LA CORRIDA DE TOROS
The exact origin of bullfighting is hidden in the mists of time. It is very probable that the Romans
were familiar with some form of it and that it was a development from the Roman circus. It is certain
that the Moors introduced “Bull Feasts” into Spain during the 12th century in order to encourage
proficiency in the use of arms and to provide entertainment on great occasions.
From then until the 16th century fighting on foot was unknown, and the form of bullfighting known as
rejonear was a popular pastime for noblemen. This consisted of mounted men armed with short spears
(rejón) about four feet in length, riding down the bull until it was exhausted and then finishing it by
throwing a kind of dart or harpoon. This was the origin of the present banderillas or darts.
Accidents were very frequent, and it is recorded that on one occasion at least ten knights were killed in
the course of a corrida or running of bulls. Spaniards and Arabs vied with one another in deeds of
daring, and by the end of the 15th century bullfighting was an essential part of the repertoire of every
caballero. Deaths were frequent, and sometimes the slaughter of men exceeded that of the bulls, which
led to a threat by Pope Pius V, in a Papal Edict dated 20th November 1567, to excommunicate all
princes who permitted bullfighting in their domains, and to forbid Christian burial to all toreros killed in
the ring.
Queen Isabel la Católica also strenuously opposed bullfights, but despite these indications of official
disapproval, the Fiesta Brava continued to enjoy wide popularity, though steps were taken to reduce the
loss of life.
Early in the 18th century bullfighting became a recognized profession, and the first permanent plaza or
bullring was built in Madrid in 1743. Two schools of thought had already grown up. At Ronda, in
Andalucía, emphasis was placed on personal coolness and on keeping the feet as still as possible, while
adherents of the Sevilla school preferred deeds of great daring, such as jumping over the head or back of
the bull, and fast movement of the feet. About the year 1700 Francisco Romero was born, and he
became the first exponent of modern bullfighting, inventing the use of the scarlet serge muleta in the
last stage of the fight.
At the beginning of the 18th century bullfighters wore a plain buff jacket and breeches, with a leather
belt. Some thirty years later a colored sash was substituted for the belt, while Pepe-Ilo was the first to
wear the decorative traje de luces, or “suit of lights,” embroidered with black braid. Half—way through
the century, black embroidery was replaced by the modern gold or silver work. Meanwhile the conquest
of Mexico had taken place, and the Spaniards were not slow to introduce the Fiesta Brava to New Spain.
At first, as in the mother country, the bulls were ridden down by horsemen armed with lances until they
were exhausted and could be finished off by thrown javelins. For some years those taking part were
almost exclusively wealthy knights and noblemen, but it not infrequently happened that a loyal servant
would run in on foot to save his master from an embarrassing situation, and so the present system of the
cuadrilla, or team of assistants, grew up.
The first recorded bullfight in Mexico took place on 13th August 1529, a ring being built especially for
the occasion. The Indians showed great enthusiasm for the new pastime, and no feast was complete
without a “running of bulls.” Fray Gracéa Guerra, sixth archbishop of Mexico, was such an enthusiast
that he ordered the construction of a ring immediately outside of the National Palace where he had his
offices.
When Fray Guerra’s successor took office, no less than one hundred bulls were fought and killed during
the celebrations held to welcome him in his first three days. A bullfight became part of the regular
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celebration for welcoming each new viceroy and archbishop. A ring was built specially on each occasion,
in the Zócalo, or city center, outside of the cathedral.
By a royal decree of the king of Spain dated 19th November 1787, bullfights were to be held regularly
every year with the object of raising enough money to cover the deficit in the treasury caused by the
building of Chapultepec Castle.
On 27th December 1790 the alguacil, or bailiff, made his first appearance at the head of the procession
of bullfighters in Mexico, dressed just as he is today. Bullfighting had meanwhile taken root in many
other parts of Mexico, in rings specially erected for each performance. A permanent bullring was built at
Lima, Peru, some years before any proper ring had been established in Mexico. In 1794 a new viceroy
arrive who drew up a decree which may be considered to be the first of regulations governing bullfights.
