The bull-fight as an amusement is the exclusive property of the Spaniard. It originated in Spain and has never spread beyond the limits of Spanish conquest. Perhaps it is this very exclusiveness that causes them to cling to it so tenaciously1, though legislatures and governments have made vigorous efforts to abolish the brutal2 spectacles. It is, according to a native writer, a proof of the superiority of the Spaniard, because “the Spanish men are as much more brave than other men, as the Spanish bull is more savage3 and valiant4 than all other bulls.” Rather, it seems to me to be a survivor5 of the ancient gladiatorial contests, or fights between man and beast in the great amphitheatres of Rome.
I had never before, even when standing6 within the historic walls of the Colosseum, been able to picture in my own mind the scene of the arena7 crowded with combatants while the expectant[244] multitude filled the seats in tier upon tier, until I found myself within the great bull-ring of Madrid. There was the arena, and round about were the eager throng8, a crowd of fourteen thousand human beings who impatiently and anxiously awaited the sound of the bugle9 which would announce the opening of the spectacle of blood and brute10 torture. Then it was possible to understand how, in an earlier and more brutal age, the Roman populace gloated over the combats where the death of some of the participants was as much fore-doomed as the fate of the bull who enters the ring to-day with a defiant11 toss of his horns.
If popularity is to be judged by the amount of patronage12, then the bull-fight is the most popular amusement in Mexico to-day. The national life is permeated13 with the sport. The Sunday bull-fight is the topic of conversation in the capital for the following week. Even the children indulge in imitations of this favourite game in their childish way. It is only on Sundays and feast days that the corrida de toros occurs. Six days shalt thou do nothing and on the seventh go to the bull-fight, runs an old Madrid saying. They probably go on the theory that a good entertainment is better on that day than any other. It is useless to argue with a[245] Spaniard or Spanish-American about the brutality14 or inhumanity of these spectacles as they will immediately remind us of the prize-fights within our own borders which frequently result in death. This is a gentle hint that we should clean our own Augean stables before telling our neighbours what they should not do. Perhaps it is a rebuke15 that is not entirely16 out of place.
The Plaza17 de Toros is always a great, circular building of stone or wood with little pretence18 or ornament19. It is built for the bull-fight and for no other purpose. The interior is an immense amphitheatre, with seats in tiers rising to the top where the private boxes are located. These alone have a roof, as all the rest of the structure is open to the sky. Half the seats are exposed to the bright sun and the other half are in shadow. The seats on the sol, or sunny side, generally cost only about half as much as those in the sombra, or shady part. The fights are usually advertised “if the time and weather permits.” The ring itself is an arena about a hundred feet in diameter, encircled by a high board fence with a lower barrier on the inside, which serves as a means of escape for a torero who is too closely pursued by the irate21 bull.[246] Sometimes a bull will leap over this first barrier and then an exciting race follows.
An American will not soon forget the first sight of the full amphitheatre. The scene is an exciting one and there is a tension of the nerves in anticipation22 of what is to come. The bands play and, if there is any delay, the thousands of impatient spectators will shout and yell themselves hoarse23. There is usually a cheer when the president for the occasion and his companions take their seats. At length the gates opposite the president are opened and a gaily24 caparisoned horseman, called the alguacil, appears. He asks permission to kill the bulls. This being granted, the president tosses him the key to the bull-pen, which he catches in his hat. He is cheered if he does catch it and hissed25 if he fails. The gate opens again and the gay company of bull-fighters is announced by the blast of trumpets27. These men arrayed in costumes of red, yellow, green and blue silks, satins and velvets, glittering with beads28, jewels and gold braid, form a brilliant spectacle as they march across the arena to salute29 the president, after the manner of the gladiators of old. Every one taking part in this exhibition appears in this procession, from the matador30 to the men with wheelbarrows and[247] shovels31 who clean up the arena after each performance. I said all, but the principal character himself is reserved until later. After saluting32 the president the company march around the ring to receive the plaudits of the people.
The bull-fight is a tragedy in three acts. After the company have withdrawn33, the door through which the bull enters is unlocked and the first act begins with a flourish of trumpets. The bull rushes out from a dark stall into the dazzling light, furious with rage and trembling in every limb. This is an intense moment and all eyes are centred upon the newcomer. As he enters, a barbed steel hook covered with flowing ribbons is placed in his shoulder. The ribbons indicate the ranch35 or hacienda from whence he came. Even the street urchins36 can recognize the colours of a hacienda which has the reputation of producing animals that are noted37 for their belligerent38 qualities.
