THE TROTTING LESSON.
This, once thoroughly mastered, gives the pupil confidence and security
on her horse, and is the great inductive step by which she learns the
value of balance. Some years ago it was considered that if a lady could
sit her horse gracefully at a walk, and securely at a canter, she had
accomplished all that was correct or necessary in female equitation.
Trotting was altogether ignored, for the simple reason that ladies found
it extremely difficult to do, and impossible to find anybody who could
help them out of their difficulty by teaching them the right way. In
those days most of the riding masters were men who had been instructors
in the cavalry. In that arm of the service, trotting according to
regulation is quite a different thing to the easy rise and fall seat
practised by civilians on horseback. It is a necessity in cavalry, in
order to preserve the dressing in line, that a man should sit down in
his saddle at a trot, and allow the horse to shake him fair up and down
in it. If the rising seat were allowed, it would be impossible to
preserve anything like dressing. This shake-up, or "bumping" seat,
however, as men out of the army call it, is by no means so distressing
as some people imagine, unless the horse is unusually rough in his
action.
The reason is that the military trot is taught upon the principle of
balance. The man sits fair down on his seat, and, keeping his knee
forward and his heel well down, does not cling to the horse by muscular
grasp; consequently the bumping, so terrific to the eye of the civilian,
is scarcely felt by the soldier, and in continental armies, where rough
trotting horses are exceptional, the motion or jolt is scarcely
perceptible. There are a great many popular fallacies about military
riding--as, for instance, that a dragoon rides with a very long
stirrup; that his seat is insecure; that the bumping gives a horse a
sore back; and that, except a sailor and a tailor, a dragoon officer is
about the worst horseman to be found. This is not exactly the place to
enter into any controversy on the subject; but I may as well observe at
once, and I do so because I am sure the old soldiers are not altogether
despised by the ladies, even in this non-military country, that all the
foregoing are so many mistakes. A dragoon, any time within my memory,
rode just the same length as a man does over a country--that is to say
that, measuring the cavalry man's leather and iron by the length of his
arm and hand, which is the right length for a civilian, you have exactly
the cavalry regulation length. The stirrup of a lancer indeed is
somewhat shorter than that used by most hunting men. Finally, an
acquaintance with the _habitues_ of such places as Melton would prove to
unbelievers in the riding of cavalry officers that the names of most of
the men who go to the front in the hunting-field, and keep there, are to
be found in the "Army List." I have been tempted thus to digress by
having referred to the military riding school, from which in former
days, most, if not all, the riding masters who taught ladies came. Now,
although I stand up (as in duty bound) for the military system of riding
_per se_, it does not produce the right man to teach a woman to ride, if
the experience of the preceptor has been acquired in the riding school
only. Excellent as is our system (or, rather, the German system, for it
is imported from the Prussian service), for making a man a first-class
dragoon, as regards anything connected with a lady's seat or the
principle of her balance, it is useless.
As regards her hands, or the application of the "aids" of the _manege_,
it is highly beneficial, because nothing can be more clear or concise
than the simple rules laid down in military equitation for the
application of the "helps," by which a horse's easy movement is
controlled and regulated. It was principally to the want of men who
could teach a lady to ride, however, that the absence of a trotting in
the side saddle was to be attributed "lang syne."
It is altogether different now. Riding masters took to riding across
country, and their daughters took to it also, naturally. Awkward spills
occurred; and long journeys home after hunting, all done at a canter,
terribly shook the horse's legs and the temper of the head of the
family. "Why the deuce can't you let your horse trot?" I once heard the
worthy sire of a blooming girl of sixteen say to his daughter, who was
pounding away on the hard road on the _retour de chasse_. "For God's
sake let him trot, Carry. You'll hammer his legs all to pieces. Why
don't you let him trot?" "Because, pa, he won't let me trot," was the
unanswerable reply. True enough; Carry knew nothing about it, and there
was nobody to tell her. She was riding on a saddle that fitted neither
her nor her horse. She had no third crutch, and she had a slipper
stirrup (that worst of abominations in ladies' saddlery). Looking back
at those days, the only wonder to me is, how ladies managed to ride at
all. That they did ride is certainly proof (if any were wanting) of
their courage and perseverance under difficulties.
The necessity for trotting having become apparent as ladies took more to
riding, it at length called the attention of one or two thoroughly
practical men to the subject. The first of these, I believe, was the
celebrated steeple race jockey, Dan Seffert, who had been a riding
master in his early days, and who was equally at home in the _manege_ or
between the flags over a country.
The running made by Mr. Seffert was soon taken up by other first-class
horsemen, among whom were Mr. Oldacre, and Mr. Allen, of Seymour-place.
The third crutch was added to the side saddle, and numerous improvements
effected in it, which rendered trotting not only practicable, but
pleasant and easy to a lady, provided she was taught the right way. I
believe we owe the third crutch and padded stirrup to Mr. Oldacre, a
first-class judge of female equitation; but I am not quite certain upon
this point. The saddle having been rendered practicable for the purpose,
the next thing requisite was a comprehensible and simple set of rules,
by which the lady could be taught to trot, without distressing either
her horse or herself. To whom these rules owe their origin is
immaterial; as to their efficiency, such as they are, I have found them
highly so, and therefore beg leave to submit them to your readers.
