| The first excerpt represents the past or something you must release, and is drawn from On Revenues by Xenophon: {epeironto}, transl. "against those who sought to step."
Again, is any one persuaded that, looking solely to riches and money-
making, the state may find war more profitable than peace? If so, I
cannot conceive a better method to decide that question than to allow
the mind to revert[19] to the past history of the state and to note
well the sequence of events. He will discover that in times long gone
by during a period of peace vast wealth was stored up in the
acropolis, the whole of which was lavishly expended during a
subsequent period of war. He will perceive, if he examines closely,
that even at the present time we are suffering from its ill effects.
Countless sources of revenue have failed, or if they have still flowed
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Water-Babies by Charles Kingsley: And at that an old nurse, all in black, came out and talked to her,
and drew her in. And Tom turned away northward, sad and wondering;
and watched the great steamer slide away into the dusk, and the
lights on board peep out one by one, and die out again, and the
long bar of smoke fade away into the evening mist, till all was out
of sight.
And he swam northward again, day after day, till at last he met the
King of the Herrings, with a curry-comb growing out of his nose,
and a sprat in his mouth for a cigar, and asked him the way to
Shiny Wall; so he bolted his sprat head foremost, and said:
"If I were you, young Gentleman, I should go to the Allalonestone,
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The third excerpt represents the future or something you must embrace, and is drawn from The Coxon Fund by Henry James: I've told you before, your questions are rather terrible. They
come, these mere exercises of genius, to a great sum total of
poetry, of philosophy, a mighty mass of speculation, notation,
quotation. The genius is there, you see, to meet the surrender;
but there's no genius to support the defence."
"But what is there, after all, at his age, to show?"
"In the way of achievement recognised and reputation established?"
I asked. "To 'show' if you will, there isn't much, since his
writing, mostly, isn't as fine, isn't certainly as showy, as his
talk. Moreover two-thirds of his work are merely colossal projects
and announcements. 'Showing' Frank Saltram is often a poor
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