias, Protagoras, and Euthydemus, which have been
observed in the Hippias, cannot with certainty be adduced on either side of
the argument. On the whole, more may be said in favour of the genuineness
of the Hippias than against it.
The Menexenus or Funeral Oration is cited by Aristotle, and is interesting
as supplying an example of the manner in which the orators praised 'the
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