Novillero: a matador of novillos-toros, the bulls described above. He may either be an aspirant or a matador who has failed to make a living in the class above and renounced his alternative in search of contracts. The most a novillero makes in Madrid is 5,000 pesetas a fight and he may, if a debutant, fight for as low as a thousand pesetas. If out of this latter sum he must pay the rent of a suit, wages to two picadors, two banderilleros and his sword handler, and send envelopes containing fifty or a hundred pesetas around to the critics of the press he will owe money after the fight is over. Novilleros who are protected by the management of the bull ring may only have to fight young bulls and may be very successful with these and fail completely when they become full matadors due to the difference in danger, strength and speed between the immature and mature bulls. It is never safe to judge a bullfighter on his performance with immature animals for no matter how perfect his technique and training he may completely lack the heart necessary for working with the real bull.

Novillo: bull used in novilladas.

Nuevo: new; Nuevo en esta Plaza after a bullfighter's name on a programme means that this is his presentation in that ring.

Nulidad: a complete nobody; bullfighter who is a drawback rather than an attraction on a programme.

O

Ojo: eye; a matador who wishes to give the crowd the information, either true or false, that the bull does not see well as an excuse for his own lack of brilliance will point to his own eye. Buen-ojo: means a good eye or good judgment.

Olivo: olive tree; tomar el olivo: to take to the olive tree, phrase used to describe the action of the matador when seized by panic or through having let the bull put him in an impossible terrain he scrambles head first over the barrera. The matador should never run with his back toward the bull; let alone run and flop over the barrera.

Oreja: ear; when the matador has been excellent with the bull both with muleta and sword, killing him promptly and well after a good faena with the muleta or if the work with the muleta has not been brilliant making up for it by killing superbly, the crowd will wave handkerchiefs to request that the president concede the ear of the bull as a token of honor to the matador. If the president agrees and believes the demands to be justified, he will wave his own handkerchief after which a banderillero may cut the ear and present it to the matador. In reality several matadors who are anxious to have a long list of ears for the publicity value it gives them, have a banderillero who is instructed to cut the ear at the first sign of a display of any handkerchiefs. If the public shows any signs of demanding the ear this peón cuts it off and runs with it to the matador who shows it, raising it in his hand toward the president and smiling, and the president confronted with an accomplished fact, is most liable to agree to the concession of the ear and bring out his own handkerchief. This way of falsifying the concession of the ear, which was formerly a great honor, has taken all value away from it and now if a bullfighter puts up a decent performance and has any luck killing he will probably cut the ear of his bull. These professional ear-cutting peones have established an even worse custom; that, if the president actually gives the signal to cut the ear without the matador first begging it from him, of cutting both ears and the tail which they rush over and present to the matador on the excuse of the most moderate enthusiasm. The matadors, I am thinking of two especially, one a short, eagle-nosed, black-haired conceited Valencian and the other a conceited, brave, simple-minded, long-necked, telephone pole from Aragon, then make a tour of the ring carrying an ear in one hand, another ear and a dung-covered tail in the other, smirking and believing they have triumphed in an absolute apotheosis while in reality they have only performed conscientiously and employed a skillful trimmer of the visible parts of the bull to flatter them. Originally the cutting of the ear signified the bull be came the property of the matador to dispose of as beef to his own advantage. This significance has long been obsolete.

P

Padrear: to breed.

Padrino: godfather or sponsor; in bullfighting the older matador who cedes sword and muleta to the younger matador who is alternating for the first time as killer in a formal corrida de toros.

Pala: shovel, bat, or oar blade; in bullfighting the flat of the horn on the outside; blows received by a bullfighter from the flat of the horn are called paletazos or varetazos and are often very serious causing severe internal hemorrhage and other internal injuries without these being anything more visible than a bruise.

Palitroques: twigs; another name for banderillas.

Palmas: handclappings, applause.

Palos: sticks; slang for the banderillas.

Pañuelo: handkerchief; a white handkerchief exhibited by the president signals the termination or the commencement of the acts of pic-ing, banderillas, and sword; a green one that the bull should be taken out; a red one that explosive banderillas should be placed. The signal for each warning or aviso to the matador, denoting the lapse of time in killing, is given by the president showing a white handkerchief.

Par: pair of banderillas.

Parado: slowed or fixed without being exhausted; the second state of the bull during the course of the fight and the one in which the bullfighter should be able to get the most out of him. To torear parado is to work with the bull with the minimum of movement of the feet. It is the only way worthy of applause to fight a brave bull that is without faults of hooking to one side or the other.

Parar: to stand still and calmly watch the bull come; parar los pies: to keep the feet still while the bull charges. Parar: to keep the feet quiet; templar: to move the cloth slowly; and mandar: to dominate and control the animal by the cloth, are the three major commandments of bullfighting.

Parear: to place a pair of banderillas.

Parón: modern term to designate a pass made by the bullfighter with either cape or muleta in which he keeps his feet close together and does not move them from the time the bull charges until the pass is finished. These passes in which the man stands like a statue are brilliant additions to a bullfighter's repertoire but they cannot be made with a bull that moves other than in a perfectly straight line when he charges; otherwise the man will go up in the air. Also they break one of the commandments for bullfighting; they parar, they templar; but they do not mandar since the man with his feet together cannot swing the cloth far enough to keep the bull dominated by its folds and so unless the bull is so perfect that he turns automatically each time to recharge the man will be unable to hold him in the folds of the muleta enough to turn him so that he may link up a series of passes. With an ideal bull, however, the parones are highly emotional and impressive and all bullfighters should be able to do them when they draw such an animal but should not neglect the real art of dominating bulls, making them deviate from their line of attack by moving the lure, while they wait for a bull who will make the entire faena himself while the man plays the statue. The gyratory passes made by Villalta and his imitators in which the man spins on the tips of his toes in half circles with the bull are also called parones.