In the Riding-School; Chats with Esmeralda Part 2

IV.

The Horse does not attempt to fly; He knows his powers, and so should I.

_Spurgeon_.

Wilful will to water, eh, Esmeralda? You are determined to appear in that riding party after your third lesson, and you think that you "will look no worse than a great many others." Undoubtedly, that is true, and more's the pity, but, since you will go, let us make the most of the third lesson, and trust that you will return in a whole piece, like Henry Clay's pie.

You do not see why there is any more danger on the road than in the ring, and you have never been thrown! It would be unkind, in the face of that "never," to remind you that you have been in the saddle precisely twice, and, really, there is no more danger from your incompetency, should it manifest itself on the road, than might arise from its display in the ring, but with your horse it is another matter. Having the whole world before him, why not, he will meditate, speed forth into s.p.a.ce, and escape from the hateful creature who jerks on his head so causelessly, making him sigh wearily for the days of his unbroken colthood? He would endure it within doors, because he has noticed that his tormentor gives place to another every hour, and pain may be borne when it is not monotonous; but he remembers that there is no limit to the time during which one human being may impel him along an open road, and he also remembers some very pretty friskings, delightful to himself, but disconcerting to his rider, and he may perform some of them.

Even if he should, he would not unseat a rider well accustomed to school work, but you! You actually rose in the saddle three times in succession, the other day, and where were your elbows and where were your feet when you ceased rising, and long before your steady, quiet mount understood that you desired him to walk?

Your master smiles indulgently when you announce that this is your last practice lesson, and says: "Very well, you shall ride Charlie, to-day, at least for a little while, until some others come in." He himself mounts, moves off a pace or two, one of the a.s.sistant masters puts you in the saddle, and before the groom lets Master Charlie's head go, your master says, easily: "Leave his reins pretty long, especially the right one. Put your left knee close against the pommel; don't try to rise until I tell you. Ready. Now."

You feel as if you were in a transformation scene at the theatre.

The windows of the ring seem to run into one another, and at very short intervals you catch a glimpse in the mirror of a young woman, in a familiar looking Norfolk jacket, sitting with her elbows as far behind her as if held there by the Austrian plan of running a broomstick in front of the arms and behind the waist.

On and on! You earnestly wish to stop, but are ashamed to say so.

Close at your right hand, pace for pace with you, rides your master, keeping up an unbroken fire of brief e.j.a.c.u.l.a.t.i.o.n: "Hands a little lower! Arms close to the side!" Shoulders square!

Square! Draw your right shoulder backward and upward! Now down with your right elbow! Don't pull o the right rein! Don't lift your hands! You'll make him go faster!"

"I like this kind of trot," you say sweetly. "It's easier than the other kind."

"It isn't a trot; it's a canter," says your master, with a suspicion of dryness in his voice, "but you may make him trot if you like. Shorten both reins, especially the left. Whoa, Charlie!

Wait until I say 'Now,' before you do it! Shorten both reins, especially the left; that will keep him to the wall, Then extend your left arm a little, and draw back your right; draw back your left and extend your right, and repeat until he comes down to a trot. That saws his mouth, and gives him something besides scampering to occupy his mind. Now we will start up again at a canter. Lengthen your reins, but remember to shorten them when you want to trot."

"Shall I tell you before hand, so that you may have time to make your horse trot, too?" you ask.

Esmeralda, you must have been reading one of those sweet books on etiquette which advise the horsewoman to be considerate of her companions. How much notice do you think your master requires to "make his horse trot"? You will blush over the memory of that question next year, although now you feel that you have been very ladylike, even very Christian, in putting it, for have you not shown that your temper is unruffled and that you are thinking how to make others happy?

Your master answers that his horse may be trusted, and that if you prefer to take your own time to change from the canter to the trot, rather than to wait for him to say, "Now," you may do so.

