On Horsemanship

It is a good thing also for the rider to accustom himself to keep a quiet seat, especially when mounted on a spirited horse; and also to touch him as little as possible with anything except that part of the body necessary to secure a firm seat.

Again, it should be known that the conventional "chirrup" (7) to quiet and "cluck" to rouse a horse are a sort of precept of the training school; and supposing any one from the beginning chose to associate soft soothing actions with the "cluck" sound, and harsh rousing actions with the "chirrup," the horse could be taught to rouse himself at the "chirrup" and to calm himself at the "cluck" sound. On this principle, at the sound of the trumpet or the shout of battle the rider should avoid coming up to his charger in a state of excitement, or, indeed, bringing any disturbing influence to bear on the animal. As far as possible, at such a crisis he should halt and rest him; and, if circumstances permit, give him his morning or his evening meal. But the best advice of all is not to get an over-spirited horse for the purposes of war.

But possibly you are not content with a horse serviceable for war. You want to find in him a showy, attractive animal, with a certain grandeur of bearing. If so, you must abstain from pulling at his mouth with the bit, or applying the spur and whip—methods commonly adopted by people with a view to a fine effect, though, as a matter of fact, they thereby achieve the very opposite of what they are aiming at. That is to say, by dragging the mouth up they render the horse blind instead of alive to what is in front of him; and what with spurring and whipping they distract the creature to the point of absolute bewilderment and danger. (1) Feats indeed!—the feats of horses with a strong dislike to being ridden—up to all sorts of ugly and ungainly tricks. On the contrary, let the horse be taught to be ridden on a loose bridle, and to hold his head high and arch his neck, and you will practically be making him perform the very acts which he himself delights or rather exults in; and the best proof of the pleasure which he takes is, that when he is let loose with other horses, and more particularly with mares, you will see him rear his head aloft to the full height, and arch his neck with nervous vigour, (2) pawing the air with pliant legs (3) and waving his tail on high. By training him to adopt the very airs and graces which he naturally assumes when showing off to best advantage, you have got what you are aiming at—a horse that delights in being ridden, a splendid and showy animal, the joy of all beholders.

(1) Al. "the animals are so scared that, the chances are, they are thrown into disorder." (2) {gorgoumenos}, with pride and spirit, but with a suggestion of "fierceness and rage," as of Job's war-horse. (3) "Mollia crura reponit," Virg. "Georg." iii. 76; Hom. "Hymn. ad Merc."

How these desirable results are, in our opinion, to be produced, we will now endeavour to explain. In the first place, then, you ought to have at least two bits. One of these should be smooth, with discs of a good size; the other should have heavy and flat discs (4) studded with sharp spikes, so that when the horse seizes it and dislikes the roughness he will drop it; then when the smooth is given him instead, he is delighted with its smoothness, and whatever he has learnt before upon the rough, he will perform with greater relish on the smooth. He may certainly, out of contempt for its very smoothness, perpetually try to get a purchase on it, and that is why we attach large discs to the smooth bit, the effect of which is to make him open his mouth, and drop the mouthpiece. It is possible to make the rough bit of every degree of roughness by keeping it slack or taut.

But, whatever the type of bit may be, let it in any case be flexible. If it be stiff, at whatever point the horse seizes it he must take it up bodily against his jaws; just as it does not matter at what point a man takes hold of a bar of iron, (5) he lifts it as a whole. The other flexibly constructed type acts like a chain (only the single point at which you hold it remains stiff, the rest hangs loose); and while perpetually hunting for the portion which escapes him, he lets the mouthpiece go from his bars. (6) For this reason the rings are hung in the middle from the two axles, (7) so that while feeling for them with his tongue and teeth he may neglect to take the bit up against his jaws.

(5) Or, "poker," as we might say; lit. "spit." (6) Schneid. cf. Eur. "Hippol." 1223. (7) See Morgan, note ad loc. Berenger (i. 261) notes: "We have a small chain in the upset or hollow part of our bits, called a 'Player,' with which the horse playing with his tongue, and rolling it about, keeps his mouth moist and fresh; and, as Xenophon hints, it may serve likewise to fix his attention and prevent him from writhing his mouth about, or as the French call it, 'faire ses forces.'"

