Death in the Afternoon - Ernest Hemingway

Summary

'Death in the Afternoon' is a non-fiction work by Ernest Hemingway, serving as a comprehensive treatise and cultural exploration of the Spanish bullfight, or corrida de toros. Published in 1932, the book offers a deep dive into every aspect of this traditional spectacle, from the historical origins and the breeding of fighting bulls to the intricate techniques of the matadors, picadors, and banderilleros. Hemingway, a passionate aficionado, uses vivid prose, personal anecdotes, and technical explanations to demystify bullfighting for the uninitiated while also elevating it as a profound art form. He explores the physical dangers, the artistry and bravery involved, and the inherent philosophical themes of death, courage, and human dignity that underpin the ritual. The narrative is occasionally interspersed with dialogues with a fictional "Old Lady," a literary device allowing Hemingway to address common questions and criticisms from a skeptical perspective. Ultimately, the book is both an educational guide to bullfighting and a meditation on life, death, and the pursuit of grace under pressure.

Book Sections

Section 1: Introduction to the Bullfight

Hemingway begins by declaring his love for bullfighting and outlining the purpose of the book: to explain bullfighting as an art and tragedy, not merely a sport. He emphasizes that to truly understand it, one must grasp its elements of death, skill, and spectacle. He discusses the historical context, tracing the origins of bullfighting from ancient rituals involving bulls to its formalized modern Spanish form. He introduces the main players and the general structure of the corrida.

Character	Characteristics	Motivations
Matador	The principal bullfighter, highly skilled, courageous, artistic, often flamboyant.	Fame, glory, financial reward, artistic expression, mastery over death, proving courage and skill.
Picador	Mounted bullfighter with a lance, strong and often stoic.	To weaken the bull's neck muscles, prepare it for the matador, fulfilling a traditional role.
Banderillero	Agile bullfighter who places barbed sticks (banderillas) into the bull's shoulders.	To further weaken and irritate the bull, demonstrating athleticism and bravery, assisting the matador.
The Bull	A specially bred fighting bull, naturally aggressive, powerful, and instinctual.	Survival, defending itself, following its natural fighting instincts until death.

Section 2: The Bull and the Plaza

This section delves into the characteristics of the fighting bull itself, stressing that it is a specially bred animal for aggression and bravery. Hemingway describes the importance of breeding, the physical attributes of a good fighting bull, and how bulls are chosen for the ring. He then shifts to the physical arena, the 'plaza de toros,' detailing its layout, the different sections for spectators, and how the architecture contributes to the spectacle. He explains how the crowd's reaction and behavior are integral to the atmosphere and success of a corrida.

Section 3: The Opening Tercio (Tercio de Varas)

Hemingway meticulously describes the first stage of the bullfight, known as the 'tercio de varas' or the 'act of the lances.' He explains the initial charge of the bull, the entrance of the picadors on their armored horses, and the controversial role of the lance. He provides detailed instructions on how a picador should correctly place the lance to weaken the bull's neck and shoulders without unduly injuring it, and how the bull should charge the horse. This section is crucial for understanding the initial assessment of the bull's temperament and strength.

Character	Characteristics	Motivations
The Old Lady	A fictional, inquisitive, and often skeptical interlocutor.	To understand bullfighting from an outsider's perspective, to voice common questions and moral reservations.

Section 4: The Second Tercio (Tercio de Banderillas)

The author moves to the 'tercio de banderillas,' where the banderilleros place two pairs of barbed sticks into the bull's shoulders. He describes the various ways banderillas can be placed – 'al cuarteo,' 'de poder a poder,' 'al violín' – each requiring immense courage, agility, and precision. Hemingway emphasizes that this stage is not meant to wound the bull severely but to animate it, lighten its charge, and correct any tendencies it might have, making it more predictable for the matador's final act.

Section 5: The Third Tercio (Tercio de Muerte)

This section focuses on the climax of the bullfight: the 'tercio de muerte' or 'act of death.' Here, the matador takes center stage, performing a 'faena' with the muleta (a small red cape draped over a stick) and a sword. Hemingway details the different passes (verónicas, natural, derechazo, pase de pecho) and their aesthetic values, explaining how the matador aims to dominate and control the bull with grace and artistry. He discusses the importance of the matador's closeness to the bull, the danger involved, and the preparation for the ultimate moment: the kill.

Section 6: The Kill and its Variations

Hemingway dissects the art of the kill, the 'estocada.' He describes the ideal method, where the matador aims the sword between the bull's shoulder blades to sever the aorta, resulting in a swift and honorable death. He explains the different types of thrusts and their effectiveness, as well as the moments leading up to the kill—the matador's vulnerability and the bull's final charge. This is where the matador's courage and technical prowess are most starkly displayed, culminating in a moment of truth that defines the entire performance.

