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Exmoor Star

  • Writer: mafosn03
    mafosn03
  • Dec 10, 2024
  • 48 min read

Academic Paper- March-May 2023

Content Warning: This paper discusses animal abuse

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Historical Introduction

Text Overview

Exmoor Star, or: An Autobiography of a Pony by A.E. Bonser follows the life of a young Exmoor pony living in Exmoor, an area of open moorland located in South West England, and his many adventures after being taken from his home (Exmoor National Park, England -- National Geographic). In 1906, Exmoor Star was published by the American publishing company, Laidlaw Brothers, in both New York and Chicago, and this edition of the novel is the one being discussed in this introduction. Throughout the story, the narrator, Exmoor Star, finds himself being passed from owner to owner and working various jobs, allowing him to meet a variety of other horses and ponies who all have their own stories to tell. These stories help to reveal the theme of the narrative, namely animal welfare, specifically in regards to horses which was a motif formed by the social issues of the time period, particularly through literature of the time such as Anna Sewell’s Black Beauty. On the surface, Exmoor Star is a seemingly simple book written for children’s entertainment, but, upon further inspection, reveals fascinating connections to discussions of the exploitation of horses that were occurring in the 19th and early 20th century. 


History of the Exmoor Pony 

The Exmoor pony is one of the most primitive breeds of horses in Great Britain, and as a breed have helped farmers in sheepherding, hunting, and plowing for generations (J.P.M. & A.J.M. 129; Devon).  According to The Exmoor Pony Society, current Exmoor pony ancestors evolved in an ice age about a million years ago, co-existing with wooly mammoths and saber-toothed tigers (The Exmoor Pony Society 1). Formation of the English Channel caused the Exmoor population to become isolated on the British Isles (International Museum of the Horse). The settling of Celts in Britain resulted in the training of Exmoor ponies to pull chariots (The Exmoor Pony Society). The first documentation of free ranging Exmoor ponies can be seen by tax inspectors of King William I in 1086. In the year 1818, Sir Thomas Acland took 30 Exmoor ponies and founded the Acland herd on Winsford Hill (qtd. in J.P.M. & A.J.M. 130). Lasting results of this herd can be seen today, as herd Nos. 1, 10, 12, 23 and 44 still exist (The Exmoor Pony Society). In 1921, the Exmoor Pony Society was founded at the Lion Inn in Dulverton, with the purpose to register pure-bred Exmoor ponies. In the 1930’s, Exmoor ponies became incredibly popular as children’s riding ponies due in part to the Moorland Mousie books, a series of children’s novels written by Golden Gorse, with an Exmoor pony as a protagonist (Gorse). In the late 1940s, Exmoor ponies nearly went extinct due to a combination of owner’s leaving for WWII and soldiers stealing or shooting the ponies for food or target practice, leaving the total population at about “50 ponies left on the moor” (Devon; Horse and Hound). A woman named Mary Etherington stepped in, however, before the species could be destroyed, and, in the years following WWII, “rallied the breeders and together they ensured that cattle grids restored the secure boundaries to the Commons and set about re-establishing their herds” (Devon). Currently, notwithstanding Etherington’s effect, the Exmoor pony breed is an endangered species, with only around 4,000 existing world-wide and no more than 500 in Exmoor National Park (The Moorland Exmoor Pony Breeders Group).


Historical Context 

Horses in Victorian England 

In 19th century England, horses were vital to Victorian society as a means of completing hard physical labor such as pulling carriages and transporting heavy objects (Rosenthal). Horses, like other animals, were seen as being completely separate entities from humans for many years. Then, it was believed that humans weren’t animals and animals were meant to be below humans. It was not until the publications of Darwin’s On the Origin of Species did this perspective change (Miele 129). The theory of evolution introduced the idea that humans were animals. Non-human animals were no longer a separate entity from humans and many began questioning the treatment of working animals. If humans are animals, then, to many, it made sense for animals to experience many of the things humans experience. Therefore, the treatment of working animals came heavily into question due to the abusive and exploitative practices in use at the time (Miele 131). Horses were one of the most prominent working animals because they were useful for farming, transportation, and hard physical labor. As quoted in Thomas Almeroth-Williams’ article The Brewery Horse and the Importance of Equine Power in Hanoverian London, Thompson stated horses played a “critical role” in the growth of their industrialized society (Almeroth-Williams 417). 

Drawings from the time help to reveal the relationship between horses and humans. “Tipping”, an illustration from the 1830s, depicts two horses working on the London-Birmingham railway. The white horse on the right is shown pulling a large cart full of rocks while the black horse is shown pulling a cart that appears to be dumping its contents out. Rail workers are surrounding these two working horses and are focused on the work that needs to be done (Rosenthal). This helps to illustrate the idea that horses were vital to the industrialization of England. These two horses can complete the labor required of them much faster than any human could if given the same task. Tatyana Rosenthal wrote about this piece, saying, “It is evident that these horses depicted are not there for companionship but rather to perform a demanding job in building railways that revolutionized life in Victorian Britain,” (Rosenthal). The time this illustration was made would have been right around when the relationship between man and horse was beginning to be questioned (Miele 129). 


“Tipping” London-Birmingham Railway, 1830s. 

The next image, “A Dead Horse Being Dragged to the Knacker’s Yard” by George Cruikshank, depicts a dead horse in the back of a cart being dragged by another horse to the Knacker’s yard, a place where injured or old animals are taken to be slaughtered. The pedestrians in the image are left faceless and do not pay attention to the main focus of this piece; the dead horse being carted away. The two men driving the cart also pay no regard to the horse, even whipping the horse pulling the cart, a blatant example of abuse (Rosenthal). These elements combine to help paint the picture that little to no regard is shown to the horses working for them. Rosenthal provides her analysis of the image, “In some ways this illustration also shows how little one horse mattered in the grand scheme of things; if one horse were to die, its replacement was already there, waiting to cart away another dead carcass. This image shows how deeply ingrained the horse was to Victorian society as a tool, more than a living creature,” (Rosenthal). They were incredibly valuable to the Victorians while simultaneously being replaceable. Unlike the dogs and cats of the modern day, horses were not seen as companions to love and cherish. They, much like cars, were tools to be used until they were dead (Miele 134). Then, much like the horse in this image, they would be discarded and forgotten.



“A Dead Horse Being Dragged to the Knacker’s Yard” George Cruikshank, 1833

The view of them merely as tools to get a job done lasted for a while despite activism. Even in 1894, Conwy Lloyd Morgan was adamant that even if animals could think on the level of humans. It could not be proven, so it held no merit in the science community (qtd. in Miele 129-130). It is very evident that the mistreatment of horses depended heavily on separating them from humans. This is because it allowed for them to be seen as objects and treated as such. This gave many victorians outside of the science community even more reason to advocate for horses and the continued exploration of the minds of animals (Miele 130). In the mid 1800s, articles were being published discussing the minds of horses. In 1853, C. Forbes wrote an article suggesting that cab drivers let their horses roll around in the grass after a long day of work (qtd. in Miele 137). Here, horses were heavily compared to humans and it was argued that they should be allowed to rest after a hard day of work, not only because it made them more productive, but because humans enjoy resting after working hard. This brought the question of why animals wouldn’t want this as well. This is just one example of the Victorians beginning to question the similarities between horses and humans. Then using these perceived similarities to advocate for the improved treatment of these animals.


In the Victorian era, one of the groups that was heavily criticized for their mistreatment of horses was the wealthy. In 1868, Earl of Romney spoke about his displeasure with wealthy horse owners who would often leave their horses in blistering hot weather wearing harsh bits and gag-bearing reigns for hours on end (qtd. in Miele 133). The connection between horses and the wealthy first appears in the book when Exmoor star’s friend describes a fashion trend of limping that emerged from a princess who fell and developed a limp (Bonser 43). The reference to a Victorian princess with a limp is likely referencing Alexandra and Denmark. An article titled “Freaks of Fashion,” which was originally published in The South London Press in 1869 but was later republished and discussed online by Pascal Tréguer, helps reveal the princess’ identity. It was written by a man known only by “Rupert” and reveals the princess’ name as well as directly telling the audience about limping as a fashion trend: 


“There the ladies have adopted ‘The Alexandra Limp.’ And what, it will be asked, is the Alexandra limp? Simply this. The recent indisposition of the Princess of Wales—rheumatics in the knee—has slightly affected her walking. It does not quite amount to a limp; but something of the sort. This has been voted ‘charming’ by a lot of noodles, and is being imitated. To effect the desirable object of making themselves appear lame, the young ladies are wearing boots which do not match, one boot having a heel and the other having none! This causes them to limp in walking, and probably the folly of fashion was never carried to a greater extent,” (qtd. in Tréguer).


Exmoor Star’s friend may have gotten some details wrong about how she developed her limp, considering they are horses, but it’s obvious this is the princess being referenced. This story very directly develops Bonser’s idea that the fashion of the wealthy is foolish– more focused on vanity than intellect. It's made very clear by Rupert's article that some Victorians during this time period also found this fashionable limp to be silly. This connects to the ideas developed later in their conversation about how Exmoor Star’s friend was treated by his wealthier owner. In Chapter 7, “A Friend Discourses on Fashion,” the horse that Exmoor Star is talking to reveals how his old owner used double bits, martingales, and blinkers. All of which are described as wildly uncomfortable to the point it made his mouth bleed (Bonser 42-47). Double-bits, now referred to as double bridles, are still used to this day. 


Double-bits or bridles are a tool used by riders that are very finicky, as when used improperly, they become ineffective. Not to mention, properly fitting for one is incredibly tricky. Every horse's mouth is different and it takes a lot of time and patience to produce a result that will not cause issues for a horse and rider (Stewart). However, in Victorian England, double bits were not properly fitted as, oftentimes, horses accrued permanent damage to their mouths as a result of using bits that were too harsh. This permanent damage to horses was not limited to just their mouths as they often carried many different scars (Miele 134-135). Their scars followed these horses as they jumped from job to job which meant they built up over time. Exmoor Star’s horse friend in the beginning of the book mentions how damaged his feet had gotten as a result of improperly fitted shoes. He made a full recovery from this in the book (Bonser 41).


Exmoor Star jumps from job to job throughout the story which matches the social norms of the time. His circumstances differed from real horses of the time because his transfers were either by random chance or being sold for a profit. Horses in Victorian England were sold whenever they became unable to do the work required of them. Oftentimes, they were sold for a lower price then their owner bought them for. This vicious cycle continued until they died or were sold to be eaten (Miele 134). Exmoor Star escaped this cruel fate in the novel. After his career ending injury, he retired, when real horses would have kept working until their body couldn’t handle it anymore. The sad reality of horses during the industrial revolution is that they were too valuable to waste. London’s economic growth was heavily attributed to the growing number of working horses; horses had huge impacts in the industrial sector (Williams 417). Work is likely all any of them knew because they were so efficient. This stayed true even when they became old and unable to perform hard physical labor, relegating them to the most menial tasks (Miele 134). Their lives consisted of back breaking labor, gag-bearing reigns, and generally unsuitable conditions. That was until, finally, their dead bodies were carted away by their replacement (Rosenthal). The context behind horses in the Victorian time period is incredibly fascinating, if a bit depressing. The author, while little is known about him, has published other interesting titles.


Author 

The author of Exmoor Star goes by “A. E. Bonser” and has very little information published about him. We can presume his full name is Alfred Edward Bonser from the tie between Exmoor Star and another children’s book, The Land of Enchantment, published around the same time. There was very little that can be found online about this man, but a potential candidate is a British man from Leicester, Leicestershire, England who married Sarah Ann Huss and had three children with her (Ancestry). Sarah Huss, born in 1885 and died 1958 in Leicester, mothered John Bonser, born 1908, Gladys Maude Bonser, born 1907, and Ada Bonser, born 1910 (Ancestry). Alfred Edward Bonser is found to be born Jan. 4, 1881 in Leicester, with no known death date (Ancestry). This man also served in the English army between 1914-1920. However, in our research, the commonality of the name “Alfred Edward Bonser” proved another hurdle as it is incredibly hard to determine which one is the correct one; the one previously mentioned is our best hypothesis due to found records, a matching timeline, and the fact that this Bonser had the most reliable sources connected to his name and works. In an email conversation with Sue Baker, a member of the Exmoor Pony Society, little else was found through her own independent research as she ran into a similar wall, only able to find his full name, though she did corroborate that the author was most likely English (Baker). Craig B., from the Allen County Public Library, also came to the same conclusion that Bonser was British after doing his own digging (B., Craig). Essentially, it is difficult to know the history of A. E. Bonser because of his common name and lacking personal records, though the little we do have, combined with some educated guesses, points us towards an English man born sometime before the late 1800s, early 1900s. Overall, our working hypothesis for the identity of A. E. Bonser is that he was born in Leicester, England, married Sarah Ann Huss, wrote both of his books before the birth of his first child, joined the military to support his growing family, then either died in battle or returned without continuing his career as a novelist. 


Outside of his vague personal history however, Bonser is concretely connected to another written work, The Land of Enchantment, a collection of children stories written by A. E. Bonser, Sidney Woolf, and E. S. Buchheim and illustrated by Arthur Rackman (Bonser et al.). The collection was published by London publishing company Cassell and Co. in 1907 and Bonser’s works in the collection are “The Maker of Ghosts and the Maker of Shadows,” “The Mines of Experience,” which is a continuation of the former, and, “The Tales of Ben the Sailorman,” all of which follow themes of fairytale and make-believe (Bonser et al.). Additionally, all of these stories were written and published as children's stories, much like Exmoor Star. 


With these publications being the only two public traces of Bonser’s existence, and only contested marriage and birth records being found, there were theories that A. E. Bonser might in fact be a pseudonym or a ghost-writer, though there was little evidence to encourage either theory and, upon finding his name listed in the 1921 census of Leicester, the theory was more or less abandoned (Findmypast). His enigmatic life is the reason why Ancestry.com is one of the only ways to find more about his life. Assuming Bonser to be one corroborated by Ancestry.com, Britain’s 1921 census, and people such as Sue Baker and Craig B., Bonser would only have been 25 when Exmoor Star was published in 1906 and 26 when The Land of Enchantment was published since he was supposedly born on January 4, 1881 according to Ancestry.com, his parents being Sarah Richardson and William T. Bonser (Ancestry). It is unclear when he started writing, if he started writing for a purpose, such as animal and/or horse welfare, or if this was a hobby turned profession. It is similarly unclear if writing was his main profession or, due to death, imprisonment, lack of funds, interest, opportunities, etc., he stopped writing prematurely.



(Ancestry)


Publication/Publishers 

Exmoor Star; or: The Autobiography of a Pony was published by the Laidlaw Brothers publishing company of Illinois, United States, later bought by Doubleday & Co., Inc., a large book publishing company founded in 1897 as Doubleday & McClure Company. Prior to their absorption by Doubleday & Co. in 1996, the Laidlaw Brothers publishing company was based in River Forest, Illinois, with Robert R. Laidlaw as head. By 1919, they were primarily textbook publishers (DOUBLEDAY BUYS TEXTBOOK HOUSE; Publisher Acquires Laidlaw Brothers of Illinois). Before becoming focused on textbook publication, however, the Laidlaw Brother’s printed school books, including novels and primers meant to be read in elementary and secondary schools, implying that A. E. Bonser’s book, published in 1906, was one such story. During the time of Exmoor Star’s publication, the Laidlaw Brothers books were routinely used by the United State’s school systems, so, at least in the United States, the novel was most likely published as a supplementary reading book, evidenced by a New York Times article documenting the publishing practices of the Laidlaw Brothers during the time when Exmoor Star would have been published (DOUBLEDAY BUYS TEXTBOOK HOUSE; Publisher Acquires Laidlaw Brothers of Illinois). Additionally, regarding the supposed publication purpose of Exmoor Star, the novel is mentioned in The School Journal, Vol. 74, No. 19, page 474, published May 11, 1907, a school journal produced in the United States and originally published in 1881 by E. L. Kellogg and Company publishers (pictured below) (The School Journal, vol. 74, 474). Due to E. L. Kellogg and Company’s involvement in publishing periodicals and other such academic writings and articles, there is further credence given to the theory that Exmoor Star was published in the United States as a book used primarily for school.


The School Journal 1907, Vol. 74, No. 19, pg. 474


That being said, Exmoor Star was not only published by the Laidlaw Brothers. Under the name Adventures of an Exmoor Pony in “Cassell’s Animal Story Books”, A. E. Bonser’s book was also published by Cassell and Company Limited in 1906, a publishing company based in London, England, founded in 1855 under a different name, and eventually absorbed by the Orion Publishing Group in 1993 (Curiosmith). Though this publishing company is not responsible for the American edition of the novel, which is the novel being referenced throughout this introduction, Cassell and Co. are responsible for the English edition, which was most likely the first edition of the novel due to the geographic closeness. Furthermore, Cassell and Co. were, unlike the Laidlaw Bros., not seemingly specifically focused on a particular book type for publishing, so it’s unclear whether or not Exmoor Star would have been specifically dispersed throughout English schools or marketed towards school children. Additionally, though, as mentioned previously, Exmoor Star was sold under the heading “Cassell’s Animal Story Books”, upon further research, this heading does not seem to be indicative of particular strain of marketing from Cassell and Co., and was simply a one-time marketing maneuver. However, to say Cassell and Co. and The Laidlaw Bros. were the only publishing companies to print A. E. Bonser’s book is impossible, especially if any other publishing companies changed the name or added it into a collection of stories, as is the case here.


Illustrations

Within Exmoor Star there are multiple illustrations  though only two are signed or otherwise cited, one by Dorothy Hardy and the other by R. Lillie. Firstly, Dorothy Hardy, born Mabel Dora Hardy in 1868, died 1937, and known as ‘M Dorothy Hardy’, was an illustrator and artist known for her drawings of animals, especially horses, and American Wild West imagery (Chris Beetles Gallery Ltd.). She was born in Clifton, England, close to Bristol, to artists David and Emily Hardy (née Collins), and by viewing the signature on the illustration provided in Exmoor Star (pictured below) and the signature on an illustration sold at online auction under the name Dorothy Hardy (pictured below), one can see the similarity of signature and composition, implying that this Hardy is in fact the one whose work was used in Exmoor Star (Invaluable, LLC; Bonser 11). 



Dorothy Hardy – “Hi there”



Dorothy Hardy – Exmoor Star, or; An Autobiography of a Pony


Secondly, R. Lillie, or Robert Lillie, a Scottish-English artist who lived from 1867-1949, is found most readily through his work as an illustrator in a novel called Dumps – A Plain Girl written by L. T. Meade, originally published in 1905 and republished by Project Gutenberg, and another novel called The Sea Shore by William S. Furneaux, originally published in 1922 and republished by Internet Archive (Meade, Furneaux). In Exmoor Star, there is an illustration with a signature matching the signature of the illustrations present in both Dumps–A Plain Girl, and The Sea Shore (pictured below) (Meade 14; Furneaux 1; Bonser 5). 



Dumps–A Plain Girl


The Sea Shore




Emoor Star; or, the Autobiography of a Pony


Outside Lillie’s limited history of works, there is little found about him, including any reference to a first name, though it can be concluded that the illustrator was English as all three of the novels mentioned in which his/her work is used, including Exmoor Star, were produced by English persons regarding English stories. Additionally, there is reason to suggest that his/her work in Dumps – A Plain Girl, published only a year before Exmoor Star, possibly influenced Bonser’s or his publishers to include Lillie’s work in the novel (Meade). It should be stated, however, that though these two artists are credited illustrators for Exmoor Star, there is no evidence to suggest either were conscripted by either Bonser or his publisher(s) to illustrate Exmoor Star; it is entirely possible each artist had completed illustrations useful for this novel and those pieces were simply used during publication. This conjecture also does not suggest that neither artist could have been directly asked to illustrate the novel, only that it is not directly proven as their names are not mentioned in the novels’ publication history, or in any of the advertisements we could find about Exmoor Star. All other illustrations shown in the novel are uncredited, unsigned, or both.


Thematic Introduction 

Use of Horses as Narrators to Discuss the Exploitation of Animals

In Exmoor Star, the author, A.E. Bonser, makes use of an animal narrator to develop the themes present throughout the text. He likely was heavily influenced by the historical context of the time period as well as the 1877 novel, Black Beauty by Anna Swell (Noris). She, being heavily inspired by the abuse and neglect she was seeing with horses by their owners, decided to write her novel entirely from a horse’s point of view. This is a major similarity between Black Beauty and Exmoor Star. It is unclear if Bonser was inspired by her novel, other novels with similar themes, or seeing the abuse of animals first hand. A review from 1905 about Black Beauty helps show that it was still relevant at the time of Exmoor Star’s publication (Sewell et al). Exmoor Star was published in 1906, just a year after this review, which makes it entirely possible his inspiration came from Anna Swell. It becomes very evident he cared quite a lot for working horses as his novel is filled to the brim with advocacy for horses. Though, it is important to note that within his advocacy for horses, Bonser is working off of what people of his era considered animal cruelty, not necessarily what people today consider animal cruelty. As established in the historical introduction, the Victorians wrote a lot about horses. They were either talking about the abuse horses were facing or providing suggestions to improve how humans communicate with these animals, both in an effort to improve their treatment (Miele 130). Through this novel, it is clear that the Edwardians also cared about horses because many instances help to reveal the theme; that theme being, horses are incredibly similar to humans and deserve to be treated kindly. It’s also presented to the audience that a horse cared for with kind words and actions also makes for a more productive horse. 


To understand the themes in Exmoor Star, it is very helpful to understand the themes in Anna Swell’s Black Beauty. This novel also has an equine narrator in first person perspective, narrated as an autobiographical memoir. Anna Swell was heavily inspired by the observations she was making about the treatment of horses and her personal love for animals (Norris). One of the most pinnacle moments in Black Beauty is when the narrator sees his friend Ginger, dead and being carted away. Pictured below is the illustration that accompanied this moment in the novel. Here, Ginger’s head can be seen hanging out of the back of a cart while one of the men raises his hand to prepare to whip the other horse. Rosenthal includes Black Beauty’s thoughts about this event. He thinks about how hard Ginger’s life was, being a working horse. He shows relief knowing that her hard life was over and she could finally rest in peace (Rosenthal). This piece is similar to other pieces of art from this time period and is made even more impactful by making the audience connect to the horse that it’s centered around. Anne Swell was likely a huge inspiration to A.E. Bonser when he was writing because of how they both choose to advocate for horses and use them as narrators to force the audience to connect with them on a personal level. 


