Section 11
Chapter 11 — Plain Speaking explained simply
Black Beauty by Anna Sewell
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The longer I lived at Birtwick the more proud and happy I felt at having such a place. Our master and mistress were respected and beloved by all who knew them; they were good and kind to everybody and everything; not only men and women, but horses and donkeys, dogs and cats, catt...
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The longer I lived at Birtwick the more proud and happy I felt at having
such a place. Our master and mistress were respected and beloved by all
who knew them; they were good and kind to everybody and everything; not
only men and women, but horses and donkeys, dogs and cats, cattle and
birds; there was no oppressed or ill-used creature that had not a friend
in them, and their servants took the same tone. If any of the village
children were known to treat any creature cruelly they soon heard about
it from the Hall.
The squire and Farmer Grey had worked together, as they said, for more
than twenty years to get check-reins on the cart-horses done away with,
and in our parts you seldom saw them; and sometimes, if mistress met
a heavily laden horse with his head strained up she would stop the
carriage and get out, and reason with the driver in her sweet serious
voice, and try to show him how foolish and cruel it was.
I don't think any man could withstand our mistress. I wish all ladies
were like her. Our master, too, used to come down very heavy sometimes.
I remember he was riding me toward home one morning when we saw a
powerful man driving toward us in a light pony chaise, with a beautiful
little bay pony, with slender legs and a high-bred sensitive head and
face. Just as he came to the park gates the little thing turned toward
them; the man, without word or warning, wrenched the creature's head
round with such a force and suddenness that he nearly threw it on its
haunches. Recovering itself it was going on, when he began to lash it
furiously. The pony plunged forward, but the strong, heavy hand held the
pretty creature back with force almost enough to break its jaw, while
the whip still cut into him. It was a dreadful sight to me, for I knew
what fearful pain it gave that delicate little mouth; but master gave me
the word, and we were up with him in a second.
“Sawyer,” he cried in a stern voice, “is that pony made of flesh and
blood?”
“Flesh and blood and temper,” he said; “he's too fond of his own will,
and that won't suit me.” He spoke as if he was in a strong passion. He
was a builder who had often been to the park on business.
“And do you think,” said master sternly, “that treatment like this will
make him fond of your will?”
“He had no business to make that turn; his road was straight on!” said
the man roughly.
“You have often driven that pony up to my place,” said master; “it only
shows the creature's memory and intelligence; how did he know that you
were not going there again? But that has little to do with it. I must
say, Mr. Sawyer, that a more unmanly, brutal treatment of a little
pony it was never my painful lot to witness, and by giving way to such
passion you injure your own character as much, nay more, than you injure
your horse; and remember, we shall all have to be judged according to
our works, whether they be toward man or toward beast.”
Master rode me home slowly, and I could tell by his voice how the thing
had grieved him. He was just as free to speak to gentlemen of his own
rank as to those below him; for another day, when we were out, we met
a Captain Langley, a friend of our master's; he was driving a splendid
pair of grays in a kind of break. After a little conversation the
captain said:
“What do you think of my new team, Mr. Douglas? You know, you are the
judge of horses in these parts, and I should like your opinion.”
The master backed me a little, so as to get a good view of them. “They
are an uncommonly handsome pair,” he said, “and if they are as good as
they look I am sure you need not wish for anything better; but I see
you still hold that pet scheme of yours for worrying your horses and
lessening their power.”
“What do you mean,” said the other, “the check-reins? Oh, ah! I know
that's a hobby of yours; well, the fact is, I like to see my horses hold
their heads up.”
“So do I,” said master, “as well as any man, but I don't like to
see them held up; that takes all the shine out of it. Now, you are a
military man, Langley, and no doubt like to see your regiment look well
on parade, 'heads up', and all that; but you would not take much credit
for your drill if all your men had their heads tied to a backboard! It
might not be much harm on parade, except to worry and fatigue them; but
how would it be in a bayonet charge against the enemy, when they want
the free use of every muscle, and all their strength thrown forward? I
would not give much for their chance of victory. And it is just the same
with horses: you fret and worry their tempers, and decrease their power;
you will not let them throw their weight against their work, and so
they have to do too much with their joints and muscles, and of course
it wears them up faster. You may depend upon it, horses were intended
to have their heads free, as free as men's are; and if we could act a
little more according to common sense, and a good deal less according
to fashion, we should find many things work easier; besides, you know as
well as I that if a horse makes a false step, he has much less chance
of recovering himself if his head and neck are fastened back. And now,”
said the master, laughing, “I have given my hobby a good trot out, can't
you make up your mind to mount him, too, captain? Your example would go
a long way.”
“I believe you are right in theory,” said the other, “and that's rather
a hard hit about the soldiers; but--well--I'll think about it,” and so
they parted.
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What happens here
Chapter 11 — Plain Speaking continues Black Beauty, moving the reader through kindness to animals, work, cruelty, empathy, and moral responsibility.
Why this scene matters
This section matters because it carries one part of Black Beauty's larger pattern: kindness to animals, work, cruelty, empathy, and moral responsibility. Reading it with the situation clear makes the original prose easier to follow.
Characters in this scene
- Main characters: The people whose choices carry this part of Black Beauty.
- Family or social world: The surrounding relationships, rules, class pressures, or expectations shaping the scene.
- Narrative pressure: The conflict, secret, desire, or consequence that keeps the chapter moving.