Equestrian Life Quotes

Why do you like show jumping?" "... Beauty and excitement. The elements of trust, talent, training, love, and danger make show jumping a thrilling and aesthetic experience. It's really the ultimate test of two nervous systems--the kinetic transfer of the rider's muscle to the horse's muscle enables them to clear those jumps. And there's nothing like it--horse and rider forming an arc of beauty, efficiency, and power, like a double helix." "DNA," "Yes, DNA, the code to life.

Equestrian art, perhaps more than any other, is closely related to the wisdom of life.

Marta Jolicoeur: We all learned how to ride from George and had wonderful riding careers but more than that, George taught us how to be successful in life...George had us all sized up. He used to tell me that I'm a worrier and he was right! I used to get rally nervous in the ring when I was about fifteen, and he made me go around the ring, reciting out loud, 'I know I'm going to see a distance. It might be a little short or a little long, but I know I'm going to see something.' I would have to say it loud over and over again on course...

Life isn't convenient, Devon. It's rather messy. It's a series of emotions tied together on this tightrope we walk with others. People don't always have the same thoughts or paths or shared aspirations. Sometimes the best things we can do are to just wait ... or listen ... or look for signs. Wait for him. He will return.

Dr. Chanter, in his brilliant History of Human Thought in the Twentieth Century, has made the suggestion that only a very small proportion of people are capable of acquiring new ideas of political or social behaviour after they are twenty-five years old. On the other hand, few people become directive in these matters until they are between forty and fifty. Then they prevail for twenty years or more. The conduct of public affairs therefore is necessarily twenty years or more behind the living thought of the times. This is what Dr. Chanter calls the "delayed realisation of ideas". In the less hurried past this had not been of any great importance, but in the violent crises of the Revolutionary Period it became a primary fact. It is evident now that whatever the emergency, however obvious the new problem before our species in the nineteen-twenties, it was necessary for the whole generation that had learned nothing and could learn nothing from the Great War and its sequelae, to die out before any rational handling of world affairs could even begin. The cream of the youth of the war years had been killed; a stratum of men already middle-aged remained in control, whose ideas had already set before the Great War. It was, says Chanter, an inescapable phase. The world of the Frightened Thirties and the Brigand Forties was under the dominion of a generation of unteachable, obstinately obstructive men, blinded men, miseducating, misleading the baffled younger people for completely superseded ends. If they could have had their way, they would have blinded the whole world for ever. But the blinding was inadequate, and by the Fifties all this generation and its teachings and traditions were passing away, like a smoke-screen blown aside. Before a few years had passed it was already incredible that in the twenties and thirties of the twentieth century the whole political life of the world was still running upon the idea of competitive sovereign empires and states. Men of quite outstanding intelligence were still planning and scheming for the "hegemony" of Britain or France or Germany or Japan; they were still moving their armies and navies and air forces and making their combinations and alliances upon the dissolving chess-board of terrestrial reality. Nothing happened as they had planned it; nothing worked out as they desired; but still with a stupefying inertia they persisted. They launched armies, they starved and massacred populations. They were like a veterinary surgeon who suddenly finds he is operating upon a human being, and with a sort of blind helplessness cuts and slashes more and more desperately, according to the best equestrian rules. The history of European diplomacy between 1914 and 1944 seems now so consistent a record of incredible insincerity that it stuns the modern mind. At the time it seemed rational behaviour. It did not seem insincere. The biographical material of the period -- and these governing-class people kept themselves in countenance very largely by writing and reading each other's biographies -- the collected letters, the collected speeches, the sapient observations of the leading figures make tedious reading, but they enable the intelligent student to realise the persistence of small-society values in that swiftly expanding scene. Those values had to die out. There was no other way of escaping from them, and so, slowly and horribly, that phase of the moribund sovereign states concluded.

Whenever Spirit used to show me a horse, it usually meant that someone liked horses, was an equestrian, or bet the horses. But one day, I went through all the meanings with a client, and when he didn’t connect with any of them, Spirit showed me the strangest thing—an outline of New Jersey. So just like that, horses also began to symbolize the Garden State. Why? Beats me, but if it works for Spirit, it works for me. I went through the same process with oatmeal. It was always a symbol that meant someone liked to eat the gloppy cereal—obvious enough. But then once when I said that in a session, the client said no, so Spirit then made me feel like I was pacing up and down a driveway every day. I asked the woman if the deceased was very regimented, and when she said yes, Spirit established that oatmeal would now mean that the person really liked oatmeal and/or that the person liked a routine. Seems random to us, but listen, maybe Spirit thinks it takes a lot of discipline to eat a bowl of Quaker Oats!

