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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/12219-0.txt b/12219-0.txt new file mode 100644 index 0000000..59b6c99 --- /dev/null +++ b/12219-0.txt @@ -0,0 +1,5831 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 12219 *** + +[* Transcriber's note: The following substitutions have been made for +diacritical marks in the original text which are not available at DP: + +For vowels with a breve: [)a], [)e], [)i], [)o], [)u]. + +For vowels with a macron: [=a], [=e], [=i], [=o], [=u]. *] + + + + +ANCIENT NAHUATL POETRY, + +CONTAINING THE NAHUATL TEXT OF XXVII ANCIENT MEXICAN POEMS. + + + +BRITON'S LIBRARY OF ABORIGINAL AMERICAN LITERATURE, + +NUMBER VII. + + + +WITH A TRANSLATION, INTRODUCTION, NOTES AND VOCABULARY. + + + +BY + +DANIEL G. BRINTON + + + +1890 + + + + +PREFACE. + + +It is with some hesitation that I offer this volume to the scientific +public. The text of the ancient songs which it contains offers +extreme and peculiar difficulties to the translator, and I have been +obliged to pursue the task without assistance of any kind. Not a line +of them has ever before been rendered into an European tongue, and my +endeavors to obtain aid from some of the Nahuatl scholars of Mexico +have, for various reasons, proved ineffectual. I am therefore alone +responsible for errors and misunderstandings. + +Nevertheless, I have felt that these monuments of ancient native +literature are so interesting in themselves, and so worthy of +publication, that they should be placed at the disposition of +scholars in their original form with the best rendering that I could +give them at present, rather than to await the uncertain event of +years for a better. + +The text itself may be improved by comparison with the original MS. +and with the copy previously made by the Licentiate Chimalpopoca, +referred to on page 48. My own efforts in this direction have been +confined to a faithful reproduction in print of the MS. copy of the +Abbé Brasseur de Bourbourg. + +The Notes, which might easily have been extended, I have confined +within moderate compass, so as not to enlarge unduly the bulk of the +volume. + +To some, the Vocabulary may seem inadequate. I assume that those +persons who wish to make a critical study of the original text will +provide themselves with the Nahuatl Dictionaries of Molina or Siméon, +both of which are now easily obtainable, thanks to Mr. Julius +Platzmann for the reprint of Molina. I also assume that such students +will acquaint themselves with the rules of grammar and laws of +word-building of the tongue, and that they will use the vocabulary +merely as a labor-saving means of reaching the themes of compounds +and unusual forms of words. Employed in this manner, it will, I hope, +be found adequate. + +In conclusion, I would mention that there is a large body of Nahuatl +literature yet unpublished, both prose and poetry, modern and +ancient, and as the Nahuatl tongue is one of the most highly +developed on the American continent, it is greatly to be desired that +all this material should be at the command of students. The Nahuatl, +moreover, is not a difficult tongue; for an Englishman or a +Frenchman, I should say it is easier to acquire than German, its +grammar being simple and regular, and its sounds soft and sonorous. +It has special recommendations, therefore, to one who would acquaint +himself with an American language. + + + + +CONTENTS. + + + + PREFACE + + INTRODUCTION + + § 1. THE NATIONAL LOVE OF POETRY + § 2. THE POET AND HIS WORK + § 3. THE THEMES AND CLASSES OF THE SONGS + § 4. PROSODY OF THE SONGS + § 5. THE VOCAL DELIVERY OF THE SONGS + § 6. THE INSTRUMENTAL ACCOMPANIMENT + § 7. THE POETIC DIALECT + § 8. THE PRESERVATION OF THE ANCIENT SONGS + § 9. THE LX SONGS OF THE KING NEZAHUALCOYOTL + § 10. THE HISTORY OF THE PRESENT COLLECTION + + ANCIENT NAHUATL POEMS: + + I. SONG AT THE BEGINNING + II. A SPRING SONG, AN OTOMI SONG, A PLAIN SONG + III. ANOTHER PLAIN SONG + IV. AN OTOMI SONG OF THE MEXICANS + V. ANOTHER PLAIN SONG OF THE MEXICANS + VI. ANOTHER CHALCO-SONG, A POEM OF TETLAPAN QUETZANITZIN + VII. ANOTHER + VIII. COMPOSED BY A CERTAIN RULER IN MEMORY OF FORMER RULERS + IX. AN OTOMI SONG OF SADNESS + X. A SPRING SONG OF THE MEXICANS + XI. ANOTHER + XII. A SPRING SONG, A SONG OF EXHORTATION, + BECAUSE CERTAIN ONES DID NOT GO TO WAR + XIII. A SONG OF HUEXOTZINCO + XIV. A CHRISTIAN SONG + XV. THE REIGN OF TEZOZOMOCTLI + XVI. A SONG URGING TO WAR + XVII. A FLOWER SONG +XVIII. A SONG OF TOLLAN + XIX. A CHRISTIAN SONG + XX. A SONG LAMENTING THE TOLTECS + XXI. A SONG OF THE HUEXOTZINCOS, + COMING TO ASK AID OF MONTEZUMA AGAINST TLAXCALLA + XXII. A FLOWER SONG +XXIII. A SONG OF THE PRINCE NEZAHUALCOYOTL + XXIV. ANOTHER + XXV. A SONG OF LAMENTATION + XXVI. A SONG RELATING TO THE LORD NEZAHUALPILLI +XXVII. A CHRISTIAN SONG + + NOTES + + VOCABULARY + + INDEX OF NAHUATL PROPER NAMES, WITH EXPLANATIONS + + FOOTNOTES + + + + +ANCIENT NAHUATL POETRY. + + + + +INTRODUCTION. + + +§ 1. _THE NATIONAL LOVE OF POETRY._ + +The passionate love with which the Nahuas cultivated song, music and +the dance is a subject of frequent comment by the historians of +Mexico. These arts are invariably mentioned as prominent features of +the aboriginal civilization; no public ceremony was complete without +them; they were indispensable in the religious services held in the +temples; through their assistance the sacred and historical +traditions were preserved; and the entertainments of individuals +received their chief lustre and charm from their association with +these arts. + +The profession of the poet stood in highest honor. It was the custom +before the Conquest for every town, every ruler and every person of +importance to maintain a company of singers and dancers, paying them +fixed salaries, and the early writer, Duran, tells us that this +custom continued in his own time, long after the Conquest. He +sensibly adds, that he can see nothing improper in it, although it +was condemned by some of the Spaniards.[1] In the training of these +artists their patrons took a deep personal interest, and were not at +all tolerant of neglected duties. We are told that the chief selected +the song which was to be sung, and the tune by which it was to be +accompanied; and did any one of the choir sing falsely, a drummer +beat out of time, or a dancer strike an incorrect attitude, the +unfortunate artist was instantly called forth, placed in bonds and +summarily executed the next morning![2] + +With critics of such severity to please, no wonder that it was +necessary to begin the training early, and to set apart for it +definite places and regular teachers. Therefore it was one of the +established duties of the teachers in the calmecac or public school, +"to teach the pupils all the verses of the sacred songs which were +written in characters in their books."[3] There were also special +schools, called _cuicoyan_, singing places, where both sexes were +taught to sing the popular songs and to dance to the sound of the +drums.[4] In the public ceremonies it was no uncommon occurrence for +the audience to join in the song and dance until sometimes many +thousands would thus be seized with the contagion of the rhythmical +motion, and pass hours intoxicated (to use a favorite expression of +the Nahuatl poets) with the cadence and the movement. + +After the Conquest the Church set its face firmly against the +continuance of these amusements. Few of the priests had the liberal +views of Father Duran, already quoted; most of them were of the +opinion of Torquemada, who urges the clergy "to forbid the singing of +the ancient songs, because all of them are full of idolatrous +memories, or of diabolical and suspicious allusions of the same +character."[5] + +To take the place of the older melodies, the natives were taught the +use of the musical instruments introduced by the Spaniards, and very +soon acquired no little proficiency, so that they could perform upon +them, compose original pieces, and manufacture most of the +instruments themselves.[6] + +To this day the old love of the song and dance continues in the +Indian villages; and though the themes are changed, the forms remain +with little alteration. Travelers describe the movements as slow, and +consisting more in bending and swaying the body than in motions of +the feet; while the songs chanted either refer to some saint or +biblical character, or are erotic and pave the way to orgies.[7] + + +§ 2. _THE POET AND HIS WORK._ + +The Nahuatl word for a song or poem is _cuicatl_. It is derived from +the verb _cuica_, to sing, a term probably imitative or +onomatopoietic in origin, as it is also a general expression for the +twittering of birds. The singer was called _cuicani_, and is +distinguished from the composer of the song, the poet, to whom was +applied the term _cuicapicqui_, in which compound the last member, +_picqui_, corresponds strictly to the Greek _poiaetaes_, +being a derivative of _piqui_, to make, to create.[8] Sometimes he +was also called _cuicatlamantini_, "skilled in song." + +It is evident from these words, all of which belong to the ancient +language, that the distinction between the one who composed the poems +and those who sang them was well established, and that the Nahuatl +poetry was, therefore, something much above mere improvisation, as +some have thought. This does not alter the fact that a professed bard +usually sang songs of his own composition, as well as those obtained +from other sources. This is obvious from the songs in this +collection, many of which contain the expression _ni cuicani_, I, the +singer, which also refers to the maker of the song. + +In the classical work of Sahagun, the author describes the ancient +poet: "The worthy singer has a clear mind and a strong memory. He +composes songs himself and learns those of others, and is always +ready to impart either to the fellows of his craft. He sings with a +well-trained voice, and is careful to practice in private before he +appears before the public. The unworthy singer, on the other hand, is +ignorant and indolent. What he learns he will not communicate to +others. His voice is hoarse and untrained, and he is at once envious +and boastful."[9] + + +§ 3. _THE THEMES AND CLASSES OF THE SONGS._ + +From what he could learn about them some two centuries or more after +the Conquest, the antiquary Boturini classified all the ancient songs +under two general heads, the one treating mainly of historical +themes, while the other was devoted to purely fictitious, emotional +or imaginative subjects.[10] His terse classification is expanded by +the Abbé Clavigero, who states that the themes of the ancient poets +were various, some chanting the praises of the gods or petitioning +them for favors, others recalled the history of former generations, +others were didactic and inculcated correct habits of life, while +others, finally, were in lighter vein, treating of hunting, games and +love.[11] + +His remarks were probably a generalization from a chapter in +Torquemada's _Monarquia Indiana_, in which that writer states that +the songs at the sacred festivals differed in subject with the +different months and seasons. Thus, in the second month of their +calendar, at its stated festival, the people sang the greatness of +their rulers; in the seventh month all the songs were of love, of +women, or of hunting; in the eighth the chants recalled the noble +deeds of their ancestors and their divine origin; while in the ninth +month nothing was heard but verses fraught with lamentation for the +dead.[12] With less minuteness, Father Duran gives almost the same +information. He himself had often heard the songs which Montezuma of +Tenochtitlan, and Nezahualpizintli of Tezcuco, had ordered to be +composed in their own honor, describing their noble lineage, their +riches, their grandeur and their victories. These songs were in his +day still sung at the public dances of the natives, and he adds, +"although they were filled with laudation of their ancient rulers, it +gave me much pleasure to hear the praises of such grandeur." There +were other poets, he observes, who lived in the temples and composed +songs exclusively in honor of the gods.[13] + +These general expressions may be supplemented by a list of terms, +specifying particular classes of songs, preserved by various writers. +These are as follows:-- + +_melahuacuicatl_: this is translated by Tezozomoc, "a straight and +true song."[14] It is a compound of _melahuac_, straight, direct, +true; and _cuicatl_, song. It was a beginning or opening song at the +festivals, and apparently derived its name from its greater +intelligibility and directness of expression. A synonym, derived from +the same root, is _tlamelauhcayotl_, which appears in the title to +some of the songs in the present collection. + +_xopancuicatl_: this term is spelled by Ixtlilxochitl, +_xompacuicatl_, and explained to mean "a song of the spring" (from +_xopan_, springtime, _cuicatl_, song). The expression seems to be +figurative, referring to the beginning or early life of things. Thus, +the prophetic songs of Nezahualcoyotl, those which he sang when he +laid the foundation of his great palace, bore this name.[15] + +_teuccuicatl_: songs of the nobles (_teuctli_, _cuicatl_). These were +also called _quauhcuicatl_, "eagle songs," the term _quauhtli_, +eagle, being applied to distinguished persons. + +_xochicuicatl_: flower-song, one singing the praises of flowers. + +_icnocuicatl_: song of destitution or compassion. + +_noteuhcuicaliztli_: "the song of my lords." This appears to be a +synonymous expression for _teuccuicatl_; it is mentioned by Boturini, +who adds that on the day sacred to the god Xiuhteuctli the king began +the song so called.[16] + +_miccacuicatl_: the song for the dead (_miqui_, to die, _cuicatl_). +In this solemn chant the singers were seated on the ground, and their +hair was twisted in plaits around their heads.[17] + +In addition to the above terms drawn from the subject or character of +the songs, there were others, of geographical origin, apparently +indicating that the song, or its tune, or its treatment was borrowed +from another locality or people. These are:-- + +_Huexotzincayotl_: a song of Huexotzinco, a Nahuatl town, situated +east of the Lake of Tezcuco. This song was sung by the king and +superior nobles at certain festivals, and, in the prescribed order of +the chants, followed a _melahuaccuicatl_.[18] + +_Chalcayotl_: a song of Chalco, on the lake of the same name. This +followed the last mentioned in order of time at the festivals. + +_Otoncuicatl_: a song of the Otomis. These were the immediate +neighbors of the Nahuas, but spoke a language radically diverse. The +songs so-called were sung fourth on the list. + +_Cuextecayotl_: a song of the country of the Cuexteca, or Cuextlan, a +northern province of Mexico. + +_Tlauancacuextecayotl_: a song of the country of the +Tlauancacuexteca. + +_Anahuacayotl_: a song of Anahuac, that is, of a country near the +water, either the valley of Mexico, or the shores of the ocean. + +Some very ancient sacred songs were referred to by Tezozomoc as +peculiar to the worship of Huitzilopochtli, and, indeed, introduced +by this potent divinity. From their names, _cuitlaxoteyotl_, and +_tecuilhuicuicatl_,[19] I judge that they referred to some of those +pederastic rites which still prevail extensively among the natives of +the pueblos of New Mexico, and which have been described by Dr. +William A. Hammond and other observers.[20] One of these songs began, + + Cuicoyan nohuan mitotia; + + In-the-place-of-song with-me they-dance. + +But the old chronicler, who doubtless knew it all by heart, gives us +no more of it.[21] + + +§ 4. _PROSODY OF THE SONGS._ + +The assertion is advanced by Boturini that the genuine ancient +Nahuatl poetry which has been preserved is in iambic metre, and he +refers to a song of Nezahualcoyotl in his collection to prove his +opinion. What study I have given to the prosody of the Nahuatl tongue +leads me to doubt the correctness of so sweeping a statement. The +vocalic elements of the language have certain peculiarities which +prevent its poetry from entering unencumbered into the domain of +classical prosody. + +The quantity of Nahuatl syllables is a very important element in the +pronunciation of the tongue, but their quantity is not confined, as +in Latin, to long, short, and common. The Nahuatl vowels are long, +short, intermediate, and "with stress," or as the Spanish grammarians +say, "with a jump," _con saltillo_. The last mentioned is peculiar to +this tongue. The vowel so designated is pronounced with a momentary +suspension or catching of the breath, rendering it emphatic. + +These quantities are prominent features in the formal portions of the +language, characterizing inflections and declinations. No common +means of designating them have been adopted by the grammarians, and +for my present purpose, I shall make use of the following signs:-- + + [)a] , short. + + a , intermediate. + + [=a] , long. + + â , with stress. + +The general prosodic rules are:-- + +1. In polysyllabic words in which there are no long vowels, all the +vowels are intermediate. + +2. The vowels are long in the penultimate of the plurals of the +imperatives when the preterit of the verb ends in a vowel; the _[=a]_ +of the _c[=a]n_ of the imperatives; the _[=i]_ of the _t[=i]_; of the +gerundives; the last vowel of the futures when the verb loses a vowel +to form them; the penultimates of passives in _lo_, of impersonals, +of verbals in _oni_, _illi_, _olli_ and _oca_, of verbal nouns with +the terminations _yan_ and _can_; the _[=o]_ of abstract nouns in +_otl_ in composition; and those derived from long syllables. + +3. Vowels are "with stress" when they are the finals in the plurals +of nouns and verbs, also in the perfect preterite, in possessives +ending in â, ê, ô, and in the penultimate of nouns ending in _tli_, +_tla_ and _tle_ when these syllables are immediately preceded by the +vowel.[22] + +The practical importance of these distinctions may be illustrated by +the following examples:-- + + _tâtli_, = father. + + _t[=a]tl[)i]_, = thou drinkest. + + _t[=a]tlî_, = we drink. + +It is, however, evident from this example that the quantity of +Nahuatl syllables enters too much into the strictly formal part of +the language for rules of position, such as some of those above +given, to be binding; and doubtless for this reason the eminent +grammarian Carlos de Tapia Zenteno, who was professor of the tongue +in the University of Mexico, denies that it can be reduced to +definite rules of prosody like those of the Latin.[23] + +Substituting accent for quantity, there would seem to be an iambic +character to the songs. Thus the first words of Song I, were probably +chanted:-- + +_Nino' yolno' notza' campa' nic[)u] iz' yec tli' ahui aca' xochitl'_: +etc. + +But the directions given for the drums at the beginning of Songs +XVIII, XIX, etc., do not indicate a continuance of these feet, but of +others, as in XIX:-- + +u--, u--, u--, uu--, u--, u--, u--, etc. + +Indeed, we may suppose that the metre varied with the subject and the +skill of the poet. This, in fact, is the precise statement of Father +Duran,[24] who speaks of the native poets as "giving to each song a +different tune (_sonada_), as we are accustomed in our poetry to have +the sonnet, the octava rima and the terceto." + + +§ 5. _THE VOCAL DELIVERY OF THE SONG._ + +Descriptions of the concerts so popular among the Nahuas have been +preserved by the older writers, and it is of the highest importance +to understand their methods in order to appreciate the songs +presented in this volume. + +These concerts were held on ceremonial occasions in the open air, in +the village squares or in the courtyards of the houses. They began in +the morning and usually continued until nightfall, occasionally far +into the night. The musicians occupied the centre of the square and +the trained singers stood or sat around them. When the sign was given +to begin, the two most skillful singers, sometimes a man and a woman, +pronounced the first syllables of the song slowly but with a sharp +emphasis;[25] then the drums began in a low tone, and gradually increased in +strength as the song proceeded; the other singers united their voices +until the whole chorus was in action, and often the bystanders, to +the numbers of thousands, would ultimately join in the words of some +familiar song, keeping time by concerted movements of the hands and +feet. + +Each verse or couplet of the song was repeated three or four times +before proceeding to the next, and those songs which were of the +slowest measure and least emotional in character were selected for +the earlier hours of the festivals. None of the songs was lengthy, +even the longest, in spite of the repetitions, rarely lasting over an +hour.[26] + +The tone in which the words were chanted is described by Clavigero, +Mühlenpfordt and other comparatively recent travelers as harsh, +strident and disagreeable to the European ear. Mendieta calls it a +"contra-bass," and states that persons gifted with such a voice +cultivated it assiduously and were in great demand. The Nahuas call +it _tozquitl_, the singing voice, and likened it to the notes of +sweet singing birds. + + +§ 6. _THE INSTRUMENTAL ACCOMPANIMENT._ + +The Nahuas were not acquainted with any stringed instrument. They +manufactured, however, a variety of objects from which they could +extract what seemed to them melodious sounds. The most important were +two forms of drums, the _huehuetl_ and the _teponaztli_. + +The word _huehuetl_ means something old, something ancient, and +therefore important and great. The drum so-called was a hollow +cylinder of wood, thicker than a man's body, and usually about five +palms in height. The end was covered with tanned deerskin, firmly +stretched. The sides were often elaborately carved and tastefully +painted. This drum was placed upright on a stand in front of the +player and the notes were produced by striking the parchment with the +tips of the fingers. + +A smaller variety of this instrument was called _tlapanhuehuetl_, or +the half drum, which was of the same diameter but only half the +height.[27] Still another variety was the _yopihuehuetl_, "the drum +which tears out the heart,"[28] so called either by reason of its +penetrating and powerful sound, or because it was employed at the +_Yopico_, where that form of human sacrifice was conducted. + +The _teponaztli_ was a cylindrical block of wood hollowed out below, +and on its upper surface with two longitudinal parallel grooves +running nearly from end to end, and a third in the centre at right +angles to these, something in the shape of the letter I. The two +tongues left between the grooves were struck with balls of rubber, +_ulli_, on the ends of handles or drum sticks. These instruments +varied greatly in size, some being five feet in length, and others so +small that they could conveniently be carried suspended to the neck. +The _teponaztli_ was the house instrument of the Nahuas. It was +played in the women's apartments to amuse the noble ladies, and the +war captains carried one at the side to call the attention of their +cohorts on the field of battle (Sahagun). The word is derived from +the name of the tree whose wood was selected to make the drum, and +this in turn from the verb _tepunazoa_, to swell, probably from some +peculiarity of its growth.[29] + +A much superior instrument to the teponaztli, and doubtless a +development from it, was the _tecomapiloa_, "the suspended vase" +(_tecomatl_, gourd or vase, _piloa_, to hang or suspend). It was a +solid block of wood, with a projecting ridge on its upper surface and +another opposite, on its lower aspect; to the latter one or more +gourds or vases were suspended, which increased and softened the +sound when the upper ridge was struck with the _ulli_.[30] This was +undoubtedly the origin of the _marimba_, which I have described +elsewhere.[31] + +The musical properties of these drums have been discussed by Theodor +Baker. The teponaztli, he states, could yield but two notes, and +could not have been played in accord with the huehuetl. It served as +an imperfect contra-bass.[32] + +The _omichicahuaz_, "strong bone," was constructed somewhat on the +principle of a _teponaztli_. A large and long bone was selected, as +the femur of a man or deer, and it was channeled by deep longitudinal +incisions. The projections left between the fissures were rasped with +another bone or a shell, and thus a harsh but varied sound could be +produced.[33] + +The _tetzilacatl_, the "vibrator" or "resounder," was a sheet of +copper suspended by a cord, which was struck with sticks or with the +hand. It appears to have been principally confined to the sacred +music in the temples. + +The _ayacachtli_ was a rattle formed of a jar of earthenware or a +dried gourd containing pebbles which was fastened to a handle, and +served to mark time in the songs and dances. An extension of this +simple instrument was the _ayacachicahualiztli_, "the arrangement of +rattles," which was a thin board about six feet long and a span wide, +to which were attached bells, rattles and cylindrical pieces of hard +wood. Shaking this produced a jingle-jangle, agreeable to the native +ear. The Aztec bells of copper, _tzilinilli_, are really metallic +rattles, like our sleigh bells. They are often seen in collections of +Mexican antiquities. Other names for them were _coyolliyoyotli_. and + +Various forms of flutes and fifes, made of reeds, of bone or of +pottery, were called by names derived from the word _pitzaua_, to +blow (e.g., _tlapitzalli_, _uilacapitzli_), and sometimes, as being +punctured with holes, _zozoloctli_, from _zotl_, the awl or +instrument used in perforating skins, etc. Many of those made of +earthenware have been preserved, and they appear to have been a +highly-esteemed instrument, as Sahagun mentions that the leader of +the choir of singers in the temple bore the title _tlapitzcatzin_, +"the noble flute player." + +Large conches were obtained on the seashore and framed into wind +instruments called _quiquiztli_ and _tecciztli_, whose hoarse notes +could be heard for long distances, and whistles of wood, bone and +earthenware added their shrill notes to the noise of the chanting of +the singers. The shell of the tortoise, _ayotl_, dried and suspended, +was beaten in unison with such instruments. + +Recent researches by competent musical experts conducted upon +authentic specimens of the ancient Mexican instruments have tended to +elevate our opinion of their skill in this art. Mr. H.T. Cresson, of +the Academy of Natural Sciences, Philadelphia, has critically +examined the various Aztec clay flutes, whistles, etc., which are +there preserved, and has reached the following conclusions:-- + +"I. That upon the four-holed clay flageolets the chromatic and +diatonic scales can be produced with a full octave. + +"II. That the clay whistles or pitch pipes, which may be manipulated +in quartette, will produce an octave and a fourth. + +"III. From the facts above shown, the Aztecs must have possessed a +knowledge of the scales as known to us, which has been fully tested +by comparison with the flute and organ."[34] + +This result indicates for the instrumental accompaniment a much +higher position in musical notation than has hitherto been accepted. + + +§ 7. _THE POETIC DIALECT._ + +All the old writers who were familiar with the native songs speak of +their extreme obscurity, and the difficulty of translating them. No +one will question the intimate acquaintance with the Nahuatl language +possessed by Father Sahagun; yet no one has expressed more strongly +than he the vagueness of the Nahuatl poetic dialect. "Our enemy on +earth," he writes, "has prepared a thick woods and a dangerous ground +full of pitfalls, wherein to devise his evil deeds and to hide +himself from attack, as do wild beasts and venomous serpents. This +woods and these pitfalls are the songs which he has inspired to be +used in his service, as praises to his honor, in the temples and +elsewhere; because they are composed with such a trick that they +proclaim only what the devil commands, and are understood only by +those to whom they are addressed. It is well known that the cavern, +woods or depths in which the devil hides himself were these chants or +psalms which he himself has composed, and which cannot be understood +in their true significance except by those who are accustomed to the +peculiar style of their language."[35] + +Not less positive are the expressions of Father Diego Duran, +contemporary of Sahagun, and himself well versed in the native +tongue. "All their songs," he observes, "were composed in such +obscure metaphors that scarcely any one can understand them unless he +give especial attention to their construction."[36] The worthy +Boturini was puzzled by those which he had collected, and writes, +"the songs are difficult to explain, because they mystify historical +facts with constant allegorizing,"[37] and Boturini's literary +executor, Don Mariano Echevarria y Veitia, who paid especial +attention to the poetic fragments he had received, says frankly: "The +fact is, that as to the songs I have not found a person who can fully +translate them, because there are many words in them whose +signification is absolutely unknown to-day, and moreover which do not +appear in the vocabularies of Molina or others."[38] + +The Abbé Clavigero speaks in somewhat more definite terms of the +poetic forms and licenses of the language. He notes that in the +fragments of the ancient verses which had been preserved until his +day there were inserted between the significant words certain +interjections and meaningless syllables, apparently to fill out the +metre. Nevertheless, he considered the language of the chants, "pure, +pleasant, brilliant, figurative and replete with allusions to the +more pleasing objects in nature, as flowers, trees, brooks, etc."[39] +It is quite evident from the above extracts that in the translation +of the ancient songs in the present volume we must be prepared for +serious difficulties, the more so as the Nahuatl language, in the +opinion of some who are the best acquainted with it, lends itself +with peculiar facility to ambiguities of expression and obscure +figures of speech.[40] Students of American ethnology are familiar +with the fact that in nearly all tribes the language of the sacred +songs differs materially from that in daily life. + +Of the older grammarians, Father Carochi alone has left us actual +specimens of the ancient poetic dialect, and his observations are +regretably brief. They occur in his chapter on the composition of +nouns and read as follows:[41]-- + +"The ancient Indians were chary in forming compounds of more than two +words, while those of to-day exceed this number, especially if they +speak of sacred things; although in their poetic dialect the ancients +were also extravagant in this respect, as the following examples +show:-- + +1. Tl[=a]uhquéch[=o]llaztal[=e]hualtò t[=o]natoc. + +1. It is gleaming red like the tlauhquechol bird. + +2. Ayauhcoçam[=a]l[=o]t[=o]nam[=e]yòtimani. + +2. And it glows like the rainbow. + +3. XiuhcóyólizÃtzîlica in te[=o]cuitlahu[=e]hu[=e]tl. + +3. The silver drum sounds like bells of turquoise. + +4. Xiuhtlapallà cuil[=o]l[=a]moxtli manca. + +4. There was a book of annals written and painted in colors. + +5. Nic ch[=a]lchiuhcozcameca quenmach tòtóma in nocuic. + +5. I see my song unfolding in a thousand directions, like a string of +precious stones." + +From the specimens presented in this volume and from the above +extracts, I would assign the following peculiarities to the poetic +dialect of the Nahuatl:-- + +I. Extreme frequency and richness of metaphor. Birds, flowers, +precious stones and brilliant objects are constantly introduced in a +figurative sense, often to the point of obscuring the meaning of the +sentence. + +II. Words are compounded to a much greater extent than in ordinary +prose writing. + +III. Both words and grammatical forms unknown to the tongue of daily +life occur. These may be archaic, or manufactured capriciously by the +poet. + +IV. Vowels are inordinately lengthened and syllables reduplicated, +either for the purpose of emphasis or of meter. + +V. Meaningless interjections are inserted for metrical effect, while +others are thrown in and repeated in order to express emotion. + +VI. The rhetorical figure known as aposiopesis, where a sentence is +left unfinished and in an interjectional condition, in consequence of +some emotion of the mind, is not rare and adds to the obscurity of +the wording. + + +§ 8. _THE PRESERVATION OF THE ANCIENT SONGS._ + +In a passage already quoted,[42] Sahagun imparts the interesting +information that the more important songs were written down by the +Nahuas in their books, and from these taught to the youth in the +schools. A certain branch of the Mexican hieroglyphic writing was +largely phonetic, constructed on that method to which I have applied +the adjective _ikonomatic_, and by which it was quite possible to +preserve the sound as well as the sense of sentences and verses.[43] +Such attention could have been bestowed only on the sacred, royal, or +legendary chants, while the compositions of ordinary poets would only +be disseminated by oral teaching. + +By one or both of these methods there was a large body of poetic +chants the property of the Nahuatl-speaking tribes, when they were +subjugated by the Europeans. Among the intelligent missionaries who +devoted their lives to mastering the language and translating into it +the doctrines of Christianity, there were a few who felt sufficient +interest in these chants to write some of them down in the original +tongue. Conspicuous among these was the laborious Bernardino de +Sahagun, whose works are our most valued sources of information on +all that concerns the life of the ancient Nahuas. He collected a +number of their sacred hymns, translated them into Spanish, and +inserted them into the Appendix to the Second Book of his _History of +New Spain_; but this portion of his work was destroyed by order of +the Inquisition, as a note in the original MS. expressly states.[44] + +A certain number, however, were preserved in the original tongue, +and, as already noted, we find the able grammarian Horatio Carochi, +who published his Grammar of the Nahuatl in 1645, quoting lines from +some as furnishing examples of the genuine ancient forms of +word-building. He could not, therefore, have doubted their antiquity +and authenticity. + +A number of these must have come to the knowledge and were probably +in the possession of the eminent mathematician and antiquary Don +Carlos de Siguenza y Gongora, who lived in the latter half of the +same century (died 1700). It was avowedly upon the information which +he thought he gleaned from these ancient chants that he constructed +his historical theory of the missionary labors of St. Thomas in +Mexico in the first century of our era. The title of the work he +wrote upon this notion was as follows:-- + +_Fenix del Occidente San Thomas Apóstol, hallado con el nombre de +Quetzalcoatl entre las cenizas de antiguas tradiciones, conservadas +en piedras, en Teoamoxtles Tultecas, y en cantares Teochichimecas y +Mexicanos."_ + +For many years this curious work, which was never printed, was +supposed to be lost; but the original MS. is extant, in the +possession of the distinguished antiquary Don Alfredo Chavero, of the +City of Mexico.[45] Unfortunately, however, the author did not insert +in his work any song in the native language nor a literal translation +of any, as I am informed by Señor Chavero, who has kindly examined +the work carefully at my request, with this inquiry in view. + +Half a century later, when Boturini was collecting his material, he +found but very few of the old poems. In the catalogue of his MSS. he +mentions (XIX, 1) some fragments of ancient songs, badly written, on +European paper, but he does not say whether in the original or +translated. The same doubt might rest on the two songs of +Nezahualcoyotl named in his Catalogue (V, 2). He does not +specifically state that they are in the original. The song of +Moquihuix, King of Tlatilulco, in which he celebrated his victory +over the Cuextla, which Boturini states in his text (p. 91) as in his +possession, is not mentioned at all in his Catalogue, and it is +uncertain whether his copy was in Nahuatl. + +His literary friend, however, Don Mariano Echevarria y Veitia, +removes the uncertainty about the two songs of Nezahualcoyotl, as he +informs us that they were in the original tongue, and adds that he +had inserted them in his History without translation.[46] I have +examined the manuscript of his work, now in the Lenox Library, New +York City, but it does not contain these texts, and evidently the +copy used by Bustamente did not.[47] + +Boturini included the translations of the two odes of Nezahualcoyotl +in a work on the Virgin of Guadelupe, only a fragment of which has +been preserved. One of the chapters in this Latin Essay is entitled +_De Indorum Poetarum Canticis sive Prosodiis_, in which he introduces +Ixtlilxochitl's translation and also a song in the original Nahuatl, +but the latter is doubtless of late date and unimportant as a really +native production.[48] + +The fragments of Boturini's library collected by M. Aubin, of Paris, +contain a number of the original ancient songs of the highest +importance, which make us regret the more that this collection has +been up to the present inaccessible to students. In his description +of these relics published in 1851, M. Aubin refers to the _Historical +Annals of the Mexican Nation_ (§ VIII, 10, of Boturini's Catalogue) +as containing "historical songs in a dialect so difficult that I have +not been able to translate them entirely," and adds that similar +songs are preserved in others of the ancient annals in his hands.[49] + + +§ 9. _THE LX SONGS OF THE KING NEZAHUALCOYOTL._ + +The most distinguished figure among the Nahuatl poets was +Nezahualcoyotl, ruler of Tezcuco. His death took place in 1472, at +the age of eighty years. His father, Ixtlilxochitl, had been deprived +of his possessions and put to death by Tezozomoc, King of the +Tepanecas, and until the death of the latter at an advanced age in +1427, Nezahualcoyotl could make but vain efforts to restore the power +of his family. Much of the time he was in extreme want, and for this +reason, and for his savage persistence in the struggle, he acquired +the name "the fasting or hungry wolf"-- _nezahualcoyotl_. Another of +his names was _Acolmiztli_, usually translated "arm of the lion," +from _aculli_, shoulder, and _miztli_, lion. + +A third was _Yoyontzin_, which is equivalent to _cevetor nobilis_, +from _yoyoma_ (_cevere_, i.e., _femora movere in re venered_); it is +to be understood figuratively as indicating the height of the +masculine forces. + +When his power became assured, he proved himself a liberal and +enlightened patron of the arts and industries. The poetry and music +of his native land attracted him the more as he felt within himself +the moving god, firing his imagination with poetic vision, the _Deus +in nobis, calescimus, agitant'illo_. Not only did he diligently seek +out and royally entertain skilled bards, but he himself had the +credit of composing sixty chants, and it appears that after the +Conquest there were that many written down in Roman characters and +attributed to him. We need not inquire too closely whether they were +strictly his own composition. Perhaps they were framed on themes +which he furnished, or were selected by him from those sung at his +court by various bards. The history of the works by royal authors +everywhere must not be too minutely scanned if we wish to leave them +their reputation for originality. + +He was of a philosophic as well as a poetic temperament, and +reflected deeply on the problems of life and nature. Following the +inherent tendency of the enlightened intellect to seek unity in +diversity, the One in the Many, he reached the conclusion to which so +many thinkers in all ages and of all races have been driven, that +underlying all phenomena is one primal and adequate Cause, the +Essence of all Existence. This conclusion he expressed in a +philosophic apothegm which was preserved by his disciples, in these +words:-- + +_Ipan in chicunauitlamanpan meztica in tloque nahuaque palne nohuani +teyocoyani icel teotl oquiyocox in ixquex quexquex in ittoni ihuan +amo ittoni._ + +"In the ninth series is the Cause of All, of us and of all created +things, the one only God who created all things both visible and +invisible."[50] + +To perpetuate the memory of this philosophic deduction he caused to +be constructed at Tezcuco a stone tower nine stories in height, the +ruins of which were visible long after the Spanish occupation. To +this tower he gave the name Chililitli, a term of uncertain meaning, +but which we find was applied in Tenochtitlan to a building sacred to +the Nine Winds.[51] To explain the introduction of this number, I +should add that a certain school of Nahuatl priests taught that the +heaven above and the earth below were each divided into nine +concentric arcs, each leading farther and farther away from the +conditions of the present life. Hence, there were nine heavens, +abodes of the gods, and nine lower regions, abodes of the souls of +the dead. Another school taught that there were not nine but thirteen +of these stages. + +The sixty poems by Nezahualcoyotl are mentioned by various writers as +in existence after the Conquest, reduced to writing in the original +tongue, and of several of them we have translations or abstracts.[52] +Of four the translations claim to be complete, and were published +entire for the first time in the original Spanish by Lord +Kingsborough in the ninth volume of his great work on the +_Antiquities of Mexico_. Since then they have received various +renderings in prose and verse into different languages at the hands +of modern writers. + +I shall give a literal prose translation from the Spanish, numbering +the poems and their verses, for convenience of reference, in the +order in which they appear in the pages of Lord Kingsborough. + + * * * * * + +The first is one referred to, and partly translated by Ixtlilxochitl, +in his _Historia Chichimeca_ (cap. 47). He calls it a _xopancuicatl_ +(see ante, p. 15), and states that it was composed and sung on the +occasion of the banquet when the king laid the foundations of his +great palace. He gives the first words in the original as follows:-- + +_Tlaxoconcaguican ani Nezahualcoyotzin;_ + +And the translation:-- + +"Hear that which says the King Nezahualcoyotl." + +Restoring the much mutilated original to what I should think was its +proper form, the translation should read:-- + +"Listen attentively to what I, the singer, the noble Nezahualcoyotl, +say:"-- + +I. + +1. Listen with attention to the lamentations which I, the King +Nezahualcoyotl, make upon my power, speaking with myself, and +offering an example to others. + +2. O restless and striving king, when the time of thy death shall +come, thy subjects shall be destroyed and driven forth; they shall +sink into dark oblivion. Then in thy hand shall no longer be the +power and the rule, but with the Creator, the All-powerful. + +3. He who saw the palaces and court of the old King Tezozomoc, how +flourishing and powerful was his sway, may see them now dry and +withered; it seemed as if they should last forever, but all that the +world offers is illusion and deception, as everything must end and +die. + +4. Sad and strange it is to see and reflect on the prosperity and +power of the old and dying King Tezozomoc; watered with ambition and +avarice, he grew like a willow tree rising above the grass and +flowers of spring, rejoicing for a long time, until at length, +withered and decayed, the storm wind of death tore him from his +roots, and dashed him in fragments to the ground. The same fate +befell the ancient King Colzatzli, so that no memory was left of him, +nor of his lineage. + +5. In these lamentations and in this sad song, I now call to memory +and offer as an example that which takes place in the spring, and the +end which overtook King Tezozomoc; and who, seeing this, can refrain +from tears and wailing, that these various flowers and rich delights +are bouquets that pass from hand to hand and all wither and end even +in the present life! + +6. Ye sons of kings and mighty lords, ponder well and think upon that +which I tell you in these my lamentations, of what takes place in +spring and of the end which overtook King Tezozomoc; and who, seeing +this, can refrain from tears and wailing that these various flowers +and rich delights are bouquets that pass from hand to hand and all +wither and end even in the present life! + +7. Let the birds now enjoy, with melodious voices, the abundance of +the house of the flowery spring, and the butterflies sip the nectar +of its flowers. + + * * * * * + +The second song is preserved in a Spanish metrical translation only, +but which from internal evidence I should judge to be quite literal. +The words of the poem do not represent it as a composition by the +royal poet, but one which was sung before him, and addressed to him. +It admonishes him to rejoice in the present moment, as the +uncertainties of life and fate must at some time, perhaps very soon, +deprive him of their enjoyment. + +II. + +1. I wish to sing for a moment, since time and occasion are +propitious; I hope to be permitted, as my intention merits it, and I +begin my song, though it were better called a lamentation. + +2. And thou, beloved companion, enjoy the beauty of these flowers, +rejoice with me, cast out fears, for if pleasure ends with life, so +also does pain. + +3. I, singing, will touch the sonorous instrument, and thou, +rejoicing in the flowers, dance and give pleasure to God the +powerful. Let us be happy in the present, for life is transitory. + +4. Thou hast placed thy noble court in Acolhuacan, thine are its +lintels, thou hast decked them, and one may well believe that with +such grandeur thy state shall increase and grow. + +5. O prudent Yoyontzin, famous king and peerless monarch, rejoice in +the present, be happy in the springtime, for a day shall come in +which thou shall vainly seek these joys. + +6. Then thy destiny shall snatch the sceptre from thy hand, thy moon +shall wane, no longer wilt thou be strong and proud, then thy +servants shall be destitute of all things. + +7. In this sad event, the nobles of thy line, the provinces of might, +children of noble parents, lacking thee as their lord, shall taste +the bitterness of poverty. + +8. They shall call to mind how great was thy pomp, thy triumphs and +victories, and bewailing the glory and majesty of the past, their +tears will flow like seas. + +9. These thy descendants who serve thy plume and crown, when thou art +gone, will forsake Culhuacan, and as exiles will increase their woes. + +10. Little will fame have to tell of this wondrous majesty, worthy of +a thousand heralds; the nations will only remember how wisely +governed the three chieftains who held the power, + +11. At Mexico, Montezuma the famous and valorous, at Culhuacan the +fortunate Nezahualcoyotl, and at the stronghold of Acatlapan, +Totoquilhuatli. + +12. I fear no oblivion for thy just deeds, standing as thou dost in +thy place appointed by the Supreme Lord of All, who governs all +things. + +13. Therefore, O Nezahualcoyotl, rejoice in what the present offers, +crown thyself with flowers from thy gardens, hear my song and music +which aim to please thee. + +14. The pleasures and riches of this life are but loaned, their +substance is vain, their appearance illusory; and so true is this +that I ask thee for an answer to these questions: + +15. What has become of Cihuapan? Of the brave Quantzintecomatzin? Of +Conahuatzin? What of all these people? Perhaps these very words have +already passed into another life. + +16. Would that we who are now united by the ties of love and +friendship could foresee the sharp edge of death, for nothing is +certain, and the future ever brings changes. + + * * * * * + +The third is a "spring song" in which the distinguished warriors of +the king are compared to precious stones. Such jewels were believed +by the Nahuas to possess certain mysterious powers as charms and +amulets, a belief, it is needless to say, found among almost all +nations. In verse 18 there is a reference to the superstition that at +dawn, when these jewels are exposed to the first rays of the sun, +they emit a fine vapor which wafts abroad their subtle potency. The +poem is in Spanish verse, and the original is said to have been +written down by Don Fernando de Avila, governor of Tlalmanalco, from +the mouth of Don Juan de Aguilar, governor of Cultepec, a direct +descendant of Nezahualcoyotl. + +III. + +1. The flowery spring has its house, its court, its palace, adorned +with riches, with goods in abundance. + +2. With discreet art they are arranged and placed, rich feathers, +precious stones, surpassing in luster the sun. + +3. There is the valued carbuncle, which from its beauteous center +darts forth rays which are the lights of knowledge. + +4. There is the prized diamond, sign of strength, shooting forth its +brilliant gleams. + +5. Here one sees the translucent emerald suggesting the hope of the +rewards of merit. + +6. Next follows the topaz, equaling the emerald, for the reward it +promises is a heavenly dwelling. + +7. The amethyst, signifying the cares which a king has for his +subjects, and moderation in desires. + +8. These are what kings, princes and monarchs delight to place upon +their breasts and crowns. + +9. All these stones with their varied and singular virtues, adorn Thy +house and court, O Father, O Infinite God! + +10. These stones which I the King Nezahualcoyotl have succeeded in +uniting in loving liens, + +11. Are the famous princes, the one called Axaxacatzin, the other +Chimalpopoca, and Xicomatzintlamata. + +12. To-day, somewhat rejoiced by the joy and words of these, and of +the other lords who were with them, + +13. I feel, when alone, that my soul is pleased but for a brief time, +and that all pleasure soon passes. + +14. The presence of these daring eagles pleases me, of these lions +and tigers who affright the world, + +15. These who by their valor win everlasting renown, whose name and +whose deeds fame will perpetuate. + +16. Only to-day am I glad and look upon these rich and varied stones, +the glory of my bloody battles. + +17. To-day, noble princes, protectors of the realm, my will is to +entertain you and to praise you. + +18. It seems to me that ye answer from your souls, like the fine +vapor arising from precious stones,-- + +19. "O King Nezahualcoyotl, O royal Montezuma, your subjects sustain +themselves with your soft dews. + +20. "But at last a day shall come which will cut away this power, and +all these will be left wretched orphans. + +21. "Rejoice, mighty King, in this lofty power which the King of +Heaven has granted you, rejoice and be glad. + +22. "In the life of this world there is no beginning anew, therefore +rejoice, for all good ends. + +23. "The future promises endless changes, griefs that your subjects +will have to undergo. + +24. "Ye see before you the instruments decked with wreaths of odorous +flowers; rejoice in their fragrance. + +25. "To-day there are peace, and goodfellowship; therefore let all +join hands and rejoice in the dances, + +26. "So that for a little while princes and kings and the nobles may +have pleasure in these precious stones, + +27. "Which through his goodness the will of the King Nezahualcoyotl +has set forth for you, inviting you to-day to his house." + + * * * * * + +The fourth song has been preserved in an Otomi translation by the +Mexican antiquary Granados y Galvez[53] and in an abstract by +Torquemada.[54] The latter gives the first words as follows:-- + +_Xochitl mamani in huehuetitlan:_ + +Which he translates:-- + +"There are fresh and fragrant flowers among the groves." + +It is said to have been composed at the time the king dedicated his +palace. + +IV. + +1. The fleeting pomps of the world are like the green willow trees, +which, aspiring to permanence, are consumed by a fire, fall before +the axe, are upturned by the wind, or are scarred and saddened by +age. + +2. The grandeurs of life are like the flowers in color and in fate; +the beauty of these remains so long as their chaste buds gather and +store the rich pearls of the dawn and saving it, drop it in liquid +dew; but scarcely has the Cause of All directed upon them the full +rays of the sun, when their beauty and glory fail, and the brilliant +gay colors which decked forth their pride wither and fade. + +3. The delicious realms of flowers count their dynasties by short +periods; those which in the morning revel proudly in beauty and +strength, by evening weep for the sad destruction of their thrones, +and for the mishaps which drive them to loss, to poverty, to death +and to the grave. All things of earth have an end, and in the midst +of the most joyous lives, the breath falters, they fall, they sink +into the ground. + +4. All the earth is a grave, and nought escapes it; nothing is so +perfect that it does not fall and disappear. The rivers, brooks, +fountains and waters flow on, and never return to their joyous +beginnings; they hasten on to the vast realms of Tlaloc, and the +wider they spread between their marges the more rapidly do they mould +their own sepulchral urns. That which was yesterday is not to-day; +and let not that which is to-day trust to live to-morrow. + +5. The caverns of earth are filled with pestilential dust which once +was the bones, the flesh, the bodies of great ones who sate upon +thrones, deciding causes, ruling assemblies, governing armies, +conquering provinces, possessing treasures, tearing down temples, +flattering themselves with pride, majesty, fortune, praise and +dominion. These glories have passed like the dark smoke thrown out by +the fires of Popocatepetl, leaving no monuments but the rude skins on +which they are written. + +6. Ha! ha! Were I to introduce you into the obscure bowels of this +temple, and were to ask you which of these bones were those of the +powerful Achalchiuhtlanextin, first chief of the ancient Toltecs; of +Necaxecmitl, devout worshiper of the gods; if I inquire where is the +peerless beauty of the glorious empress Xiuhtzal, where the peaceable +Topiltzin, last monarch of the hapless land of Tulan; if I ask you +where are the sacred ashes of our first father Xolotl; those of the +bounteous Nopal; those of the generous Tlotzin; or even the still +warm cinders of my glorious and immortal, though unhappy and luckless +father Ixtlilxochitl; if I continued thus questioning about all our +august ancestors, what would you reply? The same that I reply--I know +not, I know not; for first and last are confounded in the common +clay. What was their fate shall be ours, and of all who follow us. + +7. Unconquered princes, warlike chieftains, let us seek, let us sigh +for the heaven, for there all is eternal, and nothing is corruptible. +The darkness of the sepulchre is but the strengthening couch for the +glorious sun, and the obscurity of the night but serves to reveal the +brilliancy of the stars. No one has power to alter these heavenly +lights, for they serve to display the greatness of their Creator, and +as our eyes see them now, so saw them our earliest ancestors, and so +shall see them our latest posterity. + + * * * * * + +It will be seen that the philosophy of these songs is mostly of the +Epicurean and _carpe diem_ order. The certainty of death and the +mutability of fortune, observations which press themselves upon the +mind of man everywhere, are their principal staples, and cast over +them a hue of melancholy, relieved by exhortations to enjoy to the +utmost what the present moment offers of pleasure and sensual +gratification. Here and there a gleam of a higher philosophy lights +the sombre reflections of the bard; his thoughts turn toward the +infinite Creator of this universe, and he dimly apprehends that by +making Him the subject of his contemplation, there is boundless +consolation even in this mortal life. + +Both these leading _motifs_ recur over and over again in the songs +printed in the original in the present volume, and this similarity is +a common token of the authenticity of the book. + + +§ 10. _THE HISTORY OF THE PRESENT COLLECTION._ + +The most recent Mexican writers formally deny that any ancient +Mexican poetry is now extant. Thus the eminent antiquary, Don Alfredo +Chavero, in his elaborate work, _México á través de los Siglos_, +says, "the truth is, we know no specimens of the ancient poetry, and +those, whether manuscript or printed, which claim to be such, date +from after the Conquest."[55] In a similar strain the grammarian +Diario Julio Caballero, writes: "There has never come into our hands +a single poetic composition in this language. It is said that the +great King Nezahualcoyotl was a poet and composed various songs; +however that may be, the fact is that we have never seen any such +compositions, nor met any person who has seen them."[56] + +It is important, therefore, to state the exact provenance of the +specimens printed in this volume, many of which I consider to have +been composed previous to the Conquest, and written down shortly +after the Nahuatl language had been reduced to the Spanish alphabet. + +All of them are from a MS. volume in the library of the University of +Mexico, entitled _Cantares de los Mexicanos y otros opusculos_, +composed of various pieces in different handwritings, which, from +their appearance and the character of the letter, were attributed by +the eminent antiquary Don José F. Ramirez, to the sixteenth and +seventeenth centuries. + +The copy I have used is that made by the late Abbé Brasseur (de +Bourbourg). It does not appear to be complete, but my efforts to have +it collated with the original have not been successful. Another copy +was taken by the late well-known Mexican scholar Faustino +Chimalpopoca, which was in the possession of Señor Ramirez and sold +at the vendue of his books in 1880. It is No. 511 of the catalogue. + +The final decision of the age of the poems must come from a careful +scrutiny of the internal evidence, especially the thoughts they +contain and the language in which they are expressed. In applying +these tests, it should be remembered that a song may be almost wholly +ancient, that is, composed anterior to the Conquest, and yet display +a few later allusions introduced by the person who preserved it in +writing, so as to remove from it the flavor of heathenism. Some +probable instances of this kind will be pointed out in the Notes. + +The songs are evidently from different sources and of different +epochs. There are two notes inserted in the MS. which throw some +light on the origin of a few of the poems. The first is in connection +with No. XII. In my copy of the MS, the title of this song is written +twice, and between the two the following memorandum appears in +Spanish: + +"Ancient songs of the native Otomis, which they were accustomed to +sing at their festivals and marriages, translated into the Mexican +language, the play and the spirit of the song and its figures of +speech being always retained; as Your Reverence will understand, they +displayed considerable style and beauty, better than I can express +with my slight talent; and may Your Reverence at your convenience +approve and be entertained by them, as a skilled master of the +tongue, as Your Reverence is." + +From its position and from the titles following, this note appears to +apply only to No. XII. + +The second note is prefixed to No. XIV, which has no title. It is in +Nahuatl, and reads as follows:-- + + * * * * * + + | + -+- + | + | + + I H S + +Nican ompehua in cuicatl motenehua melahuac Huexotzincayotl ic +moquichitoya in tlatoque Huexotzinca mani mecatca; yexcan inic +tlatlamantitica, teuccuicatl ahnoço quauhcuicatl, xochicuicatl, +icnocuicatl. Auh inic motzotzona huehuetl cencamatl mocauhtiuh, auh +in occencamatl ipan huetzi yetetl ti; auh in huel ic ompehua centetl +ti; auh inic mocuepa quiniquac iticpa huehuetzi y huehuetl, zan +mocemana in maitl; auh quiniquac iyeinepantla occeppa itenco +hualcholoa in huehuetl; tel yehuatl itech mottaz, ynima ynaquin +cuicani quimati iniuh motzotzona; auh yancuican yenoceppa inin +cuicatl ychan D. Diego de Leon, Governador Azcapotzalco; yehuatl +oquitzotzon in D. Frco Placido ypan xihuitl 1551, ypan in +ezcalilitzin tl Jesu Christo. + + * * * * * + +This may be freely translated as follows:-- + + * * * * * + +"Here begins a song called a plain song of Huexotzinco as it was +recited by the lords of Huexotzinco. These songs are divided into +three classes, the songs of the nobles or of the eagles, the flower +songs, and the songs of destitution. (Directions follow for beating +the drum in unison with the voices.) This song was sung at the house +of Don Diego de Leon, Governor of Azcapotzalco; he who beat the drum +was Don Francisco Placido; in the year of the resurrection of our +Lord Jesus Christ 1551." + + * * * * * + +This assigns beyond doubt the song in question to the first half of +the sixteenth century, and we may therefore take its phraseology as a +type of the Nahuatl poetry shortly after the Conquest. It is also +stated to be a native composition, and from its contents, it was +clearly composed by one of the converts to the Christian faith. + + + + +ANCIENT NAHUATL POEMS. + + +I. + +_CUICAPEUHCAYOTL._ + +I. + +_SONG AT THE BEGINNING._ + +1. Ninoyolnonotza, campa nicuiz yectli, ahuiaca xochitl:--Ac +nitlatlaniz? Manozo yehuatl nictlatlani in quetzal huitzitziltin, in +chalchiuh huitzitzicatzin; manozo ye nictlatlani in zaquan papalotl; +ca yehuantin in machiz, ommati, campa cueponi in yectli ahuiac +xochitl, tla nitlahuihuiltequi in nican acxoyatzinitzcanquauhtla, +manoze nitlahuihuiltequi in tlauhquecholxochiquauhtla; oncan +huihuitolihui ahuach tonameyotoc in oncan mocehcemelquixtia; azo +oncan niquimittaz intla onechittitique; nocuexanco nictemaz ic +niquintlapaloz in tepilhuan, ic niquimellelquixtiz in teteuctin. + +1. I am wondering where I may gather some pretty, sweet flowers. Whom +shall I ask? Suppose that I ask the brilliant humming-bird, the +emerald trembler; suppose that I ask the yellow butterfly; they will +tell me, they know, where bloom the pretty, sweet flowers, whether I +may gather them here in the laurel woods where dwell the tzinitzcan +birds, or whether I may gather them in the flowery forests where the +tlauquechol lives. There they may be plucked sparkling with dew, +there they come forth in perfection. Perhaps there I shall see them +if they have appeared; I shall place them in the folds of my garment, +and with them I shall greet the children, I shall make glad the +nobles. + +2. Tlacazo nican nemi, ye nicaqui in ixochicuicatzin yuhqui tepetl +quinnananquilia; tlacazo itlan in meyaquetzalatl, xiuhtotoameyalli, +oncan mocuica, momotla, mocuica; nananquilia in centzontlatolli; azo +quinnananquilia in coyoltototl, ayacachiçahuacatimani, in nepapan +tlazocuicani totome. Oncan quiyectenehua in tlalticpaque +hueltetozcatemique. + +2. Truly as I walk along I hear the rocks as it were replying to the +sweet songs of the flowers; truly the glittering, chattering water +answers, the bird-green fountain, there it sings, it dashes forth, it +sings again; the mockingbird answers; perhaps the coyol bird answers, +and many sweet singing birds scatter their songs around like music. +They bless the earth pouring out their sweet voices. + +3. Nic itoaya, nitlaocoltzatzia; ma namechellelti y tlazohuane, niman +cactimotlalique, niman hualtato in quetzal huitzitziltin. Aquin +tictemohua, cuicanitzine? Niman niquinnanquilia niquimilhuia: Campa +catqui in yectli, ahuiac xochitl ic niquimellelquixtiz in +amohuampotzitzinhuan? Niman onechicacahuatzque ca nican +tlatimitzittitili ticuicani azo nelli ic tiquimellelquixtiz in +toquichpohuan in teteuctin. + +3. I said, I cried aloud, may I not cause you pain ye beloved ones, +who are seated to listen; may the brilliant humming-birds come soon. +Whom do we seek, O noble poet? I ask, I say: Where are the pretty, +fragrant flowers with which I may make glad you my noble compeers? +Soon they will sing to me, "Here we will make thee to see, thou +singer, truly wherewith thou shalt make glad the nobles, thy +companions." + +4. Tepeitic tonacatlalpa, xochitlalpa nechcalaquiqueo oncan on +ahuachtotonameyotimani, oncan niquittacaya in nepapan tlazoahuiac +xochitl, tlazohuelic xochitl ahuach quequentoc, +ayauhcozamalotonameyotimani, oncan nechilhuia, xixochitetequi, in +catlehuatl toconnequiz, ma mellelquiza in ticuicani, tiquinmacataciz +in tocnihuan in teteuctin in quellelquixtizque in tlalticpaque. + +4. They led me within a valley to a fertile spot, a flowery spot, +where the dew spread out in glittering splendor, where I saw various +lovely fragrant flowers, lovely odorous flowers, clothed with the +dew, scattered around in rainbow glory, there they said to me, "Pluck +the flowers, whichever thou wishest, mayest thou the singer be glad, +and give them to thy friends, to the nobles, that they may rejoice on +the earth." + +5. Auh nicnocuecuexantia in nepapan ahuiacxochitl, in huel +teyolquima, in huel tetlamachti, nic itoaya manozo aca tohuanti hual +calaquini, ma cenca miec in ticmamani; auh ca tel ye onimatico +nitlanonotztahciz imixpan in tocnihuan nican mochipa +tiqualtetequizque in tlazo nepapan ahuiac xochitl ihuan ticuiquihui +in nepapan yectliyancuicatl ic tiquimellelquixtizque in tocnihuan in +tlalticpactlaca in tepilhuan quauhtliya ocelotl. + +5. So I gathered in the folds of my garment the various fragrant +flowers, delicate scented, delicious, and I said, may some of our +people enter here, may very many of us be here; and I thought I +should go forth to announce to our friends that here all of us should +rejoice in the different lovely, odorous flowers, and that we should +cull the various sweet songs with which we might rejoice our friends +here on earth, and the nobles in their grandeur and dignity. + +6. Ca moch nicuitoya in nicuicani ic niquimicpac xochiti in tepilhuan +inic niquimapan in can in mac niquinten; niman niquehuaya yectli +yacuicatl ic netimalolo in tepilhuan ixpan in tloque in nahuaque, auh +in atley y maceuallo. + +6. So I the singer gathered all the flowers to place them upon the +nobles, to clothe them and put them in their hands; and soon I lifted +my voice in a worthy song glorifying the nobles before the face of +the Cause of All, where there is no servitude. + +7. Can quicuiz? Can quitlaz in huelic xochitl? Auh cuix nohuan aciz +aya in xochitlalpan, in tonacatlalpan, in atley y macehuallo in +nentlamati? Intla y tlacohua in tlalticpac ca çan quitemacehualtica +in tloque in nahuaque, in tlalticpac; ye nican ic chocan noyollo +noconilnamiquia in ompa onitlachiato y xochitlalpana nicuicani. + +7. Where shall one pluck them? Where gather the sweet flowers? And +how shall I attain that flowery land, that fertile land, where there +is no servitude, nor affliction? If one purchases it here on earth, +it is only through submission to the Cause of All; here on earth +grief fills my soul as I recall where I the singer saw the flowery +spot. + +8. Auh nic itoaya tlacazo amo qualcan in tlalticpac ye nican, tlacazo +occecni in huilohuayan, in oncan ca in netlamachtilli; tlezannen in +tlalticpac? tlacazo occecni yoliliz ximoayan, ma ompa niauh, ma ompa +inhuan noncuicati in nepapan tlazototome, ma ompa nicnotlamachti +yectliya xochitl ahuiaca xochitl, in teyolquima, in zan tepacca, +teahuiaca yhuintia, in zan tepacca, ahuiaca yhuintia. + +8. And I said, truly there is no good spot here on earth, truly in +some other bourne there is gladness; For what good is this earth? +Truly there is another life in the hereafter. There may I go, there +the sweet birds sing, there may I learn to know those good flowers, +those sweet flowers, those delicious ones, which alone pleasurably, +sweetly intoxicate, which alone pleasurably, sweetly intoxicate. + + +II. + +_XOPANCUICATL, OTONCUICATL, TLAMELAUHCAYOTL._ + +_A SPRING SONG, AN OTOMI SONG, A PLAIN SONG._ + +1. Onihualcalac nicuicani nepapan xochitlalpan, huel +teellelquixtican, tetlamachtican, oncan ahuach tonameyoquiauhtimani, +oncan cuicuica in nepapan tlazototome, on cuicatlaza in coyoltototl +cahuantimani inin tozquitzin in quellelquixtia in tloque in nahuaque +yehuan Dios, ohuaya, ohuaya. + +1. I, the singer, have entered many flower gardens, places of +pleasaunce, favored spots, where the dew spread out its glittering +surface, where sang various lovely birds, where the coyol birds let +fall their song, and spreading far around, their voices rejoiced the +Cause of All, He who is God, ohuaya! ohuaya! + +2. Oncan nicaqui in cuicanelhuayotl in nicuicani, tlacazo amo +tlalticpac in peuh yectli yancuicatl, tlacazo ompa in ilhuicatl itic +hual caquizti in conehua in tlazocoyoltototl in quimehuilia in +nepapan teoquecholme zacuantototl, oncan tlacazo quiyectenehua in +tloque in nahuaque, ohuaya, ohuaya. + +2. It is there that I the singer hear the very essence of song; +certainly not on earth has true poesy its birth; certainly it is +within the heavens that one hears the lovely coyol bird lift its +voice, that the various quechol and zacuan birds speak together, +there they certainly praise the Cause of All, ohuaya! ohuaya! + +3. Niyolpoxahua in nicaquia ni cuicani, acoquiza in notlalnamiquilizo +quin pepetlatiquiza in ilhuicame, nelcicihuiliz ehecayotiuh in +iquinalquixtia in ompa ontlatenehua in zacuanhuitzitzil in ilhuicatl +itic, ohuaya, ohuaya. + +3. I, the singer, labor in spirit with what I heard, that it may lift +up my memory, that it may go forth to those shining heavens, that my +sighs may be borne on the wind and be permitted to enter where the +yellow humming bird chants its praises in the heavens, ohuaya! +ohuaya! + +4. Auh nohuiampa nictlachialtia in noyollo auh tlacazo nelli in amo +ixquich quehua in tlazotototl, tlacazo ye oc tlapanahuia in ilhuicatl +itic y yollo in tloque in nahuaque mochiuhtica, ca intlacamo +teuhyotiuh in notlalnamiquiliz azo huelquinalquixtica ittazo in +tlamahuizolli in ilhuicac ic papaqui in ilhuicac tlazototome ixpan in +tloque nahuaque, ohuaya, ohuaya. + +4. And as in my thoughts I gaze around, truly no such sweet bird +lifts its voice, truly the things made for the heavens by the Cause +of All surpass all others, and unless my memory tends to things +divine scarcely will it be possible to penetrate these and witness +the wondrous sights in heaven, which rejoice the sweet heavenly birds +before the face of the Cause of All. + +5. Quenin ah nichocaz in tlalticpac? ye nican onca nemoayá +ninoztlacahuia, nicitoa aço zan ye ixquich in nican in tlalticpac +ontlamian toyolia, macuele ehuatl in tloque in nahuaque, ma ompa +inhuan nimitznocuicatili in ilhuicac mochanecahuan ca noyollo ehua +ompa nontlachia in monahuac in motloc tipalnemohua, ohuaya, ohuaya. + +5. How much, alas, shall I weep on earth? Truly I have lived here in +vain illusion; I say that whatever is here on earth must end with our +lives. May I be permitted to sing to thee, the Cause of All, there in +the heaven, a dweller in thy mansion, there may my soul lift its +voice and be seen with Thee and near Thee, Thou by whom we live, +ohuaya! ohuaya! + +6. Ma xicaquin nocuic in tinocniuh xochihuehuetl inic tzotzonaya +ilhuicacuicatl in nicchuaya, ic niquimellelquixtia in teteucti, +xochicueponi in noyollo izqui xochitl nictzetzelohuaya ic malitiuh in +no cuicatzin ixpan in tloque in nahuaque, ohuaya, ohuaya. + +6. List to my song, thou my friend, and to the flower-decked drum +which kept time to the heavenly song which I sang, that I might make +glad the nobles, raining down before them the flowery thoughts of my +heart as though they were flowers, that my noble song might grow in +glory before the face of the Cause of All, ohuaya! ohuaya! + + +III. + +_OCCE AL MISMO TONO TLAMELAUHCAYOTL._ + +_ANOTHER PLAIN SONG, TO THE SAME TUNE._ + +1. Xochicalco nihualcalaquia in nicuicani, oncan icac in +chalchiuhuehuetl, oncan chialon ipalnemohuani in teteuctin xochitl +tzetzeliuhtimani, tolquatectitla, xoyacaltitlan, onahuiaxtimani in +xochicopal tlenamactli huel teyolquima, cahuia ca ihuintia in toyollo +ixpan in tloque in nahuaque. + +1. I, the singer, entered into the house strewn with flowers, where +stood upright the emerald drum, where awaiting the Giver of Life the +nobles strewed flowers around, the place where the head is bowed for +lustration, the house of corrupt odors, where the burning fragrant +incense spreads and penetrates, intoxicating our souls in the +presence of the Cause of All. + +2. Ic motomá tocuic xochiahuia ca ihuinti in toyollo? Aoc ticmati +inic nepapan xochicuicatl ic ticcecemeltia in tloque nahuaque quen +ahtontlaelehuian; tinocniuh ma nohuehuetitlan ximoquetzaya nepapan +xochitl ic ximopanaya chalchiuh ocoxochitl mocpac xicmanaya +xicehuayan yectli yancuicatl ic melelquixtia in tloque in nahuaque. + +2. Where shall we obtain the fragrance which intoxicates our souls? +We do not yet know the various flower-songs with which we may rejoice +the Cause of All, however desirous we are; thou my friend, would that +thou bring to my instrument various flowers, that thou shouldst +clothe it in brilliant oco flowers, that thou shouldst offer them, +and lift thy voice in a new and worthy song to rejoice the Cause of +All. + +3. Tleymach tiquilnamiquia can mach in nemian moyollo ic timoyol +cecenmanaya ahuicpa tichuica timoyol popoloaya in tlalticpac? Ca mach +titlatiuh xihualmocuepaya xiccaquin yectli yancuicatl ximoyolciahuaya +xochiaticaya onahuiaxtimani oncan nicehuaya in yectli yancuicatl +nicuicani ic nicellelquixtia in tloque in nahuaque. + +3. Wherefore should we recall while the soul is in life that our +souls must be scattered hither and thither, and that wherever we go +we are to be destroyed on earth? Rather let us hide it, turn from it, +and listen to some worthy new song; delight thy soul with the +pervading fragrance of flowers, as I the singer lift my voice in a +new song that I may rejoice the Cause of All. + +4. Xihuallachian tinocniuh in oncan icayan xochihuehuetl tonameyo +ontotonauhtimani quetzal ecacehuazticaya on xopaleuhtimani in oncan +ic chialo ic malhuilo inipetl in icpal in tloque in nahuaque; xic +cahuaya in mixtecomatla xihualmocuepaya tohuan, xic ehua in +yancuicatl nicuicani ic niquellelquixtia in tloque in tlaneciz inic +moyollo caltitlan. + +4. Come hither, thou my friend, to where stands the drum, decked with +flowers, gleaming with brightness, green with the outspread plumes of +the quetzal bird, where are looked for and cared for the seats near +the Cause of All; leave the place of night and clouds, turn hither +with us, lift thy voice in the new song I sing so that I may rejoice +the Cause of All, as the dawn approaches in the house of thy heart. + +5. Tleçannen in nicyocoya in nitlaocolcuica inic niquimilnamiqui in +tepilhuan, in tlazomaquiztin, in tlazoteoxiuhme, in quetzaltotome, in +moteyotico, in motleyotico in tlalticpac? in ocnoma caquizti inin +tenyo, inin cahuanca, campa neltiazque? Ca zan titlacatico ca ompa +huel tochan in canin ximoayan inocapa in yolihuayan aic tlamian. + +5. Of what use is it that I frame my sad songs, that I recall to mind +the youths, the beloved children, the precious relatives, the dear +friends, famous and celebrated as they were on earth? Who now hears +their fame, their deeds? Where can they find them? All of us are but +mortal, and our home is there in the Hereafter, where there is life +without end. + + +IV. + +_MEXICA OTONCUICATL._ + +_AN OTOMI SONG OF THE MEXICANS._ + +1. Nicchalchiuhtonameyopetlahuaya, nictzinitzcanihuicaloaya, +niquilnamiquia nelhuayocuicatla, nic zacuanhuipanaya yectli +yancuicatl nicuicani, nicchalchiuhtlazonenelo ic nichualnextia in +xochicueponallotl ic nicellelquixtia in tloque in nahuaque. + +1. I, the singer, polished my noble new song like a shining emerald, +I arranged it like the voice of the tzinitzcan bird, I called to mind +the essence of poetry, I set it in order like the chant of the zacuan +bird, I mingled it with the beauty of the emerald, that I might make +it appear like a rose bursting its bud, so that I might rejoice the +Cause of All. + +2. Zacuantlazoihuiticaya tzinitzcan tlauquechol ic nicyaimatia, +nocuicatzin teocuitlatzitzilini nocuic nitoz; miahuatototl nocuica +cahuantimania, nicehuaya xochitzetzelolpá ixpan in tloque nahuaque. + +2. I skillfully arranged my song like the lovely feathers of the +zacuan bird, the tzinitzcan and the quechol; I shall speak forth my +song like the tinkling of golden bells; my song is that which the +miaua bird pours forth around him; I lifted my voice and rained down +flowers of speech before the face of the Cause of All. + +3. Qualli cuicanelhuayotlo, teocuitlaquiquizcopa nicehuaya, ilhuicac +cuicatlo nictenquixtia, nitoz miahuatototl, chalciuhtonameyotica, +niccueponaltia yectli yancuicatlo, nicehuaya xochitlenamaquilizticaya +ic nitlaahuialia nicuicani ixpan in tloque nahuaque. + +3. In the true spirit of song I lifted my voice through a trumpet of +gold, I let fall from my lips a celestial song, I shall speak notes +precious and brilliant as those of the miaua bird, I shall cause to +blossom out a noble new song, I lifted my voice like the burning +incense of flowers, so that I the singer might cause joy before the +face of the Cause of All. + +4. Teoquecholme nechnananquilia in nicuicani coyolicahuacaya yectli +yacuicatlan, cozcapetlaticaya chachalchiuhquetzalitztonameyo +xopaleuhtimania xopan xochicuiatl onilhuica ahuiaxtimanio, +xochiahuachtitlan nihualcuicaya nicuicani. + +4. The divine quechol bird answers me as I, the singer, sing, like +the coyol bird, a noble new song, polished like a jewel, a turquoise, +a shining emerald, darting green rays, a flower song of spring, +spreading celestial fragrance, fresh with the dews of roses, thus +have I the poet sung. + +5. Nictlapalimatia nicxoxochineloaya yectli yancuicatlan +cozcapetlaticaya, etc. + +5. I colored with skill, I mingled choice roses in a noble new song, +polished like a jewel, etc. (as in v. 4). + +6. Nocontimaloaya nocontlamachtiao xochiteyolquima cuicatlan +poyomapoctli ic ye ahuian ye noyollo, nihualyolcuecuechahuaya, +nicinecuia ahuiaca, xocomiqui in noyolia, nicinecuia yectliya +xochitla netlamachtiloyan, xochi ye ihuinti noyolia. + +6. I was glorified, I was enriched, by the flower-sweet song as by +the smoke of the poyomatl, my soul was contented, I trembled in +spirit, I inhaled the sweetness, my soul was intoxicated, I inhaled +the fragrance of delicious flowers in the place of riches, my soul +was drunken with the flowers. + + +V. + +_OTRO MEXICA TLAMELAUHCACUICAYOTL._ + +_ANOTHER PLAIN SONG OF THE MEXICANS._ + +1. Zanio in xochitl tonequimilol, zanio in cuicatl ic huehuetzi in +tellel in Dios ye mochan. + +1. I alone will clothe thee with flowers, mine alone is the song +which casts down our grief before God in thy house. + +2. In mach noca ompolihuiz in cohuayotl mach noca in icniuhyotl in +ononoya in ye ichan; ye nio Yoyontzin on cuicatillano ye +ipalnemohuani. + +2. True it is that my possessions shall perish, my friendships, their +home and their house; thus I, O Yoyontzin, pour forth songs to the +Giver of Life. + +3. Ma xiuhquechol xochi, zan in tzinitzcan malintoca zan miqui huaqui +xochitl zan ic tonmoquimiloa can titlatoani ya ti Nezahualcoyotl. + +3. Let the green quechol birds, let the tzinitzcan twine flowers for +us, only dying and withered flowers, that we may clothe thee with +flowers, thou ruler, thou Nezahualcoyotl. + +4. Ma yan moyoliuh quimati in antepilhuan in anquauhtin amo celo ca +mochipan titocnihuan, zancuel achic nican timochitonyazque o ye +ichano. + +4. Ye youths and ye braves, skilled in wisdom, may you alone be our +friends, while for a moment here we shall enjoy this house. + +5. Ca ye ompolihuiz in moteyo Nopiltzin, ti Tezozomoctli áca cá ye in +mocuica? aye a nihualchocao ca nihualicnotlamatica notia ye ichan. + +5. For thy fame shall perish, Nopiltzin, and thou, Tezozomoc, where +are thy songs? No more do I cry aloud, but rest tranquil that ye have +gone to your homes. + +6. An ca nihuallaocoya onicnotlamati ayo quico, ayoc quemanian, +namech aitlaquiuh in tlalticpac y icanontia ye ichan. + +6. Ye whom I bewailed, I know nevermore, never again; I am sad here +on earth that ye have gone to your homes. + + +VI. + +_OTRO CHALCAYOTL, CANTO DE TETLEPAN QUETZANITZIN._ + +_ANOTHER CHALCO-SONG, A POEM OF TETLEPAN QUETZANITZIN._ + +1. Aua nocnihue ninentlamatia zan ninochoquilia in monahuac aya +yehuan Dios, quexquich onmitzicnotlamachtia momacehual cemamanahuac +ontonitlanililo in ic tontlahuica tontecemilhuitiltia in tlalticpac. + +1. Alas, my friend, I was afflicted, I cried aloud on thy account to +God. How much compassion hast thou for thy servant in this world sent +here by thee to be thy subject for the space of a day on this earth! + +2. Macazo tleon xoconyoyocoya ti noyollo, yehua cuix ic nepohualoyan +in oncan nemohua yehua, in atle tlahuelli in antecocolia huel on +yecnemiz in tlalticpac. + +2. However that may be, mayst thou so dispose my heart, that it may +pass through this place of reckoning, without anger, without injury, +and live a good life on earth. + +3. In quimati noyollo nichoca yehua huel eza ye nelli in titicnihuan, +huellenelli nemoa in tlalticpac in tonicniuh tlatzihuiz yehuan Dios. + +3. My heart knows how truly I weep for my friend, how truly as it +lives on earth it cries aloud for thee, my friend, to God. + +4. Xontlachayan huitztlampayan, iquizayan in tonatiuh, +ximoyollehuayan oncan manian teoatl tlachinolli, oncan mocuica in +teucyotl in tlatocayotl yectliya xochitl in amo zannen mocuia, in +quetzallalpilo niaya macquauhtica, chimaltica neicaloloyan in +tlalticpac ic momacehuaya in yectliya xochitl in tiquelehuia in +ticnequia in tinocniuh in quitemacehualtia in quitenemactia in tloque +in nahuaque. + +4. Let thy soul awake and turn toward the south, toward the rising of +the sun, rouse thy heart that it turn toward the field of battle, +there let it win power and fame, the noble flowers which it will not +grasp in vain; adorned with a frontlet of quetzal feathers I went +forth armed with sword and shield to the battlefield on earth, that I +might merit these noble flowers with which we may rejoice as we wish +our friends, as the Cause of All may reward and grant to us. + +5. Nentiquelehuia in tictemoaya in tinocniuh yectliya xochitl can +ticuiz intlacamo ximicaliya, melchiquiuhticaya, mitonalticaya +ticmacehuaya in yectliyaxochitla, yaochoquiztli ixayoticaya in +quitemacehualtica in tloque in nahuaque. + +5. Vainly, O friends, do we desire and seek where we may cull those +noble flowers unless we fight with bared breasts, with the sweat of +the brow, meriting these noble flowers, in bitter and painful war, +for which the Cause of All will give reward. + + +VII. + +_OTRO._ + +_ANOTHER._ + +1. Tleinmach oamaxque on in antocnihuan in an Chiapaneca Otomi, +omachamelelacic: in ic oamihuintiqueo octicatl in oanquique ic +oamihuintique, xicualcuican, in amo ma in anhuehuetztoqueo, +ximozcalicano in antocnihuan nipatiazque in tochano, xopantlalpan ye +nican, ma quiza in amihuintiliz, on xitlachiacano ohuican ye +anmaquia, O! + +1. What have you done, O you our friends, you Chiapanecs and Otomis, +why have you grieved, that you were drunken with the wine which you +took, that you were drunken? Come hither and sing: do not lie +stretched out; arise, O friends, let us go to our houses here in this +land of spring; come forth from your drunkenness, see in what a +difficult place you must take it. + +2. Ca yeppa yuhqui in tizaoctli in tlalticpac, quitemacao ohuican ic +tecalaquiao teoatl tlachinolli quitoao texaxamatzao teopopoloao on +canin xaxamanio in tlazochalchihiuitl, in teoxihuitl, in maquiztli +tlazotetl in tepilhuan in coninio in xochitizaoctlio cuel can in +antocnihuan in tonicahuacao. + +2. For formerly it was so on earth that the white wine was taken in +difficult places, as on entering the battlefield, or, as it was said, +where the stones were broken and destroyed, where were broken into +fragments the lovely emeralds, the turquoises, the honored precious +stones, the youths, the children; therefore take the flowery white +wine, O friends and brothers. + +3. Ma ye ticiti in xochitlalpan in tochan xochitlalticpacilhuicacpaco +in huel ic xochiamemeyallotl on ahuiaxtimani, teyolquima yoliliz +ahuach xochitl in tochan in Chiappan, oncan timalolo in teucyotl in +tlatocayotl in chimalxochitl oncuepontimani tonacatlalpan. + +3. Let us drink it in the flowery land, in our dwelling surrounded by +the flowery earth and sky, where the fountains of the flowers send +their sweetness abroad; the delicious breath of the dewy flowers is +in our homes in Chiapas; there nobility and power make them glorious, +and the war-flowers bloom over a fertile land. + +4. Quemach in amo antlacaquio in antocnihuan tohuian tohuiano +xicahuacano, in tizaoctlio teoatlachinoloctli; ma ye ticiti in ompa +tinectilo in tochan xochiahuachoctli, zan ic ahuiaca ihuinti in +toyollo, tetlamachtio teyolquimao tixochiachichinatihui +netlamachtiloyan in toquizayan xochitlalpan tonacatlalpan: tlemach +oamaxqueo? xichualcaquican in tocuic in tamocnihuan, etc. + +4. Is it possible, oh friends, that you do not hear us? Let us go, +let us go, let us pour forth the white wine, the wine of battle; let +us drink where the wine sweet as the dew of roses is set forth in our +houses, let our souls be intoxicated with its sweetness; enriched, +steeped in delight, we shall soak up the water of the flowers in the +place of riches, going forth to a land of flowers, a fertile spot. +What have you done? Come hither and listen to our songs, O friends. + + +VIII. + +_OTRO, QUEUH CE TLATOHUANI IN QUIMILNAMIQUI IN TLATOQUE._ + +_COMPOSED BY A CERTAIN RULER IN MEMORY OF FORMER RULERS._ + +1. Tlaocolxochi ixayoticaya ic nichuipana in nocuic nicuicani, +niquimilnamiqui in tepilhuan, in teintoque, in tlaçotitoque in campa +in ximohuaya, in oteuctico, in otlatocatico in tlallia icpac, in +quetzalhuahuaciuhtoque in chalchiuhteintoque in tepilhuan, in maoc +imixpan in maoc oquitlani; in ye itto in tlalticpac iximachoca in +tloque in nahuaque. + +1. Weeping, I, the singer, weave my song of flowers of sadness; I +call to memory the youths, the shards, the fragments, gone to the +land of the dead; once noble and powerful here on earth, the youths +were dried up like feathers, were split into fragments like an +emerald, before the face and in the sight of those who saw them on +earth, and with the knowledge of the Cause of All. + +2. Y yo ya hue nitlaocolcuicaya in niquimilnamiqui in tepilhuan, ma +zan itla ninocuepa, ma niquimonana, ma niquinhualquixti in ompa in +ximoayan, ma oc oppa tihua in tlalticpac, ma oc quimahuizoqui in +tepilhuan in ticmahuizoa, azo huel yehuantin tlatlazomahuizozquia in +ipalnemohualoni, quemmach tomazehual in tlazaniuh ticmatican in +ticnopillahueliloque ic choca in noyollo nino tlalnamiquiliz huipana +in nicuicani choquiztica tlaocoltica nitlalnamiquia. + +2. Alas! alas! I sing in grief as I recall the children. Would that I +could turn back again; would that I could grasp their hands once +more; would that I could call them forth from the land of the dead; +would that we could bring them again on earth, that they might +rejoice and we rejoice, and that they might rejoice and delight the +Giver of Life; is it possible that we His servants should reject him +or should be ungrateful? Thus I weep in my heart as I, the singer, +review my memories, recalling things sad and grievous. + +3. Manozo zan nicmati in nechcaquizque intla itla yectli cuicatl +niquimehuili in ompa ximohuayan, ma ic niquipapacti, ma ic +niquimacotlaza inin tonez inin chichinaquiliz in tepilhuan. Cuix on +machiaz? Quennel nihualnellaquahua? Aquen manian ompa niquimontocaz? +Ano niquin nonotztaciz in ye yuh quin in tlalticpac. + +3. Would only that I knew they could hear me, there in the land of +the dead, were I to sing some worthy song. Would that I could gladden +them, that I could console the suffering and the torment of the +children. How can it be learned? Whence can I draw the inspiration? +They are not where I may follow them; neither can I reach them with +my calling as one here on earth. + + +IX. + +_OTRO TLAOCOLCUICA OTOMITL._ + +_AN OTOMI SONG OF SADNESS._ + +1. In titloque in tinahuaque nimitzontlaocolnonotzaya, nelcicihuiliz +mixpantzinco noconiyahuaya, ninentlamati in tlalticpac ye nican +nitlatematia, ninotolinia, in ayc onotechacic in pactli, in +necuiltonolli ye nican; tlezannen naicoyc amo y mochiuhyan, tlacazo +atle nican xotlacueponi in nentlamachtillia, tlacazo zan ihuian in +motloc in monahuac; Macuelehuatl ma xicmonequilti ma monahuactzinco +oc ehuiti in noyolia, ninixayohuatzaz in motloc monahuac +tipalnemohuani. + +1. To thee, the Cause of All, to thee I cried out in sadness, my +sighs rose up before thy face; I am afflicted here on earth, I +suffer, I am wretched, never has joy been my lot, never good fortune; +my labor has been of no avail, certainly nothing here lessens one's +suffering; truly only to be with thee, near thee; may it be thy will +that my soul shall rise to thee, may I pour out my tears to thee, +before thee, O thou Giver of Life. + +2. Quemachamiqueo in motimalotinemi co y in tlalticpac in ayac +contenmatio in atlamachilizneque o tlacazo can moztla cahuia on in +[)a]mitztenmati in titloque in tinahuaque inic momatio ca mochipa +tlalticpac, nemizqueo ninotlamatli motlaliao niquimittao, tlacazo +mixitl tlapatl oquiqueo ic nihualnelaquahua in ninotolinia o tlacazo +ompa in ximohuayan neittotiuh o, cazo tiquenamiqueo quiniquac ye +pachihuiz ye teyolloa. + +2. Happy are those who walk in thy favor here on earth, who never +neglect to offer up praise, nor, leaving till to-morrow, neglect +thee, thou Cause of All, that thou mayest be known in all the earth; +I know that they shall live, I see that they are established, +certainly they have drunk to forgetfulness while I am miserable, +certainly I shall go to see the land of the dead, certainly we shall +meet where all souls are contented. + +3. Ma cayac quen quichihuaya in iyollo in tlalticpac ye nican in +titlaocaxtinemi in tichocatinemia, ca zacuel achic ontlaniizoo, +tlacazo zan tontlatocatihuio in yuho otlatocatque tepilhuan, ma ic +ximixcuiti in tinocniuh in atonahuia in atihuelamati in tlalticpac o; +ma oc ye xim[)a]pana in tlaocolxochitl, choquizxochitl, xoyocatimalo +o xochielcicihuiliztlio in ihuicpa toconiyahuazon in tloque in +nahuaque. + +3. Never were any troubled in spirit on the earth who appealed to +thee, who cried to thee, only for an instant were they cast down, +truly thou caused them to rule as they ruled before: Take as an +example on earth, O friend, the fever-stricken patient; clothe +thyself in the flowers of sadness, in the flowers of weeping, give +praises in flowers of sighs that may carry you toward the Cause of +All. + +4. Ica ye ninapanao tlaocolxochicozcatlon, nomac ommanian +elcicihuilizchimà lxochitlon, nic ehuaya in tlaocolcuicatloo, +nicchalchiuhcocahuicomana yectli yancuicatl, nic ahuachxochilacatzoa, +yn o chalchiuhuehueuhilhuitl, itech nictlaxilotia in nocuicatzin in +nicuicani ye niquincuilia in ilhuicac chanequeo zacuantototl, +quetzaltzinitzcantototl teoquechol inon tl[)a]toa quechol in qui +cecemeltia in tloque, etc. + +4. I array myself with the jewels of saddest flowers; in my hands are +the weeping flowers of war; I lift my voice in sad songs; I offer a +new and worthy song which is beautiful and melodious; I weave songs +fresh as the dew of flowers; on my drum decked with precious stones +and plumes I, the singer, keep time to my song, as I take it from +those dwellers in the heavens, the zacuan bird, the beautiful +tzinitzcan, the divine quechol, those melodious birds who give joy to +the Cause of All. + + +X. + +_MEXICA XOPANCUICATL TLAMELAUHCAYOTL._ + +_A SPRING SONG OF THE MEXICANS, A PLAIN SONG._ + +1. Tlaocoya in noyollo nicuicanitl nicnotlamatia, yehua za yey +xochitl y zan ye in cuicatlin, ica nitlacocoa in tlalticpac ye nican, +ma nequitocan intech cocolia intech miquitlani moch ompa onyazque +cano y ichan, ohuaya. + +1. My heart grieved, I, the singer, was afflicted, that these are the +only flowers, the only songs which I can procure here on earth; see +how they speak of sickness and of death, how all go there to their +homes, alas. + +2. I inquemanian in otonciahuic, in otontlatzihuic tocon ynayaz in +momahuizco in motenyo in tlalticpac, ma nenquitocane, ohuaya, etc. + +2. Sometimes thou hast toiled and acquired skill, thou takest refuge +in thy fame and renown on earth; but see how vain they speak, alas. + +3. Inin azan oc huelnemohuan in tlalticpac mazano ihuian yehuan Dios +quiniquac onnetemoloa in tiaque in canin ye ichan, ohuaya. + +3. As many as live on earth, truly they go to God when they descend +to the place where are their homes, alas. + +4. Hu inin titotolinia ma yuhquitimiquican ma omochiuh in mantech +onittocan in tocnihuan in matech onahuacan in quauhtin y a ocelotl. + +4. Alas, we miserable ones, may it happen when we die that we may see +our friends, that we may be with them in grandeur and strength. + +5. Mazo quiyocoli macaoc xictemachican, can antlahuicaya y caya +amechmotlatili in ipalnemohuani, ohuaya. + +5. Although He is the Creator, do not hope that the Giver of Life has +sent you and has established you. + +6. Ay ya yo xicnotlamatican Tezcacoacatl, Atecpanecatl mach nel +amihuihuinti in cozcatl in chalchihuitli, ma ye anmonecti, ma ye +antlaneltocati. + +6. Be ye grieved, ye of Tezcuco and Atecpan, that ye are intoxicated +with gems and precious stones; come forth to the light, come and +believe. + + +XI. + +_OTRO._ + +_ANOTHER._ + +1. Nicchocaehua, nicnotlamati, nicelnamiqui ticauhtehuazque yectliya +xochitl yectli yancuicatl; ma octonahuiacan, ma oc toncuicacan cen +tiyahui tipolihui ye ichan, etc. + +1. I lift my voice in wailing, I am afflicted, as I remember that we +must leave the beautiful flowers, the noble songs; let us enjoy +ourselves for a while, let us sing, for we must depart forever, we +are to be destroyed in our dwelling place. + +2. Achtleon ah yuhquimati in tocnihuan cocoya in noyollo qualani +yehua ay oppan in tlacatihua ye ay oppa piltihuaye yece yequi +xoantlalticpac. + +2. Is it indeed known to our friends how it pains and angers me that +never again can they be born, never again be young on this earth? + +3. Oc achintzinca y tetloc ye nican tenahuacan aic yezco on aic +nahuiaz aic nihuelamatiz. + +3. Yet a little while with them here, then nevermore shall I be with +them, nevermore enjoy them, nevermore know them. + +4. In can on nemian noyollo yehua? Can huel ye nochan? Can huel +nocallamanian? Ninotolinia tlalticpac. + +4. Where shall my soul dwell? Where is my home? Where shall be my +house? I am miserable on earth. + +5. Zan ye tocontemaca ye tocontotoma in mochalchiuh, ye on +quetzalmalintoc, zacuan icpac xochitl, za yan tiquinmacayan tepilhuan +O. + +5. We take, we unwind the jewels, the blue flowers are woven over the +yellow ones, that we may give them to the children. + +6. In nepapan xochitl conquimilo, conihuiti ye noyollo niman +nichocaya ixpan niauh in tonan. + +6. Let my soul be draped in various flowers; let it be intoxicated by +them, for soon must I weeping go before the face of our mother. + +7. Zan nocolhuia: ipalnemohua ma ca ximozoma, ma ca ximonenequin +tlalticpac, mazo tehuantin motloc tinemican y, zan ca ye moch ana +ilhuicatlitica. + +7. This only do I ask:--Thou Giver of Life, be not angry, be not +severe on earth, let us live with thee on earth, take us to the +Heavens. + +8. Azo tle nello nicyaitohua nican ipalnemohua, zan tontemiqui y, zan +toncochitlehuaco, nicitoa in tlalticpac ye ayac huel tontiquilhuia ye +nicana. + +8. But what can I speak truly here of the Giver of Life? We only +dream, we are plunged in sleep; I speak here on earth; but never can +we speak in worthy terms here. + +9. In manel ye chalchihuitl, mantlamatilolli, on aya mazo ya +ipalnemohuani ayac hueltic ilhuia nicana. + +9. Although it may be jewels and precious ointments (of speech), yet +of the Giver of Life, one can never here speak in worthy terms. + + +XII. + +_XOPANCUICATL NENONOTZALCUICATL IPAMPA IN AQUIQUE AMO ON MIXTILIA IN +YAOC._ + +_A SPRING SONG, A SONG OF EXHORTATION, BECAUSE CERTAIN ONES DID NOT +GO TO THE WAR._ + +1. Nictzotzonan nohuehueuh nicuicatlamatquetl ic niquimonixitia ic +niquimitlehua in tocnihuan in atle in yollo quimati in aic tlathui +ipan inin yollo yaocochmictoque in inpan motimaloa in +mixtecomatlayohualli anen niquito huay motolinia y, maquicaqui qui y +xochitlathuicacuicatl occeh tzetzeuhtimania huehuetitlana, ohuaya, +ohuai. + +1. I strike on my drum, I the skillful singer, that I may arouse, +that I may fire our friends, who think of nothing, to whose minds +plunged in sleep the dawn has not appeared, over whom are yet spread +the dark clouds of night; may I not call in vain and poorly, may they +hear this song of the rosy dawn, poured abroad widely by the drum, +ohe! ohe! + +2. Tlahuizcalteochitla oncuepontimani in ixochiquiyaopan in tloque in +nahuaque, onahuachtotonameyotimani in teyolquima; ma xiqualitacan in +atle ipan ontlatao, zannen cuepontimanio ayac mahaca quelehuiao in +antocnihuan amo zannen ya xochitl yoliliztlapalneucxochitla e. + +2. The divine flowers of dawn blossom forth, the war flowers of the +Cause of All; glittering with dew they scatter abroad their +fragrance; bring them hither that they be not hidden nor bloom in +vain, that they may rejoice you our friends, and not in vain shall be +the flowers, the living, colored, brilliant flowers. + +3. Quiyolcaihuintiaya in teyolia, zan oncan ye omania, zan oncan ye +oncuepontimania quauhtepetitlan in ya hualiuhcancopa y +ixtlahuatlitica oncan inemaya oc teoatl tlachinolli a. Oncan in +epoyahuayan in teoquauhtli oncan iquiquinacayan, in ocelotl, +ipixauhyan in nepapan tlazomaquiztetl, in emomolotzayan in nepapan +tlazopilihuitl, oncan teintoque oncan xamantoque in tepilhuan. + +3. They intoxicate the soul, but they are only found, they blossom +only on the lofty mountains, on the broad plains where glorious war +finds its home. There is where the eagles gather in bands of sixties, +there the tigers roar, there the various beloved stones rain down, +there the various dear children are cut to pieces; there the youths +are split into shards and ground into fragments. + +4. Tlacuah yehuantin in tepilhuani conelehuiao, in +tlahuizcalxochitlan ya nemamallihuao ic tetlan[)e]nectiao, in +ilhuicac onocon iceolitzin yn iotepiltzina quitzetzelotimanio a in +tepilhuan in quauhtliya ocelotl, in quimemactiao in +xochicueponalotlon in quimihuintia yeyolxochiahuechtlia. + +4. Stoutly do those youths rejoice, laboring for the rose of the dawn +that they may win it; and in heaven, He, the only one, the noble one, +pours down upon the youths strength and courage, that they may pluck +the budding flowers of the pathway, that they may be intoxicated with +the dew-damp flowers of the spirit. + +5. In ic timomatia in tinocniuh zan ne yan xochitlon in tiquelehuiaon +in tlalticpac, quen toconcuizon quen ticyachihuazon, timotolinia in +tiquimiztlacoa a in tepilhuan xochitica cuicatica; ma xihuallachican +in atle y ica mitl, ehuaon zan moch yehuantin in tepilhuan +zacuanmeteoquecholtitzinitzcatlatlauhquecholtin moyeh yectitinemio in +onmatio in ixtlahuatlitican. + +5. Know, my friend, that these are the only flowers which will give +thee pleasure on earth; mayest thou take them and make them; O poor +one, search out for thy children these flowers and songs. Look not +hither without arrows, let all the youths lift up their voices, like +zacuan birds, divine quechols, tzinitzcans, and red quechols, who +live joyous lives, and know the fields. + +6. Chimalxochitl, quauhpilolxochitl ic oquichtlamatimani in y +antepilhuan xochicozcaocoxochitl ic mapantimanian, quitimaloao +yectliya cuicatl, yectliya xochitl, imezo imelchiquiuh patiuh +mochihuaya in quicelia on in teoatl tlachinolli; y iantocnihuan +tliliuhquitepeca in tiyaotehua huey otlipana, ma huel xoconmanao y ye +mochimalo, huel xonicaon in ti quauhtliya ocelotla. + +6. O youths, here there are skilled men in the flowers of shields, in +the flowers of the pendant eagle plumes, the yellow flowers which +they grasp; they pour forth noble songs, noble flowers; they make +payment with their blood, with their bare breasts; they seek the +bloody field of war. And you, O friends, put on your black paint, for +war, for the path of victory; let us lay hands on our shields, and +raise aloft our strength and courage. + + +XIII. + +_HUEXOTZINCAYOTL._ + +_A SONG OF HUEXÔTZINCO._ + +1. Zan tlaocolxochitl, tlaocolcuicatl on mania Mexico nican ha in +Tlatilolco, in yece ye oncan on neiximachoyan, ohuaya. + +1. Only sad flowers, sad songs, are here in Mexico, in Tlatilolco, in +this place these alone are known, alas. + +2. Ixamayo yectli in zan ca otitech icneli ipalnemohuani, in za can +tipopolihuizque in timacehualta, ohuaya. + +2. It is well to know these, if only we may please the Giver of Life, +lest we be destroyed, we his subjects, alas. + +3. Ototlahueliltic, zan titotolinia timacehualtinquezo huel +tehuantin, otiquittaque in cococ ye machoyan, ohuaya. + +3. We have angered Him, we are only wretched beings, slaves by blood; +we have seen and known affliction, alas. + +4. Ticmomoyahua, ticxoxocoyan in momacehualy in Tlatilolco cococ +moteca cococ ye machoyan ye ic ticiahuia ipalnemoani, ohuaya. + +4. We are disturbed, we are embittered, thy servants here in +Tlatilolco, deprived of food, made acquainted with affliction, we are +fatigued with labor, O Giver of Life, alas. + +5. Choquiztli moteca ixayotl pixahui oncan a in Tlatilolco; in atlan +yahqueon o in Mexica ye cihua nelihui ica yehuilo a oncan ontihui in +tocnihuan a, ohuaya. + +5. Weeping is with us, tears fall like rain, here in Tlatilolco; as +the Mexican women go down to the water, we beg of them for ourselves +and our friends, alas. + +6. In ic neltic o ya cahua Atloyantepetl o in Mexico in poctli +ehuatoc ayahuitl onmantoc, in tocon ya chihuaya ipalnemoani, ohuaya. + +6. Even as the smoke, rising, lies in a cloud over Mount Atloyan, in +Mexico, so does it happen unto us, O Giver of Life, alas. + +7. In anMexica ma xiquilnamiquican o yan zan topan quitemohuia y +ellelon i mahuizo yehuan zan yehuan Dios, yehua anquin ye oncan in +coyonacazco, ohuaya. + +7. And you Mexicans, may you remember concerning us when you descend +and suffer before the majesty of God, when there you shall howl like +wolves. + +8. Za can ye oncan zan quinchoquiz tlapaloa o anquihuitzmanatl incan +ye[)u]ch motelchiuh on ya o anquin ye mochin, ha in tlayotlaqui, ah +in tlacotzin, ah in tlacateuctli in oquichtzin y huihui ica ça ye con +yacauhqui in Tenochtitlan, ohuaya. + +8. There, there will be only weeping as your greeting when you come, +there you will be accursed, all of you, workers in filth, slaves, +rulers or warriors, and thus Tenochtitlan will be deserted. + +9. In antocnihuan ma xachocacan aya ma x[)a]conmatican ica ye +ticcauhque Mexicayotl huiya, zan ye yatl chichixhuiya no zan ye +tlaqualli chichixaya zan con aya chiuhqui in ipalnemoani ha in +Tlatilolco y, ohuaya. + +9. Oh friends, do not weep, but know that sometime we shall have left +behind us the things of Mexico, and then their water shall be made +bitter and their food shall be made bitter, here in Tlatilolco, as +never before, by the Giver of Life. + +10. Tel ah zan yhuian huicoque hon in motelchiuhtzin ha in tlacotzin +zan mocuica ellaquauhque ac achinanco in ahiquac in tlepan quixtiloto +in coyohuacan, ohuaya. + +10. The disdained and the slaves shall go forth with song; but in a +little while their oppressors shall be seen in the fire, amid the +howling of wolves. + + +XIV. + +1. Zan tzinitzcan impetlatl ipan, ohuaya; on tzinitzcan iceliztoca +oncan izan in ninentlamatia, in zan icnoxochicuicatica inocon ya +temohua ya ohuaya, ohuaya. + +1. Only the tzinitzcan is in power, the tzinitzcan arouses me in my +affliction, letting fall its songs like sad flowers. + +2. In canin nemiya icanon in nemitoconchia ye nican huehuetitlan a +ayiahue, ye onnentlamacho, ye mocatlaocoyalo ay xopancaliteca, +ohuaya, ohuaya. + +2. Wherever it wanders, wherever it lives, one awaits it here with +the drum, in affliction, in distress, here in the house of spring. + +3. Ac ipiltzin? Achanca ipiltzin yehuayan Dios Jesu Christo can +quicuilo antlacuiloa quicuilo ancuicatl a ohuaya, ohuaya. + +3. Who is the royal son? Is not the royal son, the son of God, Jesus +Christ, as was written in your writings, as was written in your +songs? + +4. O achan canel ompa huiz canin ilhuicac y xochintlacuilol +xochincalitec a ohuaya ohuaya. + +4. Is not the flowery writing within the house of flowers that he +shall come there from heaven? + +5. In ma ontlachialoya in ma ontl[)a]tlamahuicolo in +tlapapalcalimanican y ipalnemoa y tlayocol yehuan Dios, ohuaya. + +5. Look around and wonder at this scene of many colored houses which +God has created and endowed with life. + +6. Techtolinian techtl[)a]tlanectia y icuicaxochiamilpan, +intechontl[)a]tlachialtian ipalnemohua itlayocol yehuan Dios a +ohuaya. + +6. They make us who are miserable to see the light among the flowers +and songs of the fertile fields, they cause us to see those things +which God has created and endowed with life. + +7. Ya ixopantla ixopantlatinenemi ye nican ixtlahuatl yteey, za +xiuhquechol quiahuitl zan topan xaxamacay in atlixco ya ohuaya, +ohuaya. + +7. They dwell in the place of spring, in the place of spring, here +within the broad fields, and only for our sakes does the +turquoise-water fall in broken drops on the surface of the lake. + +8. Zan ye nauhcampay ontlapepetlantoc, oncan onceliztoc in +cozahuizxochitl, oncan nemi in Mexica in tepilhuan a ohuaya ohuaya. + +8. Where it gleams forth in fourfold rays, where the fragrant yellow +flowers bud, there live the Mexicans, the youths. + + +XV. + +_TEZOZOMOCTLI IC MOTECPAC._ + +_THE REIGN OF TEZOZOMOCTLI._ + +1. Zan ca tzihuactitlan, mizquititlan, aiyahue Chicomoztocpa, mochi +ompa yahuitze antl[)a]tohuan ye nican, ohuaya, ohuaya. + +1. From the land of the tzihuac bushes, from the land of the mezquite +bushes, where was ancient Chicomoztoc, thence came all your rulers +hither. + +2. Nican momalinaco in colcahuahtecpillotl huiya nican milacatzoa in +Colhuaca Chichimecayotl in toteuchuahuia. + +2. Here unrolled itself the royal line of Colhuacan, here our nobles +of Colhuacan, united with the Chichimecs. + +3. Ma oc achitzinca xomotlanecuican antepilhuan huiya tlacateuhtzin +Huitzilihuitl a ya cihuacoatl y Quauhxilotl huia totomihuacan +Tlalnahuacatl aya zan ca xiuhtototl Ixtlilxochitl y quenman +tlatzihuiz quimohmoyahuaquiuh yauh y tepeuh yehuan Dios ica ye choca +Tezozomoctli ohuaya ohuaya. + +3. Sing for a little while concerning these, O children, the +sovereign Huitzilihuitl, the judge Quauhxilotl, of our bold leader +Tlalnahuacatl, of the proud bird Ixtlilxochitl, those who went forth, +and conquered and ruled before God, and bewail Tezozomoctli. + +4. Yenoceppa mizquitl yacahuantimani Hueytlalpani, anquican itlatol +yehuan Dios a ohuaya, ohuaya. + +4. A second time they left the mezquite bushes in Hue Tlalpan, +obeying the order of God. + +5. Can onyeyauh xochitl, can oyeyauh yeh intoca quauhtli ocelotl huia +ya moyahuaya xelihuia Atloyantepetl Hueytlalpan y anquizan itlatol +ipalnemohua ohuaya ohuaya. + +5. They go where are the flowers, where they may gain grandeur and +power, dividing asunder they leave the mountain Atloyan and Hue +Tlalpan, obeying the order of the Giver of Life. + +6. Oncuiltonoloc, onechtlachtiloc, in teteuctin cemanahuac y huel +zotoca huipantoca y tl[)a]tol ipalnemohuani, huel quimothuitico, huel +quiximatico y yollo yehuan Dios huiya chalchihuitl maquiztliya +tlamatelolliya tizatla ihuitla za xochitl quimatico yaoyotla ohuaya +ohuaya. + +6. It is cause of rejoicing, that I am enabled to see our rulers from +all parts gathering together, arranging in order the words of the +Giver of Life, and that their souls are caused to see and to know +that God is precious, wonderful, a sweet ointment, and that they are +known as flowers of wise counsel in the affairs of war. + +7. Oya in Tochin y miec acalcatli, Acolmiztlan teuctli zan Catocih +teuctli Yohuallatonoc y yehuan Cuetzpaltzin Iztaccoyotl totomihuacan +Tlaxcallan ohuaye Coatziteuctli Huitlalotzin za xochitl quimatico +yaoyotla ohuaya ohuaya. + +7. There were Tochin, with many boats, the noble Acolmiztlan, the +noble Catocih, Yohuallatonoc, and Cuetzpaltzin, and Iztaccoyotl, bold +leaders from Tlaxcalla, and Coatziteuctli, and Huitlalotzin, famed as +flowers on the field of battle. + +8. Tley an quiyocoya anteteuctin y Huexotzinca? ma xontlachiacan +Acolihu[)a]can in quatlapanca oncan ye Huexotla itztapallocan huia +yeyahuatimani Atloyantepetl a ohuaya. + +8. For what purpose do you make your rulers, men of Huexotzinco? Look +at Acolhuacan where the men of Huexotzinco are broken with toil, are +trod upon like paving stones, and wander around the mountain Atloyan. + +9. Oncan in pochotl ahuehuetl oncan icaca mizquitl ye oztotlhui[)a] +tetlaquahuac quimatia ipalnemohuani oyao ai ya hue ohuaya. + +9. There is a ceiba tree, a cypress tree, there stands a mezquite +bush, strong as a cavern of stone, known as the Giver of Life. + +10. Tlacateotl nopiltzin Chichimecatl y tleonmach itla techcocolia +Tezozomoctli tech in micitlani ye ehuaya atayahuili quinequia yaoyotl +necaliztlon quima Acolhuacan ohuaya. + +10. Ruler of men, Nopiltzin, Chicimec, O Tezozomoctli, why hast thou +made us sick, why brought us to death, through not desiring to offer +war and battle to Acolhuacan? + +11. Tel ca tonehua ticahuiltia ipalnemohuani Colihua o o Mexicatl y +tlahcateotl huiaya atayahuili quinequia yaoyotl necaliztl qui mana +Acolhuacan a ohuaya ohuaya. + +11. But we lift up our voice and rejoice in the Giver of life; the +men of Colhuacan and the Mexican leader have ruined us, through not +desiring to offer war and battle to Acolhuacan. + +12. Zan ye on necuiltonolo in tlalticpac ay oppan titlano chimalli +xochitl ay oppan ahuiltilon ipalnemohua; ye ic anauia in tlailotlaqui +xayacamacha huia ho ay ya yi ee ohuaya ha ohuaya. + +12. The only joy on earth will be again to send the shield-flower, +again to rejoice the Giver of Life; already are discontented the +faces of the workers in filth. + +13. Inacon anquelehuia chimalli xochitl y yohual xochitli +tl[)a]chinol xochitl; ye ic neyahpanalo antepilhuan huiya +Quetzalmamatzin Huitznahuacatl ohuaye ho ha yia yi ee oua yi aha +ohuaya. + +13. Therefore you rejoice in the shield-flowers, the flowers of +night, the flowers of battle; already are ye clothed, ye children of +Quetzalmamatzin and Huitznahuacatl. + +14. Chimal tenamitl oncan in nemohua yehua necalia huilotl oyahualla +icahuaca yehuaya on canin ye nemi in tecpipiltin Xiuhtzin +xayacamachani amehuano o anconahuiltia ipalnemohua ohuaya. + +14. Your shield and your wall of safety are where dwells the sweet +joy of war, where it comes, and sings and lifts its voice, where +dwell the nobles, the precious stones, making known their faces; thus +you give joy to the Giver of Life. + +15. In ma huel netotilo mannemamanaloya yaonahuac a on +netlamachtiloyan ipan nechihuallano ohuaye in tepiltzin can ye +mocuetlaca ohuaya, ohuaya. + +15. Let your dancing, and banqueting be in the battle, there be your +place of gain, your scene of action, where the noble youths perish. + +16. Quetzalipantica oyo huiloa ahuiltiloni ipalnemohuan yectlahuacan +in tapalcayocan a ohuaya ohuaya. + +16. Dressed in their feathers they go rejoicing the Giver of Life to +the excellent place, the place of shards. + +17. Oyo hualehuaya ye tocalipan oyohua yehua Huexotzincatl y +tototihua o o Iztaccoyotla ohuaya ohuaya. + +17. He lifted up his voice in our houses like a bird, that man of +Huexotzinco, Iztaccoyotl. + +18. Ace melle ica ton[)a]coquiza y nican topantilemonti Tlaxcaltecatl +itocoya cacalia in altepetl y Huexochinco ya ohuaya. + +18. Whoever is aggrieved let him come forth with us against the men +of Tlaxcallan, let him follow where the city of Huexotzinco lets +drive its arrows. + +19. Cauhtimanizo polihuiz tlalli yan totomihuacan huia cehuiz yiollo +o antepilhuan a Huexotzinca y ohuaya ohuaya. + +19. Our leaders will lay waste, they will destroy the land, and your +children, O Huexotzincos, will have peace of mind. + +20. Mizquitl y mancan tzihuactli y mancan ahuehuetl onicacahuia +ipalnemohua, xonicnotlamati mochi elimanca Huexotzinco ya zanio oncan +in huel on mani tlalla ohuaya ohuaya. + +20. The mezquite was there, the tzihuac was there, the Giver of Life +has set up the cypress; be sad that evil has befallen Huexotzinco, +that it stands alone in the land. + +21. Zan nohuian tlaxixinia tlamomoyahua y ayoc anmocehuia +mom[)a]cehual y hualcaco mocuic in icelteotl oc xoconyocoyacan +antepilhuan a ohuaya ohuaya. + +21. In all parts there are destruction and desolation, no longer are +there protection and safety, nor has the one only God heard the song; +therefore speak it again, you children; + +22. Zan mocuepa itlatol conahuiloa ipalnemohua Tepeyacac ohuaye +antepilhuan ohuaya ohuaya. + +22. That the words may be repeated, you children, and give joy to the +Giver of Life at Tepeyacan. + +23. Canel amonyazque xoconmolhuican an Tlaxcalteca y Tlacomihuatzin +hui oc oyauh itlachinol ya yehuan Dios a ohuaya. + +23. And since you are going, you Tlaxcallans, call upon +Tlacomihuatzin that he may yet go to this divine war. + +24. Cozcatl ihuihui quetzal n[)e]huihuia oc zo conhuipanque zan +Chichimeca y Totomihua a Iztaccoyotl a ohuaya ohuaya. + +24. The Chichimecs and the leaders and Iztaccoyotl have with +difficulty and vain labor arranged and set in order their jewels and +feathers. + +25. Huexotzinco ya zan quiauhtzinteuctli techcocolia Mexicatl +itechcocolia Acolihuiao ach quennelotihua tonyazque quenonamican a +ohuaye ohuaye. + +25. At Huexotzinco the ruler Quiauhtzin hates the Mexicans, hates the +Acolhuacans; when shall we go to mix with them, to meet them? + +26. Ay antlayocoya anquimitoa in amotahuan an teteuctin ayoquantzin +ihuan a in tlepetztic in cacha ohuaya tzihuacpopoca yo huaya. + +26. Set to work and speak, you fathers, to your rulers, to your +lords, that they may make a blazing fire of the smoking tzihuac wood. + +27. Ca zan catcan Chalco Acolihuaca huia totomihuacan y amilpan in +Quauhquecholla quixixinia in ipetl icpal yehuan Dios ohoaya ohuaya. + +27. The Acolhuacans were at Chalco, the Otomies were in your +cornfields at Quauhquechollan, they laid them waste by the permission +of God. + +28. Tlazoco a ye nican tlalli tepetl yecocoliloya cemanahuac a +ohuaya. + +28. The fields and hills are ravaged, the whole land has been laid +waste. + +29. Quennel conchihuazque atl popoca itlacoh in teuctli tlalli +mocuepaya Mictlan onmatia Cacamatl onteuctli, quennel conchihuazque, +ohuaya ohuaya. + +29. What remedy can they turn to? Water and smoke have spoiled the +land of the rulers; they have gone back to Mictlan attaching +themselves to the ruler Cacamatl. What remedy can they turn to? + + +XVI. + +1. On onellelacic quexquich nic ya ittoa antocnihuan ayiaue +noconnenemititica noyollon tlalticpac y noconycuilotica, ay niyuh can +tinemi ahuian yeccan, ay cemellecan in tenahuac y, ah nonnohuicallan +in quenon amican ohuaya. + +1. It is a bitter grief to see so many of you, dear friends not +walking with me in spirit on the earth, and written down with me; +that no more do I walk in company to the joyful and pleasant spots; +that nevermore in union with you do I journey to the same place. + +2. Zan nellin quimati ye noyollo za nelli nicittoa antocnihuan, +ayiahue aquin quitlatlauhtia icelteotl yiollo itlacoca con aya macan. +Machamo oncan? In tlalticpac machamo oppan piltihua. Ye nelli nemoa +in quenon amican ilhuicatl y itec icanyio oncan in netlamachtilo y +ohuaya. + +2. Truly I doubt in my heart if I really see you, dear friends; Is +there no one who will pray to the one only God that he take this +error from your hearts? Is no one there? No one can live a second +time on earth. Truly they live there within the heavens, there in a +place of delight only. + +3. O yohualli icahuacan teuctlin popoca ahuiltilon Dios +ipalnemohuani: chimalli xochitl in cuecuepontimani in mahuiztli +moteca molinian tlalticpac, ye nican ic xochimicohuayan in ixtlahuac +itec a ohuaya ohuaya. + +3. At night rises up the smoke of the warriors, a delight to the Lord +the Giver of Life; the shield-flower spreads abroad its leaves, +marvelous deeds agitate the earth; here is the place of the fatal +flowers of death which cover the fields. + +4. Yaonauac ye oncan yaopeuhca in ixtlahuac itec iteuhtlinpopoca ya +milacatzoa y momalacachoa yaoxochimiquiztica antepilhuan in +anteteuctin zan Chichimeca y ohuaya. + +4. The battle is there, the beginning of the battle is in the open +fields, the smoke of the warriors winds around and curls upward from +the slaughter of the flowery war, ye friends and warriors of the +Chichimecs. + +5. Maca mahui noyollo ye oncan ixtlahuatl itic, noconele hua in +itzimiquiliztli zan quinequin toyollo yaomiquiztla ohuaya. + +5. Let not my soul dread that open field; I earnestly desire the +beginning of the slaughter, may thy soul long for the murderous +strife. + +6. O anquin ye oncan yaonahuac, noconelehuia in itzi miquiliztli can +quinequin toyollo yaomiquiztla ohuaya ohuaya. + +6. O you who are there in the battle, I earnestly desire the +beginning of the slaughter, may thy soul long for the murderous +strife. + +7. Mixtli ye ehuatimani yehuaya moxoxopan ipalnemohuani ye oncan +celiztimani a in quauhtlin ocelotl, ye oncan cueponio o in tepilhuan +huiya in tlachinol, ohuaya ohuaya. + +7. The cloud rises upward, rising into the blue sky of the Giver of +Life; there blossom forth prowess and daring, there, in the battle +field, come the children to maturity. + +8. In ma oc tonahuican antocnihuan ayiahuc, ma oc xonahuiacan +antepilhuan in ixtlahuatl itec, y nemoaquihuic zan tictotlanehuia o a +in chimalli xochitl in tlachinoll, ohuaya, ohuaya, ohuaya. + +8. Let us rejoice, dear friends, and may ye rejoice, O children, +within the open field, and going forth to it, let us revel amid the +shield-flowers of the battle. + +XVII. + +_XOCHICUICATL._ + +_A FLOWER SONG._ + +1. Can ti ya nemia ticuicanitl ma ya hualmoquetza xochihuehuetl +quetzaltica huiconticac teocuitlaxochinenepaniuhticac y ayamo aye +iliamo aye huiy ohuaya, ohuaya. + +1. Where thou walkest, O singer, bring forth thy flowery drum, let it +stand amid beauteous feathers, let it be placed in the midst of +golden flowers; + +2. Tiquimonahuiltiz in tepilhuan teteucto in quauhtlo ocelotl ayamo, +etc. + +2. That thou mayest rejoice the youths and the nobles in their +grandeur. + +3. In tlac[)a]ce otemoc aya huehuetitlan ya nemi in cuicanitlhuia zan +qui quetzal in tomaya quexexeloa aya icuic ipalnemoa qui ya nanquilia +in coyolyantototl oncuicatinemi xochimanamanaya taxocha ohuaya, +ohuaya. + +3. Wonderful indeed is it how the living song descended upon the +drum, how it loosened its feathers and spread abroad the songs of the +Giver of Life, and the coyol bird answered, spreading wide its notes, +offering up its flowery songs of flowers. + +4. In canon in noconcaqui in tlatol aya tlacazo yehuatl ipalnemoa +quiyananquilia quiyananquilia in coyolyantototl on cuicatinemi +xochimanamanaya, etc. + +4. Wherever I hear those words, perhaps the Giver of Life is +answering, as answers the coyol bird, spreading wide its notes, +offering up its flowery song of flowers. + +5. In chalchihuitl ohuayee on quetzal pipixauhtimania in amo +tlatolhuia, noyuh ye quittoa yayoquan yehuayan cuetzpal ohuaye +anquinelin ye quimatin ipalnemoa ohuaya. + +5. It rains down precious stones and beauteous feathers rather than +words; it seems to be as one reveling in food, as one who truly knows +the Giver of Life. + +6. Noyuh quichihua con teuctlon timaloa yecan quetzalmaquiztla +matilolticoya conahuiltia icelteotlhuia achcanon azo a yan ipalnemoa +achcanon azo tle nel in tlalticpac ohuaya. + +6. Thus do the nobles glorify themselves with things of beauty, honor +and delight, that they may please the one only god, though one knows +not the dwelling of the Giver of Life, one knows not whether he is on +earth. + +7. Macuelachic aya maoc ixquich cahuitl niquin notlanehui in +chalchiuhtini in maquiztini in tepilhuan aya; zan nicxochimalina in +tecpillotl huia: zan ca nican nocuic ica ya nocon ilacatzohua a in +huehuetitlan a ohuaya ohuaya. + +7. May I yet for a little while have time to revel in those precious +and honorable youths; may I wreathe flowers for their nobility; may I +here yet for a while wind the songs around the drum. + +8. Oc noncoati nican Huexotzinco y nitl[)a]tohuani ni teca ehuatzin +huiya chalchiuhti zan quetzalitztin y, niquincenquixtia in tepilhuan +aya zan nicxochimalina in tecpillotl huia ohuaya ohuaya. + +8. I am a guest here among the rulers of Huexotzinco; I lift up my +voice and sing of precious stones and emeralds; I select from among +the youths those for whom I shall wreathe the flowers of nobility. + +9. A in ilhuicac itic ompa yeya huitz in yectliyan xochitl yectliyan +cuicatl y, conpolo antellel conpolo antotlayocol y in tlacazo yehuatl +in Chichimecatl teuctli in teca yehuatzin ica xonahuiacan a ohuaya +ohuaya. + +9. There comes from within the heavens a good flower, a good song, +which will destroy your grief, destroy your sorrow; therefore, Chief +of the Chichimecs, be glad and rejoice. + +10. Moquetzal izqui xochintzetzeloa in icniuhyotl +aztlacaxtlatlapantica ye onmalinticac in quetzalxiloxochitl imapan +onn[)e]nemi conchichichintinemi in teteuctin in tepilhuan. + +10. Here, delightful friendship, turning about with scarlet dyed +wings, rains down its flowers, and the warriors and youths, holding +in their hands the fragrant xilo flowers, walk about inhaling the +sweet odor. + +11. Zan teocuitlacoyoltototl o huel yectli namocuic huel yectli in +anq'ehua anquin ye oncan y xochitl y ya hualyuhcan y xochitl imapan +amoncate in amontlatl[)a]toa ye ohuaya ohui ohui ilili y yao ayya hue +ho ama ha ilili ohua y yaohuia. + +11. The golden coyol bird sings sweetly to you, sweetly lifts its +voice like a flower, like sweet flowers in your hand, as you converse +and lift your voice in singing, etc. + +12. O ach ancati quechol in ipalnemoa o ach ancati tlatocauh yehuan +Dios huiya achto tiamehuan anquitztoque tlahuizcalli amoncuicatinemi +ohui, ohui, ilili, etc. + +12. Even like the quechol bird to the Giver of Life, even as the +herald of God, you have waited for the dawn, and gone forth singing +ohui, etc. + +13. Maciuhtiao o in quinequi noyollo, zan chimalli xochitl mixochiuh +ipalnemoani, quen conchihuaz noyollo yehua onentacico tonquizaco in +tlalticpac a ohuaya ohuaya. + +13. Although I wish that the Giver of Life shall give for flowers the +shield-flower, how shall I grieve that your efforts have been in +vain, that you have gone forth from the world. + +14. Zan ca yuhqui noyaz in o ompopoliuh xochitla antlenotleyoye in +quemmanian, antlenitacihcayez in tlalticpac. Manel xochitl manel +cuicatl, quen conchihuaz noyollo yehua onentacico tonquizaco in +tlalticpac ohuaya ohuaya. + +14. Even as I shall go forth into the place of decayed flowers, so +sometime will it be with your fame and deeds on earth. Although they +are flowers, although they are songs, how shall I grieve that your +efforts have been in vain, that you have gone forth from the world. + +15. Manton ahuiacan antocnihuan aya ma on nequech nahualo nican huiya +a xochintlaticpac ontiyanemi yenican ayac quitlamitehuaz in xochitl +in cuicatl in mani a ichan ipalnemohuani yi ao ailili yi ao aya hue +aye ohuaya. + +15. Let us be glad, dear friends, let us rejoice while we walk here +on this flowery earth; may the end never come of our flowers and +songs, but may they continue in the mansion of the Giver of Life. + +16. In zancuelachitzincan tlalticpac aya ayaoc noiuhcan +quennonamicani cuixocpacohua icniuhtihuay auh in amo zanio nican +totiximatizo in tlalticpac y yiao ha ilili yiao. + +16. Yet a little while and your friends must pass from earth. What +does friendship offer of enjoyment, when soon we shall no longer be +known on earth? + +17. Noconca con cuicatl noconca o quin tlapitzaya xochimecatl ayoquan +teuctliya ahuayie, ohuayiao ayio yo ohua. + +17. This is the burden of my song, of the garland of flowers played +on the flute, without equal in the place of the nobles. + +18. Zan mitzyananquili omitzyananquili xochincalaitec y in +aquiauhatzin in tlacateuhtli ayapancatl yahuayia. + +18. Within the house of flowers the Lord of the Waters, of the Gate +of the Waters, answers thee, has answered thee. + +19. Can tinemi noteouh ipalnemohuani mitztemohua in quemmanian y +mocanitlaocoyan, nicuicanitlhuia, zan ni mitzahuiltiaya ohuiyan +tililiyanco huia ohuaya ohuaya. + +19. Where thou livest, my beloved, the Giver of Life sends down upon +thee sometimes things of sadness; but I, the singer, shall make thee +glad in the place of difficulty, in the place of cumber. + +20. In zan ca izqui xochitl in quetzalizqui xochitl pixahui ye nican +xopancalaitec i tlacuilolcalitec, zan nimitzahahuiltiaya ohui. + +20. Here are the many flowers, the beauteous flowers, rained down +within the house of spring, within its painted house, and I with them +shall make thee glad. + +21. O anqui ye oncan Tlaxcala, ayahue, chalchiuhtetzilacuicatoque in +huehuetitlan ohuaye, xochin poyon ayiahue Xicontencatl teuctli in +Tizatlacatzin in camaxochitzin cuicatica y melelquiza xochiticaya on +chielo itlatol ohuay icelteotl ohuaya. + +21. O, you there in Tlaxcala, you have played like sweet bells upon +your drums, even like brilliantly colored flowers. There was +Xicontecatl, lord of Tizatlan, the rosy-mouthed, whose songs gave joy +like flowers, who listened to the words of the one only God. + +22. O, anqui nohuia y, ye mochan ipalnemohua xochipetlatl ye noca +xochitica on tzauhticac oncan mitztlatlauhtia in tepilhua ohuaya. + +22. Thy house, O Giver of Life is in all places; its mats are of +flowers, finely spun with flowers, where thy children pray to thee. + +23. In nepapan xochiquahuitl onicac, aya, huehuetitlan a a yiahue, +can canticaya quetzaltica malintimani, ya, yecxochitl motzetzeloaya +ohuaya ohuaya. + +23. A rain of various flowers falls where stands the drum, beauteous +wreaths entwine it, sweet flowers are poured down around it. + +24. Can quetzatzal petlacoatl yepac o, ye nemi coyoltototl +cuicatinemiya, can quinanquili teuctli ya, +conahuiltianquauhtloocelotl ohuaya ohuaya. + +24. Where the brilliant scolopender basks, the coyol bird scatters +abroad its songs, answering back the nobles, rejoicing in their +prowess and might. + +25. Xochitzetzeliuhtoc y, niconnetolilo antocnihuan huehuetitlan ai +on chielo can nontlamati toyollo yehua ohuaya ohuaya. + +25. Scattering flowers I rejoice you, dear friends, with my drum, +awaiting what comes to our minds. + +26. In zan ca yehuan Dios tlaxic, ya, caquican yehual temoya o +ilhuicatl itic, y, cuicatihuitz, y, quinanquilia o, angelotin +ontlapitztihuitzteaya oyiahue yaia o o ohuaya ohuaya. + +26. It reaches even to God, he hears it seeking him within the +heavens, the song comes and the angels answer, playing on their +flutes. + +27. Zan ninentlamatia can niquauhtenco ayahue can. * * * + +27. But I am sad within this wood. + + +XVIII. + +_NICAN OMPEHUA TEPONAZCUICATL._ + +_HERE BEGIN SONGS FOR THE TEPONAZTLI._ + +_Tico, tico, toco, toto, auh ic ontlantiuh cuicatl, tiqui, ti ti, +tito, titi._ + +_Tico, tico, toco, toto, and as the song approaches the end, tiqui, +titi, tito, titi._ + +1. Tollan aya huapalcalli manca, nozan in mamani coatlaquetzalli +yaqui yacauhtehuac Nacxitl Topiltzin, onquiquiztica ye choquililo in +topilhuan ahuay yeyauh in polihuitiuh nechcan Tlapallan ho ay. + +1. At Tollan there stood the house of beams, there yet stands the +house of plumed serpents left by Nacxitl Topiltzin; going forth +weeping, our nobles went to where he was to perish, down there at +Tlapallan. + +2. Nechcayan Cholollan oncan tonquizaya Poyauhtecatitlan, in +quiyapanhuiya y Acallan anquiquiztica ye choquililon ye. + +2. We went forth from Cholula by way of Poyauhtecatl, and ye went +forth weeping down by the water toward Acallan. + +3. Nonohualco ye nihuitz ye nihui quecholi nimamaliteuctla, +nicnotlamatia oyah quin noteuc ye ihuitimali, nechya icnocauhya +nimatlac xochitl, ayao ayao o ayya y yao ay. + +3. I come from Nonohualco as if I carried quechol birds to the place +of the nobles; I grieve that my lord has gone, garlanded with +feathers; I am wretched like the last flower. + +4. In tepetl huitomica niyaychocaya, axaliqueuhca nicnotlamatiya o +yaquin noteuc (etc. as v. 3). + +4. With the falling down of mountains I wept, with the lifting up of +sands I was wretched, that my lord had gone. + +5. In Tlapallan aya mochieloca monahuatiloca ye cochiztla o anca ca +zanio ayao, ayao, ayao. + +5. At Tlapallan he was waited for, it was commanded that there he +should sleep, thus being alone. + +6. Zan tiyaolinca ye noteuc ic ihuitimali, tinahuatiloya ye Xicalanco +o anca zacanco. + +6. In our battles my lord was garlanded with feathers; we were +commanded to go alone to Xicalanco. + +7. Ay yanco ay yanco ayamo aya ayhuiya ayanco ayyanco ayamo aye +ahuiya que ye mamaniz mocha moquiapana, oquen ye mamaniz +moteuccallatic ya icnocauhqui nican Tollan Nonohualco ya y ya y ya o +ay. + +7. Alas! and alas! who will be in thy house to attire thee? Who will +be the ruler in thy house, left desolate here in Tollan, in +Nonohualco? + +8. In ye quinti chocaya teuctlon, timalon que ye mamaniz mochan (etc. +as v. 7). + +8. After he was drunk, the ruler wept; we glorified ourselves to be +in thy dwelling. + +9. In tetl, in quahuitl o on timicuilotehuac nachcan Tollan y inon +can in otontlatoco Naxitl Topiltzin y aye polihuiz ye motoca ye ic ye +chocaz in momacehual ay yo. + +9. Misfortune and misery were written against us there in Tollan, +that our leader Nacxitl Topiltzin was to be destroyed and thy +subjects made to weep. + +10. Zan can xiuhcalliya cohuacallaya in oticmatehuac nachcan Tollan y +inon can yn otontlatoco Naxitl Topiltzin (etc. as in v. 9). + +10. We have left the turquoise houses, the serpent houses there in +Tollan, where ruled our leader Nacxitl Topiltzin. + + +XIX. + +_Tico toco toco ti quiti quiti quiti quito; can ic mocneptiuh._ + +_Tico, toco, toco, tiquiti, quiti, quiti, quito; where it is to turn +back again._ + +1. Tlapapal xochiceutli niyolaya nepapan tonacan xochitl moyahuaya +oncueponti moquetzaco ya naya aya ye teo ya ixpan tonaa Santa Maria +ayyo. + +1. Resting amid parti-colored flowers I rejoiced; the many shining +flowers came forth, blossomed, burst forth in honor of our mother +Holy Mary. + +2. An ya ya cuicaya zan quetzala xihuitl tomolihui yan aya ye +nitlachihual icelteotl y ye Dios aya ni itlayocolaoya yecoc ya. + +2. They sang as the beauteous season grew, that I am but a creature +of the one only God, a work of his hands that he has made. + +3. Zan ca tlaauilolpan nemia moyollo amoxpetlatl ipan toncuicaya +tiquimonyaitotia teteuctin aya in obispo ya zan ca totatzin aya oncan +titlatoa atlitempan ay yo. + +3. Mayst thy soul walk in the light, mayst thou sing in the great +book, mayst thou join the dance of the rulers as our father the +bishop speaks in the great temple. + +4. Yehuan Dios mitzyocox aya xochitla ya mitztlacatilo yancuicatl +mitzicuiloa Santa Maria in obispo ya. + +4. God created thee, he caused thee to be born in a flowery place, +and this new song to Holy Mary the bishop wrote for thee. + + +XX. + +1. Tolteca icuilihuia ahaa ya ha on tlantoc amoxtli ya moyollo ya on +aya mochonaciticac o o Toltecayootl aic aya ninemiz ye nican ay yo. + +1. The Toltecs have been taken, alas, the book of their souls has +come to an end, alas, everything of the Toltecs has reached its +conclusion, no longer do I care to live here. + +2. Ac ya nechcuiliz, ac ye nohuan oyaz o, nicaz a anni icuihuan aya y +yancuicanitl y yehetl y noxochiuh non cuica ihuitequi onteixpan ayyo. + +2. Who will take me? Who will go with me? I am ready to be taken, +alas. All that was fresh, the perfume, my flowers, my songs, have +gone along with them. + +3. Huey in tetl nictequintomahuac quahuitl, nicicuiloa yancuicatl +itech aya oncan nomitoz in quemmanian in can niyaz nocuica machio +nicyacauhtiaz in tlalticpac, y onnemiz noyol zan ca ye nican ya +hualla y yancoya nolnamicoca nemiz ye noteyo ay yo. + +3. Great is my affliction, weighty is my burden; I write out a new +song concerning it, that some time I may speak it there where I shall +go, a song to be known when I shall leave the earth, that my soul +shall live after I have gone from here, that my fame shall live fresh +in memory. + +4. Nichocaya niquittoaya nicnotza noyollo ma niquitta cuicanelhuayotl +ayama nicyatlalaquiya ma ya ica tlalticpac quimman mochihua onnenemiz +noyol y. Zan ca teucxochitl ahuiaca ipotocaticac mocepanoayan +toxochiuh ay ye ayao ohuiy on can quiya itzmolini ye nocuic celia +notlatollaquillo ohua in toxochiuh icac iquiapani ayao. + +4. I cried aloud, I looked about, I reflected how I might see the +root of song, that I might plant it here on the earth, and that then +it should make my soul to live. The sweet exhalations of the lovely +flowers rose up uniting with our flowers; one hears them growing as +my song buds forth, filled with my words our flowers stand upright in +the waters. + +5. Tel ca cahua xochitl ahuiac xeliuhtihuitz a ipotocaya in ahuiyac +poyomatlin pixahua oncan ninenenemi nicuicanitl y ye aya o ohui y on +ca quiya itzmolinï ye nocuic celia, etc. + +5. But the flowers depart, their sweetness is divided and exhales, +the fragrant poyomatl rains down its leaves where I the poet walk in +sadness; one hears them growing, etc. + + +XXI. + +_HUEXOTZINCAYOTL._ + +_A SONG OF THE HUEXOTZINCOS,_ + +_Viniendo los de Huexotzinco à pedir socorro à Moteuczoma Tlaxcalla._ + +_Coming to Ask Aid of Montezuma Against Tlaxcalla._ + +1. Tlacuiloltzetzeliuhticac moyoliol tiMoteuczom[=a]tzi +nichuicatihuitz nictzetzelotihuitz y o huetzcani +xochinquetzalpapalotl moquetzalizouhtihuitz noconitotia +chalchiuhatlaquiquizcopa niyahueloncuica chalchiuhhuilacapitzli +nicteocuitlapitza ya ho ay la ya o haye ohuichile amiyacale. + +1. Raining down writings for thy mind, O Montezuma, I come hither, I +come raining them down, a very jester, a painted butterfly; stringing +together pretty objects, I seem to be as one cementing together +precious stones, as I chant my song on my emerald flute, as I blow on +my golden flute, ya ho, ay la, etc. + +2. Ohuaya ye onniceelehuia moxochiuh aya ipalnemoani yehuay[=a] Dios +aya ilihu[=a]ca nahuiche nictzetzeloaya noncuicatilo yaha y. + +2. Yes, I shall cause thy flowers to rejoice the Giver of Life, the +God in heaven, as hither I come raining down my songs, ya ho. + +3. Tozmilini xochitl in noyolyol ay yahue tozmilini xochitl noteponaz +ayanco ayancayome oncana y yahue nicxochiamoxtozimmanaya itlatol +ayanco ayanca yomeho. + +3. A sweet voiced flower is my mind, a sweet voiced flower is my +drum, and I sing the words of this flowery book. + +4. Xompaqui xonahuia annochipanicantiyazque ye ichano +nohueyetzinteuctli Moteuczomatzi, totlaneuh tlpc totlaneuh uelic +xochitl o ayanco. + +4. Rejoice and be glad ye who live amid the flowers in the house of +my great lord Montezuma, we must finish with this earth, we must +finish with the sweet flowers, alas. + +5. Tlachinoltepec yn ahuicacopa tixochitonameyo