Chambers's Journal of Popular Literature, Science, and Art, No. 693. Various
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p>Chambers's Journal of Popular Literature, Science, and Art, No. 693 / April 7, 1877
THE HIGH-METTLED RACER
At Cooke's well-known travelling Circus there may be seen some remarkable performances with horses and small ponies that have been trained for the purpose. In London, at Hengler's Cirque, as it is called, there is a fine stud of horses, which commands general admiration. Without depreciating modern establishments of this kind, our recollections go back to Astley's Amphitheatre, near Westminster Bridge, as it used to be thirty to forty years ago, under the management of the late Mr Ducrow. The feats there performed by some of the horses were exceedingly wonderful. The animals seemed to possess a degree of human intelligence. They were accomplished actors. Their powers of simulation with a view to entertain spectators went far beyond what any one could expect whose knowledge is confined to the ordinary class of horses. We will mention a few particulars regarding the horses at Astley's as they occur to our memory.
One evening the performance represented a house on fire. All the inhabitants of the dwelling had managed to escape except a lady in an upper story. You saw her at a window throwing about her arms wildly, and screaming for help. Her appeals to the assembled crowd beneath were heart-rending. The firemen could not reach her, for the stair was seemingly in a blaze, and there was no fire-escape. The spectators in the theatre were wrought up to an agony, it being but too evident that the poor lady was doomed to perish by a painful and violent death. In the midst of the commotion, a horse which belonged to the lady rushed upon the stage. In its stable it had heard the screams of its mistress, and hastened to do its best to save her. Without saddle or bridle, it was seen to rush into the house, and to climb the stair amidst flames and volumes of smoke. It reached the apartment where the lady was. She mounted on its back, holding by the mane, and the horse descending the stair brought her safely to the ground. Prolonged shouts of applause rewarded the hazardous exploit. The whole thing was a beautiful piece of acting, evoking throughout sentiments of pleasure and admiration. Nothing but kindness and long training could have made the horse so clever in knowing what to do and to do it well. The feat was the more surprising as horses usually have a dread of fire which is not easily conquered. It will be understood that the fire had been so adroitly managed as to effect no injury on the theatre, and that there never had been any real danger.
On another evening at Astley's a still more remarkable piece of acting by a white horse named Prince, was offered for public entertainment. It was in a play called the High-mettled Racer. The play was in several successive acts, and designed to represent different stages of degradation in the career of a horse from youth to old age. The spectacle was painful but touching, and unfortunately in too many cases true to nature. We shall endeavour to describe some of the scenes.
When the piece opens, we have a view of an English country mansion. In front there are several mounted huntsmen in scarlet coats ready to set out on a fox-chase. They are waiting till a young lady comes out of the mansion to accompany them. We see the lady, who is properly equipped for riding, descend the steps at the doorway, and by the aid of a groom mount a young and beautifully shaped white horse that is in readiness for her. She speaks to it affectionately, and calls it her dear Prince. The elegant form of the animal, its proud bearing, its glossy coat, and the spirited way it prances about, excite general admiration. After a little galloping to shew its paces, the horse with its fair rider goes off with the huntsmen and hounds in pursuit of a fox – that was also a taught actor in its way – which leads the party through a variety of difficulties, such as climbing up rocks, leaping over hedges, and so forth, till at length, when on the point of being run down, it dashes into the cottage of a poor old woman, who humanely gives it shelter. She takes up the fox lovingly in her arms, and saves it from seemingly impending destruction. That may be called the first stage in the horse's career, during which Prince was well attended to and happy.
At the beginning of next act, the horse is to appearance several years older, and is no longer fit for racing or hunting. The lady, its first owner, had from some circumstances been compelled to part with it. From its swiftness in running, it had been purchased to run at celebrated horse-races, at which it had on several occasions won prizes, and its sprightliness obtained for it the name of the High-mettled Racer. After this it was transferred from one owner to another, always in a descending scale, until poor Prince is seen in the condition of a cab-horse in the streets of London. It has somewhat the look of its former state, but is terribly broken down in figure and spirit. Its plump and glossy appearance is gone. It is dirty and dejected. It hangs its head droopingly down. Its ribs shine through its skin. Its joints are stiff. It stands on three legs, with the other leg resting on the point of the foot, just as we see cab-horses trying to rest their aching limbs when standing in a row for hire. What a wretched downcome from that which Prince had enjoyed in 'life's young dream!' There awaits it, however, a still lower depth of misery.
In the following act, Prince is reduced to the forlorn condition of drawing a sand-cart, when it can hardly draw its own legs after it. To appearance, it is half-starved. A child offers it a few straws, which it is glad to eat. It seems to be little better than skin and bone. The cart in which it is yoked belongs to a rude jobber whose object is to wring the utmost possible work out of the animal before selling it to be killed. A feeling of horror and compassion thrills through the spectators. They can hardly believe they are only looking at a play, for the simulation is perfect. Staggering along with its draught under the cruel urging of the whip, the moment arrives when Prince can go no further. Its unhappy span of life is terminated. It suddenly drops down under its weary load – to die, and be relieved of all its troubles. Unyoked from the cart, and relieved of its harness, there it is stretched out, with a crowd of idlers about it, seemingly at the last gasp, and offering in its fate a dreadful instance of undeserved cruelty to animals. 'Man's inhumanity to man makes countless thousands mourn.' Quite true; but, alas, inhumanity to man is nothing in comparison with the inhumanity which is recklessly exercised towards the horse.
There is a concluding scene in the life of the horse we have been describing, which must on no account be omitted. While lying in the street in its death-struggle, and when preparations were making to drag it off to the shambles, a lady who is passing recognises the dying animal as being her favourite horse Prince, which she had ridden years ago at the fox-chase. At the same time the poor beast faintly lifting its head, recognises its old mistress, and with failing eyes seems to implore her compassion. In a state of distraction, the lady kneels down, takes the horse's head in her lap, speaks to it consolingly, and once more calls it her dear Prince. Oh, what she would not do to revive the dying animal, and give Prince a new lease of existence! Just at this juncture, in the manner of the old plays, when something supernatural was required to get over a serious difficulty, a sylph-like being in the character of a benevolent fairy appears on the stage carrying a magic wand. Her mission, she says, being to redress wrong, she touches the dying horse with the wand and bids it rise. In an instant Prince starts up from its recumbent position, and to the delight and amazement of everybody, it is as fresh, plump, glossy, and beautiful as when it went out with the hounds in the fox-chase. The lady springs upon its back, and off Prince goes at a splendid gallop. The applause was, of course, immense!
Perhaps in the whole annals of horsemanship there was never demonstrated a more wonderful case of acting. The horse had all along been feigning for public amusement. It had feigned to be a cab-horse. It had feigned to be tired when it stood on three legs. It feigned to be dying when it dropped down in the sand-cart. The whole affair was a piece of simulation, and by means of some adventitious aid in discolouring the skin, the deception was complete. A hasty rub with a cloth puts it all to rights; and instead of dying, Prince gallops off in the consciousness of having performed a brilliant piece of acting.
What we have narrated from recollection will assist in illustrating the natural intelligence of the horse, and the extent to which it can be educated by patient and gentle training. Harsh treatment would be all a mistake. Words kindly spoken, some small reward in the shape of a mouthful of what is agreeable – a trifling sweetmeat, for instance – will work wonders in forming the character of the horse, and teaching it to perform any required feat. We have always thought that an impressive moral lesson was conveyed in the play of the High-mettled Racer.
THE LAST OF THE HADDONS
CHAPTER XVII. – MRS TIPPER TO THE RESCUE
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