Chapter 3

With a horse entirely ignorant of leaping, the best way is to take him by the leading rein, which hangs loose, and to get across the trench yourself first, and then to pull tight on the leading-rein, to induce him to leap across. If he refuses, some one with a whip or switch should apply it smartly. The result will be that the horse will clear at a bound, not the distance merely, but a far larger space than requisite; and for the future there will be no need for an actual blow, the mere sight of some one coming up behind will suffice to make him leap. As soon as he is accustomed to leap in this way you may mount him and put him first at smaller and then at larger trenches. At the moment of the spring be ready to apply the spur; and so too, when training him to leap up and leap down, you should touch him with the spur at the critical instant. In the effort to perform any of these actions with the whole body, the horse will certainly perform them with more safety to himself and to his rider than he will, if his hind-quarters lag, in taking a ditch or fence, or in making an upward spring or downward jump. (4)

(4) Lit. "in making these jumps, springs, and leaps across or up or down."

To face a steep incline, you must first teach him on soft ground, and finally, when he is accustomed to that, he will much prefer the downward to the upward slope for a fast pace. And as to the apprehension, which some people entertain, that a horse may dislocate the shoulder in galloping down an incline, it should encourage them to learn that the Persians and Odrysians all run races down precipitous slopes; (5) and their horses are every bit as sound as our own. (6)

(5) Cf. "Anab." IV. viii. 28; and so the Georgians to this day (Chardin ap. Courier, op. cit. p. 70, n. 1).

(6) Lit. "as are those of the Hellenes."

Nor must we omit another topic: how the rider is to accommodate himself to these several movements. (7) Thus, when the horse breaks off into a gallop, the rider ought to bend forward, since the horse will be less likely to slip from under; and so to pitch his rider off. So again in pulling him up short (8) the rider should lean back; and thus escape a shock. In leaping a ditch or tearing up a steep incline, it is no bad plan to let go the reins and take hold of the mane, so that the animal may not feel the burthen of the bit in addition to that of the ground. In going down a steep incline the rider must throw himself right back and hold in the horse with the bit, to prevent himself being hurled headforemost down the slope himself if not his horse.

(7) Or, "to each set of occurrences."

(8) Al. "when the horse is being brought to a poise" (Morgan); and see Hermann ap. Schneid., {analambanein} = retinere equum, anhalten, pariren. i.e. "rein in" of the "Parade."

It is a correct principle to vary these exercises, which should be gone through sometimes in one place and sometimes in another, and should sometimes be shorter and sometimes longer in duration. The horse will take much more kindly to them if you do not confine him to one place and one routine.

Since it is a matter of prime necessity that the rider should keep his seat, while galloping full speed on every sort of ground, and at the same time be able to use his weapons with effect on horseback, nothing could be better, where the country suits and there are wild animals, than to practise horsemanship in combination with the chase. But when these resources fail, a good exercise may be supplied in the combined efforts of two horsemen. (9) One of them will play the part of fugitive, retreating helter-skelter over every sort of ground, with lance reversed and plying the butt end. The other pursues, with buttons on his javelins and his lance similarly handled. (10) Whenever he comes within javelin range he lets fly at the retreating foeman with his blunted missiles; or whenever within spear thrust he deals the overtaken combatant a blow. In coming to close quarters, it is a good plan first to drag the foeman towards oneself, and then on a sudden to thrust him off; that is a device to bring him to the ground. (11) The correct plan for the man so dragged is to press his horse forward: by which action the man who is being dragged is more likely to unhorse his assailant than to be brought to the ground himself.

(9) {ippota}. A poetic word; "cavaliers."

(10) Or, "manipulated."

(11) Or, "that may be spoken off as the 'purl trick'"; "it will unhorse him if anything."

If it ever happens that you have an enemy's camp in front, and cavalry skirmishing is the order of the day (at one time charging the enemy right up to the hostile battle-line, and again beating a retreat), under these circumstances it is well to bear in mind that so long as the skirmisher is close to his own party, (12) valour and discretion alike dictate to wheel and charge in the vanguard might and main; but when he finds himself in close proximity to the foe, he must keep his horse well in hand. This, in all probability, will enable him to do the greatest mischief to the enemy, and to receive least damage at his hands.

(12) See "Hipparch," viii. 23.

The gods have bestowed on man, indeed, the gift of teaching man his duty by means of speech and reasoning, but the horse, it is obvious, is not open to instruction by speech and reasoning. If you would have a horse learn to perform his duty, your best plan will be, whenever he does as you wish, to show him some kindness in return, and when he is disobedient to chastise him. This principle, though capable of being stated in a few words, is one which holds good throughout the whole of horsemanship. As, for instance, a horse will more readily take the bit, if each time he accepts it some good befalls him; or, again, he will leap ditches and spring up embankments and perform all the other feats incumbent on him, if he be led to associate obedience to the word of command with relaxation. (13)

(13) Lit. "if every time he performs the word of command he is led to expect some relaxation."

