| The first excerpt represents the past or something you must release, and is drawn from The Apology by Xenophon: The Memorabilia 4
The Symposium 1
The Economist 1
On Horsemanship 1
The Sportsman 1
The Cavalry General 1
The Apology 1
On Revenues 1
The Hiero 1
The Agesilaus 1
The Polity of the Athenians and the Lacedaemonians 2
The Apology |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Burning Daylight by Jack London: of departure. The three machines stood like weird night monsters
at the gravelled foot of the wide stairway under the unlighted
porte-cochere. It was a dark night, and the lights of the
motor-cars cut as sharply through the blackness as knives would
cut through solid substance. The obsequious lackey--the
automatic genie of the house which belonged to none of the three
men,--stood like a graven statue after having helped them in.
The fur-coated chauffeurs bulked dimly in their seats. One after
the other, like spurred steeds, the cars leaped into the
blackness, took the curve of the driveway, and were gone.
Daylight's car was the last, and, peering out, he caught a
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The third excerpt represents the future or something you must embrace, and is drawn from Philebus by Plato: Plato, though not a Pantheist, and very far from confounding God with the
world, tends to identify the first with the final cause. The cause of the
union of the finite and infinite might be described as a higher law; the
final measure which is the highest expression of the good may also be
described as the supreme law. Both these conceptions are realized chiefly
by the help of the material world; and therefore when we pass into the
sphere of ideas can hardly be distinguished.
The four principles are required for the determination of the relative
places of pleasure and wisdom. Plato has been saying that we should
proceed by regular steps from the one to the many. Accordingly, before
assigning the precedence either to good or pleasure, he must first find out
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