| The first excerpt represents the past or something you must release, and is drawn from A Voyage to Arcturus by David Lindsay: him.
He was nearly naked, and of gigantic build. He over-topped Maskull
by a head. His face and body were faintly phosphorescent. His eyes
- three in number - were pale green and luminous, shining like lamps.
His skin was hairless, but the hair of his head was piled up in
thick, black coils, and fastened like a woman's. His features were
absolutely tranquil, but a terrible, quiet energy seemed to lie just
underneath the surface.
Maskull addressed him. "Did the drumming come from you?"
The man shook his head.
"What is your name?"
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Cratylus by Plato: the intelligibility of language. So not without admixture and confusion
and displacement and contamination of sounds and the meanings of words, a
lower stage of language passes into a higher. Thus far we can see and no
further. When we ask the reason why this principle of analogy prevails in
all the vast domain of language, there is no answer to the question; or no
other answer but this, that there are innumerable ways in which, like
number, analogy permeates, not only language, but the whole world, both
visible and intellectual. We know from experience that it does not (a)
arise from any conscious act of reflection that the accusative of a Latin
noun in 'us' should end in 'um;' nor (b) from any necessity of being
understood,--much less articulation would suffice for this; nor (c) from
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The third excerpt represents the future or something you must embrace, and is drawn from The Wife, et al by Anton Chekhov: forms, phenomena, laws, and the multitude of ideas of my own and
other people's conditioned by them. Every moment I must have the
skill to snatch out of that vast mass of material what is most
important and necessary, and, as rapidly as my words flow, clothe
my thought in a form in which it can be grasped by the monster's
intelligence, and may arouse its attention, and at the same time
one must keep a sharp lookout that one's thoughts are conveyed,
not just as they come, but in a certain order, essential for the
correct composition of the picture I wish to sketch. Further, I
endeavour to make my diction literary, my definitions brief and
precise, my wording, as far as possible, simple and eloquent.
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