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John takes Ginger and Black Beauty to their new home, Earlshall Park. They meet their new coachman, Mr. York, and Mr. York asks John to describe the temperament of the horses to him. John explains that Black Beauty is very sweet-tempered and easy-going, but that Ginger is more sensitive and temperamental; he also specifies that neither horse has ever worn a bearing-rein. Mr. York explains that the horses will have to become accustomed to the bearing-rein, since their mistress has strong feelings about the appearance of her coach and horses: “She will have style” (78).
Beauty and Ginger settle into their new home, and begin to pull the carriage in which the Earl’s wife rides. She complains about the appearance of the horses, stating that “they are not fit to be seen” (79), and demands that their heads be pulled higher. York begins to pull the heads of Beauty and Ginger higher, and Beauty finds this experience painful and annoying. Ginger is also unhappy, but points out that things could get much worse, and that she will stay quiet for the time being.
One day, the Earl’s wife demands that York pull the heads of Ginger and Black Beauty as high as possible. York and the groom attempt to do so, but Ginger rebels, and begins violently kicking and rearing. To prevent Beauty from being injured by her, York turns Beauty loose from the carriage and hurries him back to the stable. Beauty is left confused and angry by what happened, “feel[ing] much inclined to kick the first person who came near me” (82).
York eventually brings in Ginger, and tends to Beauty, while complaining about how the Earl’s wife pressures him to use the bearing-rein, which he does not like doing. Beauty now pulls the carriage accompanied by a horse named Max, who has always worn a bearing-rein. Max explains that he has heard people talking about how bearing-reins are bad for the health of horses, but that fashionable people in London like the appearance of horses with their heads high, and don’t care what it means for the horses. For the next four months, Beauty suffers pain and discomfort from the use of the bearing-rein, and also feels lonely.
After a few months, the Earl and some of his family go into London; some of his children, including his daughters Lady Harriet and Lady Anne, stay at Earlshall, and Beauty and Ginger also remain there. Lady Anne begins to ride Black Beauty frequently, and whoever accompanies them often rides a mare named Lizzie. One day, Lady Anne is going out riding with her cousin Blantyre and decides to ride Lizzie, while he rides Beauty. Blantyre is hesitant, and thinks that Lizzie is too spirited for a woman. Lady Anne reassures him, stating that, “I have been a horsewoman ever since I was a baby, and I have followed the hounds a great many times” (85).
While completing an errand, Lady Anne waits mounted on Lizzie, next to Beauty. Lizzie is spooked and gallops off with Lady Anne; Beauty neighs for help, and when Blantyre comes back, they rush in pursuit of Lizzie and Lady Anne. They catch up to Lizzie, running wild through a field; in a panic, Lizzie jumps over a large dyke, and falls on the other side. Lady Anne is badly injured; some passers by offer to help, and Blantyre sends one of them to ride Beauty, to go and get the doctor. Beauty gallops quickly to the doctor, and then back to Earlshall, ensuring that help arrives quickly for Lady Anne.
Black Beauty later learns that Lady Anne is going to recover, and that Blantyre has praised him for his speed and fortitude. Lady Anne’s brother, Lord George, begins to regularly ride Ginger while hunting.
York has also gone to London with the Earl, and the man left in charge of the stable at Earlshall is named Reuben Smith. Reuben is very talented with horses, but he tends to drink heavily. He has already been dismissed by the Earl once, but York interceded on his behalf, and Reuben was hired back.
Shortly before the Earl is due to return, Blantyre is leaving the region; Reuben drives him to the train station with Beauty, and then plans to ride Beauty home. Before starting the ride home, Reuben drinks heavily, and ignores advice to have one of Beauty’s shoes fixed. During the ride, Beauty’s shoe comes off, and his foot becomes very painful, but Reuben is too drunk to notice, and forces Beauty to go at a fast pace. Eventually, the pain becomes too much, and Beauty stumbles and falls. Reuben is thrown and injured, and both he and Beauty lay on the road in pain, waiting for someone to pass by. Beauty “was suffering intense pain both from my foot and knees; but horses are used to bear their pain in silence” (92).
Later that night, some men from Earlshall come driving by, in a cart drawn by Ginger. They come upon the scene of the accident, and confirm that Reuben is dead; at first, they think Beauty must have thrown him, but when they see Beauty’s own injuries, and that he is missing a shoe, they figure out what must have happened. The two men, Robert and Ned, load Reuben’s body into the cart, and Ned drives it home with Ginger, while Robert slowly walks Beauty home.
Back at Earlshall, Beauty’s injuries are treated. An inquest confirms that Reuben was very drunk, and that Beauty is not at fault; Reuben’s wife and six young children are left in poverty upon his death. His wife laments that, “it was all the cursed drink; why will they sell that cursed drink?” (96).
As he continues to recover, Black Beauty is turned loose in a field to rest and graze. He is joined there by Ginger; due to being ridden hard by Lord George during hunting, her health has been damaged, and she also needs to rest and recover. When he returns to the estate, the Earl comes to look at them, accompanied by York. The Earl is annoyed that two good horses have been harmed; he plans to keep Ginger and see if she will eventually recover. However, Beauty’s scars from his injuries are considered unsightly, and the Earl plans to sell him: “’Tis a great pity, but I could not have knees like these in my stables” (98).
