The daring and skill of the banderilleros surpass every measure. I saw one of them who had taken his place in the middle of the arena in an arm-chair; he had stretched his legs carelessly before him, — they were in rose-colored stockings, — he crossed them, and holding above his head a banderille, was waiting for the bull. The bull rushed at him straightway; the next instant, I saw only that the banderille was fastened in the neck, and the bull was smashing the chair with mad blows of his head. In what way the man had escaped between the chair and the horns, I know not, — that is the secret of his skill. Another banderillero, at the same representation, seizing the lance of a picador at the moment of attack, supported himself with it, and sprang over the back and whole length of the bull. The beast was dumb-founded, could not understand where his victim had vanished.
A multitude of such wonders of daring and dexterity are seen at each representation.
One bull never gets more than three pairs of banderilles. When the deed is accomplished, a single trumpet is heard in the orchestra with a prolonged and sad note, — and the moment the most exciting and tragic in the spectacle approaches. All that was done hitherto was only preparation for this. Now a fourth act of the drama is played.
On the arena comes out the “matador” himself, — that is, the espada. He is dressed like the other participants in the play, only more elaborately and richly. His coat is all gold and tinsel: costly laces adorn his breast. He may be distinguished by this too, — that he comes out bareheaded always. His black hair, combed back carefully, ends on his shoulders in a small tail. In his left hand he holds a red cloth flag, in his right a long Toledo sword. The capeadors surround him as soldiers their chief, ready at all times to save him in a moment of danger, and he approaches the bull, collected, cool, but terrible and triumphant.
In all the spectators the hearts are throbbing violently, and a moment of silence sets in.
In Barcelona and Madrid I saw the four most eminent espadas in Spain, and in truth I admit, that besides their cool blood, dexterity, and training, they have a certain hypnotic power, which acts on the animal and fills him with mysterious alarm. The bull simply bears himself differently before the espada from what he did before the previous participants in the play. It is not that he withdraws before him; on the contrary, he attacks him with greater insistence perhaps. But in former attacks, in addition to rage, there was evident a certain desire. He hunted, he scattered, he killed; he was as if convinced that the whole spectacle was for him, and that the question was only in this, that he should kill. Now, at sight of that cold, awful man with a sword in his hand, he convinces himself that death is there before him, that he must perish, that on that bloody sand the ghastly deed will be accomplished in some moments.
This mental state of the beast is so evident that every man can divine it. Perhaps even this, by its tragic nature, becomes the charm of the spectacle. That mighty organism, simply seething with a superabundance of vitality, of desire, of strength, is unwilling to die, will not consent to die for anything in the world! and death, unavoidable, irresistible, is approaching; hence unspeakable sorrow, unspeakable despair, throbs through every movement of the bull. He hardly notices the capeadors, whom before he pursued with such venom; he attacks the espada himself, but he attacks with despair completely evident.
The espada does not kill him at once, for that is not permitted by the rules of the play. He deceives the bull with movements of the flag, himself he pushes from the horns by turns slight and insignificant; he waits for the moment, withdraws, advances. Evidently he wishes to sate the public; now, this very instant, he’ll strike, now he lowers his sword again.
The struggle extends over the whole arena; it glitters in the sun, is dark in the shade. In the circus applause is heard, now general, now single from the breast of some señorita who is unable to restrain her enthusiasm. At one moment bravos are thundering; at another, if the espada has retreated awkwardly or given a false blow, hissing rends the ear. The bull has now given some tens of blows with his horns, — always to the flag; the public are satisfied; here and there voices are crying: “Mata el toro! mata el toro!” (Kill the bull! kill the bull!)
And now a flash comes so suddenly that the eye cannot follow it; then the group of fighters scatter, and in the neck of the bull, above the colored banderilles, is seen the red hilt of the sword. The blade has gone through the neck, and, buried two thirds of its length, is planted in the lungs of the beast.
The espada is defenceless; the bull attacks yet, but he misleads him in the old fashion with the flag, he saves himself from the blows with half turns.
Meanwhile it seems that people have gone wild in the circus. No longer shouts, but one bellow and howl are heard, around, from above to below. All are springing from their seats. To the arena are flying bouquets, cigar-cases, hats, fans. The fight is approaching its end.
A film is coming over the eyes of the bull; from his mouth are hanging stalactites of bloody saliva; his groan becomes hoarse. Night is embracing his head. The glitter and heat of the sun concern him no longer. He attacks yet, but as it were in a dream. It is darker and darker for him. At last he collects the remnant of his consciousness, backs to the paling, totters for a moment, kneels on his fore feet, drops on his hind ones, and begins to die.
The espada looks at him no longer; he has his eyes turned to the spectators, from whom hats and cigar-cases are flying, thick as hail; he bows; capeadors throw back to the spectators their hats.