timoquetzaco y yehuan +Dios a ocelozacatl ypan quauhtli choca ymopopoyauhtoc y yanco y liyan +cay yahue ayli y yacalco y ya y ycho zaca y yahue. + +5. At the Mount of Battle we bring forth our sweet and glittering +flowers before God, plants having the lustre of the tiger, like the +cry of the eagle, leaving glorious memory, such are the plants in +this house. + +6. Ohuaya yehe nipa tlantinemia ixpan Dios a +ninozozohuayatlauhquechol, zaquan quetzal in tlayahualol papalotl +mopilihuitzetzeloa teixpana xochiatlaquiquizcopa oh tlatoca ye nocuic +y yanco ili, etc. + +6. Alas! in a little while there is an end before God to all living; +let me therefore string together beauteous and yellow feathers, and +mingling them with the dancing butterflies rain them down before you, +scattering the words of my song like water dashed from flowers. + +7. Nehcoya ompa ye nihuithuiya xoxouhqui hueyatla ymancan zanniman +olini pozoni tetecuica ic nipa tlania, zan iquetzal in tototl +xiuhquechol tototl no chiuhtihuitz'y ni yahuinac ya Huexotzinco +Atzalan ayome. + +7. I would that I could go there where lies the great blue water +surging, and smoking and thundering, till after a time it retires +again: I shall sing as the quetzal, the blue quechol, when I go back +to Huexotzinco among the waters (_or_, and Atzalan). + +8. Zan niquintocaz aya niquimiximatitiuh nohueyotzitzinhuan +chalchiuhquechol y canca xiuhquechol in teocuitlapapalotl in +cozcatototl ontlapia ye onca Huexotzinco Atzalan ayame; + +8. I shall follow them, I shall know them, my beloved Huexotzincos; +the emerald quechol birds, the green quechol, the golden butterflies, +and yellow birds, guard Huexotzinco among the waters (_or_, and +Atzalan). + +9. Xochi Atzalaan teocuitlaatl chalchiuhatl y nepaniuhyan itlatoaya +in quetzalcanauhtli quetzalnocuitlapilli cuecueyahuaya yliya yliya +yaho ayli yaho aye huichile anicale. + +9. Among the flowery waters, the golden waters, the emerald waters, +at the junction of the waters which the blue duck rules moving her +spangled tail. + +10. Huecapan nicac nicuicanitl huiya zaquan petlatolini, ma nica +yeninemia nicyeyectian cuicatla in nic xochiotia yayaho yahii. + +10. I the singer stand on high on the yellow rushes; let me go forth +with noble songs and laden with flowers. + + +XXII. + +_Tico tico ticoti tico tico ticoti auh ic ontlantiuk in cuicatl +totoco totoco._ + +_Tico, tico, ticoti, tico, tico, ticoti, and then the song ends with +totoco, totoco._ + +1. Xichocayan nicuicanitl nicitta noxochiuh zan nomac ommania zan +quihuintia ye noyollo ni cuicatl aya nohuian nemia, zan ca ye noyollo +notlayocola in cayo. + +1. In the place of tears I the singer watch my flowers; they are in +my hand; they intoxicate my soul and my song, as I walk alone with +them, with my sad soul among them. + +2. Xiuhtlamatelolla quetzalchalchiuhtla ipan ye nicmatia nocuic aya +ma yectlaxochitl y, zan nomac ton mania, etc. + +2. In this spot, where the herbage is like sweet ointment and green +as the turquoise and emerald, I think upon my song, holding the +beauteous flowers in my hand, etc. (as in v. 1). + +3. In quetzalin chalchiuhtla ipan ye nicmatia yectli ye nocuic yectli +noxochiuh annicuihuan tepilhuan aya xonahuiacan a ayac onnemiz o in +tlalticpac ayo. + +3. In this spot of turquoise and emerald, I think upon beauteous +songs, beauteous flowers; let us rejoice now, dear friends and +children, for life is not long upon earth. + +4. O an niquitquiz ye niaz yectli nocuic yectli noxochiuhui +annicuihuan tepilhuan aya. + +4. I shall hasten forth, I shall go to the sweet songs, the sweet +flowers, dear friends and children. + +5. O huayanco o nichocaya a huayanco o cahua y yahue nictzetzelo +xochitl ay yo. + +5. O he! I cried aloud; O he! I rained down flowers as I left. + +6. Mach nohuan tonyaz quennonamica o ah nicitquiz xochitl zan +nicuicanitl huiya ma yo a xonahuiyacan to ya nemia ticaqui ye nocuic +ahuaya. + +6. Let us go forth anywhere; I the singer shall find and bring forth +the flowers; let us be glad while we live; listen to my song. + +7. Ay ca nichocaya nicuicanitl ya icha ahuicaloyan cuicatl ha Mictlan +temohuiloya yectliya xochitl onca ya oncaa y yao ohuayan ca ya ilaca +tziuhan ca na y yo. + +7. I the poet cry out a song for a place of joy, a glorious song +which descends to Mictlan, and there turns about and comes forth +again. + +8. Amo nequimilool amo neccuiltonol antepilhuan aychaa ohuicaloyan +cuicatl. + +8. I seek neither vestment nor riches, O children, but a song for a +place of joy. + + +XXIII. + +_YCUIC NEZAHUALCOYOTZIN._ + +_SONGS OF THE PRINCE NEZAHUALCOYOTL._ + +_Totoco totoco tico, totoco totoco ic ontlantiuh tico titico ti tico +tico._ + +_Totoco, totoco, tico, totoco totoco, then it ends with tico titico, +titico, tico._ + +1. Nicaya quetza con tohuehueuh aoniquimitotia quauhtlocelo yn ca +tiyayhcac in cuicaxochitl, nictemoan cuicatl ye tonequimilol ayyo. + +1. I bring forth our drum that I may show the power and the grandeur +in which thou standest, decked with flowers of song: I seek a song +wherewith to drape thee, ah! oh! + +2. Ti Nopiltzi o ti Nezahualcoyotl o tiya Mictl a quenonamica y yece +miyoncan ay yo. + +2. Thou, my Lord, O thou Nezahualcoyotl, thou goest to Mictlan in +some manner and at a fixed time, ere long. + +3. Quiyon quiyon caya nichocaya ya ni Nezahualcoyotl huiya queni yeno +yaz o ya nipolihuiz oya miquitla ye nimitzcahua noteouh ypalnemo o +tinechnahuatia ye niaz nipolihuiz aya, yo. + +3. For this, for this, I weep, I Nezahualcoyotl, inasmuch as I am to +go, I am to be lost in death, I must leave thee; my God, the Giver of +Life, thou commandest me, that I go forth, that I be lost, alas. + +4. Quenon maniz tlallin Acolihuacan huiya cuixoca quen mano o +ticmomoyahuaz in momacehuali ye nimitzcahua noteouh, etc. + +4. How shall the land of Acolhuacan remain, alas? How shall we, thy +servants, spread abroad its fame? I must leave thee; my God, etc. + +5. Can yio cuicatli tonequimilol quipoloaya a in totlacuiloli +tepilhuan oo maya o huitihua nican aya ayac ichan tlalticpac oo +ticyacencahuazque huelic ye xochitl ayio. + +5. Even this song for thy draping may perish, which we have written +for our children, it will no longer have a home here on earth when we +shall wholly leave these fragrant flowers. + +6. O ayac quitlamitaz monecuiltonol ypalnemoa a noyolquimati +cuelachic otictlanehuico Nezahualcoyotzin ay oppatihua nican anaya y +chan tlpc. Oon yn ay oppatihua in tlalticpacqui, zan nicuicanitl +ayaho onnichocaya niquelnamiqui Nezahualcoyotl aya ho. + +6. Alas! thy riches shall end; the Giver of Life teaches me that but +for a little while do we enjoy the prince Nezahualcoyotl, nor a +second time will he come to his house on earth; no second time will +he rejoice on earth; but I the singer grieve, recalling to memory +Nezahualcoyotl. + +7. Xo acico ye nican in teotl aya ypalnemoa, ayaho on nichocaya a +niquelnamiqui Nezalhuacoyotl ayio. + +7. Let us seek while here the god, the Giver of Life; I grieve, +recalling to memory Nezahualcoyotl. + + +XXIV. + +_Quititi, quititi, quiti tocoto, tocoti tocoto tocoti zan ic +mocueptiuh._ + +_Quititi, quititi, quiti tocoto, tocoti, tocoto, tocoti, then it is +to turn back again._ + +1. Ma xochicuicoya ma ichtoa nichuana ayyahue teyhuinti xochitl ao ya +noyehcoc ye nica poyoma xahuallan timaliuhtihuitz ay yo. + +1. Let me pluck flowers, let me see them, let me gather the really +intoxicating flowers; the flowers are ready, many colored, varied in +hue, for our enjoyment. + +2. Ma xochitl oyecoc ye nican ayyahuc can tlaahuixochitla moyahuaya +motzetzeloa ancazo yehuatl in nepapaxochitl ayyo. Zan commoni +huchuetl ma ya netotilo. + +2. The flowers are ready here in this retired spot, this spot of +fragrant flowers, many sorts of flowers are poured down and scattered +about; let the drum be ready for the dance. + +3. Yn quetzal poyomatl ayc ihcuilihuic noyol nicuicanitl in xochitl +ayan tzetzelihui ya ancuel ni cuiya ma xonahuacan ayio zan noyolitic +ontlapanion cuicaxochitl nicyamoyahuaya yxoochitla. + +3. I the singer take and pour down before you from my soul the +beautiful poyomatl, not to be painted, and other flowers; let us +rejoice, while I alone within my soul disclose the songs of flowers, +and scatter them abroad in the place of flowers. + +4. Cuicatl ya ninoquinilotehuaz in quemmanian xochineneliuhtiaz +noyollo yehuan tepilhuan oonteteuctin in ca yio. + +4. I shall leave my songs in order that sometime I may mingle the +flowers of my heart with the children and the nobles. + +5. Zan ye ic nichoca in quemanian zan nicaya ihtoa noxochiteyo +nocuicatoca nictlalitehuaz in quemanian xochineneliuhtiaz, etc. + +5. I weep sometimes as I see that I must leave the earth and my +flowers and songs, that sometime these flowers will be vain and +useless. + + +XXV. + +_Tico toco tocoto ic ontlantiuh ticoto ticoto._ + +_Tico, toco, tocoto, and then it ends, ticoto, ticoto._ + +1. Toztliyan quechol nipa tlantinemia in tlallaicpac oquihuinti ye +noyol ahua y ya i. + +1. The sweet voiced quechol there, ruling the earth, has intoxicated +my soul. + +2. Ni quetzaltototl niyecoya ye iquiapan ycelteotl yxochiticpac +nihueloncuica oo nicuicaihtoa paqui ye noyol ahuay. + +2. I am like the quetzal bird, I am created in the house of the one +only God; I sing sweet songs among the flowers; I chant songs and +rejoice in my heart. + +3. Xochiatl in pozontimania in tlallaicpac oquihuinti ye noyol ahua. + +3. The fuming dew-drops from the flowers in the field intoxicate my +soul. + +4. Ninochoquilia niquinotlamati ayac in chan oo tlallicpac ahua. + +4. I grieve to myself that ever this dwelling on earth should end. + +5. Zan niquittoaya ye ni Mexicatl mani ya huiya nohtlatoca +tequantepec ni yahui polihuin chittepehua a ya ye choca in +tequantepehua o huaye. + +5. I foresaw, being a Mexican, that our rule began to be destroyed, I +went forth weeping that it was to bow down and be destroyed. + +6. Ma ca qualania nohueyotehua Mexicatli polihui chile. + +6. Let me not be angry that the grandeur of Mexico is to be +destroyed. + +7. Citlalin in popocaya ipan ye moteca y za ye polihui a zan ye +xochitecatl ohuaye. + +7. The smoking stars gather together against it; the one who cares +for flowers is about to be destroyed. + +8. Zan ye chocaya amaxtecatl aya caye chocaya tequantepehua. + +8. He who cared for books wept, he wept for the beginning of the +destruction. + + +XXVI. + +_Toto tiquiti tiquiti ic ontlantiuh tocotico tocoti toto titiqui toto +titiquiti._ + +_Toto tiquiti tiquiti, then it ends tocotico, tocoti toto titiqui +toto titiquiti._ + +1. Oya moquetz huel oon ma on netotilo teteuctin aya ma +onnetlanehuihuilo chalchihuitl on quetzali patlahuac, ayac ichan +tlalticpac, ayio zan nomac onmania ooo y xochiuh aya ipalnemoa ma +onnetlanehuilo chalchihuitl. + +1. Come forth to the dance, ye lords, let there be abundance of +turquoise and feathers; our dwelling on earth is not for long; only +let the gods give me flowers to my hand, give me abundance of +turquoises. + +2. Oyohual in colinia o on in icelteotl ipalnemaa Anahuac o onnemia +noyol ayio. + +2. Come let us move in the dance in honor of the one only god, the +Giver of Life, while my soul lives by the waters (_or_, in Anahuac). + +3. In yancuica oncan quixima ipalnemoani ca ye Nonoalco ahuilizapan i +in teuctli yehua Nezahualpilli y yece ye oncan aya in tlacoch +tenanpan Atlixco ayio. + +3. The Giver of Life made known a new song after the lord +Nezahualpilli entered the strongholds of Nonoalco and sped his arrows +within the walls of Atlixco. + +4. Zan momac otitemic motlahuan zomal a ica ticahuiltia icelteotl in +teuctli yehua. + +4. Thou hast filled thy plate and thy cup in thy hands and hast +rejoiced in the one only God, the Lord. + +5. Y yeho aye icnotlamati +noyollo, zan niNonoalcatl, zan can nicolintototl o nocamapan aya +Mexicatl in ca yio. + +5. Alas, how I am afflicted in my soul, I, a resident of Nonoalco; I +am like a wild bird, my face is that of a Mexican. + +6. On quetzal pipixauhtoc motlachinolxochiuh in ipalnemoa zan ca +nicolintototl, etc. + +6. The beauteous flowers of thy battles lie abundantly snowed down, O +Giver of Life; I am like a wild bird, etc. + + +XXVII. + +_Toco toco tiqui tiqui ic ontlantiuh toco tico tocoti._ + +_Toco, toco, tiqui, tiqui, and then it ends toco, tico, tocoli._ + +1. Ma ya pehualo ya nicuihua in ma ya on acico ye nicaan aya oya +y[)e]coc yehuan Dios in cayio in ma ya ca ya onahuilihuan tepilhuan a +ayamo acico ya yehuan Dios oncan titemoc yehuan Dios a oncan huel in +oncan tlacat y ye Yesu Cristo in ca yio. + +1. Let my song be begun, let it spread abroad from here as far as God +has created; may the children be glad, may it reach to God, there to +God whom we seek, there where is Jesus Christ who was born. + +2. In oncan tlahuizcalli milintimani mochan aya moxochiuhaya Dios aya +chalchiuhcueponi maquiztzetzelihui onnetlamachtiloya in ca yio in +oncan ya o nepapan izhuayo moxochiuh aya Dios a. + +2. There the dawn spreads widely over the fields, over thy house, and +thy flowers, O God, blossom beauteous as emeralds; they rain down in +wondrous showers, in that place of happiness; there alone may my +flowers, of various leaves, be found, O God. + +3. Zan ye xochitl moyahua oo zan ca itlatol in ipalnemoani o ontepan +ye moteca anahuac ooica tichuelmana atl on yan tepetl ayio. + +3. There the flowers are the words of the Giver of Life; they are +upon the mountains and by the waters; we find them alike by the water +and the mountain. + +4. Zan temomac mania cemilhuitl in niman ye tehuatl toconyaittoaya +ipalnemoani. + +4. Our day is in thy hand, and soon we shall see thee, thou Giver of +Life. + + + + +NOTES. + + +NOTES FOR SONG I. + +The song is an allegory, portraying the soul-life of the poet. By the +flowers which he sets forth to seek, we are to understand the songs +which he desires to compose. He asks himself where the poetic +inspiration is to be sought, and the answer is the same as was given +by Wordsworth, that it is to the grand and beautiful scenes of Nature +that the poet must turn for the elevation of soul which will lift him +to the sublimest heights of his art. But this exaltation bears with +it the heavy penalty that it disqualifies for ordinary joys. As in +medieval tales, he who had once been admitted to fairyland, could +nevermore conquer his longing to return thither, so the poet longs +for some other condition of existence where the divine spirit of song +may forever lift him above the trials and the littleness of this +earthly life. + +There is no sign of Christian influence in the poem, and it is +probably one handed down from a generation anterior to the Conquest. + +1. The word _peuhcayotl_ from _peua_, to begin, intimates that this +was a song chanted at the beginning of a musical entertainment. The +verses are longer, and the phraseology plainer than in many of those +following. There is also an absence of interjections and lengthened +vowels, all of which indicate that the time was slow, and the actions +of the singer temperate, as was the custom at the beginning of a +_baile_. (See Introd., p. 20.) + +1. _Ninoyolnonotza_, a reflexive, frequentative form from _notza_, to +think, to reflect, itself from the primitive radicle _no_, mind, +common to both the Nahuatl and Maya languages. The syllable _yol_ is +for _yollotl_, heart, in its figurative sense of soul or mind. The +combination of _yolnonotza_ is not found in any of the dictionaries. +The full sense is, "I am thinking by myself, in my heart." + +_ahuiaca_, an adverbial form, usually means "pleasant-smelling," +though in derivation it is from the verb _ahuia_, to be satisfied +with. + +_quetzal_, for _quetzalli_, a long, handsome blue feather from the +quetzal bird, often used figuratively for anything beautiful or +precious. + +_chalchiuh_ for _chalchiuitl_, the famous green-stone, jade or +emerald, so highly prized by the Mexicans; often used figuratively +for anything noble, beautiful and esteemed. + +_huitzitzicatin_, a word not found in the dictionaries, appears to be +from _tzitzilca_, to tremble, usually from cold, but here applied to +the tremulous motion of the humming bird as it hovers over a flower. + +_zacuan_, the yellow plumage of the zacuan bird, and from similarity +of color here applied to the butterfly. The zacuan is known to +ornithologists as the _Oriolus dominicensis_. These birds are +remarkably gregarious, sometimes as many as a hundred nests being +found in one tree (see Eduard Mühlenpfort, _Versuch einer getreuen +Schilderung der Republik Mexiko_, Bd. I, p. 183). + +_acxoyatzinitzcanquauhtla_; composed of _acxoyatl_, the wild laurel; +_tzinitzcan_, the native name of the _Trogon mexicanus_, renowned for +its beautiful plumage; _quauhtli_, a tree; and the place-ending +_tla_, meaning abundance. + +_tlauquecholxochiquauhtla_; composed of _tlauquechol_, the native +name of the red, spoon-billed heron, _Platalea ajaja; xochitl_, +flower; _quauhtli_, tree; and the place-ending _tla_. + +_tonameyotoc_, the root is the verb _tona_, to shine, to be warm; +_tonatiuh_, the sun; _tonameyotl_, a ray of the sun, etc. As warmth +and sunlight are the conditions of growth and fertility, many +derivatives from this root signify abundance, riches, etc. + +_mocehcemelquixtia_; _mo_ is the reflexive pronoun, 3d sing., often +used impersonally; _cehcemel_, is a reduplicated form of the numeral +_ce_, one; it conveys the sense of entire, whole, perfect, and is +thus an interesting illustration of the tendency of the untutored +mind to associate the idea of unity with the notion of perfection; +_quixtia_ is the compulsive form of _quiza_, to go forth. + +_onechittitique_; 3d person plural, preterit, of the causative form +of _itta_, to see; _ittitia_, to cause to see, to show; _nech_, me, +accusative form of the pronoun. + +_nocuexanco_; from _cuexantli_, the loose gown worn by the natives, +extending from the waist to the knees. Articles were carried in it as +in an apron; _no-cuexan-co_, my-gown-in, the terminal _tli_ being +dropped on suffixing the postposition. + +_tepilhuan_; from _pilli_, boy, girl, child, young person, with the +relative, indefinite, pronominal prefix _te_, and the pronominal +plural termination _huan_, to take which, _pilli_ drops its last +syllable, _li_; hence, _te-pil-huan_, somebody's children, or in +general, the young people. This word is of constant occurrence in the +songs. + +_teteuctin_, plural with reduplication of _teuctli_, a noble, a +ruler, a lord. The singer addresses his audience by this respectful +title. + +2. _ixochicuicatzini_; _i_, poss. pron. 3d sing.; _xochitl_, flower; +_cuicatl_, song; _tzin_, termination signifying reverence or +affection; "their dear flower-songs." + +_yuhqui tepetl_, etc. The echo in the Nahuatl tongue is called +_tepeyolotl_, the heart or soul of the mountain (not in Simeon's +_Dictionnaire_, but given by Tezozomoc, _Cronica Mexicana_, p. 202). + +_meyaquetzalatl_; from _meya_, to flow slowly, to trickle; +_quetzalli_, beautiful; _atl_, water. + +_xiuhtotoameyalli_; the root _xiuh_ meant originally green (or blue, +as they were not distinguished apart); hence _xiuitl_, a leaf or +plant, the green herbage; as where the Nahuas then were this was +renewed annually, _xiuitl_ came to mean a year; as a comet seems to +have a bunch of fiery flames growing from it, this too was _xiuitl_, +and a turquoise was called by the same term; in the present compound, +it is employed adjectively; _xiuh-totol_, turquoise-bird, is the +_Guiaca cerulea_, Linn.; _ameyalli_, from _atl_, water, _meya_, to +trickle, and the noun ending. + +_mo-motla_; to throw one's self, to dash one's self against +something, etc. + +_centzontlatolli_; literally," four hundred speeches." The numeral +four hundred was employed, like the Greek "myriad," to express +vaguely any extraordinary number. The term may be rendered "the +myriad-voiced," and was the common name of the mocking-bird, called +by ornithologists _Turdus polyglottus_, _Calandria polyglotta_, and +_Mimus polyglotta_. + +_coyoltototl_, literally, "the rattle-bird," so called from its +peculiar notes (_coyolli_ = a rattle), is one of the _Tanegridae_, +probably the _Piranga hepatica_. + +_ayacachicahuactimani_; composed of _ayacachtli_, the rattle (see +_ante_, page 24); and _icahuaca_, to sing (of birds); to the theme of +this verb is added the connective syllable _ti_, and the verb _mani_, +which, in such connection, indicates that the action of the former +verb is expended over a large surface, broadly and widely (see Olmos, +_Gram. de la Langue Nahuatl_, p. 155, where, however, the connective +_ti_ is erroneously taken for the pronoun _ti_). + +_hueltetozcatemique_; composed of _huel_, good or well; _tetozca_, +from _tozquitl_, the singing voice; and _temo_, to let fall, to drop; +_que_ is the plural verbal termination. + +3. _ma n-amech-ellelti_, vetative causative from _elleloa_, to cause +pain. + +_cactimotlalique_, appears to be a compound of _caqui_, to listen, to +hear, and _tlalia_, to seat, to place. + +_amohuampotzitzinhuan_, a compound based on the pronoun of the second +person plural, _amo_, the particle _po_, which means similarity or +likeness, and the reduplicated reverential plural termination. The +same particle _po_, appears a few lines later in _toquichpohuan_; +_potli_ = comrade, compeer. + +4. _Tepeitic_, from _tepetl_, mountain, _ititl_, belly, from which is +derived the proposition _itic_, within, among. The term is applied to +a ravine or sequestered valley. + +5. _quauhtliya ocelotl_, the expression _quauhtli, ocelotl_, is of +frequent occurrence in the ancient Nahuatl writers. The words mean +literally "eagle, tiger." These were military titles applied to +officers commanding small bodies of troops; figuratively, the words +mean control, power, and dignity; also, bravery and virtue. Comp. +Agustin de Vetancurt, _Teatro Mexicano_, Tratado II, cap. 3. + +6. _in tloque in nahuaque_; this expression, applied by the ancient +Nahuas to the highest divinity, is attributed by some to +Nezahualcoyotl (see above, p. 36). It is composed of two +postpositions _tloc_ and _nahaac_, and in the form given conveys the +meaning "to whom are present and in whom are immanent all things +having life." See Agustin de la Rosa, _Analisis de la Platica +Mexicana sobre el Mislerio de la Santisima Trinidad_, p. 11 +(Guadalajara, 1871). The epithet was applied in heathen times to the +supreme divinity Tonacateotl; see the _Codex Telleriano-Remensis_, in +Kingsborough's _Mexico_, Vol. VI, p. 107. + +8. _ximoayan_; this word does not appear in the dictionaries of +Molina or Simeon, and is a proof, as is the sentiment of the whole +verse, that the present poem belongs to a period previous to the +Conquest. The term means "where all go to stay," and was the name of +the principal realm of departed souls in the mythology of the ancient +Nahuas. See Bartholome de Alva, _Confessionario en Lengua Mexicana_, +fol. 13 (Mexico, 1634); Tezozomoc, _Cronica Mexicana_, cap. 55; D.G. +Brinton; _The Journey of the Soul_ (in Aztec and Aryan Myths), +Philadelphia, 1883. + +_yhuintia_, causative form of _ihuinti_, to make drunk. The Nirvana +of the Nahuas was for the soul to lie in dense smoke and darkness, +filled with utter content, and free from all impressions ("en lo +profundo de contento y obscuridad," Tezozomoc, _Cronica Mexicana_, +cap. 55). + + +NOTES FOR SONG II. + +On the signification of the titles given to this poem see the +Introduction, § 3. + +1. _yehnan Dios_; literally "who are God;" the introduction of the +Spanish _Dios_, God, is in explanation of _in tloque in nahuaque_; so +far from proving that this song is of late date, this vouches for its +genuine ancient character, through the necessity for such +explanation. + +2. _nelhuayotl_, the essence or source of something, its true nature; +probably from _nelli_, true. + +_teoquecholme_; the prefix _teotl_, divine, is often added as an +expression of admiration. Sahagun mentions the _teoquechol_ as a bird +of brilliant plumage. + + +NOTES FOR SONG III. + +The poet recalls a recent attendance on the obsequies of an +acquaintance, and seeks to divert his mind from the gloomy +contemplation of death and the ephemeral character of mortal joys by +urging his friend to join in the pleasure of the hour, and by +suggesting the probability of an after life. + +1. _xochicalco_; compounded of _xochitl_, flower; _calli_, house; and +the postposition, _co_. The term was applied to any room decorated +with flowers; here, to the mortuary chamber, which Tezozomoc tells us +was decked with roses and brilliant feathers. + +_ipalnemohuani_, literally "the one by whom life exists." The +composition is _i_, possessive pronoun, third person, singular; +_pal_, postposition, by; _nemoani_, singular of the present in _ni_ +of the impersonal form of the verb _nemi_, to live, with the meaning +to do habitually that which the verb expresses. It is an ancient +epithet applied to the highest divinity, and is found in the _Codex +Telleriano-Remensis_, Kingsborough's _Mexico_, Vol. VI, p. 128, note. + +_tolquatectitlan_, from _toloa_, to lower, to bow; _quatequia_, to +immerse the head; _tlan_, place ending. In the ancient funeral +ceremonies the faces of the assistants were laved with holy water. On +this rite see the note of Orozco y Berra to his edition of the +_Cronica Mexicana_ of Tezozomoc, p. 435 (Mexico, 1878). + +_xoyacaltitlan_; from _xoyaui_, to spoil, to decay, whence +_xoyauhqui_, rank, unpleasant, like the odor of decaying substances. + +_xochicopal tlenamactli_, "the incense of sweet copal," which was +burned in the funeral chamber (see Tezozomoc's description of the +obsequies of Axayaca, _Cron. Mex._, cap. 55). + +2. The translation of this verse offers some special difficulties. + + +NOTES FOR SONG IV. + +A poem of unusually rich metaphors is presented, with the title "A +Song of the Mexicans, after the manner of the Otomis." It is a +rhapsody, in which the bard sings his "faculty divine," and describes +the intoxication of the poetic inspiration. It has every inherent +mark of antiquity, and its thought is free from any tincture of +European influence. + +2. _miahuatototl_, literally, "the corn-silk bird," _miahua_ being +the term applied to the silk or tassel of the maize ear when in the +milk. I have not found its scientific designation. + +6. _poyomatl_; the poyomatli is described by Sahagun (_Hist. de la +Nueva España_, Lib. X, cap. 24) as a species of rose, portions of +which were used to fill the cane tubes or pipes used for smoking. He +names it along with certain fungi employed for the same purpose, and +it probably produced a narcotic effect. + + +NOTES FOR SONG V. + +From the wording, this appears to be one of the lost songs of +Nezahualcoyotl, either composed by him or sung before him. (See the +Introduction, p. 35.) It is a funeral dirge, dwelling on the fact of +universal and inevitable death, and the transitoriness of life. There +is in it no hint of Christian consolation, no comfortable hope of +happiness beyond the grave. Hence it dates, in all likelihood, from a +period anterior to the arrival of the missionaries. + +1. _tonequimilol_; I take this to be a derivative from _quimiloa_, to +wrap up, especially, to shroud the dead, to wrap the corpse in its +winding sheets, as was the custom of the ancient Mexicans. The word, +however, seems an archaic form, as it does not lend itself readily to +analysis. + +The expression _in Dios_, I explain as in the note to II, 1, and do +not consider that it detracts from the authentic antiquity of the +poem. + +2. _yoyontzin_; on the significance of this appellation of +Nezahualcoyotl, see Introduction, p. 35. + +3. _ti Nezahualcoyotl_; "thou Nezahualcoyotl." The princely poet may +have addressed himself in this expression, or we may suppose the song +was chanted before him. + +5. _Nopiltzin_; the reference is to Quetzalcoatl, the famous "fair +God" of the Nahuas, and in myth, the last ruler of the Toltecs. See +D.G. Brinton, _American Hero Myths_ (Philadelphia, 1882). The term +means "my beloved Lord." On Tezozomoc, see Introduction, p. 35. + +6. The text of the latter part or refrain of verses 5 and 6 is +corrupt, and my translation is doubtful. + + +NOTES FOR SONG VI. + +Most of the poems in this collection are not assigned to any author, +but this, and apparently the one following, are recorded as the +compositions of Tetlapan Quetzanitzin. He is evidently the personage +spoken of by Sahagun as "King of Tlacopan," as present with Montezuma +on the occasion of his first interview with Cortez. Later in the +struggle Tetlapan appears as the associate of Quauhtemoctzin, the +"King of Mexico." (See Sahagun, _Hist. de la Nueva España_, Lib. XII, +cap. 16 and 40.) M. Rémi Simeon explains the name to mean "he who +deceives the people by magic;" deriving it from _quetza_, he places; +_te_, the people, _tlepan_, on the fire. A simpler derivation seems +to me possible from _tetlapanqui_, miner, or quarryman (literally, +stone-breaker), and _quetzalli_, red; _quetzatzin_, the lord or +master of the miners. + +Both this and the following are war songs, and have marked similarity +in thought and wording. The introduction of the Spanish _Dios_ was +doubtless substituted by the scribe, for the name of some native god +of war, perhaps Huitzilopochtli. + +1. _Aua_; this word I take to be a form of the interjection _yahue_, +or, as Olmos gives it in his _Grammar, aa_. + +2. _nepohualoyan_; "the place of counting or reckoning," from +_pohua_, to count. The reference is not clear, and the translation +uncertain. In some parts of ancient Mexico they used in their +accounting knotted cords of various colors, like the Peruvian +_quipus_. These were called _nepohualtzitzin_. + +4. This verse is remarkable for its sonorous phrases and the archaic +forms of the words. Its translation offers considerable difficulty. + +_xontlachayan_, I take to be an imperative form from _tlachia_, to +look, with the euphonic _on_. + +_teoatl tlachinolli_, literally "the divine water (i.e. blood), the +burning," and the expression means war, battle. In one of his sermons +Fray Juan Bautista describes the fall of Jericho in the words, +_otlaltitechya in altepetl teuatl tlachinolli ye opoliuh_, and +explains it, "the town was destroyed with fire and blood" (_Sermones +en Lengua Mexicana_, p. 122). The word _tlachinolli_ is from +_chinoa_, to burn. + +_quetzalalpilo_; a compound of _quetzalli_, a beautiful feather, and +_tlalpiloni_, the band which passed around the head to keep the hair +in place. + +5. _melchiquiuhticaya_; "he who presented his breast," an imperfect, +reflexive form. Molina gives _melchiquiuh petlauhqui_, with the +translation _despechugado_. _Vocabulario Mexicana, s.v._ + + +NOTES FOR SONG VII. + +The second specimen from the muse of Tetlapan Quetzanitzin is the +noblest war song in the collection. It is an appeal to his friends to +join in a foray to Chiapas. The intoxication of the battle field is +compared to that produced by the strong white wine prepared from +maguey, which was drunk only on solemn occasions. The bard likens the +exhaustion of his fellow warriors from previous conflicts, to the +stupor which follows a debauch, and he exhorts them to throw it +aside. + +1. _oamaxque_, _o_, pret. _am_, you, _axque_, 2d pl. pret. from _ay_, +to do. + +_octicatl_, apparently an old form from _octli_, the intoxicating +beverage prepared from the maguey. + +_oanquique_, 2d pl. pret. from _cui_, to take. + +_ohuican_, a place of difficulty and danger. The frequent addition of +the terminal _o_ in this and the succeeding verses is merely +euphonic. + +2. _teoatl tlachinolli_; see note VI, 4. + +_in maquiztli tlazotetl_, the beloved jewels, a phrase which +indicates that the broken stones and splintered emeralds referred to +are the young warriors who fall in battle, the pride of their +parents' hearts, who are destroyed in the fight. + +The _tizaoctli_, white wine (_tizatl_, chalk, hence white, and +_octli_, wine), referred to in this passage, is said by Sahagun to +have been drunk especially at the feast of the god Papaztac, one of +the many gods of the wine cup. _Hist. de Nueva España_. Lib. II, App. +Tezozomoc mentions it as handed to the mourners at funeral +ceremonies. _Cronica Mexicana_, cap. 55. + +3. _xochitlalticpacilhtuicacpao_; in this long compound of _xochitl_, +flower, _tlalti_, earth, and _ilhuicatl_, sky, with various +postpositions and the euphonic terminal _o_, the final _pa_ gives the +sense of location, towards, in the direction of. + +_chimalxochiti_; "the shield flower," the shield or buckler of the +ancient warriors, ornamented with tassels and feathers, is not +unaptly called the flower of war. + + +NOTES FOR SONG VIII. + +The entire absence in this lament for the dead of any consolation +drawn from Christian doctrines, points clearly to a date for its +composition earlier than the teachings of the missionaries. Its cry +of woe is hopeless, and the title attributes its authorship to one of +the old chieftains, _tlatoani_, who held the power before the +Spaniard arrived. + +1. _quetzalhuahuaciuhtoque_, from _quetzalli, huaqui_; _in +teintoque_, the splinters; the same simile is employed in VII, 2. + +2. _ximoayan_, see note to I, 8. The occurrence of this term here and +in verse 3 testifies to the fact of a composition outside of +Christian influences. + + +NOTES FOR SONG IX. + +The title does not necessarily mean that this song is a translation +from the Otomi language, but merely that the time to which it was +chanted was in the Otomi style; or, the term _Otomi_ may have +reference to the military officer so called. The word is perhaps a +compound of _otli_, path, and _mitl_, arrow. + +The bard sings the vanity of earthly pleasures, and the reality of +earthly pains; he exhorts himself and his hearers not to neglect the +duties of religion, and lauds his own skill in song, which he +compares to the sweet voices of melodious birds. There is nothing in +the poem which reflects European influence. + +1. _xotlacueponi_; the meaning of this compound is obscure. It is not +found in the dictionaries. + +2. The terminal _o_ is inserted several times in the passage to +express emotion and fill the metre. + +_mixitl tlapatl_. A phrase signifying the stupor or drunkenness that +comes from swallowing or smoking narcotic plants. See Olmos, +_Grammaire de la Langue Nahuatl_, pp. 223, 228; _oquiqueo_ is from +_i_, to drink, or _cui_, to take, the _o_ terminal being euphonic. + + +NOTES FOR SONG X. + +The poet expresses his grief that his songs all dwell on painful +topics; he exhorts his hearers of the vanity of fame and skill in +handicrafts, and of the uncertainty of life; closing, he appeals +especially to those of Tezcuco and Atecpan to listen and believe his +warnings. + +In spite of the introduction of the Spanish word _Dios_, and the +exhortation to "believe," in the last line, it is possible that the +substance of this song was due to purely native inspiration; yet it +may have been, like Song XIX, one of those written at an early period +for the converts by the missionaries. + + +NOTES FOR SONG XI. + +In a similar strain as in the last poem, the bard bewails the +briefness of human life and friendships. He closes with an appeal to +the Master of Life, of whom no mortal tongue can speak in worthy and +appropriate terms. + +6. _ihuiti_, apparently a form of _ihuintia_. + +_tonan_; the reference appears to be to _Tonantzin_, Our Mother, +otherwise known as Cihuacoatl, the Serpent Woman. She was the +mythical mother of the human race, and dispensed afflictions and +adverse fortune. See Sahagun, _Hist. de la Nueva España_, Lib. I, +cap. 6. The name is a proof of the antiquity of the poem, which is +throughout in the spirit of the ancient religion. + + +NOTES FOR SONG XII. + +As stated in the Introduction (§ 10), a note prefixed to this song +introduces it as a translation from the Otomi into the Nahuatl +tongue. It admirably illustrates the poetic flexibility of the +Nahuatl. + +3. _epoyhuayan_, from _epoalli_, sixty; _teoquauhtli ocelott_, +"divine eagles, tigers." These terms refer to the warriors bearing +these titles. + +_tlazomaquiztetl_, "beloved, precious stones," a figure of speech +referring to the youths who go to war. The same or similar metaphors +are used in previous songs. + +5. The fifth and sixth verses present serious difficulties of +construction which I do not flatter myself I have overcome. + + +NOTES FOR SONG XIII. + +The inhabitants of Huexotzinco were in frequent strife with those of +Mexico-Tenochtitlan, and on various occasions the latter captured +many prisoners. The present poem is represented to be a composition +of one of these prisoners when he and his companions were confined in +Tlatilolco, one of the suburbs of Tenochtitlan. It breathes hatred +against his captors and an ardent thirst for vengeance. The latest +date at which I find captives from Huexotzinco detained in Mexico is +1511, and it is to this year, therefore, that I assign the +composition of the poem. + +5. _Atloyantepetl_; this name possibly means "the mountain of the +place of the water-falcons" (_atl_, water; _tlatli_, falcon; _yan_, +place-ending; _tepetl_, mountain). I have not found it in other +writers. (See Index.) + +8. _tlaylotlaqui_; Siméon, on the authority of Aubin, explains this +term as the name of a tribe living near Tezcuco. In derivation it +appears to be a term of contempt, "workers in filth or refuse," scum, +offscourings. It also appears in Song XV. + +10. The construction of this verse is so obscure, or the text so +imperfect, that the translation is doubtful. + + +NOTES FOR SONG XIV. + +This poem, chanted in 1551 before the Governor of Azcapotzalco, by +Francisco Placido, a native of Huexotzinco, is a Christian song in +the style and metre of the ancient poetry. See the Introduction, p. +51. + +1. _impetlatl_; the ordinary meaning of _petlatl_ is a mat or rug; it +is here to be taken in its figurative sense of power or authority, +chiefs and other prominent persons being provided with mats at the +councils, etc. + + +NOTES FOR SONG XV. + +This extremely difficult composition seems to be a war song, in which +the bard refers to the traditional history of the Nahuas, names some +of their most prominent warriors, and incites his hearers to deeds of +prowess on the battle field. I do not claim for my version more than +a general correspondence to the thought of the original. In several +parts, especially verse 18, the text is obviously defective. + +1. _tzihuactitlan_; "the land of the tzihuac bushes." The tzihuactli +is a small kind of maguey which grows in rocky localities. The tenth +edifice of the great temple at Tenochtitlan was a wall surrounding an +artificial rockery planted with these bushes. Sahagun, who mentions +this fact, adds that the name of this edifice was _Teotlalpan_, which +literally means "on holy ground." (_Hist. de la Nueva España_, Lib. +II, App.) The _mizquitl_ is the common _Mimosa circinalis_. + +_Chicomoztoc_; "at the Seven Caves," a famous locality in Mexican +legend, and the supposed birthplace of their race. + +2. _Colhuacan_ is probably for Acolhuacan; the early rulers of the +latter were of the blood of the Chichimec chiefs of the Tepanecas. + +4. _Hueytlalpan_, "at the ancient land," perhaps for Huetlapallan, a +1ocality often referred to in the migration myths of the Nahuas. + +5. _Atloyan_; see note to XIII, 6. + +9. The ceiba and cypress trees were employed figuratively to indicate +protection and safeguard. See Olmos, _Gram. de la Langue Nahuatl_, p. +211. + +12. On _tlailotlaqui_, see note to XIII, 8. The interjectional +appendages to this and the following verse are increased. + +15. Tepeyacan was the name of a mountain on which before the Conquest +was a temple dedicated to the "Mother of our Life," Tonantzin. + +16. _tlapalcayocan_, "the place of shards," of broken pieces, i.e., +the field of battle. + +19. The word _totomihuacan_, which has already occurred in vv. 3 and +7, I have translated as referring to the war captains of the Mexican +armies, called _otomi_ (see Bandelier, _On the Art of War of the +Ancient Mexicans_, p. 117). I am quite open for correction however. + +27. _in ipetl icpal_; in a translation of an ancient song, +Ixtlilxochitl renders the expression _in ipetl icpal in teotl_, "en +el trono y tribunal de Dios," _Historia Chichimeca_, cap. 32. + +29. _Mictlan_; the place of departed souls in Aztec mythology. + + +NOTES FOR SONG XVI. + +In this stirring war-song, the poet reproaches his friends for their +lukewarmness in the love of battle. He reminds them that life is +transitory, and the dead rise not again, and that the greatest joy of +the brave is on the ringing field of fray where warriors win renown. +It is in the spirit of the Scotch harper:-- + +"'Twere worth ten years of peaceful life, + +One hour of such a day." + +1. Each verse terminates with an interjectional refrain. The frequent +introduction of the particle _on_ is intended to add strength and +gravity to the oration. + +2. _oppan piltihua_. Compare this expression with that in v. 22, p. +44. + +3. _xochimicohuayan_, should perhaps be translated, "where the +captives to be immolated to the Gods are taken." The _xochimique_, +"those destined to a flowery death" were the captives who were +reserved for sacrifice to the gods. See Joan Bautista, _Sermonario en +Lengua Mexicana_, p. 180. + +4. _yaoxochimiquiztica_, "pertaining to the slaughter of the flowery +war." This adjective refers to the peculiar institution of the +"flowery war," _guerra florida_, which obtained among the ancient +Mexicans. It appears to have been a contest without provocation, and +merely for the display of prowess and to take captives to supply the +demand for human sacrifices in the religious rites. On this see +Tezozomoc, _Cronica Mexicana_, cap. 96. + + +NOTES FOR SONG XVII. + +In this long fragment--the closing strophes are missing in my +MS.--the bard represents himself as a stranger appearing before the +nobles of Huexotzinco at some festival. The first two verses appear +to be addressed to him by the nobles. They ask him to bring forth his +drum and sing. He begins with a laudation of the power of music, +proceeds to praise the noble company present, and touches those +regretful chords, so common in the Nahuatl poetry, which hint at the +ephemeral nature of all joy and the certainty of death and oblivion. +An appeal is made to the Master of Life who inspires the soul of the +poet, and whose praises should be ever in mind. + +The words _Dios_ and _angelotin_, in verse 26th, indicate that the +poem has received some "recension" by the Spanish copyist; but the +general tone impresses me as quite aboriginal in character. + +2. _quauhtlocelotl_, see note to I, 5. + +3. In this verse, as frequently elsewhere, the syllable ya is +introduced merely to complete the metre. Ordinarily it is the sign of +the imperfect tense, and has other meanings (see the Vocabulary), but +in many instances does not admit of translation. + +8. _noncoati_, for _ni-on-coatl_, I am a guest. + +18. The references in this verse are obscure, and I doubt if I have +solved them. + +20. "The house of spring;" compare the expression in v. 1, of +Nezahualcoyotl's song, p. 42. + +21. A long oration of Xicontecatl, lord of Tizatlan, may be found in +Clavigero, _Hist. Antica di Messico_, Tom. III, p. 40. The expression +in _camaxochitzin_, from _camatl_, mouth, _xochitl_, rose, flower, +and the reverential _tzin_, is noteworthy. + +24. _petlacoatl_, the centipede or scolopender; from _petlatl_, mat, +and _coatl_, serpent, as they are said to intertwine with each other, +like the threads of a mat (Sahagun, Lib. XII, cap. 4). + + +NOTES FOR SONG XVIII. + +At this portion of the MS. several poems are preceded by a line of +syllables indicating their accompaniment on the teponaztli (see +Introduction, p. 32). + +The present number is one of the most noteworthy songs of the +collection. It belongs to the ancient cyclus of Quetzalcoatl myths, +and gives a brief relation of the destruction of Tollan and the +departure and disappearance of the Light God, Quetzalcoatl Ce Acatl. +As I have elsewhere collated this typical myth at length, and +interpreted it according to the tenets of modern mythologic science, +I shall not dwell upon it here (see D.G. Brinton, _American Hero +Myths_, Phila., 1882). + +The text of the poem is quite archaic, and presents many +difficulties. But my translation, I think, gives the general sense +correctly. + +1. _huapalcalli_; literally, "the house constructed of beams." This +name was applied to the chief temple of the Toltecs; the ruins of an +ancient structure at Tollantzinco were pointed out at the time of the +Conquest as those of this building (see Sahagun, _Hist. de la Nueva +España_, Lib. X, cap. 29). + +_coatlaquetzalli_; this edifice, said to have been left incomplete by +Quetzalcoatl, when he forsook Tollan, had pillars in the form of a +serpent, the head at the base, the tail at the top of the pillar. +(See Orozco y Berra, _Hist. Antigua de Mexico_, Tom. III, pp. 30 and +46.) The structure is mentioned as follows in the _Anales de +Cuauhtitlan_:-- + +_Auh iniquac nemia Quetzalcoatl quitzintica, quipeuahtica iteocal +quimaman coatlaquetzali ihuan amo quitzonquixti, amo quipantlaz."_ + +"And when Quetzalcoatl was living, he began and commenced the temple +of his which is the Coatlaquetzali (Serpent Plumes), and he did not +finish it, he did not fully erect it." + +_Nacxitl Topiltzin_, "Our Lord the four-footed." _Nacxitl_ appears to +have been the name of Quetzalcoatl, in his position as lord of the +merchants. Compare Sahagun, ubi supra, Lib. I, cap. 19. + +2. _Poyauhtecatl_, a volcano near Orizaba, mentioned by Sahagun. +_Acallan_, a province bordering on the Laguna de los Terminos. The +myth reported that Quetzalcoatl journeyed to the shores of the Gulf +about the isthmus of Tehuantepec and there disappeared. + +3. _Nonohualco_; the reference is to the _cerro de Nonoalco_, which +plays a part in the Quetzalcoatl myth. The words of the song are +almost those of Tezcatlipoca when he is introduced to Quetzalcoatl. +Asked whence he came, he replied, "Nihuitz in Nonohualcatepetl +itzintla, etc." (_Anales de Cuauhtitlan_). + +4. The occurrences alluded to are the marvels performed by +Quetzalcoatl on his journey from Tulan. See my American Hero Myths, +p. 115. + +5. The departure of Quetzalcoatl was because he was ordered to repair +to Tlapallan, supposed to be beyond Xicalanco. + +8. _quinti_, for _iquintia_; the reference is to the magic draught +given Quetzalcoatl by Tezcatlipoca. + +9. _In tetl, in quahuitl_; literally, "stone and stick;" a very +common phrase in Nahautl, to signify misfortunes. + + +NOTES FOR SONG XIX. + +In this song we have avowedly a specimen of an early chant prepared +probably by Bishop Zummarraga for the native converts. The +accompaniment on the teponaztli is marked at the beginning. The +language is noticeably different from the hymn to Quetzalcoatl just +given (XVIII). + + +NOTES FOR SONG XX. + +Another song of the antique Quetzalcoatl cyclus. It bewails the loss +of Tulan, and the bard seeks in vain for any joyous theme to inspire +his melody, reflecting on all that has bloomed in glory and now is +gone forever. + +3. _Tetl-quahitl_; see note to XVIII, 9. + + +NOTES FOR SONG XXI. + +The occurrence to which this poem alludes took place about the year +1507. The chroniclers state that it was in the early period of the +reign of Montezuma II, that the natives of Huexotzinco, at that time +allies of the Mexicans, were severely harassed by the Tlascallans, +and applied, not in vain, to their powerful suzerain to aid them. +(See Tezozomoc, _Cronica Mexicana_, cap. 97.) + +The poet does not appear to make a direct petition, but indirectly +praises the grandeur of Montezuma and expresses his own ardent love +for his native Huexotzinco. The song would appear to be used as a +delicate prelude to the more serious negotiations. It is one of the +few historical songs in the collection. From the references in verses +1 and 3 we infer that this singer held in his hand the painted book +from which he recited the couplets. This may explain the presentation +of the piece. + +1. _huetzcani_; one who laughs, a jester, perhaps the designation of +one who sang cheerful songs. + +_chalchiuhatlaquiquizcopa_; a. word of difficult analysis. I suspect +an omission of an _l_, and that the compound includes _tlaquilqui_, +one who fastens and puts together, a mason, etc. + +5. The sense is that the warriors of Montezuma when on the field of +battle, shine in their deeds like beautiful flowers in a field, and +win lasting fame by their exploits. + +_mopopoyauhtoc_. The grammarian Olmos explains the reflexive verb +_mopopoyauhtiuh_ to signify "he leaves an honored memory of his +exploits." See Siméon, _Dictionaire de la Langue Nahuatl_, sub voce. + +7. _Huexotzinco atzalan_; "Huexotzinco amid the waters." This +expression, repeated in verse 8, appears inappropriate to the town of +Huexotzinco, which lies inland. In fact, the description in verse 7 +applies to Tenochtitlan rather than the singer's own town. But the +text does not admit this translation. Perhaps we should read +"Huexotzinco and Atzalan," as there are yet two villages of that name +in the state of Puebla (which embraced part of ancient Huexotzinco). + +10. _petiatolini_, I have derived from _petlatl_, suspecting an error +in transcription. The reference is to the rushes in the mat on which +the singer stood. + + +NOTES FOR SONG XXII. + +The ordinary sad burden of the Nahuatl poets is repeated with +emphasis in this plaint. It is a variation of the Epicurean advice, +"Eat, drink, and be merry, for to-morrow we die." Both the sentiment +and the reference to Mictlan in verse 7, point it out as a production +uninfluenced by Christian teaching. + +7. The word _ahuicaloyan_, place of sweetness, would seem to be +identical with _ohuicaloyan_, place of difficulty, in v. 8; I have +regarded the latter as an error of transcription. + + +NOTES FOR SONG XXIII. + +Although No. V. is probably one of the lost songs of Nezahualcoyotl, +the present is the only one of the collection which is definitely +attributed to him. The language is very archaic, and in the sentiment +there is every mark of antiquity. + +The text is apparently a dialogue, which was chanted as strophe and +antistrophe, the one singer speaking for the King, the other for the +bard himself. + +The word _teotl_ is used for divinity, and it is doubtless this word +for which the copyists of some of the other songs have substituted +the Spanish _Dios_, thus conveying an impression that the chants +themselves were of late date. + +The last verse, however, seems to be by one who lives after the time +of the great poet-prince, and is calling him to memory. + + +NOTES FOR SONG XXIV. + +It will be seen that there is a wearisome sameness in the theme of +most of the short poems. Probably the bards followed conventional +models, and feared for the popularity of their products, did they +seek originality. Here again are the same delight in flowers and +songs, and the same grief at the thought that all such joys are +evanescent and that soon "death closes all." + +I consider the poem one of undoubted antiquity and purely native in +thought and language. + + +NOTES FOR SONG XXV. + +The destruction of the Mexican state was heralded by a series of +omens and prodigies which took place at various times during the ten +years preceding the arrival of Cortes. They are carefully recorded by +Sahagun, in the first chapter of the 12th book of his history. They +included a comet, or "smoking star," as these were called in Nahuatl, +and a bright flame in the East and Southeast, over the mountains, +visible from midnight to daylight, for a year. This latter occurred +in 1509. The song before us is a boding chant, referring to such +prognostics, and drawing from them the inference that the existence +of Mexico was doomed. It was probably from just such songs that +Sahagun derived his information. + +1. _toztliyan_, I suppose from _tozquitl_, the singing voice, in the +locative; literally, "the quechol in the place of sweet-singing." + +2. _iquiapan_, from _i_, possessive prefix, _quiauatl_, door, +entrance, house, _pan_, in. + +5. An obscure verse; _tequantepec_, appears to be a textual error; +_tequani_, a ravenous beast, from _qua_ to eat; _tepec_, a mountain; +but _tequantepehua_ occurring twice later in the poem induces the +belief _tequani_ should be taken in its figurative sense of +affliction, destruction, and that _tepec_ is an old verbal form. + +7. _Xochitecatl_, "one who cares for flowers," is said by Sahagun to +have been the name applied to a woman doomed to sacrifice to the +divinities of the mountains (_Hist. Nueva España_, Lib. II, cap. 13). + +8. _amaxtecatl_, or _amoxtecatl_, as the MS. may read, from +_amoxtli_, a book. + + +NOTES FOR SONG XXVI. + +This seems to be a song of victory to celebrate an attack upon +Atlixco by the ruler of Tezcuco, the famous Nezahualpilli. This +monarch died in 1516, and therefore the song must antedate this +period, if it is genuine. It has every intrinsic evidence of +antiquity, and I think may justly be classed among those preserved +from a time anterior to the Conquest. According to the chronologies +preserved, the attack of Nezahualpilli upon Atlixco was in the year +XI _tochtli_, which corresponds to 1490, two years before the +discovery by Columbus (see Orozco y Berra, _Hist. Antigua de Mexico_, +Tom. III, p. 399). + + +NOTES FOR SONG XXVII. + +My MS. closes with a Christian song in the style of the ancient +poetry. It is valuable as indicating the linguistic differences +between these later productions of the sixteenth century and those +earlier ones, such as XXVI, which I have not hesitated to assign to +an epoch before the Spaniards landed upon the shores of New Spain. + + + + +VOCABULARY. + + +The Roman numerals refer to the songs, the Arabic to the verses, in +which the word occurs. Abbreviations: _lit_., literally; _ref_., +reflexive; _pret_., preterit; _rev_., reverential; _freq_., +frequentative; _post_., postposition; _Span_., a Spanish word. + +A, _adv_. No, not, in comp. +A, _n_. For atl, water, in comp.; as _acalli_, water-house, _i.e._, a + boat. +A, _interj_. Oh! ah! placed after the word on which stress is laid. +AC, _pron., interj_. Who? +ACA, _pron_. Some, any; somebody. +ACALLI, _n_. A boat, of any kind. +ACH, _dubitative particle_. Indeed? is it not? etc. +ACHITZINCA, _adv_. A little while, a short time. +ACHQUEN, _adv_. At what time? When? +ACI, _v_. To reach, to acquire. +ACOHUETZI, _v_. To console, to make glad. I, 3. +ACOQUIZA, _v_. To lift up, to raise, to increase in dignity or power. +ACOTLAZA, _v_. To console. +ACXOYATL, _n_. The wild laurel. +AHAUIA, _v_. To rejoice, take pleasure in; freq. of _ahuia_. +AHUACHIA, _v_. To wet one's self, to bathe. VII, 4. +AHUACHTLI, _n_. Dew, moisture. +AHUEHUETL, _n_. The cypress tree; _Cupressus disticha_. +AHUIA, _v_. To rejoice, to be joyful. +AHUIAC, _adj_. Agreeable, pleasant, sweet. +AHUIAN, _adj_. Content, satisfied. +AHUICPA, _adv_. From one place to another. III, 3. +AIC, _adv_. Never. +ALTEPETL, _n_. Town, city, citadel. +AMECH, _pron. ret_. You, to you. +AMEYALLI, _n_. A fountain, a stream; _lit_., flowing water. +AMILLI, _n_. Watered and arable land. XIV, 6. +AMO, _adv_. No, not; _amo ma_, no other; _amo zannen_, not in vain; + _pron_., you, yours. +AMOXPETLATL, _n_. Book-mat. See XIX, 3. +AMOXTECATL, _n_. See XXV, 8, note. +AN, _pron_. You. +ANA, _v_. To take, to grasp, to seize. +ANAHUIA, _v_. To be dissatisfied. +ANCA, _adv_. Of the kind that. XVII, 12. +ANE, _adv_. Hollo! in calling. +ANGELOTIN, _n_. Angels. Span. XVII, 26. +ANO, _adv_. As little, neither. +ANOZO, _conj_. Or, perhaps. +AOC, _adv_. Not yet. +APANA, _v_. To clothe. +APANO, _v_. To ford, to cross water. XVIII, 2. +AQUEN, _adv_. Nothing, in no manner. +AQUIN, _pron_. Who? _in aquin_, he who. +AT, _adv_. Perhaps, perchance. +ATAYAHUILI, for _at aya ueli_. Not yet, not even. +ATIHUELMATI, _v_. Not to be well. IX, 3. +ATL, _v_. Water. +ATLAMACHTIA, _v_. To praise one; _ref_., to be proud. +ATLE, _pron_. Nothing. +ATLEY, _in atley_. Without. +ATONAUIA, _v_. To have a fever, to be sick. +AUH, _conj_. And, even, also. +AXALLI, _n_. Bar-sand, water-sand. +AY, _v_. pret. _oax_. To do, to make. +AYA, _adv_. Not yet, not now. +AYACACHTLI, _n_. A musical instrument. See p. 24. +AYAHUITL, _n_. Fog, mist, vapor. +AYAUH COZAMALOTL, _n_. The rainbow; _lit_., "mist of water jewels." +AYOC, _adv_. Already not. _Ayoctle_, nothing more. +AYOQUAN, _adv_. Aoc-iuan. Nothing like it, unequaled. XVII, 17. +AYOQUIC, _adv_. Nevermore. V, 6. +AZAN, _adv_. Not a little, not a few. +AZO, _conj_. Or, perhaps, perchance. +AZTLACAPALLI, _n_. The tail feathers of a bird. XVII, 10. + +C, _pron. rel_. He, her, it, him; _postpos_., with, by, in, from, at. +CA, _adv_. Already, yes, because, for, truly, only. +CA, _v_. To be (in a place). +_CA_, _postpos_. With, by, by means of. +CACALI, _v_. To discharge arrows. +CACOPA, _post_. Toward, towards. +CAHUA, _v_. To leave, to let, to desert, to stop, to lay down. +CALAQUIA, _v_. To enter, to go in. +CALLI, _n_. A house; in comp. _cal_, as _nocal_, my house. +CALMECAC, _n_. A public school, p. 10. +CAMAPANTLI, _n_. The cheeks, the face. XXVI, 5. +CAMATL, _n_. The mouth. +CAMPA, _adv_. Where, whither. +CAN, _adv_. and _postpos_. Where. +CANAUHTLI, _n_. A duck. XXI, 9. +CANEL, _adv_. Since, as, because. +CAQUI, _v_. To hear, to listen to. +CATLEHUATL, _pron_. Who? which? whoever, whatever. +CATQUI, _v. irreg_. From _ca_, to be (in a place). +CAUHTEHUA, _v_. To leave a place. +CAXTLAUITL, _n_. A kind of ochre. XVII, 10. +CE, _adj_. and _art_. One, a, an. +CECE, or Cecen, _adj_. Each, every. +CECEMELQUIXTIA, _v_. To come forth wholly, perfectly. I, 1. +CECEMELTIA, _v. ref_. To rejoice, to feel glad. +CECEMELTIC, _adj_. Complete, whole, entire. +CECEMMANA, _v_. To disperse, to scatter. +CEHUIA, _v_. To rest, to repose. +CEL, Sole only. +CELIA, _v_. 1. To receive, to obtain. 2. To blossom, to bloom. +CEMANAHUATL, _n_. The world, the universe. +CEMELLE, _adv_. With peace or joy. Usually with a negative _aic + cemelle_, never peacefully. XV, 18; XVI, 1. +CEMILHUILTILIA, _v_. To detain one for a day. +CEMILHUITL, _n_. One day. +CEN, _adv_. Forever, for always; _cen yauh_, to go forever, to die. +CENCA, _adv_. Very much, exceedingly. +CENCI, _adv_. Elsewhere. +CENQUIXTIA, _v_. To select from, to pick from. +CENTZONTLATOLLI, _n_. The mocking bird, _Turdus polyglottus_; _lit_., + "the myriad-voiced." +CENTZONTLI, _adj. num_. Four hundred, used for any large number. +CEPANOA, _v_. To unite, to join together. +CHALCHIUHITL, _n_. The Mexican jade or green stone; emerald _fig_., + green; precious. +CHANE, _n_. Inhabitant or resident of a place. +CHANTLI, _n_. A dwelling, a residence; in comp., _chan_. +CHIA, _v_. To wait, to expect. +CHIALONI, _n_. That which is awaited or expected. +CHICAHUAC, _adj_. Strong, powerful. +CHICHIA, _v_. 1. To make bitter. 2. To obey. XIII, 9. +CHICHINA, _v_. To snuff up, imbibe, or suck up, especially the odors + of burning incense, through a tube. VII, 4; XVII, 10. +CHICHINAQUILIZTLI, _n_. Torment, pain, suffering. +CHIHUA, _v_. To make, to do, to happen; _chihua in noyollo_, my heart + is troubled, I am pained. +CHIMALLI, _n_. The native shield or buckler. VI, 4. +CHITONI, _v_. To sparkle, to glitter. +CHITONIA, _v_. To gain, to realize a profit. V, 4. +CHITTOLINI, _v_. To bow down, to sink. +CHOCA, _v_. To cry (of animals and man). +CIAHUI, _v_. To fatigue one's self, to tire. +CIHUACOATL, _n_. A magistrate of high rank; _lit_.,"woman serpent." +CIHUATL, _n_. A woman. +CITLALIN, _n_. A star. +CO, _postpos_. In, from. +COA, or COHUA, _v_. To buy, to purchase. +COCHITIA, _v_. To sleep. +COCOA, _v_. To pain, to give pain. +COCOLIA, _v_. To hate. +COCOYA, _v_. To be sick. +COHUATL, or COATL, _n_. A serpent; a guest; a twin; the navel; a + spade. +COHUAYOTL, _n_. Buying, purchasing. V, 2. +COLLI, _n_. Ancestor, forefather. +COLOA, _v_. To twist, to turn, to bend. +COMONI, _v_. To crackle (of a fire); to be turbulent (of people). + XXIV. +CON, _pron_. Some one; comp. of _c_ and _on_. +COPA, _postpos_. By, toward. +COPALLI, _n_. Resin, gum copal. +COYOUA, _v_. To cry, to yell. XIII, 7. +COYOHUACAN, _n_. The place of wolves. XIII, 10. +COYOLTOTOTL, _n_. The coyol bird, _Piranga hepatica_. +COYOTL, _n_. The coyote, the Mexican wolf. +COZCATIA, _v_. To deck with golden chains. IV, 4. +COZCATL, _n_. Jewel, precious stone; a string of such; a chain or + collar. +CUECUEXANTIA, _v_. To gather in the folds of the robe. +CUECUEYA, _v_. To move to and fro. XXI, 9. +CUEPA, _v_. To turn, to return, to bring back. +CUEPONI, _v_. To blossom, to bud, to bloom. +CUETLANI, _v_. To wilt, to perish. XV, 15. +CUETZPALTI, _v_. To act as a glutton, to revel in. XVII, 5. +CUEXANTLI, _n_. Gown, robe, petticoat. +CUI, _v_. To take, to gather, to collect. +CUICA, _n_. A song, a poem. +CUICANI, _n_. A singer, a poet. +CUICOYAN, _n_. A place for singing. See note to p. 10. +CUIHUA, _v_. Pass. of _cui_, q. v. +CUILIA, _v_. Rev. of _cui_, q. v. +CUILOA, _v_. To paint, to write. +CUILTONOA, _v_. To be rich; to rejoice greatly; to enrich or cause + joy. XV, 6. +CUITLATL, _n_. Excrement, dung. +CUIX, _adv_. An interrogative particle. + +ECACEHUAZTLI, _n_. A fan. +EHECATL, _n_. Wind, air. +EHECAYO, _adj_. Full of wind, stormy. +EHUA, _v_. To lift up, especially to raise the voice in singing. +ELCHIQUIHUITL, _n_. The breast, the stomach. +ELCHIQUIUHEUA, _v_. To fatigue, to tire. VI, 5. +ELCICIHUILIZTLI, _n_. A sigh, a groan. +ELEHUIA, _v_. To desire ardently, to covet. +ELLAQUAHUA, _v_. To animate, to inspire. +ELLELACI, _v_. To suffer great pain. +ELLELLI, _n_. Suffering, pain. +ELLELQUIXTIA, _v_. To cause joy, to make glad. +ELLELTIA, _v. Ref_., to regret, to repent, to abstain; _act_., to + prevent, to hinder, to impede, to cause pain. +EPOALLI, _adj. num_. Sixty. +EZTLI, _n_. Blood. + +HUAHUAQUI, _u_. To dry up, to wither wholly. VIII, 1. +HUAL, _adv_. Hither, toward this place. +HUALLAUH, _v. irreg_. To come hither. +HUAN, _postpos_. In company with; also, a plural termination. +HUAPALCALLI, _n_. Houses of planks. See XVIII, 1. +HUAQUI, _v_. To dry up, to wither. +HUECAPAN, _adj_. Lofty. +HUECATLAN, _adj_. Deep, profound. +HUEHUETL, _n_. A drum. See page 22. +HUEHUETZI, _v. freq_. To fall often. +HUEIYOTL, _n_. Greatness, grandeur. +HUEL, _adv_. Well, good, pleasant. +HUELIC, _adj_. Sweet, pleasant, fragrant. +HUELMANA, _v_. To make smooth, or even; to polish, to burnish. +HUETZCANI, _n_. A jester, a laugher. XXI, 1. +HUETZI, _v_. To fall. +HUETZTOC, _v_. To be stretched out, to be in bed. +HUEY, _adj_. Great, large. +HUEYATLAN, _n_. Place of increase, from _hueya_, to grow greater. +HUIC, _postpos_. Toward, against. +HUICA _v_. To accompany; to carry off; to govern, to rule, to direct. +HUIHUICA, _v_. To follow in crowds, or often. +HUIHUITEQUI, _v_. To gather, to pluck. +HUILOHUAYAN, _n_. Bourne, goal, terminus; from _huiloa_, all go. +HUIPANA, _v_. To put in order, to arrange. +HUITOMI, _v_. To split, to fall. XVIII, 4. +HUITZ, _v_. To come. +HUITZITZICATIN, _n_. The humming bird. I, 1. +HUITZITZILIN, _n_. The humming bird, _Trochilus_. +HUITZLI, _n_. A thorn, especially of the maguey. +HUITZTLAN, _n_. The south; _huitztlampa_, from or to the south. + +I, _v_. Pret. _oic_. To drink. +I, _pron_. His, her, its, their. +IC, _conj_. For, since, because; _prep_. With, towards, by, in; + _adv_. Where? when? _zan ic_, as soon as, often, only, on + purpose. +ICA, _post_. With him, her, it, etc. +ICÂ, _adv_. Sometimes, occasionally. +ICAC, _v_. To stand upright. +ICAHUACA, _v_. To sing (of birds). +ICALI, _v_. To war, to fight. VI, 5. +ICAUHTLI, _n_. Younger brother. VII, 2. +ICELIA, _v_. To incite another, to devote one's self to. +ICNELIA, _v_. To do good, to benefit. +ICNIUHTLI, _n_. A friend, a companion; _tocnihuan_, our friends. +ICNOPILLAHUELILOCATI, _v_. To be ungrateful. +ICNOTLAMACHTIA, _v_. To excite compassion. +ICPAC, _postpos_. Upon, over. +IHUAN, _conj_. And, also. +IHUI, _adv_. Of this kind, in this way. +IHUINTI, _v_. To intoxicate, to make drunk. +IHUITL, _n_. Feather, plumage. +ILACATZIUI, _v_. To twist, to twine. +ILACATZOA, _v_. To twine around, to wind about. XV, 2. +ILCAHUA, _v_. To forget. +ILHUIA, _v_. To speak, to say, to tell. +ILHUICATL, _n_. Heaven, the sky. +ILNAMIQUILIA, _v_. To remember, to call to mind. +ILPIA, _v_. To bind, to fasten. +IM, See _in_. +IMATI, _v_. To be skillful or wise; to prepare or arrange something + skillfully. +IN, _art. and pron_. He, they, the, which, etc.; _in ma oc_, + meanwhile; _in ic_, so that, in order that. +INAYA, _v_. To confer, to hide. X, 2. +INECUI, _v_. To smell something, to perceive an odor. IV, 6. +INIC, _adv_. For, in order that, after that. +ININ, _pron_. These, they. +INIQUAC, _conj_. When. +INNE, _conj_. But. +INOC, _adv_. While, during. +INON, _pron_. Those. +INTLA, _conj_. If. +INTLACAMO, _adv_. Unless, if not. +IPALNEMOANI, _n_. A name of God. See III, 1, note. +IPAMPA, _adv_. Because. +IPOTOCTLI, _n_. Smoke, vapor, exhalation. +ITAUHCAYOTL, _n_. Fame, honor. XVII, 14. +ITHUA, _v_. To see, for _itla_. XV, 6. +ITIA, _v_. 1. To drink; to cause to drink. 2. To suit, to fit. +ITIC, _postpos_. Within, inside of. +ITLANI, _v_. To ask, to solicit, to demand. +ITOA, _v_. To say, to speak, to tell. +ITONALIZTLI, _n_. Sweat; _fig_., hard work. VI, 5. +ITOTIA, _n_. To dance in the native fashion. +ITOTILIZTLI, _n_. Dance. +ITTA, _v_. To see, to behold. +ITTITIA, _v_. To show, to make evident. +ITZMOLINI, _v_. To be born, to sprout, to grow. XX, 4. +ITZTAPALLI, _n_. Paving stone. XV, 8. +ITZTOC, _v_. To watch, to keep awake, to wait for. XVII, 12. +IXAMAYO, _adj_. Known, recognized. XIII, 2. +IXAYOTL, _n_. A tear (from the eyes). +IXCUITIA, _v_. To take example. +IXIMACHOCA, _n_. The knowledge of a person. +IXIMATI, _v_. To know personally. +IXITIA, _v_. To awake, to arouse. +IXPAN, _postpos_. Before the face of, in presence of. +IXQUICH, _adv_. As many as. +IXTIA, _v_. To face a person, especially the enemy; to watch. +IXTLAHUATL, _n_. Open field, savanna, desert. +IXTLAN, _postpos_. Before the face of. +IXTLI, _n_. Face, visage; eye. +IZA, _v_. To awaken, to arouse. +IZCALI, _v_. To arise, to rise up. +IZHUATL, _n_. A leaf of a tree, etc. +IZHUAYO, _adj_. Leafy, with leaves. +IZQUI, _adj., pl_. izquintin. As many, so many, all; _izqui in + quezqui_, as many as. +IZTAC, _adj_. White. +IZTLACAHUIA, _v_. To deceive, to cheat. +IZTLACOA, _v_. To search for; _ref_., to take counsel. + +MA, _adv_. Sign of optative, subjunctive and vetative; _ma oc_, yet a + while. +MACA, _v_. To give, to present. +MA CA, _neg_. Do not. +MACAIC, _adv_. Never. +MACAZO TLEIN, _neg_. No matter, for all that. VI, 2. +MACEHUALLOTL, _n_. Servitude, slavery. +MACEUALTI, _v. defect_. To merit; to be happy. +MACEHUALTIA, _v_. 1. _nino_, to make another a vassal, to reduce to + vassalage; _nite_, to give vassals to one; _nita_, to impose a + penance on one. +MACH, _adv_. An intensive particle. +MACHTIA, _v_. To cause to know, to teach, to learn. +MACIUI, _adv_. Although, granted that. XVII, 13. +MACQUAITL, _n_. The native sword. VI, 4. +MACUELE, _adv_. Would that--sign of the optative. +MAHACA, _adv_. Not, no. +MAHUI, _v_. To fear, to have fear. +MAHUIZTI, _v_. To be esteemed, to be honored. +MAITL, _n_. The hand, the arm. In comp. _ma_, as _noma_, my hand. +MALACACHOA, _v_. To twine, to fold. XVI, 4. +MALHUIA, _v_. To regale, to treat well, to take care of. +MALINA, _v_. To twine, to wreathe. +MALINTIUH, _v_. To twine, to twist, to enwreathe. +MAMALIA, _v_. To carry. +MAMALLI, _v_. To enter, to penetrate. XII, 4. +MAMANA, _v_. To arrange a feast, to set in order. XV, 15. +MAMANI, _v_. See Mani. +MANA, _v_. To offer offerings. XVII, 3. +MANCA, _v_. Imp. of _Mani_. +MANEN, _neg_. That not, that it does not happen, etc. +MANI, _v_. To be (of broad or wide things); to be stretched out. +MANOZO, _adv_. Or, if. +MAQUIZTLI, _n_. A bracelet or other ornament of the arm. III, 5. +MATI, _v_. To know. _Ref_., to think, to reflect; _qui-mati noyollo_, + I presume, I doubt; _nonno-mati_, I attach myself to a person + or thing. +MATILOA, _v_. To anoint, to rub. +MAZO, _adv_. Although. +MEYA, _v_. To flow, to trickle. +MIAHUATOTOTL, _n_. A bird. IV, 2. +MICOHUANI, _adj_. Mortal, deadly. +MIEC, _adv_. Much, many. +MILLI, _n_. Cultivated field. +MIQUI, _v_. To die, to kill. +MIQUITLANI, _v_. To desire death. X, 1. +MITZ, _pron_. Thee, to thee. +MIXITL, _n_. A narcotic plant. See _tlapatl_. IX, 2. +MIXTECOMATL, _n_. A dark night, a dark place. III, 4. +MIZQUITL, _n_. The mesquite. XV, 1. +MO, _pron_. 