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    手机欢乐斗牛Gallardo rose, dusting the sand from his clothes, and the audience, always loving daring deeds, applauded him with all the enthusiasm of former days. They quite understood that the torero's display of courage was an attempt at reconciliation with themselves, an effort to regain their affection. He had come to the corrida ready for any feat of daring which would earn their plaudits.


    Juan Gallardo is not one of the impossible heroes that crowd the pages of fiction; to me he is a more successful portrait than, for example, Gabriel Luna of The Shadow of the Cathedral. There is a certain rigidity in Luna's make-up, due perhaps to his unbending certainty in matters of belief,—or to be exact, matters of unbelief. This is felt even in his moments of love, although that may be accounted for by the vicissitudes of his wandering existence and the illness with which it has left him. Gallardo is somehow more human; he is not a matinée hero; he knows what it is to quake with fear before he enters the ring; he comes to a realization of what his position has cost him; he impresses us not only as a powerful type, but as a flesh and blood creature. And[Pg xi] his end, like that of so many of the author's protagonists, comes about much in the nature of a retribution. He dies at the hands of the thing he loves, on the stage of his triumphs. And while I am on the subject of the hero's death, let me suggest that Blasco Ibá?ez's numerous death scenes often attain a rare height of artistry and poetry,—for, strange as it may seem to some, there is a poet hidden in the noted Spaniard, a poet of vast conception, of deep communion with the interplay of Nature and her creatures, of vision that becomes symbolic. Recall the death of the Centaur Madariaga in The Four Horsemen of the Apocalypse, dashing upon his beloved steed, like a Mazeppa of the South American plains, straight into eternity; read the remarkable passages portraying the deaths of Triton and Ulises in Mare Nostrum; consider the deeply underlying connotation of Gabriel Luna's fate. These are not mere dyings; they are apotheoses.


    1.[86] Little wolf.
    2.She explained that she had seen Gallardo, having been at the only corrida given in Madrid. She had been there with a foreign gentleman, who wished to know Spanish things: a friend who was accompanying her on her journey, but who was living at another hotel.
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