THE CANTERING LESSON (_continued_)--THE HALF PASSAGE AND CHANGE.
Although the last-named exercises belong, strictly speaking, more to the
curriculum of the military riding school than to female equitation,
still, to be able to execute them with precision is of great advantage
to a lady, because they teach her that by getting a good bend on her
horse, and placing him in a certain position by the application of the
proper aids, she can compel him at her pleasure to canter with either
near or off foot leading; and, although it may not be agreeable to her
to keep her horse going with the near leg, unless she is riding on the
off side, nevertheless, the practice of the half passage and change is
an admirable, and indeed very elegant, mode of acquiring ready facility
in the effective use of hand and leg. I have said before that the horse
in the "half passage" places one foot before the other, instead of
crossing his legs completely, as in the full passage. The former mode of
progression enables the horse therefore to gain ground diagonally to his
front, instead of moving upon a line at right angles with the boards as
in the latter.
The aids by which the half passage is executed are the same as those of
the "full passage," with the following exceptions. First, there is a
lighter pressure of the leg on the outward side; and in the case of a
lady it is necessary that she should use her whip on the off side behind
the saddle alternately with her leg on the near side, in order to cause
the horse to gain ground to the front, as well as to place one foot
before the other.
After starting her horse at a walk, "going large," the rider should
rein him back, collect and balance him--riding equally upon snaffle and
curb reins--she should make the corner perfectly square; and when midway
between it and the centre marker, the instructor should give the word
"right half passage," upon which the pupil should still further collect
her horse into the slow pace she used in the bending lesson, and, having
arrived at the centre marker, she should bring the horse's forehand in,
by a double feeling of the right rein; the outward leg closed, to
prevent the haunches from flying out. The inward rein leads; the outward
balances and assists the power of the inward. A pressure of the left leg
causes the horse to place one foot before the other (see Aid Book). The
whip used in alternate action with the leg will cause him to move to his
right front, towards the boards.
A very light and delicate application of the leg, in unison with a
similar application of the whip, is sufficient with a well-broken horse
to enable the rider to do the "half passage" correctly at a walk. The
point at which, strictly speaking, she should arrive at the boards is
just midway between the ends of the school; and in a properly-regulated
one there should always be a white marker on the wall, just above the
place where the sockets for the leaping bar are inserted in it.
Keeping her eye upon this marker, the rider should lead her horse's
forehand lightly with the right rein, maintaining an easy, playful,
feeling of the snaffle in his mouth, and carefully balancing his every
step with the left rein, while she presses him up to his work with the
leg and whip. The horse's head should be bent to the right, so that his
right eye is visible to the rider as she sits perfectly square in the
saddle. The pace can scarcely be too slow, but every step must be taken
up to the bridle, the horse's forehand up, and his haunches well under
him.
In no part of a lady's course of equitation is it necessary for the
instructor to pay more close attention to his pupil than in this: the
temptation to the latter to relax her position, and sit, as it were,
"all over the saddle" is great, from the difficulty she at first
experiences in applying the aids effectually, and her anxiety to do
well, causing her to twist her figure in pressing the horse with the
left leg. The horse, too, is moving with his fore and hind feet in two
distinctly different lines, which renders it far from easy, without
considerable practice, to sit fair and square in the saddle. Close
attention and quiet correction, however, will obviate all this.
Many people, I am aware, assert that riding with such precision is
unnecessary to a lady. From this opinion I beg leave to dissent _in
toto_, my idea being that a course of equitation for a lady means
teaching her everything (less the lessons of the "Haute Ecole")
connected with the subject, and that whether she chooses hereafter to
practise the "bending lesson," "half passage," and change at a canter or
not, a thorough knowledge of them will give her a facility of riding
unattainable by any other means, and make her also thoroughly _au fait_
to the reason for everything she does in order to control the animal
under her.
Again, I can see no possible reason why the nicest precision should be
considered unnecessary in a lady's riding any more than it is in music;
and, to try back on my old simile, I submit that as the same scale is
written for a Thalberg as for the fair daughter of the house who
performs on the pianoforte for the _post prandial_ amusement of
paterfamilias, and inasmuch as the mode in which the music is performed
is dependent in a great measure upon precision and practice, so in
riding it is necessary to make a young lady acquainted with the
principles of equitation in their minutest details, and carefully to
watch that she executes them with the most rigid exactness.