Among other stipulations, all spectators were to be in their seats before the first bull was released, the
audience was forbidden to shout remarks at the bullfighters, or to throw orange peel or the skins of any
other fruits into the ring, peddlers were not to walk along the stands during the fights, nor were the bulls
to be stabbed by spades or other instruments either inside or outside the ring. The bullfighters were not
to make public invocations to any saint or saints for divine assistance while executing their work, nor to
beg from the crowd offerings for the saints. After the show was over, everybody had to leave, for it had
become customary for some people to sleep there overnight, in order to insure a good seat for the next
performance.
Another viceroy arrived who had a strong objection to bullfights, and prohibited such performances
throughout his domain. With the arrival of the next viceroy bullfights were again held at frequent
intervals, and in 1816 the first permanent ring-was built in Mexico in the San Pablo square, and became
known as the Royal Ring of San Pablo. The Royal Ring was demolished in 1860, and it was not until
1887 that bullfights again became frequent. In 1910 a large new ring was erected, with a capacity for
25,000 spectators, and this served its purpose well until it became too small.
In 1945 the new Plaza Mexico, with a capacity for 50,000, was built by an Enterprising Mexican named
Neguib Simon, and has the distinction of being the largest and windiest bullring in the world. The ring
was 1naugurated on 5th February 1946, when Manolete, alternating with Lorenzo Garza and Silverio
Perez, cut ears and tail off his first bull. Bullfighting has undergone many changes in the course of the
centuries, and it will doubtless remain one of the most controversial of all public spectacles. Whole
books have been written about a single pass or about some detail of technique, and every happening in
every fight is passionately debated in the cafes during the week. It is said that the main difference
between Spanish and Mexican bullfighting is that in Spain the focus of attention is the bull, while in
Mexico it is the matador who is the chief object of interest. Spanish bulls are slightly larger and
therefore probably more dangerous. Mexican matadores are brave and skillful, especially in the placing
of banderillas.
TICKETS
It is Sunday afternoon in Mexico City, and that means one of two things – the bulls, or a walk in
Chapultepec Park with your girl friend, or even with grandma. If you have any doubts about how you
will react, it is better to go in the first or even second tendidos, where you get a more detached view.
Every bullring is divided into sombra and sol, the “gentry” usually patronizing the shade side, while the
lads of the town prefer the sun. Here there is considerably more freedom of expression, which may take
the form of beer bottles containing assorted liquids, firecrackers or very frank comments. If you prefer to
watch a fight rather than join in, the sombra is the place for you.
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The best seats are in the barrera, or ring—side, and here you may have the opportunity of shaking
hands with a bull if it happens to jump near you. The next higher rows are known as the first tendidos,
and between them and the second tendidos, are boxes known as palcos. Higher still are the general seats,
or gallery.
Plan of Plaza México
THE BULL
First in importance are the bulls. They are the noble tragedians whose death is the central feature of the
afternoon. They have spent the four years of their lives on a ranch which specializes in breeding fighting
bulls, usually from Spanish stock, and provides them with rich pasture-land and all the exercise and
freedom they need. They have been tested for their bravery in charging, but they have never before
fought a man. They are in prime physical condition —— this is a strict regulation -— and their average
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weight is around 500 kilos (1,100 lbs.). Three or four days ago they were brought down from the ranch
to the corrals beside the ring, where
they have continued to feed comfortably. At noon on Sunday representatives of the matadores come to
draw lots for the order in which the bulls are to be fought, and which bulls are for each matador. Since
the sorteo (draw) the bulls have been in smaller pens close to the ring, resting undisturbed by any
outside influence. As each bull is loosed into the ring its divisa or “stable” colors are pinned onto its
back, which does not improve its temper as it comes galumphing into the sunlight. It is a very dangerous
and intelligent fighting animal, quick to learn and to think of a plan of campaign. A good bull should
come out fast and aggressively.