To explain what is meant by flexible and stiff as applied to a bit, we will describe the matter. A flexible bit is one in which the axles have their points of junction broad and smooth, (8) so as to bend easily; and where the several parts fitting round the axles, being large of aperture and not too closely packed, have greater flexibility; whereas, if the several parts do not slide to and fro with ease, and play into each other, that is what we call a stiff bit. Whatever the kind of bit may be, the rider must carry out precisely the same rules in using it, as follows, if he wishes to turn out a horse with the qualities described. The horse's mouth is not to be pulled back too harshly so as to make him toss his head aside, nor yet so gently that he will not feel the pressure. But the instant he raises his neck in answer to the pull, give him the bit at once; and so throughout, as we never cease repeating, at every response to your wishes, whenever and wherever the animal performs his service well, (9) reward and humour him. Thus, when the rider perceives that the horse takes a pleasure in the high arching and supple play of his neck, let him seize the instant not to impose severe exertion on him, like a taskmaster, but rather to caress and coax him, as if anxious to give him a rest. In this way the horse will be encouraged and fall into a rapid pace.

That a horse takes pleasure in swift movement, may be shown conclusively. As soon as he has got his liberty, he sets off at a trot or gallop, never at a walking pace; so natural and instinctive a pleasure does this action afford him, if he is not forced to perform it to excess; since it is true of horse and man alike that nothing is pleasant if carried to excess. (10)

But now suppose he has attained to the grand style when ridden—we have accustomed him of course in his first exercise to wheel and fall into a canter simultaneously; assuming then, he has got that lesson well by heart, if the rider pulls him up with the bit while simultaneously giving him one of the signals to be off, the horse, galled on the one hand by the bit, and on the other collecting himself in obedience to the signal "off," will throw forward his chest and raise his legs aloft with fiery spirit; though not indeed with suppleness, for the supple play of the limbs ceases as soon as the horse feels annoyance. But now, supposing when his fire is thus enkindled (11) you give him the rein, the effect is instantaneous. Under the pleasurable sense of freedom, thanks to the relaxation of the bit, with stately bearing and legs pliantly moving he dashes forward in his pride, in every respect imitating the airs and graces of a horse approaching other horses. Listen to the epithets with which spectators will describe the type of horse: the noble animal! and what willingness to work, what paces, (12) what a spirit and what mettle; how proudly he bears himself (13)—a joy at once, and yet a terror to behold.

(11) Cf. "Hell." V. iv. 46, "kindled into new life." (12) {ipposten}, "a true soldier's horse." (13) {sobaron}, "what a push and swagger"; {kai ama edun te kai gorgon idein}, "a la fois doux et terrible a voir," see Victor Cherbuliez, "Un Cheval de Phidias," p. 148.

If, however, the wish is to secure a horse adapted to parade and state processions, a high stepper and a showy (1) animal, these are qualities not to be found combined in every horse, but to begin with, the animal must have high spirit and a stalwart body. Not that, as some think, a horse with flexible legs will necessarily be able to rear his body. What we want is a horse with supple loins, and not supple only but short and strong (I do not mean the loins towards the tail, but by the belly the region between the ribs and thighs). That is the horse who will be able to plant his hind-legs well under the forearm. If while he is so planting his hind-quarters, he is pulled up with the bit, he lowers his hind-legs on his hocks (2) and raises the forepart of his body, so that any one in front of him will see the whole length of his belly to the sheath. (3) At the moment the horse does this, the rider should give him the rein, so that he may display the noblest feats which a horse can perform of his own free will, to the satisfaction of the spectators.

There are, indeed, other methods of teaching these arts. (4) Some do so by touching the horse with a switch under the hocks, others employ an attendant to run alongside and strike the horse with a stick under the gaskins. For ourselves, however, far the best method of instruction, (5) as we keep repeating, is to let the horse feel that whatever he does in obedience to the rider's wishes will be followed by some rest and relaxation.

To quote a dictum of Simon, what a horse does under compulsion he does blindly, and his performance is no more beautiful than would be that of a ballet-dancer taught by whip and goad. The performances of horse or man so treated would seem to be displays of clumsy gestures rather than of grace and beauty. What we need is that the horse should of his own accord exhibit his finest airs and paces at set signals. (6) Supposing, when he is in the riding-field, (7) you push him to a gallop until he is bathed in sweat, and when he begins to prance and show his airs to fine effect, you promptly dismount and take off the bit, you may rely upon it he will of his own accord another time break into the same prancing action. Such are the horses on which gods and heroes ride, as represented by the artist. The majesty of men themselves is best discovered in the graceful handling of such animals. (8) A horse so prancing is indeed a thing of beauty, a wonder and a marvel; riveting the gaze of all who see him, young alike and graybeards. They will never turn their backs, I venture to predict, or weary of their gazing so long as he continues to display his splendid action.

