diff options
Diffstat (limited to '31957.txt')
| -rw-r--r-- | 31957.txt | 1494 |
1 files changed, 1494 insertions, 0 deletions
diff --git a/31957.txt b/31957.txt new file mode 100644 index 0000000..2856066 --- /dev/null +++ b/31957.txt @@ -0,0 +1,1494 @@ +The Project Gutenberg EBook of Lectures on Horsemanship, by Unknown + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Lectures on Horsemanship + Wherein Is Explained Every Necessary Instruction for Both + Ladies and Gentlemen, in the Useful and Polite Art of + Riding, with Ease, Elegance, and Safety + +Author: Unknown + +Release Date: April 12, 2010 [EBook #31957] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK LECTURES ON HORSEMANSHIP *** + + + + +Produced by Julia Miller and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + +Transcriber's Note + +A number of typographical errors have been maintained in this version of +this book. They have been marked with a [+] and a description may be +found in the complete list at the end of the text. Irregular and +non-standard spelling has been maintained as printed. + + + + + LECTURES + ON + HORSEMANSHIP, + + Wherein is Explained + EVERY + NECESSARY INSTRUCTION + FOR BOTH + LADIES AND GENTLEMEN, + In the Useful and Polite + ART OF RIDING, + WITH + EASE, ELEGANCE, AND SAFETY, + + + BY T. S. + Professor of Horsemanship. + + + _LONDON_: + 1793. + + + + +LECTURE ON HORSEMANSHIP. + +Address to the Audience. + + + LADIES AND GENTLEMEN. + +Permit me to observe that the Horse is an animal, which, from the +earliest ages of the world, has been destined to the pleasure and +services of Man; the various and noble qualities with which nature has +endowed him sufficiently speaking the ends for which he was designed. + +Mankind were not long before they were acquainted with them, and found +the means of applying them to the purposes for which they were given: +this is apparent from the Histories and traditions of almost all +nations, even from times the most remote; insomuch that many nations and +tribes, or colonies of people, who were entirely ignorant, or had but +very imperfect notions, of other improvements and arts of life; and even +at this day[3-*] are unacquainted with them, yet saw and understood the +generous properties of this creature in so strong a light as to treat +him with fondness and the greatest attention, sufficiently to declare +the high opinion they entertained of his merit and excellence; nay in +various regions, and in the most distant ages, were so far from being +strangers to the many services of which the Horse was capable, as to +have left rules and precepts concerning them, which are so true and +just, that they have been adopted by their successors; and as all art is +progressive, and receives additions and improvements in its course, as +the sagacity of man at different times, or chance and other causes +happen and concur: so that having the Ancient's foundation to erect our +building, it is natural to suppose that the structure has received many +beauties and improvements from the experience and refinement of latter +times. + +It is generally supposed that the first service in which the Horse was +employed, was to assist mankind in making war, or in the pleasures and +occupations of the chase. _Xenophon_, who wrote three hundred years +before the Birth of _Christ_, says, in an express treatise which he +wrote on Horsemanship, that Cyrus hunted on Horseback, when he had a +mind to exercise himself and horses. + +Herodotus speaks of hunting on Horseback as an exercise used in the time +of _Darius_, and it is probably of much earlier date. He particulatly[+] +mentions a fall which Darius had from his horse in hunting, by which he +dislocated his heel: these and thousands of quotations more, which might +be produced as proofs of the utility of the Horse, in remote ages, are +truths so indisputably attested that to enlarge farther upon it would be +a superfluous labour, and foreign to my present undertaking. + + +ON MOUNTING YOUR HORSE. + +First we will suppose your horse properly saddled and bridled. Take your +Bridoun-rein (if you have Bit and Bridoun) your right-hand, shifting it +till you have found the center of the rein; then with your switch or +whip in your left-hand, place your little finger between the reins, so +that the right rein lies flat in your hand upon three fingers, and your +thumb pressing your left rein flat upon the right, keeping your thumb +both upon right and left rein, firm upon your fore-finger; and in this +position you ease your hand a little and slide it firmly down the reins +upon your horse's neck, taking a firm hold of a lock of his mane, which +will assist you in springing to mount: remember that when you attempt to +mount, that your reins are not so tight as to check your horse, or to +offend his mouth, so as to cause him to _rear_, or _rein_ back, but that +your action is smooth and light as possible. + +Your horse being firmly stayed, you next take your Stirrup-leather in +your Right-hand, about four inches from the stirrup-iron, and fix one +third of your foot in the stirrup, standing square with your horse's +side; next take a firm hold with your right hand on the Cantlet or back +part of the saddle, rather on the off side of it, and with your left +knee prest firm against the horse's side, spring yourself up +perpendicularly, bending the small of your back and looking chearfully +up rather than down. The next move you make is to remove your right-hand +from the Cantlet and place it firm upon the Pummel, or front of your +saddle, bearing your weight upon it, at the same time bend your right +knee, and bring your body round, looking strait over your horse's head, +letting yourself firmly and easily down into your seat, with the +shoulders easily back, bent well in your waist or loins, and your chest +well presented in front, with a pleasant uncontracted countenance. + +You of course next recover or take your switch, which is done by putting +your right-hand over your left, and with a quick firm motion take it in +your right hand, holding the same perpendicularly. + +Proceed us next to the adjusting the Reins, which is of the utmost use. +Supposing you ride with Bit and Bridoun, being four in number, place +them all even and flat in your left hand, exactly in the same manner as +described in taking the Bridoun in mounting; that is to say, your four +reins placed even, the one upon the other, remembering always to place +your Bridouns on the outsides, so that you may any time lengthen or +shorten them at pleasure, without putting the whole into confusion, and +cause the Bit to act alone, or Bridoun alone, or both Bit and Bridoun to +act together. + +I have observed before that only your little finger should be between +the reins when only two, it is the same now four, so now your two reins +on the right side of your horse's neck lie flat upon your three fingers +in your left-hand, your two left reins placed flat upon the right, and +your thumb pressed flat upon all four. This is the only sure method to +keep your reins firm, free from confusion, and to cause them to act +properly; which any lady or gentleman will be convinced of if they will +only give themselves the pleasure to practise, as I cannot call it a +trouble. + +If it should be demanded why the horse would not ride as well with only +the Bridoun, without the Bit? my answer is that suppose your horse +becomes hard and heavy in hand, on being rode by both Bit and Bridoun, +where they have both acted together: you on this shorten your Bit-reins +whereby they act alone the Bridouns becoming slack, your horse instantly +becomes light in hand, as though touched by a _magick stick_, reining +his neck properly, is immediately light before, gathers himself upon his +haunches, and what appeared, but _now_ a _garronly_ sluggish beast wears +the appearance of a well dressed horse. + +Well and thorough broke horses with mouths made fine and to answer the +nicest touch of feeling, are in general rode by the Bit alone, the +Bridouns hanging loose and seem more for ornament than use; but yet in +the hand of a skillful horseman are of the greatest utility; for by +handling your right Bridoun-rein lightly with your whip hand at proper +times; you can always raise your horse's head if too low, you may take +the liberty of easing your Bit-reins at times, so that playing upon his +mouth, as it were an _Instrument of musick_, you will always keep his +mouth in tune. I cannot find a juster simile than, that the Horse is the +Instrument and the Rider the Player; and when the horse is well broke +and tuned properly, and the rider knows how to keep him in that state, +he is never at a loss to play upon him; but if suffered to go out of +tune, by the want of skill in the horseman, and to imbibe bad habits, +the horseman not being able to screw him up, and tune him as before: the +Instrument is thrown by as useless, or may be sold for a trifle, and by +chance falling into able hands, that know how to manage and put him once +more together; he again becomes as good as ever: and this I have often +been a witness to. Thus much for the adjustment of the Reins in the +Hand. + + +THE HORSEMAN'S SEAT: + +The principles and rules which have hitherto been given for the +horseman's seat are various, and even opposite, according as they have +been adopted by different masters, and taught in different countries, +almost by each master in particular; and every nation having certain +rules and notions of their own. Let us see, however, if art has +discovered nothing that is certain and invariably true.--The Italians, +the Spaniards, the French and, in a word, every country where Riding is +in repute, adopt each a posture which is peculiar to themselves: the +foundation of their general notions is the same, but each country has +prescribed rules for the placing the man on the saddle. + +This contrariety of opinions which have their origin more in prejudice +than in truth and reality, has given rise to many vain reasonings and +speculations, each System having its followers; and as if truth was not +always the same, and unchangeable, but at liberty to assume various and +even opposite shapes; sometimes one opinion prevailed, sometimes +another, insomuch that those who understand nothing of the subject, but +yet are desirous of being informed, by searching it to the bottom, have +hitherto been lost in doubt and perplexity. + +There is nevertheless a sure and infallible method, by the assistance of +which it would be very easy to overturn all these systems; but not to +enter into a needless detail of the extravagant notions, which the Seat +alone has given rise to; I will here endeavour to trace it from +principles by so much the more solid, as their authority will be +supported by the most convincing and self evident reasons. + +In order to succeed in an art where the mechanism of the body is +absolutely necessary, and where each part of the body has its proper +functions, which are peculiar to that part; it is most certain that all +and every part of the body should be in a natural posture: were they in +an imperfect situation they would want that ease and freedom which is +inseparable from grace; and as every motion which is constrained being +false in itself, and incapable of justness, it is clear that the part so +constrained and forced would throw the whole into confusion; because +each part belonging to and depending upon the whole body, and the body +partaking of the constraint of its parts, can never feel that fixed +point, that just counterpoise and equality, in which alone a fine and +just execution consists. + +The objects to which a master, anxious for the advancement of his pupil, +should attend, are infinite. To little purpose will it be to keep the +strictest eye upon all the parts and Limbs of his pupil's Body; in vain +will he endeavour to remedy all the defects and faults which are found +in the posture of almost every scholar in the beginning, unless he is +intimately acquainted with the close dependance[+] and connexion there +is between the motions of one part of the body with the rest; a +correspondence caused by the reciprocal action of the muscles, which +govern and direct them: unless, therefore, he is master of this secret, +and has his clue to the labyrinth, he will never attain the end he +proposes; particularly in his first lessons, upon which the success of +the rest always depend. These principles being established we may reason +in consequence of them with clearness. + +In horsemanship, the Body of man is divided into three parts; two of +which are moveable, the third immoveable. + +The first of the two moveable parts is the Trunk or Body, down to the +Waist; the second is from the Knees to the Feet; so that the immoveable +part is between the waist and the knees. The parts then which ought to +be without motion are the Fork, or Twist of the horseman, and his +thighs; now that these parts should be kept without motion, they ought +to have a certain hold and center to rest upon, which no motion that the +horse can make can disturb or loosten; this point or center is the basis +of the hold which the horseman has upon his horse, and is what is called +the SEAT; now if the seat is nothing else but this point or center, it +must follow, that not only the true grace, but the symmetry and true +proportion of the whole attitude depend upon those parts of the body +that are immoveable. + +Let the horseman then place himself at once, upon his Twist, sitting +exactly in the middle of the saddle; let him support this posture, in +which the Twist alone seems to sustain the weight of the whole body, by +moderately leaning upon his buttock. + +Let the Thighs be turned inward, and rest flat upon the sides of the +saddle; and in order to this let the turn of the thighs proceed directly +from the hips, and let him employ no force or strength to keep himself +in the saddle, but trust entirely to the weight of his body and thighs; +this is the exact equilibrio: in this and this only consists the +firmness and support of the whole _building_; a firmness which young +beginners are never sensible of at first, but which is to be acquired, +and will always be attained by exercise and practise. I demand but a +moderate stress upon the buttocks, because a man that sits full upon +them can never turn his thighs flat to the saddle; the thighs should +always lay flat to the saddle, because, the fleshy part of them being +insensible, the horseman would not otherwise be able so nicely to feel +the motions of his horse: I insist that the turn of the Thigh must be +from the Hip, because it can never be natural, but as it proceeds from +the hollow of the hip bone. + +I insist farther that the horseman never avails himself of the strength +or help of his thighs, except he lets his whole weight rest upon the +center, as before described; because the closer he presses them to the +saddle, the more will he be lifted above the saddle on any sudden or +iregular[+] motion of the Horse. + +Having thus firmly placed the immovable parts, I now pass on to the +first of the _Movables_, which is as I have already observed the body +as far as to the waist. I comprehend in the Body, the Head, the +Shoulders, the Breast, the Arms, Hands, Reins and Waist of the Horseman. + +The head should be free, firm and easy, in order to be ready for all the +natural motions that the horseman may make in turning to one side or the +other. It should be firm, that is to say, strait, without leaning to the +right or left, neither advanced nor thrown back; it should be easy +because if