ter than men certain things.

C3.12. Short sharp snap of argumentative style.

C3.19. The antithetic balance and word-jingle, with an exquisite,
puristic, precise, and delicate lisp, as of one tasting the flavour of
his words throughout.

C3.23. I think one sees how Xenophon built up his ideal structure on a
basis of actual living facts. The actual diverts the creator of Cyrus
from the ideal at times, as here. It is a slight declension in the
character of Cyrus to lay down this law, "equestrian once, equestrian
always." Xenophon has to account for the actual Persian horror of
pedestrianism: Cyrus himself can dismount, and so can the Persian nobles
with Cyrus the Younger, but still the rule is "never be seen walking;"
and without the concluding paragraph the dramatic narrative that
precedes would seem a little bit unfinished and pointless: with the
explanation it floats, and we forgive "the archic man" his partiality to
equestrianism, as later on we have to forgive him his Median get-up and
artificiality generally, which again is contrary to the Xenophontine and
the ideal Spartan spirit.

C4. Xenophon has this theory of mankind: some are fit to rule, the
rest to be ruled. It is parallel to the Hellenic slavery theory. Some
moderns, e.g. Carlyle (Ruskin perhaps) inherit it, and in lieu of
Hellenic slavery we have a good many caste-distinction crotchets still
left.

C4.13, fin. The first salaam, ominous of the advent of imperialism; the
sun's rim visible, and a ray shot up to the zenith.

C5. Here the question forces itself in the midst of all this "ironic"
waiting on the part of the Persians in Spartan durance for a future
apotheosis of splendour and luxuriance,--what is the moral? "Hunger
now and thirst, for ye shall be filled"--is that it? Well, anyhow it's
parallel to the modern popular Christianity, reward-in-heaven theory,
only on a less high level, but exactly the same logicality.

C5.6. A point, this reward to the catcher, and this rigid _couvrefeu_
habit (cf. modern military law).

C5.8. A dramatic contrast, the Median Cyaxares who follows Pleasure,
and the Persian Cyrus who follows Valour, _vide_ Heracles' choice
[_Memorabilia_, II. i. 21]. This allegorising tendency is engrained in
Xenophon: it is his view of life; one of the best things he got from
Socrates, no doubt. Later (Sec. 12) the "ironic" suicidal self-assertion of
Cyaxares is contrasted with the health-giving victorious self-repression
of Cyr