Death in the afternoon

CHAPTER SIXTEEN

You read of bulls in the old days accepting thirty, forty, fifty and even seventy pics from the picadors while to-day a bull that can take seven pics is an amazing animal, and it seems as though things were very different in those days and the bullfighters must have been such men as were the football players on the high-school team when we were still in grammar school. Things change very much and instead of great athletes only children play on the high-school teams now and if you sit with the older men at the café you know there are no good bullfighters now either; they are all children without honor, skill or virtue, much the same as those children who now play football, a feeble game it has become, on the high-school team and nothing like the great, mature, sophisticated athletes in canvas-elbowed jerseys, smelling vinegary from sweated shoulder pads, carrying leather headguards, their moleskins clotted with mud, that walked on leather-cleated shoes that printed in the earth along beside the sidewalk in the dusk, a long time ago.

There were always giants in those days and the bulls really did accept that many pics, the contemporary accounts prove, but the pics were different. In the oldest old days the pic had a very small steel triangular tip so wrapped and protected that only that small tip could go into the bull. The picadors received the bull with their horse straight toward him, drove the pic at him and as they held him off pivoted the horse to the left freeing him from the charge and letting the bull go by. A bull, even a modern bull, could accept a large number of those pics since the steel did not cut into him deeply and it was a move of address on the part of the picador rather than a deliberately sought shock and punishment.

Now, after many modifications, the pic is as the illustration represents it[3]. There is always dispute between bull breeders and picadors as to its form since the form determines its deadliness and the amount of times the bull may charge against it without being ruined, both physically and in bravery.

The present pic is very destructive even though properly placed. It is especially destructive since the picador does not place it, shoot the stick it is called, until the bull has reached the horse. The bull must then make the effort of lifting the horse at the same time the man is leaning his weight on the shaft and driving the steel into the bull's neck muscle or his withers. If all of the picadors were as skillful as a few are there would be no need to let the bull reach the horse before shooting the stick. But the majority of the picadors, because it is a poorly paid occupation that leads only to concussion of the brain, are not even capable of sinking the pic into a bull properly. They rely on a lucky drive and the certain effort the bull must make in tossing horse and rider to tire the bull's neck muscles and do the work that a real picador could accomplish without losing either his horse or his seat in the saddle. The wearing of protective mattresses by the horses has made the picadors' work much more difficult and hazardous. Without the mattress the bull's horn can get into the horse and he can lift him, or, sometimes, satisfied with the damage he is doing with his horn, be held off by the man's pic; with the mattress he butts into the horse, there is nothing for his horn to go into and he crashes horse and rider over in a heap. The use of the protective mattress has led to another abuse in bullfighting. Horses that are no longer killed in the ring may be offered by the horse contractor again and again. They are so afraid of the bulls and become so panic stricken on smelling them that they are almost impossible to manage. The new government regulation provides that the picadors may refuse such horses and that they must be marked so that they cannot be used or offered by any horse contractor, but since the picador is so poorly paid, this regulation too will probably be destroyed by the propina, or tip, which makes up a regular part of the picador's income and which he accepts from the contractor for riding the animals he is given the right and duty, by the government regulations, to refuse.

The propina is responsible for almost every horror in bullfighting. The regulations provide for the size, sturdiness and fitness of the horses used in the bull ring and if proper horses are used and the picadors well trained there would be no need for any horses to be killed except accidentally and against the will of the riders as they are killed, for instance, in steeple-chasing. But the enforcing of these regulations for his own protection are left to the picador as the most interested party and the picador is so poorly paid for the danger he undergoes that, for a small addition to this pay, he is willing to accept horses that make his work even more difficult and dangerous. The horse contractor must furnish or have available thirty-six horses for each fight. He is paid a fixed sum no matter what happens to his horses. It is to his interest to furnish the cheapest animals he can get and see that as few of them are used as possible.

