On the Art of Horsemanship

Some, however, teach these accomplishments by striking him under the hocks with a rod, others by telling a man to run alongside and hit him with a stick under the gaskins.

We, however, consider that the lesson is most satisfactory if, as we have repeatedly said, the rider invariably allows him relaxation when he has done something according to his wishes.

For what a horse does under constraint, as Simon says, he does without understanding, and with no more grace than a dancer would show if he was whipped and goaded. Under such treatment horse and man alike will do much more that is ugly than graceful. No, a horse must make the most graceful and brilliant appearance in all respects of his own will with the help of aids.

Further, if you gallop him during a ride until he sweats freely, and as soon as he prances in fine style, quickly dismount and unbridle him, you may be sure that he will come willingly to the prance.

This is the attitude in which artists represent the horses on which gods and heroes ride, and men who manage such horses gracefully have a magnificent appearance.

Indeed a prancing horse is a thing so graceful, terrible and astonishing that it rivets the gaze of all beholders, young and old alike. At all events no one leaves him or is tired of gazing at him so long as he shows off his brilliance.

Should the owner of such a horse happen to be a colonel or a general, he must not make it his object to be the one brilliant figure,[*](Xen. Cavalry 1.22) but must attach much more importance to making the whole troop behind him worth looking at.

Now if a horse is leading in the manner which wins most praise for such horses, prancing high and with his body closely gathered, so that he moves forward with very short steps, the rest of the horses must obviously follow also at a walking pace. Now what can there be really brilliant in such a sight?