Death in the Afternoon - Ernest Hemingway

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rather to keep on learning about it always and at no time, unless you are very egotistical, which, of course, accounts for many books, will you be able to say: now I know all about this and will write about it. Certainly I do not say that now; every year I know there is more to learn, but I know some things which may be interesting now, and I may be away from the bullfights for a long time and I might as well write what I know about them now. Also it might be good to have a book about bullfighting in English and a serious book on such an unmoral subject may have some value.

      So far, about morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after and judged by these moral standards, which I do not defend, the bullfight is very moral to me because I feel very fine while it is going on and have a feeling of life and death and mortality and immortality, and after it is over I feel very sad but very fine. Also, I do not mind the horses; not in principle, but in fact I do not mind them. I was very surprised at this since I cannot see a horse down in the street without having it make me feel a necessity for helping the horse, and I have spread sacking, unbuckled harness and dodged shod hoofs many times and will again if they have horses on city streets in wet and icy weather, but in the bull ring I do not feel any horror or disgust whatever at what happens to the horses. I have taken many people, both men and women, to bullfights and have seen their reactions to the death and goring of horses in the ring and their reactions are quite unpredictable. Women that I felt sure would enjoy the bullfights with the exception of the goring of the horses were quite unaffected by it; I mean really unaffected, that is, something that they disapproved of and that they expected would horrify and disgust them did not disgust them or horrify them at all. Other people, both men and women, were so affected that they were made physically ill. I will go into the way some of these people acted in detail later but let me say now that there was no difference, or line of difference, so that these people could be divided by any standard of civilization or experience into those that were affected and those that were not affected.

      The question of why the death of the horse in the bull ring is not moving, not moving to some people that is, is complicated; but the fundamental reason may be that the death of the horse tends to be comic while that of the bull is tragic. In the tragedy of the bullfight the horse is the comic character. This may be shocking, but it is true. Therefore the worse the horses are, provided they are high enough off the ground and solid enough so that the picador can perform his mission with the spiked pole, or vara, the more they are a comic element. You should be horrified and disgusted at these parodies of horses and what happens to them, but there is no way to be sure that you will be unless you make up your mind to be, no matter what your feelings. They are so unlike horses; in some ways they are like birds, any of the awkward birds such as the adjutants or the wide-billed storks, and when, lifted by the thrust of the bull’s neck and shoulder muscles their legs hang, big hoofs dangling, neck drooping, the worn-out body lifted on the horn, they are not comic; but I swear they are not tragic. The tragedy is all centred in the bull and in the man. The tragic climax of the horse’s career has occurred off stage at an earlier time; when he was bought by the horse contractor for use in the bull ring. The end in the ring, somehow, seems not unfitting to the structure of the animal and when the canvases are stretched over the horses, the long legs, and necks, the strange-shaped heads and the canvas covering the body to make a sort of wing, they are more like birds than ever. They look a little as a dead pelican does. A live pelican is an interesting, amusing, and sympathetic bird, though if you handle him he will give you lice; but a dead pelican looks very silly.

      This is not being written as an apology for bullfights, but to try to present the bullfight integrally, and to do this a number of things must be admitted which an apologist, making a case, would slide over or avoid. The comic that happens to these horses is not their death then; death is not comic, and gives a temporary dignity to the most comic characters, although this dignity passes once death has occurred; but the strange and burlesque visceral accidents which occur. There is certainty nothing comic by our standards in seeing an animal emptied of its visceral content, but if this animal instead of doing something tragic, that is, dignified, gallops in a stiff old-maidish fashion around a ring trailing the opposite of clouds of glory it is as comic when what it is trailing is real as when the Fratellinis give a burlesque of it in which the viscera are represented by rolls of bandages, sausages and other things. If one is comic the other is; the humor comes from the same principle. I have seen it, people running, horse emptying, one dignity after another being destroyed in the spattering, and trailing of its innermost values, in a complete burlesque of tragedy. I have seen these, call them disembowellings, that is the worst word, when, due to their timing, they were very funny. This is the sort of thing you should not admit, but it is because such things have not been admitted that the bullfight has never been explained.

      These visceral accidents, as I write this, are no longer a part of the Spanish bullfight, as under the government of Primo de Rivera it was decided to protect the abdomens of the horses with a sort of quilted mattress designed in the terms of the decree “to avoid those horrible sights which so disgust foreigners and tourists.” These protectors avoid these sights and greatly decrease the number of horses killed in the bull ring, but they in no way decrease the pain suffered by the horses; they take away much of the bravery from the bull, this to be dealt with in a later chapter, and they are the first step toward the suppression of the bullfight. The bullfight is a Spanish institution; it has not existed because of the foreigners and tourists, but always in spite of them and any step to modify it to secure their approval, which it will never have, is a step towards its complete suppression.

      This that has been written about one person’s reaction to the horses in the bull ring is not put in because of a desire of the author to write about himself and his own reactions, considering them as important and taking delight in them because they are his, but rather to establish the fact that the reactions were instant and unexpected. I did not become indifferent to the fate of the horses through the callousness of seeing a thing many times so that the emotions are no longer touched. It was not a matter of the emotions becoming insulated through familiarity. However I feel about the horses emotionally, I felt the first time I saw a bullfight. It might be argued that I had become callous through having observed war, or through journalism, but this would not explain other people who had never seen war, nor, literally, physical horror of any sort, nor ever even worked on, say, a morning newspaper, having exactly the same reactions.

      I believe that the tragedy

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