This is about how it works out; the picadors arrive the day before the fight or in the morning of the fight at the corrals of the bull ring to choose and test the horses they are to ride. There is a piece of iron set in the stone wall of the corral that marks the minimum height at the shoulder that a horse must have to be accepted. A picador has the big saddle put on a horse, mounts, tests whether the horse minds bit and spur, backs, wheels and riding toward the corral wall drives against it with the shaft of a pic to see if the horse is sound and solid on his feet. He then dismounts and says to the contractor, "I wouldn't risk my life on that lousy skate for a thousand dollars."

"What's the matter with that horse?" says the contractor. "You'll go a long way before you'll find a horse like that."

"Too long a way," says the picador.

"What's the matter with him? That's a handsome little horse."

"He's got no mouth," the picador says. "He won't back. Besides he's short."

"He's just the right size. Look at him. Just the right size.'*

"Just the right size for what?"

"Just the right size to ride."

"Not me," says the picador turning away.

"You won't find a better horse."

"I believe that," says the picador.

"What's your real objection?"

"He's got glanders."

"Nonsense. That isn't glanders. That's just dandruff."

"You ought to spray him with flit," says the picador. "That would kill him."

"What's your real objection?"

"I have a wife and three children. I wouldn't ride him for a thousand dollars."

"Be sensible," the contractor says. They talk in low tones. He gives the picador fifteen pesetas.

"All right," says the picador. "Mark up the little horse."

So, in the afternoon you see the picador ride out the little horse and if the little horse gets ripped and, instead of killing him, the red-jacketed bull ring servant runs with him toward the horse gate to get him back where he can be patched up so the contractor can send him in again, you may be sure the bull ring servant has received or been promised a propina for every horse he can bring alive out of the ring, instead of killing them mercifully and decently when they are wounded.

I have known some fine picadors, honest, honorable, brave and in a bad business, but you may have all the horse contractors I have ever met, although some of them were nice fellows. If you wish and will take them, you may have all the bull ring servants too. They are the only people I have found in bullfighting that are brutalized by it and they are the only ones who take an active part who undergo no danger. I have seen several of them, two especially that are father and son, that I would like to shoot. If we ever have a time when for a few days you may shoot any one you wish I believe that before starting out to bag various policemen, Italian statesmen, government functionaries, Massachusetts judges, and a couple of companions of my youth I would shove in a clip and make sure of that pair of bull ring servants. I do not want to identify them any more closely because if I ever should bag them this would be evidence of premeditation. But of all the filthy cruelty I have ever seen they have furnished the most. Where you see gratuitous cruelty most often is in police brutality; in the police of all countries I have ever been in, including, especially, my own. These two Pamplona and San Sebastian monosabios should be, by rights, policemen and policemen on the radical squad, but they do the best they can with their talents in the bull ring. They carry on their belts puntillas, broad-headed knives, with which they can give the gift of death to any horse that is badly wounded, but I have never seen them kill a horse that could possibly be gotten on his feet and made to move toward the corrals. It is not only a question of the money they could make by salvaging horses to be taxidermed while alive so they may be reintroduced into the ring, for I have seen them refuse to kill, until forced to by the public, a horse there was no hope of getting onto his feet or of bringing back into the ring purely from pleasure in exerting their power to refuse to perform a merciful act as long as possible. Most bull ring servants are poor devils that perform a miserable function for a mean wage and are entitled to pity if net sympathy. If they save a horse or two that they should kill they do it with fear that outruns any pleasure and earn their money as well as the men do who pick up cigar butts, say. But these two that I speak of are both fat, well-fed and arrogant. I once succeeded in landing a large, heavy one-peseta-fifty rented, leather cushion alongside the head of the younger one during a scene of riotous disapproval in a bull ring in the north of Spain and I am never at the ring without a bottle of Manzanilla which I hope yet I will be able to land, empty, on one or the other at any time rioting becomes so general that a single bottle stroke may pass unperceived by the authorities. After one comes, through contact with its administrators, no longer to cherish greatly the law as a remedy in abuses, then the bottle becomes a sovereign means of direct action. If you cannot throw it at least you can always drink out of it.