If the possessor of so rare a creature should find himself by chance in the position of a squadron leader or a general of cavalry, he must not confine his zeal to the development of his personal splendour, but should study all the more to make the troop or regiment a splendid spectacle. Supposing (in accordance with the high praise bestowed upon the type of animal) (9) the leader is mounted on a horse which with his high airs and frequent prancing makes but the slightest movement forward—obviously the rest of the troop must follow at a walking pace, and one may fairly ask where is the element of splendour in the spectacle? But now suppose that you, sir, being at the head of the procession, rouse your horse and take the lead at a pace neither too fast nor yet too slow, but in a way to bring out the best qualities in all the animals, their spirit, fire, grace of mien and bearing ripe for action—I say, if you take the lead of them in this style, the collective thud, the general neighing and the snorting of the horses will combine to render not only you at the head, but your whole company (10) down to the last man a thrilling spectacle.

One word more. Supposing a man has shown some skill in purchasing his horses, and can rear them into strong and serviceable animals, supposing further he can handle them in the right way, not only in the training for war, but in exercises with a view to display, or lastly, in the stress of actual battle, what is there to prevent such a man from making every horse he owns of far more value in the end than when he bought it, with the further outlook that, unless some power higher than human interpose, (11) he will become the owner of a celebrated stable, and himself as celebrated for his skill in horsemanship.

We will now describe the manner in which a trooper destined to run the risks of battle upon horseback should be armed. In the first place, then, we would insist, the corselet must be made to fit the person; since, if it fits well, its weight will be distributed over the whole body; whereas, if too loose, the shoulders will have all the weight to bear, while, if too tight, the corselet is no longer a defensive arm, but a "strait jacket." (1) Again, the neck, as being a vital part, (2) ought to have, as we maintain, a covering, appended to the corselet and close-fitting. This will serve as an ornament, and if made as it ought to be, will conceal the rider's face—if so he chooses—up to the nose.

As to the helmet, the best kind, in our opinion, is one of the Boeotian pattern, (3) on the principle again, that it covers all the parts exposed above the breastplate without hindering vision. Another point: the corselet should be so constructed that it does not prevent its wearer sitting down or stooping. About the abdomen and the genitals and parts surrounding (4) flaps should be attached in texture and in thickness sufficient to protect (5) that region.

(3) Schneider cf. Aelian, "V. H." iii. 24; Pollux, i. 149. (4) Schneider cf. "Anab." IV. vii. 15, and for {kai ta kuklo}, conj. {kuklo}, "the abdomen and middle should be encircled by a skirt." (5) Lit. "let there be wings of such sort, size, and number as to protect the limbs."

Again, as an injury to the left hand may disable the horseman, we would recommend the newly-invented piece of armour called the gauntlet, which protects the shoulder, arm, and elbow, with the hand engaged in holding the reins, being so constructed as to extend and contract; in addition to which it covers the gap left by the corselet under the armpit. The case is different with the right hand, which the horseman must needs raise to discharge a javelin or strike a blow. Here, accordingly, any part of the corselet which would hinder action out to be removed; in place of which the corselet ought to have some extra flaps (6) at the joints, which as the outstretched arm is raised unfold, and as the arm descends close tight again. The arm itself, (7) it seems to us, will better be protected by a piece like a greave stretched over it than bound up with the corselet. Again, the part exposed when the right hand is raised should be covered close to the corselet either with calfskin or with metal; or else there will be a want of protection just at the most vital point.

Moreover, as any damage done to the horse will involve his rider in extreme peril, the horse also should be clad in armour—frontlet, breastplate, and thigh-pieces; (8) which latter may at the same time serve as cuisses for the mounted man. Beyond all else, the horse's belly, being the most vital and defenceless part, should be protected. It is possible to protect it with the saddle-cloth. The saddle itself should be of such sort and so stitched as to give the rider a firm seat, and yet not gall the horse's back.