| The first excerpt represents the past or something you must release, and is drawn from Hamlet by William Shakespeare: To cast beyond our selues in our Opinions,
As it is common for the yonger sort
To lacke discretion. Come, go we to the King,
This must be knowne, being kept close might moue
More greefe to hide, then hate to vtter loue.
Exeunt.
Scena Secunda.
Enter King, Queene, Rosincrane, and Guildensterne Cum alijs.
King. Welcome deere Rosincrance and Guildensterne.
Moreouer, that we much did long to see you,
The neede we haue to vse you, did prouoke
Hamlet |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Critias by Plato: Athenian names to this dialogue, and even more singular that he should have
put into the mouth of Socrates a panegyric on him (Tim.). Yet we know that
his character was accounted infamous by Xenophon, and that the mere
acquaintance with him was made a subject of accusation against Socrates.
We can only infer that in this, and perhaps in some other cases, Plato's
characters have no reference to the actual facts. The desire to do honour
to his own family, and the connection with Solon, may have suggested the
introduction of his name. Why the Critias was never completed, whether
from accident, or from advancing age, or from a sense of the artistic
difficulty of the design, cannot be determined.
CRITIAS.
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The third excerpt represents the future or something you must embrace, and is drawn from Cromwell by William Shakespeare: Be not you so mad, sir, to believe her tears.
FRISKIBALL.
Go to, I see thou art an envious man.
Good mistress Banister, kneel not to me;
I pray rise up, you shall have your desire.
Hold; officers, be gone, there's for your pains.--
You know you owe to me a thousand pound:
Here, take my hand; if ear God make you able,
And place you in your former state again,
Pay me: but if still your fortune frown,
Upon my faith I'll never ask you crown:
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