Startled by the intense light and enraged39 by the stinging of the steel hook, the bull stands for an instant recovering his senses. Sometimes he will paw the earth, toss the dust over his back and bellow40 his defiance41. Around him in the ring are the capeadores, men on foot carrying red capes42, and picadores, men on horses armed with lances. These latter sit[248] motionless as statues upon their steeds that are blindfolded43 ready for the sacrifice.
After a moment of uncertainty44, the bull dashes either at a capeador or picador. The former quickly runs to the barrier and nimbly leaps over, leaving the bull more infuriated than ever. The horse attracts his attention next and there is no way of escape for this poor, old, broken down servant of man. The picador makes no effort to save his steed, which is blindfolded so that he may not see his danger, but simply plants his blunt spear-point in the shoulder of the brute. Sometimes this will save the horse, but it does not please the audience for a certain number of horses must be sacrificed. More frequently the bull will, with a single toss of the horns, overthrow45 both horse and rider in a heap. The capeadores then hover46 around with their cloaks and distract the attention of the bull from the prostrate47 rider who is helpless because of his iron armour48. Once I saw a rider fall on the back of the bull much to the surprise of both. It is seldom that a picador is killed, for the bull will nearly always leave him and chase a red cloak.
Fortunate, indeed, is the horse that is instantly killed. If able to walk, he is ridden around in the ring again with blood streaming[249] from his wounds and trampling49 upon his own bowels50. Or the poor brute may be sewed up in a crude, surgical51 way in order to enable him to canter around the ring a few more times. Once, only, in an experience covering several bull-fights in several countries, have I seen a horse drop dead from the first blow. The fight is not complete without the shedding of the blood of horses, and sometimes the crowd will clamour for more horses before this act is closed. There must be enough, for economy in this feature will place the people in a bad mood. The audience must be catered53 to, for if disappointed they are likely to demolish54 the ring and tear up the seats as a method of showing their displeasure. This, in itself, is sufficient to prove the debasing and brutalizing influence of this sport.
In the second act the banderilleros, men who plant the banderillas in the neck of the bull, appear in the arena. This is the most artistic55 and most interesting act in the entire performance, for great skill is displayed and little blood spilled. These men come in the ring without cape20 or any means of defence and depend entirely upon their skill and agility56 for safety. They are finely dressed and are usually superbly built fellows with lithe57 and muscular bodies. The banderillero takes with him a pair of barbed[250] darts58 about two feet long and covered with fancy coloured paper with ribbon streamers. He shakes these at the bull, thus provoking an assault. Then, just when he seems to be on the bull’s horns and the novice59 turns his face away to avoid the scene, he plants the darts in the gory60 neck of the bull and steps lightly aside. These darts re-enrage the bull, who has been getting rather tired of the whole affair. He attacks whatever engages his attention. It may be only a dead horse which he will then tear open, being aroused to fury by the smell of the blood.
PLANTING THE BANDERILLAS
There are usually two of these men and each plants four darts in the bull’s neck. They must be placed in front of the shoulder and so firmly inserted that they will not be shaken out. If successful in these particulars, then the banderillero who is a favourite will receive prolonged applause and a perfect volley of complimentary61 comments. Even the matador himself ofttimes deigns62 to take part in this act. If so, he performs the act in some daring and novel way. They will sometimes sit in a chair and thus plant the darts, or take a pole and vault63 over the bull after placing them. Occasionally a bull is cowardly and will not fight. Then “fire” is called for and darts filled with[251] powder which explodes in the flesh are used. This will cause the bull to dance and skip around in his agony, which is very pleasing to the audience and furnishes variety to an otherwise monotonous64 exhibition.