otherwise it would occasion a stiffness, and that stiffness +affecting the different parts of the body, especially the back bone, the +whole would be without ease and constrained. + +The shoulders alone influence by their motions that of the breast the +reins and waist. + +The horseman should present or advance his breast, by that his whole +figure opens and displays itself; he should have a small hollow in his +reins, and push the waist forward to the pommel of the saddle, because +this position corresponds and unites him to all the motions of the +horse. + +Now only throwing the shoulders back, produces all these effects, and +gives them exactly in the degree that is requisite; whereas if we were +to look for the particular position of each part seperately[+] and by +itself, without examining the connection that there is between the +motions of one part with those of another, there would be such a bending +in his reins that the horseman would be, if I may so say, hollow backed; +and as from that he would force his breast forward and his waist towards +the pommel of the saddle, he would be flung back, and must sit upon the +rump of the horse. + +The arms should be bent at the elbows, and the elbows should rest +equally upon the hips; if the arms were strait, the consequence would +be, that the hands would be too low, or at too great a distance from the +body; and if the elbows were not kept steady, they would of consequence, +give an uncertainty and fickleness to the hand, sufficient to ruin it +for ever. + +It is true that the _Bridle-hand_ is that which absolutely ought to be +steady and immoveable; and we might conclude from hence, that the left +elbow only ought to rest upon the hip; but grace consists in the exact +proportion and symmetry of all the parts of the body, and to have the +arm on one side raised and advanced, and that of the other kept down and +close to the body would present but an aukward and disagreeable +appearance. + +It is this which determines the situation of the hand which holds the +whip; the left hand being of an equal heighth with the elbow; so that +the knuckle of the little finger, and the tip of the elbow be both in a +line, this hand then being rounded neither too much nor too little, but +just so that the wrist may direct all its motions, place your right +hand, or the whip hand, lower and more forward than the bridle hand. It +should be lower than the bridle hand because if it was upon a level with +it, it would restrain or obstruct its motions; and were it to be higher, +as it cannot take so great a compass as the bridle hand, which must +always be kept over against the horseman's body: it is absolutely +necessary to keep the proportion of the elbows, that it should be lower +than the other. + +The legs and feet make up the second division of what I call the +moveable parts of the body: the legs serve for two purposes, they may +be used as aids or corrections to the horse, they should then be kept +near the sides of the horse, and in a perpendicular line with the +horseman's body; for being near the part of the horse's body where his +feeling is most delicate, they are ready to do their office in the +instant they are wanted. Moreover, as they are an apendix[+] of the +thighs if the thigh is upon its flat in the saddle, they will by a +necessary consequence be turned just as they ought, and will infallibly +give the same turn to the feet, because the feet depend upon them, as +they depend upon the thighs. + +The toe should be held a little higher then[+] the heel, for if the toe +was lowest the heel would be too near the sides of his horse and would +be in danger of touching his horse with his spurs at perhaps the very +instant he should avoid such aid or correction. + +Many persons notwithstanding, when they raise their toe, bend and twist +their ankle as if they were lame in the part. The reason of this is very +plain; because they make use of the muscles in their legs and thighs, +whereas they should only employ joint of the foot for this purpose,[+] + +Such is in short the mechanical disposition of all the parts of the +horseman's body. + +These ideas properly digested the practitioner will be able to prescribe +rules for giving the true and natural Seat, which is not only the +principles of justness, but likewise the foundation of all grace in the +horseman, of course, the first endeavour of those who wish to become +horsemen, should be to attain a firm and graceful seat: the perfection +of which, as of most other arts and accomplishments depend upon the +ease and simplicity with which they are executed, being free from +affectation and constraint as to appear quite natural and familiar. + +Therefore the immoveable parts as before observed ought to be so far +without motion as not to wriggle and roll about so as to disturb the +horse, or render the seat weak and loose: but the thighs may be relaxed +to a certain degree with propriety and advantage, when the horse +hesitates and doubts whether he shall advance or not; and the body may +likewise, upon some occasions, become moveable and change its posture to +a certain degree, as when the horse _retains_ himself, it may be flung +back more or less as the case requires; and consequently inclined +forward when the horse rises so high as to be in danger of falling +backwards; what keeps a ship on the sea steady? BALLAST, by the same +rule, what keeps the horseman STEADY? trusting to the weight of his +body: it is for this reason that beginners are first made to ride +without stirrups; for were they allowed to use them before they had +acquired an equilibrio and were able to stretch their legs and thighs +well down, so as to set firmly in the saddle, and close to it, they +would either loose their stirrups by not being able to keep their feet +in them; or the stirrups must be taken up much too short, in which case +the rider would be pushed upwards from the saddle, and the Seat +destroyed throughout; as the parts of the body like the links of a chain +depending upon one another, safety likewise requires they should ride +without them at first, as in case of falling tis less dangerous. + +It is the general practice of those who undertake to teach horsemanship, +when they put a scholar upon a horse, to mix and confound many rules and +precepts together, which ought to be distinct and seperate;[+] such as +making him attend to the guidance of the horse, demanding an exactness +of hand, and other particulars, which they croud[+] upon him before he +is able to execute, or even understand half of them. I would recommend a +slower pace at first being likely to gain more ground at the ending +post, and not to perplex the scholar with _Aids_, of the effects of the +_Hand_, and more nice and essential parts of the ART: till the SEAT is +gained and CONFIRMED. + +For this purpose let the seat alone be cultivated for some time, and +when the scholar is arrived at a certain degree of firmness and +confidence so as to be trusted, I would always advise the master to take +hold of the longeing rein and let the pupil intirely leave the governing +of his horse to him, going sufficiently to both hands holding his hands +behind him. + +This will, I insist upon it very soon settle him with firmness to the +saddle, will place his head, will stretch him down in his saddle, will +teach him to lean gently to the side to which he turns so as to unite +himself to his horse and go with him and will give that firmness ease, +and just poize of body, which constitute a perfect _Seat_, founded in +truth and nature and upon principles so certain, that whoever shall +think fit to reduce them to practise will find them confirmed and +justified by it. Nor would it be improper to accustom the scholar to +mount and dismount on both sides of his horse, as many things may occur +to make it necessary, as well as that he cannot have too much activity +and address, for this reason tis a pity that the art of _Vaulting_ is +discontinued.