To return to the half passage. On arriving at the boards the lady should
halt her horse for a moment and make much of him, then rein him back,
and again walk him round the school to the left. The half passage should
then be done to that hand, reversing the aids, and using the whip
instead of the left leg. This will bring the horse again upon the right
rein. He should now be well put up to his work, and pressed smartly off
at a very collected canter. The instructor should be most careful that
the proper cadence in pace is arrived at before he gives the word, and
should caution the pupil also that when she arrives at the boards she
should bring her horse to the walk.
To facilitate this exercise also, it may be advisable in some cases to
take the whole school instead of half of it; but in that case the horse
should go over the same ground in the "half passage" at a walk, as he
afterwards does at a canter.
When the exercise is done at the latter pace, no attempt should be made
at the first effort to change the horse at the boards. The master should
give the word very quietly directly the pupil turns the corner of the
school, and she should then press her horse well up, and turn his head
smoothly from the centre marker, applying her aids with firmness and
decision, endeavouring at the same time to prevent him from hurrying his
pace. This, however, at the first attempt, it is scarcely to be expected
that she will accomplish.
If the whole school is taken, the point of arrival at the boards should
be about a horse's length from the end, where he should be brought
quietly to a walk, the rider for this purpose keeping the body back,
turning the little fingers of both hands up towards the waist, and
drawing the hands themselves well towards her waist. The bend of the
horse's head should then be changed to the left, by allowing the off
side reins to slip through the right hand about two inches, and drawing
the near-side reins through the left hand, with the right, to an equal
extent. The near-side reins should then be passed into the right hand,
while with the left the rider "makes much" of her horse on the near
side. This, of course, should only be done if he has executed the
movement with reasonable precision, for (to repeat) perfection cannot be
expected in the pupil's first effort.
Plenty of time should be taken between these "half-passage" lessons,
because they are severe, calling very much upon the physical powers of
both horse and rider.
In order to give both a fair chance, the lesson should be again done at
a walk, then at a canter, the pupil carefully instructed on arriving at
the boards to strike the horse off collectedly _to the left_. To do this
she should quietly change the bend to that hand, carry her left foot
well forward towards the horse's shoulder, so as to use an action of her
leg reverse to that she had recourse to in striking him off to the
right. She should keep him well bent, but well supported with the
outward rein. When she has him in the corner of the school, and bent
both in his neck and ribs (which in turning and putting his off fore
foot into the angle must be the case, if she applies her whip smartly
behind the flap of the saddle, and presses her left foot to his near
elbow, keeping his forehand well up at the same time), he can scarcely
refuse to strike off with his near leg; but it must be borne in mind
that a lady cannot be expected to execute this movement with any
certainty unless the horse has been previously taught by a man to obey
the aids the lady applies as above directed. This, however, every
breaker who knows his business can easily do.
When a fair amount of proficiency is acquired in this lesson, the change
may be made from what is technically called a "half halt," which means
simply that, the horse being thrown more upon his haunches, the aids are
applied with great firmness, and the horse compelled to change his leg
without being brought completely to the walk. The degree of proficiency,
however, should be when the pupil can change her horse with certainty
after halting him.
The pace at which the half passage is done should be very collected,
and, I repeat, if the rider and horse do it only reasonably well (that
is, the latter continuing true and united in his pace, and changing
freely after being halted), that for some little time it should be
considered sufficient, and every allowance made for the fact that the
lady, unlike the male rider, cannot give support to her horse with both
legs.
Most likely at first the horse will throw his haunches out a little, and
the rider slightly lose her position. Practice and the close application
most ladies give to riding will suffice to correct all this, and in due
time the pupil will be able to execute the lesson with smoothness and
ease to herself and her horse. She will then be sufficiently advanced to
commence cantering on the curb rein alone. This, as regards finish in
the rider's hand, is in equitation what tone is in music. Every motion
of the little finger, or the slightest turn of the wrist, acts upon the
curb when it is unrelieved by the snaffle with so much more power, that
the greatest care is necessary to keep the bridle hand steady at first,
and to avoid anything approaching to suddenness or roughness of action.
This steadiness is best accomplished by causing the pupil to ride with
the reins arranged military fashion, with the snaffle reins hanging over
the full of the left hand, the off side rein uppermost, and the right
hand holding the end of the curb reins, as before described, which
affords greater facility for easing and feeling them than can at first
be expected, when the action is given altogether from the left wrist. In
the latter case, the hand without considerable practice would be far too
heavy, even when the arm was kept quite firm, and unbearably heavy to
the horse if there was any motion from the shoulder of the rider.
I must repeat that the lines of action of the little finger of the
bridle hand are four--namely, towards the right and left shoulder
respectively, according as the rider desires to turn the horse right or
left; and towards his neck and her own waist, as she wishes to collect,
rein back, or move him forward.
