| The first excerpt represents the past or something you must release, and is drawn from On Horsemanship by Xenophon: ground.[11] The correct plan for the man so dragged is to press his
horse forward: by which action the man who is being dragged is more
likely to unhorse his assailant than to be brought to the ground
himself.
[9] {ippota}. A poetic word; "cavaliers."
[10] Or, "manipulated."
[11] Or, "that may be spoken off as the 'purl trick'"; "it will
unhorse him if anything."
If it ever happens that you have an enemy's camp in front, and cavalry
skirmishing is the order of the day (at one time charging the enemy
right up to the hostile battle-line, and again beating a retreat),
On Horsemanship |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Les Miserables by Victor Hugo: to guide civilization. Genuflection before the idol or before money
wastes away the muscles which walk and the will which advances.
Hieratic or mercantile absorption lessens a people's power of radiance,
lowers its horizon by lowering its level, and deprives it of that
intelligence, at once both human and divine of the universal goal,
which makes missionaries of nations. Babylon has no ideal;
Carthage has no ideal. Athens and Rome have and keep, throughout
all the nocturnal darkness of the centuries, halos of civilization.
France is in the same quality of race as Greece and Italy.
She is Athenian in the matter of beauty, and Roman in her greatness.
Moreover, she is good. She gives herself. Oftener than is the case
Les Miserables |
The third excerpt represents the future or something you must embrace, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw: create towns and govern markets. In the meantime, Fafair,
wallowing in dividends which he has done nothing to earn, may
rot, intellectually and morally, from mere disuse of his energies
and lack of incentive to excel; but the more imbecile he becomes,
the more dependent he is upon Alberic, and the more the
responsibility of keeping the world-machine in working order
falls upon Alberic. Consequently, though Alberic in Also may have
been merely the vulgar Manchester Factory-owner portrayed by
Engels, in 1876 he was well on the way towards becoming Krupp of
Essen or Carnegie of Homestead.
Now, without exaggerating the virtues of these gentlemen, it will
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