| The first excerpt represents the past or something you must release, and is drawn from Grimm's Fairy Tales by Brothers Grimm: locked the door safe when you came away.' 'No,' answered she, 'you did
not tell me.' 'Then go home, and do it now before we go any farther,'
said Frederick, 'and bring with you something to eat.'
Catherine did as he told her, and thought to herself by the way,
'Frederick wants something to eat; but I don't think he is very fond
of butter and cheese: I'll bring him a bag of fine nuts, and the
vinegar, for I have often seen him take some.'
When she reached home, she bolted the back door, but the front door
she took off the hinges, and said, 'Frederick told me to lock the
door, but surely it can nowhere be so safe if I take it with me.' So
she took her time by the way; and when she overtook her husband she
Grimm's Fairy Tales |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Memoir of Fleeming Jenkin by Robert Louis Stevenson: a steam launch, called the PURGLE, the Styrian corruption of
Walpurga, after a friend to be hereafter mentioned. 'The steam
launch goes,' Fleeming wrote. 'I wish you had been present to
describe two scenes of which she has been the occasion already:
one during which the population of Ullapool, to a baby, was
harnessed to her hurrahing - and the other in which the same
population sat with its legs over a little pier, watching Frewen
and Bernie getting up steam for the first time.' The PURGLE was
got with educational intent; and it served its purpose so well, and
the boys knew their business so practically, that when the summer
was at an end, Fleeming, Mrs. Jenkin, Frewen the engineer, Bernard
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The third excerpt represents the future or something you must embrace, and is drawn from Ion by Plato: professes to have all knowledge, which is derived by him from Homer, just
as the sophist professes to have all wisdom, which is contained in his art
of rhetoric. Even more than the sophist he is incapable of appreciating
the commonest logical distinctions; he cannot explain the nature of his own
art; his great memory contrasts with his inability to follow the steps of
the argument. And in his highest moments of inspiration he has an eye to
his own gains.
The old quarrel between philosophy and poetry, which in the Republic leads
to their final separation, is already working in the mind of Plato, and is
embodied by him in the contrast between Socrates and Ion. Yet here, as in
the Republic, Socrates shows a sympathy with the poetic nature. Also, the
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