York suggests that they sell Beauty to a man in Bath who owns a livery stable (where horses and carriages can be rented); this man is known to treat horses well. In a short time, Beauty is sold, and travels to Bath by train; conditions in his new home are more modest, but he is well-treated.
Black Beauty now has a new experience; he is often rented out to people who are not professional drivers, and in fact, because he is so docile and patient, he is often given to the more inexperienced drivers. The poorly skilled drivers make driving more challenging, and sometimes painful for Beauty. They also encourage bad habits in the horses, and Beauty contrasts this experience with Squire Gordon’s belief that “spoiling a horse, and letting him get into bad habits, was just as cruel as spoiling a child” (101).
One day, while being driven by an inexperienced and careless man, Beauty gets a stone in one of his shoes. The man fails to notice, which creates a dangerous situation where Beauty could easily stumble or fall. The man also becomes annoyed when he notices that Beauty is limping. Fortunately, a farmer comes by and notices what is happening; he gets the stone out of Beauty’s shoe. Rather than being thankful, the man driving Beauty is rude, and continues to push the horse to go on.
Beauty complains about a type of driver that he terms “Cockneys”: they treat horses like machinery, and expect them to go as fast and far as they want, without making any effort to make conditions easier for the horse. Beauty comments that these people “seemed to think that a horse was something like a steam-engine, only smaller” (104). One day, Beauty is pulling a carriage along with a horse named Rory; they are being driven by a skilled driver, but they encounter another cart being driven recklessly. That cart crashes into them, and Rory is seriously injured, left “with his flesh torn open and bleeding, and the blood streaming down” (105-106).
After the accident, Rory is sold to do the difficult work of pulling coal-carts. Black Beauty is often partnered with a mare named Peggy, who has unusually short legs. As a result, she naturally has a slower pace, and many drivers have abused her in order to push her to go faster, and she has developed an awkward pace as a result. Peggy is fortunate, however, in that some ladies take a liking to her, and see her slower pace as safer; they buy her, and she goes on to have a happy life. The next horse paired with Beauty is young and nervous, and explains that he was badly trained, and no one helped him to feel comfortable about encountering new and different things.
Eventually, Black Beauty is rented to a man who drives him well, and treats him kindly. The man is named Mr. Barry, who is so impressed that he purchases Beauty.
Mr. Barry is not very knowledgeable about horses; he hires a groom named Filcher, and arranges for Beauty to have lots of good food. However, Beauty notices that he is not being fed any of the corn and oats that he should be, which begins to impact his health and energy. One day, Mr. Barry encounters a farmer, who notices Beauty’s listlessness, and shares his suspicions that Beauty is not being fed properly. As the farmer explains, “there are mean scoundrels, wicked enough to rob a dumb beast of his food” (111). Beauty confirms that Filcher, with the help of his young son, has been stealing the oats rather than feeding them to Beauty. A few days later, Filcher is arrested and sent to prison.
Filcher is replaced by a groom named Alfred Smirk. Smirk makes a show of taking care of Black Beauty whenever Mr. Barry is around, but often neglects him: Beauty complains that Smirk “thought no more of that than if I had been a cow” (113). Smirk only focuses on superficial appearances, especially his own, and his neglect of important duties negatively impacts Beauty’s health. Mr. Barry can tell that something is wrong, but he is too ignorant to know that Smirk is being neglectful. Eventually, Mr. Barry takes Beauty to a farrier (a craftsman who specializes in making horseshoes and caring for the feet of horses), who explains that Beauty is suffering because his stall is not being cleaned properly.
Beauty receives the necessary treatment, and his stall is cleaned, but Mr. Barry is frustrated with his negative experiences with grooms. He decides that he will not keep a horse, and sells Black Beauty.
Black Beauty’s departure from Birtwick Park marks the beginning of a downward spiral in his life. Although Squire Gordon sells his horses only out of necessity, this transition highlights another vulnerability inherent in the lives of animals: they have no choice or control over who might purchase them, and where they might go. Black Beauty and Ginger’s move to Earlshall allows the novel to explore negative stereotypes of the aristocracy that counterbalance the idyllic and egalitarian world of Birtwick Park. Whereas Lady Gordon was portrayed as sweet and delicate, the Earl’s wife is portrayed as cold, haughty, and fixated on maintaining fashionable appearances. She is described as wearing “a rustling […] silk dress” (79) and speaking in an “imperious voice” (79), revealing that she is an arrogant character. The clear tension between the Earl and his wife also contrasts with the love and marital harmony that existed within the Gordon family. York is portrayed as benevolent and well-meaning, but the unsettled power dynamics among his employers make it difficult for him to stand up for himself and the horses.