1. Thy, thine; 2. _Pron. ref_. 3 sing., he, him, they, + them. +MOCHI, _adj_. All. +MOCHIPA, _adv_. Always. +MOLINIANI, _n_. One who moves, or agitates. XVI, 3. +MOMOLOTZA, _v_. To cause to foam, to cut to pieces. XII, 3. +MOTELCHIUH, _n_. The governor of Tenochtitlan. XIII, 8.--See + _telchihua_. +MOTLA, _v_. To throw, to fall. I, 1. +MOTLALI, _adj_. Seated, placed, in repose. +MOYAUA, _v_. To conquer; to become cloudy or troubled (of water); to + talk about; to boast. +MOZTLA, _adv_. To-morrow. + +NAHUAC, _postpos_. Toward, by, along, near to. +NAHUI, _adj. num_. Four. +NALQUIXTIA, _v_. To cause to penetrate, causative of _nalquiza_, to + penetrate. +NANANQUILIA, _v_. To answer, to reply to. +NANTLI, _n_. Mother, _tonan_, our mother, etc. +NAUHCAMPA, _adv_. In four directions, to four places. +NE, _pron_. Reflexive pronoun 3d person in verbal substantives and + impersonal verbs. +NE, _pron_. for _nehuatl_. I, me. +NECALIZTLI, _n_. Battle, combat. +NECH, _pron_. Me, to me. +NECHCA, _adv_. There, down there; like the French _là -bas; ocye + nechca_, formerly, once. +NECI, _v_. To appear, to show one's self or others. +NECO, _v_. Pass, of _nequi_, q. v. +NECTIA, _v_. To desire, to wish for. +NECUILTONOLLI, _n_. Riches, possessions. +NEICALOLOYAN, _n_. The field of battle. +NEIXIMACHOYAN, _n_. A place where one is taught. XIII, 1. +NEL, _adv_. But. +NELHUAYOTL, _n_. A root; _fig_., principle, foundation, essence. +NELIHUI, _adv_. It is thus, even thus; _mazo nelihui_, though it be + thus. +NELLI, _adv_. Truly, verily. +NELOA, _v_. To mingle, to shake, to beat. +NELTIA, _v_. To verify, to make true. +NEMACTIA, _v_. 1. To receive, to obtain. 2. To give, to grant. +NEMAYAN, _adv_. In the course of the year. XII, 3. +NEMI, _v_. To live, to dwell, to walk. +NEMOA, _v. impers_. To live, to dwell. +NEN, _adv_. Vainly, in vain. +NENCHIUA, _v_. To do in vain. +NENECTIA, _v_. To obtain by effort. XII, 4. +NENELIUHTICA, _adj_. Mixed up, mingled together. +NENELOA, _v_. To mix, to mingle. +NENEPANOA, _v. freq_. To mix, to mingle. XVII, 1. +NENEQUI, _v_. To act tyrannically; to feign; to covet. XI, 7. +NENNEMI, _v_. To wander about. +NENONOTZALCUICATL, _n_. A song of exhortation. +NENTACI, _v_. To fail, to come to naught. XVII, 13, 14. +NENTLAMACHTIA, _v. ref_. To afflict one's self, to torment one's + self. +NENTLAMATI, _v_. To be afflicted, disconsolate. +NEPA, _adv_. Here, there. _Ye nepa_, a little further, beyond. XXI, + 6. _Oc nepa_, further on. +NEPANIUI, _v_. To join, to unite. +NEPANTLA, _postpos_. In the midst of. +NEPAPAN, _adj_. Various, diverse, different. +NEPOHUALOYAN, _n_. The place where one is reckoned, read, or counted. + VI, 2. +NEQUI, _v_. To wish, to desire. +NETLAMACHTILIZTLI, _n_. Riches, property. +NETLAMACHTILOYAN, _n_. A prosperous place. IV, 6; VII, 4. +NETLANEHUIHUIA, _v_. To have an abundance of all things. XXVI, 1. +NETOTILIZTLI, _n_. Dance, dancing. +NETOTILOYAN, _n_. Place of dancing. +NI, _pron. pers_. I. Before a vowel, _n_. +NICAN, _adj_. Here, hither. +NIHUI, _adv_. From _no-ihui_, thus, of the same manner. XVIII, 3. +NIMAN, _adv_. Soon, promptly. +NINO, _pron. ref_. I myself. +NIPA, _adv_. Here, in this part, there. +NO, _adv_. Also, like, _no yuh_, in the same way, thus. _Pron_. My, + mine. +NOCA, _pron_. For me, for my sake, by me. +NOHUAN, _pron_. With me. +NOHUIAMPA, _adv_. In all directions, on all sides. +NOHUIAN, _adv_. Everywhere, on all sides. +NONOYAN, _n_. Place of residence. V, 2. +NONOTZA, _v_. To consult, to take counsel, to reflect. +NOTZA, _v_. To call some one. +NOZAN, _adv_. Even yet, and yet, to this day. + +OBISPO, _n_. Bishop. _Span_. XIX, 4. +OC, _adv_. Yet, again; _oc achi_, yet a little; _oc achi ic_, yet + more, comparative; _oc pe_, first, foremost. +OCELOTL, _n_. The tiger; a warrior so called. See note to I, 5. +OCOXOCHITL, _n_. A fragrant mountain flower. III, 2. +OCTICATL, _n_. See note to VII, 1. +OCTLI, _n_. The native wine from the maguey. In comp., _oc_. +OHUAGA, _interj_. Oh! alas! +OHUI, _adj_. Difficult, dangerous. +OHUICALOYAN, _n_. A difficult or dangerous place. XXII, 7. +OHUICAN, _n_. A difficult or dangerous place. +OME, _adj_. Two. +OMITL, _n_. A bone. +OMPA, _adv_. Where. +ON, _adv_. A euphonic particle, sometimes indicating action at a + distance, at other times generalizing the action of the verb. +ONCAN, _adv_. There, thither. +ONOC, _v_. To be lying down. +OPPA, _adv_. A second time, twice. +OQUICHTLI, _n_. A male, a man. +OTLI, _n_. Path, road, way. +OTOMITL, _n_. An Otomi; a military officer so called. +OTONCUICATL, _n_. An Otomi song. II, 1. + +PACHIUI NOYOLLO, _v_. I am content, satisfied. IX, 2. +PACQUI, _v_. To please, to delight. +PACTLI, _n_. Pleasure, joy. +PAL, _postpos_. By, by means of. +PAMPA, _postpos_. For, because. +PAN, _postpos_. Upon; _apan_, upon the water. +PAPALOTL, _n_. The butterfly. +PAPAQUI, _v_. To cause great joy. +PATIUHTLI, _n_. Price, wages, reward. +PATLAHUAC, _adj_. Large, spacious. +PATLANI, _v_. To fly. +PEHUA, _v. Pret., opeuh_, to begin, to commence. +PEPETLACA, _v_. To shine, to glitter. +PEPETLAQUILTIA, _v_. To cause to shine. +PETLACOATL, _n_. The scolopender, the centipede. XVII, 24. +PETLATL, _n_. A mat, a rug (of reeds or flags); _fig_., power, + authority. +PETLATOTLIN, _n_. A rush suitable to make mats. XXI, 10. +PETLAUA, _v_. To polish, to rub to brightness. +PEUHCAYOTL, _n_. Beginning, commencement. +PILIHUI, _v_. To fasten to, to mingle with. XXI, 6. +PILIHUITL, _n_. Beloved child. XII, 3. +PILLI, _n_. Son, daughter, child. A noble, a chief, a ruler, a lord. + _Tepilhuan_, the children, the young people. _Nopiltzin_, my + lord. +PILOA, _v_. To hang down, to suspend. +PILTIHUA, _v_. To be a boy, to be young. +PIPIXAUI, _v_. To snow, to rain heavily. +PIXAUI, _v_. To snow, to rain. +POCHOTL, _n_. The ceiba tree; _fig_., protector, chief. +POCTLI, _n_. Smoke, vapor, fog, mist. +POLOA, _v_. To destroy; to perish. +POPOLOA, _v_. Freq. of _poloa_. +POPOYAUHTIUH, _v_. To leave a glorious memory. XXI, 5. +POXAHUA, _v_. To work the soil, to labor. +POYAUA, _v_. To color, to dye. XVII, 21. +POYAUI, _v_. To become clear, to clear off. +POYOMATL, _n_. A flower like the rose. IV, 6. +POZONI, _v_. To boil, to seethe; fig., to be angry. + +QUA, _v_. To eat. +QUAHTLA, _n_. Forest, woods. +QUAHUITL, _n_. A tree; a stick; _fig_., chastisement. +QUAITL, _n_. Head, top, summit. +QUALANI, _v_. To anger, to irritate. +QUALLI, _adj_. Good, pleasant. +QUATLAPANA, _v_. To break one's head; to suffer much. +QUAUHTLI, _n_. The eagle; a warrior so called; bravery, distinction. + I, 5. +QUEMACH, _adv_. Is it possible! +QUEMMACH AMIQUE, _rel_. Those who are happy, the happy ones. IX, 2. +QUENAMI, _adv_. As, the same as. +QUENAMI CAN, _adv_. As there, the same as there, sometimes with _on_ + euphonic inserted, _quenonami_. +QUENIN, _adj_. How, how much. +QUENNEL, _adv_. What is to be done? What remedy? +QUENNONAMICAN, See under _quenami_. +QUEQUENTIA, _v_. To clothe, to attire. +QUETZA, _v. Nino_, to rise up; to unite with; to aid; _nite_, to lift + up. +QUETZALLI, _n_. A beautiful feather; _fig_., something precious or + beautiful. +QUETZALTOTOTL, _n_. A bird; _Trogon pavoninus_. +QUEXQUICH, _pron_. So many as, how much. +QUI, _pron. rel_. He, her, it, they, them. +QUIAUATL, _n_. Entrance, door. XVII, 18. +QUIAUITL, _n_. Rain, a shower. +QUIMILOA, _v_. To wrap up, to clothe, to shroud the dead. XI, 6. +QUIN, _pron. rel_. They, then. +QUIQUINACA, _v_. To groan, to buzz, etc. +QUIQUIZOA, _v_. To ring bells. IV, 3. +QUIZA, _v_. To go forth, to emerge. +QUIZQUI, _adj_. Separated, divided. +QUIZTIQUIZA, _v_. To go forth hastily. XXII. + +TAPALCAYOA, _v_. To be full of potsherds and broken bits. XV, 16. +TATLI, _n. and v_. See p. 19. +TE, _pron. pers_. 1. Thou. 2. _Pron. rel. indef_. Somebody. +TEAHUIACA, _adj_. Pleasing, agreeable. +TECA, _pron_. Of some one; _te_ and _ca_. +TECA, _v_. To stretch out, to sleep; to concern one's self with. + _Moteca_, they unite together. +TECH, _postpos_. In, upon, from. _Pron_. Us. +TECOCOLIA, _n_. A hated person, an enemy. +TECOMAPILOA, _n_. A musical instrument. See p. 23. +TECPILLI, _n_. Nobleman, lord. +TECPILLOTL, _n_. The nobility; noble bearing, courtesy. +TEHUAN, _pron_. 1. We. 2. With some one. +TEHUATL, _pron_. Thou. +TEINI, _v_. To break, to fracture. +TEL, _conj_. But, though. +TELCHIHUA, _v_. To detest, to hate, to curse. +TEMA, _v_. To place something somewhere. +TEMACHIA, _v_. To have confidence in, to expect, to hope for. +TEMI, _v_. To be filled, replete; to be stretched out. XXVI, 4. +TEMIQUI, _v_. To dream. +TEMO, _v_. To descend, to let fall. +TEMOA, _v_. To search, to seek. +TENAMITL, _n_. A town; the wall of a town. +TENAUAC, _post_. With some one, near some one. +TENMATI, _v_. To be idle, negligent, unfortunate. +TENQUIXTIA, _v_. To speak forth, to pronounce, to declare. +TENYOTL, _n_. Fame, honor. +TEOATL, _n_. Divine water. See VI, 4, note. +TEOCUITLA, _n_. Gold, of gold. +TEOHUA, _n_. A priest. XVII, 19. +TEOQUECHOL, _n_. A bird of beautiful plumage. +TEOTL, _n_. God, divinity. +TEOXIHUITL, _n_. Turquoise; _fig_., relation, ruler, parent. +TEPACCA, _adj_. Causing joy, pleasurable. +TEPEITIC, _n_. Narrow valley, glade, glen. +TEPETL, _n_. A mountain, a hill. +TEPEUA, _v_. To spread abroad, to scatter, to conquer. XV, 3. +TEPONAZTLI, _n_. A drum. See p. 22. +TEPOPOLOANI, _v_. To slay, to slaughter. +TEQUANI, _n_. A wild beast, a savage person. +TEQUI, _v_. To cut. +TETECUICA, _v_. To make a loud noise, to thunder. XXI, 7. +TETL, _n_. A stone, a rock. In comp., _te_. +TETLAMACHTI, _n_. That which enriches, glorifies, or pleases. +TETLAQUAUAC, _adj_. Hard or strong as stone. Comp. of _tetl_ and + _tlaquauac_. +TETOZCATEMO, _v_. To let fall or throw forth notes of singing. I, 2. +TETZILACATL, _n_. A copper gong. XVII, 21. See p. 24. +TEUCTLI, _n_., pl. _teteuctin_. A noble, a ruler, a lord; _in + teteuctin_, the lords, the great ones. +TEUCYOTL, _n_. Nobility, lordship. +TEUH, _postpos_. Like, similar to. +TEUHYOTL, _n_. Divinity, divineness. +TEYOLQUIMA, _adj_. Pleasing, odorous, sweet. +TEYOTL, _n_. Fame, honor. +TI, _pron_. 1. thou; _timo_, ref.; _tic_, act. 2. we; _tito_, ref.; + _tic_, act. +TILANI, _v_. To draw out. +TILINI, _v_. To crowd, to press. XVII, 19. +TIMALOA, _v_. To glorify, to exalt, to praise. +TIMO, _pron. ref_. Thou thyself. +TITO, _pron. ref_. We ourselves. +TIZAITL, _n_. Chalk; anything white; an example or model. +TIZAOCTLI, _n_. White wine. See VII, 2. +TLA, _adv_., for _intla_, if; _pron. indef_., something, anything; + _postpos_. in abundance. +TLACACE, _interj_. Expressing astonishment or admiration. XVII, 3. +TLACAQUI, _v_. To hear, to understand. +TLACATEUCTLI, _n_. A sovereign, a ruler. +TLACATI, _v_. To be born. +TLACATL, _n_. Creature, person. +TLACAZO, _adv_. Truly, certainly. +TLACHIA, _v_. To see, to look upon. +TLACHIHUAL, _n_. Creature, invention. +TLACHINOLLI, _n_. Battle, war; from _chinoa_, to burn. +TLACOA, _v_. To injure, to do evil, to sin. +TLACOCHTLI, _n_. The arrow. +TLACOCOA, _v_. To buy, to purchase. X, 1. +TLACOHUA, _v_. To buy, to purchase. +TLACOHUA, _v_. To beat, to chastise. +TLACOTLI, _n_. A servant, slave. +TLACOUIA, _v_. To split, to splinter. +TLACUILOA, _v_. To inscribe, to paint in, to write down. +TLAELEHUIANI, _adj_. Desirous of, anxious for. +TLAHUELLI, _n_. Anger, ire. +TLAHUICA, _n_. Servant, page; also, a native of the province of + Tlahuican. (See _Index_.} +TLAILOTLAQUI, _n_. "Workers in filth;" scum; a term applied in + contempt. XIII, 8; XV, 12, 14. Also a proper name. + (See _Index_.) +TLALAQUIA, _v_. To bury, to inter. +TLALLI, _n_. Earth, ground; _tlalticpac_, on the earth. +TLALNAMIQUI, _v_. To think of, to remember. +TLALPILONI, _n_. An ornament for the head. VI, 4, from _ilpia_. +TLAMACHTI, _v. ref_. To be rich, happy, prosperous. +TLAMAHUIZOLLI, _n_. Miracle, wonder. +TLAMATILLOLLI, _n_. Ointment; anything rubbed in the hands. XI, 9. +TLAMATQUI, _adj_. Skillful, adroit. +TLAMATTICA, _adj_. Calm, tranquil. +TLAMELAUHCAYOTL, _n_. A plain or direct song. II, 1. +TLAMI, _v_. To end, to finish, to come to an end. +TLAMOMOYAUA, _v_. To scatter, to destroy. XV, 21. +TLAN, _postpos_. Near to, among, at. +TLANECI, _v_. To dawn, to become day. _Ye tlaneci_, the day breaks. +TLANEHUIA, _v. Nicno_. To revel, to indulge one's self in. XXI, 8. +TLANELTOCA, _v_. To believe in, to have faith in. +TLANIA, _v_. To recover one's self, to return within one's self. +TLANIICZA, _v_. To abase, to humble. IX, 3. +TLANTIA, _v_. To terminate, to end. +TLAOCOL, _adj_. Sad, melancholy, pitiful, merciful. +TLAOCOLIA, _v_. To be sad, etc. +TLAOCOLTZATZIA, _v_. To cry aloud with grief. I, 3. +TLAPALHUIA, _v., rel_. To be brilliant or happy; act_., to salute a + person; to paint something. +TLAPALLI, _n_. and _adj_. Colored; dyed; red. +TLAPALOA, _v_. To salute, to greet. +TLAPANAHUIA, _adj_. Surpassing, superior, excellent; used to form + superlatives. +TLAPANI, _v_. To dye, to color. XVII, 10. +TLAPAPALLI, _adj_. Striped, in stripes. +TLAPATL, _n_. The castor-oil plant; the phrase _mixitl tlapatl_ means + stupor, intoxication. IX, 2. +TLAPEPETLANI, _v_. To sparkle, to shine forth. +TLAPITZA, _v_. Fr. _pitza_, to play the flute. XVII, 26. +TLAQUALLI, _n_. Food, eatables. +TLAQUAUAC, _adj_. Strong, hard. +TLAQUAUH, _adj_. Strongly, forcibly. +TLAQUILLA, _adj_. Stopped up, filled. XX, 4. +TLAQUILQUI, _n_. One who plasters, a mason. XXI, 1. +TLATEMMATI, _v_. To suffer afflictions. +TLATENEHUA, _v_. To promise. +TLATHUI, _v_. To dawn, to become light. +TLATIA, _v_. 1. To hide, to conceal; 2. to burn, to set on fire. +TLATLAMANTITICA, _adj_. Divided, separated. +TLATLATOA, _v_. To speak much or frequently. XVII, 11. +TLATLAUHTIA, _v_. To pray. XVI, 3. +TLATOANI, _n_. Ruler, lord. +TLATOCAYOTL, _n_. The quality of governing or ruling. +TLATOLLI, _n_. Word, speech, order. +TLATZIHUI, _v_. To neglect, to be negligent; to be abandoned, to lie + fallow; to leave, to withdraw. +TLAUANTLI, _n_. Vase, cup. XXVI, 4. +TLAUHQUECHOL, _n_. A bird, the red heron, _Platalea ajaja_. +TLAUILLOTL, _n_. Clearness, light. X, 1. +TLAXILLOTIA, _v_. To arrange, sustain, support. IX, 4. +TLAXIXINIA, _v_. To disperse, to destroy. +TLAYAUA, _v_. To make an encircling figure in dancing. +TLAYAUALOLLI, _adj_. Encircled, surrounded. XXI, 6. +TLAYLOTLAQUI, _n_. See XIII, 8. +TLAYOCOLIA, _v_. To make, to form, to invent. XIV. +TLAYOCOYALLI, _n_. Creature, invention. +TLAZA, _v_. To throw away; _fig_., to reject, to despise. +TLAZOTLA, _v_. To love, to like. +TLE, _pron. int_. and _rel_. What? That. +TLEAHUA, _v_. To set on fire, to fire. +TLEIN, _pron., int_. and _rel_. What? That. +TLEINMACH, _adv_. Why? For what reason? +TLENAMACTLI, _n_. Incense burned to the gods. III, 1. +TLEPETZTIC, _adj_. Shining like fire, _tletl_, _petzlic_. XV, 26. +TLETL, _n_. Fire. +TLEYMACH, _adv_. Why? Wherefore? +TLEYOTL, _n_. Fame, honor. +TLEZANNEN, _adv_. To what good? Cui bono? +TLILIUHQUI, _adj_. Black, brown. +TLILIUI, _v_. To blacken, to paint black. XII, 6. +TLOC, _postpos_. With, near to. +TLOQUE NAHUAQUE, _n_. A name of divinity. See I, 6, note. +TO, _pron. posses_. Our, ours. +TOCA, _v_. To follow. +TOCI, _n_. "Our ancestress," a divinity so called. +TOCO, _v_. Impers. of _toca_. +TOHUAN, _pron_. With us. +TOLINIA, _v_. To be poor, to be unfortunate. +TOLQUATECTITLAN, _n_. The place where the head is bowed for + lustration. III, 1. +TOMA, _v_. To loosen, to untie, to open. XVII, 3. +TOMAHUAC, _adj_. Great, heavy, large. +TONACATI, _v_. To be prosperous or fertile. +TONACATLALLI, _n_. Rich or fertile land. +TONAMEYO, _adj_. Shining like the sun, glittering. +TONAMEYOTL, _n_. Ray of the sun, light, brilliancy. +TONATIUH, _n_. The sun. +TONEUA, _v_. To suffer pain; _nite_, to inflict pain. +TOQUICHPOHUAN, _n_. Our equals. I, 3. +TOTOTL, _n_. A bird, generic term. +TOZMILINI, _adj_. Sweet voiced. XXI, 3. +TOZNENETL, _n_. A parrot, _Psittacus signatus_. +TOZQUITL, _n_. The singing voice, p. 21. +TZALAN, _postpos_. Among, amid. +TZATZIA, _v_. To shout, to cry aloud. +TZAUHQUI, _v_. To spin. XVII, 22. +TZETZELIUI, _v_. To rain, to snow; _fig_., to pour down. +TZIHUAC, _n_. A species of bush. XV, 1. +TZIMIQUILIZTLI, _n_. Slaughter, death. XVI, 5. +TZINITZCAN, _n_. A bird, _Trogon Mexicanus_. +TZITZILINI, _n_. A bell. +TZOTZONA, _v_. To strike the drum. + +UALLAUH, _v_. To come. See _huallauh_. +UITZ, _v_. To come. +ULLI, _n_. Caoutchouc. See p. 22. + +XAHUA, _v_. To paint one's self, to array one's self in the ancient + manner. XXIV, 1. +XAMANI, _v_. To break, to crack. +XAXAMATZA, _v_. To cut in pieces, to break into bits. +XAYACATL, _n_. Face, mask. +XELIHUI, _v_. To divide, to distribute. +XEXELOA, _v_. To divide, to distribute. +XILOTL, _n_. Ear of green corn. +XILOXOCHITL, _n_. The flower of maize. XVII, 10. +XIMOAYAN, _n_. A place of departed souls. See I, 8. +XIMOHUAYAN, _n_. Place of departed spirits. VIII, 1. +XIUHTOTOTL, _n_. A bird, _Guiaca cerulea_. +XIUITL, _n_. A leaf, plant; year; anything green. +XOCHICALLI, _n_. A house for flowers, or adorned with them. +XOCHIMECATL, _n_. A rope or garland of flowers. +XOCHIMICOHUAYAN, _n_. See XVI, 3, note. +XOCHITECATL, _n_. See XXV, 7, note. +XOCHITL, _n_. A flower, a rose. +XOCHIYAOTL, _n_. Flower-war. See XVI, 4, note. +XOCOMIQUI, _v_. To intoxicate, to become drunk. +XOCOYA, _v_. To grow sour. XIII, 4. +XOPALEUAC, _n_. Something very green. +XOPAN, _n_. The springtime. +XOTLA, _v_. To blossom, to flower; to warm, to inflame; to cut, to + scratch, to saw. +XOXOCTIC, _adj_. Green; blue. XVI, 6. +XOYACALTITLAN, _n_. The house or place of decay. III, 1. + +Y., Abbrev. for _ihuan_, and _in_, q. v. +YA, _adv_. Already, thus; same as _ye_; _v_., to suit, to fit. Part. + euphonic or expletive. See note to XVII, 3. +YAN, _postpos_. Suffix signifying place. +YANCUIC, _adj_. New, fresh, recent. +YANCUICAN, _adv_. Newly, recently. +YAOTL, _n_. War, battle. +YAOYOTL, _n_. Warfare. +YAQUI, _adj_. Departed, gone, left for a place. +YAUH, _v., irreg_. To go. +YE, _adv_. Already, thus; _ye no ceppa_, a second time; _ye ic_, + already, it is already. +YE, _pron_. He, those, etc. +YE, _adj. num_. Three. +YECE, _adv_. But. +YECEN, _adv_. Finally, at last. +YECNEMI, _v_. To live righteously. +YECOA, _v_. To do, to finish, to conclude. +YECTENEHUA, _v_. To bless, to speak well of. +YECTLI, _adj_. Good, worthy, noble. +YEHUATL, _pron_. He, she, it. Pl. _yehuan, yehuantin_. +YEHUIA, _v_. To beg, to ask charity. +YEPPA YUHQUI. Formerly, it was there. VII, 2. +YHUINTIA. See _ihuinti_. +YOCATL, _n_. Goods, possessions; _noyocauh_, my property. XV, 26. +YOCAUA, _n_. Master, possessor, owner. +YOCOLIA, _v_. To form, to make. +YOCOYA, _v_. To make, to invent, to create. +YOHUATLI, _n_. Night, darkness. +YOLAHUIA, _v_. To rejoice greatly. +YOLCIAHUIA, _v_. To please one's self, to make glad. +YOLCUECUECHOA, _v_. To make the heart tremble. IV, 6. +YOLEHUA, _v_. To excite, to animate. +YOLIHUAYAN, _n_. A place of living III, 5. +YOLLO, _adj_. Adroit, skillful; also for _iyollo_, his heart. +YOLLOTL, _v_. Heart, mind, soul. +YOLNONOTZA, _v_. See note to I, 1. +YOLPOXAHUA, _v_. To toil mentally. +YUHQUI, _adv_. As, like. +YUHQUIMATI, _v_. To understand, to realize. + +ZACATL, _n_. Herbage, straw, hay. XXI, 5. +ZACUAN, _n_. Feather of the zacuan bird; _fig_., yellow; prized. +ZACUAN TOTOTL, _n_. The zacuan bird, _Oriolus dominicensis_. +ZAN, _adv_. Only, but; _zan cuel_, in a short time; _zanen_, perhaps; + _Zan nen_, in vain. +ZANCUEL ACHIC, _adv_. A moment, an instant; often; _zan ye_, but + again, but quickly. +ZANIO, _pron_. I alone, he or it alone. +ZOA, _v_. To pierce; to spread out; to open; to sew; to string + together; to put in order. +ZOLIN TOTOTL, _n_. The quail. +ZOMA, _v_. To become angry. +ZOMALE, _adj_. For _comalli_, vase, cup. XXVI, 4. + + + + +INDEX OF NAHUATL PROPER NAMES, WITH EXPLANATIONS. + + +ACALLAN, 105. "The place of boats," from _acalli_, boat. An ancient +province at the mouth of the Usumacinta river; but the name was +probably applied to other localities also. + +ACATLAPAN, 41. A village southeast of Chalco. From _acatla_, a place +of reeds, and _pan_, in or at. + +ACHALCHIUHTLANEXTIN, 46. The first chief of the Toltecs; another form +of _chalchiuhtonac_. Both names mean "the gleam of the precious +jade." Compare Torquemada, _Monarquia Indiana_. Lib. III., cap. 7; +Orozco y Berra, _Hist. Antigua de Mexico_, Tom. III., p. 42. The date +of the beginning of his reign is put at A.D. 667 or 700. + +ACOLHUACAN, 40, 91, 119. A compound of _atl_, water, and _colhuacan_, +(q. v.) = "Colhuacan by the water," the name of the state of which +Tetzcuco was the capital, in the valley of Mexico. + +ACOLMIZTLAN, 89, from + +ACOLMIZTLI, 35. A name of Nezahualcoyotl (see p. 35), also of other +warriors. + +ANAHUAC, 125. From _atl_, water, _nahuac_, by, = the land by the +water. The term was applied first to the land by the lakes in the +Valley of Mexico, and later to that along both the Gulf of Mexico and +the Pacific Ocean. + +ATECPAN, 77. "The royal residence by the water" (_atl, tecpan_). I do +not find this locality mentioned elsewhere. + +ATLIXCO, 125. "Where the water shows its face" (_atl, ixtli, co_). A +locality southeast of Tezcuco, near the lake, so called from a large +spring. See Motolinia, _Historia de los Indios_, Trat. III, cap. 18. + +ATLOYANTEPETL, 85, 89, 91. Perhaps for _atlauantepetl_, "the mountain +that rules the waters." But see note to XIII, v. 6. + +ATZALAN, 114. "Amid the waters" (_atl, tzalan_). Perhaps not a proper +name; but two villages in the present State of Puebla are called +Atzala (see Orozco y Berra, _Geografia de las Lenguas de Mexico_, pp. +212, 213). + +AXAXACATZIN, 43. Probably for _axayacatzin_, reverential of +_axayacatl_, the name of a species of marsh fly. It was also the name +of the sixth ruler of Mexico (flor. about 1500), and doubtless of +other distinguished persons. See Ixtlilxochitl, _Historia +Chichimeca_, cap. 51. + +AZCAPOTZALCO, 50, 51. An ancient town in the valley of Mexico, once +the capital city of the Tepanecas (q. v.). The word means "place of +the ant-hills," from _azcaputzalli_. + +AZTECS, 25. A Nahuatl tribe who derived their name from their +mythical ancient home, Aztlan. The derivation is obscure, but +probably is from the same radical as _iztac_, white, and, therefore, +Father Duran was right in translating Aztlan, "place of whiteness," +the reference being to the East, whence the Aztecs claim to have +come. See Duran, _Historia de las Indias_, cap. II. + + +CACAMATL, 94, 95. The reference appears to be to Cacamatzin (the +_Noble Sad One_, from _cacamaua_, fig. to be sad), last ruler of +Tezcuco, son and successor, in 1516, of Nezahualpilli. He was put to +death by Cortes. + +CATOCIH, 89. A doubtful word, which may not be a proper name. + +CHALCO, 16, 69, 95. A town and lake in the valley of Mexico. The +people were Nahuas and subject to Mexico. The word is probably +derived from _Challi_, with the postpos. _co_, meaning "at the mouth" +(of a river). See Buschmann, _Ueber die Aztekischen Ortsnamen_, s. +689, and comp. _Codex Ramirez_, p. 18. + +CHIAPA, CHIAPANECA, 70, 71. The province and inhabitants of Chiapas, +in Southern Mexico. There were colonies of Nahuas in Chiapas, though +most of the natives spoke other tongues. The derivation is probably +from _chia_, a mucilaginous seed highly esteemed in Mexico. + +CHICHIMECATL or CHICHIMECS, 88, 89, 91, 101. A rude hunting tribe, +speaking Nahuatl, who settled, in early times, in the valley of +Mexico. The name was said to be derived from _chichi_, a dog, on +account of their devotion to hunting (_Cod. Ramirez_). Others say it +was that of their first chieftain. + +CHICOMOZTOC, 88, 89. "At the seven caves," the name of the mythical +locality from which the seven Nahuatl tribes derived their origin. +The _Codex Ramirez_ explains the seven caves to mean the seven houses +or lineages (totems) of which the nation consisted. + +CHILILITLI, 36. Name of a tower of sacred import. It is apparently a +compound of _chia_ or _chielia_, to watch, and _tlilli_, blackness, +obscurity, hence "a night watch-tower." It was probably used for the +study of the sky at night. + +CHIMALPOPOCA, 43. "The smoking shield," from _chimalli_, shield, and +_popoca_. The name of several distinguished warriors and rulers in +ancient Mexico. + +CHOLULA or CHOLOLLAN, 105. Name of a celebrated ancient state and +city. From _choloa_, with the probable meaning, "place of refuge," +"place of the fugitives." + +CIHUAPAN, 41. Name of a warrior, otherwise unknown. From _cihuatl_, +woman, _pan_, among, with. + +COATZITEUCTLI, 89. A name compound of _coatzin_, reverential form of +_coatl_, serpent, and _teuctli_, lord. + +COLHUA, A people of Nahuatl affinity, who dwelt in ancient times in +the valley of Mexico. See _Colhuacan_. + +COLHUACAN, 88, 89, 91. A town in the valley of Mexico. In spite of +the arguments to the contrary, I believe the Colhua were of Nahuatl +lineage, and that the name is derived from _colli_, ancestor; +_colhuacan_, the residence of the ancestors; with this signification, +it was applied to many localities. It must be distinguished from +_Acolhuacan_. Its ikonomatic symbol was a hill bent over at the top, +from _coloa_, to bend. + +COLZAZTLI, 39. Probably for Coltzatztli, one who cries out or calls +to the ancestors (_colli, tzatzia_). A chief whom I have not found +elsewhere mentioned. + +CONAHUATZIN, 41. A warrior not elsewhere mentioned. By derivation it +means "noble son of the lord of the water" (_conetl, ahua, tzin_). + +CUETZPALTZIN, 89. A proper name, from _cuetzpalli_, the 4th day of +the month. + +CUEXTLA, 33. A province of ancient Mexico. See Torquemada, _Monarquia +Indiana_. Lib. II, caps. 53, 56. + +CULTEPEC, 42. A village five leagues from Tezcuco, at the foot of the +mountains. Deriv., _colli_, ancestor, _tepetl_, mountain or town, +with post-pos. _c_; "at the town of the ancestors." + + +HUETLALPAN or HUETLAPALLAN, 89. The original seat of the mythical +Toltecs. The name is a compound of _hue_, old, and _Tlapallan_, q. v. + +HUEXOTZINCO, 50, 83, 91, 99, 113. An independent State of ancient +Anahuac, south of Tlascala and west of Cholula. The name means "at +the little willow woods," being a diminutive from _huexatla_, place +of willows. + +HUITLALOTZIN, 89. From _huitlallotl_, a species of bird, with the +reverential termination. Name of a warrior. + +HUITZILAPOCHTLI, 16. Tribal god of the Mexicans of Tenochtitlan. The +name is usually derived from _huitzitzilin_, humming bird, and +_opochtli_, left (_Cod. Ramirez_, p. 22), but more correctly from +_huitztli_, the south, _iloa_, to turn, _opochtli_, the left hand, +"the left hand turned toward the south," as this god directed the +wanderings of the Mexicans southward. The humming bird was used as +the "ikonomatic" symbol of the name. + +HUITZILIHUITL, 89. "Humming-bird feather." Name of an ancient ruler +of Mexico, and of other warriors. + +HUITZNAHUACATL, 91. A ruler of Huexotlan (Clavigero); a member of the +Huitznahua, residents of the quarters so called in Tezcuco and +Tenochtitlan (Ixtlilxochitl, _Hist. Chichimeca_, cap. 38). + + +IXTLILXOCHITL, 35, 46, 89. A ruler of Acolhuacan, father of +Nezahualcoyotl. Comp. _ixtli_, face, _tlilxochitl_, the vanilla +(literally, the black flower). + +IZTACCOYOTL, 89, 93. "The white wolf." Name of a warrior otherwise +unknown. + + +MEXICANS, 67, 83, 85, 87, 123, 125. See + +MEXICO, 83, 123. Name of the town and state otherwise called +Tenochtitlan. _Mexitl_ was one of the names of the national god +Huitzilopochtli, and Mexico means "the place of Mexitl," indicating +that the city was originally called from a fane of the god. + +MICTLAN, 95, 117, 119. The Mexican Hades, literally, "the place of +the dead." + +MONTEZUMA, 14, 41, 113. The name of the ruler of Mexico on the +arrival of Cortes. The proper form is _Moteuhzomatzin_ or +_Motecuhzomatzin_, and the meaning, "he who is angry in a noble +manner." ("señor sañudo," _Cod. Ramirez_, p. 72; "qui se fache en +seigneur," Siméon, _Dict. de la Langue Nahuatl_, s. v.). + +MOQUIHUIX, 33. The fourth ruler of Tlatilolco. He assumed the power +in 1441, according to some writers (Bustamente, _Tezcoco, en los +Ultimas Tiempos de sus Antiguos Reyes_, p. 269). The name probably +means "He who comes forth a freeman." See Ixtlilxochitl, _Historia +Chichimeca_, caps. 36, 51. + + +NACXITL TOPILTZIN, 105, 107. Nacxitl, "the four footed" (_nahui, +ixitl_), was the name of one of the gods of the merchants (Sahagun, +_Hist, de Nueva España_, Lib. I, c. 19). In the song it is applied to +Quetzalcoatl, who was also regarded as a guardian of merchants. + +NAHUATL, (9, etc.). A term applied to the language otherwise known as +Aztec or Mexican. As an adjective it means "well-sounding," or, +pleasant to the ear. From this, the term _Nahua_ is used collectively +for all tribes who spoke the Nahuatl tongue. _Nahuatl_ also means +clever, skillful, and the derivation is probably from the root _na_, +to know. + +NECAXECMITL, 46. Name of uncertain meaning of a person otherwise +unknown. + +NEZAHUALCOYOTL, 35, 67, 119. Chief of the Acolhuas, and ruler in +Tezcuco from 1427 to 1472, or thereabouts. He was a distinguished +patron of the arts and a celebrated poet. See p. 35, et seq. + +NEZAHUALPILLI, or NEZAHUALPIZINTLI, 14, 125. Ruler of Acolhuacan, son +of Nezahualcoyotl. His accession is dated in 1470 or 1472. + +NONOHUALCO, 105, 125. Name of one of the quarters of the ancient city +of Mexico; also of a mountain west of the valley of Mexico. The +derivation is probably from _onoc_, to lie down; _onohua_, to sleep; +_onohuayan_, a settled spot, an inhabited place. The _co_ is a +postposition. + +NOPAL or NOPALTZIN, 46. Ruler of Acolhuacan, A. D. 1260-1263, +according to some chronologies. The name is from _nopalli_, the +cactus or opuntia. + +NOPILTZIN, 67, 91. "My son," or "my lord," a term of deference +applied to superiors, from _pilli_, which means son and also lord, +like the old English _child_. Cf. _Topiltzin_. + + +OTOMIS, 16, 49, 58, 64, 71, 95. A nation which inhabited a portion of +the valley of Mexico and region adjacent, entirely dissimilar in +language and appearance from the Nahuas. The etymologies suggested +are unsatisfactory. + +POPOCATEPETL, 46. "The smoking mountain," the name of a famous +volcano rising from the valley of Mexico. + +POYAUHTECATL, 105. A volcano near Orizaba (Sahagun. _Hist. de Nueva +España_, Lib. I, cap. 21). Derived from _poyaua_, to color, to +brighten. + +QUANTZINTECOMATZIN, 41. A warrior not otherwise known. The name is a +double reverential, from _quani_, eater, and _tecomatl_, vase, "The +noble eater from the royal dish." + +QUAUHQUECHOLLAN, 95. A village and plain near the southern base of +Popocatepetl. It means "the place of the quechol woods," or the trees +among which quechol birds are found. See Motolinia, _Historia de los +Indios_, Trat. III, cap. 18. + +QUAUHXILOTL, 89. Name of a large tree, and applied to a warrior, +ruler of Iztapallocan, whom Ixtlilxochitl, King of Tezcuco, placed at +the head of his troops in his war with Tezozomoc. See Clavigero, +_Storia Antica di Messico_, Tom. I, p. 185. + +QUETZALCOATL, 32, 143, 144. See note on p. 143. + +QUETZALMAMATZIN, 91. Name of a warrior, "the noble one of the +beautiful hands" (_quetzalli, mama_, pl. of _maitl_, and rev. term, +_tzin_). Perhaps the same as Quetzalmemalitzin, ruler of Teotihuacan, +mentioned by Ixtlilxochitl, _Historia Chichimeca_, cap. 35. + +QUIAUHTZIN, 93. Name of a warrior, "The noble rain" (_quiauitl, +tziri_). + + +TENOCHTITLAN, 85. The current name for the City of Mexico; literally, +"at the stone-nopal," from _tetl_, stone, _nochtli_, nopal, and +postpos., _tlan_. The term refers to an ancient tradition. + +TEPANECAS or TECPANECAS, 35. A powerful nation of Nahuatl lineage, +who dwelt in the valley of Mexico. They were destroyed in 1425 by the +Acolhuas and Mexicans, and later the state of Tlacopan was formed +from their remnants. Comp. probably from _tecpan_, a royal residence, +with the gentile termination. + +TEPEYACAC, TEPEYACAN, 93. From _tepetl_, mountain, _yacatl_, nose, +point, and postpos, _c_. 1. A small mountain on which the celebrated +church of the Virgin of Guadalupe now stands. 2. A large town and +state subject to ancient Mexico, now Tepeaca in the province of +Puebla. + +TETLAPAN QUETZANITZIN, 68, 69. A ruler of Tlatilolco, contemporary of +the conquest. See Note to Song VI. + +TETZCOCO, now TEZCUCO, 14, 35, 36, 77. Capital city of Acolhuacan, +and residence of Nezahualcoyotl. It has been called "the Athens of +Anahuac." The derivation of the name is from a plant called +_tetzculli_ (_Cod. Ramirez_). + +TEZOZOMOC, TEZOZOMOCTLI, 35, 39, 67, 88, 89. A ruler of the +Tepanecas, celebrated for his warlike skill and severity. His death +is placed in the year 1427. The name, like Montezuma, is derived from +_zoma_, to be angry, in this case from the reduplicated frequentative +form, _zozoma_. + +TIZATLAN, 103. "The place of white varnish" (_tizatl_), the name of +one of the four quarters of the city of Tlascala. + +TLACOMIHUATZIN, 93. "The noble cousin of the lynx" (_tlacomiztli_, +lynx, huan, postpos., denoting affinity, _tzin_, reverential). The +name of a warrior. + +TLACOPAN, now TACUBA, 135. A small state west of Mexico and subject +to it, built up on the ruins of the ancient Tepanecas. Comp. from +_tlacotli_, a slave. + +TLAHUICAN, 118. A Nahuatl province south of the valley of Mexico, so +called from the cinnabar, _tlahuitl_, there obtained (Buschmann; but +the _Cod. Ramirez_ gives the meaning "toward the earth," from +_tlalli_ and _huic_). [*Transcriber's note: TLAHUICAN not found in +text. See Tlahuica in Vocabulary.] + +TLAILOTLACAN, 140. One of the seven divisions of the city of Tezcuco +(_Ixtlilxochitl_, _Hist. Chichimeca_, cap. 38). [*Transcriber's note: +TLAILOTLACAN not found in text.] + +TLAILOTLAQUI, 84. Literally, "workers in refuse," or "scavengers." +Said by M. Aubin to have been a tribe who settled in Tezcuco in the +reign of Quinantzin. The term is apparently one of contempt. +[*Transcriber's note: TLAILOTLAQUI not found on page 84 in text. See +Tlailotlaqui in Vocabulary.] + +TLALMANALCO, 42. A village near the foot of the volcano Popocatepetl. +Derived from _tlalmanalli_, level ground, with postpos. _co_. + +TLALNAHUACATL, 89. "Dweller on the land;" name of a warrior. + +TLALOC, 45. God of rain and the waters; a famous divinity among the +ancient Mexicans. The word means "stretched on the earth," and the +idol of the god represented a man extended on his back holding a +vase. + +TLAPALLAN, 105. A mythical land from which the Toltecs were fabled to +have come and to which Quetzalcoatl returned. The derivation is from +_tlapalli_, color, especially red. + +TLATETOLCO, TLATILULCO, 33, 83, 85. A suburb of the ancient city of +Mexico, founded in 1338; from _tlatelli_, a mound, _ololoa_, to make +round, the sense being "an island." See Motolinia, _Historia de los +Indios_, Trat. III, cap. 7. + +TLAXCALLAN, now TLASCALA, 89, 93, 103. "The place of bread," from +_tlaxcalli_, bread. Site of a warlike tribe of Nahuatl descent, east +of the valley of Mexico. + +TLATZIN, 46. Chief of a town of the Chichimecs, situated on Lake +Chalco. He flourished toward the close of the 14th century. From +_tlatli_, a falcon. + +TOCHIN, 89. From _tochtli_, rabbit; name of the brother of the +Tezcucan ruler Quinantzin, and of many other personages. + +TOLLAN, or TULAN, 46, 105, 107. The ancient mythical capital of the +Toltecs. The common derivation from _tolin_, a rush, is erroneous. +The name is a syncopated form of _tonatlan_, "the place of the sun." + +TOLTEC, properly TOLTECATL, 46, 111. An inhabitant of Tollan. The +Toltecs were a mythical people, whose civilization was supposed to +have preceded that of the Aztecs. + +TOPILTZIN, 46, 105. "Our son" or "Our lord" (see Nopiltzin). The term +was especially applied to Quetzalcoatl, q. v. See Orozco y Berra, +_Hist. Antig. de Mexico_, Tom. III, p. 54. + +TOTOQUILHUATLI, 41. From _totoquilia_, to act as agent or lieutenant. +Ruler of Tlacopan. The verse of the song in which this name occurs is +given in the original Nahuatl by Ixtlilxochitl, who says it was very +popular throughout New Spain. See his _Historia Chichimeca_, cap. 32. + + +XICALANCO, 107. A locality on the borders of the province Tabasco. +The people spoke Nahuatl. Deriv. _xicalli_, gourd or jar, and +postpos. _co_. + +XICOMATZINTLAMATA, 43. Name of a warrior not otherwise known. The +compound seems to mean "skillful with angry hand" (_xicoa, maitl, +tlamati_). + +XICONTECATL, 103. Name of several distinguished Tlascalan warriors, +lords of Tizatlan. See Clavigero, _Hist. Antica di Messico_, Tom. +III, pp. 38 and 40, One was a favorite of Nezahualcoyotl. See +Ixtlilxochitl, _Historia Chichimeca_, cap. 40. + +XIUHTEUCTLI, 15. The god of fire, literally, "the lord of the year," +or "of the foliage." + +XIUHTZAL, 46. A queen of ancient Tollan, said by Clavigero to have +ruled from A. D. 979 to 984. Other writers give the name more +correctly Xiuhtlaltzin, "Lady of the Green Fields," and place her +death in 987. (Orozco y Berra, _Hist. Antig. de Mexico_, Tom. III, p. +45.) + +XOLOTL, 46. An early if not the first king of the Chichimecs. His +death occurred in 1232. + + +YOHUALLATONOC, 89. "Shining at night." Name of a warrior. + +YOPICO, 22. A division of the ancient city of Mexico, containing a +temple of this name. The word means "the place of the tearing out of +hearts" (_yolltol, pi, co_), from the form of sacrifice there carried +out. + +YOYONTZIN, 35, 40, 66, 67. A name of Nezahualcoyotl. See p. 35. + + + + +FOOTNOTES. + + +[Footnote 1: Diego Duran, _Historia de las Indias de Nueva España_, +Tom. I, p. 233; and compare Geronimo de Mendieta, _Historia +Eclesiastica Indiana_, Lib. II, cap. 31.] + +[Footnote 2: Sahagun, _Historia de Nueva España_, Lib. VIII, cap. +26.] + +[Footnote 3: Sahagun, _Historia de Nueva España_, Lib. III, cap. 8.] + +[Footnote 4: _Cuicoyan_, from _cuica_, song, and the place-ending +_yan_, which is added to the impersonal form of the verb, in this +instance, _cuicoa_. Mr. Bancroft entirely misapprehends Tezozomoc's +words about these establishments, and gives an erroneous rendering of +the term. See his _Native Races of the Pacific Coast_, Vol. II, p. +290, and Tezozomoc, _Cronica Mexicana_, cap. 18.] + +[Footnote 5: Juan de Torquemada, _Monarquia Indiana_, Lib. VI, cap. +43.] + +[Footnote 6: Torquemada, _Monarquia Indiana_, Lib. XVII, cap. 3. +Didacus Valades, who was in Mexico about 1550, writes of the natives: +"Habent instrumenta musica permulta in quibus semulatione quadam se +exercent." _Rhetorica Christiana_, Pars. IV, cap. 24.] + +[Footnote 7: Descriptions are given by Edward Mühlenpfordt, _Die +Republik Mexico_, Bd. I, pp. 250-52 (Hannover, 1844).] + +[Footnote 8: Molina translates _piqui_, "crear ô plasmar Dios alguna +cosa de nuevo." _Vocabulario de la Lengua Mexicana_, s.v.] + +[Footnote 9: Sahagun, _Historia de Nueva España_, Lib. X, cap. 8.] + +[Footnote 10: Boturini, _Idea de una Nueva Historia General_, p. 97.] + +[Footnote 11: Clavigero, _Storia antica di Messico_, Lib. VII, p. +175.] + +[Footnote 12: Torquemada, _Monarquia Indiana_, Lib. X, cap. 34.] + +[Footnote 13: Duran, _Hist. de la Indias de Nueva España_, Tom. I, p. +233.] + +[Footnote 14: Tezozomoc, _Cronica Mexicana_, cap. 64.] + +[Footnote 15: Ixtlilxochitl, _Historia Chichimeca_, cap. 47.] + +[Footnote 16: Boturini, _Idea de una Nueva Historia General_, p. 90.] + +[Footnote 17: Tezozomoc, _Cronica Mexicana_, cap. 53.] + +[Footnote 18: See Sahagun, _Historia de Neuva España_, Lib. IV, chap. +17, and Tezozomoc, _Cronica Mexicana_, cap. 64.] + +[Footnote 19: _Cuitlaxoteyotl_, from _cuitatl_, mierda; +_tecuilhuicuicatl_, from _tecuilhuaztli_, sello, _tecuilonti_, el que +lo haze a otro, pecando contra natura. Molina, _Vocabulario_.] + +[Footnote 20: William A. Hammond, _The Disease of the Scythians +(morbus feminarum) and Certain Analogous Conditions_, in the +_American Journal of Neurology and Psychiatry_, 1882.] + +[Footnote 21: _Cronica Mexicana_, cap. 2.] + +[Footnote 22: On this subject the reader may consult Parades, +_Compendio del Arte de la Lengua Mexicana_, pp. 5, 6, and Sandoval, +_Arte de la Lengua Mexicana_, pp. 60, 61. Tapia Zenteno whose _Arte +Novissima de la Lengua Mexicana_ was published in 1753, rejects +altogether the saltillo, and says its invention is of no use except +to make students work harder! (pp. 3, 4.) The vowels with saltillo, +he maintains, are simply to be pronounced with a slight aspiration. +Nevertheless, the late writers continue to employ and describe the +saltillo, as Chimalpopoca, _Epitome á Modo Facil de aprender el +Idioma Nahuatl_, p. 6. (Mexico, 1869.)] + +[Footnote 23: _Arte Novissima de la Lengua Mexicana_, pp. 3, 4.] + +[Footnote 24: Duran, _Historia de Nueva España_, Tom. I, p. 230.] + +[Footnote 25: The singer who began the song was called _cuicaito_, +"the speaker of the song."] + +[Footnote 26: The most satisfactory description of these concerts is +that given by Geronimo de Mendieta, _Historia Eclesiastica Indiana_, +Lib. II, cap. 31. I have taken some particulars from Boturini and +Sahagun.] + +[Footnote 27: Literally, "the broken drum," from _tlapana_, to break, +as they say _tlapanhuimetzli_, half moon. It is described by +Tezozomoc as "un atambor bajo." _Cronica Mexicana_, cap. 53.] + +[Footnote 28: From _yollotl_, heart, and _pi_, to tear out. The +instrument is mentioned by Tezozomoc, _Cronica Mexicana_, cap. 48. On +the Yopico, and its ceremonies, see Sahagun, _Historia de Nueva +España_, Lib. II, cap. 1, and Appendix.] + +[Footnote 29: Simeon, however, thinks the name arose from the growing +and swelling of the sound of the instrument (notes to Jourdanet's +translation of Sahagun, p. 28). Mr. H.H. Bancroft gives the +astonishing translation of teponaztli, "wing of stone vapor!" +(_Native Races of the Pacific States_, Vol. II, p. 293.) Brasseur +traced the word to a Maya-Quiche root, _tep_. In both Nahuatl and +Maya this syllable is the radicle of various words meaning to +increase, enlarge, to grow strong or great, etc.] + +[Footnote 30: Sahagun, _Hist. de Nueva España_, Lib. II, cap. 27.] + +[Footnote 31: See _The Güegüence, a Comedy ballet in the Nahuatl +Spanish dialect of Nicaragua_, Introd., p. 29. (Philadelphia, 1883.)] + +[Footnote 32: Theodor Baker, _Ueber die Musik der Nord-Amerikanischen +Wilden._, pp. 51-53. (Leipzig, 1882.)] + +[Footnote 33: _Omitl_, bone, _chicahuac_, strong. A specimen made of +the bone of a fossil elephant is possessed by Señor A. Chavero, of +Mexico. See Tezozomoc, _Cronica Mexicana_, cap. 55, and the note of +Orozco y Berra to that passage in the Mexican edition. Also Sahagun, +_Hist. de Nueva España_, Lib. VIII, cap. 20, who likewise describes +most of the instruments referred to in this section.] + +[Footnote 34: H.T. Cresson, _On Aztec Music_, in the _Proceedings of +the Academy of Natural Sciences, Philadelphia_, 1883.] + +[Footnote 35: Sahagun, _Historia de Nueva España_, Lib. II, +Appendice.] + +[Footnote 36: Duran, _Historia de las Indias de Nueva España_, Tom. +I, p. 233.] + +[Footnote 37: Boturini, _Idea de una Nueva Historia General_, +Appendice, p. 95.] + +[Footnote 38: Echevarria, _Historia del Origen de las Gentes de Nueva +España_, Discurso Preliminar.] + +[Footnote 39: Clavigero, _Storia Antica di Messico_, Lib. VII, p. +175.] + +[Footnote 40: "Ihre Sprachen sind überreich an doppelsinnigen +Ausdrücken die sie absichtlich anwenden um ihre Gedanken zu +verbergen. Geistliche haben mir versichert, dass sie obgleich der +Aztekischen Sprache vollständig mächtig, oft den wahren Sinn einer +Beichte nicht zu verstehen vermochten, weil die Beichtende sich in +räthselhafter und metaphorreicher Weise auszudrücken pflegten." +Carlos von Gagern, _Charakteristik der Indianischen Bevölkerung +Mexico's_, p. 17 (in the _Mit. der Geog. Gesell._, Wien. 1837).] + +[Footnote 41: Carochi's translations are not quite literal. The +following notes will explain the compounds:-- + +1. _Tlauitl_, red ochre, _quecholli_, a bird so called, _aztatl_, a +heron, _ehualtia_, reverential of _ehua_, to rise up; hence, "It (or +he) shone like a noble red-winged heron rising in flight." + +2. _Ayauitl_, mist; _coçamalotl_, rainbow; _tonameyotl_, shining, +brightness; _ti_, connective; _mani_, substantive verb. "The +brightness of the rain bow is there." There is no conjunction "and"; +Father Carochi seems to have carelessly taken _ayauh_, which is the +form of _ayauitl_ in composition, for the conjunction _auh_, and. +Each of the lines given is a detached fragment, without connection +with the others. + +3. _xiuitl_, something blue or green; _coyolli_, bells; +_tzitzilicaliztli_, tinkling. "The golden drum's +turquoise-bell-tinkling." + +4. _xiuhtic_, blue or green; _tlapalli_, red; _cuiloa_, to paint or +write; _amoxtli_, book; _manca_, imperf. of _mani_. "There was a book +painted in red and green." 5. _chalchiuhuitl_, the jade; _cozcatl_, +a jewel; _mecatl_, a string; _totoma_, frequentative of _toma_, to +unfold, unwind. "I unwind my song like a string of precious jewels."] + +[Footnote 42: See above, page 10] + +[Footnote 43: _On the Ikonomatic Method of Phonetic Writing, with +special reference to American Archeology_. By D. G. Brinton, in +Proceedings of the American Philosophical Society, for October, +1886.] + +[Footnote 44: This fact is mentioned by Lord Kingsborough in his +great work on Mexico, Vol. VI, p. 533.] + +[Footnote 45: It is described in the _Anales del Museo Nacional_, +Tom. III, p. 262.] + +[Footnote 46: Echevarria's words are "los pongo en su idioma." _Hist. +del Origen de las Gentes que poblaron la Nueva España, Discurso +Preliminar_, in Kingsborough's _Mexico_, Vol. VIII.] + +[Footnote 47: See his _Tezcuco en los Ultimas Tiempos de sus Antiguos +Reyes_. Parte IV (Mexico, 1826).] + +[Footnote 48: See the description of this fragment of Boturini by +Señor Alfredo Chavero in the _Anales del Museo Nacional_, Tom. III, +p. 242.] + +[Footnote 49: M. Aubin, _Notice sur une Collection d'Antiquités +Mexicaines_, pp. 8, 9. (Paris, 1851.)] + +[Footnote 50: Printed very incorrectly in Lord Kingsborough's edition +of Ixtlilxochitl's _Relaciones Historicas_ (Rel. X, Kingsborough, +_Antiquities of Mexico_, Vol. IX, p. 454).] + +[Footnote 51: See Sahagun, _Historia de Nueva España_, Lib. II, +Appendix.] + +[Footnote 52: Bustamente puts the number of the songs of +Nezahualcoyotl at eighty, of which he could find only one extant, and +this, as I understand his words, in Spanish only. See his _Tezcuco en +los Tiempos de sus Antiguous Reyes_, p. 253 (Mexico, 1826). When +Alexander von Humboldt visited Mexico he sought in vain for any +fragment of the songs of the royal bard. _Vues lies Cordillères_, +etc., Tom. II, p. 391.] + +[Footnote 53: _Tardes Americanas_, pp. 90-94. (Mexico, 1778.)] + +[Footnote 54: Torquemada, _Monarquia Indiana_, Lib. II, cap. 45. The +word _huehuetitlan_, seems to be a misprint for _ahuehuetitlan_, from +_ahuehuetl_, with the ligature _ti_, and the postposition _tlan_, +literally "among the cypresses."] + +[Footnote 55: _Op. cit._ Tom. I, p. 795.] + +[Footnote 56: _Grammatica del Idioma Mexicano_, p. 180. (Mexico, +1880.) + + + + + +End of Project Gutenberg's Ancient Nahuatl Poetry, by Daniel G. Brinton + +*** END OF THE PROJECT GUTENBERG EBOOK 12219 *** diff --git a/12219-h/12219-h.htm b/12219-h/12219-h.htm new file mode 100644 index 0000000..525995c --- /dev/null +++ b/12219-h/12219-h.htm @@ -0,0 +1,7788 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd"> +<html> +<head> + <meta http-equiv="Content-Type" content="text/html; charset=UTF-8"> + <title>The Project Gutenberg eBook of Ancient Nahuatl Poetry + by Daniel G. Brinton</title> + <style type="text/css"> + P + {margin-top: .75em; + margin-bottom: .75em; + margin-left: 10%; + margin-right: 10%; + text-align: justify; + } + blockquote + {margin-top: .5em; + margin-bottom: .5em; + margin-left: 5%; + margin-right: 5%; + text-align: left; + } + H1,H2,H3,H4,H5,H6 + {margin-top: 2em; + margin-bottom: 1em; + margin-left: 10%; + margin-right: 10%; + text-align: center; + } + IMG + {BORDER-TOP: 0px; + BORDER-BOTTOM: 0px; + BORDER-LEFT: 0px; + BORDER-RIGHT: 0px + } + + li { margin-top: 0em; + margin-left: 20%; + margin-right: 20%; + text-align: left; + margin-bottom: 0em; } + + .hdr { margin-top: 2em; + margin-left: 15%; + margin-right: 15%; + text-align: left; + margin-bottom: 2em; } + + .ctr { margin-top: 0em; + margin-left: 0%; + margin-right: 0%; + text-align: center; + valign: top; + margin-bottom: 0em; } + + HR + {width: 35%;} + .ind {margin-left: 10%; margin-right: 10%} + .ctr {text-align: center} + .poem + {margin-left:15%; + margin-right:15%; + margin-bottom: 1em; + text-align: left; + } + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .poem p.i2 {margin-left: 1em;} + .poem p.i4 {margin-left: 2em;} + .poem p.i6 {margin-left: 3em;} + .poem p.i8 {margin-left: 4em;} + .poem p.i10 {margin-left: 5em;} + </style> +</head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 12219 ***</div> + +<h1>ANCIENT +<br>NAHUATL +<br>POETRY,</h1> + +<h3>CONTAINING THE NAHUATL TEXT +<br>OF XXVII ANCIENT MEXICAN POEMS.</h3> +<h3>BRITON'S LIBRARY OF ABORIGINAL AMERICAN LITERATURE, +<br>NUMBER VII.</h3> + +<h4>WITH A TRANSLATION, INTRODUCTION, NOTES AND VOCABULARY.</h4> +<h4>BY</h4> +<h2>DANIEL G. BRINTON</h2> + +<h4>1890</h4> + + +<a name="PREFACE"></a><h2>PREFACE.</h2> + +<p>It is with some hesitation that I offer this volume to the scientific +public. The text of the ancient songs which it contains offers +extreme and peculiar difficulties to the translator, and I have been +obliged to pursue the task without assistance of any kind. Not a line +of them has ever before been rendered into an European tongue, and my +endeavors to obtain aid from some of the Nahuatl scholars of Mexico +have, for various reasons, proved ineffectual. I am therefore alone +responsible for errors and misunderstandings.</p> + +<p>Nevertheless, I have felt that these monuments of ancient native +literature are so interesting in themselves, and so worthy of +publication, that they should be placed at the disposition of +scholars in their original form with the best rendering that I could +give them at present, rather than to await the uncertain event of +years for a better.</p> + +<p>The text itself may be improved by comparison with the original MS. +and with the copy previously made by the Licentiate Chimalpopoca, +referred to on page 48. My own efforts in this direction have been +confined to a faithful reproduction in print of the MS. copy of the +Abbé Brasseur de Bourbourg.</p> + +<p>The Notes, which might easily have been extended, I have confined +within moderate compass, so as not to enlarge unduly the bulk of the +volume.</p> + +<p>To some, the Vocabulary may seem inadequate. I assume that those +persons who wish to make a critical study of the original text will +provide themselves with the Nahuatl Dictionaries of Molina or Siméon, +both of which are now easily obtainable, thanks to Mr. Julius +Platzmann for the reprint of Molina. I also assume that such students +will acquaint themselves with the rules of grammar and laws of +word-building of the tongue, and that they will use the vocabulary +merely as a labor-saving means of reaching the themes of compounds +and unusual forms of words. Employed in this manner, it will, I hope, +be found adequate.</p> + +<p>In conclusion, I would mention that there is a large body of Nahuatl +literature yet unpublished, both prose and poetry, modern and +ancient, and as the Nahuatl tongue is one of the most highly +developed on the American continent, it is greatly to be desired that +all this material should be at the command of students. The Nahuatl, +moreover, is not a difficult tongue; for an Englishman or a +Frenchman, I should say it is easier to acquire than German, its +grammar being simple and regular, and its sounds soft and sonorous. +It has special recommendations, therefore, to one who would acquaint +himself with an American language.</p> + +<a name="CONTENTS"></a><h2>CONTENTS.</h2> + +<ul style="list-style-type: none"> + +<li class="hdr"><a href="#PREFACE"><big>PREFACE</big></a></li> + +<li class="hdr"><a href="#INTRODUCTION"><big>INTRODUCTION</big></a></li> + +<li><a href="#S_1">§ 1. THE NATIONAL LOVE OF POETRY</a></li> +<li><a href="#S_2">§ 2. THE POET AND HIS WORK</a></li> +<li><a href="#S_3">§ 3. THE THEMES AND CLASSES OF THE SONGS</a></li> +<li><a href="#S_4">§ 4. PROSODY OF THE SONGS</a></li> +<li><a href="#S_5">§ 5. THE VOCAL DELIVERY OF THE SONGS</a></li> +<li><a href="#S_6">§ 6. THE INSTRUMENTAL ACCOMPANIMENT</a></li> +<li><a href="#S_7">§ 7. THE POETIC DIALECT</a></li> +<li><a href="#S_8">§ 8. THE PRESERVATION OF THE ANCIENT SONGS</a></li> +<li><a href="#S_9">§ 9. THE LX SONGS OF THE KING NEZAHUALCOYOTL</a></li> +<li><a href="#S_10">§ 10. THE HISTORY OF THE PRESENT COLLECTION</a></li> + +<li class="hdr"><a href="#POEMS"><big>ANCIENT NAHUATL POEMS:</big></a></li> + +<li><a href="#I">I. SONG AT THE BEGINNING</a></li> +<li><a href="#II">II. A SPRING SONG, AN OTOMI SONG, A PLAIN SONG</a></li> +<li><a href="#III">III. ANOTHER PLAIN SONG</a></li> +<li><a href="#IV">IV. AN OTOMI SONG OF THE MEXICANS</a></li> +<li><a href="#V">V. ANOTHER PLAIN SONG OF THE MEXICANS</a></li> +<li><a href="#VI">VI. ANOTHER CHALCO-SONG, A POEM OF TETLAPAN QUETZANITZIN</a></li> +<li><a href="#VII">VII. ANOTHER</a></li> +<li><a href="#VIII">VIII. COMPOSED BY A CERTAIN RULER IN MEMORY OF FORMER RULERS</a></li> +<li><a href="#IX">IX. AN OTOMI SONG OF SADNESS</a></li> +<li><a href="#X">X. A SPRING SONG OF THE MEXICANS</a></li> +<li><a href="#XI">XI. ANOTHER</a></li> +<li><a href="#XII">XII. A SPRING SONG, A SONG OF EXHORTATION, BECAUSE CERTAIN ONES DID NOT GO TO WAR</a></li> +<li><a href="#XIII">XIII. A SONG OF HUEXOTZINCO</a></li> +<li><a href="#XIV">XIV. A CHRISTIAN SONG</a></li> +<li><a href="#XV">XV. THE REIGN OF TEZOZOMOCTLI</a></li> +<li><a href="#XVI">XVI. A SONG URGING TO WAR</a></li> +<li><a href="#XVII">XVII. A FLOWER SONG</a></li> +<li><a href="#XVIII">XVIII. A SONG OF TOLLAN</a></li> +<li><a href="#XIX">XIX. A CHRISTIAN SONG</a></li> +<li><a href="#XX">XX. A SONG LAMENTING THE TOLTECS</a></li> +<li><a href="#XXI">XXI. A SONG OF THE HUEXOTZINCOS, COMING TO ASK AID OF MONTEZUMA AGAINST TLAXCALLA</a></li> +<li><a href="#XXII">XXII. A FLOWER SONG</a></li> +<li><a href="#XXIII">XXIII. A SONG OF THE PRINCE NEZAHUALCOYOTL</a></li> +<li><a href="#XXIV">XXIV. ANOTHER</a></li> +<li><a href="#XXV">XXV. A SONG OF LAMENTATION</a></li> +<li><a href="#XXVI">XXVI. A SONG RELATING TO THE LORD NEZAHUALPILLI</a></li> +<li><a href="#XXVII">XXVII. A CHRISTIAN SONG</a></li> + +<li class="hdr"><a href="#NOTES"><big>NOTES</big></a></li> + +<li class="hdr"><a href="#VOCABULARY"><big>VOCABULARY</big></a></li> + +<li class="hdr"><a href="#INDEX"><big>INDEX OF NAHUATL PROPER NAMES, WITH EXPLANATIONS</big></a></li> + +<li class="hdr"><a href="#FOOTNOTES"><big>FOOTNOTES</big></a></li> + +</ul> + +<h1>ANCIENT NAHUATL POETRY.</h1> + +<a name="INTRODUCTION"></a><h2>INTRODUCTION.</h2> + +<a name="S_1"></a><h3>§ 1. <i>THE NATIONAL LOVE OF POETRY.</i></h3> + +<p>The passionate love with which the Nahuas cultivated song, music and +the dance is a subject of frequent comment by the historians of +Mexico. These arts are invariably mentioned as prominent features of +the aboriginal civilization; no public ceremony was complete without +them; they were indispensable in the religious services held in the +temples; through their assistance the sacred and historical +traditions were preserved; and the entertainments of individuals +received their chief lustre and charm from their association with +these arts.</p> + +<p>The profession of the poet stood in highest honor. It was the custom +before the Conquest for every town, every ruler and every person of +importance to maintain a company of singers and dancers, paying them +fixed salaries, and the early writer, Duran, tells us that this +custom continued in his own time, long after the Conquest. He +sensibly adds, that he can see nothing improper in it, although it +was condemned by some of the Spaniards.<a name="fn01_r"></a><a href="#fn01"><sup><small>1</small></sup></a> In the training of these +artists their patrons took a deep personal interest, and were not at +all tolerant of neglected duties. We are told that the chief selected +the song which was to be sung, and the tune by which it was to be +accompanied; and did any one of the choir sing falsely, a drummer +beat out of time, or a dancer strike an incorrect attitude, the +unfortunate artist was instantly called forth, placed in bonds and +summarily executed the next morning!<a name="fn02_r"></a><a href="#fn02"><sup><small>2</small></sup></a></p> + +<p>With critics of such severity to please, no wonder that it was +necessary to begin the training early, and to set apart for it +definite places and regular teachers. Therefore it was one of the +established duties of the teachers in the calmecac or public school, +"to teach the pupils all the verses of the sacred songs which were +written in characters in their books."<a name="fn03_r"></a><a href="#fn03"><sup><small>3</small></sup></a> There were also special +schools, called <i>cuicoyan</i>, singing places, where both sexes were +taught to sing the popular songs and to dance to the sound of the +drums.<a name="fn04_r"></a><a href="#fn04"><sup><small>4</small></sup></a> + In the public ceremonies it was no uncommon occurrence for +the audience to join in the song and dance until sometimes many +thousands would thus be seized with the contagion of the rhythmical +motion, and pass hours intoxicated (to use a favorite expression of +the Nahuatl poets) with the cadence and the movement.</p> + +<p>After the Conquest the Church set its face firmly against the +continuance of these amusements. Few of the priests had the liberal +views of Father Duran, already quoted; most of them were of the +opinion of Torquemada, who urges the clergy "to forbid the singing of +the ancient songs, because all of them are full of idolatrous +memories, or of diabolical and suspicious allusions of the same +character."<a name="fn05_r"></a><a href="#fn05"><sup><small>5</small></sup></a></p> + +<p>To take the place of the older melodies, the natives were taught the +use of the musical instruments introduced by the Spaniards, and very +soon acquired no little proficiency, so that they could perform upon +them, compose original pieces, and manufacture most of the +instruments themselves.<a name="fn06_r"></a><a href="#fn06"><sup><small>6</small></sup></a></p> + +<p>To this day the old love of the song and dance continues in the +Indian villages; and though the themes are changed, the forms remain +with little alteration. Travelers describe the movements as slow, and +consisting more in bending and swaying the body than in motions of +the feet; while the songs chanted either refer to some saint or +biblical character, or are erotic and pave the way to orgies.<a name="fn07_r"></a><a href="#fn07"><sup><small>7</small></sup></a></p> + +<a name="S_2"></a><h3>§ 2. <i>THE POET AND HIS WORK.</i></h3> + +<p>The Nahuatl word for a song or poem is <i>cuicatl</i>. It is derived from +the verb <i>cuica</i>, to sing, a term probably imitative or +onomatopoietic in origin, as it is also a general expression for the +twittering of birds. The singer was called <i>cuicani</i>, and is +distinguished from the composer of the song, the poet, to whom was +applied the term <i>cuicapicqui</i>, in which compound the last member, +<i>picqui</i>, corresponds strictly to the Greek ποιητὴς, +being a derivative of <i>piqui</i>, to make, to create.<a name="fn08_r"></a><a href="#fn08"><sup><small>8</small></sup></a> Sometimes he +was also called <i>cuicatlamantini</i>, "skilled in song."</p> + +<p>It is evident from these words, all of which belong to the ancient +language, that the distinction between the one who composed the poems +and those who sang them was well established, and that the Nahuatl +poetry was, therefore, something much above mere improvisation, as +some have thought. This does not alter the fact that a professed bard +usually sang songs of his own composition, as well as those obtained +from other sources. This is obvious from the songs in this +collection, many of which contain the expression <i>ni cuicani</i>, I, the +singer, which also refers to the maker of the song.</p> + +<p>In the classical work of Sahagun, the author describes the ancient +poet: "The worthy singer has a clear mind and a strong memory. He +composes songs himself and learns those of others, and is always +ready to impart either to the fellows of his craft. He sings with a +well-trained voice, and is careful to practice in private before he +appears before the public. The unworthy singer, on the other hand, is +ignorant and indolent. What he learns he will not communicate to +others. His voice is hoarse and untrained, and he is at once envious +and boastful."<a name="fn09_r"></a><a href="#fn09"><sup><small>9</small></sup></a></p> + +<a name="S_3"></a><h3>§ 3. <i>THE THEMES AND CLASSES OF THE SONGS.</i></h3> + +<p>From what he could learn about them some two centuries or more after +the Conquest, the antiquary Boturini classified all the ancient songs +under two general heads, the one treating mainly of historical +themes, while the other was devoted to purely fictitious, emotional +or imaginative subjects.<a name="fn10_r"></a><a href="#fn10"><sup><small>10</small></sup></a> His terse classification is expanded by +the Abbé Clavigero, who states that the themes of the ancient poets +were various, some chanting the praises of the gods or petitioning +them for favors, others recalled the history of former generations, +others were didactic and inculcated correct habits of life, while +others, finally, were in lighter vein, treating of hunting, games and +love.<a name="fn11_r"></a><a href="#fn11"><sup><small>11</small></sup></a></p> + +<p>His remarks were probably a generalization from a chapter in +Torquemada's <i>Monarquia Indiana</i>, in which that writer states that +the songs at the sacred festivals differed in subject with the +different months and seasons. Thus, in the second month of their +calendar, at its stated festival, the people sang the greatness of +their rulers; in the seventh month all the songs were of love, of +women, or of hunting; in the eighth the chants recalled the noble +deeds of their ancestors and their divine origin; while in the ninth +month nothing was heard but verses fraught with lamentation for the +dead.<a name="fn12_r"></a><a href="#fn12"><sup><small>12</small></sup></a> With less minuteness, Father Duran gives almost the same +information. He himself had often heard the songs which Montezuma of +Tenochtitlan, and Nezahualpizintli of Tezcuco, had ordered to be +composed in their own honor, describing their noble lineage, their +riches, their grandeur and their victories. These songs were in his +day still sung at the public dances of the natives, and he adds, +"although they were filled with laudation of their ancient rulers, it +gave me much pleasure to hear the praises of such grandeur." There +were other poets, he observes, who lived in the temples and composed +songs exclusively in honor of the gods.<a name="fn13_r"></a><a href="#fn13"><sup><small>13</small></sup></a></p> + +<p>These general expressions may be supplemented by a list of terms, +specifying particular classes of songs, preserved by various writers. +These are as follows:—</p> + +<p><i>melahuacuicatl</i>: this is translated by Tezozomoc, "a straight and +true song."<a name="fn14_r"></a><a href="#fn14"><sup><small>14</small></sup></a> It is a compound of <i>melahuac</i>, straight, direct, +true; and <i>cuicatl</i>, song. It was a beginning or opening song at the +festivals, and apparently derived its name from its greater +intelligibility and directness of expression. A synonym, derived from +the same root, is <i>tlamelauhcayotl</i>, which appears in the title to +some of the songs in the present collection.</p> + +<p><i>xopancuicatl</i>: this term is spelled by Ixtlilxochitl, +<i>xompacuicatl</i>, and explained to mean "a song of the spring" (from +<i>xopan</i>, springtime, <i>cuicatl</i>, song). The expression seems to be +figurative, referring to the beginning or early life of things. Thus, +the prophetic songs of Nezahualcoyotl, those which he sang when he +laid the foundation of his great palace, bore this name.<a name="fn15_r"></a><a href="#fn15"><sup><small>15</small></sup></a></p> + +<p><i>teuccuicatl</i>: songs of the nobles (<i>teuctli</i>, <i>cuicatl</i>). These were +also called <i>quauhcuicatl</i>, "eagle songs," the term <i>quauhtli</i>, +eagle, being applied to distinguished persons.</p> + +<p><i>xochicuicatl</i>: flower-song, one singing the praises of flowers.</p> + +<p><i>icnocuicatl</i>: song of destitution or compassion.</p> + +<p><i>noteuhcuicaliztli</i>: "the song of my lords." This appears to be a +synonymous expression for <i>teuccuicatl</i>; it is mentioned by Boturini, +who adds that on the day sacred to the god Xiuhteuctli the king began +the song so called.<a name="fn16_r"></a><a href="#fn16"><sup><small>16</small></sup></a></p> + +<p><i>miccacuicatl</i>: the song for the dead (<i>miqui</i>, to die, <i>cuicatl</i>). +In this solemn chant the singers were seated on the ground, and their +hair was twisted in plaits around their heads.<a name="fn17_r"></a><a href="#fn17"><sup><small>17</small></sup></a></p> + +<p>In addition to the above terms drawn from the subject or character of +the songs, there were others, of geographical origin, apparently +indicating that the song, or its tune, or its treatment was borrowed +from another locality or people. These are:—</p> + +<p><i>Huexotzincayotl</i>: a song of Huexotzinco, a Nahuatl town, situated +east of the Lake of Tezcuco. This song was sung by the king and +superior nobles at certain festivals, and, in the prescribed order of +the chants, followed a <i>melahuaccuicatl</i>.<a name="fn18_r"></a><a href="#fn18"><sup><small>18</small></sup></a></p> + +<p><i>Chalcayotl</i>: a song of Chalco, on the lake of the same name. This +followed the last mentioned in order of time at the festivals.</p> + +<p><i>Otoncuicatl</i>: a song of the Otomis. These were the immediate +neighbors of the Nahuas, but spoke a language radically diverse. The +songs so-called were sung fourth on the list.</p> + +<p><i>Cuextecayotl</i>: a song of the country of the Cuexteca, or Cuextlan, a +northern province of Mexico.</p> + +<p><i>Tlauancacuextecayotl</i>: a song of the country of the +Tlauancacuexteca.</p> + +<p><i>Anahuacayotl</i>: a song of Anahuac, that is, of a country near the +water, either the valley of Mexico, or the shores of the ocean.</p> + +<p>Some very ancient sacred songs were referred to by Tezozomoc as +peculiar to the worship of Huitzilopochtli, and, indeed, introduced +by this potent divinity. From their names, <i>cuitlaxoteyotl</i>, and +<i>tecuilhuicuicatl</i>,<a name="fn19_r"></a><a href="#fn19"><sup><small>19</small></sup></a> I judge that they referred to some of those +pederastic rites which still prevail extensively among the natives of +the pueblos of New Mexico, and which have been described by Dr. +William A. Hammond and other observers.