And the canter begins again, and, after a round or two, you try the mouth-sawing process, doing it very well, for it is an ugly little trick at best, rarely found necessary by an accomplished rider, and beginners seldom fail to succeed in it at the very first attempt. If it were pretty and graceful, it would be more difficult. Down to the trot comes the obedient Charles, and up you go one, two, three, four! And down you come, until you really expect to find yourself and the saddle in the tan between the two halves of your horse.

Of what can the creature's spinal column be made, to bear such a succession of blows! You begin by pitying the horse, but after about half a circuit, you think that human beings have their little troubles also, and you feel a suspicion of sarcasm in your master's gentle: "You need not do French trot any longer, unless you like. It will be easier for you to rise."

You give a frantic hop in your stirrup at the wrong minute, and begin a series of jumps in which you and the horse rise on alternate beats, by which means your saddle receives twice as much pounding as at first, and then you have breath enough left to gasp "Stop," and in a second you are walking along quietly, and your master is saying in a matter-of-fact way: "You would better keep your left heel down all the time, and turn the toe toward the horse's side and keep your right foot and leg close to the saddle below the knee; swing yourself up and down as a man does; don't drop like a lump of lead."

"Like a snowflake," you murmur, for you fancy that you have a pretty wit like Will Honeycomb.

"Not at all," says your master. "The snowflake comes down because it must, and comes to stay. You come because you choose, and come down to rise again instantly. You must keep your right shoulder back, and your hands on a level with your elbows, and you must turn the corners, not let your horse turn them as he pleases-- but more pupils are coming now and I must give you another horse.

You may have Billy b.u.t.tons." The change is effected, the other pupils begin their lessons, and you and Billy walk deliberately about in the centre of the ring.

At first he keeps moderately near the wall, but after a time you find that the circle described by his footsteps has grown smaller, and that he apparently fancies himself walking around a rather small tree. Your master rides up as you are pulling and jerking your left rein in the endeavor to come nearer to the wall, and says, "Try Billy's canter. I'll take a round with you.

Strike him on the shoulder, and when you want him to trot, shorten your reins and touch him on the flank. Those are the signals which he minds best. Now! Canter."

You remember having heard of a "canter like a rocking-chair."

Charlie had it, but you were too inexperienced to know it, but bad riders long ago deprived Billy of any likeness to a rocking- chair. He knows that if he should let himself go freely, you would come near to making him rear by pulling on the reins, and so he goes along "one, two, three, one, two, three,"

deliberately, and you feel and look, as you hear an unsympathetic gazer in the gallery remark, "like a pea in a hot skillet." You prided yourself on keeping your temper unruffled under the wise criticism of your master, but in truth you did not really believe him. You said to yourself that he was too particular, and you even thought of informing him that he must not expect perfection immediately, but this piece of impudence, spoken by a person who, for aught that you can tell, does not know Billy from a clotheshorse, convinces you instantly, and you decide to canter no more, but to trot, and so you "shorten your reins and strike him on the flank."

As you shorten the right rein more than the left, and as your whip falls as lightly as if you meant the blow for yourself, Billy goes to the centre of the ring, but you jerk him to the wall, and in time, trot he does. But your left foot swings now forward and now outward, and you cannot rise. The regular, pulsating count by which a clever girl is moving like a machine, irritates you, and you tell another beginner, "They really ought to let us rise on alternate bats at first, until we are more accustomed to the motion," and she agrees with you, and both of you try this, which might be called trotting on the American pupil plan, but even the calm Billy manages to take about six steps between what you regard as the "alternate beats," and at last breaks into a canter, and you hear yourself ordered, very peremptorily, to "sit down." You obey, but begin the pea in the skillet performance again, and at last you tell your master that you will not try to trot anymore, but would like to know all about managing the reins.

"And then," you say, looking as wise as the three Gothamites of the nursery song, "even if I should not be able to trot long, and should fall behind my friends on the road, I shall have perfect control of my horse, and can walk on until they miss me and turn back for me. Will you please tell me all the ways of holding the reins?"

