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For ten minutes after a good estocada, the matador is the most popular man in Spain. But the trumpets sound again, the door of the Toril flies open, another bull comes rushing out, and the present interest quenches the past. The play begins again, with its sameness of purpose and its infinite variety of incident.
Throughout this strange ceremony of prayer I seem to see the bull-ring again, and in place of the dilals the cuadrillas of the Matadors coming out to salute, before the alguazils open the gates of the toril and the slaying begins. The dramatic intensity of either scene connects for me this slave market in Marrakesh with the plaza de toros in the shadow of the Giralda tower in Sevilla.
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