By Mike Smith
I have an instinctive abhorrence for blood-sports. I can remember when many years ago Woman’s Hour on BBC’s Radio 4 misjudged its audience and promoted a female bullfighter in a spirit of misguided equality and was roundly condemned.
So, you might find it surprising that one of my favourite Kipling stories is about a bull-fight. ‘The Bull That Thought’, from the 1926 collection, Debits and Credits – home of several favourites, including the clever ‘The Eye of Allah’, and the poignant ‘The Gardener’ — is one of those Kipling stories that stands out, not merely from his own work but from just about anything else one might have read.
A framed story, like many Kipling stories, it is one of those told to its first person narrator, in this case in the presence of the reader, by one of those “men on steamers and trains” who Kipling reminds us in that much earlier tale Preface, which seems both tale and preface, is where stories come from The tale is told over a magnum (or probably larger) of fine old champagne, “between fawn and topaz, neither too sweet nor too dry”, by a Monsieur Voiron.
The eponymous bull is called Apis, and in Voiron’s youth was itself a calf. Voiron has been brought up on a cattle farm among herdsmen, and bulls, in The Crau and the Camargue regions of France. Retired after a life in the Colonial Service, and returned to his family farm, Voiron recounts the tale of Apis, who far from being a mindless beast has brought intelligence to the games of bull-fighting that were played in the yards and fields of his homeland.
In fact, Apis has shown himself to be an exceptional tactician, and a “natural murderer” — “almost indecent but infallibly significant”. The ownership of the bull passes into the hands of Christophe, a peasant herdsman on the estate, and he sells the bull to Spaniards, who fight their bulls, not with padded horns, but to death of either bull or matador. Voiron tells how he and Christophe travel across the border to see what must be Apis’ first and final fight.
Slightly more than half of this fourteen-page story is devoted to the description of that fight. All the tricks and turns that the bull has learned in his youth – leading to the death of horses and other bulls – is put to the test as Apis faces Villamarti, a local matador out to show his prowess. The bull destroys the forces sent against him, tricking them into errors, killing both horses and men, yet managing too, to convince the crowd, at least to begin with, that he is making merely clumsy mistakes, rather than clever ambushes. Finally, having destroyed Villamarti’s reputation, he is left in a bullring which, traditionally he cannot be allowed to leave alive. Already the Guardia Civile are handling their carbines.
Salvation comes in the shape of Christo, who like Christophe is a peasant herdsman at heart. He is also the oldest, wisest, and dullest of the matadors against whom the bulls have been pitted. He alone recognises the cleverness, and value of Apis, and the bull recognises him too. The two of them put on a marvellous display, edging nearer to the gate from which no bull has exited the arena under its own steam. Finally, Christo’s cloak thrown over the bull’s back, the old matador demands the gate be opened for him and his friend. Amazingly it is. The bull has spared him, and he has saved it. Both know the game they have played and won.
Finishing his tale, Voiron confesses that he and Christophe did not see the next bull – “an unthinking black Andalusian” — killed, for they were weeping like children. He ends the story by proposing a toast ‘to her’, and Kipling phrases it with just a hint of ambiguity as to just who that ‘her’ might be.
It’s not simply the story of the underdog winning that I like. Apis is hardly the underdog, even when outnumbered in the bullring! It’s what the story reminds me of about Kipling. Because of his enthusiasm for Empire, and the association of that Empire, despite its Britishness, with England, we can be fooled into thinking of Kipling as an English writer. But in reality, he was much broader than that.
His British soldiers, of the ‘Soldiers Three’ stories, are stereotypes of working-class voices from several regions of Britain, but none of them have Kipling’s voice. They seem as foreign to him as the Muslim and Hindu ayahs, servants and soldiers of his India, perhaps even more so. And in the story ‘An Habitation Enforced’, it’s tempting to see the American and his wife who become nouveau Lords of the Manor in the English village to which they have moved as proxies for Kipling and his Sussex house, Batemans. In ‘The Village That Voted The Earth Was Flat’, and ‘They’, Kipling’s narrators slip easily into the identity of the British Establishment, but the English are always seen from the outside by this writer.
