“In which it seemed always afternoon.”
These visions were dispelled by the entry of a person who said, “D'ye want to see Dan?” and soon Dan Fitzgerald, the man who knows all about the training of horses, came into the tent with Montgomery, the ringmaster, and between them they proceeded to expound the methods of training horseflesh.
“What sort of horse do we buy for circus work? Well, it depends what we want 'em for. There are three sorts of horses in use in a circus—ring horses, trick horses, and school horses; but it doesn't matter what he is wanted for, a horse is all the better if he knows nothing. A horse that has been pulled about and partly trained has to unlearn a lot before he is any use to us. The less he knows, the better it is.”
“Then do you just try any sort of horse?”
“Any sort, so long as he is a good sort, but it depends on what he is wanted for. If we want a ring horse, he has to be a quiet sober-going animal, not too well-bred and fiery. A ring horse is one that just goes round the ring for the bareback riders and equestriennes to perform on. The human being is the “star”, and the horse in only a secondary performer, a sort of understudy; yes, that's it, an understudy—he has to study how to keep under the man.”
“Are they hard to train?”
“Their work all depends on the men that ride them. In bareback riding there's a knack in jumping on the horse. If a man lands awkwardly and jars the horse's back, the horse will get out of step and flinch at each jump, and he isn't nearly so good to perform on. A ring horse must not swerve or change his pace; if you're up in the air, throwing a somersault, and the horse swerves from underneath you—where are you?”
“Some people think that horses take a lot of notice of the band—is that so?”
“Not that I know of. If there are any horses in the show with an ear for music, I haven't heard of them. They take a lot of notice of the ringmaster.”
“Does it take them long to learn this work?”