--And there is another duty too essential to be omitted, +but hitherto not performed by matters, which is to instruct their pupils +in the _principles_ and theory of the _Art_, explaining how the natural +paces are performed, wherein they differ from each other, and in what +their perfection consists; which, by not joining theory with practice, +are unknown to many, who may shine in a menage, but work as mechanically +and superficially as the very horse thay[+] ride. + +Having thus far said what with practice will be sufficient to form the +seat of the Horseman, I shall next endeavour to describe the use of the +bridle hand and its effects, &c. + + +OF THE BRIDLE HAND. + +The knowledge of the different characters, and different natures of +horses, together with the vices and imperfections, as well as the exact +and just proportions of the parts of a horse's body, is the foundation +upon which is built the theory of the art of horsemanship; but this +theory will be useless and even unnecessary if we are not able to carry +it into execution. + +This depends upon the goodness and quickness of feeling; and in the +delicacy which nature alone can give, and which she does not always +bestow. The first sensation of the hand consists in a greater or less +degree of fineness in the touch or feeling; a feeling in the hand of the +horseman, which ought to communicate and answer to the same degree of +feeling in the horse's mouth, because there is as much difference in the +degrees of feeling in men as there is in the mouths of horses. + +I suppose then a man, who is not only capable to judge of a horse's +mouth by theory, but who has likewise by nature that fineness of touch +which helps to form a good hand; let us see then what are the rules +which we should follow in order to make it perfect, and by which we must +direct all its operations. + +A horse can move four different ways; he can _advance_, go _back_, turn +to the _Right_ and to the _Left_; but he cannot make these different +movements except the hand of the Rider permits him, by making four other +motions which answer to them; so that there are five different positions +for the hand. The first is that general position from which proceed the +other four. + +Hold your hand three inches breadth from your body, as high as your +elbow, in such a manner that the joint of your little-finger be upon a +right line with the tip of your elbow; let your wrist be sufficiently +rounded so that your knuckles may be kept directly above the neck of +your horse; let your finger nails be exactly opposite your body, the +little finger rather nearer to it than the others; your thumb quite flat +upon the reins, separated as before described, and this is the general +_Position_. + +Does your horse go forwards, or rather would you have him go forwards? +yeild to him your hand, and for that purpose turn your nails downwards, +in such a manner as to bring your thumb near your body, and your +little-finger then from it, and bring it to the place where your +knuckles were in the first position. Keeping your nails directly above +the neck of your horse.--This is the second Position. + +Would you make your horse go backwards, quit the first position; let +your wrist be quite round, your thumb in the place of the little finger +in the second position, and the little-finger in that of the thumb, +turning your nails quite upwards, and towards your face, and your +knuckles will be towards your horse's neck.--This is the third Position. + +Would you turn your horse to the Right? leave the first position; carry +your nails to the right, turning your hand upside down, in such a manner +that your thumb be carried out to the left, and the little-finger +brought in to the Right.--This is the fourth Position. + +Lastly, would you turn your horse to the Left? quit again the first +position, carry the back of your hand a little to the left, so that the +knuckles come under a little, that your thumb may incline to the right, +and the little-finger to the left.--This makes the fifth Position. + +These different Positions, however, alone are not sufficient; we must be +able to pass from one to the other with readiness and order. + +Three qualities are necessary to the hand. Viz. FIRM, GENTLE, and LIGHT: +I call that a firm hand, or steady hand whose feeling corresponds +exactly with the feeling in the horse's mouth, and which consists in a +certain degree of steadiness, which constitutes that just correspondence +between the hand and the horse's mouth, which every horseman wishes to +find. + +An easy or gentle hand. I call that which, relaxing a little of its +strength and firmness, eases and mitigates the degree of feeling between +the hand and horse's mouth, which I have already described. + +Lastly, the light hand is that which lessens still more the feeling +between the rider's hand and the horse's mouth, which was before +moderated by the GENTLE HAND. + +The hand, therefore, with respect to these properties must operate in +part, within certain degrees, and depends upon being more or less felt, +or yeilded to the horse, or with-held. + +It should be a rule with every horseman not to pass from one extreme to +another; from a firm hand to a slack one; so that in the motion of the +hand on no account jump over that degree of sensation which constitutes +the EASY OR GENTLE HAND: were you once to go from a firm strong hand to +a slack one, you then entirely abandon your horse; you would surprise +him, deprive him of the support he trusted to, and precipitate him on +his shoulders; supposing you do this at an improper time. On the +contrary, were you to pass from the slack to the tight rein, all at +once, you must jerk your hand, and give a violent shock to the horse's +mouth; which rough and irregular motion would be sufficient to falsify +and ruin a good mouth; it is indispensably necessary, therefore, that +all its opeperations[+] should be gentle and light, and in order to +this, it is necessary that the WRIST alone should direct and govern all +its motions, by turning and steering it as it were, through every motion +it is to make[+] + +In consequence then of these principles, I insist that the wrist be kept +so round that your knuckles may be always directly above the horse's +neck, and that your thumb be always kept flat upon the reins. In reality +were your wrist to be more or less rounded than in the degree I have +fixed, you could never work with your hand but by means of your arm, and +besides it would appear as though you were lame; again were your thumb +not to be upon the flat of the reins, pressed hard upon your fore +finger, they would be constantly slipping away, and lengthened, and in +order to recover them you would be obliged every minute to raise your +hand and arm, which would throw you into disorder and make you lose that +justness without which no horse will be obedient and work with readiness +and pleasure to himself. + +It is nevertheless true, that with horses well dressed one may take +liberties; these are motions called descents of the hand; either by +dropping the knuckles directly and at once upon the horse's neck, or by +taking the reins in the right hand about four inches above the left, +letting them slide through the left, dropping your right hand at the +same time upon the horse's neck, or else by putting the horse under the +button as it is called: that is by taking the end of the reins in your +right hand, quitting them intirely with your left hand and letting the +end of them fall upon your horse's neck, these motions however, which +give grace to the horseman, never should be made but with great +caution, and