The writer, any writer, is likely to be to some extent an outsider, an observer, even when his or her readers perceive them to be insiders, and Kipling seems to be at a similar distance, or proximity to most of his characters, even those whom he calls “mine own people”.
In The Bull That Thought, Kipling’s narrator is a car-owning, continental travelling ‘Englishman’, which puts him in a very tiny minority of the British population. But the story allows us to see another aspect of Kipling’s identity, for he was a lover of France, and can present his French raconteur with absolute credibility, perhaps even authenticity.
The tale within a tale is a common technique and was used by many storytellers. Coppard used it, and he is about as far as you can get from Kipling where English identities are concerned, and so did and so do many others. Sometimes, the primary narrator simply introduces the tale and lets the secondary narrator carry on. Sometimes the frame is completed with the outer narrator appearing at the end to tie things up. Here, Kipling keeps a conversation between the two going, his primary narrator intervening to remind us who is talking to whom, and that both of them are setting into that enormous champagne bottle! “Monsieur Voiron replenished our glasses…”
Occasionally, as if to drive the narrative on, he asks questions: “Why did you want to send him to Arles?”And once he even has to bring Voiron back to the subject in hand as the old man veers off onto another train of thought:
“‘…Now, as compared with our recent war, Soult’s campaign and retreat across the Bidassoa–’
“‘But did you allow Christophe just to annex the bull?’ I demanded”
The opening frame takes up more than a page of the story, as the narrator recalls his trip to “westward from a town by the Mouth of the Rhone’”and his plan to road test the speed of his motor car on “thirty kilometres as near as might be” of a road “mathematically straight”. Voiron, a guest at the same Hotel takes an interest, and after the event suggests the celebratory meal during which he will tell his story. Though we get a fairly full account of Voiron’s history, we also get a subtle nudge about the narrator’s, for he has with him a Mr Leggat “who had slipped out to make sure” and “reported that the road surface was unblemished”. Leggat is our traveller’s chauffeur/mechanic. The purpose of such a frame is to let us know what sort of person we are listening to, and by extension, how to judge those to whom he is talking, and who he will suffer to talk to us.
And at the end, it is Voiron to whom he gives the closing words. That leaves us with Kipling’s narrator when the telling ends. There is no comment either from Kipling’s narrator or himself. We make of it what we make of it, and it’s more, I think, that what we might expect our narrator, or his storyteller, or the author himself to believe about the practice of bullfighting.
The nature of the fight that Apis wages against his tormentors, both as a young calf and as a full grown bull, and Voiron’s attitude to it, and to him, and to the outcome of that final battle, can be seen as an examination of attitudes to war and violent conflict in the wider sense. Voiron has “supervised Chinese woodcutters who, with axe and dynamite, deforested the centre of France for trench-props”, and he drifts into talking about Soult’s Napoleonic War campaign in Spain. In short stories, and especially in ones by masters of the genre as Kipling was, there are no drifts into irrelevancy, only the illusion of them. Voiron draws a specific parallel just after he has described Apis as a “natural murderer”: “One knows the type among beasts as well as among men.”
The date of publication, of 1926, falls well within the deep and long shadow thrown by the first ‘Great’ war of the twentieth century, and Kipling knew well the cost of it. In the stories ‘Mary Postgate’ and ‘The Gardener’ which bracket, by publication this one, he confronts directly both the private and the public grief, but here, might there be an oblique critique as well? Yet not of the cleverness of the tactics as shown by Apis, so much as the attitude of those who live to tell the tale and of the outcome they long for. That “type among beasts” and men, Voiron asserts, “possesses a curious truculent mirth”.
Does the calculated brutality of the bull, and its sense of honour and of humour echo qualities that Kipling observed in those who fought in the trenches for which Voiron’s Chinese workers “deforested France”?
Mike Smith lives on the edge of England where he writes occasional plays, poetry, and essays, usually on the short story form in which he writes as Brindley Hallam Dennis. His writing has been published and performed. He blogs at www.Bhdandme.wordpress.com
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