Patroclus and Penelope: A Chat in the Saddle

The present generation of new-fledged riders would fain tie us down to the English hunting-seat by laws like the Medes and Persians. This is a good pattern for our Eastern needs, but let us not call it the only one. It is, of course, well when in Rome to do as the Romans do, or at least so nearly like them as not to provoke remark. But every one cannot do this, and the old trooper is not apt to ride this way. And yet, there are thousands of ancient cavalry soldiers all over this country, North and South, who, naked weapon in hand, have done such feats of horsemanship as would shame most of the stoutest of to-day's fox-hunting, polo-playing riders. I do not refer to the obstacles they used to ride at, – which meant a vast deal more than merely an ugly tumble over a three-foot stone wall; I refer to their stout seats in the saddle, and the rough ground they were wont to cover when they rode down upon and over a belching wall of fire. For all which, whenever we see one of these old troopers out for a ride, modestly (for he is always modest) airing his army saddle, strong curb, and long and hooded stirrups, we may, perchance, notice the jeer of the stripling, whose faultless dress and bang-tailed screw are but a sham which hides his lack of heart. It always gives one's soul a glow of pride to see the well-known seat, and one is fain tempted to ride up to the old comrade and grasp him by the hand. A thorough rider will recognize his equal under any garb. It is pretense alone which merits a rebuke. You cannot make a poor rider a good one by mounting him in a fashionable saddle, any more than you can make a worthless brute a good horse by giving his tail the latest dock.

XIII

Until within no great time the modified military seat has been the one which formed the basis of instruction. The riding-master, I presume, still insists, with civilian and recruit alike, on feet parallel with the horse, heels down, toes in, knee grip, and a hold of reins utterly unknown in the hunting-field. And with a certain reason, though indeed the old whip's rule of "'eels and 'ands down, 'ead and 'eart 'igh," is the whole of the story, after all. For the man who begins with a knee grip will never forget what his knees are for, and will not, like the good little dude we passed a while ago, show daylight between them and the saddle-flap at every rise. But the knee grip alone will not suffice for all occasions, despite our military or riding-school friends. A madly plunging horse or a big leap will instinctively call out a grip with all the legs a man can spare. Moreover, the closer you keep your legs to the horse without clasping him, the better. Go into the hunting-field or over a steeple-chase course, and you will find that the inside of your boot-tops – and not only yours, but every other jockey's as well – have been rubbed hard and constantly against the saddle. There lies the proof. At West Point, and in fact at every military school, the cadets are sometimes practiced to ride with a scrap of paper held to the saddle by the knee while they leap a bar, and at the same time thrust or cut with the sabre at a convenient dummy foe. I have seen a silver dollar so held between the knee and saddle. But the bar is not a succession of high stone walls, nor is the cadet riding a burst of several miles. And with a longer stirrup it is more natural to keep the foot parallel with the horse's side. To-day, the best riders do not so hold their feet. Cross-country a man certainly does not. The proof is forthcoming at the Country Club on any race-day, or at every meet here or in England, that a man riding over an obstacle of any size will use all the legs he can without digging his spurs into his horse's flanks, in a way he could not do with the feet parallel to the horse's sides.

The modern dispensation differs from the old one in not being tied to the military seat. The Rev. Sydney Smith objected to clergymen riding, but modified his disapproval in those cases when they "rode very badly and turned out their toes." A generation ago, a man was always thinking of the position of his feet, as he cares not to do to-day, if he sits firmly in the saddle, and boasts light hands.