THE MATADOR
Meanwhile the three matadores who are to fight the bulls have been spending the morning quietly, and
eating only a very light meal. About two hours before the fight they start to dress in their resplendent
trajes de luces, or traditional fighting uniforms. This process takes the best part of two hours, ending
with the gold or silver embroidered jacket (weighing about 14 lbs.), and the artificial pigtail (coleta)
which is the bullfighter’s trademark, and also serves to protect the base of the skull. Most matadores
have been through several years of very strenuous and painful training before reaching their present
position on the afternoon’s program. They have to endure grinding poverty, many severe wounds and to
have the tenacity to see it through, learning their trade the hard way – and there are few who do not bear
livid scars all over their bodies. Most of them are extremely nervous at this stage in the day. They are
desperately anxious to do well, and in order to earn their money, they have contracted to kill two bulls
today, making at least one trip over the horns of the bull to make the kill in the prescribed manner. They
have a team of helpers known as the cuadrilla which consists of two or more peones, or assistants with
capes; banderilleros, who may place the darts; two picadores, mounted men whose function will be
explained below; and their mozo de espadas, who approximates to their “best man.” He does not appear
in the ring, but you can see him running anxiously around the callejón, or narrow passageway between
the barrera seats and the wooden fence around the ring which is also known as the barrera. He will be
carrying capes, swords and water with which to make the fighting cape heavier in case of wind.
THE RING
The ring itself, 150 feet in diameter, is theoretically divided into three concentric circles called,
respectively, tablas (nearest the fence), tercios, and medios (nearest the center). When the bull adopts a
particular part of the ring and continually tries to return to it, this is known as its querencia, or favorite
battleground. Here it is more dangerous and the matador must try to lure it away.
As the hands of the big clock above the Sal reach 4 p.m., the advertisements in the center of the ring will
be removed. Seconds before four o’clock the judge will take his seat in the box on the sombra side
labeled autoridad. He is the presiding genius and he controls the whole situation. He has one or more
technical: advisers, and the trumpeter and drummer who sound the changes are beside him. Then a
horseman clad in the black dress of the days of King Felipe II of Spain will gallop across the ring and
draw up before the judge’s box, sweeping off his plumed hat. He is the alguacil. In olden times the
judge would throw in the key of the corrals (toriles) where the bulls are waiting and he would have to
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catch it in his hat. This custom is no longer observed. After receiving permission for the fight to begin,
the alguacil backs his horse across the ring to take up his position at the head of the procession of
bullfighters which has formed up on the sol side in the puerta de cuadrillas, opposite the judge’s box.
PASEO
Now the procession or paseo moves across the ring.
The three matadores who are in front (the senior one
on the left) will make the sign of the Cross as they start.
They have almost certainly visited the little chapel
beside the ring, for they are going to dance with death
as no other public performer does with such certainty.
If they are not wearing hats, this is their first
appearance of the season in this ring. The band which
has been playing pasodobles now plays the traditional
two—step of the matadores, “La Virgen de la
Macarena, ” and the procession marches slowly across
the ring, the cuadrilla in line astern behind their chiefs.
On reaching the judge’s box each one salutes according
to temperament, and the parade scatters, while the three
matadores acknowledge the greetings of the crowd.
The senior matador will fight the first and fourth bulls,
the next senior will fight the second and fifth, the junior the third and sixth. In a mano a mano, or fight
in which only two matadores take part, there is a sobresaliente or substitute matador, who will take
over in the event of one of the others being injured. When a matador is injured, the next senior kills the
bull as quickly as possible.
OVERTURE
Now the corrida, or “running of the bulls,”
begins. The trumpets sound shrill above the
band, and this is the signal for the first bull.
The toril doors are opened outwards against
the callejón and the bull emerges, looking for
trouble. The peones will be making apparently
aimless passes with their pink and yellow
capes, often being chased to the fence and
having to vault over it. The object of these
passes is to show the matador who is to kill the
bull whether it has any favorite tricks, whether
it gives any warning before charging, if it
charges straight, and if it prefers to hook with
one horn more than the other. The matador is
standing in one of the burladeros or funkholes,
watching intently, and when he has seen all he
wants, he will step out into the ring with his
cape and make a series of passes, known as
verónicas, holding the cape in both hands and
bringing the bull perilously near his body. If he does this well the crowd will begin to shout “ole” and to
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applaud. After a few of these beautiful passes he will end the series with a media—verónica, or a
rebolera, swinging the cape around him and bringing the bull to a standstill. This is known as “fixing”
the bull, when the man can safely turn his back on it and walk away. The bull is tired of charging at an
intangible enemy and is trying to think it out. A gaonera is the same as a verónica, but the cape is
behind the body.