<a name="fn20_r"></a><a href="#fn20"><sup><small>20</small></sup></a> One of these songs began,</p> + +<center> +<table style="width: 10%"> + <tbody style="vertical-align: top"> + <tr> <td>Cuicoyan</td> <td>|</td> <td>nohuan</td> <td>|</td> <td>mitotia;</td> </tr> + <tr> <td>In-the-place-of-song</td> <td>|</td> <td>with-me</td> <td>|</td> <td>they-dance.</td> </tr> + </tbody> +</table> +</center> + +<p>But the old chronicler, who doubtless knew it all by heart, gives us +no more of it.<a name="fn21_r"></a><a href="#fn21"><sup><small>21</small></sup></a></p> + +<a name="S_4"></a><h3>§ 4. <i>PROSODY OF THE SONGS.</i></h3> + +<p>The assertion is advanced by Boturini that the genuine ancient +Nahuatl poetry which has been preserved is in iambic metre, and he +refers to a song of Nezahualcoyotl in his collection to prove his +opinion. What study I have given to the prosody of the Nahuatl tongue +leads me to doubt the correctness of so sweeping a statement. The +vocalic elements of the language have certain peculiarities which +prevent its poetry from entering unencumbered into the domain of +classical prosody.</p> + +<p>The quantity of Nahuatl syllables is a very important element in the +pronunciation of the tongue, but their quantity is not confined, as +in Latin, to long, short, and common. The Nahuatl vowels are long, +short, intermediate, and "with stress," or as the Spanish grammarians +say, "with a jump," <i>con saltillo</i>. The last mentioned is peculiar to +this tongue. The vowel so designated is pronounced with a momentary +suspension or catching of the breath, rendering it emphatic.</p> + +<p>These quantities are prominent features in the formal portions of the +language, characterizing inflections and declinations. No common +means of designating them have been adopted by the grammarians, and +for my present purpose, I shall make use of the following signs:—</p> + +<center> +<table style="width: 10%"> + <tbody style="vertical-align: top"> + <tr> <td>ă</td> <td>,</td> <td>short.</td> </tr> + <tr> <td>a</td> <td>,</td> <td>intermediate</td> </tr> + <tr> <td>ā</td> <td>,</td> <td>long.</td> </tr> + <tr> <td>â</td> <td>,</td> <td>with stress.</td> </tr> + </tbody> +</table> +</center> + +<p>The general prosodic rules are:—</p> + +<p>1. In polysyllabic words in which there are no long vowels, all the +vowels are intermediate.</p> + +<p>2. The vowels are long in the penultimate of the plurals of the +imperatives when the preterit of the verb ends in a vowel; the <i>ā</i> +of the <i>cān</i> of the imperatives; the <i>ī</i> of the <i>tī</i>; of the +gerundives; the last vowel of the futures when the verb loses a vowel +to form them; the penultimates of passives in <i>lo</i>, of impersonals, +of verbals in <i>oni</i>, <i>illi</i>, <i>olli</i> and <i>oca</i>, of verbal nouns with +the terminations <i>yan</i> and <i>can</i>; the <i>ō</i> of abstract nouns in +<i>otl</i> in composition; and those derived from long syllables.</p> + +<p>3. Vowels are "with stress" when they are the finals in the plurals +of nouns and verbs, also in the perfect preterite, in possessives +ending in â, ê, ô, and in the penultimate of nouns ending in <i>tli</i>, +<i>tla</i> and <i>tle</i> when these syllables are immediately preceded by the +vowel.<a name="fn22_r"></a><a href="#fn22"><sup><small>22</small></sup></a></p> + +<p>The practical importance of these distinctions may be illustrated by +the following examples:—</p> + +<center> +<table style="width: 10%"> + <tbody style="vertical-align: top"> + <tr> <td><i>tâtli</i></td> <td>,</td> <td>father.</td> </tr> + <tr> <td><i>tātlĭ</i></td> <td>,</td> <td>thou drinkest.</td> </tr> + <tr> <td><i>tātlî</i></td> <td>,</td> <td>we drink.</td> </tr> + </tbody> +</table> +</center> + +<p>It is, however, evident from this example that the quantity of +Nahuatl syllables enters too much into the strictly formal part of +the language for rules of position, such as some of those above +given, to be binding; and doubtless for this reason the eminent +grammarian Carlos de Tapia Zenteno, who was professor of the tongue +in the University of Mexico, denies that it can be reduced to +definite rules of prosody like those of the Latin. +<a name="fn23_r"></a><a href="#fn23"><sup><small>23</small></sup></a></p> + +<p>Substituting accent for quantity, there would seem to be an iambic +character to the songs. Thus the first words of Song I, were probably +chanted:—</p> + +<p><i>Nino' yolno' notza' campa' nicŭ iz' yec tli' ahui aca' xochitl'</i>: +etc.</p> + +<p>But the directions given for the drums at the beginning of Songs +XVIII, XIX, etc., do not indicate a continuance of these feet, but of +others, as in XIX:—</p> + +<p>u—, u—, u—, uu—, u—, u—, u—, etc.</p> + +<p>Indeed, we may suppose that the metre varied with the subject and the +skill of the poet. This, in fact, is the precise statement of Father +Duran,<a name="fn24_r"></a><a href="#fn24"><sup><small>24</small></sup></a> who speaks of the native poets as "giving to each song a +different tune (<i>sonada</i>), as we are accustomed in our poetry to have +the sonnet, the octava rima and the terceto."</p> + +<a name="S_5"></a><h3>§ 5. <i>THE VOCAL DELIVERY OF THE SONG.</i></h3> + +<p>Descriptions of the concerts so popular among the Nahuas have been +preserved by the older writers, and it is of the highest importance +to understand their methods in order to appreciate the songs +presented in this volume.</p> + +<p>These concerts were held on ceremonial occasions in the open air, in +the village squares or in the courtyards of the houses. They began in +the morning and usually continued until nightfall, occasionally far +into the night. The musicians occupied the centre of the square and +the trained singers stood or sat around them. When the sign was given +to begin, the two most skillful singers, sometimes a man and a woman, +pronounced the first syllables of the song slowly but with a sharp +emphasis;<a name="fn25_r"></a><a href="#fn25"><sup><small>25</small></sup></a>then +the drums began in a low tone, and gradually increased in +strength as the song proceeded; the other singers united their voices +until the whole chorus was in action, and often the bystanders, to +the numbers of thousands, would ultimately join in the words of some +familiar song, keeping time by concerted movements of the hands and +feet.</p> + +<p>Each verse or couplet of the song was repeated three or four times +before proceeding to the next, and those songs which were of the +slowest measure and least emotional in character were selected for +the earlier hours of the festivals. None of the songs was lengthy, +even the longest, in spite of the repetitions, rarely lasting over an +hour.<a name="fn26_r"></a><a href="#fn26"><sup><small>26</small></sup></a></p> + +<p>The tone in which the words were chanted is described by Clavigero, +Mühlenpfordt and other comparatively recent travelers as harsh, +strident and disagreeable to the European ear. Mendieta calls it a +"contra-bass," and states that persons gifted with such a voice +cultivated it assiduously and were in great demand. The Nahuas call +it <i>tozquitl</i>, the singing voice, and likened it to the notes of +sweet singing birds.</p> + +<a name="S_6"></a><h3>§ 6. <i>THE INSTRUMENTAL ACCOMPANIMENT.</i></h3> + +<p>The Nahuas were not acquainted with any stringed instrument. They +manufactured, however, a variety of objects from which they could +extract what seemed to them melodious sounds. The most important were +two forms of drums, the <i>huehuetl</i> and the <i>teponaztli</i>.</p> + +<p>The word <i>huehuetl</i> means something old, something ancient, and +therefore important and great. The drum so-called was a hollow +cylinder of wood, thicker than a man's body, and usually about five +palms in height. The end was covered with tanned deerskin, firmly +stretched. The sides were often elaborately carved and tastefully +painted. This drum was placed upright on a stand in front of the +player and the notes were produced by striking the parchment with the +tips of the fingers.</p> + +<p>A smaller variety of this instrument was called <i>tlapanhuehuetl</i>, or +the half drum, which was of the same diameter but only half the +height.<a name="fn27_r"></a><a href="#fn27"><sup><small>27</small></sup></a> Still another variety was the <i>yopihuehuetl</i>, "the drum +which tears out the heart,"<a name="fn28_r"></a><a href="#fn28"><sup><small>28</small></sup></a> so called either by reason of its +penetrating and powerful sound, or because it was employed at the +<i>Yopico</i>, where that form of human sacrifice was conducted.</p> + +<p>The <i>teponaztli</i> was a cylindrical block of wood hollowed out below, +and on its upper surface with two longitudinal parallel grooves +running nearly from end to end, and a third in the centre at right +angles to these, something in the shape of the letter I. The two +tongues left between the grooves were struck with balls of rubber, +<i>ulli</i>, on the ends of handles or drum sticks. These instruments +varied greatly in size, some being five feet in length, and others so +small that they could conveniently be carried suspended to the neck. +The <i>teponaztli</i> was the house instrument of the Nahuas. It was +played in the women's apartments to amuse the noble ladies, and the +war captains carried one at the side to call the attention of their +cohorts on the field of battle (Sahagun). The word is derived from +the name of the tree whose wood was selected to make the drum, and +this in turn from the verb <i>tepunazoa</i>, to swell, probably from some +peculiarity of its growth.<a name="fn29_r"></a><a href="#fn29"><sup><small>29</small></sup></a></p> + +<p>A much superior instrument to the teponaztli, and doubtless a +development from it, was the <i>tecomapiloa</i>, "the suspended vase" +(<i>tecomatl</i>, gourd or vase, <i>piloa</i>, to hang or suspend). It was a +solid block of wood, with a projecting ridge on its upper surface and +another opposite, on its lower aspect; to the latter one or more +gourds or vases were suspended, which increased and softened the +sound when the upper ridge was struck with the <i>ulli</i>.<a name="fn30_r"></a><a href="#fn30"><sup><small>30</small></sup></a> This was +undoubtedly the origin of the <i>marimba</i>, which I have described +elsewhere.<a name="fn31_r"></a><a href="#fn31"><sup><small>31</small></sup></a></p> + +<p>The musical properties of these drums have been discussed by Theodor +Baker. The teponaztli, he states, could yield but two notes, and +could not have been played in accord with the huehuetl. It served as +an imperfect contra-bass.<a name="fn32_r"></a><a href="#fn32"><sup><small>32</small></sup></a></p> + +<p>The <i>omichicahuaz</i>, "strong bone," was constructed somewhat on the +principle of a <i>teponaztli</i>. A large and long bone was selected, as +the femur of a man or deer, and it was channeled by deep longitudinal +incisions. The projections left between the fissures were rasped with +another bone or a shell, and thus a harsh but varied sound could be +produced.<a name="fn33_r"></a><a href="#fn33"><sup><small>33</small></sup></a></p> + +<p>The <i>tetzilacatl</i>, the "vibrator" or "resounder," was a sheet of +copper suspended by a cord, which was struck with sticks or with the +hand. It appears to have been principally confined to the sacred +music in the temples.</p> + +<p>The <i>ayacachtli</i> was a rattle formed of a jar of earthenware or a +dried gourd containing pebbles which was fastened to a handle, and +served to mark time in the songs and dances. An extension of this +simple instrument was the <i>ayacachicahualiztli</i>, "the arrangement of +rattles," which was a thin board about six feet long and a span wide, +to which were attached bells, rattles and cylindrical pieces of hard +wood. Shaking this produced a jingle-jangle, agreeable to the native +ear. The Aztec bells of copper, <i>tzilinilli</i>, are really metallic +rattles, like our sleigh bells. They are often seen in collections of +Mexican antiquities. Other names for them were <i>coyolli</i> and +<i>yoyotli</i>.</p> + +<p>Various forms of flutes and fifes, made of reeds, of bone or of +pottery, were called by names derived from the word <i>pitzaua</i>, to +blow (e.g., <i>tlapitzalli</i>, <i>uilacapitzli</i>), and sometimes, as being +punctured with holes, <i>zozoloctli</i>, from <i>zotl</i>, the awl or +instrument used in perforating skins, etc. Many of those made of +earthenware have been preserved, and they appear to have been a +highly-esteemed instrument, as Sahagun mentions that the leader of +the choir of singers in the temple bore the title <i>tlapitzcatzin</i>, +"the noble flute player."</p> + +<p>Large conches were obtained on the seashore and framed into wind +instruments called <i>quiquiztli</i> and <i>tecciztli</i>, whose hoarse notes +could be heard for long distances, and whistles of wood, bone and +earthenware added their shrill notes to the noise of the chanting of +the singers. The shell of the tortoise, <i>ayotl</i>, dried and suspended, +was beaten in unison with such instruments.</p> + +<p>Recent researches by competent musical experts conducted upon +authentic specimens of the ancient Mexican instruments have tended to +elevate our opinion of their skill in this art. Mr. H.T. Cresson, of +the Academy of Natural Sciences, Philadelphia, has critically +examined the various Aztec clay flutes, whistles, etc., which are +there preserved, and has reached the following conclusions:—</p> + +<p>"I. That upon the four-holed clay flageolets the chromatic and +diatonic scales can be produced with a full octave.</p> + +<p>"II. That the clay whistles or pitch pipes, which may be manipulated +in quartette, will produce an octave and a fourth.</p> + +<p>"III. From the facts above shown, the Aztecs must have possessed a +knowledge of the scales as known to us, which has been fully tested +by comparison with the flute and organ."<a name="fn34_r"></a><a href="#fn34"><sup><small>34</small></sup></a></p> + +<p>This result indicates for the instrumental accompaniment a much +higher position in musical notation than has hitherto been accepted.</p> + +<a name="S_7"></a><h3>§ 7. <i>THE POETIC DIALECT.</i></h3> + +<p>All the old writers who were familiar with the native songs speak of +their extreme obscurity, and the difficulty of translating them. No +one will question the intimate acquaintance with the Nahuatl language +possessed by Father Sahagun; yet no one has expressed more strongly +than he the vagueness of the Nahuatl poetic dialect. "Our enemy on +earth," he writes, "has prepared a thick woods and a dangerous ground +full of pitfalls, wherein to devise his evil deeds and to hide +himself from attack, as do wild beasts and venomous serpents. This +woods and these pitfalls are the songs which he has inspired to be +used in his service, as praises to his honor, in the temples and +elsewhere; because they are composed with such a trick that they +proclaim only what the devil commands, and are understood only by +those to whom they are addressed. It is well known that the cavern, +woods or depths in which the devil hides himself were these chants or +psalms which he himself has composed, and which cannot be understood +in their true significance except by those who are accustomed to the +peculiar style of their language."<a name="fn35_r"></a><a href="#fn35"><sup><small>35</small></sup></a></p> + +<p>Not less positive are the expressions of Father Diego Duran, +contemporary of Sahagun, and himself well versed in the native +tongue. "All their songs," he observes, "were composed in such +obscure metaphors that scarcely any one can understand them unless he +give especial attention to their construction."<a name="fn36_r"></a><a href="#fn36"><sup><small>36</small></sup></a> The worthy +Boturini was puzzled by those which he had collected, and writes, +"the songs are difficult to explain, because they mystify historical +facts with constant allegorizing,"<a name="fn37_r"></a><a href="#fn37"><sup><small>37</small></sup></a> and Boturini's literary +executor, Don Mariano Echevarria y Veitia, who paid especial +attention to the poetic fragments he had received, says frankly: "The +fact is, that as to the songs I have not found a person who can fully +translate them, because there are many words in them whose +signification is absolutely unknown to-day, and moreover which do not +appear in the vocabularies of Molina or others."<a name="fn38_r"></a><a href="#fn38"><sup><small>38</small></sup></a></p> + +<p>The Abbé Clavigero speaks in somewhat more definite terms of the +poetic forms and licenses of the language. He notes that in the +fragments of the ancient verses which had been preserved until his +day there were inserted between the significant words certain +interjections and meaningless syllables, apparently to fill out the +metre. Nevertheless, he considered the language of the chants, "pure, +pleasant, brilliant, figurative and replete with allusions to the +more pleasing objects in nature, as flowers, trees, brooks, etc."<a name="fn39_r"></a><a href="#fn39"><sup><small>39</small></sup></a> +It is quite evident from the above extracts that in the translation +of the ancient songs in the present volume we must be prepared for +serious difficulties, the more so as the Nahuatl language, in the +opinion of some who are the best acquainted with it, lends itself +with peculiar facility to ambiguities of expression and obscure +figures of speech.<a name="fn40_r"></a><a href="#fn40"><sup><small>40</small></sup></a> Students of American ethnology are familiar +with the fact that in nearly all tribes the language of the sacred +songs differs materially from that in daily life.</p> + +<p>Of the older grammarians, Father Carochi alone has left us actual +specimens of the ancient poetic dialect, and his observations are +regretably brief. They occur in his chapter on the composition of +nouns and read as follows:<a name="fn41_r"></a><a href="#fn41"><sup><small>41</small></sup></a>—</p> + +<p>"The ancient Indians were chary in forming compounds of more than two +words, while those of to-day exceed this number, especially if they +speak of sacred things; although in their poetic dialect the ancients +were also extravagant in this respect, as the following examples +show:—</p> + +<p>1. Tlāuhquéchōllaztalēhualtò tōnatoc.</p> + +<p>1. It is gleaming red like the tlauhquechol bird.</p> + +<p>2. Ayauhcoçamālōtōnamēyòtimani.</p> + +<p>2. And it glows like the rainbow.</p> + +<p>3. XiuhcóyólizÃtzîlica in teōcuitlahuēhuētl.</p> + +<p>3. The silver drum sounds like bells of turquoise.</p> + +<p>4. Xiuhtlapallà cuilōlāmoxtli manca.</p> + +<p>4. There was a book of annals written and painted in colors.</p> + +<p>5. Nic chālchiuhcozcameca quenmach tòtóma in nocuic.</p> + +<p>5. I see my song unfolding in a thousand directions, like a string of +precious stones."</p> + +<p>From the specimens presented in this volume and from the above +extracts, I would assign the following peculiarities to the poetic +dialect of the Nahuatl:—</p> + +<p>I. Extreme frequency and richness of metaphor. Birds, flowers, +precious stones and brilliant objects are constantly introduced in a +figurative sense, often to the point of obscuring the meaning of the +sentence.</p> + +<p>II. Words are compounded to a much greater extent than in ordinary +prose writing.</p> + +<p>III. Both words and grammatical forms unknown to the tongue of daily +life occur. These may be archaic, or manufactured capriciously by the +poet.</p> + +<p>IV. Vowels are inordinately lengthened and syllables reduplicated, +either for the purpose of emphasis or of meter.</p> + +<p>V. Meaningless interjections are inserted for metrical effect, while +others are thrown in and repeated in order to express emotion.</p> + +<p>VI. The rhetorical figure known as aposiopesis, where a sentence is +left unfinished and in an interjectional condition, in consequence of +some emotion of the mind, is not rare and adds to the obscurity of +the wording.</p> + +<a name="S_8"></a><h3>§ 8. <i>THE PRESERVATION OF THE ANCIENT SONGS.</i></h3> + +<p>In a passage already quoted,<a name="fn42_r"></a><a href="#fn42"><sup><small>42</small></sup></a> + Sahagun imparts the interesting +information that the more important songs were written down by the +Nahuas in their books, and from these taught to the youth in the +schools. A certain branch of the Mexican hieroglyphic writing was +largely phonetic, constructed on that method to which I have applied +the adjective <i>ikonomatic</i>, and by which it was quite possible to +preserve the sound as well as the sense of sentences and verses.<a name="fn43_r"></a><a href="#fn43"><sup><small>43</small></sup></a> +Such attention could have been bestowed only on the sacred, royal, or +legendary chants, while the compositions of ordinary poets would only +be disseminated by oral teaching.</p> + +<p>By one or both of these methods there was a large body of poetic +chants the property of the Nahuatl-speaking tribes, when they were +subjugated by the Europeans. Among the intelligent missionaries who +devoted their lives to mastering the language and translating into it +the doctrines of Christianity, there were a few who felt sufficient +interest in these chants to write some of them down in the original +tongue. Conspicuous among these was the laborious Bernardino de +Sahagun, whose works are our most valued sources of information on +all that concerns the life of the ancient Nahuas. He collected a +number of their sacred hymns, translated them into Spanish, and +inserted them into the Appendix to the Second Book of his <i>History of +New Spain</i>; but this portion of his work was destroyed by order of +the Inquisition, as a note in the original MS. expressly states.<a name="fn44_r"></a><a href="#fn44"><sup><small>44</small></sup></a></p> + +<p>A certain number, however, were preserved in the original tongue, +and, as already noted, we find the able grammarian Horatio Carochi, +who published his Grammar of the Nahuatl in 1645, quoting lines from +some as furnishing examples of the genuine ancient forms of +word-building. He could not, therefore, have doubted their antiquity +and authenticity.</p> + +<p>A number of these must have come to the knowledge and were probably +in the possession of the eminent mathematician and antiquary Don +Carlos de Siguenza y Gongora, who lived in the latter half of the +same century (died 1700). It was avowedly upon the information which +he thought he gleaned from these ancient chants that he constructed +his historical theory of the missionary labors of St. Thomas in +Mexico in the first century of our era. The title of the work he +wrote upon this notion was as follows:—</p> + +<p><i>Fenix del Occidente San Thomas Apóstol, hallado con el nombre de +Quetzalcoatl entre las cenizas de antiguas tradiciones, conservadas +en piedras, en Teoamoxtles Tultecas, y en cantares Teochichimecas y +Mexicanos."</i></p> + +<p>For many years this curious work, which was never printed, was +supposed to be lost; but the original MS. is extant, in the +possession of the distinguished antiquary Don Alfredo Chavero, of the +City of Mexico.<a name="fn45_r"></a><a href="#fn45"><sup><small>45</small></sup></a> Unfortunately, however, the author did not insert +in his work any song in the native language nor a literal translation +of any, as I am informed by Señor Chavero, who has kindly examined +the work carefully at my request, with this inquiry in view.</p> + +<p>Half a century later, when Boturini was collecting his material, he +found but very few of the old poems. In the catalogue of his MSS. he +mentions (XIX, 1) some fragments of ancient songs, badly written, on +European paper, but he does not say whether in the original or +translated. The same doubt might rest on the two songs of +Nezahualcoyotl named in his Catalogue (V, 2). He does not +specifically state that they are in the original. The song of +Moquihuix, King of Tlatilulco, in which he celebrated his victory +over the Cuextla, which Boturini states in his text (p. 91) as in his +possession, is not mentioned at all in his Catalogue, and it is +uncertain whether his copy was in Nahuatl.</p> + +<p>His literary friend, however, Don Mariano Echevarria y Veitia, +removes the uncertainty about the two songs of Nezahualcoyotl, as he +informs us that they were in the original tongue, and adds that he +had inserted them in his History without translation.<a name="fn46_r"></a><a href="#fn46"><sup><small>46</small></sup></a> I have +examined the manuscript of his work, now in the Lenox Library, New +York City, but it does not contain these texts, and evidently the +copy used by Bustamente did not.<a name="fn47_r"></a><a href="#fn47"><sup><small>47</small></sup></a></p> + +<p>Boturini included the translations of the two odes of Nezahualcoyotl +in a work on the Virgin of Guadelupe, only a fragment of which has +been preserved. One of the chapters in this Latin Essay is entitled +<i>De Indorum Poetarum Canticis sive Prosodiis</i>, in which he introduces +Ixtlilxochitl's translation and also a song in the original Nahuatl, +but the latter is doubtless of late date and unimportant as a really +native production.<a name="fn48_r"></a><a href="#fn48"><sup><small>48</small></sup></a></p> + +<p>The fragments of Boturini's library collected by M. Aubin, of Paris, +contain a number of the original ancient songs of the highest +importance, which make us regret the more that this collection has +been up to the present inaccessible to students. In his description +of these relics published in 1851, M. Aubin refers to the <i>Historical +Annals of the Mexican Nation</i> (§ VIII, 10, of Boturini's Catalogue) +as containing "historical songs in a dialect so difficult that I have +not been able to translate them entirely," and adds that similar +songs are preserved in others of the ancient annals in his hands.<a name="fn49_r"></a><a href="#fn49"><sup><small>49</small></sup></a></p> + +<a name="S_9"></a><h3>§ 9. <i>THE LX SONGS OF THE KING NEZAHUALCOYOTL.</i></h3> + +<p>The most distinguished figure among the Nahuatl poets was +Nezahualcoyotl, ruler of Tezcuco. His death took place in 1472, at +the age of eighty years. His father, Ixtlilxochitl, had been deprived +of his possessions and put to death by Tezozomoc, King of the +Tepanecas, and until the death of the latter at an advanced age in +1427, Nezahualcoyotl could make but vain efforts to restore the power +of his family. Much of the time he was in extreme want, and for this +reason, and for his savage persistence in the struggle, he acquired +the name "the fasting or hungry wolf"— <i>nezahualcoyotl</i>. Another of +his names was <i>Acolmiztli</i>, usually translated "arm of the lion," +from <i>aculli</i>, shoulder, and <i>miztli</i>, lion.</p> + +<p>A third was <i>Yoyontzin</i>, which is equivalent to <i>cevetor nobilis</i>, +from <i>yoyoma</i> (<i>cevere</i>, i.e., <i>femora movere in re venered</i>); it is +to be understood figuratively as indicating the height of the +masculine forces.</p> + +<p>When his power became assured, he proved himself a liberal and +enlightened patron of the arts and industries. The poetry and music +of his native land attracted him the more as he felt within himself +the moving god, firing his imagination with poetic vision, the <i>Deus +in nobis, calescimus, agitant'illo</i>. Not only did he diligently seek +out and royally entertain skilled bards, but he himself had the +credit of composing sixty chants, and it appears that after the +Conquest there were that many written down in Roman characters and +attributed to him. We need not inquire too closely whether they were +strictly his own composition. Perhaps they were framed on themes +which he furnished, or were selected by him from those sung at his +court by various bards. The history of the works by royal authors +everywhere must not be too minutely scanned if we wish to leave them +their reputation for originality.</p> + +<p>He was of a philosophic as well as a poetic temperament, and +reflected deeply on the problems of life and nature. Following the +inherent tendency of the enlightened intellect to seek unity in +diversity, the One in the Many, he reached the conclusion to which so +many thinkers in all ages and of all races have been driven, that +underlying all phenomena is one primal and adequate Cause, the +Essence of all Existence. This conclusion he expressed in a +philosophic apothegm which was preserved by his disciples, in these +words:—</p> + +<p><i>Ipan in chicunauitlamanpan meztica in tloque nahuaque palne nohuani +teyocoyani icel teotl oquiyocox in ixquex quexquex in ittoni ihuan +amo ittoni.</i></p> + +<p>"In the ninth series is the Cause of All, of us and of all created +things, the one only God who created all things both visible and +invisible."<a name="fn50_r"></a><a href="#fn50"><sup><small>50</small></sup></a></p> + +<p>To perpetuate the memory of this philosophic deduction he caused to +be constructed at Tezcuco a stone tower nine stories in height, the +ruins of which were visible long after the Spanish occupation. To +this tower he gave the name Chililitli, a term of uncertain meaning, +but which we find was applied in Tenochtitlan to a building sacred to +the Nine Winds.<a name="fn51_r"></a><a href="#fn51"><sup><small>51</small></sup></a> To explain the introduction of this number, I +should add that a certain school of Nahuatl priests taught that the +heaven above and the earth below were each divided into nine +concentric arcs, each leading farther and farther away from the +conditions of the present life. Hence, there were nine heavens, +abodes of the gods, and nine lower regions, abodes of the souls of +the dead. Another school taught that there were not nine but thirteen +of these stages.</p> + +<p>The sixty poems by Nezahualcoyotl are mentioned by various writers as +in existence after the Conquest, reduced to writing in the original +tongue, and of several of them we have translations or abstracts.<a name="fn52_r"></a><a href="#fn52"><sup><small>52</small></sup></a> +Of four the translations claim to be complete, and were published +entire for the first time in the original Spanish by Lord +Kingsborough in the ninth volume of his great work on the +<i>Antiquities of Mexico</i>. Since then they have received various +renderings in prose and verse into different languages at the hands +of modern writers.</p> + +<p>I shall give a literal prose translation from the Spanish, numbering +the poems and their verses, for convenience of reference, in the +order in which they appear in the pages of Lord Kingsborough.</p> + +<hr style="width: 50%;"> + +<p>The first is one referred to, and partly translated by Ixtlilxochitl, +in his <i>Historia Chichimeca</i> (cap. 47). He calls it a <i>xopancuicatl</i> +(see ante, p. 15), and states that it was composed and sung on the +occasion of the banquet when the king laid the foundations of his +great palace. He gives the first words in the original as follows:—</p> + +<p><i>Tlaxoconcaguican ani Nezahualcoyotzin;</i></p> + +<p>And the translation:—</p> + +<p>"Hear that which says the King Nezahualcoyotl."</p> + +<p>Restoring the much mutilated original to what I should think was its +proper form, the translation should read:—</p> + +<p>"Listen attentively to what I, the singer, the noble Nezahualcoyotl, +say:"—</p> + +<h4>I.</h4> + +<p>1. Listen with attention to the lamentations which I, the King +Nezahualcoyotl, make upon my power, speaking with myself, and +offering an example to others.</p> + +<p>2. O restless and striving king, when the time of thy death shall +come, thy subjects shall be destroyed and driven forth; they shall +sink into dark oblivion. Then in thy hand shall no longer be the +power and the rule, but with the Creator, the All-powerful.</p> + +<p>3. He who saw the palaces and court of the old King Tezozomoc, how +flourishing and powerful was his sway, may see them now dry and +withered; it seemed as if they should last forever, but all that the +world offers is illusion and deception, as everything must end and +die.</p> + +<p>4. Sad and strange it is to see and reflect on the prosperity and +power of the old and dying King Tezozomoc; watered with ambition and +avarice, he grew like a willow tree rising above the grass and +flowers of spring, rejoicing for a long time, until at length, +withered and decayed, the storm wind of death tore him from his +roots, and dashed him in fragments to the ground. The same fate +befell the ancient King Colzatzli, so that no memory was left of him, +nor of his lineage.</p> + +<p>5. In these lamentations and in this sad song, I now call to memory +and offer as an example that which takes place in the spring, and the +end which overtook King Tezozomoc; and who, seeing this, can refrain +from tears and wailing, that these various flowers and rich delights +are bouquets that pass from hand to hand and all wither and end even +in the present life!</p> + +<p>6. Ye sons of kings and mighty lords, ponder well and think upon that +which I tell you in these my lamentations, of what takes place in +spring and of the end which overtook King Tezozomoc; and who, seeing +this, can refrain from tears and wailing that these various flowers +and rich delights are bouquets that pass from hand to hand and all +wither and end even in the present life!</p> + +<p>7. Let the birds now enjoy, with melodious voices, the abundance of +the house of the flowery spring, and the butterflies sip the nectar +of its flowers.</p> + +<hr style="width: 50%;"> + +<p>The second song is preserved in a Spanish metrical translation only, +but which from internal evidence I should judge to be quite literal. +The words of the poem do not represent it as a composition by the +royal poet, but one which was sung before him, and addressed to him. +It admonishes him to rejoice in the present moment, as the +uncertainties of life and fate must at some time, perhaps very soon, +deprive him of their enjoyment.</p> + +<h4>II.</h4> + +<p>1. I wish to sing for a moment, since time and occasion are +propitious; I hope to be permitted, as my intention merits it, and I +begin my song, though it were better called a lamentation.</p> + +<p>2. And thou, beloved companion, enjoy the beauty of these flowers, +rejoice with me, cast out fears, for if pleasure ends with life, so +also does pain.</p> + +<p>3. I, singing, will touch the sonorous instrument, and thou, +rejoicing in the flowers, dance and give pleasure to God the +powerful. Let us be happy in the present, for life is transitory.</p> + +<p>4. Thou hast placed thy noble court in Acolhuacan, thine are its +lintels, thou hast decked them, and one may well believe that with +such grandeur thy state shall increase and grow.</p> + +<p>5. O prudent Yoyontzin, famous king and peerless monarch, rejoice in +the present, be happy in the springtime, for a day shall come in +which thou shall vainly seek these joys.</p> + +<p>6. Then thy destiny shall snatch the sceptre from thy hand, thy moon +shall wane, no longer wilt thou be strong and proud, then thy +servants shall be destitute of all things.</p> + +<p>7. In this sad event, the nobles of thy line, the provinces of might, +children of noble parents, lacking thee as their lord, shall taste +the bitterness of poverty.</p> + +<p>8. They shall call to mind how great was thy pomp, thy triumphs and +victories, and bewailing the glory and majesty of the past, their +tears will flow like seas.</p> + +<p>9. These thy descendants who serve thy plume and crown, when thou art +gone, will forsake Culhuacan, and as exiles will increase their woes.</p> + +<p>10. Little will fame have to tell of this wondrous majesty, worthy of +a thousand heralds; the nations will only remember how wisely +governed the three chieftains who held the power,</p> + +<p>11. At Mexico, Montezuma the famous and valorous, at Culhuacan the +fortunate Nezahualcoyotl, and at the stronghold of Acatlapan, +Totoquilhuatli.</p> + +<p>12. I fear no oblivion for thy just deeds, standing as thou dost in +thy place appointed by the Supreme Lord of All, who governs all +things.</p> + +<p>13. Therefore, O Nezahualcoyotl, rejoice in what the present offers, +crown thyself with flowers from thy gardens, hear my song and music +which aim to please thee.</p> + +<p>14. The pleasures and riches of this life are but loaned, their +substance is vain, their appearance illusory; and so true is this +that I ask thee for an answer to these questions:</p> + +<p>15. What has become of Cihuapan? Of the brave Quantzintecomatzin? Of +Conahuatzin? What of all these people? Perhaps these very words have +already passed into another life.</p> + +<p>16. Would that we who are now united by the ties of love and +friendship could foresee the sharp edge of death, for nothing is +certain, and the future ever brings changes.</p> + +<hr style="width: 50%;"> + +<p>The third is a "spring song" in which the distinguished warriors of +the king are compared to precious stones. Such jewels were believed +by the Nahuas to possess certain mysterious powers as charms and +amulets, a belief, it is needless to say, found among almost all +nations. In verse 18 there is a reference to the superstition that at +dawn, when these jewels are exposed to the first rays of the sun, +they emit a fine vapor which wafts abroad their subtle potency. The +poem is in Spanish verse, and the original is said to have been +written down by Don Fernando de Avila, governor of Tlalmanalco, from +the mouth of Don Juan de Aguilar, governor of Cultepec, a direct +descendant of Nezahualcoyotl.</p> + +<h4>III</h4> + +<p>1. The flowery spring has its house, its court, its palace, adorned +with riches, with goods in abundance.</p> + +<p>2. With discreet art they are arranged and placed, rich feathers, +precious stones, surpassing in luster the sun.</p> + +<p>3. There is the valued carbuncle, which from its beauteous center +darts forth rays which are the lights of knowledge.</p> + +<p>4. There is the prized diamond, sign of strength, shooting forth its +brilliant gleams.</p> + +<p>5. Here one sees the translucent emerald suggesting the hope of the +rewards of merit.</p> + +<p>6. Next follows the topaz, equaling the emerald, for the reward it +promises is a heavenly dwelling.</p> + +<p>7. The amethyst, signifying the cares which a king has for his +subjects, and moderation in desires.</p> + +<p>8. These are what kings, princes and monarchs delight to place upon +their breasts and crowns.</p> + +<p>9. All these stones with their varied and singular virtues, adorn Thy +house and court, O Father, O Infinite God!</p> + +<p>10. These stones which I the King Nezahualcoyotl have succeeded in +uniting in loving liens,</p> + +<p>11. Are the famous princes, the one called Axaxacatzin, the other +Chimalpopoca, and Xicomatzintlamata.</p> + +<p>12. To-day, somewhat rejoiced by the joy and words of these, and of +the other lords who were with them,</p> + +<p>13. I feel, when alone, that my soul is pleased but for a brief time, +and that all pleasure soon passes.</p> + +<p>14. The presence of these daring eagles pleases me, of these lions +and tigers who affright the world,</p> + +<p>15. These who by their valor win everlasting renown, whose name and +whose deeds fame will perpetuate.</p> + +<p>16. Only to-day am I glad and look upon these rich and varied stones, +the glory of my bloody battles.</p> + +<p>17. To-day, noble princes, protectors of the realm, my will is to +entertain you and to praise you.</p> + +<p>18. It seems to me that ye answer from your souls, like the fine +vapor arising from precious stones,—</p> + +<p>19. "O King Nezahualcoyotl, O royal Montezuma, your subjects sustain +themselves with your soft dews.</p> + +<p>20. "But at last a day shall come which will cut away this power, and +all these will be left wretched orphans.</p> + +<p>21. "Rejoice, mighty King, in this lofty power which the King of +Heaven has granted you, rejoice and be glad.</p> + +<p>22. "In the life of this world there is no beginning anew, therefore +rejoice, for all good ends.</p> + +<p>23. "The future promises endless changes, griefs that your subjects +will have to undergo.</p> + +<p>24. "Ye see before you the instruments decked with wreaths of odorous +flowers; rejoice in their fragrance.</p> + +<p>25. "To-day there are peace, and goodfellowship; therefore let all +join hands and rejoice in the dances,</p> + +<p>26. "So that for a little while princes and kings and the nobles may +have pleasure in these precious stones,</p> + +<p>27. "Which through his goodness the will of the King Nezahualcoyotl +has set forth for you, inviting you to-day to his house."</p> + +<hr style="width: 50%;"> + +<p>The fourth song has been preserved in an Otomi translation by the +Mexican antiquary Granados y Galvez<a name="fn53_r"></a><a href="#fn53"><sup><small>53</small></sup></a> and in an abstract by +Torquemada.<a name="fn54_r"></a><a href="#fn54"><sup><small>54</small></sup></a> The latter gives the first words as follows:—</p> + +<p><i>Xochitl mamani in huehuetitlan:</i></p> + +<p>Which he translates:—</p> + +<p>"There are fresh and fragrant flowers among the groves."</p> + +<p>It is said to have been composed at the time the king dedicated his +palace.</p> + +<h4>IV.</h4> + +<p>1. The fleeting pomps of the world are like the green willow trees, +which, aspiring to permanence, are consumed by a fire, fall before +the axe, are upturned by the wind, or are scarred and saddened by +age.</p> + +<p>2. The grandeurs of life are like the flowers in color and in fate; +the beauty of these remains so long as their chaste buds gather and +store the rich pearls of the dawn and saving it, drop it in liquid +dew; but scarcely has the Cause of All directed upon them the full +rays of the sun, when their beauty and glory fail, and the brilliant +gay colors which decked forth their pride wither and fade.</p> + +<p>3. The delicious realms of flowers count their dynasties by short +periods; those which in the morning revel proudly in beauty and +strength, by evening weep for the sad destruction of their thrones, +and for the mishaps which drive them to loss, to poverty, to death +and to the grave. All things of earth have an end, and in the midst +of the most joyous lives, the breath falters, they fall, they sink +into the ground.</p> + +<p>4. All the earth is a grave, and nought escapes it; nothing is so +perfect that it does not fall and disappear. The rivers, brooks, +fountains and waters flow on, and never return to their joyous +beginnings; they hasten on to the vast realms of Tlaloc, and the +wider they spread between their marges the more rapidly do they mould +their own sepulchral urns. That which was yesterday is not to-day; +and let not that which is to-day trust to live to-morrow.</p> + +<p>5. The caverns of earth are filled with pestilential dust which once +was the bones, the flesh, the bodies of great ones who sate upon +thrones, deciding causes, ruling assemblies, governing armies, +conquering provinces, possessing treasures, tearing down temples, +flattering themselves with pride, majesty, fortune, praise and +dominion. These glories have passed like the dark smoke thrown out by +the fires of Popocatepetl, leaving no monuments but the rude skins on +which they are written.</p> + +<p>6. Ha! ha! Were I to introduce you into the obscure bowels of this +temple, and were to ask you which of these bones were those of the +powerful Achalchiuhtlanextin, first chief of the ancient Toltecs; of +Necaxecmitl, devout worshiper of the gods; if I inquire where is the +peerless beauty of the glorious empress Xiuhtzal, where the peaceable +Topiltzin, last monarch of the hapless land of Tulan; if I ask you +where are the sacred ashes of our first father Xolotl; those of the +bounteous Nopal; those of the generous Tlotzin; or even the still +warm cinders of my glorious and immortal, though unhappy and luckless +father Ixtlilxochitl; if I continued thus questioning about all our +august ancestors, what would you reply? The same that I reply—I know +not, I know not; for first and last are confounded in the common +clay. What was their fate shall be ours, and of all who follow us.</p> + +<p>7. Unconquered princes, warlike chieftains, let us seek, let us sigh +for the heaven, for there all is eternal, and nothing is corruptible. +The darkness of the sepulchre is but the strengthening couch for the +glorious sun, and the obscurity of the night but serves to reveal the +brilliancy of the stars. No one has power to alter these heavenly +lights, for they serve to display the greatness of their Creator, and +as our eyes see them now, so saw them our earliest ancestors, and so +shall see them our latest posterity.</p> + +<hr style="width: 50%;"> + +<p>It will be seen that the philosophy of these songs is mostly of the +Epicurean and <i>carpe diem</i> order. The certainty of death and the +mutability of fortune, observations which press themselves upon the +mind of man everywhere, are their principal staples, and cast over +them a hue of melancholy, relieved by exhortations to enjoy to the +utmost what the present moment offers of pleasure and sensual +gratification. Here and there a gleam of a higher philosophy lights +the sombre reflections of the bard; his thoughts turn toward the +infinite Creator of this universe, and he dimly apprehends that by +making Him the subject of his contemplation, there is boundless +consolation even in this mortal life.</p> + +<p>Both these leading <i>motifs</i> recur over and over again in the songs +printed in the original in the present volume, and this similarity is +a common token of the authenticity of the book.</p> + +<a name="S_10"></a><h3>§ 10. <i>THE HISTORY OF THE PRESENT COLLECTION.</i></h3> +<p>The most recent Mexican writers formally deny that any ancient +Mexican poetry is now extant. Thus the eminent antiquary, Don Alfredo +Chavero, in his elaborate work, <i>México á través de los Siglos</i>, +says, "the truth is, we know no specimens of the ancient poetry, and +those, whether manuscript or printed, which claim to be such, date +from after the Conquest."<a name="fn55_r"></a><a href="#fn55"><sup><small>55</small></sup></a> In a similar strain the grammarian +Diario Julio Caballero, writes: "There has never come into our hands +a single poetic composition in this language. It is said that the +great King Nezahualcoyotl was a poet and composed various songs; +however that may be, the fact is that we have never seen any such +compositions, nor met any person who has seen them."<a name="fn56_r"></a><a href="#fn56"><sup><small>56</small></sup></a></p> + +<p>It is important, therefore, to state the exact provenance of the +specimens printed in this volume, many of which I consider to have +been composed previous to the Conquest, and written down shortly +after the Nahuatl language had been reduced to the Spanish alphabet.</p> + +<p>All of them are from a MS. volume in the library of the University of +Mexico, entitled <i>Cantares de los Mexicanos y otros opusculos</i>, +composed of various pieces in different handwritings, which, from +their appearance and the character of the letter, were attributed by +the eminent antiquary Don José F. Ramirez, to the sixteenth and +seventeenth centuries.</p> + +<p>The copy I have used is that made by the late Abbé Brasseur (de +Bourbourg). It does not appear to be complete, but my efforts to have +it collated with the original have not been successful. Another copy +was taken by the late well-known Mexican scholar Faustino +Chimalpopoca, which was in the possession of Señor Ramirez and sold +at the vendue of his books in 1880. It is No. 511 of the catalogue.</p> + +<p>The final decision of the age of the poems must come from a careful +scrutiny of the internal evidence, especially the thoughts they +contain and the language in which they are expressed. In applying +these tests, it should be remembered that a song may be almost wholly +ancient, that is, composed anterior to the Conquest, and yet display +a few later allusions introduced by the person who preserved it in +writing, so as to remove from it the flavor of heathenism. Some +probable instances of this kind will be pointed out in the Notes.</p> + +<p>The songs are evidently from different sources and of different +epochs. There are two notes inserted in the MS. which throw some +light on the origin of a few of the poems. The first is in connection +with No. XII. In my copy of the MS, the title of this song is written +twice, and between the two the following memorandum appears in +Spanish:</p> + +<p>"Ancient songs of the native Otomis, which they were accustomed to +sing at their festivals and marriages, translated into the Mexican +language, the play and the spirit of the song and its figures of +speech being always retained; as Your Reverence will understand, they +displayed considerable style and beauty, better than I can express +with my slight talent; and may Your Reverence at your convenience +approve and be entertained by them, as a skilled master of the +tongue, as Your Reverence is."</p> + +<p>From its position and from the titles following, this note appears to +apply only to No. XII.</p> + +<p>The second note is prefixed to No. XIV, which has no title. It is in +Nahuatl, and reads as follows:—</p> + +<hr style="width: 50%;"> + +<center><b><big><big>†</big></big></b></center> + +<center><b><big>I H S</big></b></center> + +<p>Nican ompehua in cuicatl motenehua melahuac Huexotzincayotl ic +moquichitoya in tlatoque Huexotzinca mani mecatca; yexcan inic +tlatlamantitica, teuccuicatl ahnoço quauhcuicatl, xochicuicatl, +icnocuicatl. Auh inic motzotzona huehuetl cencamatl mocauhtiuh, auh +in occencamatl ipan huetzi yetetl ti; auh in huel ic ompehua centetl +ti; auh inic mocuepa quiniquac iticpa huehuetzi y huehuetl, zan +mocemana in maitl; auh quiniquac iyeinepantla occeppa itenco +hualcholoa in huehuetl; tel yehuatl itech mottaz, ynima ynaquin +cuicani quimati iniuh motzotzona; auh yancuican yenoceppa inin +cuicatl ychan D. Diego de Leon, Governador Azcapotzalco; yehuatl +oquitzotzon in D. Frco Placido ypan xihuitl 1551, ypan in +ezcalilitzin tl Jesu Christo.</p> + +<hr style="width: 50%;"> + +<p>This may be freely translated as follows:—</p> + +<hr style="width: 50%;"> + +<p>"Here begins a song called a plain song of Huexotzinco as it was +recited by the lords of Huexotzinco. These songs are divided into +three classes, the songs of the nobles or of the eagles, the flower +songs, and the songs of destitution. (Directions follow for beating +the drum in unison with the voices.) This song was sung at the house +of Don Diego de Leon, Governor of Azcapotzalco; he who beat the drum +was Don Francisco Placido; in the year of the resurrection of our +Lord Jesus Christ 1551."</p> + +<hr style="width: 50%;"> + +<p>This assigns beyond doubt the song in question to the first half of +the sixteenth century, and we may therefore take its phraseology as a +type of the Nahuatl poetry shortly after the Conquest. It is also +stated to be a native composition, and from its contents, it was +clearly composed by one of the converts to the Christian faith.</p> + +<a name="POEMS"></a><h2>ANCIENT NAHUATL POEMS.</h2> + +<center> +<table style="width: 80%"> + <tbody style="vertical-align: top"> + <tr> + <td><a name="I"></a><h3>I. <i>CUICAPEUHCAYOTL.</i></h3></td> + <td> <h3>I. <i>SONG AT THE BEGINNING.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Ninoyolnonotza, campa nicuiz yectli, ahuiaca xochitl:—Ac +nitlatlaniz? Manozo yehuatl nictlatlani in quetzal huitzitziltin, in +chalchiuh huitzitzicatzin; manozo ye nictlatlani in zaquan papalotl; +ca yehuantin in machiz, ommati, campa cueponi in yectli ahuiac +xochitl, tla nitlahuihuiltequi in nican acxoyatzinitzcanquauhtla, +manoze nitlahuihuiltequi in tlauhquecholxochiquauhtla; oncan +huihuitolihui ahuach tonameyotoc in oncan mocehcemelquixtia; azo +oncan niquimittaz intla onechittitique; nocuexanco nictemaz ic +niquintlapaloz in tepilhuan, ic niquimellelquixtiz in teteuctin.</blockquote> + </td> + <td> + <blockquote>1. I am wondering where I may gather some pretty, sweet flowers. Whom +shall I ask? Suppose that I ask the brilliant humming-bird, the +emerald trembler; suppose that I ask the yellow butterfly; they will +tell me, they know, where bloom the pretty, sweet flowers, whether I +may gather them here in the laurel woods where dwell the tzinitzcan +birds, or whether I may gather them in the flowery forests where the +tlauquechol lives. There they may be plucked sparkling with dew, +there they come forth in perfection. Perhaps there I shall see them +if they have appeared; I shall place them in the folds of my garment, +and with them I shall greet the children, I shall make glad the +nobles.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Tlacazo nican nemi, ye nicaqui in ixochicuicatzin yuhqui tepetl +quinnananquilia; tlacazo itlan in meyaquetzalatl, xiuhtotoameyalli, +oncan mocuica, momotla, mocuica; nananquilia in centzontlatolli; azo +quinnananquilia in coyoltototl, ayacachiçahuacatimani, in nepapan +tlazocuicani totome. Oncan quiyectenehua in tlalticpaque +hueltetozcatemique.</blockquote> + </td> + <td> + <blockquote>2. Truly as I walk along I hear the rocks as it were replying to the +sweet songs of the flowers; truly the glittering, chattering water +answers, the bird-green fountain, there it sings, it dashes forth, it +sings again; the mockingbird answers; perhaps the coyol bird answers, +and many sweet singing birds scatter their songs around like music. +They bless the earth pouring out their sweet voices.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Nic itoaya, nitlaocoltzatzia; ma namechellelti y tlazohuane, niman +cactimotlalique, niman hualtato in quetzal huitzitziltin. Aquin +tictemohua, cuicanitzine? Niman niquinnanquilia niquimilhuia: Campa +catqui in yectli, ahuiac xochitl ic niquimellelquixtiz in +amohuampotzitzinhuan? Niman onechicacahuatzque ca nican +tlatimitzittitili ticuicani azo nelli ic tiquimellelquixtiz in +toquichpohuan in teteuctin.</blockquote> + </td> + <td> + <blockquote>3. I said, I cried aloud, may I not cause you pain ye beloved ones, +who are seated to listen; may the brilliant humming-birds come soon. +Whom do we seek, O noble poet? I ask, I say: Where are the pretty, +fragrant flowers with which I may make glad you my noble compeers? +Soon they will sing to me, "Here we will make thee to see, thou +singer, truly wherewith thou shalt make glad the nobles, thy +companions."</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Tepeitic tonacatlalpa, xochitlalpa nechcalaquiqueo oncan on +ahuachtotonameyotimani, oncan niquittacaya in nepapan tlazoahuiac +xochitl, tlazohuelic xochitl ahuach quequentoc, +ayauhcozamalotonameyotimani, oncan nechilhuia, xixochitetequi, in +catlehuatl toconnequiz, ma mellelquiza in ticuicani, tiquinmacataciz +in tocnihuan in teteuctin in quellelquixtizque in tlalticpaque.</blockquote> + </td> + <td> + <blockquote>4. They led me within a valley to a fertile spot, a flowery spot, +where the dew spread out in glittering splendor, where I saw various +lovely fragrant flowers, lovely odorous flowers, clothed with the +dew, scattered around in rainbow glory, there they said to me, "Pluck +the flowers, whichever thou wishest, mayest thou the singer be glad, +and give them to thy friends, to the nobles, that they may rejoice on +the earth."</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Auh nicnocuecuexantia in nepapan ahuiacxochitl, in huel +teyolquima, in huel tetlamachti, nic itoaya manozo aca tohuanti hual +calaquini, ma cenca miec in ticmamani; auh ca tel ye onimatico +nitlanonotztahciz imixpan in tocnihuan nican mochipa +tiqualtetequizque in tlazo nepapan ahuiac xochitl ihuan ticuiquihui +in nepapan yectliyancuicatl ic tiquimellelquixtizque in tocnihuan in +tlalticpactlaca in tepilhuan quauhtliya ocelotl.</blockquote> + </td> + <td> + <blockquote>5. So I gathered in the folds of my garment the various fragrant +flowers, delicate scented, delicious, and I said, may some of our +people enter here, may very many of us be here; and I thought I +should go forth to announce to our friends that here all of us should +rejoice in the different lovely, odorous flowers, and that we should +cull the various sweet songs with which we might rejoice our friends +here on earth, and the nobles in their grandeur and dignity.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Ca moch nicuitoya in nicuicani ic niquimicpac xochiti in tepilhuan +inic niquimapan in can in mac niquinten; niman niquehuaya yectli +yacuicatl ic netimalolo in tepilhuan ixpan in tloque in nahuaque, auh +in atley y maceuallo.</blockquote> + </td> + <td> + <blockquote>6. So I the singer gathered all the flowers to place them upon the +nobles, to clothe them and put them in their hands; and soon I lifted +my voice in a worthy song glorifying the nobles before the face of +the Cause of All, where there is no servitude.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Can quicuiz? Can quitlaz in huelic xochitl? Auh cuix nohuan aciz +aya in xochitlalpan, in tonacatlalpan, in atley y macehuallo in +nentlamati? Intla y tlacohua in tlalticpac ca çan quitemacehualtica +in tloque in nahuaque, in tlalticpac; ye nican ic chocan noyollo +noconilnamiquia in ompa onitlachiato y xochitlalpana nicuicani.</blockquote> + </td> + <td> + <blockquote>7. Where shall one pluck them? Where gather the sweet flowers? And +how shall I attain that flowery land, that fertile land, where there +is no servitude, nor affliction? If one purchases it here on earth, +it is only through submission to the Cause of All; here on earth +grief fills my soul as I recall where I the singer saw the flowery +spot.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Auh nic itoaya tlacazo amo qualcan in tlalticpac ye nican, tlacazo +occecni in huilohuayan, in oncan ca in netlamachtilli; tlezannen in +tlalticpac? tlacazo occecni yoliliz ximoayan, ma ompa niauh, ma ompa +inhuan noncuicati in nepapan tlazototome, ma ompa nicnotlamachti +yectliya xochitl ahuiaca xochitl, in teyolquima, in zan tepacca, +teahuiaca yhuintia, in zan tepacca, ahuiaca yhuintia.</blockquote> + </td> + <td> + <blockquote>8. And I said, truly there is no good spot here on earth, truly in +some other bourne there is gladness; For what good is this earth? +Truly there is another life in the hereafter. There may I go, there +the sweet birds sing, there may I learn to know those good flowers, +those sweet flowers, those delicious ones, which alone pleasurably, +sweetly intoxicate, which alone pleasurably, sweetly intoxicate.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_I">Notes for Song I</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="II"></a><h3>II. <i>XOPANCUICATL, OTONCUICATL, TLAMELAUHCAYOTL.</i></h3></td> + <td> <h3>II. <i>A SPRING SONG, AN OTOMI SONG, A PLAIN SONG.</i></h3> + </td> + </tr> + <tr> + <td> + <blockquote>1. Onihualcalac nicuicani nepapan xochitlalpan, huel +teellelquixtican, tetlamachtican, oncan ahuach tonameyoquiauhtimani, +oncan cuicuica in nepapan tlazototome, on cuicatlaza in coyoltototl +cahuantimani inin tozquitzin in quellelquixtia in tloque in nahuaque +yehuan Dios, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>1. I, the singer, have entered many flower gardens, places of +pleasaunce, favored spots, where the dew spread out its glittering +surface, where sang various lovely birds, where the coyol birds let +fall their song, and spreading far around, their voices rejoiced the +Cause of All, He who is God, ohuaya! ohuaya!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Oncan nicaqui in cuicanelhuayotl in nicuicani, tlacazo amo +tlalticpac in peuh yectli yancuicatl, tlacazo ompa in ilhuicatl itic +hual caquizti in conehua in tlazocoyoltototl in quimehuilia in +nepapan teoquecholme zacuantototl, oncan tlacazo quiyectenehua in +tloque in nahuaque, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>2. It is there that I the singer hear the very essence of song; +certainly not on earth has true poesy its birth; certainly it is +within the heavens that one hears the lovely coyol bird lift its +voice, that the various quechol and zacuan birds speak together, +there they certainly praise the Cause of All, ohuaya! ohuaya!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Niyolpoxahua in nicaquia ni cuicani, acoquiza in notlalnamiquilizo +quin pepetlatiquiza in ilhuicame, nelcicihuiliz ehecayotiuh in +iquinalquixtia in ompa ontlatenehua in zacuanhuitzitzil in ilhuicatl +itic, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>3. I, the singer, labor in spirit with what I heard, that it may lift +up my memory, that it may go forth to those shining heavens, that my +sighs may be borne on the wind and be permitted to enter where the +yellow humming bird chants its praises in the heavens, ohuaya! +ohuaya!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Auh nohuiampa nictlachialtia in noyollo auh tlacazo nelli in amo +ixquich quehua in tlazotototl, tlacazo ye oc tlapanahuia in ilhuicatl +itic y yollo in tloque in nahuaque mochiuhtica, ca intlacamo +teuhyotiuh in notlalnamiquiliz azo huelquinalquixtica ittazo in +tlamahuizolli in ilhuicac ic papaqui in ilhuicac tlazototome ixpan in +tloque nahuaque, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>4. And as in my thoughts I gaze around, truly no such sweet bird +lifts its voice, truly the things made for the heavens by the Cause +of All surpass all others, and unless my memory tends to things +divine scarcely will it be possible to penetrate these and witness +the wondrous sights in heaven, which rejoice the sweet heavenly birds +before the face of the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Quenin ah nichocaz in tlalticpac? ye nican onca nemoayá +ninoztlacahuia, nicitoa aço zan ye ixquich in nican in tlalticpac +ontlamian toyolia, macuele ehuatl in tloque in nahuaque, ma ompa +inhuan nimitznocuicatili in ilhuicac mochanecahuan ca noyollo ehua +ompa nontlachia in monahuac in motloc tipalnemohua, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>5. How much, alas, shall I weep on earth? Truly I have lived here in +vain illusion; I say that whatever is here on earth must end with our +lives. May I be permitted to sing to thee, the Cause of All, there in +the heaven, a dweller in thy mansion, there may my soul lift its +voice and be seen with Thee and near Thee, Thou by whom we live, +ohuaya! ohuaya!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Ma xicaquin nocuic in tinocniuh xochihuehuetl inic tzotzonaya +ilhuicacuicatl in nicchuaya, ic niquimellelquixtia in teteucti, +xochicueponi in noyollo izqui xochitl nictzetzelohuaya ic malitiuh in +no cuicatzin ixpan in tloque in nahuaque, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>6. List to my song, thou my friend, and to the flower-decked drum +which kept time to the heavenly song which I sang, that I might make +glad the nobles, raining down before them the flowery thoughts of my +heart as though they were flowers, that my noble song might grow in +glory before the face of the Cause of All, ohuaya! ohuaya!</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_II">Notes for Song II</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="III"></a><h3>III. <i>OCCE AL MISMO TONO TLAMELAUHCAYOTL.</i></h3></td> + <td> <h3>III. <i>ANOTHER PLAIN SONG, TO THE SAME TUNE.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Xochicalco nihualcalaquia in nicuicani, oncan icac in +chalchiuhuehuetl, oncan chialon ipalnemohuani in teteuctin xochitl +tzetzeliuhtimani, tolquatectitla, xoyacaltitlan, onahuiaxtimani in +xochicopal tlenamactli huel teyolquima, cahuia ca ihuintia in toyollo +ixpan in tloque in nahuaque.</blockquote> + </td> + <td> + <blockquote>1. I, the singer, entered into the house strewn with flowers, where +stood upright the emerald drum, where awaiting the Giver of Life the +nobles strewed flowers around, the place where the head is bowed for +lustration, the house of corrupt odors, where the burning fragrant +incense spreads and penetrates, intoxicating our souls in the +presence of the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ic motomá tocuic xochiahuia ca ihuinti in toyollo? Aoc ticmati +inic nepapan xochicuicatl ic ticcecemeltia in tloque nahuaque quen +ahtontlaelehuian; tinocniuh ma nohuehuetitlan ximoquetzaya nepapan +xochitl ic ximopanaya chalchiuh ocoxochitl mocpac xicmanaya +xicehuayan yectli yancuicatl ic melelquixtia in tloque in nahuaque.</blockquote> + </td> + <td> + <blockquote>2. Where shall we obtain the fragrance which intoxicates our souls? +We do not yet know the various flower-songs with which we may rejoice +the Cause of All, however desirous we are; thou my friend, would that +thou bring to my instrument various flowers, that thou shouldst +clothe it in brilliant oco flowers, that thou shouldst offer them, +and lift thy voice in a new and worthy song to rejoice the Cause of +All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Tleymach tiquilnamiquia can mach in nemian moyollo ic timoyol +cecenmanaya ahuicpa tichuica timoyol popoloaya in tlalticpac? Ca mach +titlatiuh xihualmocuepaya xiccaquin yectli yancuicatl ximoyolciahuaya +xochiaticaya onahuiaxtimani oncan nicehuaya in yectli yancuicatl +nicuicani ic nicellelquixtia in tloque in nahuaque.</blockquote> + </td> + <td> + <blockquote>3. Wherefore should we recall while the soul is in life that our +souls must be scattered hither and thither, and that wherever we go +we are to be destroyed on earth? Rather let us hide it, turn from it, +and listen to some worthy new song; delight thy soul with the +pervading fragrance of flowers, as I the singer lift my voice in a +new song that I may rejoice the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Xihuallachian tinocniuh in oncan icayan xochihuehuetl tonameyo +ontotonauhtimani quetzal ecacehuazticaya on xopaleuhtimani in oncan +ic chialo ic malhuilo inipetl in icpal in tloque in nahuaque; xic +cahuaya in mixtecomatla xihualmocuepaya tohuan, xic ehua in +yancuicatl nicuicani ic niquellelquixtia in tloque in tlaneciz inic +moyollo caltitlan.</blockquote> + </td> + <td> + <blockquote>4. Come hither, thou my friend, to where stands the drum, decked with +flowers, gleaming with brightness, green with the outspread plumes of +the quetzal bird, where are looked for and cared for the seats near +the Cause of All; leave the place of night and clouds, turn hither +with us, lift thy voice in the new song I sing so that I may rejoice +the Cause of All, as the dawn approaches in the house of thy heart.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Tleçannen in nicyocoya in nitlaocolcuica inic niquimilnamiqui in +tepilhuan, in tlazomaquiztin, in tlazoteoxiuhme, in quetzaltotome, in +moteyotico, in motleyotico in tlalticpac? in ocnoma caquizti inin +tenyo, inin cahuanca, campa neltiazque? Ca zan titlacatico ca ompa +huel tochan in canin ximoayan inocapa in yolihuayan aic tlamian.</blockquote> + </td> + <td> + <blockquote>5. Of what use is it that I frame my sad songs, that I recall to mind +the youths, the beloved children, the precious relatives, the dear +friends, famous and celebrated as they were on earth? Who now hears +their fame, their deeds? Where can they find them? All of us are but +mortal, and our home is there in the Hereafter, where there is life +without end.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_III">Notes for Song III</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="IV"></a><h3>IV. <i>MEXICA OTONCUICATL.</i></h3></td> + <td> <h3>IV. <i>AN OTOMI SONG OF THE MEXICANS.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Nicchalchiuhtonameyopetlahuaya, nictzinitzcanihuicaloaya, +niquilnamiquia nelhuayocuicatla, nic zacuanhuipanaya yectli +yancuicatl nicuicani, nicchalchiuhtlazonenelo ic nichualnextia in +xochicueponallotl ic nicellelquixtia in tloque in nahuaque.