“The Head Hung Out of the Cart Tail,” published in Black Beauty in 1877

The theme of animal cruelty is present from the beginning of the book. We can first see a description of what can be described as animal cruelty when we meet Exmoor Star’s father. His father, an Arabian breed, reminisces on his time growing up with his Arab owners. To quote the Arabian, he, “-was treated just like one of the family, for the care the Arabs take of their horses is astonishing,” (Bonser 12). The Arabian horse mentions that his, “-ears were tied together with a string so that they might grow straight,” and he was fed, “-two or three eggs to eat,”  (Bonser 12). The next example that a modern reader might see as animal abuse is the incidence of the humble hobble. Exmoor Star is being broken in by Mr. Bryce when we see mention of this device used to force Exmoor to, “-only hobble along on three legs,” (Bonser 28). Exmoor Star does not describe the device as being painful or cruel, but it can be assumed that it was unnecessarily uncomfortable, as it would force them to hobble. Although the majority of Victorians and Edwardians would likely not view these examples as abuse, there did exist some with a relatively modern mind regarding animal welfare. A newspaper called “The Horse Review” published a magazine in 1900 with an article labeled The Hobbles, in which a lady called “Beadville” was a member of  “The Anti-Hobble Association” (The Horse Review 202). While this article does enlighten us to a minority group who were against “the hobble” and other forms of animal abuse, it also helps to show that the majority of the Victorians and Edwardians had very different ideas about abuse and neglect. When analyzing this book it is pertinent to understand that it’s meant to give horses a voice. These horses are being portrayed on a similar level of consciousness as humans. They have emotions and thoughts about their own situations. While these examples might be interpreted as abuse by a modern reader, the horses themselves do not see them this way. 


We can see this same idea of mistreatment in chapter VI “I Am Shod” when Exmoor Star is having a conversation with a fellow horse owned by Tom, his current owner. After Exmoor got fresh, new horse shoes, he went to his friend to show him. His friend went on to tell him about his experience with ill-fitting shoes, “-do you know that an ignorant farrier will cut away a horse’s ‘frog’ to make the hoofs fit his shoes, instead of making his shoes fit the hoofs! I wonder how he would like, when he went for a new pair of boots, for the shoemaker to pare bits off the sole of his foot so as to get it to fit the boots! It strikes me he’d make a fine fuss,” (Bonser 40). Here Bonser makes a direct connection between horses and humans. This section works to anthropomorphize these animals and encourage empathy towards them. By being so direct with this metaphor it causes the reader to understand and relate to this horse more. This story from Exmoor Star’s friend showcases a clear example of mistreatment and works to further develop the theme. 


A story by the Circus Pony that Exmoor Star has a conversation with on page 80, describes an event where he was forced to walk into muddy water whilst being surrounded by people, namely the children who pulled on his tail and neck and flapped things in his face (Bonser 80). By having the circus pony narrate these events, we see a more drastic exploitation of horses compared to Exmoor Star’s previous experiences. Through the events detailed with the circus ponies in Exmoor Star, we see circus animals which are abused for sport in addition to that of their work in the circus. In particular regard to the Exmoor pony, their breed has been used for entertainment purposes for years, specifically as children’s riding ponies due to their short, stocky frame and relatively docile nature (EQUUS; Breeds of Livestock). 


The introduction of the circus pony by A.E. Bonser goes well into the new narrative of that time, which was the “fight for circus animals’ rights” (Beers 105). In 1866, the ASPCA,or the American Society for the Prevention of Cruelty to Animals, was created by Henry Bergh and became the first humane society in North America, radically changing how both individuals and society at large viewed the mistreatment of animals (ASPCA). A particularly famous Jack London turned to explore the performances of wild animals in the large tents of circus life, only to discover a horror filled world of abuse. Circus animals often lived very short lives which ended with death from disease, wrecks, or unknown causes. Jack London decided to turn to writing, and produced two novels, Jerry of the Islands and Michael, Brother of Jerry, that depicted the life of large cats being forced into training. Much like Exmoor Star, both stories were told from the perspective of the animals (Beers 105). According to the preface of both books, London stated that, “-he hated circuses for their ‘cold-blooded, conscious, deliberate cruelty’…Cruelty as a fine art attained its perfect flower in the trained animal world,” (qtd. in London, Beers 106). These books were published in 1916-1917, just 10 years after Exmoor Star (Beers 105). Novels written from the perspective of animals was not a new occurrence during these times, as there were many examples of this, with Exmoor Star being written in the middle of their popularity. As previously noted, Black Beauty rose to fame after its publication in 1877, and books like The Call of the Wild by Jack London published in 1905, Grasshopper Green and the Meadow Mice published in 1922, and the two aforementioned novels by Jack London publishes, respectively, in 1916 and 1917, surrounded the time frame which Exmoor Star was published (Bonser; London; Ridolfi; Sewell). The introduction of these novels marks that of the enlightenment of animal abuse, and peoples wishes to end it. 


The overarching main theme of Exmoor Star, or; An Autobiography of A Pony by A.E. Bonser is the examination of the exploitation of animals and their increased welfare, a theme tied to a greater motif of how animals both have thoughts and feelings, and we, as humans, should respect them. Written in a changing world, rapidly becoming aware of the tragedies faced by animals, A. E. Bonser’s introduction of this novel amongst others of its kind shows an author hoping to enlighten its readers to the horrors faced by animals of the Edwardian era. 






List of Terms and References 

  1. Robert Lillie (pg. 4-5)

    1. R. Lillie or Robert Lillie was a Scottish-English artist who lived from 1867-1949. His work is featured throughout this novel and in various other novels such as “Dumps: A Plain Girl” by L.T Meade and “Percy Vere” by Evelyn Everret Green. In 1962 an Art Gallery was founded in his name called the Lillie Art Gallery. It features Scottish artwork from 1880 to the present day. Currently, many of his paintings are being sold. His paintings being sold are composed of scenes of English towns and city scape as well as paintings of people. These paintings match the art style we see in this novel as well as his other novels. 

  2. A Cushion Called “The Frog” - (referring to the picture on pg. 19)

    1. This drawing labeled A Cushion Called “The Frog" depicts the bottom of a horse's foot. The phrase "the frog" is a rather vulgar term for what is generally known as the "foot-pad", according to Smith in the Manual of Veterinary Physiology (1921). This term is likely the result of an old superstition, that being: horsemen would carry the pelvic bone of a frog as a good luck charm. Both the pelvis of a frog and the foot-pad of a horse have a similar shape. This early superstition potentially bled into the belief that horses feet and horseshoes carry good luck as well. The actual importance of "the frog" is to help shock absorption, traction, and circulation.

  3.  Dorothy Hardy (pg. 10.5)

    1.  Little is known about Dorothy Hardy. She was a British artist born in 1868 and died in 1937. She was known for her illustrations of animals, especially horses, and features in Exmoor Star on page 11/10.5 (the illustration pages are not numbered, though still count as full pages). Almost all of her work that survives has a horse as the main focus and 62 of her pieces have been sold at auction. The first to be sold at auction was in 1999. The most recent one being sold in 2023. 

