| The first excerpt represents the past or something you must release, and is drawn from Pericles by William Shakespeare: And what may make him blush in being known,
He'll stop the course by which it might be known;
With hostile forces he'11 o'erspread the land,
And with the ostent of war will look so huge,
Amazement shall drive courage from the state;
Our men be vanquish'd ere they do resist,
And subjects punish'd that ne'er thought offence:
Which care of them, not pity of myself,
Who am no more but as the tops of trees,
Which fence the roots they grow by and defend them,
Makes both my body pine and soul to languish,
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from On Horsemanship by Xenophon: [19] {upolambanein}. See "Hipparch," iii. 14; "Hunting," iii. 10; vi.
22, of a dog.
[20] {apokroton}, al. {epikroton}, "beaten, hard-trodden ground."
But in collecting him, the rider should as little as possible sway the
horse obliquely with the bit, and as little as possible incline his
own body; or, he may rest assured, a trifle will suffice to stretch
him and his horse full length upon the ground. The moment the horse
has his eyes fixed on the straight course after making a turn, is the
time to urge him to full speed. In battle, obviously, these turns and
wheelings are with a view to charging or retiring; consequently, to
practise quickening the pace after wheeling is desirable. When the
On Horsemanship |
The third excerpt represents the future or something you must embrace, and is drawn from Across The Plains by Robert Louis Stevenson: is excellent. To work grossly at the trade, to forget sentiment,
to think of his material and nothing else, is, for awhile at least,
the king's highway of progress. Here, in England, too many
painters and writers dwell dispersed, unshielded, among the
intelligent bourgeois. These, when they are not merely
indifferent, prate to him about the lofty aims and moral influence
of art. And this is the lad's ruin. For art is, first of all and
last of all, a trade. The love of words and not a desire to
publish new discoveries, the love of form and not a novel reading
of historical events, mark the vocation of the writer and the
painter. The arabesque, properly speaking, and even in literature,
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