Death in the Afternoon Page 2

  This seems to have gotten away from bullfighting, but the point was that a person with increasing knowledge and sensory education may derive infinite enjoyment from wine, as a man's enjoyment of the bullfight might grow to become one of his greatest minor passions, yet a person drinking, not tasting or savoring but drinking, wine for the first time will know, although he may not care to taste or be able to taste, whether he likes the effect or not and whether or not it is good for him. In wine, most people at the start prefer sweet vintages, Sauternes, Graves, Barsac, and sparkling wines, such as not too dry champagne and sparkling Burgundy because of their picturesque quality while later they would trade all these for a light but full and fine example of the Grand crus of Medoc though it may be in a plain bottle without label, dust, or cobwebs, with nothing picturesque, but only its honesty and delicacy and the light body of it on your tongue, cool in your mouth and warm when you have drunk it. So in bullfighting, at the start it is the picturesqueness of the paseo, the color, the scene, the picturesqueness of farols and molinetes, the bullfighter putting his hand on the muzzle of the bull, stroking the horns, and all such useless and romantic things that the spectators like. They are glad to see the horses protected if it saves them from awkward sights and they applaud all such moves. Finally, when they have learned to appreciate values through experience what they seek is honesty and true, not tricked, emotion and always classicism and the purity of execution of all the suertes, and, as in the change in taste for wines, they want no sweetening but prefer to see the horses with no protection worn so that all wounds may be seen and death given rather than suffering caused by something designed to allow the horses to suffer while their suffering is spared the spectator. But, as with wine, you will know when you first try it whether you like it as a tiling or not from the effect it will have on you. There are forms of it to appeal to all tastes and if you do not like it, none of it, nor, as a whole, while not caring for details, then it is not for you. It would be pleasant of course for those who do like it if those who do not would not feel that they had to go to war against it or give money to try to suppress it, since it offends them or does not please them, but that is too much to expect and anything capable of arousing passion in its favor will surely raise as much passion against it.

  The chances are that the first bullfight any spectator attends may not be a good one artistically; for that to happen there must be good bullfighters and good bulls; artist bullfighters and poor bulls do not make interesting fights, for the bullfighter who has ability to do extraordinary things with the bull which are capable of producing the intensest degree of emotion in the spectator will not attempt them with a bull which he cannot depend on to charge; so, if the bulls are bad, that is only vicious rather than brave, undependable in their charges, reserved and unpredictable in their attacks, it is best that they be fought by bullfighters with knowledge of their profession, integrity, and years of experience rather than artistic ability. Such bullfighters will give a competent performance with a difficult animal, and because of the extra danger from the bull and the skill and courage they must use to overcome this danger, to prepare for the killing and kill with any degree of dignity, the bullfight is interesting, even to a person who has never seen one before. However, if such a bullfighter, skilful, knowing, brave and competent but without either genius or great inspiration happens to receive in the ring a truly brave bull, one which charges in a straight line, which responds to all the cites of the bullfighter, which grows braver under punishment, and has that technical quality that the Spanish call "nobility" and the bullfighter has only bravery and honest ability in the preparation for killing and killing of bulls and nothing of the wrist magic and aesthetic vision that, given a bull that will charge in a straight line, has produced the sculptural art of modern bullfighting; then he fails completely, he gives an undistinguished, honest performance and he goes on lower down in the commercial ranking of bullfighting while men in the crowd who earn, perhaps, less than a thousand pesetas a year will say, and mean it truly, "I would have given a hundred pesetas to have seen Cagancho with that bull." Cagancho is a gypsy, subject to fits of cowardice, altogether without integrity, who violates all the rules, written and unwritten, for the conduct of a matador but who, when he receives a bull that he has confidence in, and he has confidence in them very rarely, can do things which all bullfighters do in a way they have never been done before and sometimes standing absolutely straight with his feet still, planted as though he were a tree, with the arrogance and grace that gypsies have and of which all other arrogance and grace seems an imitation, moves the cape spread full as the pulling jib of a yacht before the bull's muzzle so slowly that the art of bullfighting, which is only kept from being one of the major arts because it is impermanent, in the arrogant slowness of his veronicas becomes, for the seeming minutes that they endure, permanent. That is the worst sort of flowery writing, but it is necessary to try to give the feeling, and to some one who has never seen it a simple statement of the method does not convey the feeling. Any one who has seen bullfights can skip such flowerishness and read the facts which are much more difficult to isolate and state. The fact is that the gypsy, Cagancho, can sometimes, through the marvellous wrists that he has, perform the usual movements of bullfighting so slowly that they become, to old-time bullfighting, as the slow motion picture is to the ordinary motion picture. It is as though a diver could control his speed in the air and prolong the vision of a swan dive, which is a jerk in actual life, although in photographs it seems a long glide, to make it a long glide like the dives and leaps we sometimes take in dreams. Other bullfighters who have or have had this ability with their wrists are Juan Belmonte and, occasionally with the cape, Enrique Torres and Felix Rodriguez.