  4. Hands on Horse (pg. 28)

    1. After the publication of Darwin’s On the Origin of Species many began to question the way horses were treated. This questioning led to many advocates developing vastly different opinions about the treatment and care of horses. One theory claimed the best way to care for a horse was physical touch. This was inspired by horses' lack of a verbal language. Horse owners claimed touching a horse was the way to gain insight into their emotional and physical well-being. It was said it could even reveal past scars of the horse as well. Here the scene with Mr. Bryce petting Exmoor Star and making sure to run his hands along his body seems to match what these experts were saying to do at the time. He runs his hands along Exmoor’s body while trying to get to know him and assesses his well-being. It shows Mr. Bryce was an incredibly kind and caring owner.  

  5. Greasy legs (pg. 33)

    1. Greasy heel is a skin condition that occurs as a result of repeated exposure to wet environments or abrasions. Some examples include wet bedding, insect bites, exposure to gravel, and muddy paddocks. This allows organisms to invade and cause dermatitis. This is due to the skin barrier being made ineffective by continued wear. Greasy heel is an inflammatory condition and lesions can often be found on all 4 legs. Preventing greasy heels is possible and the best way to do this is to house a horse in a clean, dry environment. By mentioning this it develops the idea that horses require specific conditions to thrive. 

  6. Alexandra Limp (pg. 43) 

    1. The princess being referenced here is Alexandra of Denmark. Alexandra of Denmark was a very influential person in England from the mid 1800s to the early 1900s. Many things were popularized by her one such example being the “Alexandra Limp”. After contracting rheumatic fever in 1867, Alexandra developed a limp. Many women who were a part of ‘fashionable society’ also adopted a limp after seeing her with one. By using this story as an example in the text it helps introduce the idea that the wealthy were foolish. Blindly following trends and not considering what they were really doing. Therefore, strengthening Exmoor Star’s friend’s argument. 

  7. Double Bit (pg. 45) 

    1. Double bits or double bridles are tools used by equestrians to provide more control to the rider when riding. It’s composed of two different types of bits: the thin snaffle bit and the curb bit. The snaffle bit is used to create a consistent contact between the rider and the horse’s mouth. The curb part of the double bridle provides leverage to the rider. It raises the neck to stabilize the connection with a rider’s hand. In the modern day, double bridles are commonly used for dressage and saddle seats. In Exmoor Star, there are points, such as here, that Exmoor and other ponies use the mishandling of double bits to describe the incompetence of their masters and the mistreatment of horses.

  8. “‘I want twenty-five guineas,’ said my master,” (pg. 49)

    1. “Guinea” was a form of  currency introduced in 1663. The gold used was said to be from Guinea, Africa. 25 guinea is around $31.50 USD in today’s money. The currency is no longer used anywhere in the world, having been discontinued decades ago.

  9. “The giant Magog and the dwarf Mustard-Seed were her attendants,” (pg. 54)

    1. I read this and had a huge question mark pop above my head. When researching “giant Magog,” I came across the two wooden statues that have been guarding London for the past 600+ years; The Gog and Magog. They are biblical figures that are considered to be sinister because they were drawn as entities associated with Satan and eat humans.

  10. Gumboils (pg. 68)

    1. Gumboils or gum boils are a painful, swollen lump formed on the gum over an abscess at the root of a tooth. Spelled as one word during the time of publication of the book, two words as of today. It means the same thing however. Exmoor’s friends were complaining about how painful gumboils were in this part, helping show young audiences that horses both felt pain and were annoyed by it too. 

  11. Lancing gums (pg. 68)

    1. Lancing gums was a medical practice in which doctors would use a scalpel or “lancet” to pierce a swollen gum or gum boil in order to relieve the pressure. Most common amongst infants but also used with livestock or other creatures thought, at the time, to not feel pain. Horses were often treated for medical maladies in extremely brutal ways such as this. In Exmoor Star, on the page mentioned above, lancing gums are mentioned as a way to convey to the audience the painful medical practices being used on horses, as Exmoor Star complains about how cruel and unforgiving lancing can be when administered by doctors who don’t care if the horse is in pain during treatment.

  12. “Swollen gums treated with red-hot iron” (pg. 69)

    1. Another practice of treating mouth ulcers, boils, etc. in horses, though it connects to certain animal welfare groups of the time that resented such extreme methods. The horses in the novel were specifically bringing it up as a means to talk about how certain “masters” were cruel to their horses and how they shouldn’t do that. Admittedly, the practice of the red-hot iron in the mouth thing was just an early form of lacerating which is still used today but with lasers or sterilized needles and anesthesia. It is mentioned in Exmoor Star by Exmoor to describe the further brutality of medical practices on horses at the time, as people were not inclined to use gentler methods when treating horses.

  13.  Pony Express Mailing Service (pg. 72) “The mail-coach, or coach which conveyed the letters,”

    1. The transcontinental Pony Express is one of the most famous institutions in the history of the American West. It first captured the popular imagination while it operated between April 3, 1860 and October 26, 1861, and has continued to do so ever since. From a postal history perspective, the Pony Express was an unusual combination of a private mail system and a government-subsidized mail system that is unique in American history. In Exmoor Star, this comes up as Exmoor talks to a pony who lived in America, and tells both him and the audience all about this antiquated system which, at the time, was rather revolutionary. 

  14. “-wiry ponies,” (pg. 73) 

    1. A phrase used in the novel when the circus pony describes the horses used during the Pony Express, which this character participated in. The circus pony was presumably referring to a Skyros pony, which are a similar breed of wild horse native to Greece with a similar build to that of the Exmoor pony, and were used often during the Pony Express. They are a now protected species of horse and apparently really friendly despite being endangered, which honestly just sounds like a lack of critical thinking on their part. 

  15.  Cudgel (pg. 79)

    1. Referenced in the novel by the circus pony as he tells Exmoor stories about the United States and a race he participated in amongst Native Americans and United States officers. A cudgel refers to “a short, thick stick used as a weapon.” Essentially another word for a “club”, the rider utilizing this weapon as a means to control the Circus pony is a prime example of animal abuse. Although its use is not explicitly described in this scene which the Circus Pony is relaying, just carrying a cudgel implies it is being used as a form of forcing obedience. 

  16.  “Breaking in” (pg. 79)

    1. Referenced during more of the circus pony’s stories to Exmoor, specifically when retelling the story of how he was raised with his mother on the moor and eventually led into human society. “Breaking in” refers to the time where horses are trained to accept having a rider on their back. This process, when done effectively, builds a close relationship between rider and horse and is important to being able to safely ride. There are many different ways to break in a horse and depending on the owner of the “horse breaker” they can vary greatly. But the end goal is always a horse that is desensitized to usual handling and easy to ride. The mention of the process in Exmoor Star is mentioned for the edification of the reader, further informing them on what breaking in is, and, more specifically, how the horses feel about the situation. In this case, the circus pony speaks favorably of his breaking in, though not of being mistreated by those who take advantage of him during or after the process.

  17. “Wise after the event” (pg. 82) 

    1. Used during the novel by Exmoor’s anxious master who pushed Exmoor rather quickly during a dark night. An old English way of saying, “hindsight is 20/20.” Mostly an English idiom dating back to the late 15th century. Used by Philippe de Commynes in his Mémoires as “saiges après le coup” before remarking on it as “comme l'on dit des Bretons” or “as the Bretons (Britons) say”. The action of moving too quickly in the dark eventually resulted in the master hitting his head very badly, nearly dying in the process, and is mentioned, along with the saying, as a way to tell the audience about proper safety upon a horse.

  18.   “Bending” (pg. 88)

    1. This occurs in a game of polo. Otherwise known as “pole bending”, it is a timed event featuring one mounted rider and their horse running a serpentine path around six poles arranged in a line. This is a technique Exmoor picked up quickly while he was working as a polo pony during the novel, and the game is described as something favorable, impling that it does not include in the vast array of mistreatments against horses, at least according to Bonser.

