{"id":216843,"date":"2022-08-01T12:00:12","date_gmt":"2022-08-01T11:00:12","guid":{"rendered":"https:\/\/www.transcend.org\/tms\/?p=216843"},"modified":"2022-07-18T04:46:57","modified_gmt":"2022-07-18T03:46:57","slug":"the-bittersweet-story-of-the-real-life-peaceful-bull-who-inspired-munro-leaf-and-robert-lawsons-ferdinand","status":"publish","type":"post","link":"https:\/\/www.transcend.org\/tms\/2022\/08\/the-bittersweet-story-of-the-real-life-peaceful-bull-who-inspired-munro-leaf-and-robert-lawsons-ferdinand\/","title":{"rendered":"The Bittersweet Story of the Real-Life Peaceful Bull Who Inspired Munro Leaf and Robert Lawson\u2019s Ferdinand"},"content":{"rendered":"

\"\"<\/a>A journey to the abyss between the real world and the ideal world, and a romp across our mightiest bridge between the two.<\/em><\/p><\/blockquote>\n

Six weeks before my grandmother was born on the other side of the world, the Brooklyn Daily Eagle<\/em> announced the publication of a book described only as \u201ca children\u2019s story of a bull,\u201d sold for $1.<\/p>\n

In The Story of Ferdinand<\/em><\/strong><\/a> (public library<\/em><\/a>), a gentle-souled young misfit sits out the perpetual head-butting by which his peers hone their bull-skills, choosing instead to smell the flowers under his favorite cork tree in solitude. His mother, at first worried about his bullness, recognizes her son\u2019s difference and trusts that he would find his way.<\/p>\n

And so he does.<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

Ferdinand grows up to remain entirely himself.<\/p>\n

The day he is taken to the bull ring, he models for the violence-hungry crowd \u2014 as he would for millions of readers in the century since \u2014 a saner way of being in an insane world.<\/p>\n

\"\"<\/a><\/p>\n

Wilbur Monroe Leaf, better known as Munro Leaf<\/strong> (December 4, 1905\u2013December 21, 1976), wrote the story in the first year of his thirties, on a yellow legal pad, in half an hour, as a creative prompt for his friend Robert Lawson<\/strong> (October 4, 1892\u2013May 27, 1957) \u2014 he wanted to give the illustrator something to tickle his artistic imagination out of a lull.<\/p>\n

Their collaborative creation went on to become one of the most beloved children\u2019s books of all time \u2014 cherished by Eleanor Roosevelt and Gandhi, adapted by Disney into an Oscar-winning film, translated into sixty languages, continuously in print for nearly a century.<\/p>\n

It is a \u201cchildren\u2019s book\u201d in the same way that The Little Prince<\/em> is \u2014 a miniature work of philosophy, delivered with simplicity and warmth, radiating immense and eternal ideas about the meaning of human life. Like a great poem, it can be read many different ways and taken to mean many different things \u2014 a story about otherness that can speak to modern-termed styles of otherness like queerness and neurodivergence; a story about the quiet power of nonconformity; a story about the world-shifting power of personal example.<\/p>\n

This latter aspect is what rendered the book so threatening to the dictators and militants of the day, who were already compacting the ashes of one World War into the foundation of another. In a stark affirmation of Iris Murdoch\u2019s timeless observation that \u201ctyrants always fear art because tyrants want to mystify while art tends to clarify,\u201d<\/a> the book was deemed pacifist propaganda, banned in Franco\u2019s Spain and burned in Hitler\u2019s Germany.<\/p>\n

\"\"<\/a><\/p>\n

Like The Little Prince<\/em> \u2014 a book published eight years later and inspired by its author\u2019s wartime experience in the desert<\/a> \u2014 The Story of Ferdinand<\/em> has its roots in the lived experience of its creators. Both Leaf and Lawson had seen the world come undone in its first global war. When drafted, Lawson had joined the U.S. Army\u2019s first camouflage unit. As the young artist Franz Marc was painting his extraordinary hill-wide canvases<\/a> across the French countryside in another army\u2019s camouflage unit, Lawson was putting on plays and music shows for French children. We have always survived history\u2019s dark patches by making our own light and meeting brutality with beauty.<\/p>\n