After the usual walking lesson (abridged, however, to allow more time
for what is to follow), the pupil should ride her horse to the centre of
the school, and halt him there, so that the instructor has perfect
facility of getting at the horse on any side, and seeing the exact form
in which his pupil moves. The lady should then be instructed to take a
firm hold with the right knee on the upper pommel of the saddle,
grasping it well between the thigh and the lower part of the leg, and
carrying the latter well back, with the heel sunk as close as possible
to the left leg. By sinking the heel well, she will give great firmness
to her hold with the right leg upon the upper pommels. To accomplish
this, however, she should get well forward in her saddle, and care
should be taken that her stirrup is not too short, otherwise she will be
thrown too far back to enable her to take the necessary grip with the
upper leg. The left leg should then be well drawn back, the front of the
thigh pressed firmly against the third crutch, the left heel well sunk,
and the toe raised from the instep, because a firmness is thus given to
the leg and thigh which would otherwise be wanting. The body, from the
waist upwards, should be inclined slightly forward, and the angle at
which the left foot is drawn back from the perpendicular line from the
knee to the foot should be regulated by the inclination of the body
forward, so as exactly to balance it.
Having placed his pupil in this position, and seen that her hands are
well drawn back and arms firm, the instructor should then _take her foot
out of the stirrup_, and give the following concise instructions: "On
the word 'one,' raise the body slowly from the saddle as high as
possible." Now, to do this without the aid of the stirrup can only be
accomplished by keeping the heel well down and the leg back (in the
first place, in order to balance the body), and then raising the figure
by the action of the right knee and its grasp upon the upper pommel. At
first the pupil will find this difficult, even when the horse is
perfectly motionless, and when the riding master assists her by putting
his left hand under her left elbow; but after a few efforts she will
succeed. This is the first step in learning the rise with precision.
Having accomplished it, the pupil should not lower herself again to the
saddle until the instructor gives her the word "two," when she should
lower herself as slowly as she rose.
If she has been well tutored in the extension and suppling practices
alluded to in my second chapter, she will understand what "one, two"
time means in this way as well as in dancing, and her knowledge of
balance on foot will assist her on horseback. These rising and falling
motions should be continued until the pupil executes them with
precision, fair intervals of rest being allowed. The master should then
place the lady's foot again in the stirrup.
The absence of this support in the previous lesson will have prevented
the pupil from leaning to the near side, and throwing her weight out of
the perpendicular--a most pernicious habit, which ladies who try to
learn their trotting in one lesson are very apt to fall into, and it is
a fault very difficult to correct. In fact, the main object in beginning
without a stirrup is to avoid this error.
With the support of the stirrup the pupil will find the act of rising
and maintaining an upright or slightly bent forward position (the figure
raised well up from the saddle) a comparatively easy matter, and the
lesson should be continued thus for a quarter of an hour longer. However
trying to the patience this riding without gaining ground--"marking
time" in the saddle--may be, the lady maybe assured, that it is by rigid
attention to such minutiae only that she can become a first-class
horsewoman, and that she is in reality losing no time.
When we hear the singing of Mme. Titiens, or recollect the unrivalled
dancing of Taglioni, we are apt to forget that with all the natural
talent of these great artistes, it was close attention to rudimentary
elements that laid the foundations of their excellence. It is so in
riding, to excel in which is far more difficult than in dancing. It is
those only who are content with mediocrity who ignore detail. We come
now to the second section of this lesson, in which the pupil will begin
to find the first fruit of her previous exertion. The master having led
her horse to the side of the school, should give her instruction to walk
him freely out, riding him, however, well up against the snaffle, if
necessary for this purpose using her whip sharply. The horse will then
take fairly hold of her hand, and give her a good _appui_. The rising
and falling should then be continued at a walk, and assisted by the
impetus given by the horse's forward motion, and the stirrup, the pupil
will find her work still easier than when the horse was at a standstill.
The instructor should now count his "one," "two," in different times,
allowing a longer or shorter interval between each word, according to
whether he means to convey to the pupil the notion of quick sharp action
in the horse, or long dwelling action. Thus, when the horse trots, he
will be able to count his time in exact accordance with the animal's
movements. Be the time quick or slow that he counts, he should exact
rigid conformity of action in the pupil; because this harmony of motion
to the counting is as important to success in the riding master as it is
to the music master. Time and cadence in action are vital points in
equitation.
As soon as the instructor is satisfied that his pupil can easily
accommodate her action to his word, he should prepare to test both in
the trot. But if he takes a week to get the pupil to do the two previous
lessons (one of them even) properly, they should be continued until she
does it; nobody can spell until he knows the alphabet.
To carry on the lesson in the trot, the instructor should mount a cob or
pony of such height as will admit of his easily placing his left hand
under the right elbow of the pupil. He should ride with his reins in his
right hand, and be sure that the horse he gets on is a perfectly steady
one.