Your master does not laugh; the joke is too venerable, and he feels awe-struck as he hears it, so ancient does it seem.

"If you take your reins in one hand," he says, "an easy way is to hold the snaffle on your ring finger, and the left curb outside the little finger, with the right curb between the middle and fore fingers. Then, when you want to use both hands, put your right little finger and ring finger between the right curb and right snaffle, and hold your hands at exactly even distances from your horse's head, with the two reins firmly nipped by the thumbs resting on top of the fore-fingers. This is the way recommended in the Encyclopaedia Britannica, in Colonel Dodge's 'Patroclus and Penelope,' and you will see it in many very good hunting pictures.

"Colonel Anderson, in his 'On Horseback,' recommends dividing the curb reins by the little finger of the left hand and the snaffle reins by the middle finger, carrying the ends up through the hand, and holding them by the thumb. Mr. Mead, in his 'Horsemans.h.i.+p for Women,' mentions this hold, but prefers taking the curb on the ring finger, and the snaffle outside the little finger, and between the forefinger and middle finger. This hold is used in the British army, and it is convenient in school, because if it be desirable to drop the curb in order to ride with the snaffle only, you can do it by dropping your ring finger, and, if your horse be moderately quiet, you can knot the curb rein and let it lie on his neck. Besides, it makes the snaffle a little tighter than the curb, and that is held to be a good thing in England. An English soldier is p.r.o.ne to accuse American cavalrymen of riding too much on the curb, and by the way, I have heard English soldiers a.s.sert that they were taught the second method, but it was a riding master formerly in the Queen's service who told me that the third was preferred.

"M. de Bussigny, in his little 'Handbook for Horsewomen,' gives the preference to crossing the reins, the curb coming outside the little finger and between the ring and middle finger, and the snaffle between the little and ring fingers and the middle finger and forefinger. I hold my won in that way when training a horse, but it is better for you to use both hands on the reins, and he would tell you so. You are more likely to sit square; it gives you twice the hold, and then, too, you know where your right hand is, and are not waving it about in the air, or devising queer ways of holding your whip. Now your hour is over, and I will take you off your horse. Wait until he is perfectly still, and the groom has him by the head. Now drop your reins; let me take off the foot straps; take your foot out of the stirrup; turn in the saddle; put one hand on my shoulder and one on my elbow, and slip down as lightly as you can."

You glance at the clock, perceive that you have been I the saddle almost an hour and a half, and murmur an apology. "Don't mind," is the encouraging answer. "As long as a pupil does not complain and call us stingy when we make her dismount, we do not say much. But are you really going on the road, Monday, Miss Esmeralda?" "Yes, I am," you answer. "Ah, well," he says, a little regretfully, "don't forget, then. Hold on with your right knee and sit down for the canter."

What shall you do by way of exercise before Monday? Practise all the old movements, a little of each one at a time, and take two lengths of ribbon as wide as an ordinary rein, or, better still, two leather straps, and fasten one to the k.n.o.bs on the two sides of a door and run the other through the keyhole. Call the k.n.o.b straps the snaffle reins, and the keyhole straps the curb, and, sitting near enough to let them lie in your lap, practice picking them up and adjusting them with your eyes shut. When you can do it quickly and neatly, try and see with how little exertion you can sway the door to left and right, and then practice holding these dummy reins while standing on one foot and executing the movement used in trotting. If the door move by a hair's breadth, it will show you that you are pulling too much, and you must remember that your hold on your horse's mouth gives you greater leverage than you have on the door, and then, perhaps, you will pity the poor beast a little now and then.

What is that? Your master treated you as if you were an ignorant girl? So you are, dear, and even if you were not, if you knew all that there is in all the books, you might still be a bad horsewoman, because you might now know enough to use your knowledge. You don't care, and you feel very well, and are very glad that you went? Of course, that is the invariable cry! And you mean to take some more lessons if you find that you really need them? Then leave your skirt in the dressing-room locker! You will come back from your ride a wiser, but not a sadder, girl.