Section 7: Bravery, Fear, and Artistry

This part explores the psychological dimensions of bullfighting. Hemingway delves into the nature of bravery and fear in the bullring, distinguishing between true courage and calculated risk. He discusses how different matadors express their personalities through their unique styles, whether through raw power, exquisite grace, or daring proximity. He emphasizes that bullfighting is an art form judged by aesthetic criteria as much as by technical skill, where the matador creates beauty in the face of death.

Section 8: The Philosophy of Death

Hemingway confronts the central theme of death in the bullring. He argues that the ritualized killing of the bull is not merely slaughter but a profound act that allows both participants and spectators to confront mortality directly. He discusses how death, when faced with honor and skill, can possess a certain beauty and dignity. This section is a philosophical meditation on the human condition, the inevitability of death, and the search for meaning in the face of it, using the bullfight as a stark metaphor.

Section 9: Injuries and the Reality of Danger

This section offers a grim counterpoint to the artistry, detailing the horrific injuries sustained by matadors and their assistants. Hemingway recounts various gorings, their nature, and the often fatal consequences. He does not shy away from the brutality, stressing that the danger is very real and that every performance could be a matador's last. This serves to underscore the bravery required and the high stakes involved in every corrida.

Section 10: Notable Matadors and their Styles

Hemingway dedicates significant space to discussing famous matadors throughout history, from legendary figures of the past to his contemporaries. He analyzes their individual styles, their strengths and weaknesses, their contributions to the art, and their impact on bullfighting. He offers anecdotes and personal observations, painting vivid portraits of these men who dedicate their lives to the dangerous profession.

Section 11: The Audience, Critics, and the Future of Bullfighting

In the concluding sections, Hemingway examines the role of the audience and the criteria by which a bullfight is judged. He differentiates between the knowledgeable aficionado and the casual spectator. He also discusses the critics, the state of bullfighting in his time, and offers his own views on its future, acknowledging the challenges it faces while passionately defending its cultural significance and inherent values. He reiterates the bullfight as an enduring tragedy and a unique cultural expression.

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Literary Genre

Non-fiction, Cultural Commentary, Sports Journalism, Philosophical Essay.

Author Facts

• Ernest Miller Hemingway (1899–1961) was an American novelist, short-story writer, and journalist.
• He received the Nobel Prize in Literature in 1954 for "mastery of the art of narrative, most recently demonstrated in 'The Old Man and the Sea,' and for the influence that he has exerted on contemporary style."
• He was awarded the Pulitzer Prize for Fiction in 1953 for 'The Old Man and the Sea'.
• Known for his distinctive economical and understated prose style, often referred to as the "iceberg theory," where much of the story's meaning is left unstated or implied.
• Hemingway led an adventurous life that heavily influenced his writing, including serving as an ambulance driver in World War I, working as a foreign correspondent, participating in the Spanish Civil War, and engaging in big-game hunting and deep-sea fishing.
• His works often explore themes of masculinity, stoicism, death, war, and the "lost generation."

Moral/Message

The primary message of 'Death in the Afternoon' is a profound exploration of death as an integral and beautiful part of life, particularly when faced with courage, skill, and dignity. It argues that bullfighting is not just a sport but a ritualized art form that allows humans to confront their own mortality and the inevitability of death. Hemingway conveys the importance of living authentically and gracefully under pressure, finding meaning and artistic expression even in the face of extreme danger. The book also serves as a passionate defense and explanation of a complex cultural tradition, urging readers to understand rather than simply condemn foreign customs.

Curiosities

• Personal Passion: Hemingway was a passionate and lifelong aficionado of bullfighting, having first experienced it in Spain in the 1920s. He spent many seasons following bullfighters and learning about the art, which deeply influenced his writing and personal philosophy.
• The "Old Lady" Device: The character of the "Old Lady" is a literary invention by Hemingway. She serves as a stand-in for the uninitiated or skeptical reader, allowing him to address common questions, criticisms, and misunderstandings about bullfighting through dialogue, making the dense subject matter more engaging and accessible.
• Illustrations: The book includes 81 black-and-white photographs selected by Hemingway himself, which are crucial to illustrating the intricate details of the bullfight and the specific techniques he describes.
• Controversy: 'Death in the Afternoon' was controversial upon its release due to its graphic descriptions of violence, particularly concerning the treatment of the horses ridden by picadors. These practices, however, evolved over time, with horses being armored more heavily in later decades.
• Influence on Prose: This non-fiction work is an excellent example of Hemingway's developing prose style, characterized by its directness, clarity, and the absence of superfluous adjectives and adverbs. It demonstrates his ability to write with authority and precision about a complex subject.