exactly when your horse is well together and in hand; and +take care in counterbalancing by throwing back your body, that the +weight of the body lie upon his haunches. + +The Bit and Snaffle were they to be kept constantly in one place in his +mouth, would of course dull the sense of feeling, and become benumbed +and callous; this shews the necessity of continually yeilding and +drawing back the hand to keep the horse's mouth fresh and awake. It is +therefore self evident that a heavy handed horseman can never break a +horse to any degree of nicety, or ride one which is already broke to any +degree of exactness. + +Besides these rules, there are others not less just and certain; (but +whose niceness and refinement is not the lot of every person to taste +and understand) my hand being in the first position, I open my two +middle fingers, I consequently ease and slacken myright[+] rein; I shut +my hand, the right rein operates again, resuming its place as before, I +open my little finger and carrying the end of it upon the right rein, I +thereby slacken the left and shorten the right; I shut my hand entirely +and immediately open it again, I thereby lessen the degree of tension +and force of the two reins at the same time; again I close my hand not +quite so much, but still I close it. + +It is by these methods and by the vibration of the reins, that I unite +the feeling in my hand with that in the horse's mouth, and thus I play +with a fine and MADE mouth, and freshen and relieve the two bars in +which the feeling resides. + +Therefore, it is that correspondence and sensation between the horse's +mouth and the hand of the rider, which alone can make him submit with +pleasure to the constraint of the bit. + +Having thus explained the different positions and motions of the hand, +permit me in a few words to shew the effects which they produce in +horsemanship? + +The hand directs the reins, the reins operate upon the branches of the +bit; the branches upon the mouth-piece and the curb, the mouth-piece +operates upon the bars, and the curb upon the chin of the horse. + +So far for the management of the bridle hand upon thorough-broke and +well-dressed horses. But in breaking young horses for any purpose, the +reins in all cases ought to be separated, nothing so unmeaning, nothing +so ineffectual as the method of working with them joined or held in only +one hand, this is very evident in the instances of colts, and of stiff +necked, and unworked horses of all kinds, with them it is impossible to +do anything without holding a rein in either hand, which rein operates +with certainty and governs the side of the neck to which it belongs, and +surely this is a shorter way of working than to make, or rather attempt +to make the left rein determine the horse to the right, and the right +guide him to the left. In the above instances of stiff awkward horses +this can never be done; and altho it is constantly practised with those +which are _Drest_, yet it is certain they obey, and make their _Changes_ +more from _docility_ and _Habit_, than from the influence of the +_outward_ rein, which ought only to act, to balance and support, while +the inner bends, inclines, and guides the horse to the hand to which he +is to go. + +This can never be done so fully and truly with the reins joined, as when +they are separated into each hand, and if double or _Running_ reins were +used instead of single as with a snaffle or[24-*] _Meadow's_ bit, they +would afford more compass and power to the horseman to bend and turn his +horse. + +The manner of holding the reins high as condemed[+] by some writers, +possessing themselves with a notion that they ruin the hocks of the +horses. For my own part I do not know what those writers mean, unless by +them we are to understand the haunches; and then this method instead of +ruining, will work and assist them, for the head and fore quarters are +raised up, his weight of course is thrown upon his haunches, for one end +being raised the other must be kept down. + +It is nothing more than a natural cause, which will always produce a +natural effect, for instance, ballance a pole upona[+] wall so that it +acts in equilibrium, only raise one end, the other of course must be +lowered, it is the same with a horse, as you cannot rise his fore parts +but by bringing his haunches more under him. I would here wish to remark +that horses should never be compelled by force untill[+] they know what +you wish from them, for let them be however disobedient in their +disposition, yet are all of them more or less sensible of good and bad +usage from their masters; the best method then to convey your intention +to them so that they shall understand you, is to reward them when they +do well, and to punish them when disobedient, this rule though contained +in few words yet is of universal use in horsemanship. + +And Xenophon, who wrote a treatise on Horsemanship, more than two +thousand years ago, among other notable remarks, when speaking on +horse-breaking, wherein he concludes thus: "But there is one rule to be +inviolably observed above all others; that is, never approach your horse +in a passion; as anger never thinks of consequences and forces us to do +what we afterwards repent." + +Begging pardon for this short but useful digression, I again observe +that such are the principles upon which the perfection and justness of +the aids of the hand depend; all others are false and not to be +regarded.--Thus far for the bridle hand, and its effects. + + + + +LECTURE ON HORSEMANSHIP. + +Addressed to the Ladies. + + +Among all the various writers on the art of horsemanship, +notwithstanding, side-saddles have been known and in use in England more +then[+] six hundred years ago, even in Richard's time, for in the reign +of this prince side-saddles were first known here, as it will appear +from the following anecdote, by a Warwick historian, in which he says. + +"And in his days also began the detestable custom of wearing long +pointed shoes, fastened with chains of silver, and sometimes gold, up to +the knees, likewise noble ladies then used high heads, and robes with +long trains, and seats or side-saddles on their horses, by the example +of the respectable queen Anne, daughter of the king of Bohemia, who +first introduced this custom in this kingdom: for before, women of every +rank rode as men do, with their legs astride their horses." + +Thus says our Warwick historian, so that side saddles appear to have +been used many centuries ago, and that formerly the female sex took the +fashion of riding like men, for which they are reprehended, by a Greek +historian, and hard indeed is the equestrian situation of the ladies, +for if they are to be accused of indelicacy for riding after the manner +of men, they are greatly to be pitied in hazarding their safety as they +do, in riding after the _manner_ of _Women_. + +However as no one hath ever yet lent a helping hand in putting pen to +paper on the subject, by way of adding, if possible, to the ladies, +elegance, ease and safety on horse back; I shall without any other +apology then assuring those ladies who may please to read what I write +on the matter, is well meant, and are such ideas that have occured[+] to +me in many years study, and practice in the manage.