| The first excerpt represents the past or something you must release, and is drawn from On Horsemanship by Xenophon: order of the turn is good as involving an equalisation of both sides
of the mouth, in first one, and then the other half of the
exercise.[18] But of the two we commend the oval form of the volte
rather than the circular; for the horse, being already sated with the
straight course, will be all the more ready to turn, and will be
practised at once in the straight course and in wheeling. At the
curve, he should be held up,[19] because it is neither easy nor indeed
safe when the horse is at full speed to turn sharp, especially if the
ground is broken[20] or slippery.
[17] {pede}, figure of eight.
[18] Or, "on first one and then the other half of the manege."
On Horsemanship |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from A Heap O' Livin' by Edgar A. Guest: Men understand that they must fall;
Why should they bitterly complain
When sorrows come to one and all?
Why should they mourn the passing day
That must depart along the way?
INDEX
Answering Him....................... 126
Apple Tree, The..................... 68
As Fall the Leaves.................. 188
At the Door......................... 132
Autumn at the Orchard............... 136
A Heap O' Livin' |
The third excerpt represents the future or something you must embrace, and is drawn from Critias by Plato: the true use of riches by not caring about them. But gradually the divine
portion of their souls became diluted with too much of the mortal
admixture, and they began to degenerate, though to the outward eye they
appeared glorious as ever at the very time when they were filled with all
iniquity. The all-seeing Zeus, wanting to punish them, held a council of
the gods, and when he had called them together, he spoke as follows:--
No one knew better than Plato how to invent 'a noble lie.' Observe (1) the
innocent declaration of Socrates, that the truth of the story is a great
advantage: (2) the manner in which traditional names and indications of
geography are intermingled ('Why, here be truths!'): (3) the extreme
minuteness with which the numbers are given, as in the Old Epic poetry:
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