XIV

While on this subject, one cannot refrain from indulging in a friendly laugh at the attempt to bend our unreasonable Eastern weather to the conditions of a fox-hunting climate. The hunting season is that time of the year when the crops are out of the ground. In England, during the winter months, the weather is open and moist, and the soft ground makes falling "delightfully easy," as dear old John Leech has it. And the little hedges and ditches of some of the good hunting counties, or indeed the ox-fences and grassy fields of Leicestershire, are such as to make a day out a positive pound of pleasure, with scarce an ounce of danger to spice it, if you choose to ride with moderation. For the best rider in the Old Country is not the hare-brained cockney who risks both his horse's and his own less valuable neck in the field; it is he who chooses discreetly his course, and makes headway with the least exertion to his hunter compatible with his keeping a good place in the field. The man who appreciates how jumping takes strength out of a horse, or who is any judge of pace, is apt to save, not risk him. Few men willingly jump an obstacle which they can readily avoid without too much delay. Read the legends of the famous hunting-men of England, and you will find discretion always outranking valor. Any fool can ride at a dangerous obstacle. Courage of that kind is a common virtue. But it takes a make-up of quite a different nature to be in, as a rule, at the death. How many five-barred gates will a man jump when he can open them? How much water will he face when there is a bridge near by? Does not every one dismount in hilly countries to ease his horse? A good rider must be ready to throw his heart over any obstacle possible to himself and his horse, when he cannot get round it. But a discreet horseman puts his horse only at such leaps as he must take, or which will win him a distinct advantage.

England is naturally a hunting country. But here, Lord save the mark! there are no foxes to speak of. Scent won't lie, as a general thing, with the thermometer below thirty (though scent is one of those mysterious things which only averages according to rules, and every now and then shows an unaccountable exception), and the obstacles are snake fences or stone walls with lumpy, frozen ground to land on, or, belike, a pile of bowlders or a sheet of ice. A bad fall means potentially broken bones or a ruined horse, and while you are beating cover for the fox who won't be found, you are shaking with the cold, and your clipped or over-heated beast is sowing the seeds of lung-fever.

You, Patroclus, were once laid up five months by landing on a snag the further side of a most harmless-looking stone wall, and tearing out some of the coronal arteries.

There are plenty of good horseback sports without a resort to what is clearly out of the latitude. If you wait for good hunting weather, the crops interfere with your sport, and our farmers have not the English inducement to welcome the hunt across the fields, tilled at the sweat of their brow. In the South, both weather and much waste land make fox-hunting more easy to carry on. But even there it does not thrive. Here in the East it will not be made indigenous.

Not but what, on a bright sunny day, a meet at which equine admirers can show their neat turn-outs and glossy steeds and discuss horseflesh in the general and the particular is a delightful experience. And indeed, wherever crops and covers do not monopolize the country, a good drag-hunt may often be had before cold weather mars the sport. Perchance, in time, Reynard may take up his abode with us, when vulpicide shall be punished by real ostracism. For has not the Ettrick Shepherd proven conclusively that Reynard loves the chase? But far from underrating the caged fox or anise-seed bag, hare and hounds would seem to afford the better sport. For the hares, an they will, can carry you across a country where each one can choose his own course, instead of being obliged to follow a leader through wood-paths, and through second growth which is all but jungle, where, if one happens to blunder at an obstacle, your follower will come riding down atop of you, and where you are bound to be "nowhere" unless you get away with the first half-dozen men.

But spite of all its drawbacks, Patroclus, you and I enjoy in equal measure a run under fair conditions as much as the best of them. And let us hope the hunting fever will be kept up in healthy fashion, for we two can select our weather, and we are not afraid of our reputation if we drop out before the finish. This kind of work soon shakes our novices into the saddle, and its many excellencies far outweigh its few absurdities. Let him who runs it down try rather a run with the pack some sunny day. If he does not find it manly sport, and stout hearts in the van of the field, he can tell us why thereafter. The outcome of to-day's riding mania is well ahead of the young men's billiard-playing and bar-drinking of twenty years ago.

