Death in the Afternoon. Ernest Hemingway
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.
1. Mr. Shipman having read this informs me that Uncas after having broken down is now used as a hack by Mr. Victor Emanuel. This news does not move me one way or another.
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 ignorance, 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