I wonder That such a keech can with his very bulk Take up the rays o' th' beneficial sun, And keep it from the earth.
And I do not write this, that in exhorting to the one, I would dissuade yong ientlemen from the other: yea I am sorie, with all my harte, that they be giuen no more to riding, then they be: For, of all outward qualities, // Ryding. to ride faire, is most cumelie for him selfe, most necessarie for his contrey, and the greater he is in blood, the greater is his praise, the more he doth excede all other therein.
Her most recent works have this quirky, half-serious ’90s teen culture–inspired aesthetic.
In his enormously affecting play Equus, Peter Shaffer uses horses as a Christ symbol and the “sharp chains” in the horses’ mouths as a metaphor for Christ’s agonies. Much of the dramatic impact of the play is projected by Shaffer’s psychiatrist-protagonist who is tormented by the feeling that, by relieving the equicidal obsession of his seriously disturbed adolescent patient, he is destroying the boy’s deepest passions, his capacity “to worship,” as the psychiatrist puts it.
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