XV

There are good riders in every land and in every species of saddle. Facts are the best arguments. The North American Indian and the follower of the Prophet each performs his prodigies of horsemanship, the one bareback with hanging leg, the other in a peaked saddle with knee all but rubbing his nose. Whoso has laughed over Leech's sketches of Mossoo, who makes a promenade à cheval, or indeed has watched him in the Bois, is fain to doubt that a Frenchman can ride well. And yet he does. Was not Baucher the father of fine horsemanship? A rough and tumble, plucky rider, or one who is experienced and discreet after hounds as well, is more frequently found in Great Britain; a highly skilled equestrian (is the author nearing a hornet's nest?) in France, or elsewhere across the Channel. But we naturally must seek the Continental rider in the camp, for is not the Continent itself one vast camp? It is perhaps hard to decide whether the cavalry officer who is master of the intricacies of the manège or the country gentleman who has won a reputation with the Pytchley or the Belvoir may be properly called the more accomplished horseman. Each in his place is unequaled. But is it not true, that the former can more quickly adapt himself to the habits of hunting than the latter to those of the Haute Ecole? And do not the methods of the School give us more capacity for enjoying our daily horseback exercise, than any amount of experience with hounds?

XVI

It is sometimes said in England that a School-rider reining in his steed never looks as if he were having a thoroughly good time, as does the man who lets his horse go his own inspiriting gait along the road. But why not? Is inspiration only found in excess of physical motion? If so, to use an exaggerated comparison, why does not Paddy at Donnybrook Fair, trailing his coat and daring some one to tread on the tail of it, enjoy himself more thoroughly than the man who quietly plays a game of chess or whist? Or to use a more nearly equal simile, may not a man find as great enjoyment in a skilled game of tennis, as in the violent rushes of foot-ball, where two hundred and twenty pounds of mere blubber will assuredly bear down all the prowess and aptness of his own say one hundred and forty? It is as certain that the pleasure of riding a trained horse is greater than that of merely sitting a vigorously moving untrained one, as that the delight of intellectual study exceeds the excitement of trashy reading. Omne ignotum pro magnifico seems not to be uniformly true, for riders unfamiliar with the training of the High School almost as invariably run down its methods, as self-made business men are apt to discountenance a college education as a preliminary discipline for the struggles of life.

It is a fact that no man who has once been a School-rider ever abandons either the knowledge he has gained or its constant practice. No one can underrate the pleasure of simple motion upon a vigorous horse. But the School-rider has this in equal degree with the uneducated horseman, coupled with a feeling of control and power and ability to perform which the mere man on horseback never attains. Moreover, all the powers of the School-rider's horse are within the grasp of his hand; and that the powers of the high-strung steed of the average equestrian are all too often resident mainly in the animal itself is shown by the chapter of accidents daily reiterated in the news-columns. The School-man is apt to ride more moderately, and to indulge in a bracing gallop less frequently, because to him the pleasure of slow and rhythmic movement on a fleet and able horse is far greater than mere rapidity can ever be; the untrained rider resorts to speed because this is the one exhilaration within the bounds of his own or his horse's knowledge.

I do not wish to be understood as advocating the School habit of always keeping a horse collected. However much for some purposes I admire it, I do not practice it. I often saunter off a half-dozen miles without lifting the rein, while Patroclus wanders at his own sweet will. I often trot or gallop at my nag's quite unrestrained gait. But if I want to collect him, if I want that obedience which the School teaches him to yield, he must, to be to me a perfect horse, at my slightest intimation give himself absolutely to my control, and take all his art from me. I feel that I am a good judge of either habit of riding, as I have well tried both, and absolutely adhere to neither. I pretend by no means, in School-riding, to have carried my art so far as to be even within hail of the great masters of equitation; but I have not for many years been without one or more horses educated in all the School airs which are applicable to road-riding, and I know their value and appreciate it.

Because, then, the cowboy is nowhere in the hunting-field; or because the hard-riding squire and M. F. H. cannot drop to the further side of his horse while he shoots at his galloping enemy, or pick up a kerchief from the ground at a smart gallop; or because the Frenchman has to learn his racing trade from an English jockey, it will not do to say that each is not among the best of horsemen, or that either is better than the other. The style of riding is always the outgrowth of certain conditions of necessity or pleasure, and invariably fits those conditions well. With us in the East the English habit is no doubt the most available; but it can only be made the test of our own needs or fashions, not of general equestrianism.