Meanwhile a mysterious man dressed in black climbs over the paling in silence and puts a stiletto in the bull, where the neckbone meets the skull; with a light movement he sinks it to the hilt and turns it.
That is the blow of mercy, after which the head of the bull drops on its side.
All the participants pass out. For a moment the arena is empty; on it are visible only the body of the bull and the eviscerated carcasses of four or five horses, now cold.
But after a while rush in with great speed men with mules, splendidly harnessed in yellow and red; the men attach these mules to the bodies and draw them around so that the public may enjoy the sight once again, then with speed equally great they go out through the doors of the arena.
But do not imagine that the spectacle is ended with one bull. After the first comes a second, after the second a third, and so on. In Madrid six bulls perish at a representation. In Barcelona, at the time of the fair, eight were killed.
Do not think either that the public are wearied by the monotony of the fight. To begin with, the fight itself is varied with personal episodes caused by temperament, the greater or less rage of the bull, the greater or less skill of the men in their work; secondly, that public is never annoyed at the sight of blood and death.
The “toreadores” (though in Spain no participant in the fight is called a toreador), thanks to their dexterity, rarely perish; but if that happens, the spectacle is considered as the more splendid, and the bull receives as much applause as the espada. Since, however, accidents happen to people sometimes, at every representation, besides the doctor, there is present a priest with the sacrament. That spiritual person is not among the audience, of course; but he waits in a special room, to which the wounded are borne in case of an accident.
Whether in time, under the influence of civilization, bull-fights will be abandoned in Spain, it is difficult to say. The love of those fights is very deep in the nature of the Spanish people. The higher and intelligent ranks of society take part in them gladly. The defenders of these spectacles say that in substance they are nothing more than hazardous hunting, which answers to the knightly character of the nation. But hunting is an amusement, not a career; in hunting there is no audience, — only actors; there are no throngs of women, half fainting from delight at the spectacle of torment and death; finally, in hunting no one exposes his life for hire.
Were I asked if the spectacle is beautiful, I should say yes; beautiful especially in its surroundings, — that sun, those shades, those thousa
nds of fans at sight of which it seems as though a swarm of butterflies had settled on the seats of the circus, those eyes, those red moist lips. Beautiful is that incalculable quantity of warm and strong tones, that mass of colors, gold, tinsel, that inflamed sand, from which heat is exhaling, — finally those proofs of bold daring, and that terror hanging over the play. All that is more beautiful by far than the streams of blood and the torn bellies of the horses.
He, however, who knows these spectacles only from description, and sees them afterwards with his own eyes, cannot but think: what a wonderful people for whom the highest amusement and delight is the sight of a thing so awful, so absolute and inevitable as death. Whence comes that love? Is it simply a remnant of Middle-age cruelty; or is it that impulse which is roused in many persons, for instance at sight of a precipice, to go as near as possible to the brink, to touch that curtain, behind which begin the mystery and the pit? — that is a wonderful passion, which in certain souls becomes irresistible.
Of the Spaniards it may be said, that in the whole course of their history they have shown a tendency to extremes. Few people have been so merciless in warfare; none have turned a religion of love into such a gloomy and bloody worship; finally, no other nation amuses itself by playing with death.
Hania and Other Stories
Translated by Jeremiah Curtin
CONTENTS
HANIA.
PROLOGUE. THE OLD SERVANT.
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
CHAPTER IX.
CHAPTER X.
CHAPTER XI.
CHAPTER XII.
TARTAR CAPTIVITY.
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
LET US FOLLOW HIM.
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
BE THOU BLESSED.
AT THE SOURCE.
CHARCOAL SKETCHES.
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
CHAPTER IX.
CHAPTER X.
CHAPTER XI.
THE ORGANIST OF PONIKLA.
LUX IN TENEBRIS LUCET12
ON THE BRIGHT SHORE.
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
CHAPTER IX.
CHAPTER X.
THAT THIRD WOMAN.
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
CHAPTER IX.
CHAPTER X.
CHAPTER XI.
CHAPTER XII.
CHAPTER XIII.
CHAPTER XIV.
CHAPTER XV.
CHAPTER XVI.
CHAPTER XVII.
CHAPTER XVIII.
CHAPTER XIX.
CHAPTER XX.
CHAPTER XXI.
CHAPTER XXII.
CHAPTER XXIII.
HANIA.
PROLOGUE. THE OLD SERVANT.
BESIDES old managers, overseers, and foresters there is another type of man which is disappearing more and more from the face of the earth, — the old servant.
During my childhood, as I remember, my parents were served by one of those mammoths. After those mammoths there will soon be only bones in old cemeteries, in strata thickly covered with oblivion; from time to time investigators will dig them out. This old servant was called Mikolai Suhovolski; he was a noble from the noble village of Suha Vola, which he mentioned often in his stories. He came to my father from my grandfather of sacred memory, with whom he was an orderly in the time of the Napoleonic wars. He did not himself remember accurately when he began service with my grandfather; when he was asked for the date, he took snuff, and answered, —
“Yes, I was then without mustaches, and the colonel, God light his soul, was still very young.”
