https://www.jpost.com/Opinion/Hemingways-Jewish-bullfighter-571011
Nostrils flare dripping with venomous anger, the eyes are big, onyx and lifeless; crimson blood pours from its back consecrating the arena; the front hooves beat the ground relentlessly as dust, sweat and rage hang heavy in the afternoon sun; it snorts and roars with contempt; the head, crowned with piercing horns, is lowered; and the pent-up energy is unleashed with a furious charge at the taunting matador who turns on his axis elegantly to enshroud the incensed bull in his blood red cape as man and beast engage in a choreographed macabre dance of death.
It was at the Pamplona Fiesta in Spain in the 1920s that Hemingway fell in love with the metaphysics of bullfighting, which became a metaphor for his search for meaning and the essence of life and death. The result of this quasi-religious experience was his masterpiece Death in the Afternoon.
Not surprisingly, Hemingway intensely admired Sidney Franklin, a sublime bullfighter, who was born in Brooklyn, New York to Orthodox Jewish parents. Writing in Death in the Afternoon, Ernest Hemingway said, “Franklin is brave with a cold, serene and intelligent valor, but instead of being awkward and ignorant, he is one of the most skillful, graceful and slow manipulators of a cape fighting today. His repertoire with the cape is enormous, but he does not attempt by a varied repertoire to escape from the performance of the veronica as the base of his cape work and his veronicas are classical, very emotional, and beautifully timed and executed. You will find no Spaniard who ever saw him fight who will deny his artistry and excellence with the cape.” Hemingway adds, “He is a better, more scientific, more intelligent, and more finished matador than all but about six of the full matadors in Spain today and the bullfighters know it and have the utmost respect for him.”
In his book Double-Edged Sword: The Many Lives of Hemingway’s Friend, the American Matador Sidney Franklin, Paul Bart observes that Death in the Afternoon describes Franklin as having the “ability in languages, the cold courage and the ability to command of the typical soldier of fortune.”
“Yet Franklin wasn’t any kind of soldier,” writes Bart, “resembling instead the womanly Europa in the classical Greek myth where Zeus disguises himself as a bull to rape Europa.” Benjamin Ivry expands on the theme of rape when he writes that Franklin’s bullfighting career was punctuated by genuine violations of his body. In a particularly horrific 1930 episode requiring multiple surgeries, a dying bull’s horn “caught Sidney at the base of his tailbone, plunging into his abdominal cavity through the rectum, piercing the sphincter muscle and large intestine.” Franklin repeatedly risked similar gory disasters long after this 1930 catastrophe.