  19.  Exmoor was put in his stable with his saddle still on for hours on end. (pg. 90)

    1. “Leaving a saddle on a horse’s back for too long could cause injury or damage to the tack. Horses that are unattended might decide to lie down, roll over, or scrape against another object.” This describes an instance in the novel that illustrates the proper way to take care of a horse and the mistreatment often befalling horses whose master’s are not well-versed or uncaring to the importance of taking regular care of a horse. This also further explains the amount of neglect and abuse horses went through in this time, especially in terms of people treating horses as though they did not require any breaks from human-centered activities or work.

  20.  Exmoor’s retiring leg strain (pg. 99)

    1. At the end of the novel, Exmoor Star is very abruptly retired after obtaining a leg injury after saving a boat load of men from drowning in a storm. This is mentioned and pointed out to illustrate to the reader the complexity of horse injuries which are much different from human injuries. For horses such as Exmoor, it’s difficult to treat a horse injury due to the amount of rest needed but not obtained. Horses don’t rest much, and Exmoor retiring after such an injury, but not being killed for being useless, is an important part of Bonser’s ideas about treating horses with respect.




List of Terms and References Citations

“Breaking In.” Hartstone Equestrian: Jody Hartstone and Lusitano Stallion Ali Baba | 

Equitation Science Training | Coaching and Lessons, http://www.hartstoneequestrian.com/Horse-Training/Breaking-In.

“Cudgel Definition & Meaning.” Dictionary.com, Dictionary.com, 

Davis, Janet M. “The History of Animal Protection in the United States.” The American 

“Dorothy Hardy | 15 Artworks at Auction | Mutualart.” MutualArt, 

Easley, Jack. “Disorders of the Mouth in Horses - Horse Owners.” Merck Veterinary Manual, 

Ehrmann, Theirry. “Dorothy Hardy (1868-1937) Auction Prices, Worth, Estimate, Buy, Sell, 

“Exhibit Showcases History of Equine Medicine.” The College of Veterinary Medicine at 

Frajola , Richard C, and Steven C Walske. The Pony Express A Postal History, edited by George 

J Kramer.

Lea, Robert. “Doctors Started Anesthetizing Babies More Recently than You Might Think.” 

“Lillie Art Gallery.” Lillie Art Gallery | Artist Biographies, 

Lopresti, Courtney. “Gum Lancing.” Morbid History, 7 Jan. 2015, 

“M Dorothy Hardy (1868-1937).” Chris Beetles Gallery, Chris Beetles Gallery, 

Ockerbloom, John Mark. “The Online Books Page: Online Books by R. Lillie .” The Online 

Roos, Dave. “Why Are the Biblical Gog and Magog Considered Sinister?” HowStuffWorks, 

“Skyros Island : Welcome.” SKYROS Island : Welcome, https://skyros-island.gr/en/skyros-poli.

“What Are the Steps of the Breaking in Process?” Your Horse, Your Horse , 31 July 2019, 

“What Is the Origin of the Guinea (1 Pound & 1 Shilling) Was the Shilling to Pay the 

Professional's Lackies?” The Guardian, Guardian News and Media, https://www.theguardian.com/notesandqueries/query/0,,-69044,00.html. 



Annotated Bibliography

Group Members: Caitlin Mann, Muriel Mackie, Alex Fosnaugh, Trinity Stiles


Bonser, Alfred E. “Exmoor Star; or: The Autobiography of a pony.” Laidlaw Brothers, 1 Jan.

The narrator introduces by telling the audience he is an Exmoor pony. His mom tells him that being well behaved is more important than good looks. He belongs to Mr. Day of Wilverton, near Exmoor. His mother teaches him how to walk and he describes how cold Exmoor is and that it is dangerous to outsiders. He is taken to a stable in late fall and the audience meets Exmoor’s father who is an Arabian horse and he begins telling Exmoor all about his youth. His son ends up asking his father why he left Arabia and he  says it was because his owner died. He was then sold and shipped to England. Soon after, Exmoor leaves his parents and goes to the Tamworthy fair. He is put up for auction and sold for nine guineas and tries to escape, but is caught and marked. He travels on a train to meet his new owner, Mr. Bryce, and likes him upon meeting. Mr. Bryce introduces him to bits, saddles, and reins and the audience is introduced to Tom Williams. Exmoor tells a story about a horse who was treated poorly then recovered due to a kind owner. Bryce takes Exmoor to get shoes and afterwards, an older horse tells him about the importance of properly fitted horseshoes then says his old owner mangled his feet with heavy shoes before Mr. Bryce bought him and healed his feet. Then the horse tells Exmoor how he hates fashion and how it hurts him. Mr. Bryce tells a man called Mr. Jinniver Exmoor is a special horse so he is sold to Jinniver and taken to the circus. On his first day at the circus he learns many new tricks and Queen Fifine, the queen of the Triumphal Car, takes a liking to him. He loved her back and he learned a lot of new tricks from her. Upon seeing how smart and talented he was, she officially names him Exmoor Star. Exmoor then has a conversation with a van horse about the terror of heavy horse shoes and “gag-bearing reins,” which are now referred to as “overcheck” which are used to prevent horses from lowering their neck past a certain point. These run from the front of a horse’s head all the way down their back which prevents them from elongating their necks. The rising fame of Exmoor continues with Queen Fifine and his new acting career. His first play took eight months to perfect, which was a piece about a horse saving his owner who was stuck in a house fire. We then read of another conversation between Exmoor and another circus pony about other mammals such as them and their struggles, especially with eating and teeth. Eventually, the pony tells of his experience growing up in America and one particular story of his owner getting robbed, but being saved with the pony’s help. Exmoor craved more stories of America so another story was told by the circus pony of how he ended up in England. He was a very fast horse, so when his Native owner was challenged to a race by white officers, their 3rd, 2nd, and 1st best horses couldn’t beat the pony, so they bought him. He then told the story of getting separated from his mother where he was freed of a matted coat and upon release, bombarded by many people and children in mud which terrified him and he couldn’t move. Well, Exmoor performed more shows following. One day, Janniver took him out for exercise and errands, but when he realized he was out too late, he decided to take them through a short cut in the woods and on the way back Janniver struck his head on a branch. Exmoor fetched help but it was determined that his master was too old to continue his business so he sold it all to Lord D’Arcart, who turned Exmoor into a polo pony. Arriving at his new stables, he meets three other ponies and learns what “polo” is and is then trained and becomes fond of polo as well. At the end of the training day his master neglected to take off his harness after putting him in his stable. In the next game, they played the “104th Hussars” during which he is laughed at due to accidentally crying the ball. Then we cut to the master being placed in India for military service, so Exmoor and his new friends come along. The book ends in India after a storm and subsequent boat wreck causes Exmoor and his master to save the twelve men drowning. They succeeded but the act caused Exmoor’s extremely swollen leg to strain, so he happily retires.


