In each of the first fourteen lines Baillie uses ‘thy’, ‘thou’ and ‘thine’ when referring to the horse and this repetition gives the reverential feeling of a prayer – is she intending her words to be a blessing for the ignorant beast before the fighting that lies ahead?
It is clear that the poet is not telling a story but relating a moment in time, painting a clear picture of the sight before her eyes. This could be an actual event witnessed by Baillie or she could be writing about an historical event from a painting.
The poem’s opening line is strong and immediately gets the attention of the reader. “Sinewy vigour” (l.1) suggests the strength of the horse by giving the reader an image of muscles and tendons. The second line reiterates the beast’s great strength, ending almost reverently with “thou stately steed” (l.2) that is enhanced by Baillie’s use of alliteration.
“Broad chest” and “battle’s front (l.3) are further allusions to the horse’s strength and also give a feeling of the beast’s pride and bravery. Likewise, “Erect in air” (l.13) is another reference to the horse’s courage and confidence. Later in the poem, “Arched neck” (l.6) and “curving haunches” (l.11), added to the previous references to parts of the horse’s anatomy, give a feeling for the shape and beauty of the beast.
Baillie uses visual imagery throughout to create movement in the scene. The alliterative use of “fair floating” creates a clear picture of the horse’s mane blowing in the metaphorical “winds of heaven” (l.4) - a reminder of the horse’s immortality. “Sweepy tail” (l.12) is another example of movement and the reader can almost see the “clouds of sand” (l.12) that are swished up as the horse prances and stamps in anticipation.
That the horse is ready for what lies before it is clear. Baillie uses imagery to provide her readers with a clear mental picture - “battle’s front” (l.3), “winds of heaven” (l.4), the “white-churning foam” (l.7), “curling smoke” and “kindling eyeballs” (l.9) being prime examples. The references to smoke and fire could liken the horse to the legendary ferocious and terrifying fire-breathing dragons.
The words also act on another of the reader’s senses and the “Champing hoofs” (l.5) on the pebbles and the “thunder of thy mouth” (l.10) as the horse impatiently waits are almost audible. Baillie uses the description of “dreadful” (l.10) to enhance the noise.
“Chafèd bits” (l.7) increases the idea that the horse is more than ready to go and is chafing at the bit and the horse’s fervour is increased as “from thy nostril bursts the curling smoke” (l.8). Additionally, the curling smoke could indicate that it is autumn or winter and is most probably early morning as the hot breath of the horse mixes with the cold air.
“Flinty pebbles” (l.5) and “clouds of sand” (l.12) suggest that the horse is probably on a beach. Baillie is Scottish and “glaring south” (l.9) indicates that the ensuing battle is going to take place either across the border in England or possibly in France. Alternatively, this poem could refer to a medieval scene with a Knight and his steed about to go off on the crusades.
After fourteen lines of admiration for the horse comes the turn in the poem and the mood changes from praise and adulation of the horse to praise and adulation of the rider. After “But lo!” (l.15) comes the caesura and a complete change of tone and mood.
“What creature”, asks the poet, is good enough to sit on such a magnificent beast as this horse? Eight lines later Baillie tells her reader, in a awed and admiring tone, that “a British soldier, armed for war” (l.22) is that person.
Described as “godly” (l.15) the reader can picture this mortal, dressed in armour and appearing a much larger than life figure. “Portly stature” (l.17) could indicate that this man is not used to war and fighting and would be more at home going about his everyday tasks. But he is an Englishman and willing to fight for his country so he adopts a “determined mien” (l.17). His “dark eye” (l.18) indicates his anger and concern and his “brow serene” (l.18) suggests his calm determination. Clearly this man understands the risks and futility involved in war and battle as he “forward looks unmoved to the fields of death” (l.19). This is also a compassionate man who, despite knowing what lies ahead, feels kindness and pity for his horse as he “gently strokes” (l.20) the beast. “Smiling” and “gently” (l.20) enhance the flowing movement of stroking the horse.
There is a distinct change of mood in this final octave. Prior to this there is a real feeling of anger and excitement of what lies ahead and this also adds to the pomp and ceremony of battle. The horse, being just an animal, is not capable of seeing the dangers that lie ahead; whereas the man, a “British soldier” (l.22), whilst being proud and courageous like the horse, is also aware of the dangers and horror that the battlefield contains. Baillie manages to create a picture full of life, action, sound and expectation relating to the horse but subtly changes the feel and tempo of these final eight lines to give a more restrained impression of pride and acceptance when talking about the man.
Throughout the poem Baillie’s shares her experience and feelings of the sight she has witnessed by building up a rhythmic pattern of rhyme and imagery to recreate the scene for the reader of her words.
There are different levels at which this poem can be read – and enjoyed - and these are all interwoven. Literally the words tell a basic story – a horse and rider are preparing to go to war. Ethically the poem looks at the moral issues of war and death. Historically it hints at the underlying political influences of fighting for one’s King and Country. On an apocalyptical level it suggests the spiritual aspects of death.
Steven Bygrave states that “Romantic texts are more than usually highly politically charged” (Bygrave, 1998, p.14) and this poem is a good example of this and gives an idea of Baillie’s views. That she admires both the horse and the rider is evident but whether she supports or condemns war is not clear. What she has done is provide her reader with a lucid picture of ‘The Horse and his Rider’ whilst hinting at underlying issues but leaving the reader to form his or her own opinions.
(1,436 words)
Bygrave, S. (ed.) (1998) Romantic Writings, The Open University
Owens, W.R. and Johnson, H. (eds) (1998) Romantic Writings: An Anthology, The Open University
Sue Ashbee (ed.) (2001) Approaching Literature: Approaching Poetry, The Open University
