Lillian Morris, and Other StoriesSienkiewicz, Henryk
General
Lillian Morris, and Other Stories
Sienkiewicz, Henryk
Frontier and pioneer life -- West (U.S.) -- Fiction; Short stories, Polish -- Translations into English
But the spectacle has barely passed through one-half of its course.
Those picadors whose horses have survived the defeat, ride out, it is
true, from the arena; but in place of them run in with jumps, and amid
shouts, nimble banderilleros. Every one of them in his upraised hands
has two arrows, each an ell long, ornamented, in accordance with the
coat of the man, with a blue, a green, or a red ribbon, and ending
with a barbed point, which once it is under the skin will not come out
of it. These men begin to circle about the bull, shaking the arrows,
stretching toward him the points, threatening and springing up toward
him. The bull rolls his bloodshot eyes, turns his head to the right,
to the left, looking to see what new kind of enemies these are. “Ah,”
says he, evidently, to himself, “you have had little blood, you want
more—you shall have it!” and selecting the man, he rushes at him.
But what happens? The first man, instead of fleeing, runs toward the
bull,—runs past his head, as if he wished to avoid him; but in that
same second something seems hanging in the air like a rainbow: the man
is running away empty-handed with all the strength of his legs, toward
the paling, and in the neck of the bull are two colored arrows.
After a moment another pair are sticking in him, and then a third
pair,—six altogether, with three colors. The neck of the beast seems
now as if ornamented with a bunch of flowers, but those flowers have
the most terrible thorns of any on earth. At every movement of the
bull, at every turn of his head, the arrows move, shake, fly from one
side of his neck to the other, and with that every point is boring into
the wound. Evidently from pain the animal is falling into the madness
of rage; but the more he rushes the greater his pain. Hitherto the
bull was the wrong-doer, now they wrong him, and terribly. He would
like to free himself from those torturing arrows; but there is no power
to do that. He is growing mad from mere torment, and is harassed to the
utmost. Foam covers his nostrils, his tongue is protruding; he bellows
no longer, but in the short intervals between the wild shouts, the
clapping, and the uproar of the spectators, you may hear his groans,
which have an accent almost human. The capeadors harassed him, every
picador wounded him, now the arrows are working into his wounds; thirst
and heat complete his torments.
It is his luck that he did not get another kind of “banderille.”
If—which, however, happens rarely—the bull refuses to attack the
horses and has killed none, the enraged public rise, and in the circus
something in the nature of a revolution sets in. Men with their canes
and women with their parasols and fans turn to the royal box; wild,
hoarse voices of cruel cavaliers, and the shrill ones of senoritas,
shout only one word: “Fuego! fuego! fuego!” (Fire, fire, fire!)
Public-domain text, read in full here on John Shaqi.
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