| The first excerpt represents the past or something you must release, and is drawn from Twilight Land by Howard Pyle: thereof. For, as the master led the way and he followed, he
passed through four-and-twenty rooms, each one more wonderful
than the other. Everywhere was gold and silver and dazzling
jewels that glistened so brightly that one had to shut one's eyes
to their sparkle. Beside all this, there were silks and satins
and velvets and laces and crystal and ebony and sandal-wood that
smelled sweeter than musk and rose leaves. All the wealth of the
world brought together into one place could not make such riches
as Gebhart saw with his two eyes in these four-and-twenty rooms.
His heart beat fast within him.
At last they reached a little door of solid iron, beside which
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Sarrasine by Honore de Balzac: with youth, when an olive complexion, heavy eyebrows, and the gleam of
a velvety eye promise virile passions, noble ideas for the future! If
Filippo remained in the hearts of young women as a type of manly
beauty, he likewise remained in the memory of all mothers as the best
match in France.
The beauty, the great wealth, the intellectual qualities, of these two
children came entirely from their mother. The Comte de Lanty was a
short, thin, ugly little man, as dismal as a Spaniard, as great a bore
as a banker. He was looked upon, however, as a profound politician,
perhaps because he rarely laughed, and was always quoting M. de
Metternich or Wellington.
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The third excerpt represents the future or something you must embrace, and is drawn from On Horsemanship by Xenophon: will describe the matter. A flexible bit is one in which the axles
have their points of junction broad and smooth,[8] so as to bend
easily; and where the several parts fitting round the axles, being
large of aperture and not too closely packed, have greater
flexibility; whereas, if the several parts do not slide to and fro
with ease, and play into each other, that is what we call a stiff bit.
Whatever the kind of bit may be, the rider must carry out precisely
the same rules in using it, as follows, if he wishes to turn out a
horse with the qualities described. The horse's mouth is not to be
pulled back too harshly so as to make him toss his head aside, nor yet
so gently that he will not feel the pressure. But the instant he
On Horsemanship |