</blockquote> + </td> + <td> + <blockquote>1. I, the singer, polished my noble new song like a shining emerald, +I arranged it like the voice of the tzinitzcan bird, I called to mind +the essence of poetry, I set it in order like the chant of the zacuan +bird, I mingled it with the beauty of the emerald, that I might make +it appear like a rose bursting its bud, so that I might rejoice the +Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Zacuantlazoihuiticaya tzinitzcan tlauquechol ic nicyaimatia, +nocuicatzin teocuitlatzitzilini nocuic nitoz; miahuatototl nocuica +cahuantimania, nicehuaya xochitzetzelolpá ixpan in tloque nahuaque.</blockquote> + </td> + <td> + <blockquote>2. I skillfully arranged my song like the lovely feathers of the +zacuan bird, the tzinitzcan and the quechol; I shall speak forth my +song like the tinkling of golden bells; my song is that which the +miaua bird pours forth around him; I lifted my voice and rained down +flowers of speech before the face of the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Qualli cuicanelhuayotlo, teocuitlaquiquizcopa nicehuaya, ilhuicac +cuicatlo nictenquixtia, nitoz miahuatototl, chalciuhtonameyotica, +niccueponaltia yectli yancuicatlo, nicehuaya xochitlenamaquilizticaya +ic nitlaahuialia nicuicani ixpan in tloque nahuaque.</blockquote> + </td> + <td> + <blockquote>3. In the true spirit of song I lifted my voice through a trumpet of +gold, I let fall from my lips a celestial song, I shall speak notes +precious and brilliant as those of the miaua bird, I shall cause to +blossom out a noble new song, I lifted my voice like the burning +incense of flowers, so that I the singer might cause joy before the +face of the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Teoquecholme nechnananquilia in nicuicani coyolicahuacaya yectli +yacuicatlan, cozcapetlaticaya chachalchiuhquetzalitztonameyo +xopaleuhtimania xopan xochicuiatl onilhuica ahuiaxtimanio, +xochiahuachtitlan nihualcuicaya nicuicani.</blockquote> + </td> + <td> + <blockquote>4. The divine quechol bird answers me as I, the singer, sing, like +the coyol bird, a noble new song, polished like a jewel, a turquoise, +a shining emerald, darting green rays, a flower song of spring, +spreading celestial fragrance, fresh with the dews of roses, thus +have I the poet sung.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Nictlapalimatia nicxoxochineloaya yectli yancuicatlan +cozcapetlaticaya, etc.</blockquote> + </td> + <td> + <blockquote>5. I colored with skill, I mingled choice roses in a noble new song, +polished like a jewel, etc. (as in v. 4).</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Nocontimaloaya nocontlamachtiao xochiteyolquima cuicatlan +poyomapoctli ic ye ahuian ye noyollo, nihualyolcuecuechahuaya, +nicinecuia ahuiaca, xocomiqui in noyolia, nicinecuia yectliya +xochitla netlamachtiloyan, xochi ye ihuinti noyolia.</blockquote> + </td> + <td> + <blockquote>6. I was glorified, I was enriched, by the flower-sweet song as by +the smoke of the poyomatl, my soul was contented, I trembled in +spirit, I inhaled the sweetness, my soul was intoxicated, I inhaled +the fragrance of delicious flowers in the place of riches, my soul +was drunken with the flowers.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_IV">Notes for Song IV</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="V"></a><h3>V. <i>OTRO MEXICA TLAMELAUHCACUICAYOTL.</i></h3></td> + <td> <h3>V. <i>ANOTHER PLAIN SONG OF THE MEXICANS.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Zanio in xochitl tonequimilol, zanio in cuicatl ic huehuetzi in +tellel in Dios ye mochan.</blockquote> + </td> + <td> + <blockquote>1. I alone will clothe thee with flowers, mine alone is the song +which casts down our grief before God in thy house.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. In mach noca ompolihuiz in cohuayotl mach noca in icniuhyotl in +ononoya in ye ichan; ye nio Yoyontzin on cuicatillano ye +ipalnemohuani.</blockquote> + </td> + <td> + <blockquote>2. True it is that my possessions shall perish, my friendships, their +home and their house; thus I, O Yoyontzin, pour forth songs to the +Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Ma xiuhquechol xochi, zan in tzinitzcan malintoca zan miqui huaqui +xochitl zan ic tonmoquimiloa can titlatoani ya ti Nezahualcoyotl.</blockquote> + </td> + <td> + <blockquote>3. Let the green quechol birds, let the tzinitzcan twine flowers for +us, only dying and withered flowers, that we may clothe thee with +flowers, thou ruler, thou Nezahualcoyotl.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Ma yan moyoliuh quimati in antepilhuan in anquauhtin amo celo ca +mochipan titocnihuan, zancuel achic nican timochitonyazque o ye +ichano.</blockquote> + </td> + <td> + <blockquote>4. Ye youths and ye braves, skilled in wisdom, may you alone be our +friends, while for a moment here we shall enjoy this house.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Ca ye ompolihuiz in moteyo Nopiltzin, ti Tezozomoctli áca cá ye in +mocuica? aye a nihualchocao ca nihualicnotlamatica notia ye ichan.</blockquote> + </td> + <td> + <blockquote>5. For thy fame shall perish, Nopiltzin, and thou, Tezozomoc, where +are thy songs? No more do I cry aloud, but rest tranquil that ye have +gone to your homes.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. An ca nihuallaocoya onicnotlamati ayo quico, ayoc quemanian, +namech aitlaquiuh in tlalticpac y icanontia ye ichan.</blockquote> + </td> + <td> + <blockquote>6. Ye whom I bewailed, I know nevermore, never again; I am sad here +on earth that ye have gone to your homes.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_V">Notes for Song V</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="VI"></a><h3>VI. <i>OTRO CHALCAYOTL, CANTO DE TETLEPAN QUETZANITZIN.</i></h3></td> + <td> <h3>VI. <i>ANOTHER CHALCO-SONG, A POEM OF TETLEPAN QUETZANITZIN.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Aua nocnihue ninentlamatia zan ninochoquilia in monahuac aya +yehuan Dios, quexquich onmitzicnotlamachtia momacehual cemamanahuac +ontonitlanililo in ic tontlahuica tontecemilhuitiltia in tlalticpac.</blockquote> + </td> + <td> + <blockquote>1. Alas, my friend, I was afflicted, I cried aloud on thy account to +God. How much compassion hast thou for thy servant in this world sent +here by thee to be thy subject for the space of a day on this earth!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Macazo tleon xoconyoyocoya ti noyollo, yehua cuix ic nepohualoyan +in oncan nemohua yehua, in atle tlahuelli in antecocolia huel on +yecnemiz in tlalticpac.</blockquote> + </td> + <td> + <blockquote>2. However that may be, mayst thou so dispose my heart, that it may +pass through this place of reckoning, without anger, without injury, +and live a good life on earth.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. In quimati noyollo nichoca yehua huel eza ye nelli in titicnihuan, +huellenelli nemoa in tlalticpac in tonicniuh tlatzihuiz yehuan Dios.</blockquote> + </td> + <td> + <blockquote>3. My heart knows how truly I weep for my friend, how truly as it +lives on earth it cries aloud for thee, my friend, to God.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Xontlachayan huitztlampayan, iquizayan in tonatiuh, +ximoyollehuayan oncan manian teoatl tlachinolli, oncan mocuica in +teucyotl in tlatocayotl yectliya xochitl in amo zannen mocuia, in +quetzallalpilo niaya macquauhtica, chimaltica neicaloloyan in +tlalticpac ic momacehuaya in yectliya xochitl in tiquelehuia in +ticnequia in tinocniuh in quitemacehualtia in quitenemactia in tloque +in nahuaque.</blockquote> + </td> + <td> + <blockquote>4. Let thy soul awake and turn toward the south, toward the rising of +the sun, rouse thy heart that it turn toward the field of battle, +there let it win power and fame, the noble flowers which it will not +grasp in vain; adorned with a frontlet of quetzal feathers I went +forth armed with sword and shield to the battlefield on earth, that I +might merit these noble flowers with which we may rejoice as we wish +our friends, as the Cause of All may reward and grant to us.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Nentiquelehuia in tictemoaya in tinocniuh yectliya xochitl can +ticuiz intlacamo ximicaliya, melchiquiuhticaya, mitonalticaya +ticmacehuaya in yectliyaxochitla, yaochoquiztli ixayoticaya in +quitemacehualtica in tloque in nahuaque.</blockquote> + </td> + <td> + <blockquote>5. Vainly, O friends, do we desire and seek where we may cull those +noble flowers unless we fight with bared breasts, with the sweat of +the brow, meriting these noble flowers, in bitter and painful war, +for which the Cause of All will give reward.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_VI">Notes for Song VI</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="VII"></a><h3>VII. <i>OTRO.</i></h3></td> + <td> <h3>VII. <i>ANOTHER.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Tleinmach oamaxque on in antocnihuan in an Chiapaneca Otomi, +omachamelelacic: in ic oamihuintiqueo octicatl in oanquique ic +oamihuintique, xicualcuican, in amo ma in anhuehuetztoqueo, +ximozcalicano in antocnihuan nipatiazque in tochano, xopantlalpan ye +nican, ma quiza in amihuintiliz, on xitlachiacano ohuican ye +anmaquia, O!</blockquote> + </td> + <td> + <blockquote>1. What have you done, O you our friends, you Chiapanecs and Otomis, +why have you grieved, that you were drunken with the wine which you +took, that you were drunken? Come hither and sing: do not lie +stretched out; arise, O friends, let us go to our houses here in this +land of spring; come forth from your drunkenness, see in what a +difficult place you must take it.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ca yeppa yuhqui in tizaoctli in tlalticpac, quitemacao ohuican ic +tecalaquiao teoatl tlachinolli quitoao texaxamatzao teopopoloao on +canin xaxamanio in tlazochalchihiuitl, in teoxihuitl, in maquiztli +tlazotetl in tepilhuan in coninio in xochitizaoctlio cuel can in +antocnihuan in tonicahuacao.</blockquote> + </td> + <td> + <blockquote>2. For formerly it was so on earth that the white wine was taken in +difficult places, as on entering the battlefield, or, as it was said, +where the stones were broken and destroyed, where were broken into +fragments the lovely emeralds, the turquoises, the honored precious +stones, the youths, the children; therefore take the flowery white +wine, O friends and brothers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Ma ye ticiti in xochitlalpan in tochan xochitlalticpacilhuicacpaco +in huel ic xochiamemeyallotl on ahuiaxtimani, teyolquima yoliliz +ahuach xochitl in tochan in Chiappan, oncan timalolo in teucyotl in +tlatocayotl in chimalxochitl oncuepontimani tonacatlalpan.</blockquote> + </td> + <td> + <blockquote>3. Let us drink it in the flowery land, in our dwelling surrounded by +the flowery earth and sky, where the fountains of the flowers send +their sweetness abroad; the delicious breath of the dewy flowers is +in our homes in Chiapas; there nobility and power make them glorious, +and the war-flowers bloom over a fertile land.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Quemach in amo antlacaquio in antocnihuan tohuian tohuiano +xicahuacano, in tizaoctlio teoatlachinoloctli; ma ye ticiti in ompa +tinectilo in tochan xochiahuachoctli, zan ic ahuiaca ihuinti in +toyollo, tetlamachtio teyolquimao tixochiachichinatihui +netlamachtiloyan in toquizayan xochitlalpan tonacatlalpan: tlemach +oamaxqueo? xichualcaquican in tocuic in tamocnihuan, etc.</blockquote> + </td> + <td> + <blockquote>4. Is it possible, oh friends, that you do not hear us? Let us go, +let us go, let us pour forth the white wine, the wine of battle; let +us drink where the wine sweet as the dew of roses is set forth in our +houses, let our souls be intoxicated with its sweetness; enriched, +steeped in delight, we shall soak up the water of the flowers in the +place of riches, going forth to a land of flowers, a fertile spot. +What have you done? Come hither and listen to our songs, O friends.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_VII">Notes for Song VII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="VIII"></a><h3>VIII. <i>OTRO, QUEUH CE TLATOHUANI IN QUIMILNAMIQUI IN TLATOQUE.</i></h3></td> + <td> <h3>VIII. <i>COMPOSED BY A CERTAIN RULER IN MEMORY OF FORMER RULERS.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Tlaocolxochi ixayoticaya ic nichuipana in nocuic nicuicani, +niquimilnamiqui in tepilhuan, in teintoque, in tlaçotitoque in campa +in ximohuaya, in oteuctico, in otlatocatico in tlallia icpac, in +quetzalhuahuaciuhtoque in chalchiuhteintoque in tepilhuan, in maoc +imixpan in maoc oquitlani; in ye itto in tlalticpac iximachoca in +tloque in nahuaque.</blockquote> + </td> + <td> + <blockquote>1. Weeping, I, the singer, weave my song of flowers of sadness; I +call to memory the youths, the shards, the fragments, gone to the +land of the dead; once noble and powerful here on earth, the youths +were dried up like feathers, were split into fragments like an +emerald, before the face and in the sight of those who saw them on +earth, and with the knowledge of the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Y yo ya hue nitlaocolcuicaya in niquimilnamiqui in tepilhuan, ma +zan itla ninocuepa, ma niquimonana, ma niquinhualquixti in ompa in +ximoayan, ma oc oppa tihua in tlalticpac, ma oc quimahuizoqui in +tepilhuan in ticmahuizoa, azo huel yehuantin tlatlazomahuizozquia in +ipalnemohualoni, quemmach tomazehual in tlazaniuh ticmatican in +ticnopillahueliloque ic choca in noyollo nino tlalnamiquiliz huipana +in nicuicani choquiztica tlaocoltica nitlalnamiquia.</blockquote> + </td> + <td> + <blockquote>2. Alas! alas! I sing in grief as I recall the children. Would that I +could turn back again; would that I could grasp their hands once +more; would that I could call them forth from the land of the dead; +would that we could bring them again on earth, that they might +rejoice and we rejoice, and that they might rejoice and delight the +Giver of Life; is it possible that we His servants should reject him +or should be ungrateful? Thus I weep in my heart as I, the singer, +review my memories, recalling things sad and grievous.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Manozo zan nicmati in nechcaquizque intla itla yectli cuicatl +niquimehuili in ompa ximohuayan, ma ic niquipapacti, ma ic +niquimacotlaza inin tonez inin chichinaquiliz in tepilhuan. Cuix on +machiaz? Quennel nihualnellaquahua? Aquen manian ompa niquimontocaz? +Ano niquin nonotztaciz in ye yuh quin in tlalticpac.</blockquote> + </td> + <td> + <blockquote>3. Would only that I knew they could hear me, there in the land of +the dead, were I to sing some worthy song. Would that I could gladden +them, that I could console the suffering and the torment of the +children. How can it be learned? Whence can I draw the inspiration? +They are not where I may follow them; neither can I reach them with +my calling as one here on earth.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_VIII">Notes for Song VIII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="IX"></a><h3>IX. <i>OTRO TLAOCOLCUICA OTOMITL.</i></h3></td> + <td> <h3>IX. <i>AN OTOMI SONG OF SADNESS.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. In titloque in tinahuaque nimitzontlaocolnonotzaya, nelcicihuiliz +mixpantzinco noconiyahuaya, ninentlamati in tlalticpac ye nican +nitlatematia, ninotolinia, in ayc onotechacic in pactli, in +necuiltonolli ye nican; tlezannen naicoyc amo y mochiuhyan, tlacazo +atle nican xotlacueponi in nentlamachtillia, tlacazo zan ihuian in +motloc in monahuac; Macuelehuatl ma xicmonequilti ma monahuactzinco +oc ehuiti in noyolia, ninixayohuatzaz in motloc monahuac +tipalnemohuani.</blockquote> + </td> + <td> + <blockquote>1. To thee, the Cause of All, to thee I cried out in sadness, my +sighs rose up before thy face; I am afflicted here on earth, I +suffer, I am wretched, never has joy been my lot, never good fortune; +my labor has been of no avail, certainly nothing here lessens one's +suffering; truly only to be with thee, near thee; may it be thy will +that my soul shall rise to thee, may I pour out my tears to thee, +before thee, O thou Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Quemachamiqueo in motimalotinemi co y in tlalticpac in ayac +contenmatio in atlamachilizneque o tlacazo can moztla cahuia on in +ămitztenmati in titloque in tinahuaque inic momatio ca mochipa +tlalticpac, nemizqueo ninotlamatli motlaliao niquimittao, tlacazo +mixitl tlapatl oquiqueo ic nihualnelaquahua in ninotolinia o tlacazo +ompa in ximohuayan neittotiuh o, cazo tiquenamiqueo quiniquac ye +pachihuiz ye teyolloa.</blockquote> + </td> + <td> + <blockquote>2. Happy are those who walk in thy favor here on earth, who never +neglect to offer up praise, nor, leaving till to-morrow, neglect +thee, thou Cause of All, that thou mayest be known in all the earth; +I know that they shall live, I see that they are established, +certainly they have drunk to forgetfulness while I am miserable, +certainly I shall go to see the land of the dead, certainly we shall +meet where all souls are contented.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Ma cayac quen quichihuaya in iyollo in tlalticpac ye nican in +titlaocaxtinemi in tichocatinemia, ca zacuel achic ontlaniizoo, +tlacazo zan tontlatocatihuio in yuho otlatocatque tepilhuan, ma ic +ximixcuiti in tinocniuh in atonahuia in atihuelamati in tlalticpac o; +ma oc ye ximăpana in tlaocolxochitl, choquizxochitl, xoyocatimalo +o xochielcicihuiliztlio in ihuicpa toconiyahuazon in tloque in +nahuaque.</blockquote> + </td> + <td> + <blockquote>3. Never were any troubled in spirit on the earth who appealed to +thee, who cried to thee, only for an instant were they cast down, +truly thou caused them to rule as they ruled before: Take as an +example on earth, O friend, the fever-stricken patient; clothe +thyself in the flowers of sadness, in the flowers of weeping, give +praises in flowers of sighs that may carry you toward the Cause of +All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Ica ye ninapanao tlaocolxochicozcatlon, nomac ommanian +elcicihuilizchimà lxochitlon, nic ehuaya in tlaocolcuicatloo, +nicchalchiuhcocahuicomana yectli yancuicatl, nic ahuachxochilacatzoa, +yn o chalchiuhuehueuhilhuitl, itech nictlaxilotia in nocuicatzin in +nicuicani ye niquincuilia in ilhuicac chanequeo zacuantototl, +quetzaltzinitzcantototl teoquechol inon tlătoa quechol in qui +cecemeltia in tloque, etc.</blockquote> + </td> + <td> + <blockquote>4. I array myself with the jewels of saddest flowers; in my hands are +the weeping flowers of war; I lift my voice in sad songs; I offer a +new and worthy song which is beautiful and melodious; I weave songs +fresh as the dew of flowers; on my drum decked with precious stones +and plumes I, the singer, keep time to my song, as I take it from +those dwellers in the heavens, the zacuan bird, the beautiful +tzinitzcan, the divine quechol, those melodious birds who give joy to +the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_IX">Notes for Song IX</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="X"></a><h3>X. <i>MEXICA XOPANCUICATL TLAMELAUHCAYOTL.</i></h3></td> + <td> <h3>X. <i>A SPRING SONG OF THE MEXICANS, A PLAIN SONG.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Tlaocoya in noyollo nicuicanitl nicnotlamatia, yehua za yey +xochitl y zan ye in cuicatlin, ica nitlacocoa in tlalticpac ye nican, +ma nequitocan intech cocolia intech miquitlani moch ompa onyazque +cano y ichan, ohuaya.</blockquote> + </td> + <td> + <blockquote>1. My heart grieved, I, the singer, was afflicted, that these are the +only flowers, the only songs which I can procure here on earth; see +how they speak of sickness and of death, how all go there to their +homes, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. I inquemanian in otonciahuic, in otontlatzihuic tocon ynayaz in +momahuizco in motenyo in tlalticpac, ma nenquitocane, ohuaya, etc.</blockquote> + </td> + <td> + <blockquote>2. Sometimes thou hast toiled and acquired skill, thou takest refuge +in thy fame and renown on earth; but see how vain they speak, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Inin azan oc huelnemohuan in tlalticpac mazano ihuian yehuan Dios +quiniquac onnetemoloa in tiaque in canin ye ichan, ohuaya.</blockquote> + </td> + <td> + <blockquote>3. As many as live on earth, truly they go to God when they descend +to the place where are their homes, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Hu inin titotolinia ma yuhquitimiquican ma omochiuh in mantech +onittocan in tocnihuan in matech onahuacan in quauhtin y a ocelotl.</blockquote> + </td> + <td> + <blockquote>4. Alas, we miserable ones, may it happen when we die that we may see +our friends, that we may be with them in grandeur and strength.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Mazo quiyocoli macaoc xictemachican, can antlahuicaya y caya +amechmotlatili in ipalnemohuani, ohuaya.</blockquote> + </td> + <td> + <blockquote>5. Although He is the Creator, do not hope that the Giver of Life has +sent you and has established you.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Ay ya yo xicnotlamatican Tezcacoacatl, Atecpanecatl mach nel +amihuihuinti in cozcatl in chalchihuitli, ma ye anmonecti, ma ye +antlaneltocati.</blockquote> + </td> + <td> + <blockquote>6. Be ye grieved, ye of Tezcuco and Atecpan, that ye are intoxicated +with gems and precious stones; come forth to the light, come and +believe.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_X">Notes for Song X</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XI"></a><h3>XI. <i>OTRO.</i></h3></td> + <td> <h3>XI. <i>ANOTHER.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Nicchocaehua, nicnotlamati, nicelnamiqui ticauhtehuazque yectliya +xochitl yectli yancuicatl; ma octonahuiacan, ma oc toncuicacan cen +tiyahui tipolihui ye ichan, etc.</blockquote> + </td> + <td> + <blockquote>1. I lift my voice in wailing, I am afflicted, as I remember that we +must leave the beautiful flowers, the noble songs; let us enjoy +ourselves for a while, let us sing, for we must depart forever, we +are to be destroyed in our dwelling place.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Achtleon ah yuhquimati in tocnihuan cocoya in noyollo qualani +yehua ay oppan in tlacatihua ye ay oppa piltihuaye yece yequi +xoantlalticpac.</blockquote> + </td> + <td> + <blockquote>2. Is it indeed known to our friends how it pains and angers me that +never again can they be born, never again be young on this earth?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Oc achintzinca y tetloc ye nican tenahuacan aic yezco on aic +nahuiaz aic nihuelamatiz.</blockquote> + </td> + <td> + <blockquote>3. Yet a little while with them here, then nevermore shall I be with +them, nevermore enjoy them, nevermore know them.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. In can on nemian noyollo yehua? Can huel ye nochan? Can huel +nocallamanian? Ninotolinia tlalticpac.</blockquote> + </td> + <td> + <blockquote>4. Where shall my soul dwell? Where is my home? Where shall be my +house? I am miserable on earth.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Zan ye tocontemaca ye tocontotoma in mochalchiuh, ye on +quetzalmalintoc, zacuan icpac xochitl, za yan tiquinmacayan tepilhuan +O.</blockquote> + </td> + <td> + <blockquote>5. We take, we unwind the jewels, the blue flowers are woven over the +yellow ones, that we may give them to the children.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. In nepapan xochitl conquimilo, conihuiti ye noyollo niman +nichocaya ixpan niauh in tonan.</blockquote> + </td> + <td> + <blockquote>6. Let my soul be draped in various flowers; let it be intoxicated by +them, for soon must I weeping go before the face of our mother.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Zan nocolhuia: ipalnemohua ma ca ximozoma, ma ca ximonenequin +tlalticpac, mazo tehuantin motloc tinemican y, zan ca ye moch ana +ilhuicatlitica.</blockquote> + </td> + <td> + <blockquote>7. This only do I ask:—Thou Giver of Life, be not angry, be not +severe on earth, let us live with thee on earth, take us to the +Heavens.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Azo tle nello nicyaitohua nican ipalnemohua, zan tontemiqui y, zan +toncochitlehuaco, nicitoa in tlalticpac ye ayac huel tontiquilhuia ye +nicana.</blockquote> + </td> + <td> + <blockquote>8. But what can I speak truly here of the Giver of Life? We only +dream, we are plunged in sleep; I speak here on earth; but never can +we speak in worthy terms here.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>9. In manel ye chalchihuitl, mantlamatilolli, on aya mazo ya +ipalnemohuani ayac hueltic ilhuia nicana.</blockquote> + </td> + <td> + <blockquote>9. Although it may be jewels and precious ointments (of speech), yet +of the Giver of Life, one can never here speak in worthy terms.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XI">Notes for Song XI</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XII"></a><h3>XII. <i>XOPANCUICATL NENONOTZALCUICATL IPAMPA IN AQUIQUE AMO ON MIXTILIA IN YAOC.</i></h3></td> + <td> <h3>XII. <i>A SPRING SONG, A SONG OF EXHORTATION, BECAUSE CERTAIN ONES DID NOT GO TO THE WAR.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Nictzotzonan nohuehueuh nicuicatlamatquetl ic niquimonixitia ic +niquimitlehua in tocnihuan in atle in yollo quimati in aic tlathui +ipan inin yollo yaocochmictoque in inpan motimaloa in +mixtecomatlayohualli anen niquito huay motolinia y, maquicaqui qui y +xochitlathuicacuicatl occeh tzetzeuhtimania huehuetitlana, ohuaya, +ohuai.</blockquote> + </td> + <td> + <blockquote>1. I strike on my drum, I the skillful singer, that I may arouse, +that I may fire our friends, who think of nothing, to whose minds +plunged in sleep the dawn has not appeared, over whom are yet spread +the dark clouds of night; may I not call in vain and poorly, may they +hear this song of the rosy dawn, poured abroad widely by the drum, +ohe! ohe!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Tlahuizcalteochitla oncuepontimani in ixochiquiyaopan in tloque in +nahuaque, onahuachtotonameyotimani in teyolquima; ma xiqualitacan in +atle ipan ontlatao, zannen cuepontimanio ayac mahaca quelehuiao in +antocnihuan amo zannen ya xochitl yoliliztlapalneucxochitla e.</blockquote> + </td> + <td> + <blockquote>2. The divine flowers of dawn blossom forth, the war flowers of the +Cause of All; glittering with dew they scatter abroad their +fragrance; bring them hither that they be not hidden nor bloom in +vain, that they may rejoice you our friends, and not in vain shall be +the flowers, the living, colored, brilliant flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Quiyolcaihuintiaya in teyolia, zan oncan ye omania, zan oncan ye +oncuepontimania quauhtepetitlan in ya hualiuhcancopa y +ixtlahuatlitica oncan inemaya oc teoatl tlachinolli a. Oncan in +epoyahuayan in teoquauhtli oncan iquiquinacayan, in ocelotl, +ipixauhyan in nepapan tlazomaquiztetl, in emomolotzayan in nepapan +tlazopilihuitl, oncan teintoque oncan xamantoque in tepilhuan.</blockquote> + </td> + <td> + <blockquote>3. They intoxicate the soul, but they are only found, they blossom +only on the lofty mountains, on the broad plains where glorious war +finds its home. There is where the eagles gather in bands of sixties, +there the tigers roar, there the various beloved stones rain down, +there the various dear children are cut to pieces; there the youths +are split into shards and ground into fragments.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Tlacuah yehuantin in tepilhuani conelehuiao, in +tlahuizcalxochitlan ya nemamallihuao ic tetlanĕnectiao, in +ilhuicac onocon iceolitzin yn iotepiltzina quitzetzelotimanio a in +tepilhuan in quauhtliya ocelotl, in quimemactiao in +xochicueponalotlon in quimihuintia yeyolxochiahuechtlia.</blockquote> + </td> + <td> + <blockquote>4. Stoutly do those youths rejoice, laboring for the rose of the dawn +that they may win it; and in heaven, He, the only one, the noble one, +pours down upon the youths strength and courage, that they may pluck +the budding flowers of the pathway, that they may be intoxicated with +the dew-damp flowers of the spirit.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. In ic timomatia in tinocniuh zan ne yan xochitlon in tiquelehuiaon +in tlalticpac, quen toconcuizon quen ticyachihuazon, timotolinia in +tiquimiztlacoa a in tepilhuan xochitica cuicatica; ma xihuallachican +in atle y ica mitl, ehuaon zan moch yehuantin in tepilhuan +zacuanmeteoquecholtitzinitzcatlatlauhquecholtin moyeh yectitinemio in +onmatio in ixtlahuatlitican.</blockquote> + </td> + <td> + <blockquote>5. Know, my friend, that these are the only flowers which will give +thee pleasure on earth; mayest thou take them and make them; O poor +one, search out for thy children these flowers and songs. Look not +hither without arrows, let all the youths lift up their voices, like +zacuan birds, divine quechols, tzinitzcans, and red quechols, who +live joyous lives, and know the fields.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Chimalxochitl, quauhpilolxochitl ic oquichtlamatimani in y +antepilhuan xochicozcaocoxochitl ic mapantimanian, quitimaloao +yectliya cuicatl, yectliya xochitl, imezo imelchiquiuh patiuh +mochihuaya in quicelia on in teoatl tlachinolli; y iantocnihuan +tliliuhquitepeca in tiyaotehua huey otlipana, ma huel xoconmanao y ye +mochimalo, huel xonicaon in ti quauhtliya ocelotla.</blockquote> + </td> + <td> + <blockquote>6. O youths, here there are skilled men in the flowers of shields, in +the flowers of the pendant eagle plumes, the yellow flowers which +they grasp; they pour forth noble songs, noble flowers; they make +payment with their blood, with their bare breasts; they seek the +bloody field of war. And you, O friends, put on your black paint, for +war, for the path of victory; let us lay hands on our shields, and +raise aloft our strength and courage.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XII">Notes for Song XII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XIII"></a><h3>XIII. <i>HUEXOTZINCAYOTL.</i></h3></td> + <td> <h3>XIII. <i>A SONG OF HUEXÔTZINCO.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Zan tlaocolxochitl, tlaocolcuicatl on mania Mexico nican ha in +Tlatilolco, in yece ye oncan on neiximachoyan, ohuaya.</blockquote> + </td> + <td> + <blockquote>1. Only sad flowers, sad songs, are here in Mexico, in Tlatilolco, in +this place these alone are known, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ixamayo yectli in zan ca otitech icneli ipalnemohuani, in za can +tipopolihuizque in timacehualta, ohuaya.</blockquote> + </td> + <td> + <blockquote>2. It is well to know these, if only we may please the Giver of Life, +lest we be destroyed, we his subjects, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Ototlahueliltic, zan titotolinia timacehualtinquezo huel +tehuantin, otiquittaque in cococ ye machoyan, ohuaya.</blockquote> + </td> + <td> + <blockquote>3. We have angered Him, we are only wretched beings, slaves by blood; +we have seen and known affliction, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Ticmomoyahua, ticxoxocoyan in momacehualy in Tlatilolco cococ +moteca cococ ye machoyan ye ic ticiahuia ipalnemoani, ohuaya.</blockquote> + </td> + <td> + <blockquote>4. We are disturbed, we are embittered, thy servants here in +Tlatilolco, deprived of food, made acquainted with affliction, we are +fatigued with labor, O Giver of Life, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Choquiztli moteca ixayotl pixahui oncan a in Tlatilolco; in atlan +yahqueon o in Mexica ye cihua nelihui ica yehuilo a oncan ontihui in +tocnihuan a, ohuaya.</blockquote> + </td> + <td> + <blockquote>5. Weeping is with us, tears fall like rain, here in Tlatilolco; as +the Mexican women go down to the water, we beg of them for ourselves +and our friends, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. In ic neltic o ya cahua Atloyantepetl o in Mexico in poctli +ehuatoc ayahuitl onmantoc, in tocon ya chihuaya ipalnemoani, ohuaya.</blockquote> + </td> + <td> + <blockquote>6. Even as the smoke, rising, lies in a cloud over Mount Atloyan, in +Mexico, so does it happen unto us, O Giver of Life, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. In anMexica ma xiquilnamiquican o yan zan topan quitemohuia y +ellelon i mahuizo yehuan zan yehuan Dios, yehua anquin ye oncan in +coyonacazco, ohuaya.</blockquote> + </td> + <td> + <blockquote>7. And you Mexicans, may you remember concerning us when you descend +and suffer before the majesty of God, when there you shall howl like +wolves.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Za can ye oncan zan quinchoquiz tlapaloa o anquihuitzmanatl incan +yeŭch motelchiuh on ya o anquin ye mochin, ha in tlayotlaqui, ah +in tlacotzin, ah in tlacateuctli in oquichtzin y huihui ica ça ye con +yacauhqui in Tenochtitlan, ohuaya.</blockquote> + </td> + <td> + <blockquote>8. There, there will be only weeping as your greeting when you come, +there you will be accursed, all of you, workers in filth, slaves, +rulers or warriors, and thus Tenochtitlan will be deserted.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>9. In antocnihuan ma xachocacan aya ma xăconmatican ica ye +ticcauhque Mexicayotl huiya, zan ye yatl chichixhuiya no zan ye +tlaqualli chichixaya zan con aya chiuhqui in ipalnemoani ha in +Tlatilolco y, ohuaya.</blockquote> + </td> + <td> + <blockquote>9. Oh friends, do not weep, but know that sometime we shall have left +behind us the things of Mexico, and then their water shall be made +bitter and their food shall be made bitter, here in Tlatilolco, as +never before, by the Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>10. Tel ah zan yhuian huicoque hon in motelchiuhtzin ha in tlacotzin +zan mocuica ellaquauhque ac achinanco in ahiquac in tlepan quixtiloto +in coyohuacan, ohuaya.</blockquote> + </td> + <td> + <blockquote>10. The disdained and the slaves shall go forth with song; but in a +little while their oppressors shall be seen in the fire, amid the +howling of wolves.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XIII">Notes for Song XIII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XIV"></a><h3>XIV.</h3></td> + <td> <h3>XIV.</h3></td> + </tr> + <tr> + <td> + <blockquote>1. Zan tzinitzcan impetlatl ipan, ohuaya; on tzinitzcan iceliztoca +oncan izan in ninentlamatia, in zan icnoxochicuicatica inocon ya +temohua ya ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>1. Only the tzinitzcan is in power, the tzinitzcan arouses me in my +affliction, letting fall its songs like sad flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. In canin nemiya icanon in nemitoconchia ye nican huehuetitlan a +ayiahue, ye onnentlamacho, ye mocatlaocoyalo ay xopancaliteca, +ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>2. Wherever it wanders, wherever it lives, one awaits it here with +the drum, in affliction, in distress, here in the house of spring.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Ac ipiltzin? Achanca ipiltzin yehuayan Dios Jesu Christo can +quicuilo antlacuiloa quicuilo ancuicatl a ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>3. Who is the royal son? Is not the royal son, the son of God, Jesus +Christ, as was written in your writings, as was written in your +songs?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. O achan canel ompa huiz canin ilhuicac y xochintlacuilol +xochincalitec a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>4. Is not the flowery writing within the house of flowers that he +shall come there from heaven?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. In ma ontlachialoya in ma ontlătlamahuicolo in +tlapapalcalimanican y ipalnemoa y tlayocol yehuan Dios, ohuaya.</blockquote> + </td> + <td> + <blockquote>5. Look around and wonder at this scene of many colored houses which +God has created and endowed with life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Techtolinian techtlătlanectia y icuicaxochiamilpan, +intechontlătlachialtian ipalnemohua itlayocol yehuan Dios a +ohuaya.</blockquote> + </td> + <td> + <blockquote>6. They make us who are miserable to see the light among the flowers +and songs of the fertile fields, they cause us to see those things +which God has created and endowed with life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Ya ixopantla ixopantlatinenemi ye nican ixtlahuatl yteey, za +xiuhquechol quiahuitl zan topan xaxamacay in atlixco ya ohuaya, +ohuaya.</blockquote> + </td> + <td> + <blockquote>7. They dwell in the place of spring, in the place of spring, here +within the broad fields, and only for our sakes does the +turquoise-water fall in broken drops on the surface of the lake.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Zan ye nauhcampay ontlapepetlantoc, oncan onceliztoc in +cozahuizxochitl, oncan nemi in Mexica in tepilhuan a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>8. Where it gleams forth in fourfold rays, where the fragrant yellow +flowers bud, there live the Mexicans, the youths.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XIV">Notes for Song XIV</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XV"></a><h3>XV. <i>TEZOZOMOCTLI IC MOTECPAC.</i></h3></td> + <td> <h3>XV. <i>THE REIGN OF TEZOZOMOCTLI.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Zan ca tzihuactitlan, mizquititlan, aiyahue Chicomoztocpa, mochi +ompa yahuitze antlătohuan ye nican, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>1. From the land of the tzihuac bushes, from the land of the mezquite +bushes, where was ancient Chicomoztoc, thence came all your rulers +hither.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Nican momalinaco in colcahuahtecpillotl huiya nican milacatzoa in +Colhuaca Chichimecayotl in toteuchuahuia.</blockquote> + </td> + <td> + <blockquote>2. Here unrolled itself the royal line of Colhuacan, here our nobles +of Colhuacan, united with the Chichimecs.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Ma oc achitzinca xomotlanecuican antepilhuan huiya tlacateuhtzin +Huitzilihuitl a ya cihuacoatl y Quauhxilotl huia totomihuacan +Tlalnahuacatl aya zan ca xiuhtototl Ixtlilxochitl y quenman +tlatzihuiz quimohmoyahuaquiuh yauh y tepeuh yehuan Dios ica ye choca +Tezozomoctli ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>3. Sing for a little while concerning these, O children, the +sovereign Huitzilihuitl, the judge Quauhxilotl, of our bold leader +Tlalnahuacatl, of the proud bird Ixtlilxochitl, those who went forth, +and conquered and ruled before God, and bewail Tezozomoctli.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Yenoceppa mizquitl yacahuantimani Hueytlalpani, anquican itlatol +yehuan Dios a ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>4. A second time they left the mezquite bushes in Hue Tlalpan, +obeying the order of God.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Can onyeyauh xochitl, can oyeyauh yeh intoca quauhtli ocelotl huia +ya moyahuaya xelihuia Atloyantepetl Hueytlalpan y anquizan itlatol +ipalnemohua ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>5. They go where are the flowers, where they may gain grandeur and +power, dividing asunder they leave the mountain Atloyan and Hue +Tlalpan, obeying the order of the Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Oncuiltonoloc, onechtlachtiloc, in teteuctin cemanahuac y huel +zotoca huipantoca y tlătol ipalnemohuani, huel quimothuitico, huel +quiximatico y yollo yehuan Dios huiya chalchihuitl maquiztliya +tlamatelolliya tizatla ihuitla za xochitl quimatico yaoyotla ohuaya +ohuaya.</blockquote> + </td> + <td> + <blockquote>6. It is cause of rejoicing, that I am enabled to see our rulers from +all parts gathering together, arranging in order the words of the +Giver of Life, and that their souls are caused to see and to know +that God is precious, wonderful, a sweet ointment, and that they are +known as flowers of wise counsel in the affairs of war.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Oya in Tochin y miec acalcatli, Acolmiztlan teuctli zan Catocih +teuctli Yohuallatonoc y yehuan Cuetzpaltzin Iztaccoyotl totomihuacan +Tlaxcallan ohuaye Coatziteuctli Huitlalotzin za xochitl quimatico +yaoyotla ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>7. There were Tochin, with many boats, the noble Acolmiztlan, the +noble Catocih, Yohuallatonoc, and Cuetzpaltzin, and Iztaccoyotl, bold +leaders from Tlaxcalla, and Coatziteuctli, and Huitlalotzin, famed as +flowers on the field of battle.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Tley an quiyocoya anteteuctin y Huexotzinca? ma xontlachiacan +Acolihuăcan in quatlapanca oncan ye Huexotla itztapallocan huia +yeyahuatimani Atloyantepetl a ohuaya.</blockquote> + </td> + <td> + <blockquote>8. For what purpose do you make your rulers, men of Huexotzinco? Look +at Acolhuacan where the men of Huexotzinco are broken with toil, are +trod upon like paving stones, and wander around the mountain Atloyan.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>9. Oncan in pochotl ahuehuetl oncan icaca mizquitl ye oztotlhuiă +tetlaquahuac quimatia ipalnemohuani oyao ai ya hue ohuaya.</blockquote> + </td> + <td> + <blockquote>9. There is a ceiba tree, a cypress tree, there stands a mezquite +bush, strong as a cavern of stone, known as the Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>10. Tlacateotl nopiltzin Chichimecatl y tleonmach itla techcocolia +Tezozomoctli tech in micitlani ye ehuaya atayahuili quinequia yaoyotl +necaliztlon quima Acolhuacan ohuaya.</blockquote> + </td> + <td> + <blockquote>10. Ruler of men, Nopiltzin, Chicimec, O Tezozomoctli, why hast thou +made us sick, why brought us to death, through not desiring to offer +war and battle to Acolhuacan?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>11. Tel ca tonehua ticahuiltia ipalnemohuani Colihua o o Mexicatl y +tlahcateotl huiaya atayahuili quinequia yaoyotl necaliztl qui mana +Acolhuacan a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>11. But we lift up our voice and rejoice in the Giver of life; the +men of Colhuacan and the Mexican leader have ruined us, through not +desiring to offer war and battle to Acolhuacan.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>12. Zan ye on necuiltonolo in tlalticpac ay oppan titlano chimalli +xochitl ay oppan ahuiltilon ipalnemohua; ye ic anauia in tlailotlaqui +xayacamacha huia ho ay ya yi ee ohuaya ha ohuaya.</blockquote> + </td> + <td> + <blockquote>12. The only joy on earth will be again to send the shield-flower, +again to rejoice the Giver of Life; already are discontented the +faces of the workers in filth.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>13. Inacon anquelehuia chimalli xochitl y yohual xochitli +tlăchinol xochitl; ye ic neyahpanalo antepilhuan huiya +Quetzalmamatzin Huitznahuacatl ohuaye ho ha yia yi ee oua yi aha +ohuaya.</blockquote> + </td> + <td> + <blockquote>13. Therefore you rejoice in the shield-flowers, the flowers of +night, the flowers of battle; already are ye clothed, ye children of +Quetzalmamatzin and Huitznahuacatl.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>14. Chimal tenamitl oncan in nemohua yehua necalia huilotl oyahualla +icahuaca yehuaya on canin ye nemi in tecpipiltin Xiuhtzin +xayacamachani amehuano o anconahuiltia ipalnemohua ohuaya.</blockquote> + </td> + <td> + <blockquote>14. Your shield and your wall of safety are where dwells the sweet +joy of war, where it comes, and sings and lifts its voice, where +dwell the nobles, the precious stones, making known their faces; thus +you give joy to the Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>15. In ma huel netotilo mannemamanaloya yaonahuac a on +netlamachtiloyan ipan nechihuallano ohuaye in tepiltzin can ye +mocuetlaca ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>15. Let your dancing, and banqueting be in the battle, there be your +place of gain, your scene of action, where the noble youths perish.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>16. Quetzalipantica oyo huiloa ahuiltiloni ipalnemohuan yectlahuacan +in tapalcayocan a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>16. Dressed in their feathers they go rejoicing the Giver of Life to +the excellent place, the place of shards.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>17. Oyo hualehuaya ye tocalipan oyohua yehua Huexotzincatl y +tototihua o o Iztaccoyotla ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>17. He lifted up his voice in our houses like a bird, that man of +Huexotzinco, Iztaccoyotl.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>18. Ace melle ica tonăcoquiza y nican topantilemonti Tlaxcaltecatl +itocoya cacalia in altepetl y Huexochinco ya ohuaya.</blockquote> + </td> + <td> + <blockquote>18. Whoever is aggrieved let him come forth with us against the men +of Tlaxcallan, let him follow where the city of Huexotzinco lets +drive its arrows.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>19. Cauhtimanizo polihuiz tlalli yan totomihuacan huia cehuiz yiollo +o antepilhuan a Huexotzinca y ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>19. Our leaders will lay waste, they will destroy the land, and your +children, O Huexotzincos, will have peace of mind.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>20. Mizquitl y mancan tzihuactli y mancan ahuehuetl onicacahuia +ipalnemohua, xonicnotlamati mochi elimanca Huexotzinco ya zanio oncan +in huel on mani tlalla ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>20. The mezquite was there, the tzihuac was there, the Giver of Life +has set up the cypress; be sad that evil has befallen Huexotzinco, +that it stands alone in the land.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>21. Zan nohuian tlaxixinia tlamomoyahua y ayoc anmocehuia +momăcehual y hualcaco mocuic in icelteotl oc xoconyocoyacan +antepilhuan a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>21. In all parts there are destruction and desolation, no longer are +there protection and safety, nor has the one only God heard the song; +therefore speak it again, you children;</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>22. Zan mocuepa itlatol conahuiloa ipalnemohua Tepeyacac ohuaye +antepilhuan ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>22. That the words may be repeated, you children, and give joy to the +Giver of Life at Tepeyacan.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>23. Canel amonyazque xoconmolhuican an Tlaxcalteca y Tlacomihuatzin +hui oc oyauh itlachinol ya yehuan Dios a ohuaya.</blockquote> + </td> + <td> + <blockquote>23. And since you are going, you Tlaxcallans, call upon +Tlacomihuatzin that he may yet go to this divine war.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>24. Cozcatl ihuihui quetzal nĕhuihuia oc zo conhuipanque zan +Chichimeca y Totomihua a Iztaccoyotl a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>24. The Chichimecs and the leaders and Iztaccoyotl have with +difficulty and vain labor arranged and set in order their jewels and +feathers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>25. Huexotzinco ya zan quiauhtzinteuctli techcocolia Mexicatl +itechcocolia Acolihuiao ach quennelotihua tonyazque quenonamican a +ohuaye ohuaye.</blockquote> + </td> + <td> + <blockquote>25. At Huexotzinco the ruler Quiauhtzin hates the Mexicans, hates the +Acolhuacans; when shall we go to mix with them, to meet them?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>26. Ay antlayocoya anquimitoa in amotahuan an teteuctin ayoquantzin +ihuan a in tlepetztic in cacha ohuaya tzihuacpopoca yo huaya.</blockquote> + </td> + <td> + <blockquote>26. Set to work and speak, you fathers, to your rulers, to your +lords, that they may make a blazing fire of the smoking tzihuac wood.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>27. Ca zan catcan Chalco Acolihuaca huia totomihuacan y amilpan in +Quauhquecholla quixixinia in ipetl icpal yehuan Dios ohoaya ohuaya.</blockquote> + </td> + <td> + <blockquote>27. The Acolhuacans were at Chalco, the Otomies were in your +cornfields at Quauhquechollan, they laid them waste by the permission +of God.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>28. Tlazoco a ye nican tlalli tepetl yecocoliloya cemanahuac a +ohuaya.</blockquote> + </td> + <td> + <blockquote>28. The fields and hills are ravaged, the whole land has been laid +waste.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>29. Quennel conchihuazque atl popoca itlacoh in teuctli tlalli +mocuepaya Mictlan onmatia Cacamatl onteuctli, quennel conchihuazque, +ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>29. What remedy can they turn to? Water and smoke have spoiled the +land of the rulers; they have gone back to Mictlan attaching +themselves to the ruler Cacamatl. What remedy can they turn to?</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XV">Notes for Song XV</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XVI"></a><h3>XVI.</h3></td> + <td> <h3>XVI.</h3></td> + </tr> + <tr> + <td> + <blockquote>1. On onellelacic quexquich nic ya ittoa antocnihuan ayiaue +noconnenemititica noyollon tlalticpac y noconycuilotica, ay niyuh can +tinemi ahuian yeccan, ay cemellecan in tenahuac y, ah nonnohuicallan +in quenon amican ohuaya.</blockquote> + </td> + <td> + <blockquote>1. It is a bitter grief to see so many of you, dear friends not +walking with me in spirit on the earth, and written down with me; +that no more do I walk in company to the joyful and pleasant spots; +that nevermore in union with you do I journey to the same place.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Zan nellin quimati ye noyollo za nelli nicittoa antocnihuan, +ayiahue aquin quitlatlauhtia icelteotl yiollo itlacoca con aya macan. +Machamo oncan? In tlalticpac machamo oppan piltihua. Ye nelli nemoa +in quenon amican ilhuicatl y itec icanyio oncan in netlamachtilo y +ohuaya.</blockquote> + </td> + <td> + <blockquote>2. Truly I doubt in my heart if I really see you, dear friends; Is +there no one who will pray to the one only God that he take this +error from your hearts? Is no one there? No one can live a second +time on earth. Truly they live there within the heavens, there in a +place of delight only.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. O yohualli icahuacan teuctlin popoca ahuiltilon Dios +ipalnemohuani: chimalli xochitl in cuecuepontimani in mahuiztli +moteca molinian tlalticpac, ye nican ic xochimicohuayan in ixtlahuac +itec a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>3. At night rises up the smoke of the warriors, a delight to the Lord +the Giver of Life; the shield-flower spreads abroad its leaves, +marvelous deeds agitate the earth; here is the place of the fatal +flowers of death which cover the fields.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Yaonauac ye oncan yaopeuhca in ixtlahuac itec iteuhtlinpopoca ya +milacatzoa y momalacachoa yaoxochimiquiztica antepilhuan in +anteteuctin zan Chichimeca y ohuaya.</blockquote> + </td> + <td> + <blockquote>4. The battle is there, the beginning of the battle is in the open +fields, the smoke of the warriors winds around and curls upward from +the slaughter of the flowery war, ye friends and warriors of the +Chichimecs.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Maca mahui noyollo ye oncan ixtlahuatl itic, noconele hua in +itzimiquiliztli zan quinequin toyollo yaomiquiztla ohuaya.</blockquote> + </td> + <td> + <blockquote>5. Let not my soul dread that open field; I earnestly desire the +beginning of the slaughter, may thy soul long for the murderous +strife.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. O anquin ye oncan yaonahuac, noconelehuia in itzi miquiliztli can +quinequin toyollo yaomiquiztla ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>6. O you who are there in the battle, I earnestly desire the +beginning of the slaughter, may thy soul long for the murderous +strife.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Mixtli ye ehuatimani yehuaya moxoxopan ipalnemohuani ye oncan +celiztimani a in quauhtlin ocelotl, ye oncan cueponio o in tepilhuan +huiya in tlachinol, ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>7. The cloud rises upward, rising into the blue sky of the Giver of +Life; there blossom forth prowess and daring, there, in the battle +field, come the children to maturity.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. In ma oc tonahuican antocnihuan ayiahuc, ma oc xonahuiacan +antepilhuan in ixtlahuatl itec, y nemoaquihuic zan tictotlanehuia o a +in chimalli xochitl in tlachinoll, ohuaya, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>8. Let us rejoice, dear friends, and may ye rejoice, O children, +within the open field, and going forth to it, let us revel amid the +shield-flowers of the battle.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XVI">Notes for Song XVI</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XVII"></a><h3>XVII. <i>XOCHICUICATL.</i></h3></td> + <td> <h3>XVII. <i>A FLOWER SONG.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Can ti ya nemia ticuicanitl ma ya hualmoquetza xochihuehuetl +quetzaltica huiconticac teocuitlaxochinenepaniuhticac y ayamo aye +iliamo aye huiy ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>1. Where thou walkest, O singer, bring forth thy flowery drum, let it +stand amid beauteous feathers, let it be placed in the midst of +golden flowers;</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Tiquimonahuiltiz in tepilhuan teteucto in quauhtlo ocelotl ayamo, +etc.</blockquote> + </td> + <td> + <blockquote>2. That thou mayest rejoice the youths and the nobles in their +grandeur.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. In tlacăce otemoc aya huehuetitlan ya nemi in cuicanitlhuia zan +qui quetzal in tomaya quexexeloa aya icuic ipalnemoa qui ya nanquilia +in coyolyantototl oncuicatinemi xochimanamanaya taxocha ohuaya, +ohuaya.</blockquote> + </td> + <td> + <blockquote>3. Wonderful indeed is it how the living song descended upon the +drum, how it loosened its feathers and spread abroad the songs of the +Giver of Life, and the coyol bird answered, spreading wide its notes, +offering up its flowery songs of flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. In canon in noconcaqui in tlatol aya tlacazo yehuatl ipalnemoa +quiyananquilia quiyananquilia in coyolyantototl on cuicatinemi +xochimanamanaya, etc.</blockquote> + </td> + <td> + <blockquote>4. Wherever I hear those words, perhaps the Giver of Life is +answering, as answers the coyol bird, spreading wide its notes, +offering up its flowery song of flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. In chalchihuitl ohuayee on quetzal pipixauhtimania in amo +tlatolhuia, noyuh ye quittoa yayoquan yehuayan cuetzpal ohuaye +anquinelin ye quimatin ipalnemoa ohuaya.</blockquote> + </td> + <td> + <blockquote>5. It rains down precious stones and beauteous feathers rather than +words; it seems to be as one reveling in food, as one who truly knows +the Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Noyuh quichihua con teuctlon timaloa yecan quetzalmaquiztla +matilolticoya conahuiltia icelteotlhuia achcanon azo a yan ipalnemoa +achcanon azo tle nel in tlalticpac ohuaya.</blockquote> + </td> + <td> + <blockquote>6. Thus do the nobles glorify themselves with things of beauty, honor +and delight, that they may please the one only god, though one knows +not the dwelling of the Giver of Life, one knows not whether he is on +earth.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Macuelachic aya maoc ixquich cahuitl niquin notlanehui in +chalchiuhtini in maquiztini in tepilhuan aya; zan nicxochimalina in +tecpillotl huia: zan ca nican nocuic ica ya nocon ilacatzohua a in +huehuetitlan a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>7. May I yet for a little while have time to revel in those precious +and honorable youths; may I wreathe flowers for their nobility; may I +here yet for a while wind the songs around the drum.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Oc noncoati nican Huexotzinco y nitlătohuani ni teca ehuatzin +huiya chalchiuhti zan quetzalitztin y, niquincenquixtia in tepilhuan +aya zan nicxochimalina in tecpillotl huia ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>8. I am a guest here among the rulers of Huexotzinco; I lift up my +voice and sing of precious stones and emeralds; I select from among +the youths those for whom I shall wreathe the flowers of nobility.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>9. A in ilhuicac itic ompa yeya huitz in yectliyan xochitl yectliyan +cuicatl y, conpolo antellel conpolo antotlayocol y in tlacazo yehuatl +in Chichimecatl teuctli in teca yehuatzin ica xonahuiacan a ohuaya +ohuaya.</blockquote> + </td> + <td> + <blockquote>9. There comes from within the heavens a good flower, a good song, +which will destroy your grief, destroy your sorrow; therefore, Chief +of the Chichimecs, be glad and rejoice.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>10. Moquetzal izqui xochintzetzeloa in icniuhyotl +aztlacaxtlatlapantica ye onmalinticac in quetzalxiloxochitl imapan +onnĕnemi conchichichintinemi in teteuctin in tepilhuan.</blockquote> + </td> + <td> + <blockquote>10. Here, delightful friendship, turning about with scarlet dyed +wings, rains down its flowers, and the warriors and youths, holding +in their hands the fragrant xilo flowers, walk about inhaling the +sweet odor.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>11. Zan teocuitlacoyoltototl o huel yectli namocuic huel yectli in +anq'ehua anquin ye oncan y xochitl y ya hualyuhcan y xochitl imapan +amoncate in amontlatlătoa ye ohuaya ohui ohui ilili y yao ayya hue +ho ama ha ilili ohua y yaohuia.</blockquote> + </td> + <td> + <blockquote>11. The golden coyol bird sings sweetly to you, sweetly lifts its +voice like a flower, like sweet flowers in your hand, as you converse +and lift your voice in singing, etc.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>12. O ach ancati quechol in ipalnemoa o ach ancati tlatocauh yehuan +Dios huiya achto tiamehuan anquitztoque tlahuizcalli amoncuicatinemi +ohui, ohui, ilili, etc.</blockquote> + </td> + <td> + <blockquote>12. Even like the quechol bird to the Giver of Life, even as the +herald of God, you have waited for the dawn, and gone forth singing +ohui, etc.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>13. Maciuhtiao o in quinequi noyollo, zan chimalli xochitl mixochiuh +ipalnemoani, quen conchihuaz noyollo yehua onentacico tonquizaco in +tlalticpac a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>13. Although I wish that the Giver of Life shall give for flowers the +shield-flower, how shall I grieve that your efforts have been in +vain, that you have gone forth from the world.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>14. Zan ca yuhqui noyaz in o ompopoliuh xochitla antlenotleyoye in +quemmanian, antlenitacihcayez in tlalticpac. Manel xochitl manel +cuicatl, quen conchihuaz noyollo yehua onentacico tonquizaco in +tlalticpac ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>14. Even as I shall go forth into the place of decayed flowers, so +sometime will it be with your fame and deeds on earth. Although they +are flowers, although they are songs, how shall I grieve that your +efforts have been in vain, that you have gone forth from the world.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>15. Manton ahuiacan antocnihuan aya ma on nequech nahualo nican huiya +a xochintlaticpac ontiyanemi yenican ayac quitlamitehuaz in xochitl +in cuicatl in mani a ichan ipalnemohuani yi ao ailili yi ao aya hue +aye ohuaya.</blockquote> + </td> + <td> + <blockquote>15. Let us be glad, dear friends, let us rejoice while we walk here +on this flowery earth; may the end never come of our flowers and +songs, but may they continue in the mansion of the Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>16. In zancuelachitzincan tlalticpac aya ayaoc noiuhcan +quennonamicani cuixocpacohua icniuhtihuay auh in amo zanio nican +totiximatizo in tlalticpac y yiao ha ilili yiao.</blockquote> + </td> + <td> + <blockquote>16. Yet a little while and your friends must pass from earth. What +does friendship offer of enjoyment, when soon we shall no longer be +known on earth?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>17. Noconca con cuicatl noconca o quin tlapitzaya xochimecatl ayoquan +teuctliya ahuayie, ohuayiao ayio yo ohua.</blockquote> + </td> + <td> + <blockquote>17. This is the burden of my song, of the garland of flowers played +on the flute, without equal in the place of the nobles.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>18. Zan mitzyananquili omitzyananquili xochincalaitec y in +aquiauhatzin in tlacateuhtli ayapancatl yahuayia.</blockquote> + </td> + <td> + <blockquote>18. Within the house of flowers the Lord of the Waters, of the Gate +of the Waters, answers thee, has answered thee.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>19. Can tinemi noteouh ipalnemohuani mitztemohua in quemmanian y +mocanitlaocoyan, nicuicanitlhuia, zan ni mitzahuiltiaya ohuiyan +tililiyanco huia ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>19. Where thou livest, my beloved, the Giver of Life sends down upon +thee sometimes things of sadness; but I, the singer, shall make thee +glad in the place of difficulty, in the place of cumber.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>20. In zan ca izqui xochitl in quetzalizqui xochitl pixahui ye nican +xopancalaitec i tlacuilolcalitec, zan nimitzahahuiltiaya ohui.</blockquote> + </td> + <td> + <blockquote>20. Here are the many flowers, the beauteous flowers, rained down +within the house of spring, within its painted house, and I with them +shall make thee glad.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>21. O anqui ye oncan Tlaxcala, ayahue, chalchiuhtetzilacuicatoque in +huehuetitlan ohuaye, xochin poyon ayiahue Xicontencatl teuctli in +Tizatlacatzin in camaxochitzin cuicatica y melelquiza xochiticaya on +chielo itlatol ohuay icelteotl ohuaya.</blockquote> + </td> + <td> + <blockquote>21. O, you there in Tlaxcala, you have played like sweet bells upon +your drums, even like brilliantly colored flowers. There was +Xicontecatl, lord of Tizatlan, the rosy-mouthed, whose songs gave joy +like flowers, who listened to the words of the one only God.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>22. O, anqui nohuia y, ye mochan ipalnemohua xochipetlatl ye noca +xochitica on tzauhticac oncan mitztlatlauhtia in tepilhua ohuaya.</blockquote> + </td> + <td> + <blockquote>22. Thy house, O Giver of Life is in all places; its mats are of +flowers, finely spun with flowers, where thy children pray to thee.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>23. In nepapan xochiquahuitl onicac, aya, huehuetitlan a a yiahue, +can canticaya quetzaltica malintimani, ya, yecxochitl motzetzeloaya +ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>23. A rain of various flowers falls where stands the drum, beauteous +wreaths entwine it, sweet flowers are poured down around it.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>24. Can quetzatzal petlacoatl yepac o, ye nemi coyoltototl +cuicatinemiya, can quinanquili teuctli ya, +conahuiltianquauhtloocelotl ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>24. Where the brilliant scolopender basks, the coyol bird scatters +abroad its songs, answering back the nobles, rejoicing in their +prowess and might.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>25. Xochitzetzeliuhtoc y, niconnetolilo antocnihuan huehuetitlan ai +on chielo can nontlamati toyollo yehua ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>25. Scattering flowers I rejoice you, dear friends, with my drum, +awaiting what comes to our minds.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>26. In zan ca yehuan Dios tlaxic, ya, caquican yehual temoya o +ilhuicatl itic, y, cuicatihuitz, y, quinanquilia o, angelotin +ontlapitztihuitzteaya oyiahue yaia o o ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>26. It reaches even to God, he hears it seeking him within the +heavens, the song comes and the angels answer, playing on their +flutes.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>27. Zan ninentlamatia can niquauhtenco ayahue can. * * *</blockquote> + </td> + <td> + <blockquote>27. But I am sad within this wood.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XVII">Notes for Song XVII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XVIII"></a><h3>XVIII. <i>NICAN OMPEHUA TEPONAZCUICATL.</i></h3></td> + <td> <h3>XVIII. <i>HERE BEGIN SONGS FOR THE TEPONAZTLI.</i></h3></td> + </tr> + <tr> + <td> + <blockquote><i>Tico, tico, toco, toto, auh ic ontlantiuh cuicatl, tiqui, ti ti, +tito, titi.</i></blockquote> + </td> + <td> + <blockquote><i>Tico, tico, toco, toto, and as the song approaches the end, tiqui, +titi, tito, titi.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Tollan aya huapalcalli manca, nozan in mamani coatlaquetzalli +yaqui yacauhtehuac Nacxitl Topiltzin, onquiquiztica ye choquililo in +topilhuan ahuay yeyauh in polihuitiuh nechcan Tlapallan ho ay.</blockquote> + </td> + <td> + <blockquote>1. At Tollan there stood the house of beams, there yet stands the +house of plumed serpents left by Nacxitl Topiltzin; going forth +weeping, our nobles went to where he was to perish, down there at +Tlapallan.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Nechcayan Cholollan oncan tonquizaya Poyauhtecatitlan, in +quiyapanhuiya y Acallan anquiquiztica ye choquililon ye.</blockquote> + </td> + <td> + <blockquote>2. We went forth from Cholula by way of Poyauhtecatl, and ye went +forth weeping down by the water toward Acallan.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Nonohualco ye nihuitz ye nihui quecholi nimamaliteuctla, +nicnotlamatia oyah quin noteuc ye ihuitimali, nechya icnocauhya +nimatlac xochitl, ayao ayao o ayya y yao ay.</blockquote> + </td> + <td> + <blockquote>3. I come from Nonohualco as if I carried quechol birds to the place +of the nobles; I grieve that my lord has gone, garlanded with +feathers; I am wretched like the last flower.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. In tepetl huitomica niyaychocaya, axaliqueuhca nicnotlamatiya o +yaquin noteuc (etc. as v. 3).</blockquote> + </td> + <td> + <blockquote>4. With the falling down of mountains I wept, with the lifting up of +sands I was wretched, that my lord had gone.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. In Tlapallan aya mochieloca monahuatiloca ye cochiztla o anca ca +zanio ayao, ayao, ayao.</blockquote> + </td> + <td> + <blockquote>5. At Tlapallan he was waited for, it was commanded that there he +should sleep, thus being alone.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Zan tiyaolinca ye noteuc ic ihuitimali, tinahuatiloya ye Xicalanco +o anca zacanco.</blockquote> + </td> + <td> + <blockquote>6. In our battles my lord was garlanded with feathers; we were +commanded to go alone to Xicalanco.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Ay yanco ay yanco ayamo aya ayhuiya ayanco ayyanco ayamo aye +ahuiya que ye mamaniz mocha moquiapana, oquen ye mamaniz +moteuccallatic ya icnocauhqui nican Tollan Nonohualco ya y ya y ya o +ay.</blockquote> + </td> + <td> + <blockquote>7. Alas! and alas! who will be in thy house to attire thee? Who will +be the ruler in thy house, left desolate here in Tollan, in +Nonohualco?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. In ye quinti chocaya teuctlon, timalon que ye mamaniz mochan (etc. +as v. 7).</blockquote> + </td> + <td> + <blockquote>8. After he was drunk, the ruler wept; we glorified ourselves to be +in thy dwelling.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>9. In tetl, in quahuitl o on timicuilotehuac nachcan Tollan y inon +can in otontlatoco Naxitl Topiltzin y aye polihuiz ye motoca ye ic ye +chocaz in momacehual ay yo.</blockquote> + </td> + <td> + <blockquote>9. Misfortune and misery were written against us there in Tollan, +that our leader Nacxitl Topiltzin was to be destroyed and thy +subjects made to weep.