[+] + + +DIRECTIONS IN MOUNTING. + +Let the ostler or servant being on the off side the horse, with right +hand holding the bridoun reins, to properly stay the horse, and his left +hand on the part of the saddle called the crutch, by this method both +horse and saddle will be kept firm and steady, it is the riding master's +duty to examine the bridle whether it is properly placed, the curb, +chain, or chin chain in due order, the saddle in a proper place, and the +girths sufficiently tight, &c. Direct the lady then to take her whip, or +switch in the right hand, the small end of it turned towards the horse's +croup, then with the right hand take a firm hold of the pommell of the +saddle standing upright with her right shoulder square, and in a line +with the horse's left, she then bending the left knee pretty much, the +master or gentleman who asists[+] her standing facing the lady, he +stooping a little receives the lady's left foot in his hands being +clasped firm together, the lady must then be directed to straiten her +knee, being now bent, with a firmness and elasticity pressing her left +hand on the man's left shoulder, making a little spring at the same +time, by which the riding-master, gentleman, or servant, if permitted, +by paying due attention to these rules will spring the lady on the +saddle with the greatest ease and safety. _The method of adjusting the +petticoats_; I then place the lady's foot in the stirrup tho' it is a +wonder if a proper length, being guess work, as we are now to suppose +this to be the first lesson, and the stirrup cannot be properly fixed, +till the lady is in her seat, I say I then give her the stirrup, +directing she may take a firm hold with the left hand of a lock of the +horse's mane, at the same time she having a firm hold of the crutch with +the right, by which means she rises herself up from the saddle, standing +firm in the stirrup, looking rather over the off side of the horse's +neck, the intention of this is that the attendant shall adjust the coats +so as they sit smooth and easy, by pulling them round a little to the +right, then on returning to the saddle, or seat, and while in coming +down she must put her right knee over the pommel of the saddle, and by +these simple rules she will find all comfortable and easy; in regard to +the adjustment of the bridle reins, and the managing and directing the +horse by them, pay strict attention to those set down in the first +lecture addressed to the gentlemen; let the whip be placed firm and easy +in the right hand, with the taper or small end downwards, and the arm +hanging carelessly down without contraction, and when the whip is made +use off, let it be by means of the wrist, without lifting the arm from +the body, and be careful not to touch the horse with the whip too +backward as many of them will kick on their being flogged in that part, +which if it should not occasion a fall, would much alarm the young +scholar, before she has acquired any degree of ballance. + + +DIRECTIONS FOR THE LENGTH OF THE STIRRUP. + +The Stirrup should be such length as when the lady sits upright and +properly on her seat, with the knee being easily bent, the heel kept +back, with the toe raised a little higher than the heel, so that the +heel, hip and the shoulder, are in a line and as upright as when walking +along, for if otherwise it is unjust and not agreeable to nature; for +suppose you are riding along the road with the foot stuck out and so +forward as the horses front of his shoulder, as is not uncommon to see +girls riding in this manner along the road in the country, as tho' they +were directing with their foot which road their horse should take, I say +this method is not only very unbecoming but very unsafe, for instance if +riding carelessly along the road with the foot and leg in this attitude +being to pass some stubborn or inflexible object on the left or near +side, perhaps before you are aware or apprised of the danger you might +have your foot and leg sorely bruised, nay even dragged from your horse, +I have seen similar instances to this, happen more than once, even when +the foot has been in a good situation by ladies who unthinkingly have +endeavoured to pass objects to the left when they could as easily have +passed those objects to the _right_, which ladies should make an +invariable rule so to do at all times, if possible; for reasons which +must be plain to any one, who will think one minute on the matter; +another inconvenience will frequently arise by suffering the leg and +foot to be in this horrid form, which is, the stirrup leather will +frequently press against the leg, so as to hurt it very much, this I +have often had beginners complain of, by saying the buckle of the +stirrup hurt them, when behold I never use a buckle to my stirrups on +the left side, as they are always fastened and buckled on the off side, +for _two_ particular good advantages which arise from it; the principal +of which is, that as the pressure or bearing coming from the off side, +it greatly assists in keeping the saddle even, especially with those +ladies through a bad habit who accustom themselves to bear hard on the +stirrup which is nothing more then[+] a habit, and want of learning to +ride the right way at first. + +The other reason is, you can lengthen or shorten the stirrup at +pleasure, without disturbing the lady at all, and without even +dismounting yourself, if you are riding on the road, as the business is +done on the off side the horse, nay I have altered the stirrup often +without stopping at all. + +I insist upon it therefore if the stirrup does not hang perpendicular, +or the same as when left to itself and no one on horseback, the end is +totally destroyed, for what the stirrup was designed; which is in the +_first_ place to carry the weight of, and only the weight of the rider's +leg, without which support it would soon become fatigued and tired: and +_secondly_, if you accustom yourself to carry your foot properly, as +before directed, that is your heel in a line with your hip and shoulder, +letting your foot rest even in the stirrup, carrying only the weight of +your leg, with the toe a little raised, it will never fail to assist you +in your balance, if you happen to lose it to the left, it is also ready +to save you if you should happen to lose your balance to the right, by +pressing the calf of your leg strongly and firmly to the side of your +horse, and being always near your horse's side it is a quick aid in +supporting him, and to force him forward, it is also of the greatest +use, by pressing it strongly to his side, in assisting to turn your +horse to the left, and likewise in throwing your horse's croup off when +you wish to make him go into a canter, by which means he will be forced +to go off with the right leg foremost. + +And _lastly_, it is of the utmost utility in supporting you in the +continuance of the Spring Trot, a pace now greatly in fashion, and +should be practised by all who accustom themselves to ride any length of +journies, as it enables them to make some degree of speed, and by +changing their paces often from walk, to trot, and gallop, their journey +becomes less tedious to them. + + +OF THE SEAT, + +And Form of the Side Saddle. + +In the first place I would strongly recommend a large seated Saddle, +very high on the cantlet or back part, and a regular sweep from thence +to the front or pommell, for some saddles, more shame be it spoken, are +so small, and the seat so rounded in the middle, that to sit on them is +next to balancing themselves on a round pole, a comfortable situation +truly for a lady! I say again let me recommend a large seated saddle; I +mean let it be large in proportion to the size of the lady, and high in +the cantlet, nay I am confident that they might be contrived to +advantage, were they constructed with peaks, and the peak carried on +from the back part of the saddle to within four inches of the front on +the off side; this with the addition of a Burr, as it is called, to +support the left knee, would greatly assist the lady in keeping the body +on a good balance and sufficiently back: which might prevent many +accidents. + +If these hints should strike any lady or gentleman as being reasonable, +and should they be inclined to have a saddle so constructed, I should +think myself happy in explaining myself more fully on the subject. + +_Now in regard to the Seat for a Lady_, I sincerely wish I was able to +prescribe a more firm _one_ than the present fashion will admit of, +however I will do my endeavour to handle it in the best manner I can; +and first let the whole weight of the body rest firmly upon the center +of the saddle, leaning nei her[+] to one side or the other, with the +shoulders easily back, and the chest presented well forward; a lady +cannot be too nice and circumspect, in accustoming herself to sit +upright, without contraction, in any part, _nothing so graceful, nothing +so safe as ease_ of _action_; do not let the stirrup carry more than the +weight of the leg, except in case of the Swing Trot, or when assisting +to keep the Ballance,[+] + +Two material disadvantages arise from Ladies accustoming themselves to +bear heavy in the stirrup, and loll about, constantly twisting +themselves to the near or left side of the horse: first it destroys +their whole figure, making the same appear deformed and crooked; and if +they were to continue in the habit of riding would confirm them in such +deformed attitude, in its becoming second nature, by constant use; this +is a truth too frequently witnessed, by practising without the right +method. + +Secondly, the other disadvantage most materially affects the horse; for +by their so constantly leaning themselves to the near side, the +side-saddle being so pulled and pressed against the withers or shoulder +of the horse on the off side, keeping up a continual friction, and this +being the case, I defy all the Sadlers in the kingdom to prevent the +saddle from wringing and galling the poor beast, especially in the heat +of the summer; the only remedy is to take away the cause, by sitting +properly, and the effect ceases of course. + +The notions which some Ladies have entertained, as to fear to let their +daughters be taught to Ride, least it should make them grow crooked and +awry, I insist that they are false, and quite the reverse; the cause is, +as before observed, by their contracting bad habits of their own, and +not being instructed on approved principles, so that the effect is +caught hold of, while the cause lies unsought for; from my own knowledge +and experience I could relate several instances wherein young Ladies +instead of growing crooked by learning to ride, have been greatly +relieved from those complaints, and even quite eradicated by the +practice of riding, I will here beg leave to mention an instance or two +which will serve to prove what good effects may arise from this pleasant +and healthful exercise. + +A young Lady about Seventeen years of age who had been afflicted for +twelve months with a stiffness in her neck and shoulders, and it was +observable that the right shoulder was grown much larger than the left. + +She on coming to the riding house to observe her fellow scholars take +their lessons, of which she became much pleased, and wished much to +learn to ride.--The governess consulted me on the matter, but said she +feared it might make her grow worse as she had been told that riding +sometimes caused Ladies to become crooked, however, by my reasoning the +matter with her she was convinced in her own opinion and caused the +young Lady to write to her parents in Jamaica, and had permission by +return of packet to ride according to my directions, which were briefly +as follows, being in the month of March, and of course rather a cold +piercing air, I advised new unwashed flannel every time she took a +lesson to be worn next the skin on the part affected, _she rode_, of +course a strong perspiration took place, she was much fatigued for the +first six or seven Lessons, however after then as she began to be +acquainted with the use of her bridle hands, as I made her use both; and +give great part of the Lessons, in small circles to right and left; the +consequence was that by persevering in this method for two successive +months the parts became naturally relaxed and pliable, and by continuing +to practice she entirely recovered her alacrity and spirits, and also +became acquainted with the art of Riding, which I hope she may long live +to practice with ease and safety to herself in her native country. + +Another young Lady from the same school had a particular habit of +leaning her shoulders and neck forward, I have frequently heard it +called pokeing, and all the dancing-master's instructions had for years +been ineffectual. I believe she was more fond of riding than dancing +instructions, for the governess of the young lady before-mentioned often +asserted that the Riding Master had done more in setting her scholar +upright and keeping her shoulders easily back, in the space only of two +months, than the Dancing Master, though capable in his profession, had +been able to accomplish in three years. + +I hope to be pardoned for this little digression, not doubting but those +Ladies who will give themselves time to consider the foregoing, will be +convinced that it is agreeable to reason and nature. + +Now to say some little more of the SEAT, which cannot be too much +attended to, being in a great measure the foundation of safety to a +lady when on horseback, and as such I would strongly recommend the lady +being in the menage, or in any proper place, the horse being very quiet +and to be trusted to; then let the lady seat herself properly on the +saddle as before directed, _only_ without the stirrup, and not to take +the reins, leaving the direction of the horse to the Riding Master, or +to whoever she can with safety trust the government to; and in this +manner take half an hour's practice every day, as nothing will so +greatly assist in acquiring a good and just balance. + +I do not advise this method to be gone rapidly about, as she may make +use both of stirrup and reins at first, and when she has acquired a +firmness and ballance in some degree, may first quit the stirrup, and in +a lesson or two, the reins.[+] remembering to go to right and left +circle alternately and progressively.[+] viz. from _Walk_ to Trot and +Gallop; I hope I need not say that the horse should be remarkably +steady, and properly broke to go in circles to right and left by the +longeing rein. + +I say this method will settle and give the scholar a firmness not to be +acquired by any other means, will teach them to unite themselves with +their horse, and go along with him, it will bring about that confidence, +firmness, ease, and just poize of body which serves to constitute what +is called a perfect _Seat_, acquired by the rules of art, and agreeable +to nature, and I here beg leave to quote a few lines which the great +Berringer observes applicable to this subject, "It is astonishing to +think how this work so immediately necessary could have been deferred so +long, that while rewards were given, public trials appointed, and laws +enacted to promote an useful and generous breed of horses, no step +should have been taken on the other hand to qualify and instruct the +youth of the kingdom, of both sex in the superior art of riding; for the +getting on the back of an horse to be conveyed from one place to another +without knowing what the animal is enabled by nature, art and practice +to perform, is not _Riding_, the knowledge and utility of which consists +in being able to discern and dexterous to employ the means by which the +horse may be brought to execute what the rider requires of him with +propriety, readiness and safety, and this knowledge in the rider and +obedience in the horse should be so intimately connected as to form one +_perfect whole_, this union being so indispensably necessary that where +it is not, there is no meaning, the rider and horse talk different +languages, and all is confusion, while many and