220 
SPANISH BULL-FIGHTING. 
appearanGC. The alguazils hasten to retire, and their fight is a pre- 
lude to the cruel pleasure which the spectators are about to enjoy. 
The bull is received with loud shouts, and almost stunned with the 
noisy expressions of their joy. He has to contend first against the 
picadores, combatants on horseback, who, dressed according to the 
ancient Spanish manner, and as it were fixed to their saddles, wait 
for him, each being armed with a long lance. This exercise, which 
requires strength, courage, and dexterity, is not considered as dis- 
graceful. Formerly the greatest lords did not disdain to practise it; 
even at present the hidalgos solicit the honour of fighting the bull on 
horseback. The picadores open the scene. 
It often happens, that the bull, without being provoked, darts upon 
them, and every person entertains a favourable opinion of his courage. 
If, notwithstanding the sharp-pointed weapon which defends his attack, 
he returns immediately to the charge, their shouts are redoubled, as 
their joy is converted into enthusiasm ; but if the bull, struck with 
terror, appears pacific, and avoids his persecutors by walking round 
the square in a timid manner, he is hooted at and hissed by the 
whole spectators, and all those near whom he passes load him with 
blows and reproaches. If nothing can awaken his courage, he is 
judged unw'orthy of being tormented by men ; the cry of “ Perros, per- 
ros,” brings forth new enemies against him, and large dogs are let 
loose upon him, which seize him by the neck and ears in a furious 
manner. The animal then finds the use of those weapons with which 
nature has furnished him ; he tosses the dogs into the air, who fall 
down stunned, and sometimes mangled ; they often recover, renew the 
combat, and generally finish by overcoming their adversary, who thus 
perishes ignobly. If, on the other hand, he presents himself with a 
good grace, he runs a longer and nobler, but much more painful 
career. The first act of the tragedy belongs to the combatants on 
horseback ; this is the most bloody of all the scenes, and the most 
disgusting. The irritated animal braves the pointed steel w'hich 
makes deep wounds in his neck, attacks with fury the innocent horse 
who carries his enemy, rips up his sides and overturns him together 
with his rider. The latter, then dismounted and disarmed, would be 
exposed to imminent danger, did not combatants on foot, called Chu- 
los, come, to divert the bull’s attention, and to provoke him by shak- 
ing before him different pieces of cloth of various colours. It is, 
however, at their own risk that they thus save the dismounted horse- 
man ; for the bull sometimes pursues them, and they have need then 
for all their agility. They often escape from him by letting fall the 
piece of stuff* which was their only arms, and against which the de- 
ceived animal expends all his fury. Sometimes the combatant has 
no other resource but to throw himself speedily over a barrier six 
feet high, which encloses the interior part of the arena. . In some 
places this barrier is double, and the intermediate space forms a kind 
of circular gallery, behind which the pursued torreadore is in safety. But 
when the barrier is single, the bull attempts to jump over it, and often 
succeeds ; the nearest of the relations are then in the greatest conster- 
nation ; their haste to get out of their way, and to crowd to the upper 
benches, becomes often more fatal to them than even the fury of the 