One cannot be sad on horseback.

V.

--Pad, pad, pad! Like a thing that was mad, My chestnut broke away.

_Thornbury_.

Esmeralda was puzzled when she returned from her first riding party. In the morning, looking very pretty in her borrowed riding habit, her English hat with the hunting guard made necessary by the Back Bay breezes, her brown gauntlets, and the one scarlet carnation in her b.u.t.ton-hole, she drove to the riding-school, where she had agreed to meet Theodore and her other friends, not like Mrs. Gilpin, lest all should say that she was proud, but because her master had promised to lend her one of the school horses, to put her ion the saddle and to adjust her stirrup, and because she secretly felt that she would better give herself every possible advantage in what, as it came nearer, a.s.sumed the aspect of a trial rather than a pleasure.

Beholding Ronald, the promised horse, severely correct in his road saddle, and looking immensely tall as he stood on the stable floor, she inly applauded her own wisdom, strongly doubting that Theodore's unpractised arm would have tossed her into her place as lightly as the master's, and she was secretly overjoyed when the master himself mounted and joined the party with her, making its number nine; Esmeralda herself, the graduate of three lessons; Theodore, all his life accustomed to ride anything calling itself a horse, but making no pretenses to mastery of the equestrian science; the lawyer, understood, on his own authority, to be well informed in everything; the society young lady, erect, precise, self-satisfied; the Texan, riding with apparent laziness, his hands rather high and seldom quiet, but not to be shaken from his seat; the beauty, languid and secretly discontented because her horse was "intended for a brunette, and a ridiculous mount for a blonde"; Versatilia, who had "taken up riding a little," and the cavalryman, calm, quiet, and fraternally regarded by the master, as he reviewed the little flock from the back of a horse which had been offered to him as the paragon of its species, and for which and its kind, as he announced after riding a square or two, he "was not paying a cent a carload."

"It is a lovely horse," said the beauty. "It is such a beautiful color. But men never care for color."

"Good color is a good thing, undoubtedly," said the master, "but a beautiful horse is a good horse, not necessarily an animal which would look well in a painted landscape, because its color would harmonize with the hue of the trees."

"She is a beautiful girl, isn't she," said Esmeralda, looking admiringly at the beauty, who, having just remembered Tennyson's line about swaying the rein with flying finger tips, was executing some movements which made her horse raise his ears to listen for the cause of such conduct, and then shake his head in mild disapproval.

"What do I care for a pretty girl?" demanded the master. "Pretty rider is what I want to see, and 'pretty rider' is 'good rider.'

Wait until that girl trots three minutes or so, and see whether or not she is pretty."

The party went through the streets at a rapid walk, now and then meeting a horse-car, now and then a stray wagon, but invariably allowed to take its own way, with very little regard for the rule of the road. The American who drives, whatever may be his social station, admires the courage of the woman who rides, but he is firmly convinced that she does not understand horses, and gives her all the s.p.a.ce available wherein to disport herself.

"Are we all right in placing the ladies on the left?" asked Theodore, turning to the master.

"Of course," cried the lawyer. "We follow the English rule, and the left was the place of safety for the lady in the days when English equestrianism was born. Travelers took the left of the road, and this placed the cavalier between his lady and any possible danger."

"And in the United States they take the right, and she is between him and any possible danger," said the master. "It is the custom, but it seems illogical and foolish. True, it removes any danger that the lady may be crushed between her own horse and her escort's, but who protects her from any pa.s.sing car or carriage, and in case of a runaway what can her escort, his left hand occupied with his own reins, do to aid her with hers, or to disentangle her foot from the stirrup or her habit from the pommels in case she is thrown? Can he s.n.a.t.c.h her from the saddle, after the matter of one of Joaquin Miller's young men? The truth is that since the rule of the road is 'keep to the right,' the rule of the saddle should be 'sit on the right,' but with a lady on his bridle hand the horseman could not be at his best as an escort, even then.