I like quite a lot Nobby writes about Lydiard and about the Japanese running scene. Very informative. I try read it all and I thanks him to be generous to post about that subject of his knowledge.
My main disagreement with Nobby starts when he goes out of Lydiard track or Japanese distance run history to express his own training comment. He is too much addicted to what he watched and he is wrong sometimes. It’s the case of 30m-60min. Why the heel is 30-60min doubles best than 35-55min or 45-45min or 40-50m or ? Simply because Snell did it that way ?
More than I could say I advise you to read The Plato´s Cave Allegory and then transfer this allegory to what I think it is the approach with some with Lydiard training.
THE ALLEGORY OF THE CAVE, also commonly known as Myth of the Cave, Metaphor of the Cave, The Cave Analogy, Plato's Cave or the Parable of the Cave, is an allegory used by the Greek philosopher Plato in his work The Republic to illustrate "our nature in its education and want of education". (514a) The allegory of the cave is written as a fictional dialogue between Plato's teacher Socrates and Plato's brother Glaucon, at the beginning of Book VII in Benjamin Jowett's translation and in chapter IX in Robin Waterfield's translation (514a–520a).
Plato imagines a group of people who have lived chained in a cave all of their lives, facing a blank wall. The people watch shadows projected on the wall by things passing in front of a fire behind them, and begin to ascribe forms to these shadows. According to Plato, the shadows are as close as the prisoners get to seeing reality. He then explains how the philosopher is like a prisoner who is freed from the cave and comes to understand that the shadows on the wall are not constitutive of reality at all, as he can perceive the true form of reality rather than the mere shadows seen by the prisoners.
The Allegory is related to Plato's Theory of Formswherein Plato asserts that "Forms" (or "Ideas"), and not the material world of change known to us through sensation, possess the highest and most fundamental kind of reality. Only knowledge of the Forms constitutes real knowledgeIn addition, the allegory of the cave is an attempt to explain the philosopher's place in society.
Inside the cave
Socrates begins by describing a scenario in which what people take to be real would in fact be an illusion. He asks Glaucon to imagine a cave inhabited by prisoners who have been chained and held immobile since childhood: not only are their arms and legs held in place, but their heads are also fixed, compelled to gaze at a wall in front of them. Behind the prisoners is an enormous fire, and between the fire and the prisoners is a raised walkway, along which people walk carrying things on their heads "including figures of men and animals made of wood, stone and other materials". The prisoners watch the shadows cast by the men, not knowing they are shadows. There are also echoes off the wall from the noise produced from the walkway.
Socrates asks if it is not reasonable that the prisoners would take the shadows to be real things and the echoes to be real sounds, not just reflections of reality, since they are all they had ever seen or heard. Wouldn't they praise as clever whoever could best guess which shadow would come next, as someone who understood the nature of the world? And wouldn't the whole of their society depend on the shadows on the wall?
Release from the cave
Socrates next introduces something new to this scenario. Suppose that a prisoner is freed and permitted to stand up. If someone were to show him the things that had cast the shadows, he would not recognize them for what they were and could not name them; he would believe the shadows on the wall to be more real than what he sees.
"Suppose further," Socrates says, "that the man was compelled to look at the fire: wouldn't he be struck blind and try to turn his gaze back toward the shadows, as toward what he can see clearly and hold to be real? What if someone forcibly dragged such a man upward, out of the cave: wouldn't the man be angry at the one doing this to him? And if dragged all the way out into the sunlight, wouldn't he be distressed and unable to see "even one of the things now said to be true," viz. the shadows on the wall (516a)?
After some time on the surface, however, Socrates suggests that the freed prisoner would acclimate. He would see more and more things around him, until he could look upon the Sun. He would understand that the Sun is the "source of the seasons and the years, and is the steward of all things in the visible place, and is in a certain way the cause of all those things he and his companions had been seeing" (516b–c). (See also Plato's metaphor of the Sun, which occurs near the end of The Republic, Book.