Death In The Afternoon

CHAPTER 10

THERE ARE three acts to the fighting of each bull and they are called in Spanish los tres tercios de la lidia, or the three thirds of the combat. The first act, where the bull charges the picadors, is the suerte de varas, or the trial of the lances. Suerte is an important word in Spanish. It means, according to the dictionary: Suerte, f., chance, hazard, lots, fortune, luck, good luck, haphazard; state, condition, fate, doom, destiny, kind, sort; species, manner, mode, way, skillful manouvre; trick, feat, juggle, and piece of ground separated by landmark. So the translation of trial or manouvre is quite arbitrary, as any translation must be from the Spanish.

The action of the picadors in the ring and the work of the matadors who are charged with protecting them with their capes when they are dismounted make up the first act of the bullfight. When the president signals for the end of this act and the bugle blows the picadors leave the ring and the second act begins. There are no horses in the ring after the first act except the dead horses which are covered with canvas. Act one is the act of the capes, the pics and the horses. In it the bull has the greatest opportunity to display his bravery or cowardice.

Act two is that of the banderillas. These are pairs of sticks about a yard long, seventy centimetres to be exact, with a harpoon-shaped steel point four centimetres long at one end. They are supposed to be placed, two at a time, in the humped muscle at the top of the bull’s neck as he charges the man who holds them. They are designed to complete the work of slowing up the bull and regulating the carriage of his head which has been begun by the picadors; so that his attack will be slower, but surer and better directed. Four pair of banderillas are usually put in. If they are placed by the banderilleros or peones they must be placed, above all other considerations, quickly and in the proper position. If the matador himself places them he may indulge in a preparation which is usually accompanied by music. This is the most picturesque part of the bullfight and the part most spectators care for the most when first seeing fights. The mission of the banderilleros is not only to force the bull by hooking to tire his neck muscles and carry his head lower but also, by placing them at one side or another, to correct a tendency to hook to that side. The entire act of the banderillas should not take more than five minutes. If it is prolonged the bull becomes discomposed and the fight loses the tempo it must keep, and if the bull is an uncertain and dangerous one he has too many opportunities to see and charge men unarmed with any lure, and so develops a tendency to search for the man, the bundle, as the Spanish call him, behind the cloth when the matador comes out for the last act with the sword and muleta.

The president changes the act after three or at most four pairs of banderillas have been placed and the third and final division is the death. It is made up of three parts. First the brindis or salutation of the president and dedication or toasting of the death of the bull, either to him or to some other person by the matador, followed by the work of the matador with the muleta. This is a scarlet serge cloth which is folded over a stick which has a sharp spike at one end and a handle at the other. The spike goes through the cloth which is fastened to the other end of the handle with a thumb screw so that it hangs in folds along the length of the stick. Muleta means literally crutch, but in bullfighting it refers to the scarlet-serge-draped stick with which the matador is supposed to master the bull, prepare him for killing and finally hold in his left hand to lower the bull’s head and keep it lowered while he kills the animal by a sword thrust high up between his shoulder blades.

These are the three acts in the tragedy of the bullfight, and it is the first one, the horse part, which indicates what the others will be and, in fact, makes the rest possible. It is in the first act that the bull comes out in full possession of all of his faculties, confident, fast, vicious and conquering. All his victories are in the first act. At the end of the first act he has apparently won. He has cleared the ring of mounted men and is alone. In the second act he is baffled completely by an unarmed man and very cruelly punished by the banderillas so that his confidence and his blind general rage goes and he concentrates his hatred on an individual object. In the third act he is faced by only one man who must, alone, dominate him by a piece of cloth placed over a stick, and kill him from in front, going in over the bull’s right horn to kill him with a sword thrust between the arch of his shoulder blades.

When I first saw bullfights the only part that I did not like was the banderillas. They seemed to make such a great and cruel change in the bull. He became an altogether different animal when the banderillas were in and I resented the loss of the free, wild quality he brought with him into the ring; that quality that reaches its greatest expression when he faces the picadors. When the banderillas are in he is done for. They are the sentencing. The first act is the trial, the second act is the sentencing and the third the execution. But afterwards when I learned how much more dangerous the bull becomes as he goes on the defensive, how, after the banderillas have sobered him and his speed of foot has been cut he aims every horn stroke, as a hunter aims at an individual bird in a covey rather than shooting at them all and missing, and finally, when I learned the things that can be done with him as an artistic property when he is properly slowed and still has kept his bravery and his strength I kept my admiration for him always, but felt no more sympathy for him than for a canvas or the marble a sculpture cuts or the dry powder snow your skis cut through.

I know no modern sculpture, except Bra…