The bullfight is divided into three distinct stages known as tercios, the first two of which are designed to
prepare the bull for killing. Before the third stage is reached the bull has been learning to concentrate its
attention and energy on one particular enemy instead of on anybody or anything moving.
FIRST STAGE: TERCIO DE VARAS
The first stage is called the tercio de varas or
pics. Two picadores ride into the ring, keeping
close to the fence. Their horses are padded and
blindfolded, and the men have their right legs
encased in steel armor. This is perhaps the most
distasteful stage of the fight for many people
because they have heard about the suffering of
horses, and because the bull seems to con in for
some pretty rough treatment. In point of fact, the
horses very rarely get hurt, and so long as they
can feel the man in control of them they do not
get panicky. Each picador is armed with a long
hickory—wood lance which has on its end a
small steel spike. [See actual size illustration at
left.] The actual pic at the end which enters the
bull’s flesh is no more than two centimeters, and
the object of it is to reduce the use of the hump
of muscle on the bull’s Nr neck, so that it will
keep its head lowered, or it could not be killed
in the prescribed manner. A badly—placed pic may ruin a good bull,
and it is in the matador’s interest that the pics should be correctly
placed. Most picadores are honorable men, but there are some who are
not too particular. The crowd will be quick to notice this and to show
what they feel about it.
The bull is induced to charge the horse, and a brave bull will charge
several times, regardless of the pic, which should be driven in at some
point between the head and the colored rosette on its back. The man in a red coat and white trousers is
known as a monosabio, and his quick action may often save the life of a matador or picador. The three
matadores will be in the ring now, ready to draw the bull away from the horse, a process known as
marking a quite. Some very fine cape work may now be seen.
Each matador in order of seniority takes his turn at showing what he can do with the cape, but the
matador who is to kill the bull is responsible for directing the proceedings.
If the bull is very persistent in its charges someone in the ring will seize it by the tail to make it turn
away from the horse, which it may have overthrown.
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After the bull has received three pics, drums and trumpets sound and the picadores ride out, while the
bull’s attention is drawn away from the moving horse. A bull will charge at anything moving and not
distinguish any one color from another, though it is short-sighted and bright colors catch its eye more
readily.
SECOND STAGE: TERCIO DE BANDERILLAS
The second tercio has now been reached, and this is very
pretty to watch., Three pairs of light, gaily—colored
wooden darts have to be placed in the bull’s shoulders,
marking the spot where the sword will later be placed, and
these darts or banderillas also serve to correct any
tendency the bull may still have to use one horn rather than
the other. [See actual size illustration at left.] If a great
outbreak of whistling and catcalls is heard at this stage, it
is nothing more than a request that the matador should
himself place the banderillas. Sometimes he will accede,
but he may have good reasons for not wishing to do this
himself, and he will assign one or more of his peones to do
it. There are various techniques. Some men will let the bull
chase then before turning and neatly planting the first pair
of darts. Others prefer to get if over as quickly as possible
as it is a highly dangerous maneuver, the bull being
induced to charge close enough to the man for him to be
able to reach over the deadly horns- The shock of the darts
checks the bull just sufficiently to allow the man to swerve
clear and to run for safety, though many bulls pursue their assailant to the fence. The usual method of
placing the darts is for the man to run in a half-circle, reaching over and planting the sticks as his course
meets the line of the bull’s charge. This method is known as al cuarteo. If the bull is too close to the
barrera, the man must place the darts as he runs past at an angle, and this is called sesgo. Another peon
will be standing nearby to draw the bull’s attention with a cape and so enable his colleague to get away.
