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Bromley Davenport's words in his Dream of the old Meltonian
are very apt when describing the take-off of a horse in show
jumping. The quotation, "With your muscular quarters beneath
you collected," describes a state of affairs eminently desirable
at the take-off. The rider has made arrangements for the horse
to commence his jump from the spot best suited for the fence
in question, and must now ensure that he does not interfere
with the drive from the hind legs into the air, but, in fact,
assist by preserving balance.
Loss of rhythm and coordination now may well adversely affect
the parabola it is hoped the horse will describe. So it is
important that the rider move his weight forward smoothly
without displacement of the lower leg; that his fingers and
hands, being supple and separated sufficiently to allow of
instantaneous independent action, keep an even feeling on
the horse's mouth, following the natural movement of the head
and neck; and that he looks forward along his chosen route
for the next approach phase, which is not far away.
When a horse is taking off well, its forelegs are bent up
from the knee, and the hocks, having come well under him,
are, with great power, propelling him into the air. The rider
is comfortable, is looking well forward, and is giving complete
freedom to the back and loins. His hands are ideally placed
for independent action if required, and are moving slightly
back to retain an even feeling on the horse's mouth. There
is no interference with the horse's natural movement, and
the general impression is one of workmanlike efficiency.
There is a school of thought whose contention is that a distinct
increase in feeling on the mouth, amounting at times to a
definite pull, should be exerted as the hind legs come to
the ground for the last time before the take-off, with the
object of helping the forehand into the air. For some types
of fence, notably those of parallel variety, it is, without
doubt, beneficial. There are, however, dangers to it.
One, for instance, is that the horse may well take off when
it is the rider's intention to shorten stride close to the
fence. In some cases the pull acts on the rider, bringing
his leg to a standing position with the stirrup-iron as pivot,
and drawing his hands back against his ribs, where they cannot
act lightly or independently. The jump will be jerky and unharmonious,
with a real danger of loss of balance on landing.
In the final stages of take off, the horse gives final propulsion
from the near hind leg. His forelegs are well tucked up, and
he is beginning to stretch his head and neck out to gain distance,
and to help the hind quarters up. The rider is well with his
horse, and is master of the situation. His hands are separated,
ready to give all the rein required. If, perhaps, showing
a little rigidity at the knee, he is nevertheless nicely balanced,
and his position shows ease and fluency. His concentration
on things to come is very apparent.
When final propulsion has been completed all but the near
hind toe has left the ground. The head and neck are stretching
out, and the forelegs are folded up as close as the body allows.
The rider's weight distribution is assisting the horse's effort,
and the hands conform to the outward and downward movement
of the head. Note that, from the horse's mouth to the rider's
hip, the rein, arm, and body should form practically a straight
line. This is the completion of a beautifully controlled and
elegant jump.
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