Now, while in trotting on the curb rein only the hand and arm should be
kept as steady as possible, in order that the horse may make a free
_appui_ between mouth and hand, "taking hold a little of the latter;" in
cantering the direct reverse of this is the case, and the hand of the
rider should give and take to every stride of the horse.
It is in the mode of timing these give-and-take motions in exact harmony
with the action of the horse that fine and finished hands consist; and I
will endeavour to give an idea of the readiest way in which this
delicate manipulation may be acquired, with as much precision as the
fair rider can exercise when pressing the keys of a pianoforte.
Let us suppose, then, that in preparing for the cantering lesson on the
curb, in order nicely to collect the horse, the reins are drawn quietly
through the left hand by the right, as above described, the object being
to rein the horse back a step or two, and balance him well with forehand
up and haunches under him. By the above-named drawing up of the reins a
firmer _appui_ is created against the horse's mouth. By closing both leg
and whip, however, while still maintaining this _appui_, the horse will
step back. The instant he does the reins should be yielded to him, and
he will bend in the poll of the neck and yield to his rider's hand. So
that the _appui_ is then scarcely perceptible. This alternate action of
hand and leg, aided by the whip, should be repeated just as many times
as it is desired to rein the horse so many steps backward, the latter
moving very slowly; a couple or three steps for the purpose above named
are always sufficient. To move the horse to the front again at a walk,
the leg should be closed, and the reins eased until he moves forward,
when he should be again collected. But if the rider desires to strike
him off at once at a canter, at the moment she eases her hand she should
apply her spur smartly just behind the girth, and touch the horse
lightly on the off shoulder with her whip. Being properly bent and
prepared, he will then strike off with his right leg first, and well
within himself; but having eased the reins as the horse takes his first
short stride forward, the rider should feel them again the next instant,
keeping her left hand well back, her arm steady, and manipulating the
reins with the right hand and the fingers of the left, so that she feels
them just as the horse's fore foot is on the ground, and eases them as
he raises it.
This may appear to the uninitiated a very difficult matter, but in
reality it is not at all so, any more than it is difficult in dancing to
keep time to music, or for the musician to count the time to himself;
and by careful watching it can be mastered as well as either of the
above, or the stroke in swimming.
Anybody who has witnessed a cavalry field day will have noticed that the
regimental band and the action of the horses both in trotting and
cantering past the commanding officer are in exact harmony; and many
people believe that the horses are taught to canter to the music. The
reverse of this, however, is the case. The leader of the band, having
himself passed through a course of equitation, knows the exact cadence
of the pace of manoeuvre, and regulates the time of the music
accordingly; but it is because he is able to count the time of the
horses' footfall so well that he is also able to set the time of the
music. In like manner the fair equestrian, with a little practice, can
learn to count the time of her horse's canter to herself, and regulate
the action of her hand accordingly.
The pupil must throw plenty of _life_ into her riding, and, while she
sits easily and flexibly as regards her whole figure on the saddle,
should keep the horse equally upon his mettle. In a riding school he
requires more calling upon than when out of doors, and more "pressing
up," as it is technically called; but when once the rider has him going,
well balanced, and bending nicely, the great thing is to "let well
alone," and not ask too much, by which she would only fret and upset
him. In bringing the horse to the walk, the pupil should be cautioned to
feel him up very gradually, avoiding any sudden jerk on his mouth. The
gradual stronger feeling for two or three strides, of the taking action
of the hand, followed by a much slighter giving of the reins, will bring
the horse smoothly to the walk. The body of the rider should be inclined
slightly back from the perpendicular.
When the lady has acquired ease and freedom in riding on the curb, the
turn, circles, "half passage" and change may be practised, close
attention being given that the aids are applied smoothly and quietly.
After a few such lessons, the pupil may commence riding with the left
hand entirely unassisted by the right. For this purpose it is necessary
first to carry that portion of the reins held in the right hand over the
middle joint of the fore finger of the left; close the thumb firmly down
on them, and drop the slack of the rein to the off side of the saddle
near the horse's shoulder.
The give-and-take action must at first be from the wrist only, the arm
being kept firm, and the hand opposite the centre of the body.