Political life was defined by money. Having it, taking it and giving it were the principal concerns of the powerful. It was not just a matter of lavish expenditure on public shows or comfortable living in the innumerable houses that one man might possess; set amounts of capital were required for a man to become an equestrian – a knight – or a senator.

The painting also pinpointed an important quirk of Washington’s face: the lazy right eye that slid off into the corner while the left eye stared straight ahead. To prepare for the equestrian

We can compare a life without a goal to an equestrian on an obstinate horse: much movement but little headway

General Sherman praised the shows as "wonderfully realistic and historically reminiscent." Reviews and the show's own publicity always stressed its "realism." There is no doubt it was more realistic, visually and in essence, than any of the competing Wild Wests. There were four other Wild West shows that year: Adam Forepaugh had one, Dr. A. W. Carver another; there was a third called Fargo's Wild West and one known as Hennessey's Wild West. Cody criticized all their claims and their use of the words "Wild West." He had copyrighted the term according to an act of Congress on December 22, 1883, and registered a typescript at the Library of Congress on June 1, 1885. The copyright title read: The Wild West or Life among the Red Man and the Road Agents of the Plains and Prairies-An Equine Dramatic Exposition on Grass or Under Canvas, of the Adventures of Frontiersmen and Cowboys. Additional copy was headed BUFFALO BILL'S "WILD WEST" PRAIRIE EXHIBITION AND ROCKY MOUNTAIN SHOW, A DRAMATIC-EQUESTRIAN EXPOSITION OF LIFE ON THE PLAINS, WITH ACCOMPANYING MONOLOGUE AND INCIDENTAL MUSIC THE WHOLE INVENTED AND ARRANGED BY W.F. CODY W.F. CODY AND N. SALSBURY, PROPRIETORS AND MANAGERS WHO HEREBY CLAIM AS THEIR SPECIAL PROPERTY THE VARIOUS EFFECTS INTRODUCED IN THE PUBLIC PERFORMANCES OF BUFFALO BILL'S "WILD WEST" Although the show's first year under enlarged and reorganized management had not been a financial success, at least one good thing had come from it. Also showing in New Orleans that winter had been the Sells Brothers Circus. One of its performers who had wandered over to visit the Wild West lot was Annie Oakley. The story of Annie Oakley's life was so much in the American grain that it might have come from the pen of Horatio Alger Jr., the minister turned best-selling author, who chronicled the fictional lives of poor boys who made good. Ragged Dick: or, Street Life in New York, Ragged Tom, and Luck Moses then married Dan Brumbaugh, who died in an accident shortly afterward, leaving another daughter. When she was seven, Annie frequently fed the family with quail she had caught in homemade traps, much as young Will Cody had trapped small game. In an interview she once said: "I was eight years old when I made my first shot, and I still consider it one of the best shots I ever

Everything that mattered in Hank Reed’s life, outside of his family, revolved around horses. Starting with his days as a cadet, he had lived in a world that could measure everything—honor, kindliness, discipline, sporting spirit, diligence, and, most of all, courage—in equestrian terms. His brain was crammed with the nomenclature of horses: cantle, withers, curb chain, bran mash, fetlock, stock tie, near side, picket line. He knew the aids for a flying lead change, the correct attire for a foxhunt, the thunder of charging by platoon, and the serenity of riding alone on a quiet path, with only his mount’s breaths and cadenced footsteps for company. The rhythm of a horse’s strides was like music to him—the walk a ballad in four/four time, the trot a rousing two-beat march, the canter a smooth three-beat waltz. Reed knew the scent of fresh straw in the stable, the tickle of a horse’s whiskers as it nuzzled up a carrot. He knew that endless moment when a fall was inevitable and then the sudden breathless smack of landing hard on packed dirt. He knew what the end of a day on horseback felt like, salty with sweat, dirt under his fingernails, and a mind whitewashed from all worry. More than anything, Hank Reed understood what was unspoken among all of these horse soldiers. Sunburned, brusque, tough, accustomed to giving and taking orders, they knew that if you live, eat, sleep, and breathe horses for long enough, they become part of you, and your soul is forever altered.

at just six years old, Emperor Hadrian himself ordered Marcus to be trained under the guise of the equites, or equestrian class.

