The final act is the death of the bull. It must come at last. His exploits in the early part of his career afford to the amateur some indication of the manner in which he will meet his end. If he is a generous, courageous brute, with more heart than brains, he will die gallantly and be easily killed. But if he has shown reflection, forethought, and that saving quality of the oppressed, suspicion, the matador has a serious work before him. The bull is always regarded from this objective standpoint. The more power of reason the brute has, the worse opinion the Spaniard has of him. A stupid creature who rushes blindly on the sword of the matador is an animal after his own heart. But if there be one into whose brute brain some glimmer of the awful truth has come,--and this sometimes happens,--if he feels the solemn question at issue between him and his enemy, if he eyes the man and not the flag, if he refuses to be fooled by the waving lure, but keeps all his strength and all his faculties for his own defence, the soul of the Spaniard rises up in hate and loathing. He calls on the matador to kill him any way. If he will not rush at the flag, the crowd shouts for the demi-lune; and the noble brute is houghed from behind, and your soul grows sick with shame of human nature, at the hellish glee with which they watch him hobbling on his severed legs. This seldom happens. The final act is usually an admirable study of coolness and skill against brute force. When the banderillas are all planted, and the bugles sound for the third time, the matador, the espada, the sword, steps forward with a modest consciousness of distinguished merit, and makes a brief speech to the corregidor, offering in honor of the good city of Madrid to kill the bull. He turns on his heel, throws his hat by a dexterous back-handed movement over the barrier, and advances, sword and cape in hand, to where his noble enemy awaits him. The bull appears to recognize a more serious foe than any he has encountered. He stops short and eyes the newcomer curiously. It is always an impressive picture: the tortured, maddened animal, whose thin flanks are palpitating with his hot breath, his coat one shining mass of blood from the darts and the spear-thrusts, his massive neck still decked as in mockery with the fluttering flags, his fine head and muzzle seeming sharpened by the hour's terrible experience, his formidable horns crimsoned with onset; in front of this fiery bulk of force and courage, the slight, sinewy frame of the killer, whose only reliance is on his coolness and his intellect. I never saw a matador come carelessly to his work. He is usually pale and alert. He studies the bull for a moment with all his eyes. He waves the blood-red engano, or lure, before his face. If the bull rushes at it with his eyes shut, the work is easy. He has only to select his own stroke and make it. But if the bull is jealous and sly, it requires the most careful management to kill him.