Like Winnie-the-Pooh<\/em> \u2014 a book published a decade earlier, inspired by a real-life rescue baby bear<\/a> its author had visited with his son at the London Zoo \u2014 The Story of Ferdinand<\/em> has its roots in the true story of a real bull in the Spanish countryside.<\/p>\n

\"\"<\/p>\n

Don Juan Cobaleda had been a rancher all his life, but he had never seen what he saw one morning in the mid-1930s: Carmelita \u2014 his seven-year-old daughter \u2014 was petting his blackest bull, bred as a toro bravo<\/em> for bullfighting; the beast was eating flowers out of the little girl\u2019s hand.<\/p>\n

Don Juan must have been both touched by the sight and dismayed by his prized animal\u2019s corrida<\/em> prospects, for he named the bull Civil\u00f3n \u2014 \u201cLarge Civilian,\u201d a colloquial slur Spanish soldiers used for ordinary citizens.<\/p>\n

Soon, other children were flocking to the farm with bouquets of wildflowers and succulent grass for Civil\u00f3n to eat from their hands as photographs of him populated the human interest sections of Spanish newspapers.<\/p>\n

\"\"<\/p>\n

\"\"<\/a><\/p>\n

Then, when Franco\u2019s fascist forces threatened to attack Barcelona in the late spring of 1936, the enterprising manager of city\u2019s historic bull ring set out to do what Facebook algorithms do today \u2014 prey on the way violence and sensation scintillate the weakest parts of human nature.<\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

Civil\u00f3n was taken from his bucolic paradise, carted to Barcelona, and released into the arena packed with thousands of scintillated spectators who had come to see what would happen to the famous furred pacifist under the bloodthirsty threat they took for entertainment.<\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

Like any reasonable animal faced with another animal\u2019s aggression, Civil\u00f3n pushed through the pain the picadors were stabbing between his shoulders and charged back, chasing them behind their barricade.<\/p>\n

But when the rancher called out to the wounded animal from the side of the arena, Civil\u00f3n trotted quietly over and leaned in for a caress \u2014 he hadn\u2019t let the violence erase his memory of kindness, or his trust in it.<\/p>\n

\"\"<\/a><\/p>\n

The spectators were so moved by this a supreme manifestation of the bull\u2019s natural nobility, known as nobleza<\/em>, that when the famous matador strutted into the arena with his sword to deliver the barbaric finale of the spectacle, a woman cried out for un indulto<\/em> \u2014 that rare \u201cindulgence,\u201d or pardon, by which a bull is spared death in recognition of his bravery and nobility. Other voices immediately joined her. The crowd rose to its feet as one and began chanting its unified demand for indulto<\/em>.<\/p>\n

\"\"<\/a><\/p>\n

It was such a powerful moment \u2014 the people acting as a people, acting human \u2014 that the president waved his orange handkerchief, granting the pardon. Civil\u00f3n, mobbed by photographers and fans, was sent to the city stables to recover before being sent home to his peaceful pasture.<\/p>\n

After the corrida<\/em>, he appeared on the cover of the July 4 issue of the popular women\u2019s weekly Estampa<\/em> alongside a beautiful woman embracing him snugly while holding his horn.<\/p>\n

\"\"<\/p>\n

\u201cThe Adventure of Civil\u00f3n in Barcelona\u2019s Bull Plaza,\u201d announced the headline. \u201cThe Women Saved Him,\u201d declared the subtitle.<\/p>\n

The declamation was premature.<\/p>\n

In mid-July, with Civil\u00f3n still in Barcelona, Franco\u2019s militiamen burst through the city gates. In their looting and ransacking, they broke into the stables, killed Civil\u00f3n, butchered him and ate him for breakfast before the resistance drove them away that evening. The July day Civil\u00f3n was murdered is the day the Spanish Civil War began in full force, maiming the country for three years and stirring in Europe\u2019s bosom the violent passions that soon erupted into the next World War.<\/p>\n

\"\"<\/a><\/p>\n

The Story of Ferdinand<\/em> was published three months after the Spanish Civil War began. The great Spanish cellist Pablo Casals would live through it to emerge with his impassioned insistence on our shared duty \u201cto make this world worthy of its children.\u201d<\/a><\/p>\n