Rosenthal, Tatyana. “Horses in Victorian Britain: Fighting Abuse and Exploitation.” COVE

Horses were a vital player in the industrial revolution and during the Victorian era little care was put into their well being. Anna Swell, the author of Black Beauty, saw the mistreatment and abuse of horses and decided to publish a novel in 1877 depicting their mistreatment. She did this in hopes that it would provide horses with a voice and improve their conditions. A series of images are published along with descriptions describing the historical context behind the art. The first image is an etching called “Tipping” from the 1930s and depicts a pair of working horses. They are shown to be moving very heavy supplies and help show the importance of horses to the industrial revolution. Working horses were often pushed well beyond their limits and were not considered to be companions. The next image is from 1833 titled “A Dead Horse Being Dragged to the Knacker’s Yard” by John Wright. In this image a dead horse who is situated in the back of a cart and is being rolled away by another horse. The two men are smoking and chatting and one is even rearing up to whip the other horse. The pedestrians in the background don’t pay any mind to the dead horse. This image is meant to stress the way the victorians viewed horses as a tool to be used and not a living creature. The next image is the cover of Black Beauty which was published with the 1902 edition. It depicts a very lifelike version of the narrator of the story. The veins are bulging out across his snout and the strain in the rest of his features. It easily communicates to the audience that he does not live an easy life. “The Head Hung Out of the Cart Tail” published in the 1902 version of Black Beauty is the final image. It depicts the scene where the narrator sees his friend, Ginger, being carted away after her death. Her head is seens hanging out of the cart and is the focal point of the piece. In the novel, Ginger is depicted as having a very hard life. Black Beauty even finds comfort knowing that the world can’t harm her anymore. The historical context of this article can be extremely useful to our research as it can help our understanding of the reasons behind the writing of Bonser’s novel and the general public reaction surrounding its publication. Essentially, this document can be used to determine historical context for the book, both historical in terms of physical circumstances as well as public perception of both horses and novels featuring horses at the time. 


Miele, Kathryn. Horse-Sense: Understanding the Working Horse in Victorian London.

Cambridge University Press. Vol. 37, No. 1 (2009), pp. 129-140 (12 pages). https://www.jstor.org/stable/40347217?read-now=1&seq=3#page_scan_tab_contents Accessed 17 March 2023. 

This article begins by talking about how Darwin publishing his theory of evolution began the discussion of the treatment of working animals. One of these animals was horses. Throughout the early 19th century horses were seen merely as tools meant to do hard labor. Once humans recognized that they were also animals, many began to question how they treated horses. Some began to claim touching a horse was the best way to understand them since they didn’t have a language. Others began to compare hard labor for horses to hard labor for humans and ask them how they would feel hauling large quantities of things for years on end. Particularly harsh bits used by horses drawing omnibuses and carriages also came into question amongst the general population. Cab drivers and the wealthy came under question for their continuous mistreatment of horses. It is also mentioned that horses had many different job titles throughout their life. Due to the wear and tear put on their bodies by this hard physical labor they often couldn’t perform their jobs leading them to move on to other tasks. Horses depreciated in value all throughout their life. This article provides a lot of insight into the historical context of the book. It explains the discussion of things like the bits Exmoor Star’s friend had to use and why the narrator was constantly switching jobs.  


Hovens, Hans, and Rijkers Toon. On the Origins of the Exmoor Pony: Did the Wild

Horse Survive in Britain? Ecological Research Centre, 2014, pp. 129–34, www.zoogdiervereniging.nl/sites/default/files/publications/Lutra_56-2_Website.pdf#page=58. Accessed 18 March 2023. 

This text, entitled “On the origins of the Exmoor pony: did the wild horse survive in Britain?” by Hans (J.P.M.) Hovens & Toon (A.J.M.) Rijkers of the Ecological Research Centre in Faunaconsult, Tegelseweg 3, NL-5951 GK Belfeld, the Netherlands, talks largely of the history and physiology of the Exmoor pony. According to the text, the Exmoor pony is considered the most primitive horse breed of Great Britain but is not technically a breed of wild horse due to certain strains of DNA and a surprising lack of cross-breeding with other more domesticated equine breeds. The article also makes frequent mentions of historical descriptions of the pony as well as literary mentions of its morphological and biologic characteristics based on evidence surrounding the horses’ DNA as well as older analyses of Exmoor ponies jaws and teeth and the previously mentioned lack of cross-breeding, leading to the article’s general argument that the pony is not “man-made”. According to the text, the Exmoor pony is a wild horse in theory, but one with a separate history untouched by domestic horses, and the point of the article itself is to delineate the proper origins of the Exmoor pony. This article can be useful to our research as we delve deeper into the subject of the novel. Its position as a scientific, scholarly paper can be extremely rewarding when describing the history surrounding said subject as it can allow us to provide deeper insight for the reader regarding the context of the novel. 


Devon. The Oxygen Agency. “History of the Exmoor Pony.” The Exmoor Pony Society,

This article describes the history of the Exmoor pony, including its effect on the society of Great Britain over the years. The article states that, recently at least, the Exmoor pony originates, as the name implies, from the region of Exmoor in the South West of England. Known as one of the first wild ponies, the Exmoor breed came to Britain from Alaska around 130 thousand years ago. Living alongside mammoths, the Exmoor pony breed has been around for an extremely long time. In 1818, industrialist John Knight took 30 true-bred Exmoor ponies and dispersed them, the results being the founding of several herds. His attempts only had temporary success. In 1921, The Exmoor Pony Society was founded in Dulverton, its purpose was to register pure-bred Exmoor ponies in addition to promoting their breeding. In the 1930s, the Exmoor ponies became very popular as childrens riding horses due in part to “Moorland Mousie” stories, a series of popular children’s books of the time featuring an Exmoor pony as a protagonist. The article goes on to describe the pony’s prolific help to British farmers for generations as light work horses and their dying out in the 1940s due to owners being away to fight in WWII, gates being left open, bored soldiers using the slow-moving ponies as target practice, and the ponies themselves being used as food during times of extreme hunger. In the years following WWII, Mary Etherington rallied breeders and restored a great deal of the Exmoor pony population from where it dwindled to only about 50 nation-wide. The article culminates with the fact that Exmoor ponies are still extremely popular in Great Britain as either tools for leisure or sight-seeing/wildlife protection. This article can be used in our research to show the history of the Exmoor pony, specifically in Great Britain, where the story is set and where the author is from, which can provide a great deal of personal and historical context to both the writing of the novel and the public’s reaction to a story such as this.


Angelique. “Exmoor Pony.” The Livestock Conservancy,

livestockconservancy. org/heritage-breeds/heritage-breeds-list/exmoor-pony/. Accessed 20 March 2023.

This article documents mostly the morse physical characteristics and history of the Exmoor pony, saying they average about 46” or 11.2 hands at the withers and are very stocky and are one of the few wild pony breeds left in Britain. The article goes into greater detail about how the animals’ compact build allows them to survive off of foraging as they are seldom fed or cared for by humans, though all are owned. Fewer than 800 Exmoor ponies exist globally today, and only about 150 of them roam free on Exmoor, kept to be bought and sold come autumn as they are favored for their endangered uniqueness, ability to be used as native grazers, and genetic value to the domestic equine breeds since they retain wild survivalist traits. The article also talks about the Exmoor Pony Society, founded in 1921, which is a society in Great Britain aiming to uphold the welfare of Exmoor ponies by keeping information about bloodlines, breeds, overall numbers, and registrations, and assist in any and all efforts to improve populations and protect their natural habitats. North American Exmoors are registered by several associations however, though said associations must first register and exchange information with the Exmoor Pony Society. The article also mentions that the animals’ are described as having a dun color, short legs, a wide chest, compact frame, and sloping shoulders, and have naturally evolved to have two coats during the winter: its undercoat acts as insulation and the outer coat is made of greasy, coarse hair that is essentially waterproof. We can use this article to describe and better picture what Exmoor Star looks like in the novel. 