XVII

While all this has been buzzing through your master's brain, you, Patroclus, knowing full well that the loosely hanging rein has meant liberty within reason to yourself, have wandered away to the nearest thicket, and begun to crop the tender leaves and shoots as peacefully as you please. To look at your quiet demeanor at this moment one would scarcely think that you were such a bundle of nerves. You can be as sedate as Rosinante till called upon. But when the bit plays in your mouth, you are as full of life and action as the steeds of Diomed with flowing manes. Your eye and ear are an index to your mood, and you reflect your rider's wish in every step. No man ever bestrode a more generous beast than you. Do you remember, Patroclus, the days when you carried your little twelve-year-old mistress, and how her first lessons in fine equitation were taken in your company? And cleverly did she learn indeed. Do you remember how we used to put you on your honor, though you were only a five-year-old and dearly loved to romp and play? Ay, Patroclus, and fairly did you answer the appeal! With the gentle burden on your broad, strong back, her golden-red hair streaming behind her in the breeze from under her jaunty hat, you would have ridden through fire, my beauty, rather than betray your trust. However tempted to a bound, or however startled at some fearsome thing, one word – a "Quiet, Pat!" – from that soft girlish voice, now hushed for both of us, would never fail to keep you kind and steady. And you were ever willing, with even more than your accustomed alacrity, to perform your airs at the slightest encouragement of the soft hands and gentle voice; and having done so would lay back your ears and shake your head with very pleasure at the rippling laughter in which your pretty rider's thanks were wont to be expressed. I knew, Patroclus, that in your care the little maid was quite as safe as with her doll at home.

XVIII

And now a word about the horse in action, as shown by instantaneous photography, and about the war waged between artists and photographers. Some disciples of Muybridge would fain have the artist depict an animal in an ungainly attitude, because the lens is apt to catch him at a point in his stride which looks ungainly, there being many more such points than handsome ones. It is the moving creature which we admire. The poetry of motion is rarely better seen than in a proudly stepping horse. But arrest that motion and you are apt to have that which the human eye can neither recognize nor delight itself withal. Arrested motion rarely suggests the actual motion we aim to depict. The lens will show you every spoke of a rapidly revolving wheel, as if at rest. The eye, or the artist, shows you a blur of motion. And so with other objects. The lens works in the hundredth part of a second; the eye is slower far.

To a certain extent photography, quoad art, is wrong and the limner is right. There are some horses which possess a very elegant carriage. In their action there are certain periods – generally those at which one fore and one hind leg are slowing up at the limit of their forward stride – when the eye catches an agreeable impression which is capable of being reduced to canvas, – though it is after all the proud motion itself which pleases, and this can only be suggested. Now, photography robs you of almost all the suggestiveness of the horse's action, unless you select only those photographs which approach the action caught by the human eye. Even after long study of the Muybridge silhouettes, the artistic lover of the horse feels that he must reject all but a small percentage of these wonderful anatomical studies. If there are periods in the horse's stride which are agreeable to the eye, why should the artist not select these for delineation? Why indeed does his art not bind him to do so?

You, Patroclus, are peculiarly elegant in motion. It is difficult to pick a flaw in the symmetry of your gaits. Slow or fast, fresh or tired, your motion is always proud and graceful. And yet out of many photographs, few suggest your action at all, fewer still even passably; none convey to its full extent what all your intimates well know.

To photograph well, a horse must have a good deal, but not an excessive amount of action, and with unquestioned grace of curves. The reason why horses in very rapid motion photograph illy is to be found in the too extreme curves described by their legs in the powerful strides of great speed, any position in which, arrested by the lens, looks exaggerated, – sprawling. The reason why, on the other hand, the photograph of a daisy-clipper moving slowly looks tame is the lack of action to suggest the motion which the eye follows in real life. Many of the best performers are plain in action. Some of the most faultless movers, so far as results or form are concerned, even when agreeable to the eye, will show unsightly photographs. Let any one who desires to test this matter have a half-dozen instantaneous photographs of his pet saddle beast taken. He will surely be convinced that a horse must be extremely handsome in motion to give even a passable portrait. If he gets one picture in four which shows acceptably, he may be sure that he owns a good-looking nag. Among the silhouettes in the Stanford Book, scarcely one in twenty shows a handsome outline. This seems to be owing, as above explained, to the speed exhibited in almost all the performances; and in the slow gaits, to the want of action in the subjects. Still, if the pictures had shown the light and shade which instantaneous photography is now able to give, many of the plates would have made artistic pictures.