For a time this will be a little difficult, especially in turning, when
the rider has only the motion of the little finger to depend upon for
the action of the bit in the horse's mouth; but by supporting the horse
well with the leg and whip, she will find that he will presently answer
readily to her aids. In turning to the right, the hand must be turned
with the knuckles up, and the little finger down towards the left
shoulder, the whip pressed to the horse's side, and the leg kept close,
in order to make the turn square. In turning to the left, the little
finger should be directed inwards and upwards towards the right
shoulder, and the left leg pressed to assist the turn, while the whip on
the off side insures its squareness. The wrist must be quite easy and
supple. In collecting, reining back, halting, or bringing the horse to
the walk, the action by which he is restrained should again at first be
altogether from the wrist, because motion from the shoulder would be too
heavy. In yielding to the horse, nothing more is necessary than to turn
the knuckles up and the little finger towards the horse's neck.
By degrees, as the pupil learns to command her horse riding in this form
she must be instructed once more to give free and mobile action to the
arm at the shoulder joint, as when riding on both snaffle and curb
reins. But at first firmness of the arm is essential to give steadiness
to the hand. A good deal has been said about turning horses by pressure
of the rein against the neck without acting upon the metal in his mouth;
and opinions very diverse have been expressed on this point. With all
deference to the disputants, I submit that both are right and both wrong
in some respects. For instance, when the rider has the reins divided and
the hands well apart (a section of the lady equitation I propose to say
something about hereafter), if the rider turns the horse square to the
right or left he must use his legs as well as his hands, and
imperceptibly perhaps to himself (even if he has not been taught by
rule) he closes both the outward leg and feels the outward rein firmly,
in order to support the horse and prevent him from falling, which
otherwise he would be in danger of doing. Now, this support with the
outward rein causes it to press against the horse's neck, and to some
extent gives him the indication of the rider's will. But still it is
simply impossible to do this without acting on the snaffle or bit rein,
as the case may be, on one side or the other, as long as the reins are
attached to a bit of any sort. And after all, it is the leg which gives
the surest indication of the rider's will.
One sees a lad in an Irish fair riding with a flat-headed halter turned
through the horse's mouth, and, with the rope only on one side, he will
put the horse through his paces, jump him, and turn him to either hand.
There is no metal at all in the mouth, although the hemp is not a bad
substitute; but the rope being only on one side, it is evident that it
is not pressure upon the neck that turns the horse, but the action of
the boy's leg against the intercostal muscles of the horse, and the
inflection of the lad's body to the hand he desires to turn to.
Moreover, in the case, let us say of a dragoon, we will suppose at
riding school drill, it would be utterly out of the question to turn
horses by pressure on the neck and preserve order at the same time. Let
us suppose a double ride--seven mounted men on either side of a school
or _manege_. They are going large round the place, and the instructor
gives the word "Right and left turn." If each man of the fourteen were
to turn his horse by pressure of the reins against the neck, instead of
by the aid of leg and hand, the result would be that in place of making
a square turn at right angles with the boards, each horse would describe
a segment of a circle, more or less large, according to the
susceptibility of his neck, and the stiffness or otherwise of his ribs.
The consequence would be that the two sides, instead of passing left
hand to left hand through the intervals (and it must be remembered that
there is little room to spare), would be on the top of each other, and
in confusion at once. And if this would be bad at a walk, it would be
still worse at a canter. In either case it would be impossible, by the
application of such aids, to preserve the dressing. The above, I submit,
is a sufficient reason, where the utmost precision in riding is
required, why turning a horse by the action of the rein against his neck
(if, indeed, it can be done at all without the leg) is objectionable;
and another objection in the case both of the dragoon and the lady rider
is that the motions by which such aids could be applied are _too wide_
for neat and elegant riding.
Horses in their breaking may be taught to answer all sorts of "cross
aids;" but for simplicity and ease of comprehension there is nothing in
equitation so good as the system practised in the German and our own
cavalry riding schools, the proof of which lies in the fact that,
although years ago one did not get even an average amount of
intelligence as a rule in our rank and file, yet every cavalry soldier
could readily understand the simple system upon which he was taught. It
is because that system forms, after all, the basis of much that applies
to female equitation that I have so frequently quoted from and alluded
to it.
When the instructor finds that his pupil is quite at her ease, riding
her horse with one hand only, that she can do this, giving due freedom
of action to the arm at the shoulder joint, has perfect command of him,
and plenty of liberty and confidence in her own deportment on his back,
he should take her out and ride with her in the park or road, and
subsequently prepare her to extend her horse at a gallop, and commence
her leaping lessons.
At this stage a more finished style of equestrian toilette will of
course be adopted, in lien of the loose habiliments hitherto used.
I do not pretend to lay down any arbitrary rule on this subject. Much of
course depends upon the taste of the lady herself, and in this respect
English ladies are pre-eminent; a good deal also upon the judgment and
experience of those about her. But as I have good opportunities of
seeing the best types of fashionable attire for ladies' riding, I
venture to suggest some of them.