“The School Journal. Vol. 74” Google Books, E.L. Kellogg & Company, 1907,

“The School Journal, ‘A Weekly Journal of Education’” made mention of the Exmoor Star book. Published on May 11, 1907, page 474 has an ad labeled “For Supplementary Reading” in which the book is mentioned. The ad describes the book as “In a healthy, breezy fashion, Exmoor Star does for little folks who love ponies and other dumb pets, what “Black Beauty” has done for ‘grown ups.’” This issue of The School Journal, volume 74, No. 19, was published on May 11, 1907 by A. S. Barnes and Co. on 11-15 East 24th St., New York City. The School Journal mentioned here seems to have been a school journal produced in America, though little else can seem to be found regarding its conception, though the magazine is cited to have been originally published in 1881 by E. L. Kellogg and Company publishers, who were publishers of periodicals and other such academic writings and articles, and could possibly be connected to A. S. Barnes and Co. in much the same way a subsidiary is to a larger company. Speculations of the journal’s publication aside, this article can be helpful in our research because it can help not only show where the Exmoor Star novel was being mentioned closer to the time of its publication, but also show by whom the novel was being reviewed and show general public's opinion of the novel, should they have one. This article can be helpful for more historical purposes, trying to decipher the reaction and production of the book rather than its literal creation. 


“DOUBLEDAY BUYS TEXTBOOK HOUSE; Publisher Acquires Laidlaw Brothers of

Illinois.” The New York Times, 17 Feb. 1964, www.nytimes.com/1964/02/17/archives/doubleday-buys-textbook-house-publisher-acquires-laidlaw-brothers.html. Accessed 19 March 2023.

This article, written on Feb. 17, 1964, but digitized in years following 1996, documents the Laidlaw Brothers of Illinois publishing company being bought by Doubleday & Co., Inc., a large book publishing company founded in 1897 as Doubleday & McClure Company. Though not primarily concerned with their history, the article goes on to establish exactly who and what Laidlaw Brothers publishing was prior to their absorption into a Doubleday subsidiary, saying their full name, place of business, original purpose, and year of founding, respectively Laidlaw Brothers of River Forest, Ill., textbook publishers since 1919. The article also notes that at the time of its publication of Exmoor Star; or: The Autobiography of a Pony, they were primarily a textbook publishing company which produced books meant to be read in elementary and secondary schools, implying that A. E. Bonser’s book was one such story. Additionally, the article states that the Laidlaw Brothers books were routinely used by the United State’s school systems, and that the president of the company was John Laidlaw Jr. and vice president was his brother, Robert R. Laidlaw. This article can be used in our research to better understand the history of its publisher which can then offer better understanding to when, where, why, how, and by whom the novel was published. Additionally, understanding the publisher might shed light on the life of the author should records be found through the publisher of the author, as well as the greater historical context of the time.


“Publisher: Laidlaw Brothers | Open Library.” Openlibrary.org,

Though not an article per say, this source documents the publication history of Laidlaw Brothers publishing, including publications both as an independent entity and as a subsidiary of Doubleday & Co., Inc. It documents the places, subjects, frequent authors, and relative dates and time periods of their published books. Though it does not include A. E. Bonser in their author section, most likely because very few copies were sold and he himself did not publish through the company often, we can use this source to better research and understand the history of the publisher responsible for printing the first editions of Exmoor Star; or: The Autobiography of a Pony, as well as the greater historical context surrounding them. 


Bonser, Alfred E., Woolf, B. Sydney, Buchheim, Lothar-Günther, illustrated by Arthur Rackham,

The Land of Enchantment. London, Paris, New York, Toronto, Melbourne, Cassel and Company, 1907 https://babel.hathitrust.org/cgi/pt?id=nc01.ark:/13960/t26986x98&view=1up&seq=1 

This text describes how Bonser contributed three stories to this book: “The Maker of the Ghosts and the Maker of the Shadows” (pg. 9-22), “The Mines of Experience” (pg. 23-38), and “The Stories of Ben the Sailorman” (pg. 78-112). “The Maker of Ghosts and the Maker of Shadows” is a tale of these two friends mentioned in the title going on side quests adventures while discovering the “Land of Common-Sense.” A portion of these quests include a scuffle and kidnapping while encountering some robbers, making a shadow for the king to get more information on a mythical creature called “Jolliwogs,” and solving riddles to save the Land of Common-Sense from danger. “The Mines of Experience” is a continuation of the Maker of Ghosts’ and the Maker of Shadows’ adventures in the Land of Common-Sense. They began by attempting to leave the land, but are unable due to the immense fog. After resting a night, they were approached by a dwarf speaking of a mine they would produce more common sense (the currency of the land of which they gained plenty, but craved more).On this adventure of searching for this mine, they ended up spending a good chunk of common sense on help, which resulted in mistakes being made. A trip to the hospital, another shot at the mine, and another kidnapping later, they realize the journey was what gained them more common sense all along. They eventually went home. Lastly, “The Stories of Ben the Sailorman” is a collection of stories told from Ben’s perspective telling in the his Master Charles. The first of these tales is that of cannibal pirates. Ben and his crew warned them off with mirrors reflecting the sun into the pirates’ eyes then, when on shore, scared them off with masks of disproportionate faces and goats. The next story is the retelling of when Ben and his Captain were the only men to escape a hurricane sinking their ship. Ben bragged of how smart he was manning the deck and coming up with the ideas that calmed the waves with oil and the help of monkeys and having the idea of using copious amounts of birds to help them take flight off of the ship. The fourth story starts with Master Charles having trouble fishing, to which Ben uses as an opportunity to talk about the time he killed a whale in vengeance of it eating his friends, and ate it. This theme continued in the following three stories. Master Charles will bring up a topic, Ben would turn it into a story about himself, and boast about how clever he is to which Master Charles would respond in awe.  Since we have so little information on Bonser as a person, reading the only two works that can be found can tell us about who he was as an author. Being that he was so young when writing this, we can see his creativity still shine through his work with these made up creatures and extravagant adventures.


“Alfred Edward Bonser 1881-unknown - Ancestry®.” Www.ancestry.com,

Ancestry.com gave us little information without a subscription, but what we do know are the basics. He was born to mother Sarah Bonser and father William Bonser on January 4, 1881, in Leicester, Leicestershire, England. He married Sarah Ann Huss and had three children with her. His death date is unkonwn. With the text being published in 1906, Bonser was only 25 when it was published and 26 when The Land of Enchantment, another work containing multiple children’s short stories, was published. His age contributes to the amount of imagination he brought to the texts as he was still young. This source can be helpful to us in understanding the author responsible for the novel being researched as well as the historical context surrounding the novels’ creation. This is not the first “A. E. Bonser” we came across, and furthermore, the author “A. E. Bonser” is incredibly difficult to find traces of on the internet, but judging by this man’s place of birth, full name, and time of birth coinciding sensibly with the writing and publication of Exmoor Star, we have decided to, until any new information comes along, to consider this man the one responsible for the writing of the aforementioned novel. 


Tréguer, Pascal. “‘Alexandra Limp’: Meaning and Origin.” Word Histories, 29 May

2021, wordhistories.net/2021/05/29/alexandra-limp/. Accessed 19 March 2023.

This article talks about how, during the late 19th and early 20th centuries, the female name Alexandra was used in slang to create compound words designating objects, styles, activities, and other actions made popular by, or associated with, Alexandra of Denmark, consort of Edward VII, who reigned from 1901 to 1910. During the novel Exmoor Star, the titular pony makes obvious mention to a previous owner who was a princess who had a very obvious limp many others attempted to copy. Though the princess goes unnamed, she is most likely a real person, namely the aforementioned Alexandra of Denmark who developed an obvious limp after a bout of rheumatic fever in 1867 which many people in Europe, mostly those amongst high society, copied and christened the “Alexandra limp”. This source can help explain a certain reference that most modern audiences would not immediately understand and provide historical background to a certain piece of the text as well as what was considered known information at the time.


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