Despite the challenges Black Beauty encounters at Earlshall, he further reveals his virtuous and noble character by continuing to try his best, and even continues his heroic career by saving the life of the Lady Anne. This episode directly parallels how Beauty’s speed and stamina previously saved the life of Lady Gordon, but also further contrasts the well-ordered Gordon household with the more chaotic Earlshall estate. The Earl’s absence represents an abnegation of his responsibilities as the head of the household and the estate; in his absence, children and servants become unruly, and act in reckless ways. Lady Anne takes careless risks that nearly cost her life, Lord George harms Ginger by pursuing his own gratification, and Reuben Smith is left unsupervised, and thus able to endanger both himself and the horses.
In contrast to the theme of Intervening Against Cruelty, characters who leave servants, animals, and children without proper supervision and restraint are shown to be guilty of creating dangerous circumstances. The Earl expresses some bitterness and regret, when upon his return, he complains that “there is three hundred pounds flung away for no earthly use” (98); however, his superficial nature is apparent because he complains about the financial loss of two valuable horses being ruined, not about the suffering they have endured.
Reuben Smith and his drinking problem introduce the theme of the Destructiveness of Alcohol Abuse into the novel. While Reuben creates significant harm through riding while severely intoxicated, Sewell provides a nuanced and somewhat compassionate perspective on these plot events. Significantly, Reuben is portrayed as a highly competent and talented man; his addiction is tragic because it robs him of his abilities to contribute the talents he possesses: “when he was all right, there could not be a more faithful or valuable man” (90). Reuben clearly sees the importance of sobriety, but struggles to maintain it. Before he was left to run the stables in York’s absence, Reuben “had promised faithfully that he would never taste another drop” (91), and Sewell shows a surprisingly modern perspective into how addiction can defy the best intentions.
Reuben’s death represents a tragic waste of potential and also has serious consequences for his wife and children. The vulnerability of women and children, left without financial resources in the event that a breadwinner dies suddenly and without savings, parallels the vulnerability of animals who can be sold off if something happens to their master. Significantly, Reuben’s wife does not blame her husband, but instead laments the alcohol industry, saying that, “he was so good—so good! It was all that cursed drink; why will they sell that cursed drink?” (96). Especially as the plot develops, Sewell’s critique of industrial capitalism becomes more pronounced, and the implied answer to the question Reuben’s wife poses suggests that Sewell attributes more blame to industries that profit from the sale of alcohol than to Reuben as an individual.
Black Beauty retains permanent scars on his knees after the accident; these scars symbolize the vulnerability of animals in the face of human selfishness and cruelty. This vulnerability is further developed when the Earl refuses to see past Beauty’s external blemishes, and decides to sell him instead. Much like his wife, the Earl is preoccupied with maintaining fashionable appearances, and even though he acknowledges that Beauty’s fate is tragic, he is not willing to violate norms and keep a blemished horse in his stable. Black Beauty’s name reflects both his handsome external appearance, and also his inner virtue, but once his external appearance is damaged, humans rarely look past it in order to see his positive inner qualities.
The negative effects of capitalism begin to impact Black Beauty more and more as he moves out of the world of the aristocracy, and into roles that are more equivalent to the experiences of a human member of the working-class. At the estates (Birtwick Park and Earlshall) where he spends the early parts of his life, Beauty engages in the lighter labor of pulling household carriages, and serving as a riding-horse. As he descends the social ladder, his work becomes much more strenuous and less regulated. Rather than a member of a family, he also becomes something akin to an employee and is seen as primarily functional, and there to ensure a profit for his owner (rather than provide service and pleasure). Reflecting on a painful and dangerous incident where a stone became lodged in his foot, Black beauty grimly reflects that, “this was the sort of experience we job-horses often came in for” (103). This quotation shows a shift in Beauty’s character, as he becomes more cynical and less optimistic about the world around him.
As a job-horse, this gap in responsibility is even more pronounced because Beauty is rented to individuals who have no stake whatsoever in his well-being; to these drivers, Beauty is essentially disposable, and exists solely to fulfil their desires. Notably, Beauty’s decline in social status, and repositioning as a member of the horse equivalent of the working class, coincides with him moving from the countryside to the urban space of Bath (a midsize city at this point). Prior to, and continuing during, the Victorian era, the Industrial Revolution significantly increased urbanization in England, driving working-class individuals out of more traditional occupations and ways of life, and into larger urban centers where work was often available in factories and other similar locations. However, this work was often grueling and poorly paid. For the remainder of Sewell’s novel, urban spaces will be juxtaposed against more healthful and serene country settings.
Black Beauty’s determination to work hard and do his best wins him the regard of Mr. Barry, implying the possibility of social mobility, and that characters who don’t give up may see their fortunes reverse. However, his time with Mr. Barry offers Black Beauty only a brief reprieve because Mr. Barry is well-intentioned, but naïve, ignorant, and disorganized. In contrast to Squire Gordon, and even the Earl, Mr. Barry does not build community and relationship with the men who tend to his horses; instead, he relies on paying wages in hopes of winning fair labor. As a result, Mr. Barry ends up being exploited by employees who take advantage of his ignorance in order to pursue their own profit and gain.
The two grooms, Filcher and Smirk, both have names that reveal their personalities and foreshadow that they will not be honest or hard-working. In the world that Black Beauty has now entered into, individuals are typically looking out only for themselves, and trying to get as much as they can by any means necessary.



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