The trumpet26 sounds the last act. This is the duel,—the death. Everything has been done with reference to this act. The first two acts have been intended to madden the animal and tire him by the violent exercise and loss of blood. He is panting, his sides heave as though they would burst, his neck is one mass of blood over which, as if in mockery, hang the many-hued darts. The man with the sword would not stand much show with a fresh and unwearied animal. This actor is the matador, or espada, and, if known as one who kills his bulls with a single stroke of the sword, he will receive great applause on entering. He steps forward to the president’s box and makes a little speech, offering to kill the bull to the honour of Mexico. Throwing his hat to some one in the seats, (for it is considered an honour to hold any of his apparel) the hero advances sword in hand toward the bull, who, during this by-play, has been entertained by the cape-bearers again. He bears in his left hand a staff, called the muleta, over which is a red flag, and in the right[252] a keen-edged sword. The flag serves both as a lure65 to the beast and a protection to the man. He is usually pale and always alert, and studies the animal for a moment to ascertain66 his disposition67. This can not be prolonged for the audience will not brook68 delay. The tension of nerves is too great. As the bull makes a rush for the red flag, with head lowered, the matador plunges69 the keen blade into the bull’s shoulders up to the hilt. The bull staggers and dies.
It is wonderful to see how excited and enthusiastic the crowd becomes when the matador has made a skilful70 killing71. They rise and cheer and wave their handkerchiefs. As he passes around the ring to receive their applause, a perfect volley of hats, coats, handkerchiefs, and cigars are thrown toward him. These are tossed back except the cigars or any money that may have been included. If the killing has been poorly made, or in a bungling72 manner, hisses73 replace cheers and boards or chairs may be thrown instead of hats and cigars. At a fight in Guatemala City I saw one matador chased out of the ring, and he did not return again during that performance. This was done after he had made three unsuccessful attempts to kill the bull and had plunged74 two swords into the poor, tortured animal without striking a vital spot.
[253]
Then comes the finale. Teams of gaily-decked mules75 are brought in to drag out the dead bull and horses. The bloody76 places are covered over with sawdust in order to prevent slipping. Even before the dead animals are removed, the two or three picadores appear on other sorry-looking steeds, even worse than the first ones if such a thing were possible. The trumpet sounds, the door flies open and another bull comes rushing in to meet the same fate as the first. The play begins again with the same variety of sickening incidents. Others follow in regular order until the usual number of six bulls have been dispatched. The management is usually very careful not to promise more than will be performed, for they know the temper of the audience too well. At a bull-fight in Madrid, which I attended, the management had promised ten bulls in its posters but the tickets only called for eight. After the eighth bull had been dispatched the end was announced, but the crowd refused to leave. All over the vast amphitheatre rang the cry “otro toro” (another bull), repeated over and over again in one swelling77 cadence78 with ever-increasing volume. The management was obdurate79 and the multitudes left muttering their maledictions.
Formerly80 gentlemen of the court mounted on[254] the finest horses in the kingdom entered the arena and fought the bull like the knights81 of old. Now the sport has degenerated82 and is performed by professionals hired for the purpose. I once had the opportunity of witnessing a bull-fight by the Portuguese83 method. This is the bull-fight deprived of its disgusting details. It is even more exciting and dispenses84 with the killing of both bull and horses. The men with the red cloaks are employed just the same but the men who place the banderillas are mounted on horses. They are not broken-down hacks85, but magnificent, well-trained animals and good care is taken that the bull does not make sausage meat of them. As a further protection, the points of the bull’s horns are covered with balls to prevent injury to the horses. Their sport consists in riding past the bull, and placing the darts without permitting the bull to touch the horse. It is a feat52 that requires great skill and a steady nerve. After the bull is thoroughly86 tired out, a number of oxen are driven in the ring, the exhausted87 bull is taken out and another one brought in to continue the sport. In any form bull-fighting is bad enough, but if a line can be drawn34 between degrees of evil, the method of the Portuguese is the least to be condemned88.
[255]
Tauromachy has many devotees who follow the fights in all their features as the base ball fan watches the sporting page of the American newspaper. In some places the spectacles are reported in all their most minute details, even down to the number of minutes it took the bull to die after receiving the fatal stroke. The killing of bulls is a science and there are many different schools which have been founded by great masters. A renowned89 matador receives as much attention as the champion prize-fighter in English speaking countries. They receive great sums of money but are almost invariably improvident90 and save little. The fights are not unattended by danger, for deaths are not infrequent and serious injuries are a common occurrence.
Ladies attend these spectacles and seem to derive91 as much pleasure as those who are supposed to be made of sterner stuff. Their black eyes sparkle with excitement and they shower their appreciation92 upon the successful one without reserve. It is the place for dress as the opera is in other lands. All the gallantry in the Spanish nature comes to the front on the way to and at the bull-fight. The enthusiasm, the manners, the expressions—all are distinctly national.
