| The first excerpt represents the past or something you must release, and is drawn from The Crisis in Russia by Arthur Ransome: must now be taken as much higher, because during recent
years tubes have not been regularly renewed. Further, the
railways have been widely making use of tubes taken from
dead engines, that is to say, tubes already worn. Putting
things at their very best, assuming that the average demand
for tubes per engine will be that of normal times, then, if
1,000 engines are to be repaired monthly, 150,000 tubes will
be wanted every six months. Now on the 15th of June the
total stock of tubes ready for use was 58,000, and the
railways could not expect to get more than another 13,000 in
the near future. Unless the factories are able to do better
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Cavalry General by Xenophon: [8] Or, "with hostile and friendly territories alike."
[9] Lit. "he should associate with himself those of the rest"; i.e.
his colleagues or other members of the force.
So, too, with regard to spies and intelligencers. Before war commences
your business is to provide yourself with a supply of people friendly
to both states, or maybe merchants (since states are ready to receive
the importer of goods with open arms); sham deserters may be found
occasionally useful.[10] Not, of course, that the confidence you feel
in your spies must ever cause you to neglect outpost duty; indeed your
state of preparation should at any moment be precisely what it ought
to be, supposing the approach or the imminent arrival of the enemy
|
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: completely upset by his discovery, soon after the completion of
The Ring poem, of Schopenhaur's famous treatise "The World as
Will and Representation." So obsessed did he become with this
masterpiece of philosophic art that he declared that it contained
the intellectual demonstration of the conflict of human forces
which he himself had demonstrated artistically in his great poem.
"I must confess," he writes to Roeckel, "to having arrived at a
clear understanding of my own works of art through the help of
another, who has provided me with the reasoned conceptions
corresponding to my intuitive principles."
Schopenhaur, however, had done nothing of the sort. Wagner's
|