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>10. Zan can xiuhcalliya cohuacallaya in oticmatehuac nachcan Tollan y +inon can yn otontlatoco Naxitl Topiltzin (etc. as in v. 9).</blockquote> + </td> + <td> + <blockquote>10. We have left the turquoise houses, the serpent houses there in +Tollan, where ruled our leader Nacxitl Topiltzin.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XVIII">Notes for Song XVIII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XIX"></a><h3>XIX.</h3></td> + <td> <h3>XIX.</h3></td> + </tr> + <tr> + <td> + <blockquote><i>Tico toco toco ti quiti quiti quiti quito; can ic mocneptiuh.</i></blockquote> + </td> + <td> + <blockquote><i>Tico, toco, toco, tiquiti, quiti, quiti, quito; where it is to turn +back again.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Tlapapal xochiceutli niyolaya nepapan tonacan xochitl moyahuaya +oncueponti moquetzaco ya naya aya ye teo ya ixpan tonaa Santa Maria +ayyo.</blockquote> + </td> + <td> + <blockquote>1. Resting amid parti-colored flowers I rejoiced; the many shining +flowers came forth, blossomed, burst forth in honor of our mother +Holy Mary.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. An ya ya cuicaya zan quetzala xihuitl tomolihui yan aya ye +nitlachihual icelteotl y ye Dios aya ni itlayocolaoya yecoc ya.</blockquote> + </td> + <td> + <blockquote>2. They sang as the beauteous season grew, that I am but a creature +of the one only God, a work of his hands that he has made.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Zan ca tlaauilolpan nemia moyollo amoxpetlatl ipan toncuicaya +tiquimonyaitotia teteuctin aya in obispo ya zan ca totatzin aya oncan +titlatoa atlitempan ay yo.</blockquote> + </td> + <td> + <blockquote>3. Mayst thy soul walk in the light, mayst thou sing in the great +book, mayst thou join the dance of the rulers as our father the +bishop speaks in the great temple.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Yehuan Dios mitzyocox aya xochitla ya mitztlacatilo yancuicatl +mitzicuiloa Santa Maria in obispo ya.</blockquote> + </td> + <td> + <blockquote>4. God created thee, he caused thee to be born in a flowery place, +and this new song to Holy Mary the bishop wrote for thee.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XIX">Notes for Song XIX</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XX"></a><h3>XX.</h3></td> + <td> <h3>XX.</h3></td> + </tr> + <tr> + <td> + <blockquote>1. Tolteca icuilihuia ahaa ya ha on tlantoc amoxtli ya moyollo ya on +aya mochonaciticac o o Toltecayootl aic aya ninemiz ye nican ay yo.</blockquote> + </td> + <td> + <blockquote>1. The Toltecs have been taken, alas, the book of their souls has +come to an end, alas, everything of the Toltecs has reached its +conclusion, no longer do I care to live here.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ac ya nechcuiliz, ac ye nohuan oyaz o, nicaz a anni icuihuan aya y +yancuicanitl y yehetl y noxochiuh non cuica ihuitequi onteixpan ayyo.</blockquote> + </td> + <td> + <blockquote>2. Who will take me? Who will go with me? I am ready to be taken, +alas. All that was fresh, the perfume, my flowers, my songs, have +gone along with them.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Huey in tetl nictequintomahuac quahuitl, nicicuiloa yancuicatl +itech aya oncan nomitoz in quemmanian in can niyaz nocuica machio +nicyacauhtiaz in tlalticpac, y onnemiz noyol zan ca ye nican ya +hualla y yancoya nolnamicoca nemiz ye noteyo ay yo.</blockquote> + </td> + <td> + <blockquote>3. Great is my affliction, weighty is my burden; I write out a new +song concerning it, that some time I may speak it there where I shall +go, a song to be known when I shall leave the earth, that my soul +shall live after I have gone from here, that my fame shall live fresh +in memory.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Nichocaya niquittoaya nicnotza noyollo ma niquitta cuicanelhuayotl +ayama nicyatlalaquiya ma ya ica tlalticpac quimman mochihua onnenemiz +noyol y. Zan ca teucxochitl ahuiaca ipotocaticac mocepanoayan +toxochiuh ay ye ayao ohuiy on can quiya itzmolini ye nocuic celia +notlatollaquillo ohua in toxochiuh icac iquiapani ayao.</blockquote> + </td> + <td> + <blockquote>4. I cried aloud, I looked about, I reflected how I might see the +root of song, that I might plant it here on the earth, and that then +it should make my soul to live. The sweet exhalations of the lovely +flowers rose up uniting with our flowers; one hears them growing as +my song buds forth, filled with my words our flowers stand upright in +the waters.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Tel ca cahua xochitl ahuiac xeliuhtihuitz a ipotocaya in ahuiyac +poyomatlin pixahua oncan ninenenemi nicuicanitl y ye aya o ohui y on +ca quiya itzmolinï ye nocuic celia, etc.</blockquote> + </td> + <td> + <blockquote>5. But the flowers depart, their sweetness is divided and exhales, +the fragrant poyomatl rains down its leaves where I the poet walk in +sadness; one hears them growing, etc.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XX">Notes for Song XX</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXI"></a><h3>XXI. <i>HUEXOTZINCAYOTL.</i></h3></td> + <td> <h3>XXI. <i>A SONG OF THE HUEXOTZINCOS.</i></h3></td> + </tr> + <tr> + <td> + <blockquote><i>Viniendo los de Huexotzinco à pedir socorro à Moteuczoma Tlaxcalla.</i></blockquote> + </td> + <td> + <blockquote><i>Coming to Ask Aid of Montezuma Against Tlaxcalla.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Tlacuiloltzetzeliuhticac moyoliol tiMoteuczomātzi +nichuicatihuitz nictzetzelotihuitz y o huetzcani +xochinquetzalpapalotl moquetzalizouhtihuitz noconitotia +chalchiuhatlaquiquizcopa niyahueloncuica chalchiuhhuilacapitzli +nicteocuitlapitza ya ho ay la ya o haye ohuichile amiyacale.</blockquote> + </td> + <td> + <blockquote>1. Raining down writings for thy mind, O Montezuma, I come hither, I +come raining them down, a very jester, a painted butterfly; stringing +together pretty objects, I seem to be as one cementing together +precious stones, as I chant my song on my emerald flute, as I blow on +my golden flute, ya ho, ay la, etc.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ohuaya ye onniceelehuia moxochiuh aya ipalnemoani yehuayā Dios +aya ilihuāca nahuiche nictzetzeloaya noncuicatilo yaha y.</blockquote> + </td> + <td> + <blockquote>2. Yes, I shall cause thy flowers to rejoice the Giver of Life, the +God in heaven, as hither I come raining down my songs, ya ho.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Tozmilini xochitl in noyolyol ay yahue tozmilini xochitl noteponaz +ayanco ayancayome oncana y yahue nicxochiamoxtozimmanaya itlatol +ayanco ayanca yomeho.</blockquote> + </td> + <td> + <blockquote>3. A sweet voiced flower is my mind, a sweet voiced flower is my +drum, and I sing the words of this flowery book.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Xompaqui xonahuia annochipanicantiyazque ye ichano +nohueyetzinteuctli Moteuczomatzi, totlaneuh tlpc totlaneuh uelic +xochitl o ayanco.</blockquote> + </td> + <td> + <blockquote>4. Rejoice and be glad ye who live amid the flowers in the house of +my great lord Montezuma, we must finish with this earth, we must +finish with the sweet flowers, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Tlachinoltepec yn ahuicacopa tixochitonameyo timoquetzaco y yehuan +Dios a ocelozacatl ypan quauhtli choca ymopopoyauhtoc y yanco y liyan +cay yahue ayli y yacalco y ya y ycho zaca y yahue.</blockquote> + </td> + <td> + <blockquote>5. At the Mount of Battle we bring forth our sweet and glittering +flowers before God, plants having the lustre of the tiger, like the +cry of the eagle, leaving glorious memory, such are the plants in +this house.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Ohuaya yehe nipa tlantinemia ixpan Dios a +ninozozohuayatlauhquechol, zaquan quetzal in tlayahualol papalotl +mopilihuitzetzeloa teixpana xochiatlaquiquizcopa oh tlatoca ye nocuic +y yanco ili, etc.</blockquote> + </td> + <td> + <blockquote>6. Alas! in a little while there is an end before God to all living; +let me therefore string together beauteous and yellow feathers, and +mingling them with the dancing butterflies rain them down before you, +scattering the words of my song like water dashed from flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Nehcoya ompa ye nihuithuiya xoxouhqui hueyatla ymancan zanniman +olini pozoni tetecuica ic nipa tlania, zan iquetzal in tototl +xiuhquechol tototl no chiuhtihuitz'y ni yahuinac ya Huexotzinco +Atzalan ayome.</blockquote> + </td> + <td> + <blockquote>7. I would that I could go there where lies the great blue water +surging, and smoking and thundering, till after a time it retires +again: I shall sing as the quetzal, the blue quechol, when I go back +to Huexotzinco among the waters (<i>or</i>, and Atzalan).</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Zan niquintocaz aya niquimiximatitiuh nohueyotzitzinhuan +chalchiuhquechol y canca xiuhquechol in teocuitlapapalotl in +cozcatototl ontlapia ye onca Huexotzinco Atzalan ayame;</blockquote> + </td> + <td> + <blockquote>8. I shall follow them, I shall know them, my beloved Huexotzincos; +the emerald quechol birds, the green quechol, the golden butterflies, +and yellow birds, guard Huexotzinco among the waters (<i>or</i>, and +Atzalan).</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>9. Xochi Atzalaan teocuitlaatl chalchiuhatl y nepaniuhyan itlatoaya +in quetzalcanauhtli quetzalnocuitlapilli cuecueyahuaya yliya yliya +yaho ayli yaho aye huichile anicale.</blockquote> + </td> + <td> + <blockquote>9. Among the flowery waters, the golden waters, the emerald waters, +at the junction of the waters which the blue duck rules moving her +spangled tail.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>10. Huecapan nicac nicuicanitl huiya zaquan petlatolini, ma nica +yeninemia nicyeyectian cuicatla in nic xochiotia yayaho yahii.</blockquote> + </td> + <td> + <blockquote>10. I the singer stand on high on the yellow rushes; let me go forth +with noble songs and laden with flowers.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXI">Notes for Song XXI</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXII"></a><h3>XXII.</h3></td> + <td> <h3>XXII.</h3></td> + </tr> + <tr> + <td> + <blockquote><i>Tico tico ticoti tico tico ticoti auh ic ontlantiuk in cuicatl +totoco totoco.</i></blockquote> + </td> + <td> + <blockquote><i>Tico, tico, ticoti, tico, tico, ticoti, and then the song ends with +totoco, totoco.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Xichocayan nicuicanitl nicitta noxochiuh zan nomac ommania zan +quihuintia ye noyollo ni cuicatl aya nohuian nemia, zan ca ye noyollo +notlayocola in cayo.</blockquote> + </td> + <td> + <blockquote>1. In the place of tears I the singer watch my flowers; they are in +my hand; they intoxicate my soul and my song, as I walk alone with +them, with my sad soul among them.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Xiuhtlamatelolla quetzalchalchiuhtla ipan ye nicmatia nocuic aya +ma yectlaxochitl y, zan nomac ton mania, etc.</blockquote> + </td> + <td> + <blockquote>2. In this spot, where the herbage is like sweet ointment and green +as the turquoise and emerald, I think upon my song, holding the +beauteous flowers in my hand, etc. (as in v. 1).</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. In quetzalin chalchiuhtla ipan ye nicmatia yectli ye nocuic yectli +noxochiuh annicuihuan tepilhuan aya xonahuiacan a ayac onnemiz o in +tlalticpac ayo.</blockquote> + </td> + <td> + <blockquote>3. In this spot of turquoise and emerald, I think upon beauteous +songs, beauteous flowers; let us rejoice now, dear friends and +children, for life is not long upon earth.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. O an niquitquiz ye niaz yectli nocuic yectli noxochiuhui +annicuihuan tepilhuan aya.</blockquote> + </td> + <td> + <blockquote>4. I shall hasten forth, I shall go to the sweet songs, the sweet +flowers, dear friends and children.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. O huayanco o nichocaya a huayanco o cahua y yahue nictzetzelo +xochitl ay yo.</blockquote> + </td> + <td> + <blockquote>5. O he! I cried aloud; O he! I rained down flowers as I left.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Mach nohuan tonyaz quennonamica o ah nicitquiz xochitl zan +nicuicanitl huiya ma yo a xonahuiyacan to ya nemia ticaqui ye nocuic +ahuaya.</blockquote> + </td> + <td> + <blockquote>6. Let us go forth anywhere; I the singer shall find and bring forth +the flowers; let us be glad while we live; listen to my song.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Ay ca nichocaya nicuicanitl ya icha ahuicaloyan cuicatl ha Mictlan +temohuiloya yectliya xochitl onca ya oncaa y yao ohuayan ca ya ilaca +tziuhan ca na y yo.</blockquote> + </td> + <td> + <blockquote>7. I the poet cry out a song for a place of joy, a glorious song +which descends to Mictlan, and there turns about and comes forth +again.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Amo nequimilool amo neccuiltonol antepilhuan aychaa ohuicaloyan +cuicatl.</blockquote> + </td> + <td> + <blockquote>8. I seek neither vestment nor riches, O children, but a song for a +place of joy.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXII">Notes for Song XXII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXIII"></a><h3>XXIII. <i>YCUIC NEZAHUALCOYOTZIN.</i></h3></td> + <td> <h3>XXIII. <i>SONGS OF THE PRINCE NEZAHUALCOYOTL.</i></h3></td> + </tr> + <tr> + <td> + <blockquote><i>Totoco totoco tico, totoco totoco ic ontlantiuh tico titico ti tico +tico.</i></blockquote> + </td> + <td> + <blockquote><i>Totoco, totoco, tico, totoco totoco, then it ends with tico titico, +titico, tico.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Nicaya quetza con tohuehueuh aoniquimitotia quauhtlocelo yn ca +tiyayhcac in cuicaxochitl, nictemoan cuicatl ye tonequimilol ayyo.</blockquote> + </td> + <td> + <blockquote>1. I bring forth our drum that I may show the power and the grandeur +in which thou standest, decked with flowers of song: I seek a song +wherewith to drape thee, ah! oh!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ti Nopiltzi o ti Nezahualcoyotl o tiya Mictl a quenonamica y yece +miyoncan ay yo.</blockquote> + </td> + <td> + <blockquote>2. Thou, my Lord, O thou Nezahualcoyotl, thou goest to Mictlan in +some manner and at a fixed time, ere long.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Quiyon quiyon caya nichocaya ya ni Nezahualcoyotl huiya queni yeno +yaz o ya nipolihuiz oya miquitla ye nimitzcahua noteouh ypalnemo o +tinechnahuatia ye niaz nipolihuiz aya, yo.</blockquote> + </td> + <td> + <blockquote>3. For this, for this, I weep, I Nezahualcoyotl, inasmuch as I am to +go, I am to be lost in death, I must leave thee; my God, the Giver of +Life, thou commandest me, that I go forth, that I be lost, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Quenon maniz tlallin Acolihuacan huiya cuixoca quen mano o +ticmomoyahuaz in momacehuali ye nimitzcahua noteouh, etc.</blockquote> + </td> + <td> + <blockquote>4. How shall the land of Acolhuacan remain, alas? How shall we, thy +servants, spread abroad its fame? I must leave thee; my God, etc.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Can yio cuicatli tonequimilol quipoloaya a in totlacuiloli +tepilhuan oo maya o huitihua nican aya ayac ichan tlalticpac oo +ticyacencahuazque huelic ye xochitl ayio.</blockquote> + </td> + <td> + <blockquote>5. Even this song for thy draping may perish, which we have written +for our children, it will no longer have a home here on earth when we +shall wholly leave these fragrant flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. O ayac quitlamitaz monecuiltonol ypalnemoa a noyolquimati +cuelachic otictlanehuico Nezahualcoyotzin ay oppatihua nican anaya y +chan tlpc. Oon yn ay oppatihua in tlalticpacqui, zan nicuicanitl +ayaho onnichocaya niquelnamiqui Nezahualcoyotl aya ho.</blockquote> + </td> + <td> + <blockquote>6. Alas! thy riches shall end; the Giver of Life teaches me that but +for a little while do we enjoy the prince Nezahualcoyotl, nor a +second time will he come to his house on earth; no second time will +he rejoice on earth; but I the singer grieve, recalling to memory +Nezahualcoyotl.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Xo acico ye nican in teotl aya ypalnemoa, ayaho on nichocaya a +niquelnamiqui Nezalhuacoyotl ayio.</blockquote> + </td> + <td> + <blockquote>7. Let us seek while here the god, the Giver of Life; I grieve, +recalling to memory Nezahualcoyotl.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXIII">Notes for Song XXIII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXIV"></a><h3>XXIV.</h3></td> + <td> <h3>XXIV.</h3></td> + </tr> + <tr> + <td> + <blockquote><i>Quititi, quititi, quiti tocoto, tocoti tocoto tocoti zan ic +mocueptiuh.</i></blockquote> + </td> + <td> + <blockquote><i>Quititi, quititi, quiti tocoto, tocoti, tocoto, tocoti, then it is +to turn back again.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Ma xochicuicoya ma ichtoa nichuana ayyahue teyhuinti xochitl ao ya +noyehcoc ye nica poyoma xahuallan timaliuhtihuitz ay yo.</blockquote> + </td> + <td> + <blockquote>1. Let me pluck flowers, let me see them, let me gather the really +intoxicating flowers; the flowers are ready, many colored, varied in +hue, for our enjoyment.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ma xochitl oyecoc ye nican ayyahuc can tlaahuixochitla moyahuaya +motzetzeloa ancazo yehuatl in nepapaxochitl ayyo. Zan commoni +huchuetl ma ya netotilo.</blockquote> + </td> + <td> + <blockquote>2. The flowers are ready here in this retired spot, this spot of +fragrant flowers, many sorts of flowers are poured down and scattered +about; let the drum be ready for the dance.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Yn quetzal poyomatl ayc ihcuilihuic noyol nicuicanitl in xochitl +ayan tzetzelihui ya ancuel ni cuiya ma xonahuacan ayio zan noyolitic +ontlapanion cuicaxochitl nicyamoyahuaya yxoochitla.</blockquote> + </td> + <td> + <blockquote>3. I the singer take and pour down before you from my soul the +beautiful poyomatl, not to be painted, and other flowers; let us +rejoice, while I alone within my soul disclose the songs of flowers, +and scatter them abroad in the place of flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Cuicatl ya ninoquinilotehuaz in quemmanian xochineneliuhtiaz +noyollo yehuan tepilhuan oonteteuctin in ca yio.</blockquote> + </td> + <td> + <blockquote>4. I shall leave my songs in order that sometime I may mingle the +flowers of my heart with the children and the nobles.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Zan ye ic nichoca in quemanian zan nicaya ihtoa noxochiteyo +nocuicatoca nictlalitehuaz in quemanian xochineneliuhtiaz, etc.</blockquote> + </td> + <td> + <blockquote>5. I weep sometimes as I see that I must leave the earth and my +flowers and songs, that sometime these flowers will be vain and +useless.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXIV">Notes for Song XXIV</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXV"></a><h3>XXV.</h3></td> + <td> <h3>XXV.</h3></td> + </tr> + <tr> + <td> + <blockquote><i>Tico toco tocoto ic ontlantiuh ticoto ticoto.</i></blockquote> + </td> + <td> + <blockquote><i>Tico, toco, tocoto, and then it ends, ticoto, ticoto.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Toztliyan quechol nipa tlantinemia in tlallaicpac oquihuinti ye +noyol ahua y ya i.</blockquote> + </td> + <td> + <blockquote>1. The sweet voiced quechol there, ruling the earth, has intoxicated +my soul.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ni quetzaltototl niyecoya ye iquiapan ycelteotl yxochiticpac +nihueloncuica oo nicuicaihtoa paqui ye noyol ahuay.</blockquote> + </td> + <td> + <blockquote>2. I am like the quetzal bird, I am created in the house of the one +only God; I sing sweet songs among the flowers; I chant songs and +rejoice in my heart.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Xochiatl in pozontimania in tlallaicpac oquihuinti ye noyol ahua.</blockquote> + </td> + <td> + <blockquote>3. The fuming dew-drops from the flowers in the field intoxicate my +soul.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Ninochoquilia niquinotlamati ayac in chan oo tlallicpac ahua.</blockquote> + </td> + <td> + <blockquote>4. I grieve to myself that ever this dwelling on earth should end.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Zan niquittoaya ye ni Mexicatl mani ya huiya nohtlatoca +tequantepec ni yahui polihuin chittepehua a ya ye choca in +tequantepehua o huaye.</blockquote> + </td> + <td> + <blockquote>5. I foresaw, being a Mexican, that our rule began to be destroyed, I +went forth weeping that it was to bow down and be destroyed.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Ma ca qualania nohueyotehua Mexicatli polihui chile.</blockquote> + </td> + <td> + <blockquote>6. Let me not be angry that the grandeur of Mexico is to be +destroyed.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Citlalin in popocaya ipan ye moteca y za ye polihui a zan ye +xochitecatl ohuaye.</blockquote> + </td> + <td> + <blockquote>7. The smoking stars gather together against it; the one who cares +for flowers is about to be destroyed.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Zan ye chocaya amaxtecatl aya caye chocaya tequantepehua.</blockquote> + </td> + <td> + <blockquote>8. He who cared for books wept, he wept for the beginning of the +destruction.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXV">Notes for Song XXV</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXVI"></a><h3>XXVI.</h3></td> + <td> <h3>XXVI.</h3></td> + </tr> + <tr> + <td> + <blockquote><i>Toto tiquiti tiquiti ic ontlantiuh tocotico tocoti toto titiqui toto +titiquiti.</i></blockquote> + </td> + <td> + <blockquote><i>Toto tiquiti tiquiti, then it ends tocotico, tocoti toto titiqui +toto titiquiti.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Oya moquetz huel oon ma on netotilo teteuctin aya ma +onnetlanehuihuilo chalchihuitl on quetzali patlahuac, ayac ichan +tlalticpac, ayio zan nomac onmania ooo y xochiuh aya ipalnemoa ma +onnetlanehuilo chalchihuitl.</blockquote> + </td> + <td> + <blockquote>1. Come forth to the dance, ye lords, let there be abundance of +turquoise and feathers; our dwelling on earth is not for long; only +let the gods give me flowers to my hand, give me abundance of +turquoises.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Oyohual in colinia o on in icelteotl ipalnemaa Anahuac o onnemia +noyol ayio.</blockquote> + </td> + <td> + <blockquote>2. Come let us move in the dance in honor of the one only god, the +Giver of Life, while my soul lives by the waters (<i>or</i>, in Anahuac).</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. In yancuica oncan quixima ipalnemoani ca ye Nonoalco ahuilizapan i +in teuctli yehua Nezahualpilli y yece ye oncan aya in tlacoch +tenanpan Atlixco ayio.</blockquote> + </td> + <td> + <blockquote>3. The Giver of Life made known a new song after the lord +Nezahualpilli entered the strongholds of Nonoalco and sped his arrows +within the walls of Atlixco.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Zan momac otitemic motlahuan zomal a ica ticahuiltia icelteotl in +teuctli yehua.</blockquote> + </td> + <td> + <blockquote>4. Thou hast filled thy plate and thy cup in thy hands and hast +rejoiced in the one only God, the Lord.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Y yeho aye icnotlamati noyollo, zan niNonoalcatl, zan can +nicolintototl o nocamapan aya Mexicatl in ca yio.</blockquote> + </td> + <td> + <blockquote>5. Alas, how I am afflicted in my soul, I, a resident of Nonoalco; I +am like a wild bird, my face is that of a Mexican.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. On quetzal pipixauhtoc motlachinolxochiuh in ipalnemoa zan ca +nicolintototl, etc.</blockquote> + </td> + <td> + <blockquote>6. The beauteous flowers of thy battles lie abundantly snowed down, O +Giver of Life; I am like a wild bird, etc.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXVI">Notes for Song XXVI</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXVII"></a><h3>XXVII.</h3></td> + <td> <h3>XXVII.</h3></td> + </tr> + <tr> + <td> + <blockquote><i>Toco toco tiqui tiqui ic ontlantiuh toco tico tocoti.</i></blockquote> + </td> + <td> + <blockquote><i>Toco, toco, tiqui, tiqui, and then it ends toco, tico, tocoli.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Ma ya pehualo ya nicuihua in ma ya on acico ye nicaan aya oya +yĕcoc yehuan Dios in cayio in ma ya ca ya onahuilihuan tepilhuan a +ayamo acico ya yehuan Dios oncan titemoc yehuan Dios a oncan huel in +oncan tlacat y ye Yesu Cristo in ca yio.</blockquote> + </td> + <td> + <blockquote>1. Let my song be begun, let it spread abroad from here as far as God +has created; may the children be glad, may it reach to God, there to +God whom we seek, there where is Jesus Christ who was born.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. In oncan tlahuizcalli milintimani mochan aya moxochiuhaya Dios aya +chalchiuhcueponi maquiztzetzelihui onnetlamachtiloya in ca yio in +oncan ya o nepapan izhuayo moxochiuh aya Dios a.</blockquote> + </td> + <td> + <blockquote>2. There the dawn spreads widely over the fields, over thy house, and +thy flowers, O God, blossom beauteous as emeralds; they rain down in +wondrous showers, in that place of happiness; there alone may my +flowers, of various leaves, be found, O God.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Zan ye xochitl moyahua oo zan ca itlatol in ipalnemoani o ontepan +ye moteca anahuac ooica tichuelmana atl on yan tepetl ayio.</blockquote> + </td> + <td> + <blockquote>3. There the flowers are the words of the Giver of Life; they are +upon the mountains and by the waters; we find them alike by the water +and the mountain.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Zan temomac mania cemilhuitl in niman ye tehuatl toconyaittoaya +ipalnemoani.</blockquote> + </td> + <td> + <blockquote>4. Our day is in thy hand, and soon we shall see thee, thou Giver of +Life.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXVII">Notes for Song XXVII</a></td> + <td><br></td> + </tr> + </tbody> +</table> +</center> + +<a name="NOTES"></a><h2>NOTES.</h2> + +<a name="NOTES_I"></a><h3>NOTES FOR SONG I.</h3> + +<p>The song is an allegory, portraying the soul-life of the poet. By the +flowers which he sets forth to seek, we are to understand the songs +which he desires to compose. He asks himself where the poetic +inspiration is to be sought, and the answer is the same as was given +by Wordsworth, that it is to the grand and beautiful scenes of Nature +that the poet must turn for the elevation of soul which will lift him +to the sublimest heights of his art. But this exaltation bears with +it the heavy penalty that it disqualifies for ordinary joys. As in +medieval tales, he who had once been admitted to fairyland, could +nevermore conquer his longing to return thither, so the poet longs +for some other condition of existence where the divine spirit of song +may forever lift him above the trials and the littleness of this +earthly life.</p> + +<p>There is no sign of Christian influence in the poem, and it is +probably one handed down from a generation anterior to the Conquest.</p> + +<p>1. The word <i>peuhcayotl</i> from <i>peua</i>, to begin, intimates that this +was a song chanted at the beginning of a musical entertainment. The +verses are longer, and the phraseology plainer than in many of those +following. There is also an absence of interjections and lengthened +vowels, all of which indicate that the time was slow, and the actions +of the singer temperate, as was the custom at the beginning of a +<i>baile</i>. (See Introd., p. 20.)</p> + +<p>1. <i>Ninoyolnonotza</i>, a reflexive, frequentative form from <i>notza</i>, to +think, to reflect, itself from the primitive radicle <i>no</i>, mind, +common to both the Nahuatl and Maya languages. The syllable <i>yol</i> is +for <i>yollotl</i>, heart, in its figurative sense of soul or mind. The +combination of <i>yolnonotza</i> is not found in any of the dictionaries. +The full sense is, "I am thinking by myself, in my heart."</p> + +<p><i>ahuiaca</i>, an adverbial form, usually means "pleasant-smelling," +though in derivation it is from the verb <i>ahuia</i>, to be satisfied +with.</p> + +<p><i>quetzal</i>, for <i>quetzalli</i>, a long, handsome blue feather from the +quetzal bird, often used figuratively for anything beautiful or +precious.</p> + +<p><i>chalchiuh</i> for <i>chalchiuitl</i>, the famous green-stone, jade or +emerald, so highly prized by the Mexicans; often used figuratively +for anything noble, beautiful and esteemed.</p> + +<p><i>huitzitzicatin</i>, a word not found in the dictionaries, appears to be +from <i>tzitzilca</i>, to tremble, usually from cold, but here applied to +the tremulous motion of the humming bird as it hovers over a flower.</p> + +<p><i>zacuan</i>, the yellow plumage of the zacuan bird, and from similarity +of color here applied to the butterfly. The zacuan is known to +ornithologists as the <i>Oriolus dominicensis</i>. These birds are +remarkably gregarious, sometimes as many as a hundred nests being +found in one tree (see Eduard Mühlenpfort, <i>Versuch einer getreuen +Schilderung der Republik Mexiko</i>, Bd. I, p. 183).</p> + +<p><i>acxoyatzinitzcanquauhtla</i>; composed of <i>acxoyatl</i>, the wild laurel; +<i>tzinitzcan</i>, the native name of the <i>Trogon mexicanus</i>, renowned for +its beautiful plumage; <i>quauhtli</i>, a tree; and the place-ending +<i>tla</i>, meaning abundance.</p> + +<p><i>tlauquecholxochiquauhtla</i>; composed of <i>tlauquechol</i>, the native +name of the red, spoon-billed heron, <i>Platalea ajaja; xochitl</i>, +flower; <i>quauhtli</i>, tree; and the place-ending <i>tla</i>.</p> + +<p><i>tonameyotoc</i>, the root is the verb <i>tona</i>, to shine, to be warm; +<i>tonatiuh</i>, the sun; <i>tonameyotl</i>, a ray of the sun, etc. As warmth +and sunlight are the conditions of growth and fertility, many +derivatives from this root signify abundance, riches, etc.</p> + +<p><i>mocehcemelquixtia</i>; <i>mo</i> is the reflexive pronoun, 3d sing., often +used impersonally; <i>cehcemel</i>, is a reduplicated form of the numeral +<i>ce</i>, one; it conveys the sense of entire, whole, perfect, and is +thus an interesting illustration of the tendency of the untutored +mind to associate the idea of unity with the notion of perfection; +<i>quixtia</i> is the compulsive form of <i>quiza</i>, to go forth.</p> + +<p><i>onechittitique</i>; 3d person plural, preterit, of the causative form +of <i>itta</i>, to see; <i>ittitia</i>, to cause to see, to show; <i>nech</i>, me, +accusative form of the pronoun.</p> + +<p><i>nocuexanco</i>; from <i>cuexantli</i>, the loose gown worn by the natives, +extending from the waist to the knees. Articles were carried in it as +in an apron; <i>no-cuexan-co</i>, my-gown-in, the terminal <i>tli</i> being +dropped on suffixing the postposition.</p> + +<p><i>tepilhuan</i>; from <i>pilli</i>, boy, girl, child, young person, with the +relative, indefinite, pronominal prefix <i>te</i>, and the pronominal +plural termination <i>huan</i>, to take which, <i>pilli</i> drops its last +syllable, <i>li</i>; hence, <i>te-pil-huan</i>, somebody's children, or in +general, the young people. This word is of constant occurrence in the +songs.</p> + +<p><i>teteuctin</i>, plural with reduplication of <i>teuctli</i>, a noble, a +ruler, a lord. The singer addresses his audience by this respectful +title.</p> + +<p>2. <i>ixochicuicatzini</i>; <i>i</i>, poss. pron. 3d sing.; <i>xochitl</i>, flower; +<i>cuicatl</i>, song; <i>tzin</i>, termination signifying reverence or +affection; "their dear flower-songs."</p> + +<p><i>yuhqui tepetl</i>, etc. The echo in the Nahuatl tongue is called +<i>tepeyolotl</i>, the heart or soul of the mountain (not in Simeon's +<i>Dictionnaire</i>, but given by Tezozomoc, <i>Cronica Mexicana</i>, p. 202).</p> + +<p><i>meyaquetzalatl</i>; from <i>meya</i>, to flow slowly, to trickle; +<i>quetzalli</i>, beautiful; <i>atl</i>, water.</p> + +<p><i>xiuhtotoameyalli</i>; the root <i>xiuh</i> meant originally green (or blue, +as they were not distinguished apart); hence <i>xiuitl</i>, a leaf or +plant, the green herbage; as where the Nahuas then were this was +renewed annually, <i>xiuitl</i> came to mean a year; as a comet seems to +have a bunch of fiery flames growing from it, this too was <i>xiuitl</i>, +and a turquoise was called by the same term; in the present compound, +it is employed adjectively; <i>xiuh-totol</i>, turquoise-bird, is the +<i>Guiaca cerulea</i>, Linn.; <i>ameyalli</i>, from <i>atl</i>, water, <i>meya</i>, to +trickle, and the noun ending.</p> + +<p><i>mo-motla</i>; to throw one's self, to dash one's self against +something, etc.</p> + +<p><i>centzontlatolli</i>; literally," four hundred speeches." The numeral +four hundred was employed, like the Greek "myriad," to express +vaguely any extraordinary number. The term may be rendered "the +myriad-voiced," and was the common name of the mocking-bird, called +by ornithologists <i>Turdus polyglottus</i>, <i>Calandria polyglotta</i>, and +<i>Mimus polyglotta</i>.</p> + +<p><i>coyoltototl</i>, literally, "the rattle-bird," so called from its +peculiar notes (<i>coyolli</i> = a rattle), is one of the <i>Tanegridae</i>, +probably the <i>Piranga hepatica</i>.</p> + +<p><i>ayacachicahuactimani</i>; composed of <i>ayacachtli</i>, the rattle (see +<i>ante</i>, page 24); and <i>icahuaca</i>, to sing (of birds); to the theme of +this verb is added the connective syllable <i>ti</i>, and the verb <i>mani</i>, +which, in such connection, indicates that the action of the former +verb is expended over a large surface, broadly and widely (see Olmos, +<i>Gram. de la Langue Nahuatl</i>, p. 155, where, however, the connective +<i>ti</i> is erroneously taken for the pronoun <i>ti</i>).</p> + +<p><i>hueltetozcatemique</i>; composed of <i>huel</i>, good or well; <i>tetozca</i>, +from <i>tozquitl</i>, the singing voice; and <i>temo</i>, to let fall, to drop; +<i>que</i> is the plural verbal termination.</p> + +<p>3. <i>ma n-amech-ellelti</i>, vetative causative from <i>elleloa</i>, to cause +pain.</p> + +<p><i>cactimotlalique</i>, appears to be a compound of <i>caqui</i>, to listen, to +hear, and <i>tlalia</i>, to seat, to place.</p> + +<p><i>amohuampotzitzinhuan</i>, a compound based on the pronoun of the second +person plural, <i>amo</i>, the particle <i>po</i>, which means similarity or +likeness, and the reduplicated reverential plural termination. The +same particle <i>po</i>, appears a few lines later in <i>toquichpohuan</i>; +<i>potli</i> = comrade, compeer.</p> + +<p>4. <i>Tepeitic</i>, from <i>tepetl</i>, mountain, <i>ititl</i>, belly, from which is +derived the proposition <i>itic</i>, within, among. The term is applied to +a ravine or sequestered valley.</p> + +<p>5. <i>quauhtliya ocelotl</i>, the expression <i>quauhtli, ocelotl</i>, is of +frequent occurrence in the ancient Nahuatl writers. The words mean +literally "eagle, tiger." These were military titles applied to +officers commanding small bodies of troops; figuratively, the words +mean control, power, and dignity; also, bravery and virtue. Comp. +Agustin de Vetancurt, <i>Teatro Mexicano</i>, Tratado II, cap. 3.</p> + +<p>6. <i>in tloque in nahuaque</i>; this expression, applied by the ancient +Nahuas to the highest divinity, is attributed by some to +Nezahualcoyotl (see above, p. 36). It is composed of two +postpositions <i>tloc</i> and <i>nahaac</i>, and in the form given conveys the +meaning "to whom are present and in whom are immanent all things +having life." See Agustin de la Rosa, <i>Analisis de la Platica +Mexicana sobre el Mislerio de la Santisima Trinidad</i>, p. 11 +(Guadalajara, 1871). The epithet was applied in heathen times to the +supreme divinity Tonacateotl; see the <i>Codex Telleriano-Remensis</i>, in +Kingsborough's <i>Mexico</i>, Vol. VI, p. 107.</p> + +<p>8. <i>ximoayan</i>; this word does not appear in the dictionaries of +Molina or Simeon, and is a proof, as is the sentiment of the whole +verse, that the present poem belongs to a period previous to the +Conquest. The term means "where all go to stay," and was the name of +the principal realm of departed souls in the mythology of the ancient +Nahuas. See Bartholome de Alva, <i>Confessionario en Lengua Mexicana</i>, +fol. 13 (Mexico, 1634); Tezozomoc, <i>Cronica Mexicana</i>, cap. 55; D.G. +Brinton; <i>The Journey of the Soul</i> (in Aztec and Aryan Myths), +Philadelphia, 1883.</p> + +<p><i>yhuintia</i>, causative form of <i>ihuinti</i>, to make drunk. The Nirvana +of the Nahuas was for the soul to lie in dense smoke and darkness, +filled with utter content, and free from all impressions ("en lo +profundo de contento y obscuridad," Tezozomoc, <i>Cronica Mexicana</i>, +cap. 55).</p> + +<a name="NOTES_II"></a><h3>NOTES FOR SONG II.</h3> + +<p>On the signification of the titles given to this poem see the +Introduction, § 3.</p> + +<p>1. <i>yehnan Dios</i>; literally "who are God;" the introduction of the +Spanish <i>Dios</i>, God, is in explanation of <i>in tloque in nahuaque</i>; so +far from proving that this song is of late date, this vouches for its +genuine ancient character, through the necessity for such +explanation.</p> + +<p>2. <i>nelhuayotl</i>, the essence or source of something, its true nature; +probably from <i>nelli</i>, true.</p> + +<p><i>teoquecholme</i>; the prefix <i>teotl</i>, divine, is often added as an +expression of admiration. Sahagun mentions the <i>teoquechol</i> as a bird +of brilliant plumage.</p> + +<a name="NOTES_III"></a><h3>NOTES FOR SONG III.</h3> + +<p>The poet recalls a recent attendance on the obsequies of an +acquaintance, and seeks to divert his mind from the gloomy +contemplation of death and the ephemeral character of mortal joys by +urging his friend to join in the pleasure of the hour, and by +suggesting the probability of an after life.</p> + +<p>1. <i>xochicalco</i>; compounded of <i>xochitl</i>, flower; <i>calli</i>, house; and +the postposition, <i>co</i>. The term was applied to any room decorated +with flowers; here, to the mortuary chamber, which Tezozomoc tells us +was decked with roses and brilliant feathers.</p> + +<p><i>ipalnemohuani</i>, literally "the one by whom life exists." The +composition is <i>i</i>, possessive pronoun, third person, singular; +<i>pal</i>, postposition, by; <i>nemoani</i>, singular of the present in <i>ni</i> +of the impersonal form of the verb <i>nemi</i>, to live, with the meaning +to do habitually that which the verb expresses. It is an ancient +epithet applied to the highest divinity, and is found in the <i>Codex +Telleriano-Remensis</i>, Kingsborough's <i>Mexico</i>, Vol. VI, p. 128, note.</p> + +<p><i>tolquatectitlan</i>, from <i>toloa</i>, to lower, to bow; <i>quatequia</i>, to +immerse the head; <i>tlan</i>, place ending. In the ancient funeral +ceremonies the faces of the assistants were laved with holy water. On +this rite see the note of Orozco y Berra to his edition of the +<i>Cronica Mexicana</i> of Tezozomoc, p. 435 (Mexico, 1878).</p> + +<p><i>xoyacaltitlan</i>; from <i>xoyaui</i>, to spoil, to decay, whence +<i>xoyauhqui</i>, rank, unpleasant, like the odor of decaying substances.</p> + +<p><i>xochicopal tlenamactli</i>, "the incense of sweet copal," which was +burned in the funeral chamber (see Tezozomoc's description of the +obsequies of Axayaca, <i>Cron. Mex.</i>, cap. 55).</p> + +<p>2. The translation of this verse offers some special difficulties.</p> + +<a name="NOTES_IV"></a><h3>NOTES FOR SONG IV.</h3> + +<p>A poem of unusually rich metaphors is presented, with the title "A +Song of the Mexicans, after the manner of the Otomis." It is a +rhapsody, in which the bard sings his "faculty divine," and describes +the intoxication of the poetic inspiration. It has every inherent +mark of antiquity, and its thought is free from any tincture of +European influence.</p> + +<p>2. <i>miahuatototl</i>, literally, "the corn-silk bird," <i>miahua</i> being +the term applied to the silk or tassel of the maize ear when in the +milk. I have not found its scientific designation.</p> + +<p>6. <i>poyomatl</i>; the poyomatli is described by Sahagun (<i>Hist. de la +Nueva España</i>, Lib. X, cap. 24) as a species of rose, portions of +which were used to fill the cane tubes or pipes used for smoking. He +names it along with certain fungi employed for the same purpose, and +it probably produced a narcotic effect.</p> + +<a name="NOTES_V"></a><h3>NOTES FOR SONG V.</h3> + +<p>From the wording, this appears to be one of the lost songs of +Nezahualcoyotl, either composed by him or sung before him. (See the +Introduction, p. 35.) It is a funeral dirge, dwelling on the fact of +universal and inevitable death, and the transitoriness of life. There +is in it no hint of Christian consolation, no comfortable hope of +happiness beyond the grave. Hence it dates, in all likelihood, from a +period anterior to the arrival of the missionaries.</p> + +<p>1. <i>tonequimilol</i>; I take this to be a derivative from <i>quimiloa</i>, to +wrap up, especially, to shroud the dead, to wrap the corpse in its +winding sheets, as was the custom of the ancient Mexicans. The word, +however, seems an archaic form, as it does not lend itself readily to +analysis.</p> + +<p>The expression <i>in Dios</i>, I explain as in the note to II, 1, and do +not consider that it detracts from the authentic antiquity of the +poem.</p> + +<p>2. <i>yoyontzin</i>; on the significance of this appellation of +Nezahualcoyotl, see Introduction, p. 35.</p> + +<p>3. <i>ti Nezahualcoyotl</i>; "thou Nezahualcoyotl." The princely poet may +have addressed himself in this expression, or we may suppose the song +was chanted before him.</p> + +<p>5. <i>Nopiltzin</i>; the reference is to Quetzalcoatl, the famous "fair +God" of the Nahuas, and in myth, the last ruler of the Toltecs. See +D.G. Brinton, <i>American Hero Myths</i> (Philadelphia, 1882). The term +means "my beloved Lord." On Tezozomoc, see Introduction, p. 35.</p> + +<p>6. The text of the latter part or refrain of verses 5 and 6 is +corrupt, and my translation is doubtful.</p> + +<a name="NOTES_VI"></a><h3>NOTES FOR SONG VI.</h3> + +<p>Most of the poems in this collection are not assigned to any author, +but this, and apparently the one following, are recorded as the +compositions of Tetlapan Quetzanitzin. He is evidently the personage +spoken of by Sahagun as "King of Tlacopan," as present with Montezuma +on the occasion of his first interview with Cortez. Later in the +struggle Tetlapan appears as the associate of Quauhtemoctzin, the +"King of Mexico." (See Sahagun, <i>Hist. de la Nueva España</i>, Lib. XII, +cap. 16 and 40.) M. Rémi Simeon explains the name to mean "he who +deceives the people by magic;" deriving it from <i>quetza</i>, he places; +<i>te</i>, the people, <i>tlepan</i>, on the fire. A simpler derivation seems +to me possible from <i>tetlapanqui</i>, miner, or quarryman (literally, +stone-breaker), and <i>quetzalli</i>, red; <i>quetzatzin</i>, the lord or +master of the miners.</p> + +<p>Both this and the following are war songs, and have marked similarity +in thought and wording. The introduction of the Spanish <i>Dios</i> was +doubtless substituted by the scribe, for the name of some native god +of war, perhaps Huitzilopochtli.</p> + +<p>1. <i>Aua</i>; this word I take to be a form of the interjection <i>yahue</i>, +or, as Olmos gives it in his <i>Grammar, aa</i>.</p> + +<p>2. <i>nepohualoyan</i>; "the place of counting or reckoning," from +<i>pohua</i>, to count. The reference is not clear, and the translation +uncertain. In some parts of ancient Mexico they used in their +accounting knotted cords of various colors, like the Peruvian +<i>quipus</i>. These were called <i>nepohualtzitzin</i>.</p> + +<p>4. This verse is remarkable for its sonorous phrases and the archaic +forms of the words. Its translation offers considerable difficulty.</p> + +<p><i>xontlachayan</i>, I take to be an imperative form from <i>tlachia</i>, to +look, with the euphonic <i>on</i>.</p> + +<p><i>teoatl tlachinolli</i>, literally "the divine water (i.e. blood), the +burning," and the expression means war, battle. In one of his sermons +Fray Juan Bautista describes the fall of Jericho in the words, +<i>otlaltitechya in altepetl teuatl tlachinolli ye opoliuh</i>, and +explains it, "the town was destroyed with fire and blood" (<i>Sermones +en Lengua Mexicana</i>, p. 122). The word <i>tlachinolli</i> is from +<i>chinoa</i>, to burn.</p> + +<p><i>quetzalalpilo</i>; a compound of <i>quetzalli</i>, a beautiful feather, and +<i>tlalpiloni</i>, the band which passed around the head to keep the hair +in place.</p> + +<p>5. <i>melchiquiuhticaya</i>; "he who presented his breast," an imperfect, +reflexive form. Molina gives <i>melchiquiuh petlauhqui</i>, with the +translation <i>despechugado</i>. <i>Vocabulario Mexicana, s.v.</i></p> + +<a name="NOTES_VII"></a><h3>NOTES FOR SONG VII.</h3> + +<p>The second specimen from the muse of Tetlapan Quetzanitzin is the +noblest war song in the collection. It is an appeal to his friends to +join in a foray to Chiapas. The intoxication of the battle field is +compared to that produced by the strong white wine prepared from +maguey, which was drunk only on solemn occasions. The bard likens the +exhaustion of his fellow warriors from previous conflicts, to the +stupor which follows a debauch, and he exhorts them to throw it +aside.</p> + +<p>1. <i>oamaxque</i>, <i>o</i>, pret. <i>am</i>, you, <i>axque</i>, 2d pl. pret. from <i>ay</i>, +to do.</p> + +<p><i>octicatl</i>, apparently an old form from <i>octli</i>, the intoxicating +beverage prepared from the maguey.</p> + +<p><i>oanquique</i>, 2d pl. pret. from <i>cui</i>, to take.</p> + +<p><i>ohuican</i>, a place of difficulty and danger. The frequent addition of +the terminal <i>o</i> in this and the succeeding verses is merely +euphonic.</p> + +<p>2. <i>teoatl tlachinolli</i>; see note VI, 4.</p> + +<p><i>in maquiztli tlazotetl</i>, the beloved jewels, a phrase which +indicates that the broken stones and splintered emeralds referred to +are the young warriors who fall in battle, the pride of their +parents' hearts, who are destroyed in the fight.</p> + +<p>The <i>tizaoctli</i>, white wine (<i>tizatl</i>, chalk, hence white, and +<i>octli</i>, wine), referred to in this passage, is said by Sahagun to +have been drunk especially at the feast of the god Papaztac, one of +the many gods of the wine cup. <i>Hist. de Nueva España</i>. Lib. II, App. +Tezozomoc mentions it as handed to the mourners at funeral +ceremonies. <i>Cronica Mexicana</i>, cap. 55.</p> + +<p>3. <i>xochitlalticpacilhtuicacpao</i>; in this long compound of <i>xochitl</i>, +flower, <i>tlalti</i>, earth, and <i>ilhuicatl</i>, sky, with various +postpositions and the euphonic terminal <i>o</i>, the final <i>pa</i> gives the +sense of location, towards, in the direction of.</p> + +<p><i>chimalxochiti</i>; "the shield flower," the shield or buckler of the +ancient warriors, ornamented with tassels and feathers, is not +unaptly called the flower of war.</p> + +<a name="NOTES_VIII"></a><h3>NOTES FOR SONG VIII.</h3> + +<p>The entire absence in this lament for the dead of any consolation +drawn from Christian doctrines, points clearly to a date for its +composition earlier than the teachings of the missionaries. Its cry +of woe is hopeless, and the title attributes its authorship to one of +the old chieftains, <i>tlatoani</i>, who held the power before the +Spaniard arrived.</p> + +<p>1. <i>quetzalhuahuaciuhtoque</i>, from <i>quetzalli, huaqui</i>; <i>in +teintoque</i>, the splinters; the same simile is employed in VII, 2.</p> + +<p>2. <i>ximoayan</i>, see note to I, 8. The occurrence of this term here and +in verse 3 testifies to the fact of a composition outside of +Christian influences.</p> + +<a name="NOTES_IX"></a><h3>NOTES FOR SONG IX.</h3> + +<p>The title does not necessarily mean that this song is a translation +from the Otomi language, but merely that the time to which it was +chanted was in the Otomi style; or, the term <i>Otomi</i> may have +reference to the military officer so called. The word is perhaps a +compound of <i>otli</i>, path, and <i>mitl</i>, arrow.</p> + +<p>The bard sings the vanity of earthly pleasures, and the reality of +earthly pains; he exhorts himself and his hearers not to neglect the +duties of religion, and lauds his own skill in song, which he +compares to the sweet voices of melodious birds. There is nothing in +the poem which reflects European influence.</p> + +<p>1. <i>xotlacueponi</i>; the meaning of this compound is obscure. It is not +found in the dictionaries.</p> + +<p>2. The terminal <i>o</i> is inserted several times in the passage to +express emotion and fill the metre.</p> + +<p><i>mixitl tlapatl</i>. A phrase signifying the stupor or drunkenness that +comes from swallowing or smoking narcotic plants. See Olmos, +<i>Grammaire de la Langue Nahuatl</i>, pp. 223, 228; <i>oquiqueo</i> is from +<i>i</i>, to drink, or <i>cui</i>, to take, the <i>o</i> terminal being euphonic.</p> + +<a name="NOTES_X"></a><h3>NOTES FOR SONG X.</h3> + +<p>The poet expresses his grief that his songs all dwell on painful +topics; he exhorts his hearers of the vanity of fame and skill in +handicrafts, and of the uncertainty of life; closing, he appeals +especially to those of Tezcuco and Atecpan to listen and believe his +warnings.</p> + +<p>In spite of the introduction of the Spanish word <i>Dios</i>, and the +exhortation to "believe," in the last line, it is possible that the +substance of this song was due to purely native inspiration; yet it +may have been, like Song XIX, one of those written at an early period +for the converts by the missionaries.</p> + +<a name="NOTES_XI"></a><h3>NOTES FOR SONG XI.</h3> + +<p>In a similar strain as in the last poem, the bard bewails the +briefness of human life and friendships. He closes with an appeal to +the Master of Life, of whom no mortal tongue can speak in worthy and +appropriate terms.</p> + +<p>6. <i>ihuiti</i>, apparently a form of <i>ihuintia</i>.</p> + +<p><i>tonan</i>; the reference appears to be to <i>Tonantzin</i>, Our Mother, +otherwise known as Cihuacoatl, the Serpent Woman. She was the +mythical mother of the human race, and dispensed afflictions and +adverse fortune. See Sahagun, <i>Hist. de la Nueva España</i>, Lib. I, +cap. 6. The name is a proof of the antiquity of the poem, which is +throughout in the spirit of the ancient religion.</p> + +<a name="NOTES_XII"></a><h3>NOTES FOR SONG XII.</h3> + +<p>As stated in the Introduction (§ 10), a note prefixed to this song +introduces it as a translation from the Otomi into the Nahuatl +tongue. It admirably illustrates the poetic flexibility of the +Nahuatl.</p> + +<p>3. <i>epoyhuayan</i>, from <i>epoalli</i>, sixty; <i>teoquauhtli ocelott</i>, +"divine eagles, tigers." These terms refer to the warriors bearing +these titles.</p> + +<p><i>tlazomaquiztetl</i>, "beloved, precious stones," a figure of speech +referring to the youths who go to war. The same or similar metaphors +are used in previous songs.</p> + +<p>5. The fifth and sixth verses present serious difficulties of +construction which I do not flatter myself I have overcome.</p> + +<a name="NOTES_XIII"></a><h3>NOTES FOR SONG XIII.</h3> + +<p>The inhabitants of Huexotzinco were in frequent strife with those of +Mexico-Tenochtitlan, and on various occasions the latter captured +many prisoners. The present poem is represented to be a composition +of one of these prisoners when he and his companions were confined in +Tlatilolco, one of the suburbs of Tenochtitlan. It breathes hatred +against his captors and an ardent thirst for vengeance. The latest +date at which I find captives from Huexotzinco detained in Mexico is +1511, and it is to this year, therefore, that I assign the +composition of the poem.</p> + +<p>5. <i>Atloyantepetl</i>; this name possibly means "the mountain of the +place of the water-falcons" (<i>atl</i>, water; <i>tlatli</i>, falcon; <i>yan</i>, +place-ending; <i>tepetl</i>, mountain). I have not found it in other +writers. (See Index.)</p> + +<p>8. <i>tlaylotlaqui</i>; Siméon, on the authority of Aubin, explains this +term as the name of a tribe living near Tezcuco. In derivation it +appears to be a term of contempt, "workers in filth or refuse," scum, +offscourings. It also appears in Song XV.</p> + +<p>10. The construction of this verse is so obscure, or the text so +imperfect, that the translation is doubtful.</p> + +<a name="NOTES_XIV"></a><h3>NOTES FOR SONG XIV.</h3> + +<p>This poem, chanted in 1551 before the Governor of Azcapotzalco, by +Francisco Placido, a native of Huexotzinco, is a Christian song in +the style and metre of the ancient poetry. See the Introduction, p. +51.</p> + +<p>1. <i>impetlatl</i>; the ordinary meaning of <i>petlatl</i> is a mat or rug; it +is here to be taken in its figurative sense of power or authority, +chiefs and other prominent persons being provided with mats at the +councils, etc.</p> + +<a name="NOTES_XV"></a><h3>NOTES FOR SONG XV.</h3> + +<p>This extremely difficult composition seems to be a war song, in which +the bard refers to the traditional history of the Nahuas, names some +of their most prominent warriors, and incites his hearers to deeds of +prowess on the battle field. I do not claim for my version more than +a general correspondence to the thought of the original. In several +parts, especially verse 18, the text is obviously defective.</p> + +<p>1. <i>tzihuactitlan</i>; "the land of the tzihuac bushes." The tzihuactli +is a small kind of maguey which grows in rocky localities. The tenth +edifice of the great temple at Tenochtitlan was a wall surrounding an +artificial rockery planted with these bushes. Sahagun, who mentions +this fact, adds that the name of this edifice was <i>Teotlalpan</i>, which +literally means "on holy ground." (<i>Hist. de la Nueva España</i>, Lib. +II, App.) The <i>mizquitl</i> is the common <i>Mimosa circinalis</i>.</p> + +<p><i>Chicomoztoc</i>; "at the Seven Caves," a famous locality in Mexican +legend, and the supposed birthplace of their race.</p> + +<p>2. <i>Colhuacan</i> is probably for Acolhuacan; the early rulers of the +latter were of the blood of the Chichimec chiefs of the Tepanecas.</p> + +<p>4. <i>Hueytlalpan</i>, "at the ancient land," perhaps for Huetlapallan, a +1ocality often referred to in the migration myths of the Nahuas.</p> + +<p>5. <i>Atloyan</i>; see note to XIII, 6.</p> + +<p>9. The ceiba and cypress trees were employed figuratively to indicate +protection and safeguard. See Olmos, <i>Gram. de la Langue Nahuatl</i>, p. +211.</p> + +<p>12. On <i>tlailotlaqui</i>, see note to XIII, 8. The interjectional +appendages to this and the following verse are increased.</p> + +<p>15. Tepeyacan was the name of a mountain on which before the Conquest +was a temple dedicated to the "Mother of our Life," Tonantzin.</p> + +<p>16. <i>tlapalcayocan</i>, "the place of shards," of broken pieces, i.e., +the field of battle.</p> + +<p>19. The word <i>totomihuacan</i>, which has already occurred in vv. 3 and +7, I have translated as referring to the war captains of the Mexican +armies, called <i>otomi</i> (see Bandelier, <i>On the Art of War of the +Ancient Mexicans</i>, p. 117). I am quite open for correction however.</p> + +<p>27. <i>in ipetl icpal</i>; in a translation of an ancient song, +Ixtlilxochitl renders the expression <i>in ipetl icpal in teotl</i>, "en +el trono y tribunal de Dios," <i>Historia Chichimeca</i>, cap. 32.</p> + +<p>29. <i>Mictlan</i>; the place of departed souls in Aztec mythology.</p> + +<a name="NOTES_XVI"></a><h3>NOTES FOR SONG XVI.</h3> + +<p>In this stirring war-song, the poet reproaches his friends for their +lukewarmness in the love of battle. He reminds them that life is +transitory, and the dead rise not again, and that the greatest joy of +the brave is on the ringing field of fray where warriors win renown. +It is in the spirit of the Scotch harper:—</p> + +<p>"'Twere worth ten years of peaceful life,</p> + +<p>One hour of such a day."</p> + +<p>1. Each verse terminates with an interjectional refrain. The frequent +introduction of the particle <i>on</i> is intended to add strength and +gravity to the oration.</p> + +<p>2. <i>oppan piltihua</i>. Compare this expression with that in v. 22, p. +44.</p> + +<p>3. <i>xochimicohuayan</i>, should perhaps be translated, "where the +captives to be immolated to the Gods are taken." The <i>xochimique</i>, +"those destined to a flowery death" were the captives who were +reserved for sacrifice to the gods. See Joan Bautista, <i>Sermonario en +Lengua Mexicana</i>, p. 180.</p> + +<p>4. <i>yaoxochimiquiztica</i>, "pertaining to the slaughter of the flowery +war." This adjective refers to the peculiar institution of the +"flowery war," <i>guerra florida</i>, which obtained among the ancient +Mexicans. It appears to have been a contest without provocation, and +merely for the display of prowess and to take captives to supply the +demand for human sacrifices in the religious rites. On this see +Tezozomoc, <i>Cronica Mexicana</i>, cap. 96.</p> + +<a name="NOTES_XVII"></a><h3>NOTES FOR SONG XVII.</h3> + +<p>In this long fragment—the closing strophes are missing in my +MS.—the bard represents himself as a stranger appearing before the +nobles of Huexotzinco at some festival. The first two verses appear +to be addressed to him by the nobles. They ask him to bring forth his +drum and sing. He begins with a laudation of the power of music, +proceeds to praise the noble company present, and touches those +regretful chords, so common in the Nahuatl poetry, which hint at the +ephemeral nature of all joy and the certainty of death and oblivion. +An appeal is made to the Master of Life who inspires the soul of the +poet, and whose praises should be ever in mind.</p> + +<p>The words <i>Dios</i> and <i>angelotin</i>, in verse 26th, indicate that the +poem has received some "recension" by the Spanish copyist; but the +general tone impresses me as quite aboriginal in character.</p> + +<p>2. <i>quauhtlocelotl</i>, see note to I, 5.</p> + +<p>3. In this verse, as frequently elsewhere, the syllable ya is +introduced merely to complete the metre. Ordinarily it is the sign of +the imperfect tense, and has other meanings (see the Vocabulary), but +in many instances does not admit of translation.</p> + +<p>8. <i>noncoati</i>, for <i>ni-on-coatl</i>, I am a guest.</p> + +<p>18. The references in this verse are obscure, and I doubt if I have +solved them.</p> + +<p>20. "The house of spring;" compare the expression in v. 1, of +Nezahualcoyotl's song, p. 42.</p> + +<p>21. A long oration of Xicontecatl, lord of Tizatlan, may be found in +Clavigero, <i>Hist. Antica di Messico</i>, Tom. III, p. 40. The expression +in <i>camaxochitzin</i>, from <i>camatl</i>, mouth, <i>xochitl</i>, rose, flower, +and the reverential <i>tzin</i>, is noteworthy.</p> + +<p>24. <i>petlacoatl</i>, the centipede or scolopender; from <i>petlatl</i>, mat, +and <i>coatl</i>, serpent, as they are said to intertwine with each other, +like the threads of a mat (Sahagun, Lib. XII, cap. 4).</p> + +<a name="NOTES_XVIII"></a><h3>NOTES FOR SONG XVIII.</h3> + +<p>At this portion of the MS. several poems are preceded by a line of +syllables indicating their accompaniment on the teponaztli (see +Introduction, p. 32).</p> + +<p>The present number is one of the most noteworthy songs of the +collection. It belongs to the ancient cyclus of Quetzalcoatl myths, +and gives a brief relation of the destruction of Tollan and the +departure and disappearance of the Light God, Quetzalcoatl Ce Acatl. +As I have elsewhere collated this typical myth at length, and +interpreted it according to the tenets of modern mythologic science, +I shall not dwell upon it here (see D.G. Brinton, <i>American Hero +Myths</i>, Phila., 1882).</p> + +<p>The text of the poem is quite archaic, and presents many +difficulties. But my translation, I think, gives the general sense +correctly.</p> + +<p>1. <i>huapalcalli</i>; literally, "the house constructed of beams." This +name was applied to the chief temple of the Toltecs; the ruins of an +ancient structure at Tollantzinco were pointed out at the time of the +Conquest as those of this building (see Sahagun, <i>Hist. de la Nueva +España</i>, Lib. X, cap. 29).</p> + +<p><i>coatlaquetzalli</i>; this edifice, said to have been left incomplete by +Quetzalcoatl, when he forsook Tollan, had pillars in the form of a +serpent, the head at the base, the tail at the top of the pillar. +(See Orozco y Berra, <i>Hist. Antigua de Mexico</i>, Tom. III, pp. 30 and +46.) The structure is mentioned as follows in the <i>Anales de +Cuauhtitlan</i>:—</p> + +<p><i>Auh iniquac nemia Quetzalcoatl quitzintica, quipeuahtica iteocal +quimaman coatlaquetzali ihuan amo quitzonquixti, amo quipantlaz."</i></p> + +<p>"And when Quetzalcoatl was living, he began and commenced the temple +of his which is the Coatlaquetzali (Serpent Plumes), and he did not +finish it, he did not fully erect it."</p> + +<p><i>Nacxitl Topiltzin</i>, "Our Lord the four-footed." <i>Nacxitl</i> appears to +have been the name of Quetzalcoatl, in his position as lord of the +merchants. Compare Sahagun, ubi supra, Lib. I, cap. 19.</p> + +<p>2. <i>Poyauhtecatl</i>, a volcano near Orizaba, mentioned by Sahagun. +<i>Acallan</i>, a province bordering on the Laguna de los Terminos. The +myth reported that Quetzalcoatl journeyed to the shores of the Gulf +about the isthmus of Tehuantepec and there disappeared.</p> + +<p>3. <i>Nonohualco</i>; the reference is to the <i>cerro de Nonoalco</i>, which +plays a part in the Quetzalcoatl myth. The words of the song are +almost those of Tezcatlipoca when he is introduced to Quetzalcoatl. +Asked whence he came, he replied, "Nihuitz in Nonohualcatepetl +itzintla, etc." (<i>Anales de Cuauhtitlan</i>).</p> + +<p>4. The occurrences alluded to are the marvels performed by +Quetzalcoatl on his journey from Tulan. See my American Hero Myths, +p. 115.</p> + +<p>5. The departure of Quetzalcoatl was because he was ordered to repair +to Tlapallan, supposed to be beyond Xicalanco.</p> + +<p>8. <i>quinti</i>, for <i>iquintia</i>; the reference is to the magic draught +given Quetzalcoatl by Tezcatlipoca.</p> + +<p>9. <i>In tetl, in quahuitl</i>; literally, "stone and stick;" a very +common phrase in Nahautl, to signify misfortunes.</p> + +<a name="NOTES_XIX"></a><h3>NOTES FOR SONG XIX.</h3> + +<p>In this song we have avowedly a specimen of an early chant prepared +probably by Bishop Zummarraga for the native converts. The +accompaniment on the teponaztli is marked at the beginning. The +language is noticeably different from the hymn to Quetzalcoatl just +given (XVIII).</p> + +<a name="NOTES_XX"></a><h3>NOTES FOR SONG XX.</h3> + +<p>Another song of the antique Quetzalcoatl cyclus. It bewails the loss +of Tulan, and the bard seeks in vain for any joyous theme to inspire +his melody, reflecting on all that has bloomed in glory and now is +gone forever.</p> + +<p>3. <i>Tetl-quahitl</i>; see note to XVIII, 9.</p> + +<a name="NOTES_XXI"></a><h3>NOTES FOR SONG XXI.</h3> + +<p>The occurrence to which this poem alludes took place about the year +1507. The chroniclers state that it was in the early period of the +reign of Montezuma II, that the natives of Huexotzinco, at that time +allies of the Mexicans, were severely harassed by the Tlascallans, +and applied, not in vain, to their powerful suzerain to aid them. +(See Tezozomoc, <i>Cronica Mexicana</i>, cap. 97.)</p> + +<p>The poet does not appear to make a direct petition, but indirectly +praises the grandeur of Montezuma and expresses his own ardent love +for his native Huexotzinco. The song would appear to be used as a +delicate prelude to the more serious negotiations. It is one of the +few historical songs in the collection. From the references in verses +1 and 3 we infer that this singer held in his hand the painted book +from which he recited the couplets. This may explain the presentation +of the piece.</p> + +<p>1. <i>huetzcani</i>; one who laughs, a jester, perhaps the designation of +one who sang cheerful songs.</p> + +<p><i>chalchiuhatlaquiquizcopa</i>; a. word of difficult analysis. I suspect +an omission of an <i>l</i>, and that the compound includes <i>tlaquilqui</i>, +one who fastens and puts together, a mason, etc.</p> + +<p>5. The sense is that the warriors of Montezuma when on the field of +battle, shine in their deeds like beautiful flowers in a field, and +win lasting fame by their exploits.</p> + +<p><i>mopopoyauhtoc</i>. The grammarian Olmos explains the reflexive verb +<i>mopopoyauhtiuh</i> to signify "he leaves an honored memory of his +exploits." See Siméon, <i>Dictionaire de la Langue Nahuatl</i>, sub voce.</p> + +<p>7. <i>Huexotzinco atzalan</i>; "Huexotzinco amid the waters." This +expression, repeated in verse 8, appears inappropriate to the town of +Huexotzinco, which lies inland. In fact, the description in verse 7 +applies to Tenochtitlan rather than the singer's own town. But the +text does not admit this translation. Perhaps we should read +"Huexotzinco and Atzalan," as there are yet two villages of that name +in the state of Puebla (which embraced part of ancient Huexotzinco).</p> + +<p>10. <i>petiatolini</i>, I have derived from <i>petlatl</i>, suspecting an error +in transcription. The reference is to the rushes in the mat on which +the singer stood.</p> + +<a name="NOTES_XXII"></a><h3>NOTES FOR SONG XXII.</h3> + +<p>The ordinary sad burden of the Nahuatl poets is repeated with +emphasis in this plaint. It is a variation of the Epicurean advice, +"Eat, drink, and be merry, for to-morrow we die." Both the sentiment +and the reference to Mictlan in verse 7, point it out as a production +uninfluenced by Christian teaching.</p> + +<p>7. The word <i>ahuicaloyan</i>, place of sweetness, would seem to be +identical with <i>ohuicaloyan</i>, place of difficulty, in v. 8; I have +regarded the latter as an error of transcription.</p> + +<a name="NOTES_XXIII"></a><h3>NOTES FOR SONG XXIII.</h3> + +<p>Although No. V. is probably one of the lost songs of Nezahualcoyotl, +the present is the only one of the collection which is definitely +attributed to him. The language is very archaic, and in the sentiment +there is every mark of antiquity.</p> + +<p>The text is apparently a dialogue, which was chanted as strophe and +antistrophe, the one singer speaking for the King, the other for the +bard himself.</p> + +<p>The word <i>teotl</i> is used for divinity, and it is doubtless this word +for which the copyists of some of the other songs have substituted +the Spanish <i>Dios</i>, thus conveying an impression that the chants +themselves were of late date.</p> + +<p>The last verse, however, seems to be by one who lives after the time +of the great poet-prince, and is calling him to memory.</p> + +<a name="NOTES_XXIV"></a><h3>NOTES FOR SONG XXIV.</h3> + +<p>It will be seen that there is a wearisome sameness in the theme of +most of the short poems. Probably the bards followed conventional +models, and feared for the popularity of their products, did they +seek originality. Here again are the same delight in flowers and +songs, and the same grief at the thought that all such joys are +evanescent and that soon "death closes all."</p> + +<p>I consider the poem one of undoubted antiquity and purely native in +thought and language.</p> + +<a name="NOTES_XXV"></a><h3>NOTES FOR SONG XXV.</h3> + +<p>The destruction of the Mexican state was heralded by a series of +omens and prodigies which took place at various times during the ten +years preceding the arrival of Cortes. They are carefully recorded by +Sahagun, in the first chapter of the 12th book of his history. They +included a comet, or "smoking star," as these were called in Nahuatl, +and a bright flame in the East and Southeast, over the mountains, +visible from midnight to daylight, for a year. This latter occurred +in 1509. The song before us is a boding chant, referring to such +prognostics, and drawing from them the inference that the existence +of Mexico was doomed. It was probably from just such songs that +Sahagun derived his information.