
Triumph and downfall on biggest stage
Regardless, his triumph and subsequent downfall occurred on horse racing’s biggest stage — in two of only a handful of races that still draw the attention of people who know nothing about thoroughbreds. That helps explain why the level of sympathy for the colt was so visceral, why it retains such unprecedented stamina and why it may be perversely connected to remorse.
The British actress Helen Mirren, winner of two Golden Globe awards on Monday night, including one for her role as Elizabeth II in the movie “The Queen,” was quoted recently in the New York Times describing the public’s response to Princess Diana’s death. “I didn’t see it as grief, but as addicts having their drug taken away,” she said.
In Barbaro’s case, the day-to-day triumphs and setbacks may be producing the opposite effect and giving the public a badly needed opiate.
In a country that is suffering through wars gone wrong and regularly assailed by manmade disasters, Richardson and the Jacksons represent getting it right. And it feels good each time Barbaro emerges from his latest setback to fight another day. A horse that’s supposed to be dead is indeed beating the odds.
What no one is talking about
But nobody wants to talk about the fact that this daily drama comes at the expense of the Jacksons and, more important, the horse. Nobody wants to talk about the fact that they might have to put this horse down if he takes another sudden turn for the worse.
Moreover, people who own racehorses need to accept that the sport involves casualties and be willing to do whatever is necessary to alleviate unfortunate participants from unbearable pain.
The Barbaro tragedy and its subsequent medical saga have focused our attention on competence and compassion — qualities in rare supply in today's world. As a result, Barbaro may now be better remembered for the courage he showed during his long battle against his injuries than what he accomplished in May.
But despite his valiant struggle, eventually, and regrettably, the ode to Barbaro – now a folk song — may become a requiem.
We should not be afraid of that. Euthanasia, under the right circumstances, is the right call. And if and when that time comes, sentiment must not obscure what is important, which is to give Barbaro a decent end.
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