In the house of my parents he fulfilled the most varied duties: he was butler; he was body-servant; in summer he went to the harvest fields in the rôle of overseer, in winter to the threshing; he kept the keys of the vodka room, the cellar, the granary; he wound up the clocks; but above all he kept the house in order.
I do not remember this man otherwise than scolding. He scolded my father, he scolded my mother; I feared him as fire, though I liked him. In the kitchen he worked off a whole breviary on the cook, he pulled the pantry boys by the ears through the house, and never was he content with anything. Whenever he got tipsy, which happened once a week, all avoided him, not because he permitted himself to have words with his master or mistress, but because whenever he fastened on any one, he followed that person all day, nagging and scolding without end.
During dinner, he stood behind my father’s chair, and, though he did not serve, he watched the man who served, and poisoned life for him with a most particular passion.
“Take care, take care!” muttered he, “or I will take care of thee. Look at him! he cannot serve quickly, but drags his legs after him, like an old cow on the march. Take care again! He does not hear that his master is calling. Change her plate for the lady. Why art thou gaping? Why? Look at him! look at him!”
He interfered in conversation carried on at table, and opposed everything always. Frequently it happened that my father would turn during dinner and say to him, —
“Mikolai, tell Mateush after dinner to harness the horses; we will drive to such and such a place.”
“Drive! why not drive? Oi yei! But are not horses for driving? Let the poor horses break their legs on such a road. If there is a visit to be made, it must be made. Of course their lordships are free; do I prevent them? I do not prevent. Why not visit? The accounts can wait, and the threshing can wait. The visit is more urgent.”
“It is a torment with this Mikolai!” shouted my father sometimes, made impatient.
But Mikolai began again, —
“Do I say that I am not stupid? I know that I am stupid. The manager has gone to pay court to the priest’s housekeeper in Nyevodov, and why shouldn’t masters go on visits? Is a visit less important than paying court to a housekeeper? If ’tis permitted to the servant to go, it is permitted to the master.”
And thus it went on in a circle without means of stopping the old grumbler.
We, that is, I and my younger brother, feared him, as I have said, almost more than our tutor Father Ludvik, and surely more than our parents. He was more polite toward my sisters. He said “Panienka” 1 to each of them, though they were younger than we; but to us he said “thou” without ceremony. For me he had a special charm: he always carried gun caps in his pocket. It happened often that after lessons I would slip into the pantry, smile as nicely as I could, be as friendly as possible, and say timidly, —
“Mikolai! A good day to Mikolai. Will Mikolai clean pistols to-day?”
“What does Henryk want here? I’ll get ready a dish-cloth, that is all.”
Then he would mock me, saying, —
“‘Mikolai! Mikolai!’ When gun caps are wanted, Mikolai is good, and when not, let the wolves eat him. Thou wouldst do better to study; thou’lt never gain wit from shooting.”
“I have finished my lessons,” said I, half crying.
“Finished his lessons! Hum! finished. H
e is studying and studying, but his head is like an empty canister. I won’t give caps, and that’s the end of it.” (While talking, he searched through his pockets.) “But if the cap goes into his eye, Mikolai will catch it. Who is to blame? Mikolai. Who let the boy shoot? Mikolai.”
Scolding in this fashion, he went to my father’s room, took down the pistols, blew the dust off them, declared a hundred times more that all this was not worth a deuce; then he lighted a candle, put a cap on the nipple of the pistol, and let me aim. Meanwhile I had often to bear heavy crosses.
“How the boy holds the pistol!” said he. “Hum! like a barber. How couldst thou quench a candle, unless as an old man quenches it in church? Thou shouldst be a priest to repeat Hail Marys, and not be a soldier.”
In his own way he taught us his military art of other days. Often after dinner I and my brother learned to march under his eye, and with us marched Father Ludvik, who marched very ridiculously.
Then Mikolai looked at him with a frown, and, though he feared the priest more than any one, he could not restrain himself.
“Hei!” said he, “but his grace marches just like an old cow.”
I, as the elder, was oftener under his command, so I suffered most. But when I was sent to school old Mikolai cried as if the greatest misfortune had happened. My father and mother said that he became more peevish, and annoyed them two weeks.
“They took the child and carried him away,” said he. “And if he dies! Uu! u! But what does he want of schools? Isn’t he the heir? Will he study Latin? They want to turn him into a Solomon. What folly! The child has gone off, gone off, and crawl, thou old man, into corners and look for what thou hast not lost. The deuce knows why ’tis done.”
Complete Works of Henryk Sienkiewicz Page 677