[256]
In Mexico the light on the horizon seems to be growing brighter, and the beginning of the end of this brutal and un-American sport is apparently93 in sight. It is not in favour with the present officials in the national capital and in many of the state capitals. Three of the most important states absolutely forbid the bull-fights, and heavy penalties are provided for any violations94 of the law. Statutes95 to prohibit them have been enacted96 in the federal district on more than one occasion, but they have been as often repealed97 so great was the popular demand for them. The best people do not now attend the performances in the City of Mexico but this fact has made little diminution98 in the crowd. Their places are taken by foreigners resident there, many of whom are among the most ardent99 supporters of the sport. I predict that within the next decade there will be few states in the Republic of Mexico that will permit the bull-fight within their borders. Such action may curtail100 a profitable industry and remove a good market for worn-out horses, but these material losses will be more than compensated101 in the development of those elements of character which can not be measured by the low standard of mere102 dollars and cents.
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1
tenaciously
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| 坚持地 | |
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2
brutal
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| adj.残忍的，野蛮的，不讲理的 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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valiant
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| adj.勇敢的，英勇的；n.勇士，勇敢的人 | |
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5
survivor
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| n.生存者，残存者，幸存者 | |
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6
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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7
arena
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| n.竞技场，运动场所；竞争场所，舞台 | |
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8
throng
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| n.人群，群众；v.拥挤，群集 | |
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9
bugle
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| n.军号，号角，喇叭；v.吹号，吹号召集 | |
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10
brute
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| n.野兽，兽性 | |
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defiant
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| adj.无礼的，挑战的 | |
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patronage
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| n.赞助，支援，援助；光顾，捧场 | |
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13
permeated
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| 弥漫( permeate的过去式和过去分词 )； 遍布； 渗入； 渗透 | |
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brutality
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| n.野蛮的行为，残忍，野蛮 | |
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15
rebuke
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| v.指责，非难，斥责 [反]praise | |
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16
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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plaza
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| n.广场，市场 | |
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pretence
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| n.假装，作假；借口，口实；虚伪；虚饰 | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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20
cape
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| n.海角，岬；披肩，短披风 | |
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irate
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| adj.发怒的，生气 | |
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anticipation
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| n.预期，预料，期望 | |
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hoarse
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| adj.嘶哑的，沙哑的 | |
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gaily
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| adv.欢乐地，高兴地 | |
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hissed
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| 发嘶嘶声( hiss的过去式和过去分词 )； 发嘘声表示反对 | |
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trumpet
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| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
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trumpets
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| 喇叭( trumpet的名词复数 )； 小号； 喇叭形物； （尤指）绽开的水仙花 | |
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beads
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| n.（空心）小珠子( bead的名词复数 )；水珠；珠子项链 | |
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29
salute
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| vi.行礼，致意，问候，放礼炮；vt.向…致意，迎接，赞扬；n.招呼，敬礼，礼炮 | |
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matador
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| n.斗牛士 | |
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shovels
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| n.铲子( shovel的名词复数 )；锹；推土机、挖土机等的)铲；铲形部份v.铲子( shovel的第三人称单数 )；锹；推土机、挖土机等的)铲；铲形部份 | |
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32
saluting
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| v.欢迎，致敬( salute的现在分词 )；赞扬，赞颂 | |
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33
withdrawn
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| vt.收回；使退出；vi.撤退，退出 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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ranch
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| n.大牧场，大农场 | |
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urchins
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| n.顽童( urchin的名词复数 )；淘气鬼；猬；海胆 | |
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noted
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| adj.著名的，知名的 | |
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belligerent
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| adj.好战的，挑起战争的；n.交战国，交战者 | |
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enraged
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| 使暴怒( enrage的过去式和过去分词 )； 歜； 激愤 | |
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40
bellow
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| v.吼叫，怒吼；大声发出，大声喝道 | |
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defiance
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| n.挑战，挑衅，蔑视，违抗 | |
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capes
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| 碎谷； 斗篷( cape的名词复数 )； 披肩； 海角； 岬 | |
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43
blindfolded
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| v.（尤指用布）挡住（某人）的视线( blindfold的过去式 )；蒙住（某人）的眼睛；使不理解；蒙骗 | |
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44
uncertainty
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| n.易变，靠不住，不确知，不确定的事物 | |
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45
overthrow
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| v.推翻，打倒，颠覆；n.推翻，瓦解，颠覆 | |
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46
hover
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| vi.翱翔，盘旋；徘徊；彷徨，犹豫 | |