Twenty years later, at the peak of the Cold War, three months after Robert Lawson\u2019s death and four days before the release of the Hollywood film based on Hemingway\u2019s bullfighting novel, LIFE Magazine<\/em> dusted off the story of Civil\u00f3n \u2014 \u201ca huge bull\u2026 so bravo y noble<\/em> that his life was spared.\u201d Above one of Lawson\u2019s Ferdinand illustrations, the magazine noted that bulls of his disposition may be spared death in the ring but are \u201cdisgraced\u201d for being \u201ctoo timid to fight.\u201d<\/p>\n

\"\"<\/a><\/p>\n

That year, the pioneering X-ray crystallographer, Quaker, and peace activist Kathleen Lonsdale wrote in her quiet masterwork on moral courage and the key to a nonviolent world<\/a> that \u201cthose people who see clearly the necessity of changed thinking\u2026 must persuade others to do so.\u201d She believed that children must be nursed on this ethic, for they are the stewards of tomorrow. \u201cWhat is essential,\u201d she wrote, \u201cis that every member of the family, even little children, should learn at whatever cost not to give way to wrong or to co-operate in it.\u201d<\/p>\n

The Story of Ferdinand<\/em> was Leaf and Lawson\u2019s quiet, courageous act of persuasion \u2014 a testament to Ursula K. Le Guin\u2019s insistence that what imaginative art and storytelling give us is the ability to imagine alternative endings as attainable<\/a>.<\/p>\n

\"\"<\/a><\/p>\n

In the story\u2019s alternate universe, the peaceful bull\u2019s peacefulness does save his life \u2014 he makes it home unharmed, modeling a different way of being for a savage world, embodying the power of personal resistance that Eleanor Roosevelt knew furnishes the cumulative force of cultural change<\/a>.<\/p>\n

\u201cAnd for all I know,\u201d Munro Leaf writes in the final pages, \u201che is sitting there still, under his favorite cork tree, smelling the flowers just quietly.\u201d<\/p>\n

\"\"<\/a><\/p>\n

To me, The Story of Ferdinand<\/em><\/strong><\/a> is the picture-book counterpart of Auden\u2019s poem \u201cThe More Loving One\u201d<\/a> \u2014 that eternal masterwork in the art of alternative endings, defying the unhappy ending not on the miniature scale of the bull ring but on the grand scale of the universe. To be human is to long for a great cosmic indulto<\/em> that would make for us an exception in the fate of all matter. All the art we make \u2014 the picture-books and the poems, the paintings and the songs \u2014 is our act of resistance to the blade between the horns that menaces us with its unpardonable promise from the moment we are born.<\/p>\n

_______________________________________<\/em><\/p>\n

\"\"<\/a> My name is Maria Popova<\/a> \u2014 a reader, a wonderer, and a lover of reality who makes sense of the world and herself through the essential inner dialogue that is the act of writing. <\/em>The Marginalian<\/em> (which bore the unbearable name Brain Pickings<\/a> for its first 15 years) is my one-woman labor of love, exploring what it means to live a decent, inspired, substantive life of purpose and gladness. Founded in 2006 as a weekly email to seven friends, eventually brought online and now included in the Library of Congress permanent web archive, it is a record of my own becoming as a person \u2014 intellectually, creatively, spiritually, poetically \u2014 drawn from my extended marginalia on the search for meaning across literature, science, art, philosophy, and the various other tendrils of human thought and feeling. A private inquiry irradiated by the ultimate question, the great quickening of wonderment that binds us all: What <\/em>is<\/em> all this? (More<\/a>\u2026) <\/em><\/p>\n

Go to Original \u2013 themarginalian.org<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

A journey to the abyss between the real world and the ideal world, and a romp across our mightiest bridge between the two.<\/p>\n","protected":false},"author":4,"featured_media":216845,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[63],"tags":[1177],"class_list":["post-216843","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-inspirational","tag-inspirational"],"_links":{"self":[{"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/posts\/216843","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/comments?post=216843"}],"version-history":[{"count":0,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/posts\/216843\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/media\/216845"}],"wp:attachment":[{"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/media?parent=216843"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/categories?post=216843"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/tags?post=216843"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}