fatal mischiefs may +ensue, the rider may be wedged in the timber which he strives to rend, +and fall the victim of his own ignorance and rashness." + +I have now observed such rules which with practice will form as good and +perfect a _Seat_ as the customary mode of riding will admit of. It +remains now with practice and perseverance to make perfect. + + +WHEN RIDING ON THE ROAD. + +When a lady has taken sufficient practice in the menage or elsewhere, so +as to be able to steer and guide her horse, and particularly can stop +him firm and well upon his haunches, and also knows by practice how to +unite herself to the horse, provided he should stop suddenly by his own +will, an instance which frequently happens, therefore it is essential +that the rider should become sensible of every action of the horse by +that kind of sympathy of feeling which should subsist between them, so +as to know his intentions as quick as thought, in this and all other +actions he may be inclined to, which are likely to offend and endanger +the rider, or himself; I would earnestly recommend the lady to make +herself acquainted with every help so as to gaurd[+] and defend herself +on all occasions, such as her horse stumbling, shying, starting, running +away, running back, rearing, kicking, and plunging; yet horses addicted +to any of those vices are by no means fit, or should have ladies set +upon knowingly, but as a lady cannot always be so fortunate as to get +the possession of one of those hackneys we call a nonpareil, tho' every +dealer you enquire of for one will say he can sell it you, therefore +place not too much confidence in him you purchase your horse from, or +the horse himself, even after you have rode him some time, for you +scarce ever can be certain but he may play you some of those tricks, +especially if his keep is above his work, as I have always found the +best lady's hackneys require constant practice to keep them in tune. + +It is necessary the lady should have a sharp eye upon the road she is +travelling, taking care by the gentle assistance of the bridle hand to +steer and guide her horse into the best, to avoid all stones and uneven +places, and never to ride near the edge of any deep ditch or sudden +precipice, for altho, heaven be praised, accidents very seldom happen, +yet if for the want of a little care and due management one should +happen in one hundred years, that one would be one too many: the lady +should pay great attention to the horse when going down a steep hill, +and endeavour to put him together and upon his haunches, and to perform +this, she must feel his mouth lightly and firmly with the bridle hand, +at the same time making use of some of the helps used to force him to go +forward, such as clicking with your voice, a gentle touch with the whip, +or the heel, so she stays him a little by the bridle hand at the same +time he is forced forwards by the other helps or aids and if properly +timed, by doing enough without over doing, he will be put together, and +of course kept on a light proper action which must be in the real action +of a trot, that is with his two corner legs in the air at one time and +two on the ground, by such means the horse will always be kept on a sure +ballance and never be in danger of falling, on the other hand if the +horse is sufferd to go loose and unasisted[+] by the bridle hand, and +the other aids as before described, when going down a steep hill he will +most commonly go into that unnatural pace called the amble which is +moving his side legs together instead of his corner legs, this pace is +very unsafe notwithstanding the ancients used arts in breaking the horse +to the amble, on account of its being so much easier than the trot, but +as it is a known maxim in physic that giving ease and performing a cure +are two different things, so here an easy pace and a safe one are as +diametrically opposite, and that the amble is an unsafe pace is easy to +be conceived by the horse losing so large a portion of his ballance, to +prove which only try these simple experiments. Take a wooden horse[+] +let his two corner legs be taken away and he will stand, but take away +his two sides leg and he falls, again one often sees at a farrier's shop +when a horse is wanted to be shod in haste, two smiths can work at the +same time, by taking each of them a corner leg, therefore how careful +should we be to keep our hackneys on a safe action, and awake under us +on all occasions. + +The lady should endeavour to make herself acquainted with those objects +which horses are most subject to be alarmed at, and first of all is a +windmill in full sail, next some can never be brought to go comfortably +by a tilted waggon, especially if meeting it, others dislike asses very +much, some dislike to face a man wheeling a barrow or an umbrella +extended, an arch drain which is frequently seen to carry the water away +thro the banks in a turnpike road, its laying low and of course presents +itself very suddenly, will sadly alarm some, and any object suddenly +presenting itself is almost sure to affright and alarm any horse in +spirits,[+] I once saw a lady get a fall, by a cow suddenly presenting +its head over a hedge, yet a more steady animal never was, as I used her +four years and never knew her start either before or after; let it be +remembered that horses are more apt to be shy or start in the dusk of +the evening than in broad day light, horses with bad eyes are almost +sure to start, yet starting is not a sure sign of bad eyes, as many +imagine it, I mention these few observations in regard to starting +because horses which are most free from those faults, it may happen to +some times; as horses like men are not alway in the same temper: never +ride on a fast pace by any lane's end, or in turning any sudden or short +turn, for two reasons; first, that it is unsafe as the horse might be +subject to fall for want of being supported, and put together by +shortening his pace, and secondly by your not being able to discern the +objects which might present themselves to you so as to disturb and alarm +your horse: these little hints kept well in mind may be the means of +preventing many accidents. + +FINIS. + + +FOOTNOTES: + +[3-*] Such as the Wild Arabs, Indians, &c. + +[24-*] Used by Sir Sidney Meadows. + + + + +Transcriber's Note + + +The following misspellings and typographical errors were maintained. + + Page Error + 4 particulatly should read particularly + 10 dependance should read dependence + 11 iregular should read irregular + 12 seperately should read separately + 14 apendix should read appendix + 14 higher then should read more than + 14 purpose, should read purpose. + 16 seperate; should read separate + 16 croud should read crowd + 17 thay should read they + 20 opeperations should read operations + 21 to make should read to make. + 22 myright should read my right + 24 condemed should read condemned + 24 upona should read upon a + 24 untill should read until + 26 more then should read more than + 27 occured should read occurred + 27 manage should read menage + 28 asists should read assists + 30 more then should read more than + 33 nei her should read neither + 33 Ballance, should read Ballance. + 36 the reins. should read the reins, + 36 progressively. should read progressively, + 38 gaurd should read guard + 39 unasisted should read unassisted + 39 wooden horse should read wooden horse, + 40 spirits, should read spirits. + + + + + +End of the Project Gutenberg EBook of Lectures on Horsemanship, by Unknown + +*** END OF THIS PROJECT GUTENBERG EBOOK LECTURES ON HORSEMANSHIP *** + +***** This file should be named 31957.txt or 31957.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/1/9/5/31957/ + +Produced by Julia Miller and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. |