A good banderillero will raise his arias high, so drawing the bull’s horns nearer to him, and he will
place the darts close together so that they just hook into the hide and hang down. They should never be
placed in the wound made by the pics as this causes unnecessary pain to the bull and serves no useful
purpose. It should be remembered that everything done in the ring is intended solely to tire the bull and
prepare it for formal killing. The idea is not simply to “bait” the bull, or cause it unnecessary pain.
When the third pair of darts has been placed the trumpets sound a solemn melody for the death of the
bull, and the most important part of the fight begins.
THIRD STAGE: TERCIO DE MUERTE
First the matador takes his small scarlet cape, or muleta, and his sword, which is razor-sharp, and
walks to the judge’s box to ask formal permission to kill the bull. Then he may dedicate the death of the
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animal to somebody in the audience, or maybe to the crowd. This is known as the brindis. He makes a
very short speech of dedication, and turning his back throws his hat over his shoulder.
Meanwhile the bull has been kept at a distance by the peones, who are ready with their capes to forestall
any plans it may have for a sudden charge. Now the matador is ready to begin his faena, or final
struggle with the bull. He is alone in the ring with a somewhat chastened animal, though it is still full of
fight and very dangerous. The essence of this phase is the nearness of the matador to the bull, and the
way in which he establishes complete domination over it. Its emotional appeal lies in the repeated
passing of the horns within a couple of inches of his unprotected body. He should achieve a plastic
effect of unity with the bull, and the closer he works the better is his art. It is not difficult to give the
appearance of working close and of running great risks when in fact there is very little danger, but the
aficionados can very quickly judge whether or not the matador is doing his job well, and they will
shout their olés generously if he is showing real courage and skill. An anxious hiss of indrawn breath
from the crowd may occur if the bull looks up from the muleta and gazes thoughtfully at the man. It is
beginning to think of the cause of movement rather than the moving of the cloth itself, and the matador
must at all costs dominate the animal with the scarlet cloth. Every pass he gives is for this purpose, and
he aims to get the bull “fixed” with its head down and its front feet together, thus opening its shoulders
for the final sword-thrust.
The matador may use a wide variety of passes, all of which have names. The most dangerous and
valuable is the natural, made with the muleta held in the left hand, the sword behind the back and the
whole body being exposed to the horns. This pass should be given slowly if possible, the muleta held in
the center of the stick, the feet together, and should be repeated in a neatly-linked sequence until the bull
is sent away with a pase de pecho, or pass on a level with the chest. Sometimes as many as twelve
naturales may be seen in sequence. It may be noted that passes given abajo, or with the bull’s head
down, will stop it short and so increase the danger to the man. Passes given arriba, or with the bull’s
head up, will make it follow through and go further away.
When the matador is satisfied that he can make the attempt, he will draw back, and profiling himself
sideways towards the bull, he will aim the sword directly over the horns and towards the shoulder blades.
The bull should be standing with front feet together and head down. This is the most critical moment of
the whole affair, known as “the Moment of Truth.” Anything can happen and the bull now has its best
and last chance to get the man. If it is properly dominated, it will follow the muleta as it crosses the
man’s body at the same instant the man lunges over the right horn and thrusts in the sword. This need
not necessarily go in more than half way (media-estocada). If it is correctly placed it will kill the bull in
a very few moments. The important thing to notice is the way in which the man lunges over the horns. A
cowardly matador will lean to one side, avoiding the danger.
Often a bull will suddenly jerk up its head at the critical moment, which means a severe wound in the
chest or stomach for the man unless he is quick to step back.
The peones will now run out waving their capes and turning the bull in short quick circles to make it
bleed more quickly and so put a swift end to its troubles. Only a few moments should elapse before it
staggers and sinks to its knees. Once down, the puntillero may give the coup-de-grace with a dagger. If
a matador does not succeed at the first attempt, he may use a long-handled dagger known as a
descabello which he plunges into the bull’s head. The matador has five minutes in which to kill the bull
from the moment of making his first attempt with the sword. A notice board over the judge’s box shows
the time at which he makes his first thrust, and at the end of five minutes an aviso, or warning blast on
the trumpet, is sounded. Two more warnings are sounded, after which, if the bull is not dead, it is taken
out to be killed behind the scenes, and the matador is in deep disgrace.
