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FORE:She drew her horse down to a gallop, and the jar of the changed gait made her moan. There was no haste now. Her own men had come upon the desperadoes and there was a quick volley. And ahead, riding fast toward her from the top of a little rise, was a man on a white horseher husband, she knew.Cairness sat more erect, and settled down to wait. The motion was so swift that he hardly felt it. He turned his head and looked back at the flaming corrals, and, remembering the dead animals, wondered who had hamstrung them. Then he peered forward again the little way he could see along the road, and began to make out that there was some one ahead of him. Whoever it was scurrying ahead there, bent almost double in his speed, was the one who had hamstrung the mules and horses, and who had set fire to the corrals. The pony was rather more under control now. It could be guided by the halter shank.
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WarnerMedia's premier brands and franchises, along with its industry-leading scale, attract the best talent in media and entertainment, who work with our people to create the highest-quality content.
FORE:Dick dragged in the rope to prevent it from flying back into the empennage, fouling the tail assemblyand they had the preserver.Why doesnt the other one jump clear! Dicks heart seemed to be tearing to get out through his tightening throat. Which one was under the parachute? Which stayed in the falling seaplaneand why?
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FORE:Another and profounder characteristic of Plato, as distinguished from Aristotle, is his thorough-going opposition of reality to appearance; his distrust of sensuous perception, imagination, and opinion; his continual appeal to a hidden world of absolute truth and justice. We find this profounder principle also grasped and applied to poetical purposes in our Elizabethan literature, not only by Spenser, but by a still greater masterShakespeare. It is by no means unlikely that Shakespeare may have looked into a translation of the Dialogues; at any rate, the intellectual atmosphere he breathed was so saturated with their spirit that he could easily absorb enough of it to inspire him with the theory of existence which alone gives consistency to his dramatic work from first to last. For the essence of his comedies is that they represent the ordinary world of sensible experience as a scene of bewilderment and delusion, where there is nothing fixed, nothing satisfying, nothing true; as something which, because of its very unreality, is best represented by the drama,371 but a drama that is not without mysterious intimations of a reality behind the veil. In them we have theHes harnessed to a parachutethere goes the ripcord! Sandy would have leaped to his feet but for his restraining safety belt.
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FORE:We have also to note that Plotinus arrives at his Absolute by a method apparently very different from that pursued by either of his teachers. Platos primal beauty is, on the face of it, an abstraction and generalisation from all the scattered and imperfect manifestations of beauty to be met with in our objective experience. And Aristotle is led to his conception of an eternal immaterial thought by two lines of analysis, both starting from the phenomena of external Nature. The problem of his Physics is to account for the perpetuity of motion. The problem of his Metaphysics is to explain the transformation of potential into actual existence. Plotinus, on the other hand, is always bidding us look within. What we admire in the objective world is but a reflex of ourselves. Mind is the sole reality; and to grasp this reality under its highest form, we must become like it. Thus the more we isolate our own personality and self-identity from the other interests and experiences of life, the more nearly do we approach to consciousness of and coalescence with the supreme identity wherein all things have their source.
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