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The sun was setting over the rolling hills of the countryside, casting a warm orange glow over the lush green pastures. In a small stable nestled among the hills, a young woman named Emma was busy grooming her horse, a beautiful chestnut mare named Ruby.

Before any romantic lead appears on the scene, the horse often occupies the role of primary emotional anchor. In classic literature, this is vividly clear. In Anna Sewell’s Black Beauty (though narrated by the horse), the women who care for horses—like the kindly governess, Jerry Barker’s wife—are defined by their empathy, which stands in stark contrast to the cruel or indifferent men. More directly, in Myron Brinig’s The Wide Open Doors or Mary O’Hara’s My Friend Flicka , the horse is the conduit through which a young woman (or girl) learns to love. Ken, the wild filly in O’Hara’s novel, is not just an animal; she is the object of Ken McLaughlin’s fierce, possessive, and ultimately sacrificial love. This love teaches her patience and courage, laying the emotional groundwork before she can healthily love a human.

A woman who loves horses does not need a knight in shining armor. She has already learned to fall, get back up, and lead a half-ton animal across a jump. She does not need to be rescued.

In recent years, horse-woman relationships have continued to inspire romantic storylines in various forms of media: