I was drinking red wine, and so far behind them that I felt a little uncomfortable about all this shoe-shining. I looked around the room. At the next table was Pedro Romero. He stood up when I nodded, and asked me to come over and meet a friend. His table was beside ours, almost touching. I met the friend, a Madrid bull-fight critic, a little man with a drawn face. I told Romero how much I liked his work, and he was very pleased. We talked Spanish and the critic knew a little French. I reached to our table for my wine-bottle, but the critic took my arm. Romero laughed.
“Drink here,” he said in English.
He was very bashful about his English, but he was really very pleased with it, and as we went on talking he brought out words he was not sure of, and asked me about them. He was anxious to know the English for Corrida de toros, the exact translation. Bull-fight he was suspicious of. I explained that bull-fight in Spanish was the lidia of a toro. The Spanish word corrida means in English the running of bulls—the French translation is Course de taureaux. The critic put that in. There is no Spanish word for bull-fight.
Pedro Romero said he had learned a little English in Gibraltar. He was born in Ronda. That is not far above Gibraltar. He started bull-fighting in Malaga in the bull-fighting school there. He had only been at it three years. The bull-fight critic joked him about the number of Malagueño expressions he used. He was nineteen years old, he said. His older brother was with him as a banderillero, but he did not live in this hotel. He lived in a smaller hotel with the other people who worked for Romero. He asked me how many times I had seen him in the ring. I told him only three. It was really only two, but I did not want to explain after I had made the mistake.
“Where did you see me the other time? In Madrid?”
“Yes,” I lied. I had read the accounts of his two appearances in Madrid in the bull-fight papers, so I was all right.
“The first or the second time?”
“The first.”
“I was very bad,” he said. “The second time I was better. You remember?” He turned to the critic.
He was not at all embarrassed. He talked of his work as something altogether apart from himself. There was nothing conceited or braggartly about him.