He should now put plenty of vivacity into his own manner; he will then
easily impart it to his pupil and her horse. The latter should be
smartly "woke up" if at all behind his work--pressed up to the bridle
with whip and leg, and "made ready" to increase his pace at any moment.
The master should then caution his pupil that on the words "Prepare to
trot," she should strengthen her grasp on the upper pommel, her pressure
against the third crutch, and well stretch down the left heel, while she
carries back the left leg, and inclines the body slightly forward from
the waist, arms very firm, fingers shut tight on the reins; and while
the body inclines forward there should be no outward or lateral
curvature of the spine, nor should the head be dropped. The shoulders
pressed well back, and the hands close to the waist, will give firmness
and suppleness to the whole figure. Directly the master is satisfied
with the pupil's position, he should place his left hand under her right
elbow, urge his own horse smartly on, and give the word "Trot," on which
the pupil should, without altering her position or yielding her hand,
touch her horse smartly on the shoulder with the whip; he will then trot
forward. At the first step he takes the master should help the pupil up
with his left hand, and commence counting his "one," "two" in exact
accordance with the horse's action. In nine cases out of ten the lady
will succeed, with a fair stepping horse, in catching at the first
attempt the rise at the right moment, and the increased impetus given by
the horse will assist her, while her preparatory lessons in rising and
falling will now prove their value.
Should any failure, however, attend the first effort, both horses should
again be brought to the walk; the lady should be allowed to re-arrange
her habit, and recover from the inevitable flurry which attends any
failure of this sort. Patience, concise explanation, and cheerful manner
on the part of the master will presently find their reward. All ladies
do not possess great nerve, but most of them have great courage and
perseverance, and after a false start or two they get on their mettle,
and are sure to catch the true action. When once they have it, the
master should make the pace sharp and active three or four times round
the school, which is long enough for a first attempt. A couple more
turns of equal duration should terminate the first trotting lesson. The
lady should walk her horse round the school until both are cool, make
much of him by patting him on the neck, and then be taken off. Day by
day the instructor can slightly increase the length of the lesson,
always beginning it, however, as above described, until the rise and
fall of the pupil at a trot is perfectly true and fair. There should be
no twist from the waist, the shoulders perfectly square, every movement
in exact harmony with the horse's action. After the lady can rise and
fall in the saddle unaided by the master, he is better on foot, because
he can stand behind his pupil, and at once correct any fault in her
position or riding; and no fault, be it remembered, however trivial,
should be allowed to pass uncorrected.
For some time the lady should continue trotting out round the school,
riding altogether upon the snaffle and sending her horse well up against
it. There should be no "give-and-take" action in the hand in this case;
but while she does not pull the weight of a feather against her horse,
she should make him maintain the _appui_ by taking well hold of her
hand; his trot will then be regular and fair.
After about ten days or a fortnight of such practice, the master may
commence the third section of his trotting lesson, namely, that in which
the pupil begins to collect her horse, raise his forehand, and bring his
haunches under him.
The first step in this should be to ascertain that the lady is not
dependent upon the horse's mouth for any part of her firmness in the
saddle, or, more correctly speaking, to see that her balance is right
unaided by the bridle, because, although perhaps imperceptible to the
rider (man or woman), the _appui_ of the mouth has more to do with the
seat than most people imagine. In good schools of equitation men tell
you "There are no hands without legs." True, and if we were to ask many
a good man that we see crossing a country to ride over a big fence
without a bridle we should perceive that there are few seats without
hands. It is to correct the tendency to trust for support to the horse's
mouth that the efforts of the instructor should now be directed.
To carry this out, he should be mounted upon a horse of about equal
height to that of his pupil, on the off side, and close to whom he
should place himself. He should direct her to drop her reins entirely,
and then take them in his left hand, riding his own horse with his
right. He should then instruct the lady to place her hands behind her
waist, the right hand grasping the left elbow, as described in the
suppling practices. Cautioning her again as to firmness of grasp and
good balance, he should then urge both horses into a smart trot, and
keep them going round the school two or three times, carefully watching
the action of the pupil, and if he perceives the least indication of
distress pull up immediately. The exertion necessary to execute this
lesson is severe if the pupil has not been well suppled before being put
on horseback. If she has, there will be considerably less effort in it;
but, in any case, on first practising it, the fair tyro requires every
encouragement to persevere, because in doing one thing well, she is very
apt to forget another. Constantly reminded as to her position as the
trot goes on, she will succeed in doing all well. After two or three
such turns (the arms of course disengaged during the interval), the lady
should take up her reins again; this time the curb and snaffle reins of
equal length, and in the form (No. 1) described in a previous chapter.
She should then trot her horse freely out round the school, and she will
find the full benefit of her recent drilling without reins, inasmuch as
her seat will be many degrees firmer, and her balance more true, leaving
her more liberty of action in hand and leg to apply the necessary aids
to her horse in the coming lesson, in which at a well-regulated and
collected pace, she will learn to turn him in any direction at her will,
to rein him back, to make the inclines and circles, and prepare him for
the cantering lesson by finally riding him in his trot entirely on the
curb rein, and throwing him well upon his haunches.