  The spectator going to a bullfight for the first time cannot expect to see the combination of the ideal bull and the ideal fighter for that bull which may occur not more than twenty times in all Spain in a season and it would be wrong for him to see that the first time. He would be so confused, visually, by the many things he was seeing that he could not take it all in with his eyes, and something which he might never see again in his life would mean no more to him than a regular performance. If there is any chance of his liking the bullfights the best bullfight for him to see first is an average one, two brave bulls out of six, the four undistinguished ones to give relief to the performance of the two excellent ones, three bullfighters, not too highly paid, so that whatever extraordinary things they do will look difficult rather than easy, a seat not too near the ring so that he will see the entire spectacle rather than, if he is too close, have it constantly broken up into bull and horse, man and bull, bull and man — and a hot sunny day. The sun is very important. The theory, practice and spectacle of bullfighting have all been built on the assumption of the presence of the sun and when it does not shine over a third of the bullfight is missing. The Spanish say, "El sol es el mejor torero." The sun is the best bullfighter, and without the sun the best bullfighter is not there. He is like a man without a shadow.

  CHAPTER TWO

  The bullfight is not a sport in the Anglo-Saxon sense of the word, that is, it is not an equal contest or an attempt at an equal contest between a bull and a man. Rather it is a tragedy; the death of the bull, which is played, more or less well, by the bull and the man involved and in which there is danger for the man but certain death for the animal. This danger to the man can be increased by the bullfighter at will in the measure in which he works close to the bull's horns. Keeping within the rules for bullfighting on foot in a closed ring formulated by years of experience, which, if known and followed, permit a man to perform certain actions with a bull without being caught by the bull's horns, the bullfighter may, by decreasing his distance from the bull's horns, depend more and more on his own reflexes and judgment of that distance to protect him from the points. This danger of goring, which the man creates voluntarily, can be changed to certainty of being caught and tossed by the bull if the man, through ignor
ance, slowness, torpidness, blind folly or momentary grogginess breaks any of these fundamental rules for the execution of the different suertes. Everything that is done by the man in the ring is called a "suerte." It is the easiest term to use as it is short. It means act, but the word act has, in English, a connotation of the theatre that makes its use confusing.

  People seeing their first bullfight say, "But the bulls are so stupid. They always go for the cape and not for the man."

  The bull only goes for the percale of the cape or for the scarlet serge of the muleta if the man makes him and so handles the cloth that the bull sees it rather than the man. Therefore to really start to see bullfights a spectator should go to the novilladas or apprentice fights. There the bulls do not always go for the cloth because the bullfighters are learning before your eyes the rules of bullfighting and they do not always remember or know the proper terrain to take and how to keep the bull after the lure and away from the man. It is one thing to know the rules in principle and another to remember them as they are needed when facing an animal that is seeking to kill you, and the spectator who wants to see men tossed and gored rather than judge the manner in which the bulls are dominated should go to a novillada before he sees a corrida de toros or complete bullfight. It should be a good thing for him to see a novillada first anyway if he wants to learn about technique, since the employment of knowledge that we call by that bastard name is always most visible in its imperfection. At a novillada the spectator may see the mistakes of the bullfighters, and the penalties that these mistakes carry. He will learn something too about the state of training or lack of training of the men and the effect this has on their courage.