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The matador will stand close to the dying
bull, often speaking to it affectionately, and
waiting for the end before acknowledging the
applause. If he has performed brilliantly a
flutter of white handkerchiefs from all over
the audience will be seen which means that
the judges is being asked to award an ear, or
maybe both ears and the tail of the bull to the
successful matador, who will then make
several turns of the ring holding aloft his
trophies. These have been cut off by one of
the peones before the mule team comes in to
drag away the body of the bull. A very brave
bull will also make a tour of the ring amidst
loud applause, before being taken away to be
cut up and sold. The little tune which may be
heard when a matador has done a brilliant
piece of work at any point is called the Diana,
and is a part of the famous Mexican national
dance, the Jarabe Tapato. It is used on many occasions in public life to express warm approval. Exactly
the same process will be repeated with each subsequent bull. Normally there are six bulls in a corrida
de toros.
SUBSTITUTO
If for any reason a bull has to be returned to the toriles, owing to accidental injury or because it refuses
to fight, another bull may be brought in from the reserve which is always kept handy. To get the bull out
of the ring, steers are sent in, and these clumsy beasts are most amusing in their antics. Not infrequently
a steer will get loose in the callejón, and fat policemen and press photographers will be seen vaulting
hastily over the fence into the ring, only to find another pair of horns waiting for them there.
The usual cause of injury to a bull is when it charges too violently into a barrera and damages a horn,
or cuts a leg. It is very race that a bull has to be returned for cowardice. A bad bull will sometimes jump
the barrera which shows that it is reluctant to fight. Once a bull has been in the ring and learned to fight
a man it is never fought again, as it would be too dangerous. Very rarely a bull is found to be so violent
that the matador and the public will request the judge to spare its life, in which cage it is returned to the
ranch for breeding purposes. This is known as an indu1to and is a great honor for the breeder, or
ganadero.
OBSEQUIO
A matador who has been unsuccessful with his bulls may ask permission to offer an extra bull, and this
is known as an obsequio. Or a well-known public figure may decide to offer a bull, which the matador
is at liberty to refuse to kill as he has not contracted to fight more than two bulls in the afternoon.
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ALTERNATIVA
In order to become a fully-fledged matador of bulls, a young bullfighter has to take his “doctorate” or
degree in bullfighting, which he may do after successfully completing a certain number of fights as a
novillero. This consists of his being formally presented in the ring by the senior matador, and is known
as receiving the alternativa, or right to alternate in a formal corrida. The simple ceremony takes place
before the killing of the first bull, when the two men come out into the ring and the neophyte is
presented with his sword and muleta by the older torero, whose first bull he may be permitted to kill.
His seniority in the ring dates from this day. If he wishes to fight in Spain, the entire ceremony must be
repeated in Madrid.
CORNADAS
Gorings are mercifully rare in the Plaza Mexico, as the matadores engaged know their jobs quite well
and do not run unnecessary risks of grave injury. But accidents will happen, particularly when there is a
strong wind, the bullfighter’s worst enemy. A sudden gust of wind will blow the muleta up, exposing
the matador’s body to the charging bull and possibly causing a severe wound (cornada) before he has
time to jump clear. Turning one’s back on the bull after placing the banderillas or without insuring that
the animal is safely °fixed’ are other causes of gorings, while a slightly misjudged distance will make all
the difference between a torn suit and a ripped muscle.
The ring is equipped with an up-to-date operating theater and two doctors are in attendance at every
fight. A man who is gored can be under the anesthetic and receiving a blood transfusion within five
minutes of being carried from the ring. Loss of blood is the chief danger as the femoral arteries exposed
to constant risk of perforation, often to a depth of 12 cm. or more. Blood plasma suitable for all groups
is kept ready in the bullring infirmary.
TEMPORADA FORMAL
The temporada formal, or main season, normally starts in December and ends at Easter. In Spain it
begins about Easter and lasts until the fall.
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