In bullfights now a good pic is not one in which the picador, pivoting, protects his horse completely. That is what it should be, but you might go a long time and never see one. All you can expect in a good pic now is that the picador will place his stick properly, that is drive the point into the morillo, or hump of muscle that rises from the back of the bull's neck to his shoulders, that he will try to hold the bull off and that he will not twist his pic or turn it to try and make a deep wound in the bull in order that he may lose blood and so weaken, to make the danger less for the matador.

A bad pic is one that is placed anywhere else but in the morillo, one which rips or opens a big wound, or one in which the picador lets the bull reach the horse, then when the horn is in, pushes, drives and twists on the pic which is in the bull and tries to give the impression he is protecting his horse when he is really only injuring the bull to no good purpose.

If picadors had to own their own horses and were well paid they would protect them and the horse part of bullfighting would become one of the most brilliant and skillful of all rather than a necessary evil. For my own part if horses are to be killed the worse the horses are the better. For the picadors' part an old horse with big feet is much more useful to them in the way they pic now than would be a thoroughbred in good condition. To be useful in the bull ring a horse must be either old or well-tired. It is as much to tire the horses as to provide transportation for the picadors that the animals are ridden from the ring into town to the picadors' boarding house and back. In the provinces the bull ring servants ride the horses in the morning to tire them. The role of the horse has become that of providing something the bull will charge so that his neck muscles will be tired and of supporting the man who receives the charge and places his pic in such a manner as to force the bull to tire those muscles. His duty is to tire the bull rather than weaken him by wounds. The wound made by the pic is an incident rather than an end. Whenever it becomes an end it is censorable.

Used for this purpose the worst horses possible, that is those past any other usefulness, but which are solid on their feet and moderately manageable, are the best. I have seen thoroughbreds killed in their prime in other places than the bull ring and it is always a sad and disturbing business. The bull ring is a death's business for horses and the worse horses they are the better.

As I say, having the picadors own their own horses would change the whole spectacle. But I would rather see a dozen old worthless horses killed on purpose than one good horse killed by accident.

What about the Old Lady? She's gone. We threw her out of the book, finally. A little late you say. Yes, perhaps a little late. What about the horses? They are what people always like to talk about in regard to the bullfight. Has there been enough about the horses? Plenty about the horses, you say. They like it all but the poor horses. Should we try to raise the general tone? What about higher things?

Mr. Aldous Huxley writing in an essay entitled "Foreheads Villainous Low" commences: "In [naming a book by this writer] Mr. H. ventures, once, to name an Old Master. There is a phrase, quite admirably expressive [here Mr. Huxley inserts a compliment], a single phrase, no more, about 'the bitter nail-holes' of Mantegna's Christs; then quickly, quickly, appalled by his own temerity, the author passes on (as Mrs. Gaskell might hastily have passed on, if she had somehow been betrayed into mentioning a water-closet), passes on, shamefacedly, to speak once more of Lower Things.

"There was a time, not so long ago, when the stupid and uneducated aspired to be thought intelligent and cultured. The current of aspiration has changed its direction. It is not at all uncommon now to find intelligent and cultured people doing their best to feign stupidity and to conceal the fact that they have received an education" — and more; more in Mr. Huxley's best educated vein which is a highly educated vein indeed.

What about that, you say? Mr. Huxley scores there, all right, all right. What have you to say to that? Let me answer truly. On reading that in Mr. Huxley's book I obtained a copy of the volume he refers to and looked through it and could not find the quotation he mentions. It may be there, but I did not have the patience nor the interest to find it, since the book was finished and nothing to be done. It sounds very much like the sort of thing one tries to remove in going over the manuscript. I believe it is more than a question of the simulation or avoidance of the appearance of culture. When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of those subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer's assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man's life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.