The Art and Practice of HawkingMichell, E. B. (Edward Blair)
History
The Art and Practice of Hawking
Michell, E. B. (Edward Blair)
Falconry
Throughout this period and during all the early stages of training,
the grand secret of discipline is carrying. It would perhaps be
difficult to say why the mere transporting of a hawk, hooded or
unhooded, upon the glove from place to place should have so great an
effect; but the experience of centuries has shown that it does, and
this ought to be enough for the beginner. When he has carried hawks
for some hundreds of hours, he will acknowledge the truth of the old
theory; then possibly he will be able to explain it to others or to
himself. In the meantime he will do well to take it on trust, and
adopt the practice without question. If, as he walks about or rides or
sits--for the ambulatory part of the process is not compulsory--he is
amongst other people, it will be all the better. The sound of the human
voice, naturally and instinctively trying to all wild creatures, will
by familiarity with it become less alarming. And with the diminution
of the uneasiness originally caused by the voice will come a lessening
of the distrust felt for the man who owns the voice. It is almost
needless to say that the falconer's voice, especially at times when the
hawk is unhooded and in sight, should be soft and soothing in tone. We
modern trainers do not use the voice much, as the old falconers did, in
educating and directing our pupils. And therein, probably, we make a
great mistake. But, however incredulous anyone may be as to the charms
of the "falconer's voice" for which Juliet so prettily sighed, it is at
least natural to suppose that the harsh tones of an angry or peevish
man must give any intelligent animal a bad notion of his character,
and, by analogy, of that of the whole human race.
Public-domain text, read in full here on John Shaqi.
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