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47
prostrate
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| v.拜倒，平卧，衰竭；adj.拜倒的，平卧的，衰竭的 | |
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48
armour
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| （=armor）n.盔甲；装甲部队 | |
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49
trampling
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| 踩( trample的现在分词 )； 践踏； 无视； 侵犯 | |
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50
bowels
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| n.肠，内脏，内部；肠( bowel的名词复数 )；内部，最深处 | |
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51
surgical
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| adj.外科的，外科医生的，手术上的 | |
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52
feat
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| n.功绩；武艺，技艺；adj.灵巧的，漂亮的，合适的 | |
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53
catered
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| 提供饮食及服务( cater的过去式和过去分词 )； 满足需要，适合 | |
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54
demolish
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| v.拆毁(建筑物等)，推翻(计划、制度等) | |
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55
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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56
agility
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| n.敏捷，活泼 | |
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57
lithe
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| adj.(指人、身体)柔软的，易弯的 | |
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58
darts
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| n.掷飞镖游戏；飞镖( dart的名词复数 )；急驰，飞奔v.投掷，投射( dart的第三人称单数 )；向前冲，飞奔 | |
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59
novice
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| adj.新手的，生手的 | |
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60
gory
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| adj.流血的；残酷的 | |
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61
complimentary
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| adj.赠送的，免费的，赞美的，恭维的 | |
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62
deigns
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| v.屈尊，俯就( deign的第三人称单数 ) | |
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63
vault
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| n.拱形圆顶，地窖，地下室 | |
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64
monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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lure
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| n.吸引人的东西，诱惑物；vt.引诱，吸引 | |
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ascertain
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| vt.发现，确定，查明，弄清 | |
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disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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brook
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| n.小河，溪；v.忍受，容让 | |
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plunges
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| n.跳进，投入vt.使投入，使插入，使陷入vi.投入，跳进，陷入v.颠簸( plunge的第三人称单数 )；暴跌；骤降；突降 | |
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skilful
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| (=skillful)adj.灵巧的，熟练的 | |
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killing
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| n.巨额利润；突然赚大钱，发大财 | |
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bungling
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| adj.笨拙的，粗劣的v.搞糟，完不成( bungle的现在分词 )；笨手笨脚地做；失败；完不成 | |
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hisses
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| 嘶嘶声( hiss的名词复数 ) | |
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plunged
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| v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降 | |
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mules
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| 骡( mule的名词复数 )； 拖鞋； 顽固的人； 越境运毒者 | |
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bloody
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| adj.非常的的；流血的；残忍的；adv.很；vt.血染 | |
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swelling
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| n.肿胀 | |
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cadence
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| n.（说话声调的）抑扬顿挫 | |
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obdurate
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| adj.固执的，顽固的 | |
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formerly
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| adv.从前，以前 | |
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knights
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| 骑士； （中古时代的）武士( knight的名词复数 )； 骑士； 爵士； （国际象棋中）马 | |
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degenerated
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| 衰退，堕落，退化( degenerate的过去式和过去分词 ) | |
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Portuguese
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| n.葡萄牙人；葡萄牙语 | |
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dispenses
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| v.分配，分与；分配( dispense的第三人称单数 )；施与；配（药） | |
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hacks
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| 黑客 | |
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thoroughly
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| adv.完全地，彻底地，十足地 | |
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exhausted
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| adj.极其疲惫的，精疲力尽的 | |
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condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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improvident
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| adj.不顾将来的，不节俭的，无远见的 | |
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derive
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| v.取得；导出；引申；来自；源自；出自 | |
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appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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violations
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| 违反( violation的名词复数 )； 冒犯； 违反（行为、事例）； 强奸 | |
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statutes
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| 成文法( statute的名词复数 )； 法令； 法规； 章程 | |
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enacted
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| 制定（法律），通过（法案）( enact的过去式和过去分词 ) | |
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repealed
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| 撤销，废除( repeal的过去式和过去分词 ) | |
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diminution
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| n.减少；变小 | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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curtail
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| vt.截短，缩短；削减 | |
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compensated
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| 补偿，报酬( compensate的过去式和过去分词 )； 给（某人）赔偿（或赔款） | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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