  One time in Madrid I remember we went to a novillada in the middle of the summer on a very hot Sunday when every one who could afford it had left the city for the beaches of the north or the mountains and the bullfight was not advertised to start until six o'clock in the evening, to see six Tovar bulls killed by three aspirant matadors who have all since failed in their profession. We sat in the first row behind the wooden barrier and when the first bull came out it was clear that Domingo Hernandorena, a short, thick-ankled, graceless Basque with a pale face who looked nervous and incompletely fed in a cheap rented suit, if he was to kill this bull would either make a fool of himself or be gored. Hernandorena could not control the nervousness of his feet. He wanted to stand quietly and play the bull with the cape with a slow movement of his arms, but when he tried to stand still as the bull charged his feet jumped away in short, nervous jerks. His feet were obviously not under his personal control and his effort to be statuesque while his feet jittered him away out of danger was very funny to the crowd. It was funny to them because many of them knew that was how their own feet would behave if they saw the horns coming toward them, and as always, they resented any one else being in there in the ring, making money, who had the same physical defects which barred them, the spectators, from that supposedly highly paid way of making a living. In their turn the other two matadors were very fancy with the cape and Hernandorena's nervous jerking was even worse after their performance. He had not been in the ring with a bull for over a year and he was altogether unable to control his nervousness. When the banderillas were in and it was time for him to go out with the red cloth and the sword to prepare the bull for killing and to kill, the crowd which had applauded ironically at every nervous move he had made knew something very funny would happen. Below us, as he took the muleta and the sword and rinsed his mouth out with water I could see the muscles of his cheeks twitching. The bull stood against the barrier watching him. Hernandorena could not trust his legs to carry him slowly toward the bull. He knew there was only one way he could stay in one place in the ring. He ran out toward the bull, and ten yards in front of him dropped to both knees on the sand. In that position he was safe from ridicule. He spread the red cloth with his sword and jerked himself forward on his knees toward the bull. The bull was watching the man and the triangle of red cloth, his ears pointed, his eyes fixed, and Hernandorena knee-ed himself a yard closer and shook the cloth. The bull's tail rose, his head lowered and he charged and, as he reached the man, Hernandorena rose solidly from his knees into the air, swung over like a bundle, his legs in all directions now, and then dropped to the ground. The bull looked for him, found a wide-spread moving cape held by another bullfighter instead, charged it, and Hernandorena stood up with sand on his white face and looked for his sword and the cloth. As he stood up I saw the heavy, soiled gray silk of his rented trousers open cleanly and deeply to show the thigh bone from the hip almost to the knee. He saw it too and looked very surprised and put his hand on it while people jumped over the barrier and ran toward him to carry him to the infirmary. The technical error that he had committed was in not keeping the red cloth of the muleta between himself and the bull until the charge; then at the moment of jurisdiction as it is called, when the bull's lowered head reaches the cloth, swaying back while he held the cloth, spread by the stick and the sword, far enough forward so that the bull following it would be clear of his body. It was a simple technical error.

  That night at the café I heard no word of sympathy for him. He was ignorant, he was torpid, and he was out of training. Why did he insist on being a bullfighter? Why, did he go down on both knees? Because he was a coward, they said. The knees are for cowards. If he was a coward why did he insist on being a bullfighter? There was no natural sympathy for uncontrollable nervousness because he was a paid public performer. It was preferable that he be gored rather than run from the bull. To be gored was honorable; they would have sympathized with him had he been caught in one of his nervous uncontrollable jerky retreats, which, although they mocked, they knew were from lack of training, rather than for him to have gone down on his knees. Because the hardest thing when frightened by the bull is to control the feet and let the bull come, and any attempt to control the feet was honorable even though they jeered at it because it looked ridiculous. But when he went on both knees, without the technique to fight from that position; the technique that Marcial Lalanda, the most scientific of living bullfighters, has, and which alone makes that position honorable; then Hernandorena admitted his nervousness. To show his nervousness was not shameful; only to admit it. When, lacking the technique and thereby admitting his inability to control his feet, the matador went down on both knees before the bull the crowd had no more sympathy with him than with a suicide.

  For myself, not being a bullfighter, and being much interested in suicides, the problem was one of depiction and waking in the night I tried to remember what it was that seemed just out of my remembering and that was the thing that I had really seen and, finally, remembering all around it, I got it. When he stood up, his face white and dirty and the silk of his breeches opened from waist to knee, it was the dirtiness of the rented breeches, the dirtiness of his slit underwear and the clean, clean, unbearably clean whiteness of the thigh bone that I had seen, and it was that which was important.

  At the novilladas, too, besides the study of technique, and the consequences of its lack you have a chance to learn about the manner of dealing with defective bulls since bulls which cannot be used in a formal bullfight because of some obvious defect are killed in the apprentice fights. Nearly all bulls develop defects in the course of any fight which must be corrected by the bullfighter, but in the novillada these defects, those of vision for instance, are many times obvious at the start and so the manner of their correcting, or the result of their not being corrected, is apparent.

  The formal bullfight is a tragedy, not a sport, and the bull is certain to be killed. If the matador cannot kill him and, at the end of the allotted fifteen minutes for the preparation and killing, the bull is led and herded out of the ring alive by steers to dishonor the killer, he must, by law, be killed in the corrals. It is one hundred to one against the matador de toros or formally invested bullfighter being killed unless he is inexperienced, ignorant, out of training or too old and heavy on his feet. But the matador
, if he knows his profession, can increase the amount of the danger of death that he runs exactly as much as he wishes. He should, however, increase this danger, within the rules provided for his protection. In other words it is to his credit if he does something that he knows how to do in a highly dangerous but still geometrically possible manner. It is to his discredit if he runs danger through ignorance, through disregard of the fundamental rules, through physical or mental slowness, or through blind folly.