The Blood of the Arena - Vicente Blasco Ibáñez (phonics reading books txt) 📗
- Author: Vicente Blasco Ibáñez
- Performer: -
Book online «The Blood of the Arena - Vicente Blasco Ibáñez (phonics reading books txt) 📗». Author Vicente Blasco Ibáñez
In his confusion he thought he saw a bull-fighter place himself at his side. It must be Nacional.
"Be calm, Juan! Don't get rattled."
"Damn it!" Must the same thing always happen to him? Could he no longer thrust his arm between the horns, as in other times, burying the sword to the hilt? Was he to spend the rest of his life making audiences laugh? An ox which they had had to set on fire!
He placed himself before the animal, which seemed to await him, his legs motionless as if he wished to put an end immediately to his long torture. He would not make more passes with the muleta. He squared himself, the red rag held near the ground, the sword horizontal at the height of his eyes. Now for the stroke!
The audience rose to its feet with a sudden impulse. For some seconds man and beast formed but a single mass and thus moved a few steps. The most intelligent raised their hands ready to applaud. He had thrown himself to kill as in his better days. A master stroke!
But suddenly the man emerged from between the horns hurled like a projectile by a powerful toss of the bull's head, and rolled along the sand. The bull lowered his head and his horns hooked up the body, raising it from the ground an instant and letting it fall, to continue on his race, bearing in his neck the blade of the sword, embedded to the cross!
Gallardo slowly raised himself and the plaza burst forth into a deafening applause, eager to repair its injustice. Hurrah! Good for the bull-fighter of Seville! He had done well!
But the bull-fighter did not respond to these exclamations of enthusiasm. He put his hands on his abdomen, bent over in an attitude of pain, and took a few hesitating steps with lowered head. Twice he raised it and looked toward the door of exit—as if he feared he could not find it, staggering blindly as though intoxicated.
Suddenly he fell upon the sand—contracted like an enormous worm of silk and gold. Four mozos of the plaza slowly lifted him up until they raised him on their shoulders. Nacional joined the group holding the swordsman's ghastly head with its glassy eyes showing through their half-closed lashes.
The public made a movement of surprise, ceasing their applause. Every one gazed about, undecided as to the gravity of the event. But suddenly optimistic news circulated, coming from no one knew where; that anonymous opinion, which all heed and which at certain moments fires a multitude or causes it to remain motionless. It was nothing. A wound in the abdomen that deprived him of his senses. No one had seen blood.
The crowd, suddenly tranquillized, began to be seated again, turning its attention from the wounded bull-fighter to the wild beast, which was still on its feet, resisting the agonies of death.
Nacional helped to place his maestro on a bed in the infirmary. He fell on it like a sack, inanimate, his arms hanging outside the couch.
Sebastián, though he had often seen his maestro wounded and bleeding, and had kept his serenity in spite of it, now felt an agony of fear, seeing him inert and of a greenish white color, as if he were dead.
"By the life of the blue dove!" he moaned. "Are there no doctors? Is there nobody here?"
The man in charge of the hospital, after sending away the mangled picador, had rushed back to his box in the plaza.
The banderillero was in despair; the seconds seemed hours; he screamed to Garabato and to Potaje who had followed after him, not sure what he was trying to tell them.
Two doctors came and after closing the door so that no one could disturb them, they stood undecided before the swordsman's inanimate body. He must be undressed. Garabato began to unbutton, rip, and tear the bull-fighter's clothing, by the light that entered through a window in the ceiling.
Nacional could hardly see the body. The doctors stood around the wounded man, consulting each other with significant glances. It must be a collapse that had apparently deprived him of life. No blood was seen. The rents in his clothing were the effect, no doubt, of the tumbling the bull had given him.
Doctor Ruiz entered hastily and his colleagues made way for him, respecting his skill. He swore in his nervous precipitation while he began to assist Garabato to open the bull-fighter's clothing.
There was a movement of astonishment, of painful surprise, around the bed. The banderillero dared not inquire. He looked between the heads of the doctors and saw Gallardo's body with the shirt raised above his breast. The naked abdomen was gashed by a tortuous aperture like bleeding lips, through which appeared patches of bright blue.
Doctor Ruiz sadly shook his head. Besides the atrocious and incurable wound, the bull-fighter had received a tremendous shock from the bull's tossing. He did not breathe.
"Doctor—doctor!" cried the banderillero, begging to know the truth.
Doctor Ruiz, after a long silence, shook his head again.
"It is all over, Sebastián. Thou must seek another matador."
Nacional raised his eyes aloft. Thus to end a man like that, unable to press the hand of his friends, without a word, suddenly, like a miserable rabbit struck in the neck!
In despair he left the infirmary. Ah, he could not see that! He was not like Potaje who stood quiet and frowning at the foot of the bed, contemplating the body as though he did not see it, while he twirled his beaver hat in his fingers.
He was about to cry like a child. His breast heaved with anguish, and his eyes filled with tears.
He had to make way through the courtyard to give passage to the picadores who were entering the ring again.
The terrible news began to circulate through the plaza. Gallardo was dead! Some doubted the truth of the information; others accepted it; still no one moved from his seat. The third bull was soon to come in. The corrida had not yet reached its first half, and there was no reason for abandoning it.
Through the door of the ring came the murmur of the multitude and the sound of music.
The banderillero felt a fierce hatred born within him for all that surrounded him; an aversion to his profession and to the public that supported it. In his memory danced the sonorous words with which he had made the people laugh, finding in them now a new expression of justice.
He thought of the bull which was at that moment being dragged out of the arena, its neck burned and blood-stained, its legs rigid, and its glassy eyes staring at blue space as do those of the dead.
Then in imagination he saw the friend who lay but a few steps away from him on the other side of a brick wall, also motionless and stiff, his breast bare, his abdomen torn open, a glazed and mysterious brilliancy between his half-closed lashes.
Poor bull! Poor matador!
Suddenly the murmuring amphitheatre burst forth into a bellowing, hailing the continuation of the spectacle. Nacional closed his eyes and clenched his fists.
It was the bellowing of the wild beast, the real and only one!
THE END
End of Project Gutenberg's The Blood of the Arena, by Vicente Blasco Ibáñez
*** END OF THIS PROJECT GUTENBERG EBOOK THE BLOOD OF THE ARENA ***
***** This file should be named 33799-h.htm or 33799-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/3/3/7/9/33799/
Produced by Chuck Greif and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images available at The Internet Archive)
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use
Comments (0)