There are certainly many minutiæ in which the artist can learn from the photograph. To give an instance: before reaching the ground, the leg in every gait must be stiffened, and the bottom of the foot brought parallel to the surface traveled over, or a stumble will ensue. This, at first blush, may look awkward; but it is not really so. The artist often forgets that a horse must sustain his weight on stiff legs, and that these straighten from their graceful curves to the supporting position in regular gradation, and reach this position just before the foot comes down. Some in other respects most attractive sketches fail in this. Often one sees the picture of an otherwise handsomely moving horse whose fetlock joint of the foot just being planted is so bent forward as to make a drop inevitable. This is certainly without the domain of true art.

The origin of such drawing lies probably in the fact that the eye catches the bent rather than the straight position of the fetlock, because the former occurs when the foot is higher above the ground, while the latter position is not so noticeable as being more out of the line of sight. But such stumbling pictures are as much a worry to the horseman's eye as the ugliest of the Muybridge gallopers is to the artist's; and they are wholly unnecessary.

There are many such minor points of criticism of the usual artistic work, which the artists should not deem beyond consideration. It is quite possible to make the truthful and the artistic go hand in hand.

Except, perhaps, in the gallop. This most disheartening gait will not be reduced to what we have been taught to like. There is but one of the five "times" of the gallop which suggests even tolerable speed, – the one when all four feet are in the air and gathered well under the horse. At the instant when one of the hind legs is reaching forward to land, there is sometimes a suggestion of great speed and vigor. But the successive stilted strides when the straightened legs in turn assume the body's weight oppress the very soul of the lover of the Racing Plates. It must fain be left to the wisest heads, and perhaps better to time, to bring daylight from this darkness.

The late John Leech, as far back as the forties, essayed to draw running horses as his very keen eye showed him that they really looked; but he was laughed out of the idea, and thenceforth stuck to the artist's quadruped, though he had been, in his new departure, much more nearly approaching anatomy than any one was then aware. And thirty years ago, on Epsom Downs, it was revealed to the author, as it has no doubt been to thousands of others, that it is the gathered and not the spread position of the racer which is impressed upon the eye. This is most clearly shown by watching the distant horses through a glass. But still we stick to the anatomically impossible spread-eagle stride of the turf, and feel that it conveys the idea of speed which is not compassed by the set fac-similes of photography.

It has been alleged that a horse never does, nor can take the spread position of the typical racer of the artist. This is true enough, for he never does extend himself to so great a degree. But at one part of the leap he may do this very thing, though by no means to the extent usually depicted (see Plate XI.). It is, however, certain that he cannot do so at all in the gallop. At the only time when all his feet are off the ground in this gait, they are all close together under his girths. At all other times there are one or more feet on the ground, with legs straight, and at greater or less inclination to the body. From front to rear the legs move almost like the spokes of a wheel. What the pictures of the turf in the future may be it is hard indeed to say.

And yet, the longer one examines the many hundred silhouettes of running horses, so well grouped for anatomical study in the Stanford Book, the more reconciled to what there is of truth in them one may become. Many years ago, I sat during the forenoon in the Turner Room of the National Gallery in London, in the company of a friend, herself no mean artist, and of decidedly strong artistic taste and correct judgment, whose ideas of Turner had been founded solely on what she had read, or seen and heard in America, and whose prejudice against his apparently overwrought work was excessive. For a full hour few words were passed. Then, rising to go: "If I sit here any longer, I shall end by liking the man!" quoth she.