IX

The topics hitherto considered have been: firstly, how to reduce the chance of being cheated in the purchase of a colt or full-grown horse; secondly, how to escape as much as possible the risk of injuring your purchase by mishandling; and lastly, how to succeed in turning out a horse possessed of all the qualities demanded by the cavalry soldier for the purposes of war.

The time has come perhaps to add a few suggestions, in case the rider should be called upon to deal with an animal either unduly spirited or again unduly sluggish in disposition. The first point to recognise is, that temper of spirit in a horse takes the place of passion or anger in a man; and just as you may best escape exciting a man's ill-temper by avoiding harshness of speech and act, so you will best avoid enraging a spirited horse by not annoying him. Thus, from the first instant, in the act of mounting him, you should take pains to minimise the annoyance; and once on his back you should sit quiet for longer than the ordinary time, and so urge him forward by the gentlest signs possible; next, beginning at the slowest pace, gradually work him into a quicker step, but so gradually that he will find himself at full speed without noticing it. (1) Any sudden signal will bewilder a spirited horse, just as a man is bewildered by any sudden sight or sound or other experience. (I say one should be aware that any unexpected shock will produce disturbance in a horse.) (2)

(1) Or, "so that the horse may insensibly fall into a gallop."

(2) L. Dindorf and others bracket, as spurious.

So if you wish to pull up a spirited horse when breaking off into a quicker pace than requisite, you must not suddenly wrench him, but quietly and gently bring the bit to bear upon him, coaxing him rather than compelling him to calm down. It is the long steady course rather than the frequent turn which tends to calm a horse. (3) A quiet pace sustained for a long time has a caressing, (4) soothing effect, the reverse of exciting. If any one proposes by a series of fast and oft-repeated gallops to produce a sense of weariness in the horse, and so to tame him, his expectation will not be justified by the result; for under such circumstances a spirited horse will do his best to carry the day by main force, (5) and with a show of temper, like a passionate man, may contrive to bring on himself and his rider irreparable mischief.

(3) Or, "long stretches rather than a succession of turns and counter turns," {apostrophai}.

(4) Reading {katapsosi} with L. Dind.

(5) {agein bia}, vi agere, vi uti, Sturz; al. "go his own gait by sheer force."

A spirited horse should be kept in check, so that he does not dash off at full speed; and on the same principle, you should absolutely abstain from setting him to race against another; as a general rule, your fiery-spirited horse is only too fond of contention. (6)

(6) Reading {skhedon gar kai phil oi thum}, or if {... oi thil kai th.} transl. "the more eager and ambitious a horse is, the more mettlesome he will tend to become."

Smooth bits are better and more serviceable than rough; if a rough bit be inserted at all, it must be made to resemble a smooth one as much as possible by lightness of hand.

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.

(7) Al. "whistling," and see Berenger, ii. 68. {poppusmos}, a sound from the lips; {klogmos}, from the cheek.

As to the sluggish type of animal, I need only suggest to do everything the opposite to what we advise as appropriate in dealing with an animal of high spirit.

X

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.

(4) See Morgan, op. cit. p. 144 foll.

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.

(8) i.e. "the ends of the axles (at the point of junction) which work into each other are broad and smooth, so as to play freely at the join."

(9) "Behaves compliantly."

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)

(10) L. Dind. cf. Eur. "Med." 128, {ta de' uperballont oudena kairon}.

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.

Thus far on this topic; these notes may serve perhaps to meet a special need.

XI

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.

(1) {lampros}. Cf. Isae. xi. 41 ("On the estate of Hagnias"), Lys. xix. 63 ("de Bon. Arist.").

(2) See Berenger, ii. 68.

(3) Lit. "testicles."

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.

(4) Lit. "People, it must be admitted, claim to teach these arts in various ways--some by... others by bidding..."

(5) Reading {didaskalion}, al. {didaskalion}, "systems." Schneid. cf. Herod. v. 58.

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.

(6) Or, "by aids and signs," as we say.

(7) Or, "exercising-ground."

(8) Or, "and the man who knows how to manage such a creature gracefully himself at once appears magnificent."

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.

(9) Reading as vulg. {os malista epainousi tous toioutous ippous, os}. L. Dind. omits the words as a gloss.

(10) Reading {oi} (for {osoi}) {sumparepomenoi}. See Hartmann, "An. Xen. Nov." xiv. p. 343.

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.

(11) Or, "there is nothing, humanly speaking, to prevent such a man." For the phrase see "Mem." I. iii. 5; cf. "Cyrop." I. vi. 18; and for the advice, "Econ." iii. 9, 10.

XII