Young fops and lordlings of the garrison Kept up by England here to keep us down . . . And doubtless, as they dash along, regard Us who stand outside as a beggarly crew. ’Tis half-past six. Not yet. No, that’s not he. Well, but ’tis pretty, sure, to see them stoop And take the ball, full gallop . . . Polo was still dominated by British cavalry officers, and the stretch called Nine Acres was seen by militant nationalists to be an offensive appropriation of public land—a little enclave of England—as was the cricket ground. Phoenix Park’s statues—the robed figure in the People’s Garden commemorating an earlier lord lieutenant, the Seventh Earl of Carlisle, as well as the bronze equestrian memorial of the war hero Lord Gough—were further reminders of British rule (both demolished by twentieth-century nationalists). Ferguson’s verses, however, express more than national resentment. The poet, later to be worshipped by the young W. B. Yeats, cannot have known about Patrick Egan’s plan for James Carey, and yet, with remarkable insight, he reveals it: “Lord Mayor for life—why not?” Carey muses,

Tall, with an erect, stately, equestrian bearing, the lady possessed an esoteric beauty. If botanic, she'd be a night-blooming cereus. She was peerless as a lady in a sonnet. Or a willowy figure who'd leapt to life and stepped forth from the pages of Godey's Lady's Book. If Allegra Trout hadn't been a medium, she'd have been a fashion plate, or priestess.

The truth is that I'd gain nothing by being a saint after being dead, an artist is what I am, and the only thing I want is to be alive so I can keep going along at donkey level in this six-cylinder touring car I bought from the marines' consul, with this Trinidadian chauffeur who was a baritone in the New Orleans pirates' opera, with my genuine silk shirts, my Oriental lotions, my topaz teeth, my flat straw hat, and my bicolored buttons, sleeping without an alarm clock, dancing with beauty queens, and leaving them hallucinated with my dictionary rhetoric, and with no flutter in my spleen if some Ash Wednesday my faculties wither away, because in order to go on with this life of a minister, all I need is my idiot face, and I have more than enough with the string of shops I own from here to beyond the sunset, where the same tourists who used to go around collecting from us through the admiral, now go stumbling after my autographed pictures, almanacs with my love poetry, medals with my profile, bits of my clothing, and all of that without the glorious plague of spending all day and all night sculpted in equestrian marble and shat on by swallows like the fathers of our country.

The truth is that I'd gain nothing by being a saint after being dead, an artist is what I am, and the only thing I want is to be alive so I can keep going along at donkey level in this six-cylinder touring car I bought from the marine's consul, with this Trinidadian chauffeur who was a baritone in the New Orleans pirates' opera, with my genuine silk shirts, my Oriental lotions, my topaz teeth, my flat straw hat, and my bicolored buttons, sleeping without an alarm clock, dancing with beauty queens, and leaving them hallucinated with my dictionary rhetoric, and with no flutter in my spleen if some Ash Wednesday my faculties wither away, because in order to go on with this life of a minister, all I need is my idiot face, and I have more than enough with the string of shops I own from here to beyond the sunset, where the same tourists who used to go around collecting from us through the admiral, now go stumbling after my autographed pictures, almanacs with my love poetry, medals with my profile, bits of my clothing, and all of that without the glorious plague of spending all day and all night sculpted in equestrian marble and shat on by swallows like the fathers of our country.

At a place called Jacob’s Creek, the soldiers had to execute the risky maneuver of rolling artillery across a deep chasm. On horseback, Washington was directing their movements when the hind legs of his horse buckled and began to skid down the ice-covered slope. His men then saw the greatest horseman of his age perform an equestrian tour de force. Twining his fingers through the horse’s mane, Washington yanked its large head upright with all his might. At the same time, he rocked and shifted his weight backward in his saddle until the horse regained its equilibrium. The amazing feat happened in the blink of an eye, then the artillery movement continued.