</p> + +<p>1. <i>toztliyan</i>, I suppose from <i>tozquitl</i>, the singing voice, in the +locative; literally, "the quechol in the place of sweet-singing."</p> + +<p>2. <i>iquiapan</i>, from <i>i</i>, possessive prefix, <i>quiauatl</i>, door, +entrance, house, <i>pan</i>, in.</p> + +<p>5. An obscure verse; <i>tequantepec</i>, appears to be a textual error; +<i>tequani</i>, a ravenous beast, from <i>qua</i> to eat; <i>tepec</i>, a mountain; +but <i>tequantepehua</i> occurring twice later in the poem induces the +belief <i>tequani</i> should be taken in its figurative sense of +affliction, destruction, and that <i>tepec</i> is an old verbal form.</p> + +<p>7. <i>Xochitecatl</i>, "one who cares for flowers," is said by Sahagun to +have been the name applied to a woman doomed to sacrifice to the +divinities of the mountains (<i>Hist. Nueva España</i>, Lib. II, cap. 13).</p> + +<p>8. <i>amaxtecatl</i>, or <i>amoxtecatl</i>, as the MS. may read, from +<i>amoxtli</i>, a book.</p> + +<a name="NOTES_XXVI"></a><h3>NOTES FOR SONG XXVI.</h3> + +<p>This seems to be a song of victory to celebrate an attack upon +Atlixco by the ruler of Tezcuco, the famous Nezahualpilli. This +monarch died in 1516, and therefore the song must antedate this +period, if it is genuine. It has every intrinsic evidence of +antiquity, and I think may justly be classed among those preserved +from a time anterior to the Conquest. According to the chronologies +preserved, the attack of Nezahualpilli upon Atlixco was in the year +XI <i>tochtli</i>, which corresponds to 1490, two years before the +discovery by Columbus (see Orozco y Berra, <i>Hist. Antigua de Mexico</i>, +Tom. III, p. 399).</p> + +<a name="NOTES_XXVII"></a><h3>NOTES FOR SONG XXVII.</h3> + +<p>My MS. closes with a Christian song in the style of the ancient +poetry. It is valuable as indicating the linguistic differences +between these later productions of the sixteenth century and those +earlier ones, such as XXVI, which I have not hesitated to assign to +an epoch before the Spaniards landed upon the shores of New Spain.</p> + +<a name="VOCABULARY"></a><h2>VOCABULARY.</h2> + +<p>The Roman numerals refer to the songs, the Arabic to the verses, in +which the word occurs. Abbreviations: <i>lit</i>., literally; <i>ref</i>., +reflexive; <i>pret</i>., preterit; <i>rev</i>., reverential; <i>freq</i>., +frequentative; <i>post</i>., postposition; <i>Span</i>., a Spanish word.</p> + +<p>A, <i>adv</i>. No, not, in comp.</p> + +<p>A, <i>n</i>. For atl, water, in comp.; as <i>acalli</i>, water-house, <i>i.e.</i>, a + boat.</p> + +<p>A, <i>interj</i>. Oh! ah! placed after the word on which stress is laid.</p> + +<p>AC, <i>pron., interj</i>. Who?</p> + +<p>ACA, <i>pron</i>. Some, any; somebody.</p> + +<p>ACALLI, <i>n</i>. A boat, of any kind.</p> + +<p>ACH, <i>dubitative particle</i>. Indeed? is it not? etc.</p> + +<p>ACHITZINCA, <i>adv</i>. A little while, a short time.</p> + +<p>ACHQUEN, <i>adv</i>. At what time? When?</p> + +<p>ACI, <i>v</i>. To reach, to acquire.</p> + +<p>ACOHUETZI, <i>v</i>. To console, to make glad. I, 3.</p> + +<p>ACOQUIZA, <i>v</i>. To lift up, to raise, to increase in dignity or power.</p> + +<p>ACOTLAZA, <i>v</i>. To console.</p> + +<p>ACXOYATL, <i>n</i>. The wild laurel.</p> + +<p>AHAUIA, <i>v</i>. To rejoice, take pleasure in; freq. of <i>ahuia</i>.</p> + +<p>AHUACHIA, <i>v</i>. To wet one's self, to bathe. VII, 4.</p> + +<p>AHUACHTLI, <i>n</i>. Dew, moisture.</p> + +<p>AHUEHUETL, <i>n</i>. The cypress tree; <i>Cupressus disticha</i>.</p> + +<p>AHUIA, <i>v</i>. To rejoice, to be joyful.</p> + +<p>AHUIAC, <i>adj</i>. Agreeable, pleasant, sweet.</p> + +<p>AHUIAN, <i>adj</i>. Content, satisfied.</p> + +<p>AHUICPA, <i>adv</i>. From one place to another. III, 3.</p> + +<p>AIC, <i>adv</i>. Never.</p> + +<p>ALTEPETL, <i>n</i>. Town, city, citadel.</p> + +<p>AMECH, <i>pron. ret</i>. You, to you.</p> + +<p>AMEYALLI, <i>n</i>. A fountain, a stream; <i>lit</i>., flowing water.</p> + +<p>AMILLI, <i>n</i>. Watered and arable land. XIV, 6.</p> + +<p>AMO, <i>adv</i>. No, not; <i>amo ma</i>, no other; <i>amo zannen</i>, not in vain; + <i>pron</i>., you, yours.</p> + +<p>AMOXPETLATL, <i>n</i>. Book-mat. See XIX, 3.</p> + +<p>AMOXTECATL, <i>n</i>. See XXV, 8, note.</p> + +<p>AN, <i>pron</i>. You.</p> + +<p>ANA, <i>v</i>. To take, to grasp, to seize.</p> + +<p>ANAHUIA, <i>v</i>. To be dissatisfied.</p> + +<p>ANCA, <i>adv</i>. Of the kind that. XVII, 12.</p> + +<p>ANE, <i>adv</i>. Hollo! in calling.</p> + +<p>ANGELOTIN, <i>n</i>. Angels. Span. XVII, 26.</p> + +<p>ANO, <i>adv</i>. As little, neither.</p> + +<p>ANOZO, <i>conj</i>. Or, perhaps.</p> + +<p>AOC, <i>adv</i>. Not yet.</p> + +<p>APANA, <i>v</i>. To clothe.</p> + +<p>APANO, <i>v</i>. To ford, to cross water. XVIII, 2.</p> + +<p>AQUEN, <i>adv</i>. Nothing, in no manner.</p> + +<p>AQUIN, <i>pron</i>. Who? <i>in aquin</i>, he who.</p> + +<p>AT, <i>adv</i>. Perhaps, perchance.</p> + +<p>ATAYAHUILI, for <i>at aya ueli</i>. Not yet, not even.</p> + +<p>ATIHUELMATI, <i>v</i>. Not to be well. IX, 3.</p> + +<p>ATL, <i>v</i>. Water.</p> + +<p>ATLAMACHTIA, <i>v</i>. To praise one; <i>ref</i>., to be proud.</p> + +<p>ATLE, <i>pron</i>. Nothing.</p> + +<p>ATLEY, <i>in atley</i>. Without.</p> + +<p>ATONAUIA, <i>v</i>. To have a fever, to be sick.</p> + +<p>AUH, <i>conj</i>. And, even, also.</p> + +<p>AXALLI, <i>n</i>. Bar-sand, water-sand.</p> + +<p>AY, <i>v</i>. pret. <i>oax</i>. To do, to make.</p> + +<p>AYA, <i>adv</i>. Not yet, not now.</p> + +<p>AYACACHTLI, <i>n</i>. A musical instrument. See p. 24.</p> + +<p>AYAHUITL, <i>n</i>. Fog, mist, vapor.</p> + +<p>AYAUH COZAMALOTL, <i>n</i>. The rainbow; <i>lit</i>., "mist of water jewels."</p> + +<p>AYOC, <i>adv</i>. Already not. <i>Ayoctle</i>, nothing more.</p> + +<p>AYOQUAN, <i>adv</i>. Aoc-iuan. Nothing like it, unequaled. XVII, 17.</p> + +<p>AYOQUIC, <i>adv</i>. Nevermore. V, 6.</p> + +<p>AZAN, <i>adv</i>. Not a little, not a few.</p> + +<p>AZO, <i>conj</i>. Or, perhaps, perchance.</p> + +<p>AZTLACAPALLI, <i>n</i>. The tail feathers of a bird. XVII, 10.</p> + +<p>C, <i>pron. rel</i>. He, her, it, him; <i>postpos</i>., with, by, in, from, at.</p> + +<p>CA, <i>adv</i>. Already, yes, because, for, truly, only.</p> + +<p>CA, <i>v</i>. To be (in a place).</p> + +<p><i>CA</i>, <i>postpos</i>. With, by, by means of.</p> + +<p>CACALI, <i>v</i>. To discharge arrows.</p> + +<p>CACOPA, <i>post</i>. Toward, towards.</p> + +<p>CAHUA, <i>v</i>. To leave, to let, to desert, to stop, to lay down.</p> + +<p>CALAQUIA, <i>v</i>. To enter, to go in.</p> + +<p>CALLI, <i>n</i>. A house; in comp. <i>cal</i>, as <i>nocal</i>, my house.</p> + +<p>CALMECAC, <i>n</i>. A public school, p. 10.</p> + +<p>CAMAPANTLI, <i>n</i>. The cheeks, the face. XXVI, 5.</p> + +<p>CAMATL, <i>n</i>. The mouth.</p> + +<p>CAMPA, <i>adv</i>. Where, whither.</p> + +<p>CAN, <i>adv</i>. and <i>postpos</i>. Where.</p> + +<p>CANAUHTLI, <i>n</i>. A duck. XXI, 9.</p> + +<p>CANEL, <i>adv</i>. Since, as, because.</p> + +<p>CAQUI, <i>v</i>. To hear, to listen to.</p> + +<p>CATLEHUATL, <i>pron</i>. Who? which? whoever, whatever.</p> + +<p>CATQUI, <i>v. irreg</i>. From <i>ca</i>, to be (in a place).</p> + +<p>CAUHTEHUA, <i>v</i>. To leave a place.</p> + +<p>CAXTLAUITL, <i>n</i>. A kind of ochre. XVII, 10.</p> + +<p>CE, <i>adj</i>. and <i>art</i>. One, a, an.</p> + +<p>CECE, or Cecen, <i>adj</i>. Each, every.</p> + +<p>CECEMELQUIXTIA, <i>v</i>. To come forth wholly, perfectly. I, 1.</p> + +<p>CECEMELTIA, <i>v. ref</i>. To rejoice, to feel glad.</p> + +<p>CECEMELTIC, <i>adj</i>. Complete, whole, entire.</p> + +<p>CECEMMANA, <i>v</i>. To disperse, to scatter.</p> + +<p>CEHUIA, <i>v</i>. To rest, to repose.</p> + +<p>CEL, Sole only.</p> + +<p>CELIA, <i>v</i>. 1. To receive, to obtain. 2. To blossom, to bloom.</p> + +<p>CEMANAHUATL, <i>n</i>. The world, the universe.</p> + +<p>CEMELLE, <i>adv</i>. With peace or joy. Usually with a negative <i>aic + cemelle</i>, never peacefully. XV, 18; XVI, 1.</p> + +<p>CEMILHUILTILIA, <i>v</i>. To detain one for a day.</p> + +<p>CEMILHUITL, <i>n</i>. One day.</p> + +<p>CEN, <i>adv</i>. Forever, for always; <i>cen yauh</i>, to go forever, to die.</p> + +<p>CENCA, <i>adv</i>. Very much, exceedingly.</p> + +<p>CENCI, <i>adv</i>. Elsewhere.</p> + +<p>CENQUIXTIA, <i>v</i>. To select from, to pick from.</p> + +<p>CENTZONTLATOLLI, <i>n</i>. The mocking bird, <i>Turdus polyglottus</i>; <i>lit</i>., + "the myriad-voiced."</p> + +<p>CENTZONTLI, <i>adj. num</i>. Four hundred, used for any large number.</p> + +<p>CEPANOA, <i>v</i>. To unite, to join together.</p> + +<p>CHALCHIUHITL, <i>n</i>. The Mexican jade or green stone; emerald <i>fig</i>., + green; precious.</p> + +<p>CHANE, <i>n</i>. Inhabitant or resident of a place.</p> + +<p>CHANTLI, <i>n</i>. A dwelling, a residence; in comp., <i>chan</i>.</p> + +<p>CHIA, <i>v</i>. To wait, to expect.</p> + +<p>CHIALONI, <i>n</i>. That which is awaited or expected.</p> + +<p>CHICAHUAC, <i>adj</i>. Strong, powerful.</p> + +<p>CHICHIA, <i>v</i>. 1. To make bitter. 2. To obey. XIII, 9.</p> + +<p>CHICHINA, <i>v</i>. To snuff up, imbibe, or suck up, especially the odors + of burning incense, through a tube. VII, 4; XVII, 10.</p> + +<p>CHICHINAQUILIZTLI, <i>n</i>. Torment, pain, suffering.</p> + +<p>CHIHUA, <i>v</i>. To make, to do, to happen; <i>chihua in noyollo</i>, my heart + is troubled, I am pained.</p> + +<p>CHIMALLI, <i>n</i>. The native shield or buckler. VI, 4.</p> + +<p>CHITONI, <i>v</i>. To sparkle, to glitter.</p> + +<p>CHITONIA, <i>v</i>. To gain, to realize a profit. V, 4.</p> + +<p>CHITTOLINI, <i>v</i>. To bow down, to sink.</p> + +<p>CHOCA, <i>v</i>. To cry (of animals and man).</p> + +<p>CIAHUI, <i>v</i>. To fatigue one's self, to tire.</p> + +<p>CIHUACOATL, <i>n</i>. A magistrate of high rank; <i>lit</i>.,"woman serpent."</p> + +<p>CIHUATL, <i>n</i>. A woman.</p> + +<p>CITLALIN, <i>n</i>. A star.</p> + +<p>CO, <i>postpos</i>. In, from.</p> + +<p>COA, or COHUA, <i>v</i>. To buy, to purchase.</p> + +<p>COCHITIA, <i>v</i>. To sleep.</p> + +<p>COCOA, <i>v</i>. To pain, to give pain.</p> + +<p>COCOLIA, <i>v</i>. To hate.</p> + +<p>COCOYA, <i>v</i>. To be sick.</p> + +<p>COHUATL, or COATL, <i>n</i>. A serpent; a guest; a twin; the navel; a + spade.</p> + +<p>COHUAYOTL, <i>n</i>. Buying, purchasing. V, 2.</p> + +<p>COLLI, <i>n</i>. Ancestor, forefather.</p> + +<p>COLOA, <i>v</i>. To twist, to turn, to bend.</p> + +<p>COMONI, <i>v</i>. To crackle (of a fire); to be turbulent (of people). + XXIV.</p> + +<p>CON, <i>pron</i>. Some one; comp. of <i>c</i> and <i>on</i>.</p> + +<p>COPA, <i>postpos</i>. By, toward.</p> + +<p>COPALLI, <i>n</i>. Resin, gum copal.</p> + +<p>COYOUA, <i>v</i>. To cry, to yell. XIII, 7.</p> + +<p>COYOHUACAN, <i>n</i>. The place of wolves. XIII, 10.</p> + +<p>COYOLTOTOTL, <i>n</i>. The coyol bird, <i>Piranga hepatica</i>.</p> + +<p>COYOTL, <i>n</i>. The coyote, the Mexican wolf.</p> + +<p>COZCATIA, <i>v</i>. To deck with golden chains. IV, 4.</p> + +<p>COZCATL, <i>n</i>. Jewel, precious stone; a string of such; a chain or + collar.</p> + +<p>CUECUEXANTIA, <i>v</i>. To gather in the folds of the robe.</p> + +<p>CUECUEYA, <i>v</i>. To move to and fro. XXI, 9.</p> + +<p>CUEPA, <i>v</i>. To turn, to return, to bring back.</p> + +<p>CUEPONI, <i>v</i>. To blossom, to bud, to bloom.</p> + +<p>CUETLANI, <i>v</i>. To wilt, to perish. XV, 15.</p> + +<p>CUETZPALTI, <i>v</i>. To act as a glutton, to revel in. XVII, 5.</p> + +<p>CUEXANTLI, <i>n</i>. Gown, robe, petticoat.</p> + +<p>CUI, <i>v</i>. To take, to gather, to collect.</p> + +<p>CUICA, <i>n</i>. A song, a poem.</p> + +<p>CUICANI, <i>n</i>. A singer, a poet.</p> + +<p>CUICOYAN, <i>n</i>. A place for singing. See note to p. 10.</p> + +<p>CUIHUA, <i>v</i>. Pass. of <i>cui</i>, q. v.</p> + +<p>CUILIA, <i>v</i>. Rev. of <i>cui</i>, q. v.</p> + +<p>CUILOA, <i>v</i>. To paint, to write.</p> + +<p>CUILTONOA, <i>v</i>. To be rich; to rejoice greatly; to enrich or cause + joy. XV, 6.</p> + +<p>CUITLATL, <i>n</i>. Excrement, dung.</p> + +<p>CUIX, <i>adv</i>. An interrogative particle.</p> + +<p>ECACEHUAZTLI, <i>n</i>. A fan.</p> + +<p>EHECATL, <i>n</i>. Wind, air.</p> + +<p>EHECAYO, <i>adj</i>. Full of wind, stormy.</p> + +<p>EHUA, <i>v</i>. To lift up, especially to raise the voice in singing.</p> + +<p>ELCHIQUIHUITL, <i>n</i>. The breast, the stomach.</p> + +<p>ELCHIQUIUHEUA, <i>v</i>. To fatigue, to tire. VI, 5.</p> + +<p>ELCICIHUILIZTLI, <i>n</i>. A sigh, a groan.</p> + +<p>ELEHUIA, <i>v</i>. To desire ardently, to covet.</p> + +<p>ELLAQUAHUA, <i>v</i>. To animate, to inspire.</p> + +<p>ELLELACI, <i>v</i>. To suffer great pain.</p> + +<p>ELLELLI, <i>n</i>. Suffering, pain.</p> + +<p>ELLELQUIXTIA, <i>v</i>. To cause joy, to make glad.</p> + +<p>ELLELTIA, <i>v. Ref</i>., to regret, to repent, to abstain; <i>act</i>., to + prevent, to hinder, to impede, to cause pain.</p> + +<p>EPOALLI, <i>adj. num</i>. Sixty.</p> + +<p>EZTLI, <i>n</i>. Blood.</p> + +<p>HUAHUAQUI, <i>u</i>. To dry up, to wither wholly. VIII, 1.</p> + +<p>HUAL, <i>adv</i>. Hither, toward this place.</p> + +<p>HUALLAUH, <i>v. irreg</i>. To come hither.</p> + +<p>HUAN, <i>postpos</i>. In company with; also, a plural termination.</p> + +<p>HUAPALCALLI, <i>n</i>. Houses of planks. See XVIII, 1.</p> + +<p>HUAQUI, <i>v</i>. To dry up, to wither.</p> + +<p>HUECAPAN, <i>adj</i>. Lofty.</p> + +<p>HUECATLAN, <i>adj</i>. Deep, profound.</p> + +<p>HUEHUETL, <i>n</i>. A drum. See page 22.</p> + +<p>HUEHUETZI, <i>v. freq</i>. To fall often.</p> + +<p>HUEIYOTL, <i>n</i>. Greatness, grandeur.</p> + +<p>HUEL, <i>adv</i>. Well, good, pleasant.</p> + +<p>HUELIC, <i>adj</i>. Sweet, pleasant, fragrant.</p> + +<p>HUELMANA, <i>v</i>. To make smooth, or even; to polish, to burnish.</p> + +<p>HUETZCANI, <i>n</i>. A jester, a laugher. XXI, 1.</p> + +<p>HUETZI, <i>v</i>. To fall.</p> + +<p>HUETZTOC, <i>v</i>. To be stretched out, to be in bed.</p> + +<p>HUEY, <i>adj</i>. Great, large.</p> + +<p>HUEYATLAN, <i>n</i>. Place of increase, from <i>hueya</i>, to grow greater.</p> + +<p>HUIC, <i>postpos</i>. Toward, against.</p> + +<p>HUICA <i>v</i>. To accompany; to carry off; to govern, to rule, to direct.</p> + +<p>HUIHUICA, <i>v</i>. To follow in crowds, or often.</p> + +<p>HUIHUITEQUI, <i>v</i>. To gather, to pluck.</p> + +<p>HUILOHUAYAN, <i>n</i>. Bourne, goal, terminus; from <i>huiloa</i>, all go.</p> + +<p>HUIPANA, <i>v</i>. To put in order, to arrange.</p> + +<p>HUITOMI, <i>v</i>. To split, to fall. XVIII, 4.</p> + +<p>HUITZ, <i>v</i>. To come.</p> + +<p>HUITZITZICATIN, <i>n</i>. The humming bird. I, 1.</p> + +<p>HUITZITZILIN, <i>n</i>. The humming bird, <i>Trochilus</i>.</p> + +<p>HUITZLI, <i>n</i>. A thorn, especially of the maguey.</p> + +<p>HUITZTLAN, <i>n</i>. The south; <i>huitztlampa</i>, from or to the south.</p> + +<p>I, <i>v</i>. Pret. <i>oic</i>. To drink.</p> + +<p>I, <i>pron</i>. His, her, its, their.</p> + +<p>IC, <i>conj</i>. For, since, because; <i>prep</i>. With, towards, by, in; + <i>adv</i>. Where? when? <i>zan ic</i>, as soon as, often, only, on + purpose.</p> + +<p>ICA, <i>post</i>. With him, her, it, etc.</p> + +<p>ICÂ, <i>adv</i>. Sometimes, occasionally.</p> + +<p>ICAC, <i>v</i>. To stand upright.</p> + +<p>ICAHUACA, <i>v</i>. To sing (of birds).</p> + +<p>ICALI, <i>v</i>. To war, to fight. VI, 5.</p> + +<p>ICAUHTLI, <i>n</i>. Younger brother. VII, 2.</p> + +<p>ICELIA, <i>v</i>. To incite another, to devote one's self to.</p> + +<p>ICNELIA, <i>v</i>. To do good, to benefit.</p> + +<p>ICNIUHTLI, <i>n</i>. A friend, a companion; <i>tocnihuan</i>, our friends.</p> + +<p>ICNOPILLAHUELILOCATI, <i>v</i>. To be ungrateful.</p> + +<p>ICNOTLAMACHTIA, <i>v</i>. To excite compassion.</p> + +<p>ICPAC, <i>postpos</i>. Upon, over.</p> + +<p>IHUAN, <i>conj</i>. And, also.</p> + +<p>IHUI, <i>adv</i>. Of this kind, in this way.</p> + +<p>IHUINTI, <i>v</i>. To intoxicate, to make drunk.</p> + +<p>IHUITL, <i>n</i>. Feather, plumage.</p> + +<p>ILACATZIUI, <i>v</i>. To twist, to twine.</p> + +<p>ILACATZOA, <i>v</i>. To twine around, to wind about. XV, 2.</p> + +<p>ILCAHUA, <i>v</i>. To forget.</p> + +<p>ILHUIA, <i>v</i>. To speak, to say, to tell.</p> + +<p>ILHUICATL, <i>n</i>. Heaven, the sky.</p> + +<p>ILNAMIQUILIA, <i>v</i>. To remember, to call to mind.</p> + +<p>ILPIA, <i>v</i>. To bind, to fasten.</p> + +<p>IM, See <i>in</i>.</p> + +<p>IMATI, <i>v</i>. To be skillful or wise; to prepare or arrange something + skillfully.</p> + +<p>IN, <i>art. and pron</i>. He, they, the, which, etc.; <i>in ma oc</i>, + meanwhile; <i>in ic</i>, so that, in order that.</p> + +<p>INAYA, <i>v</i>. To confer, to hide. X, 2.</p> + +<p>INECUI, <i>v</i>. To smell something, to perceive an odor. IV, 6.</p> + +<p>INIC, <i>adv</i>. For, in order that, after that.</p> + +<p>ININ, <i>pron</i>. These, they.</p> + +<p>INIQUAC, <i>conj</i>. When.</p> + +<p>INNE, <i>conj</i>. But.</p> + +<p>INOC, <i>adv</i>. While, during.</p> + +<p>INON, <i>pron</i>. Those.</p> + +<p>INTLA, <i>conj</i>. If.</p> + +<p>INTLACAMO, <i>adv</i>. Unless, if not.</p> + +<p>IPALNEMOANI, <i>n</i>. A name of God. See III, 1, note.</p> + +<p>IPAMPA, <i>adv</i>. Because.</p> + +<p>IPOTOCTLI, <i>n</i>. Smoke, vapor, exhalation.</p> + +<p>ITAUHCAYOTL, <i>n</i>. Fame, honor. XVII, 14.</p> + +<p>ITHUA, <i>v</i>. To see, for <i>itla</i>. XV, 6.</p> + +<p>ITIA, <i>v</i>. 1. To drink; to cause to drink. 2. To suit, to fit.</p> + +<p>ITIC, <i>postpos</i>. Within, inside of.</p> + +<p>ITLANI, <i>v</i>. To ask, to solicit, to demand.</p> + +<p>ITOA, <i>v</i>. To say, to speak, to tell.</p> + +<p>ITONALIZTLI, <i>n</i>. Sweat; <i>fig</i>., hard work. VI, 5.</p> + +<p>ITOTIA, <i>n</i>. To dance in the native fashion.</p> + +<p>ITOTILIZTLI, <i>n</i>. Dance.</p> + +<p>ITTA, <i>v</i>. To see, to behold.</p> + +<p>ITTITIA, <i>v</i>. To show, to make evident.</p> + +<p>ITZMOLINI, <i>v</i>. To be born, to sprout, to grow. XX, 4.</p> + +<p>ITZTAPALLI, <i>n</i>. Paving stone. XV, 8.</p> + +<p>ITZTOC, <i>v</i>. To watch, to keep awake, to wait for. XVII, 12.</p> + +<p>IXAMAYO, <i>adj</i>. Known, recognized. XIII, 2.</p> + +<p>IXAYOTL, <i>n</i>. A tear (from the eyes).</p> + +<p>IXCUITIA, <i>v</i>. To take example.</p> + +<p>IXIMACHOCA, <i>n</i>. The knowledge of a person.</p> + +<p>IXIMATI, <i>v</i>. To know personally.</p> + +<p>IXITIA, <i>v</i>. To awake, to arouse.</p> + +<p>IXPAN, <i>postpos</i>. Before the face of, in presence of.</p> + +<p>IXQUICH, <i>adv</i>. As many as.</p> + +<p>IXTIA, <i>v</i>. To face a person, especially the enemy; to watch.</p> + +<p>IXTLAHUATL, <i>n</i>. Open field, savanna, desert.</p> + +<p>IXTLAN, <i>postpos</i>. Before the face of.</p> + +<p>IXTLI, <i>n</i>. Face, visage; eye.</p> + +<p>IZA, <i>v</i>. To awaken, to arouse.</p> + +<p>IZCALI, <i>v</i>. To arise, to rise up.</p> + +<p>IZHUATL, <i>n</i>. A leaf of a tree, etc.</p> + +<p>IZHUAYO, <i>adj</i>. Leafy, with leaves.</p> + +<p>IZQUI, <i>adj., pl</i>. izquintin. As many, so many, all; <i>izqui in + quezqui</i>, as many as.</p> + +<p>IZTAC, <i>adj</i>. White.</p> + +<p>IZTLACAHUIA, <i>v</i>. To deceive, to cheat.</p> + +<p>IZTLACOA, <i>v</i>. To search for; <i>ref</i>., to take counsel.</p> + +<p>MA, <i>adv</i>. Sign of optative, subjunctive and vetative; <i>ma oc</i>, yet a + while.</p> + +<p>MACA, <i>v</i>. To give, to present.</p> + +<p>MA CA, <i>neg</i>. Do not.</p> + +<p>MACAIC, <i>adv</i>. Never.</p> + +<p>MACAZO TLEIN, <i>neg</i>. No matter, for all that. VI, 2.</p> + +<p>MACEHUALLOTL, <i>n</i>. Servitude, slavery.</p> + +<p>MACEUALTI, <i>v. defect</i>. To merit; to be happy.</p> + +<p>MACEHUALTIA, <i>v</i>. 1. <i>nino</i>, to make another a vassal, to reduce to + vassalage; <i>nite</i>, to give vassals to one; <i>nita</i>, to impose a + penance on one.</p> + +<p>MACH, <i>adv</i>. An intensive particle.</p> + +<p>MACHTIA, <i>v</i>. To cause to know, to teach, to learn.</p> + +<p>MACIUI, <i>adv</i>. Although, granted that. XVII, 13.</p> + +<p>MACQUAITL, <i>n</i>. The native sword. VI, 4.</p> + +<p>MACUELE, <i>adv</i>. Would that—sign of the optative.</p> + +<p>MAHACA, <i>adv</i>. Not, no.</p> + +<p>MAHUI, <i>v</i>. To fear, to have fear.</p> + +<p>MAHUIZTI, <i>v</i>. To be esteemed, to be honored.</p> + +<p>MAITL, <i>n</i>. The hand, the arm. In comp. <i>ma</i>, as <i>noma</i>, my hand.</p> + +<p>MALACACHOA, <i>v</i>. To twine, to fold. XVI, 4.</p> + +<p>MALHUIA, <i>v</i>. To regale, to treat well, to take care of.</p> + +<p>MALINA, <i>v</i>. To twine, to wreathe.</p> + +<p>MALINTIUH, <i>v</i>. To twine, to twist, to enwreathe.</p> + +<p>MAMALIA, <i>v</i>. To carry.</p> + +<p>MAMALLI, <i>v</i>. To enter, to penetrate. XII, 4.</p> + +<p>MAMANA, <i>v</i>. To arrange a feast, to set in order. XV, 15.</p> + +<p>MAMANI, <i>v</i>. See Mani.</p> + +<p>MANA, <i>v</i>. To offer offerings. XVII, 3.</p> + +<p>MANCA, <i>v</i>. Imp. of <i>Mani</i>.</p> + +<p>MANEN, <i>neg</i>. That not, that it does not happen, etc.</p> + +<p>MANI, <i>v</i>. To be (of broad or wide things); to be stretched out.</p> + +<p>MANOZO, <i>adv</i>. Or, if.</p> + +<p>MAQUIZTLI, <i>n</i>. A bracelet or other ornament of the arm. III, 5.</p> + +<p>MATI, <i>v</i>. To know. <i>Ref</i>., to think, to reflect; <i>qui-mati noyollo</i>, + I presume, I doubt; <i>nonno-mati</i>, I attach myself to a person + or thing.</p> + +<p>MATILOA, <i>v</i>. To anoint, to rub.</p> + +<p>MAZO, <i>adv</i>. Although.</p> + +<p>MEYA, <i>v</i>. To flow, to trickle.</p> + +<p>MIAHUATOTOTL, <i>n</i>. A bird. IV, 2.</p> + +<p>MICOHUANI, <i>adj</i>. Mortal, deadly.</p> + +<p>MIEC, <i>adv</i>. Much, many.</p> + +<p>MILLI, <i>n</i>. Cultivated field.</p> + +<p>MIQUI, <i>v</i>. To die, to kill.</p> + +<p>MIQUITLANI, <i>v</i>. To desire death. X, 1.</p> + +<p>MITZ, <i>pron</i>. Thee, to thee.</p> + +<p>MIXITL, <i>n</i>. A narcotic plant. See <i>tlapatl</i>. IX, 2.</p> + +<p>MIXTECOMATL, <i>n</i>. A dark night, a dark place. III, 4.</p> + +<p>MIZQUITL, <i>n</i>. The mesquite. XV, 1.</p> + +<p>MO, <i>pron</i>. 1. Thy, thine; 2. <i>Pron. ref</i>. 3 sing., he, him, they, + them.</p> + +<p>MOCHI, <i>adj</i>. All.</p> + +<p>MOCHIPA, <i>adv</i>. Always.</p> + +<p>MOLINIANI, <i>n</i>. One who moves, or agitates. XVI, 3.</p> + +<p>MOMOLOTZA, <i>v</i>. To cause to foam, to cut to pieces. XII, 3.</p> + +<p>MOTELCHIUH, <i>n</i>. The governor of Tenochtitlan. XIII, 8.—See + <i>telchihua</i>.</p> + +<p>MOTLA, <i>v</i>. To throw, to fall. I, 1.</p> + +<p>MOTLALI, <i>adj</i>. Seated, placed, in repose.</p> + +<p>MOYAUA, <i>v</i>. To conquer; to become cloudy or troubled (of water); to + talk about; to boast.</p> + +<p>MOZTLA, <i>adv</i>. To-morrow.</p> + +<p>NAHUAC, <i>postpos</i>. Toward, by, along, near to.</p> + +<p>NAHUI, <i>adj. num</i>. Four.</p> + +<p>NALQUIXTIA, <i>v</i>. To cause to penetrate, causative of <i>nalquiza</i>, to + penetrate.</p> + +<p>NANANQUILIA, <i>v</i>. To answer, to reply to.</p> + +<p>NANTLI, <i>n</i>. Mother, <i>tonan</i>, our mother, etc.</p> + +<p>NAUHCAMPA, <i>adv</i>. In four directions, to four places.</p> + +<p>NE, <i>pron</i>. Reflexive pronoun 3d person in verbal substantives and + impersonal verbs.</p> + +<p>NE, <i>pron</i>. for <i>nehuatl</i>. I, me.</p> + +<p>NECALIZTLI, <i>n</i>. Battle, combat.</p> + +<p>NECH, <i>pron</i>. Me, to me.</p> + +<p>NECHCA, <i>adv</i>. There, down there; like the French <i>là -bas; ocye + nechca</i>, formerly, once.</p> + +<p>NECI, <i>v</i>. To appear, to show one's self or others.</p> + +<p>NECO, <i>v</i>. Pass, of <i>nequi</i>, q. v.</p> + +<p>NECTIA, <i>v</i>. To desire, to wish for.</p> + +<p>NECUILTONOLLI, <i>n</i>. Riches, possessions.</p> + +<p>NEICALOLOYAN, <i>n</i>. The field of battle.</p> + +<p>NEIXIMACHOYAN, <i>n</i>. A place where one is taught. XIII, 1.</p> + +<p>NEL, <i>adv</i>. But.</p> + +<p>NELHUAYOTL, <i>n</i>. A root; <i>fig</i>., principle, foundation, essence.</p> + +<p>NELIHUI, <i>adv</i>. It is thus, even thus; <i>mazo nelihui</i>, though it be + thus.</p> + +<p>NELLI, <i>adv</i>. Truly, verily.</p> + +<p>NELOA, <i>v</i>. To mingle, to shake, to beat.</p> + +<p>NELTIA, <i>v</i>. To verify, to make true.</p> + +<p>NEMACTIA, <i>v</i>. 1. To receive, to obtain. 2. To give, to grant.</p> + +<p>NEMAYAN, <i>adv</i>. In the course of the year. XII, 3.</p> + +<p>NEMI, <i>v</i>. To live, to dwell, to walk.</p> + +<p>NEMOA, <i>v. impers</i>. To live, to dwell.</p> + +<p>NEN, <i>adv</i>. Vainly, in vain.</p> + +<p>NENCHIUA, <i>v</i>. To do in vain.</p> + +<p>NENECTIA, <i>v</i>. To obtain by effort. XII, 4.</p> + +<p>NENELIUHTICA, <i>adj</i>. Mixed up, mingled together.</p> + +<p>NENELOA, <i>v</i>. To mix, to mingle.</p> + +<p>NENEPANOA, <i>v. freq</i>. To mix, to mingle. XVII, 1.</p> + +<p>NENEQUI, <i>v</i>. To act tyrannically; to feign; to covet. XI, 7.</p> + +<p>NENNEMI, <i>v</i>. To wander about.</p> + +<p>NENONOTZALCUICATL, <i>n</i>. A song of exhortation.</p> + +<p>NENTACI, <i>v</i>. To fail, to come to naught. XVII, 13, 14.</p> + +<p>NENTLAMACHTIA, <i>v. ref</i>. To afflict one's self, to torment one's + self.</p> + +<p>NENTLAMATI, <i>v</i>. To be afflicted, disconsolate.</p> + +<p>NEPA, <i>adv</i>. Here, there. <i>Ye nepa</i>, a little further, beyond. XXI, + 6. <i>Oc nepa</i>, further on.</p> + +<p>NEPANIUI, <i>v</i>. To join, to unite.</p> + +<p>NEPANTLA, <i>postpos</i>. In the midst of.</p> + +<p>NEPAPAN, <i>adj</i>. Various, diverse, different.</p> + +<p>NEPOHUALOYAN, <i>n</i>. The place where one is reckoned, read, or counted. + VI, 2.</p> + +<p>NEQUI, <i>v</i>. To wish, to desire.</p> + +<p>NETLAMACHTILIZTLI, <i>n</i>. Riches, property.</p> + +<p>NETLAMACHTILOYAN, <i>n</i>. A prosperous place. IV, 6; VII, 4.</p> + +<p>NETLANEHUIHUIA, <i>v</i>. To have an abundance of all things. XXVI, 1.</p> + +<p>NETOTILIZTLI, <i>n</i>. Dance, dancing.</p> + +<p>NETOTILOYAN, <i>n</i>. Place of dancing.</p> + +<p>NI, <i>pron. pers</i>. I. Before a vowel, <i>n</i>.</p> + +<p>NICAN, <i>adj</i>. Here, hither.</p> + +<p>NIHUI, <i>adv</i>. From <i>no-ihui</i>, thus, of the same manner. XVIII, 3.</p> + +<p>NIMAN, <i>adv</i>. Soon, promptly.</p> + +<p>NINO, <i>pron. ref</i>. I myself.</p> + +<p>NIPA, <i>adv</i>. Here, in this part, there.</p> + +<p>NO, <i>adv</i>. Also, like, <i>no yuh</i>, in the same way, thus. <i>Pron</i>. My, + mine.</p> + +<p>NOCA, <i>pron</i>. For me, for my sake, by me.</p> + +<p>NOHUAN, <i>pron</i>. With me.</p> + +<p>NOHUIAMPA, <i>adv</i>. In all directions, on all sides.</p> + +<p>NOHUIAN, <i>adv</i>. Everywhere, on all sides.</p> + +<p>NONOYAN, <i>n</i>. Place of residence. V, 2.</p> + +<p>NONOTZA, <i>v</i>. To consult, to take counsel, to reflect.</p> + +<p>NOTZA, <i>v</i>. To call some one.</p> + +<p>NOZAN, <i>adv</i>. Even yet, and yet, to this day.</p> + +<p>OBISPO, <i>n</i>. Bishop. <i>Span</i>. XIX, 4.</p> + +<p>OC, <i>adv</i>. Yet, again; <i>oc achi</i>, yet a little; <i>oc achi ic</i>, yet + more, comparative; <i>oc pe</i>, first, foremost.</p> + +<p>OCELOTL, <i>n</i>. The tiger; a warrior so called. See note to I, 5.</p> + +<p>OCOXOCHITL, <i>n</i>. A fragrant mountain flower. III, 2.</p> + +<p>OCTICATL, <i>n</i>. See note to VII, 1.</p> + +<p>OCTLI, <i>n</i>. The native wine from the maguey. In comp., <i>oc</i>.</p> + +<p>OHUAGA, <i>interj</i>. Oh! alas!</p> + +<p>OHUI, <i>adj</i>. Difficult, dangerous.</p> + +<p>OHUICALOYAN, <i>n</i>. A difficult or dangerous place. XXII, 7.</p> + +<p>OHUICAN, <i>n</i>. A difficult or dangerous place.</p> + +<p>OME, <i>adj</i>. Two.</p> + +<p>OMITL, <i>n</i>. A bone.</p> + +<p>OMPA, <i>adv</i>. Where.</p> + +<p>ON, <i>adv</i>. A euphonic particle, sometimes indicating action at a + distance, at other times generalizing the action of the verb.</p> + +<p>ONCAN, <i>adv</i>. There, thither.</p> + +<p>ONOC, <i>v</i>. To be lying down.</p> + +<p>OPPA, <i>adv</i>. A second time, twice.</p> + +<p>OQUICHTLI, <i>n</i>. A male, a man.</p> + +<p>OTLI, <i>n</i>. Path, road, way.</p> + +<p>OTOMITL, <i>n</i>. An Otomi; a military officer so called.</p> + +<p>OTONCUICATL, <i>n</i>. An Otomi song. II, 1.</p> + +<p>PACHIUI NOYOLLO, <i>v</i>. I am content, satisfied. IX, 2.</p> + +<p>PACQUI, <i>v</i>. To please, to delight.</p> + +<p>PACTLI, <i>n</i>. Pleasure, joy.</p> + +<p>PAL, <i>postpos</i>. By, by means of.</p> + +<p>PAMPA, <i>postpos</i>. For, because.</p> + +<p>PAN, <i>postpos</i>. Upon; <i>apan</i>, upon the water.</p> + +<p>PAPALOTL, <i>n</i>. The butterfly.</p> + +<p>PAPAQUI, <i>v</i>. To cause great joy.</p> + +<p>PATIUHTLI, <i>n</i>. Price, wages, reward.</p> + +<p>PATLAHUAC, <i>adj</i>. Large, spacious.</p> + +<p>PATLANI, <i>v</i>. To fly.</p> + +<p>PEHUA, <i>v. Pret., opeuh</i>, to begin, to commence.</p> + +<p>PEPETLACA, <i>v</i>. To shine, to glitter.</p> + +<p>PEPETLAQUILTIA, <i>v</i>. To cause to shine.</p> + +<p>PETLACOATL, <i>n</i>. The scolopender, the centipede. XVII, 24.</p> + +<p>PETLATL, <i>n</i>. A mat, a rug (of reeds or flags); <i>fig</i>., power, + authority.</p> + +<p>PETLATOTLIN, <i>n</i>. A rush suitable to make mats. XXI, 10.</p> + +<p>PETLAUA, <i>v</i>. To polish, to rub to brightness.</p> + +<p>PEUHCAYOTL, <i>n</i>. Beginning, commencement.</p> + +<p>PILIHUI, <i>v</i>. To fasten to, to mingle with. XXI, 6.</p> + +<p>PILIHUITL, <i>n</i>. Beloved child. XII, 3.</p> + +<p>PILLI, <i>n</i>. Son, daughter, child. A noble, a chief, a ruler, a lord. + <i>Tepilhuan</i>, the children, the young people. <i>Nopiltzin</i>, my + lord.</p> + +<p>PILOA, <i>v</i>. To hang down, to suspend.</p> + +<p>PILTIHUA, <i>v</i>. To be a boy, to be young.</p> + +<p>PIPIXAUI, <i>v</i>. To snow, to rain heavily.</p> + +<p>PIXAUI, <i>v</i>. To snow, to rain.</p> + +<p>POCHOTL, <i>n</i>. The ceiba tree; <i>fig</i>., protector, chief.</p> + +<p>POCTLI, <i>n</i>. Smoke, vapor, fog, mist.</p> + +<p>POLOA, <i>v</i>. To destroy; to perish.</p> + +<p>POPOLOA, <i>v</i>. Freq. of <i>poloa</i>.</p> + +<p>POPOYAUHTIUH, <i>v</i>. To leave a glorious memory. XXI, 5.</p> + +<p>POXAHUA, <i>v</i>. To work the soil, to labor.</p> + +<p>POYAUA, <i>v</i>. To color, to dye. XVII, 21.</p> + +<p>POYAUI, <i>v</i>. To become clear, to clear off.</p> + +<p>POYOMATL, <i>n</i>. A flower like the rose. IV, 6.</p> + +<p>POZONI, <i>v</i>. To boil, to seethe; fig., to be angry.</p> + +<p>QUA, <i>v</i>. To eat.</p> + +<p>QUAHTLA, <i>n</i>. Forest, woods.</p> + +<p>QUAHUITL, <i>n</i>. A tree; a stick; <i>fig</i>., chastisement.</p> + +<p>QUAITL, <i>n</i>. Head, top, summit.</p> + +<p>QUALANI, <i>v</i>. To anger, to irritate.</p> + +<p>QUALLI, <i>adj</i>. Good, pleasant.</p> + +<p>QUATLAPANA, <i>v</i>. To break one's head; to suffer much.</p> + +<p>QUAUHTLI, <i>n</i>. The eagle; a warrior so called; bravery, distinction. + I, 5.</p> + +<p>QUEMACH, <i>adv</i>. Is it possible!</p> + +<p>QUEMMACH AMIQUE, <i>rel</i>. Those who are happy, the happy ones. IX, 2.</p> + +<p>QUENAMI, <i>adv</i>. As, the same as.</p> + +<p>QUENAMI CAN, <i>adv</i>. As there, the same as there, sometimes with <i>on</i> + euphonic inserted, <i>quenonami</i>.</p> + +<p>QUENIN, <i>adj</i>. How, how much.</p> + +<p>QUENNEL, <i>adv</i>. What is to be done? What remedy?</p> + +<p>QUENNONAMICAN, See under <i>quenami</i>.</p> + +<p>QUEQUENTIA, <i>v</i>. To clothe, to attire.</p> + +<p>QUETZA, <i>v. Nino</i>, to rise up; to unite with; to aid; <i>nite</i>, to lift + up.</p> + +<p>QUETZALLI, <i>n</i>. A beautiful feather; <i>fig</i>., something precious or + beautiful.</p> + +<p>QUETZALTOTOTL, <i>n</i>. A bird; <i>Trogon pavoninus</i>.</p> + +<p>QUEXQUICH, <i>pron</i>. So many as, how much.</p> + +<p>QUI, <i>pron. rel</i>. He, her, it, they, them.</p> + +<p>QUIAUATL, <i>n</i>. Entrance, door. XVII, 18.</p> + +<p>QUIAUITL, <i>n</i>. Rain, a shower.</p> + +<p>QUIMILOA, <i>v</i>. To wrap up, to clothe, to shroud the dead. XI, 6.</p> + +<p>QUIN, <i>pron. rel</i>. They, then.</p> + +<p>QUIQUINACA, <i>v</i>. To groan, to buzz, etc.</p> + +<p>QUIQUIZOA, <i>v</i>. To ring bells. IV, 3.</p> + +<p>QUIZA, <i>v</i>. To go forth, to emerge.</p> + +<p>QUIZQUI, <i>adj</i>. Separated, divided.</p> + +<p>QUIZTIQUIZA, <i>v</i>. To go forth hastily. XXII.</p> + +<p>TAPALCAYOA, <i>v</i>. To be full of potsherds and broken bits. XV, 16.</p> + +<p>TATLI, <i>n. and v</i>. See p. 19.</p> + +<p>TE, <i>pron. pers</i>. 1. Thou. 2. <i>Pron. rel. indef</i>. Somebody.</p> + +<p>TEAHUIACA, <i>adj</i>. Pleasing, agreeable.</p> + +<p>TECA, <i>pron</i>. Of some one; <i>te</i> and <i>ca</i>.</p> + +<p>TECA, <i>v</i>. To stretch out, to sleep; to concern one's self with. + <i>Moteca</i>, they unite together. +TECH, <i>postpos</i>. In, upon, from. <i>Pron</i>. Us.</p> + +<p>TECOCOLIA, <i>n</i>. A hated person, an enemy.</p> + +<p>TECOMAPILOA, <i>n</i>. A musical instrument. See p. 23.</p> + +<p>TECPILLI, <i>n</i>. Nobleman, lord.</p> + +<p>TECPILLOTL, <i>n</i>. The nobility; noble bearing, courtesy.</p> + +<p>TEHUAN, <i>pron</i>. 1. We. 2. With some one.</p> + +<p>TEHUATL, <i>pron</i>. Thou.</p> + +<p>TEINI, <i>v</i>. To break, to fracture.</p> + +<p>TEL, <i>conj</i>. But, though.</p> + +<p>TELCHIHUA, <i>v</i>. To detest, to hate, to curse.</p> + +<p>TEMA, <i>v</i>. To place something somewhere.</p> + +<p>TEMACHIA, <i>v</i>. To have confidence in, to expect, to hope for.</p> + +<p>TEMI, <i>v</i>. To be filled, replete; to be stretched out. XXVI, 4.</p> + +<p>TEMIQUI, <i>v</i>. To dream.</p> + +<p>TEMO, <i>v</i>. To descend, to let fall.</p> + +<p>TEMOA, <i>v</i>. To search, to seek.</p> + +<p>TENAMITL, <i>n</i>. A town; the wall of a town.</p> + +<p>TENAUAC, <i>post</i>. With some one, near some one.</p> + +<p>TENMATI, <i>v</i>. To be idle, negligent, unfortunate.</p> + +<p>TENQUIXTIA, <i>v</i>. To speak forth, to pronounce, to declare.</p> + +<p>TENYOTL, <i>n</i>. Fame, honor.</p> + +<p>TEOATL, <i>n</i>. Divine water. See VI, 4, note.</p> + +<p>TEOCUITLA, <i>n</i>. Gold, of gold.</p> + +<p>TEOHUA, <i>n</i>. A priest. XVII, 19.</p> + +<p>TEOQUECHOL, <i>n</i>. A bird of beautiful plumage.</p> + +<p>TEOTL, <i>n</i>. God, divinity.</p> + +<p>TEOXIHUITL, <i>n</i>. Turquoise; <i>fig</i>., relation, ruler, parent.</p> + +<p>TEPACCA, <i>adj</i>. Causing joy, pleasurable.</p> + +<p>TEPEITIC, <i>n</i>. Narrow valley, glade, glen.</p> + +<p>TEPETL, <i>n</i>. A mountain, a hill.</p> + +<p>TEPEUA, <i>v</i>. To spread abroad, to scatter, to conquer. XV, 3.</p> + +<p>TEPONAZTLI, <i>n</i>. A drum. See p. 22.</p> + +<p>TEPOPOLOANI, <i>v</i>. To slay, to slaughter.</p> + +<p>TEQUANI, <i>n</i>. A wild beast, a savage person.</p> + +<p>TEQUI, <i>v</i>. To cut.</p> + +<p>TETECUICA, <i>v</i>. To make a loud noise, to thunder. XXI, 7.</p> + +<p>TETL, <i>n</i>. A stone, a rock. In comp., <i>te</i>.</p> + +<p>TETLAMACHTI, <i>n</i>. That which enriches, glorifies, or pleases.</p> + +<p>TETLAQUAUAC, <i>adj</i>. Hard or strong as stone. Comp. of <i>tetl</i> and + <i>tlaquauac</i>.</p> + +<p>TETOZCATEMO, <i>v</i>. To let fall or throw forth notes of singing. I, 2.</p> + +<p>TETZILACATL, <i>n</i>. A copper gong. XVII, 21. See p. 24.</p> + +<p>TEUCTLI, <i>n</i>., pl. <i>teteuctin</i>. A noble, a ruler, a lord; <i>in + teteuctin</i>, the lords, the great ones.</p> + +<p>TEUCYOTL, <i>n</i>. Nobility, lordship.</p> + +<p>TEUH, <i>postpos</i>. Like, similar to.</p> + +<p>TEUHYOTL, <i>n</i>. Divinity, divineness.</p> + +<p>TEYOLQUIMA, <i>adj</i>. Pleasing, odorous, sweet.</p> + +<p>TEYOTL, <i>n</i>. Fame, honor.</p> + +<p>TI, <i>pron</i>. 1. thou; <i>timo</i>, ref.; <i>tic</i>, act. 2. we; <i>tito</i>, ref.; + <i>tic</i>, act.</p> + +<p>TILANI, <i>v</i>. To draw out.</p> + +<p>TILINI, <i>v</i>. To crowd, to press. XVII, 19.</p> + +<p>TIMALOA, <i>v</i>. To glorify, to exalt, to praise.</p> + +<p>TIMO, <i>pron. ref</i>. Thou thyself.</p> + +<p>TITO, <i>pron. ref</i>. We ourselves.</p> + +<p>TIZAITL, <i>n</i>. Chalk; anything white; an example or model.</p> + +<p>TIZAOCTLI, <i>n</i>. White wine. See VII, 2.</p> + +<p>TLA, <i>adv</i>., for <i>intla</i>, if; <i>pron. indef</i>., something, anything; + <i>postpos</i>. in abundance.</p> + +<p>TLACACE, <i>interj</i>. Expressing astonishment or admiration. XVII, 3.</p> + +<p>TLACAQUI, <i>v</i>. To hear, to understand.</p> + +<p>TLACATEUCTLI, <i>n</i>. A sovereign, a ruler.</p> + +<p>TLACATI, <i>v</i>. To be born.</p> + +<p>TLACATL, <i>n</i>. Creature, person.</p> + +<p>TLACAZO, <i>adv</i>. Truly, certainly.</p> + +<p>TLACHIA, <i>v</i>. To see, to look upon.</p> + +<p>TLACHIHUAL, <i>n</i>. Creature, invention.</p> + +<p>TLACHINOLLI, <i>n</i>. Battle, war; from <i>chinoa</i>, to burn.</p> + +<p>TLACOA, <i>v</i>. To injure, to do evil, to sin.</p> + +<p>TLACOCHTLI, <i>n</i>. The arrow.</p> + +<p>TLACOCOA, <i>v</i>. To buy, to purchase. X, 1.</p> + +<p>TLACOHUA, <i>v</i>. To buy, to purchase.</p> + +<p>TLACOHUA, <i>v</i>. To beat, to chastise.</p> + +<p>TLACOTLI, <i>n</i>. A servant, slave.</p> + +<p>TLACOUIA, <i>v</i>. To split, to splinter.</p> + +<p>TLACUILOA, <i>v</i>. To inscribe, to paint in, to write down.</p> + +<p>TLAELEHUIANI, <i>adj</i>. Desirous of, anxious for.</p> + +<p>TLAHUELLI, <i>n</i>. Anger, ire.</p> + +<p>TLAHUICA, <i>n</i>. Servant, page; also, a native of the province of + Tlahuican. (See <i>Index</i>.}</p> + +<p>TLAILOTLAQUI, <i>n</i>. "Workers in filth;" scum; a term applied in + contempt. XIII, 8; XV, 12, 14. Also a proper name. + (See <i>Index</i>.)</p> + +<p>TLALAQUIA, <i>v</i>. To bury, to inter.</p> + +<p>TLALLI, <i>n</i>. Earth, ground; <i>tlalticpac</i>, on the earth.</p> + +<p>TLALNAMIQUI, <i>v</i>. To think of, to remember.</p> + +<p>TLALPILONI, <i>n</i>. An ornament for the head. VI, 4, from <i>ilpia</i>.</p> + +<p>TLAMACHTI, <i>v. ref</i>. To be rich, happy, prosperous.</p> + +<p>TLAMAHUIZOLLI, <i>n</i>. Miracle, wonder.</p> + +<p>TLAMATILLOLLI, <i>n</i>. Ointment; anything rubbed in the hands. XI, 9.</p> + +<p>TLAMATQUI, <i>adj</i>. Skillful, adroit.</p> + +<p>TLAMATTICA, <i>adj</i>. Calm, tranquil.</p> + +<p>TLAMELAUHCAYOTL, <i>n</i>. A plain or direct song. II, 1.</p> + +<p>TLAMI, <i>v</i>. To end, to finish, to come to an end.</p> + +<p>TLAMOMOYAUA, <i>v</i>. To scatter, to destroy. XV, 21.</p> + +<p>TLAN, <i>postpos</i>. Near to, among, at.</p> + +<p>TLANECI, <i>v</i>. To dawn, to become day. <i>Ye tlaneci</i>, the day breaks.</p> + +<p>TLANEHUIA, <i>v. Nicno</i>. To revel, to indulge one's self in. XXI, 8.</p> + +<p>TLANELTOCA, <i>v</i>. To believe in, to have faith in.</p> + +<p>TLANIA, <i>v</i>. To recover one's self, to return within one's self.</p> + +<p>TLANIICZA, <i>v</i>. To abase, to humble. IX, 3.</p> + +<p>TLANTIA, <i>v</i>. To terminate, to end.</p> + +<p>TLAOCOL, <i>adj</i>. Sad, melancholy, pitiful, merciful.</p> + +<p>TLAOCOLIA, <i>v</i>. To be sad, etc.</p> + +<p>TLAOCOLTZATZIA, <i>v</i>. To cry aloud with grief. I, 3.</p> + +<p>TLAPALHUIA, <i>v., rel</i>. To be brilliant or happy; <i>act</i>., to salute a + person; to paint something.</p> + +<p>TLAPALLI, <i>n</i>. and <i>adj</i>. Colored; dyed; red.</p> + +<p>TLAPALOA, <i>v</i>. To salute, to greet.</p> + +<p>TLAPANAHUIA, <i>adj</i>. Surpassing, superior, excellent; used to form + superlatives.</p> + +<p>TLAPANI, <i>v</i>. To dye, to color. XVII, 10.</p> + +<p>TLAPAPALLI, <i>adj</i>. Striped, in stripes.</p> + +<p>TLAPATL, <i>n</i>. The castor-oil plant; the phrase <i>mixitl tlapatl</i> means + stupor, intoxication. IX, 2.</p> + +<p>TLAPEPETLANI, <i>v</i>. To sparkle, to shine forth.</p> + +<p>TLAPITZA, <i>v</i>. Fr. <i>pitza</i>, to play the flute. XVII, 26.</p> + +<p>TLAQUALLI, <i>n</i>. Food, eatables.</p> + +<p>TLAQUAUAC, <i>adj</i>. Strong, hard.</p> + +<p>TLAQUAUH, <i>adj</i>. Strongly, forcibly.</p> + +<p>TLAQUILLA, <i>adj</i>. Stopped up, filled. XX, 4.</p> + +<p>TLAQUILQUI, <i>n</i>. One who plasters, a mason. XXI, 1.</p> + +<p>TLATEMMATI, <i>v</i>. To suffer afflictions.</p> + +<p>TLATENEHUA, <i>v</i>. To promise.</p> + +<p>TLATHUI, <i>v</i>. To dawn, to become light.</p> + +<p>TLATIA, <i>v</i>. 1. To hide, to conceal; 2. to burn, to set on fire.</p> + +<p>TLATLAMANTITICA, <i>adj</i>. Divided, separated.</p> + +<p>TLATLATOA, <i>v</i>. To speak much or frequently. XVII, 11.</p> + +<p>TLATLAUHTIA, <i>v</i>. To pray. XVI, 3.</p> + +<p>TLATOANI, <i>n</i>. Ruler, lord.</p> + +<p>TLATOCAYOTL, <i>n</i>. The quality of governing or ruling.</p> + +<p>TLATOLLI, <i>n</i>. Word, speech, order.</p> + +<p>TLATZIHUI, <i>v</i>. To neglect, to be negligent; to be abandoned, to lie + fallow; to leave, to withdraw.</p> + +<p>TLAUANTLI, <i>n</i>. Vase, cup. XXVI, 4.</p> + +<p>TLAUHQUECHOL, <i>n</i>. A bird, the red heron, <i>Platalea ajaja</i>.</p> + +<p>TLAUILLOTL, <i>n</i>. Clearness, light. X, 1.</p> + +<p>TLAXILLOTIA, <i>v</i>. To arrange, sustain, support. IX, 4.</p> + +<p>TLAXIXINIA, <i>v</i>. To disperse, to destroy.</p> + +<p>TLAYAUA, <i>v</i>. To make an encircling figure in dancing.</p> + +<p>TLAYAUALOLLI, <i>adj</i>. Encircled, surrounded. XXI, 6.</p> + +<p>TLAYLOTLAQUI, <i>n</i>. See XIII, 8.</p> + +<p>TLAYOCOLIA, <i>v</i>. To make, to form, to invent. XIV.</p> + +<p>TLAYOCOYALLI, <i>n</i>. Creature, invention.</p> + +<p>TLAZA, <i>v</i>. To throw away; <i>fig</i>., to reject, to despise.</p> + +<p>TLAZOTLA, <i>v</i>. To love, to like.</p> + +<p>TLE, <i>pron. int</i>. and <i>rel</i>. What? That.</p> + +<p>TLEAHUA, <i>v</i>. To set on fire, to fire.</p> + +<p>TLEIN, <i>pron., int</i>. and <i>rel</i>. What? That.</p> + +<p>TLEINMACH, <i>adv</i>. Why? For what reason?</p> + +<p>TLENAMACTLI, <i>n</i>. Incense burned to the gods. III, 1.</p> + +<p>TLEPETZTIC, <i>adj</i>. Shining like fire, <i>tletl</i>, <i>petzlic</i>. XV, 26.</p> + +<p>TLETL, <i>n</i>. Fire.</p> + +<p>TLEYMACH, <i>adv</i>. Why? Wherefore?</p> + +<p>TLEYOTL, <i>n</i>. Fame, honor.</p> + +<p>TLEZANNEN, <i>adv</i>. To what good? Cui bono?</p> + +<p>TLILIUHQUI, <i>adj</i>. Black, brown.</p> + +<p>TLILIUI, <i>v</i>. To blacken, to paint black. XII, 6.</p> + +<p>TLOC, <i>postpos</i>. With, near to.</p> + +<p>TLOQUE NAHUAQUE, <i>n</i>. A name of divinity. See I, 6, note.</p> + +<p>TO, <i>pron. posses</i>. Our, ours.</p> + +<p>TOCA, <i>v</i>. To follow.</p> + +<p>TOCI, <i>n</i>. "Our ancestress," a divinity so called.</p> + +<p>TOCO, <i>v</i>. Impers. of <i>toca</i>.</p> + +<p>TOHUAN, <i>pron</i>. With us.</p> + +<p>TOLINIA, <i>v</i>. To be poor, to be unfortunate.</p> + +<p>TOLQUATECTITLAN, <i>n</i>. The place where the head is bowed for + lustration. III, 1.</p> + +<p>TOMA, <i>v</i>. To loosen, to untie, to open. XVII, 3.</p> + +<p>TOMAHUAC, <i>adj</i>. Great, heavy, large.</p> + +<p>TONACATI, <i>v</i>. To be prosperous or fertile.</p> + +<p>TONACATLALLI, <i>n</i>. Rich or fertile land.</p> + +<p>TONAMEYO, <i>adj</i>. Shining like the sun, glittering.</p> + +<p>TONAMEYOTL, <i>n</i>. Ray of the sun, light, brilliancy.</p> + +<p>TONATIUH, <i>n</i>. The sun.</p> + +<p>TONEUA, <i>v</i>. To suffer pain; <i>nite</i>, to inflict pain.</p> + +<p>TOQUICHPOHUAN, <i>n</i>. Our equals. I, 3.</p> + +<p>TOTOTL, <i>n</i>. A bird, generic term.</p> + +<p>TOZMILINI, <i>adj</i>. Sweet voiced. XXI, 3.</p> + +<p>TOZNENETL, <i>n</i>. A parrot, <i>Psittacus signatus</i>.</p> + +<p>TOZQUITL, <i>n</i>. The singing voice, p. 21.</p> + +<p>TZALAN, <i>postpos</i>. Among, amid.</p> + +<p>TZATZIA, <i>v</i>. To shout, to cry aloud.</p> + +<p>TZAUHQUI, <i>v</i>. To spin. XVII, 22.</p> + +<p>TZETZELIUI, <i>v</i>. To rain, to snow; <i>fig</i>., to pour down.</p> + +<p>TZIHUAC, <i>n</i>. A species of bush. XV, 1.</p> + +<p>TZIMIQUILIZTLI, <i>n</i>. Slaughter, death. XVI, 5.</p> + +<p>TZINITZCAN, <i>n</i>. A bird, <i>Trogon Mexicanus</i>.</p> + +<p>TZITZILINI, <i>n</i>. A bell.</p> + +<p>TZOTZONA, <i>v</i>. To strike the drum.</p> + +<p>UALLAUH, <i>v</i>. To come. See <i>huallauh</i>.</p> + +<p>UITZ, <i>v</i>. To come.</p> + +<p>ULLI, <i>n</i>. Caoutchouc. See p. 22.</p> + +<p>XAHUA, <i>v</i>. To paint one's self, to array one's self in the ancient + manner. XXIV, 1.</p> + +<p>XAMANI, <i>v</i>. To break, to crack.</p> + +<p>XAXAMATZA, <i>v</i>. To cut in pieces, to break into bits.</p> + +<p>XAYACATL, <i>n</i>. Face, mask.</p> + +<p>XELIHUI, <i>v</i>. To divide, to distribute.</p> + +<p>XEXELOA, <i>v</i>. To divide, to distribute.</p> + +<p>XILOTL, <i>n</i>. Ear of green corn.</p> + +<p>XILOXOCHITL, <i>n</i>. The flower of maize. XVII, 10.</p> + +<p>XIMOAYAN, <i>n</i>. A place of departed souls. See I, 8.</p> + +<p>XIMOHUAYAN, <i>n</i>. Place of departed spirits. VIII, 1.</p> + +<p>XIUHTOTOTL, <i>n</i>. A bird, <i>Guiaca cerulea</i>.</p> + +<p>XIUITL, <i>n</i>. A leaf, plant; year; anything green.</p> + +<p>XOCHICALLI, <i>n</i>. A house for flowers, or adorned with them.</p> + +<p>XOCHIMECATL, <i>n</i>. A rope or garland of flowers.</p> + +<p>XOCHIMICOHUAYAN, <i>n</i>. See XVI, 3, note.</p> + +<p>XOCHITECATL, <i>n</i>. See XXV, 7, note.</p> + +<p>XOCHITL, <i>n</i>. A flower, a rose.</p> + +<p>XOCHIYAOTL, <i>n</i>. Flower-war. See XVI, 4, note.</p> + +<p>XOCOMIQUI, <i>v</i>. To intoxicate, to become drunk.</p> + +<p>XOCOYA, <i>v</i>. To grow sour. XIII, 4.</p> + +<p>XOPALEUAC, <i>n</i>. Something very green.</p> + +<p>XOPAN, <i>n</i>. The springtime.</p> + +<p>XOTLA, <i>v</i>. To blossom, to flower; to warm, to inflame; to cut, to + scratch, to saw.</p> + +<p>XOXOCTIC, <i>adj</i>. Green; blue. XVI, 6.</p> + +<p>XOYACALTITLAN, <i>n</i>. The house or place of decay. III, 1.</p> + +<p>Y., Abbrev. for <i>ihuan</i>, and <i>in</i>, q. v.</p> + +<p>YA, <i>adv</i>. Already, thus; same as <i>ye</i>; <i>v</i>., to suit, to fit. Part. + euphonic or expletive. See note to XVII, 3.</p> + +<p>YAN, <i>postpos</i>. Suffix signifying place.</p> + +<p>YANCUIC, <i>adj</i>. New, fresh, recent.</p> + +<p>YANCUICAN, <i>adv</i>. Newly, recently.</p> + +<p>YAOTL, <i>n</i>. War, battle.</p> + +<p>YAOYOTL, <i>n</i>. Warfare.</p> + +<p>YAQUI, <i>adj</i>. Departed, gone, left for a place.</p> + +<p>YAUH, <i>v., irreg</i>. To go.</p> + +<p>YE, <i>adv</i>. Already, thus; <i>ye no ceppa</i>, a second time; <i>ye ic</i>, + already, it is already.</p> + +<p>YE, <i>pron</i>. He, those, etc.</p> + +<p>YE, <i>adj. num</i>. Three.</p> + +<p>YECE, <i>adv</i>. But.</p> + +<p>YECEN, <i>adv</i>. Finally, at last.</p> + +<p>YECNEMI, <i>v</i>. To live righteously.</p> + +<p>YECOA, <i>v</i>. To do, to finish, to conclude.</p> + +<p>YECTENEHUA, <i>v</i>. To bless, to speak well of.</p> + +<p>YECTLI, <i>adj</i>. Good, worthy, noble.</p> + +<p>YEHUATL, <i>pron</i>. He, she, it. Pl. <i>yehuan, yehuantin</i>.</p> + +<p>YEHUIA, <i>v</i>. To beg, to ask charity.</p> + +<p>YEPPA YUHQUI. Formerly, it was there. VII, 2.</p> + +<p>YHUINTIA. See <i>ihuinti</i>.</p> + +<p>YOCATL, <i>n</i>. Goods, possessions; <i>noyocauh</i>, my property. XV, 26.</p> + +<p>YOCAUA, <i>n</i>. Master, possessor, owner.</p> + +<p>YOCOLIA, <i>v</i>. To form, to make.</p> + +<p>YOCOYA, <i>v</i>. To make, to invent, to create.</p> + +<p>YOHUATLI, <i>n</i>. Night, darkness.</p> + +<p>YOLAHUIA, <i>v</i>. To rejoice greatly.</p> + +<p>YOLCIAHUIA, <i>v</i>. To please one's self, to make glad.</p> + +<p>YOLCUECUECHOA, <i>v</i>. To make the heart tremble. IV, 6.</p> + +<p>YOLEHUA, <i>v</i>. To excite, to animate.</p> + +<p>YOLIHUAYAN, <i>n</i>. A place of living III, 5.</p> + +<p>YOLLO, <i>adj</i>. Adroit, skillful; also for <i>iyollo</i>, his heart.</p> + +<p>YOLLOTL, <i>v</i>. Heart, mind, soul.</p> + +<p>YOLNONOTZA, <i>v</i>. See note to I, 1.</p> + +<p>YOLPOXAHUA, <i>v</i>. To toil mentally.</p> + +<p>YUHQUI, <i>adv</i>. As, like.</p> + +<p>YUHQUIMATI, <i>v</i>. To understand, to realize.</p> + +<p> +ZACATL, <i>n</i>. Herbage, straw, hay. XXI, 5.</p> + +<p>ZACUAN, <i>n</i>. Feather of the zacuan bird; <i>fig</i>., yellow; prized.</p> + +<p>ZACUAN TOTOTL, <i>n</i>. The zacuan bird, <i>Oriolus dominicensis</i>.</p> + +<p>ZAN, <i>adv</i>. Only, but; <i>zan cuel</i>, in a short time; <i>zanen</i>, perhaps; + <i>Zan nen</i>, in vain.</p> + +<p>ZANCUEL ACHIC, <i>adv</i>. A moment, an instant; often; <i>zan ye</i>, but + again, but quickly.</p> + +<p>ZANIO, <i>pron</i>. I alone, he or it alone.</p> + +<p>ZOA, <i>v</i>. To pierce; to spread out; to open; to sew; to string + together; to put in order.</p> + +<p>ZOLIN TOTOTL, <i>n</i>. The quail.</p> + +<p>ZOMA, <i>v</i>. To become angry.</p> + +<p>ZOMALE, <i>adj</i>. For <i>comalli</i>, vase, cup. XXVI, 4.</p> + +<a name="INDEX"></a><h2>INDEX OF NAHUATL PROPER NAMES, WITH EXPLANATIONS.</h2> +<p> +ACALLAN, 105. "The place of boats," from <i>acalli</i>, boat. An ancient +province at the mouth of the Usumacinta river; but the name was +probably applied to other localities also. +</p> +<p> +ACATLAPAN, 41. A village southeast of Chalco. From <i>acatla</i>, a place +of reeds, and <i>pan</i>, in or at. +</p> +<p> +ACHALCHIUHTLANEXTIN, 46. The first chief of the Toltecs; another form +of <i>chalchiuhtonac</i>. Both names mean "the gleam of the precious +jade." Compare Torquemada, <i>Monarquia Indiana</i>. Lib. III., cap. 7; +Orozco y Berra, <i>Hist. Antigua de Mexico</i>, Tom. III., p. 42. The date +of the beginning of his reign is put at A.D. 667 or 700. +</p> +<p> +ACOLHUACAN, 40, 91, 119. A compound of <i>atl</i>, water, and <i>colhuacan</i>, +(q. v.) = "Colhuacan by the water," the name of the state of which +Tetzcuco was the capital, in the valley of Mexico. +</p> +<p> +ACOLMIZTLAN, 89, from +</p> +<p> +ACOLMIZTLI, 35. A name of Nezahualcoyotl (see p. 35), also of other +warriors. +</p> +<p> +ANAHUAC, 125. From <i>atl</i>, water, <i>nahuac</i>, by, = the land by the +water. The term was applied first to the land by the lakes in the +Valley of Mexico, and later to that along both the Gulf of Mexico and +the Pacific Ocean. +</p> +<p> +ATECPAN, 77. "The royal residence by the water" (<i>atl, tecpan</i>). I do +not find this locality mentioned elsewhere. +</p> +<p> +ATLIXCO, 125. "Where the water shows its face" (<i>atl, ixtli, co</i>). A +locality southeast of Tezcuco, near the lake, so called from a large +spring. See Motolinia, <i>Historia de los Indios</i>, Trat. III, cap. 18. +</p> +<p> +ATLOYANTEPETL, 85, 89, 91. Perhaps for <i>atlauantepetl</i>, "the mountain +that rules the waters." But see note to XIII, v. 6. +</p> +<p> +ATZALAN, 114. "Amid the waters" (<i>atl, tzalan</i>). Perhaps not a proper +name; but two villages in the present State of Puebla are called +Atzala (see Orozco y Berra, <i>Geografia de las Lenguas de Mexico</i>, pp. +212, 213). +</p> +<p> +AXAXACATZIN, 43. Probably for <i>axayacatzin</i>, reverential of +<i>axayacatl</i>, the name of a species of marsh fly. It was also the name +of the sixth ruler of Mexico (flor. about 1500), and doubtless of +other distinguished persons. See Ixtlilxochitl, <i>Historia +Chichimeca</i>, cap. 51. +</p> +<p> +AZCAPOTZALCO, 50, 51. An ancient town in the valley of Mexico, once +the capital city of the Tepanecas (q. v.). The word means "place of +the ant-hills," from <i>azcaputzalli</i>. +</p> +<p> +AZTECS, 25. A Nahuatl tribe who derived their name from their +mythical ancient home, Aztlan. The derivation is obscure, but +probably is from the same radical as <i>iztac</i>, white, and, therefore, +Father Duran was right in translating Aztlan, "place of whiteness," +the reference being to the East, whence the Aztecs claim to have +come. See Duran, <i>Historia de las Indias</i>, cap. II. +</p> +<p> +CACAMATL, 94, 95. The reference appears to be to Cacamatzin (the +<i>Noble Sad One</i>, from <i>cacamaua</i>, fig. to be sad), last ruler of +Tezcuco, son and successor, in 1516, of Nezahualpilli. He was put to +death by Cortes. +</p> +<p> +CATOCIH, 89. A doubtful word, which may not be a proper name. +</p> +<p> +CHALCO, 16, 69, 95. A town and lake in the valley of Mexico. The +people were Nahuas and subject to Mexico. The word is probably +derived from <i>Challi</i>, with the postpos. <i>co</i>, meaning "at the mouth" +(of a river). See Buschmann, <i>Ueber die Aztekischen Ortsnamen</i>, s. +689, and comp. <i>Codex Ramirez</i>, p. 18. +</p> +<p> +CHIAPA, CHIAPANECA, 70, 71. The province and inhabitants of Chiapas, +in Southern Mexico. There were colonies of Nahuas in Chiapas, though +most of the natives spoke other tongues. The derivation is probably +from <i>chia</i>, a mucilaginous seed highly esteemed in Mexico. +</p> +<p> +CHICHIMECATL or CHICHIMECS, 88, 89, 91, 101. A rude hunting tribe, +speaking Nahuatl, who settled, in early times, in the valley of +Mexico. The name was said to be derived from <i>chichi</i>, a dog, on +account of their devotion to hunting (<i>Cod. Ramirez</i>). Others say it +was that of their first chieftain. +</p> +<p> +CHICOMOZTOC, 88, 89. "At the seven caves," the name of the mythical +locality from which the seven Nahuatl tribes derived their origin. +The <i>Codex Ramirez</i> explains the seven caves to mean the seven houses +or lineages (totems) of which the nation consisted. +</p> +<p> +CHILILITLI, 36. Name of a tower of sacred import. It is apparently a +compound of <i>chia</i> or <i>chielia</i>, to watch, and <i>tlilli</i>, blackness, +obscurity, hence "a night watch-tower." It was probably used for the +study of the sky at night. +</p> +<p> +CHIMALPOPOCA, 43. "The smoking shield," from <i>chimalli</i>, shield, and +<i>popoca</i>. The name of several distinguished warriors and rulers in +ancient Mexico. +</p> +<p> +CHOLULA or CHOLOLLAN, 105. Name of a celebrated ancient state and +city. From <i>choloa</i>, with the probable meaning, "place of refuge," +"place of the fugitives." +</p> +<p> +CIHUAPAN, 41. Name of a warrior, otherwise unknown. From <i>cihuatl</i>, +woman, <i>pan</i>, among, with. +</p> +<p> +COATZITEUCTLI, 89. A name compound of <i>coatzin</i>, reverential form of +<i>coatl</i>, serpent, and <i>teuctli</i>, lord. +</p> +<p> +COLHUA, A people of Nahuatl affinity, who dwelt in ancient times in +the valley of Mexico. See <i>Colhuacan</i>. +</p> +<p> +COLHUACAN, 88, 89, 91. A town in the valley of Mexico. In spite of +the arguments to the contrary, I believe the Colhua were of Nahuatl +lineage, and that the name is derived from <i>colli</i>, ancestor; +<i>colhuacan</i>, the residence of the ancestors; with this signification, +it was applied to many localities. It must be distinguished from +<i>Acolhuacan</i>. Its ikonomatic symbol was a hill bent over at the top, +from <i>coloa</i>, to bend. +</p> +<p> +COLZAZTLI, 39. Probably for Coltzatztli, one who cries out or calls +to the ancestors (<i>colli, tzatzia</i>). A chief whom I have not found +elsewhere mentioned. +</p> +<p> +CONAHUATZIN, 41. A warrior not elsewhere mentioned. By derivation it +means "noble son of the lord of the water" (<i>conetl, ahua, tzin</i>). +</p> +<p> +CUETZPALTZIN, 89. A proper name, from <i>cuetzpalli</i>, the 4th day of +the month. +</p> +<p> +CUEXTLA, 33. A province of ancient Mexico. See Torquemada, <i>Monarquia +Indiana</i>. Lib. II, caps. 53, 56. +</p> +<p> +CULTEPEC, 42. A village five leagues from Tezcuco, at the foot of the +mountains. Deriv., <i>colli</i>, ancestor, <i>tepetl</i>, mountain or town, +with post-pos. <i>c</i>; "at the town of the ancestors." +</p> +<p> +HUETLALPAN or HUETLAPALLAN, 89. The original seat of the mythical +Toltecs. The name is a compound of <i>hue</i>, old, and <i>Tlapallan</i>, q. v. +</p> +<p> +HUEXOTZINCO, 50, 83, 91, 99, 113. An independent State of ancient +Anahuac, south of Tlascala and west of Cholula. The name means "at +the little willow woods," being a diminutive from <i>huexatla</i>, place +of willows. +</p> +<p> +HUITLALOTZIN, 89. From <i>huitlallotl</i>, a species of bird, with the +reverential termination. Name of a warrior. +</p> +<p> +HUITZILAPOCHTLI, 16. Tribal god of the Mexicans of Tenochtitlan. The +name is usually derived from <i>huitzitzilin</i>, humming bird, and +<i>opochtli</i>, left (<i>Cod. Ramirez</i>, p. 22), but more correctly from +<i>huitztli</i>, the south, <i>iloa</i>, to turn, <i>opochtli</i>, the left hand, +"the left hand turned toward the south," as this god directed the +wanderings of the Mexicans southward. The humming bird was used as +the "ikonomatic" symbol of the name. +</p> +<p> +HUITZILIHUITL, 89. "Humming-bird feather." Name of an ancient ruler +of Mexico, and of other warriors. +</p> +<p> +HUITZNAHUACATL, 91. A ruler of Huexotlan (Clavigero); a member of the +Huitznahua, residents of the quarters so called in Tezcuco and +Tenochtitlan (Ixtlilxochitl, <i>Hist. Chichimeca</i>, cap. 38). +</p> +<p> +IXTLILXOCHITL, 35, 46, 89. A ruler of Acolhuacan, father of +Nezahualcoyotl. Comp. <i>ixtli</i>, face, <i>tlilxochitl</i>, the vanilla +(literally, the black flower). +</p> +<p> +IZTACCOYOTL, 89, 93. "The white wolf." Name of a warrior otherwise +unknown. +</p> +<p> +MEXICANS, 67, 83, 85, 87, 123, 125. See +</p> +<p> +MEXICO, 83, 123. Name of the town and state otherwise called +Tenochtitlan. <i>Mexitl</i> was one of the names of the national god +Huitzilopochtli, and Mexico means "the place of Mexitl," indicating +that the city was originally called from a fane of the god. +</p> +<p> +MICTLAN, 95, 117, 119. The Mexican Hades, literally, "the place of +the dead." +</p> +<p> +MONTEZUMA, 14, 41, 113. The name of the ruler of Mexico on the +arrival of Cortes. The proper form is <i>Moteuhzomatzin</i> or +<i>Motecuhzomatzin</i>, and the meaning, "he who is angry in a noble +manner." ("señor sañudo," <i>Cod. Ramirez</i>, p. 72; "qui se fache en +seigneur," Siméon, <i>Dict. de la Langue Nahuatl</i>, s. v.). +</p> +<p> +MOQUIHUIX, 33. The fourth ruler of Tlatilolco. He assumed the power +in 1441, according to some writers (Bustamente, <i>Tezcoco, en los +Ultimas Tiempos de sus Antiguos Reyes</i>, p. 269). The name probably +means "He who comes forth a freeman." See Ixtlilxochitl, <i>Historia +Chichimeca</i>, caps. 36, 51. +</p> +<p> +NACXITL TOPILTZIN, 105, 107. Nacxitl, "the four footed" (<i>nahui, +ixitl</i>), was the name of one of the gods of the merchants (Sahagun, +<i>Hist, de Nueva España</i>, Lib. I, c. 19). In the song it is applied to +Quetzalcoatl, who was also regarded as a guardian of merchants. +</p> +<p> +NAHUATL, (9, etc.). A term applied to the language otherwise known as +Aztec or Mexican. As an adjective it means "well-sounding," or, +pleasant to the ear. From this, the term <i>Nahua</i> is used collectively +for all tribes who spoke the Nahuatl tongue. <i>Nahuatl</i> also means +clever, skillful, and the derivation is probably from the root <i>na</i>, +to know. +</p> +<p> +NECAXECMITL, 46. Name of uncertain meaning of a person otherwise +unknown. +</p> +<p> +NEZAHUALCOYOTL, 35, 67, 119. Chief of the Acolhuas, and ruler in +Tezcuco from 1427 to 1472, or thereabouts. He was a distinguished +patron of the arts and a celebrated poet. See p. 35, et seq. +</p> +<p> +NEZAHUALPILLI, or NEZAHUALPIZINTLI, 14, 125. Ruler of Acolhuacan, son +of Nezahualcoyotl. His accession is dated in 1470 or 1472. +</p> +<p> +NONOHUALCO, 105, 125. Name of one of the quarters of the ancient city +of Mexico; also of a mountain west of the valley of Mexico. The +derivation is probably from <i>onoc</i>, to lie down; <i>onohua</i>, to sleep; +<i>onohuayan</i>, a settled spot, an inhabited place. The <i>co</i> is a +postposition. +</p> +<p> +NOPAL or NOPALTZIN, 46. Ruler of Acolhuacan, A. D. 1260-1263, +according to some chronologies. The name is from <i>nopalli</i>, the +cactus or opuntia. +</p> +<p> +NOPILTZIN, 67, 91. "My son," or "my lord," a term of deference +applied to superiors, from <i>pilli</i>, which means son and also lord, +like the old English <i>child</i>. Cf. <i>Topiltzin</i>. +</p> +<p> +OTOMIS, 16, 49, 58, 64, 71, 95. A nation which inhabited a portion of +the valley of Mexico and region adjacent, entirely dissimilar in +language and appearance from the Nahuas. The etymologies suggested +are unsatisfactory. +</p> +<p> +POPOCATEPETL, 46. "The smoking mountain," the name of a famous +volcano rising from the valley of Mexico. +</p> +<p> +POYAUHTECATL, 105. A volcano near Orizaba (Sahagun. <i>Hist. de Nueva +España</i>, Lib. I, cap. 21). Derived from <i>poyaua</i>, to color, to +brighten. +</p> +<p> +QUANTZINTECOMATZIN, 41. A warrior not otherwise known. The name is a +double reverential, from <i>quani</i>, eater, and <i>tecomatl</i>, vase, "The +noble eater from the royal dish." +</p> +<p> +QUAUHQUECHOLLAN, 95. A village and plain near the southern base of +Popocatepetl. It means "the place of the quechol woods," or the trees +among which quechol birds are found. See Motolinia, <i>Historia de los +Indios</i>, Trat. III, cap. 18. +</p> +<p> +QUAUHXILOTL, 89. Name of a large tree, and applied to a warrior, +ruler of Iztapallocan, whom Ixtlilxochitl, King of Tezcuco, placed at +the head of his troops in his war with Tezozomoc. See Clavigero, +<i>Storia Antica di Messico</i>, Tom. I, p. 185. +</p> +<p> +QUETZALCOATL, 32, 143, 144. See note on p. 143. +</p> +<p> +QUETZALMAMATZIN, 91. Name of a warrior, "the noble one of the +beautiful hands" (<i>quetzalli, mama</i>, pl. of <i>maitl</i>, and rev. term, +<i>tzin</i>). Perhaps the same as Quetzalmemalitzin, ruler of Teotihuacan, +mentioned by Ixtlilxochitl, <i>Historia Chichimeca</i>, cap. 35. +</p> +<p> +QUIAUHTZIN, 93. Name of a warrior, "The noble rain" (<i>quiauitl, +tziri</i>). +</p> +<p> +TENOCHTITLAN, 85. The current name for the City of Mexico; literally, +"at the stone-nopal," from <i>tetl</i>, stone, <i>nochtli</i>, nopal, and +postpos., <i>tlan</i>. The term refers to an ancient tradition. +</p> +<p> +TEPANECAS or TECPANECAS, 35. A powerful nation of Nahuatl lineage, +who dwelt in the valley of Mexico. They were destroyed in 1425 by the +Acolhuas and Mexicans, and later the state of Tlacopan was formed +from their remnants. Comp. probably from <i>tecpan</i>, a royal residence, +with the gentile termination. +</p> +<p> +TEPEYACAC, TEPEYACAN, 93. From <i>tepetl</i>, mountain, <i>yacatl</i>, nose, +point, and postpos, <i>c</i>. 1. A small mountain on which the celebrated +church of the Virgin of Guadalupe now stands. 2. A large town and +state subject to ancient Mexico, now Tepeaca in the province of +Puebla. +</p> +<p> +TETLAPAN QUETZANITZIN, 68, 69. A ruler of Tlatilolco, contemporary of +the conquest. See Note to Song VI. +</p> +<p> +TETZCOCO, now TEZCUCO, 14, 35, 36, 77. Capital city of Acolhuacan, +and residence of Nezahualcoyotl. It has been called "the Athens of +Anahuac." The derivation of the name is from a plant called +<i>tetzculli</i> (<i>Cod. Ramirez</i>). +</p> +<p> +TEZOZOMOC, TEZOZOMOCTLI, 35, 39, 67, 88, 89. A ruler of the +Tepanecas, celebrated for his warlike skill and severity. His death +is placed in the year 1427. The name, like Montezuma, is derived from +<i>zoma</i>, to be angry, in this case from the reduplicated frequentative +form, <i>zozoma</i>. +</p> +<p> +TIZATLAN, 103. "The place of white varnish" (<i>tizatl</i>), the name of +one of the four quarters of the city of Tlascala. +</p> +<p> +TLACOMIHUATZIN, 93. "The noble cousin of the lynx" (<i>tlacomiztli</i>, +lynx, huan, postpos., denoting affinity, <i>tzin</i>, reverential). The +name of a warrior. +</p> +<p> +TLACOPAN, now TACUBA, 135. A small state west of Mexico and subject +to it, built up on the ruins of the ancient Tepanecas. Comp. from +<i>tlacotli</i>, a slave. +</p> +<p> +TLAHUICAN, 118. A Nahuatl province south of the valley of Mexico, so +called from the cinnabar, <i>tlahuitl</i>, there obtained (Buschmann; but +the <i>Cod. Ramirez</i> gives the meaning "toward the earth," from +<i>tlalli</i> and <i>huic</i>). [*Transcriber's note: TLAHUICAN not found in +text. See Tlahuica in Vocabulary.] +</p> +<p> +TLAILOTLACAN, 140. One of the seven divisions of the city of Tezcuco +(<i>Ixtlilxochitl</i>, <i>Hist. Chichimeca</i>, cap. 38). +[*Transcriber's note: TLAILOTLACAN not found in text.] +</p> +<p> +TLAILOTLAQUI, 84. Literally, "workers in refuse," or "scavengers." +Said by M. Aubin to have been a tribe who settled in Tezcuco in the +reign of Quinantzin. The term is apparently one of contempt. +[*Transcriber's note: TLAILOTLAQUI not found on page 84 in text. See +Tlailotlaqui in Vocabulary.] +</p> +<p> +TLALMANALCO, 42. A village near the foot of the volcano Popocatepetl. +Derived from <i>tlalmanalli</i>, level ground, with postpos. <i>co</i>. +</p> +<p> +TLALNAHUACATL, 89. "Dweller on the land;" name of a warrior. +</p> +<p> +TLALOC, 45. God of rain and the waters; a famous divinity among the +ancient Mexicans. The word means "stretched on the earth," and the +idol of the god represented a man extended on his back holding a +vase. +</p> +<p> +TLAPALLAN, 105. A mythical land from which the Toltecs were fabled to +have come and to which Quetzalcoatl returned. The derivation is from +<i>tlapalli</i>, color, especially red. +</p> +<p> +TLATETOLCO, TLATILULCO, 33, 83, 85. A suburb of the ancient city of +Mexico, founded in 1338; from <i>tlatelli</i>, a mound, <i>ololoa</i>, to make +round, the sense being "an island." See Motolinia, <i>Historia de los +Indios</i>, Trat. III, cap. 7. +</p> +<p> +TLAXCALLAN, now TLASCALA, 89, 93, 103. "The place of bread," from +<i>tlaxcalli</i>, bread. Site of a warlike tribe of Nahuatl descent, east +of the valley of Mexico. +</p> +<p> +TLATZIN, 46. Chief of a town of the Chichimecs, situated on Lake +Chalco. He flourished toward the close of the 14th century. From +<i>tlatli</i>, a falcon. +</p> +<p> +TOCHIN, 89. From <i>tochtli</i>, rabbit; name of the brother of the +Tezcucan ruler Quinantzin, and of many other personages. +</p> +<p> +TOLLAN, or TULAN, 46, 105, 107. The ancient mythical capital of the +Toltecs. The common derivation from <i>tolin</i>, a rush, is erroneous. +The name is a syncopated form of <i>tonatlan</i>, "the place of the sun." +</p> +<p> +TOLTEC, properly TOLTECATL, 46, 111. An inhabitant of Tollan. The +Toltecs were a mythical people, whose civilization was supposed to +have preceded that of the Aztecs. +</p> +<p> +TOPILTZIN, 46, 105. "Our son" or "Our lord" (see Nopiltzin). The term +was especially applied to Quetzalcoatl, q. v. See Orozco y Berra, +<i>Hist. Antig. de Mexico</i>, Tom. III, p. 54. +</p> +<p> +TOTOQUILHUATLI, 41. From <i>totoquilia</i>, to act as agent or lieutenant. +Ruler of Tlacopan. The verse of the song in which this name occurs is +given in the original Nahuatl by Ixtlilxochitl, who says it was very +popular throughout New Spain. See his <i>Historia Chichimeca</i>, cap. 32. +</p> +<p> +XICALANCO, 107. A locality on the borders of the province Tabasco. +The people spoke Nahuatl. Deriv. <i>xicalli</i>, gourd or jar, and +postpos. <i>co</i>. +</p> +<p> +XICOMATZINTLAMATA, 43. Name of a warrior not otherwise known. The +compound seems to mean "skillful with angry hand" (<i>xicoa, maitl, +tlamati</i>). +</p> +<p> +XICONTECATL, 103. Name of several distinguished Tlascalan warriors, +lords of Tizatlan. See Clavigero, <i>Hist. Antica di Messico</i>, Tom. +III, pp. 38 and 40, One was a favorite of Nezahualcoyotl. See +Ixtlilxochitl, <i>Historia Chichimeca</i>, cap. 40. +</p> +<p> +XIUHTEUCTLI, 15. The god of fire, literally, "the lord of the year," +or "of the foliage." +</p> +<p> +XIUHTZAL, 46. A queen of ancient Tollan, said by Clavigero to have +ruled from A. D. 979 to 984. Other writers give the name more +correctly Xiuhtlaltzin, "Lady of the Green Fields," and place her +death in 987. (Orozco y Berra, <i>Hist. Antig. de Mexico</i>, Tom. III, p. +45.) +</p> +<p> +XOLOTL, 46. An early if not the first king of the Chichimecs. His +death occurred in 1232. +</p> +<p> +YOHUALLATONOC, 89. "Shining at night." Name of a warrior. +</p> +<p> +YOPICO, 22. A division of the ancient city of Mexico, containing a +temple of this name. The word means "the place of the tearing out of +hearts" (<i>yolltol, pi, co</i>), from the form of sacrifice there carried +out. +</p> +<p> +YOYONTZIN, 35, 40, 66, 67. A name of Nezahualcoyotl. See p. 35.</p> + +<a name="FOOTNOTES"></a><h2>FOOTNOTES.</h2> + +<p> +<a name="fn01"></a><a href="#fn01_r">[1]</a> + Diego Duran, <i>Historia de las Indias de Nueva España</i>, +Tom. I, p. 233; and compare Geronimo de Mendieta, <i>Historia +Eclesiastica Indiana</i>, Lib. II, cap. 31. +</p> + +<p> +<a name="fn02"></a><a href="#fn02_r">[2]</a> + Sahagun, <i>Historia de Nueva España</i>, Lib. VIII, cap. +26. +</p> + +<p> +<a name="fn03"></a><a href="#fn03_r">[3]</a> + Sahagun, <i>Historia de Nueva España</i>, Lib. III, cap. 8. +</p> + +<p> +<a name="fn04"></a><a href="#fn04_r">[4]</a> + <i>Cuicoyan</i>, from <i>cuica</i>, song, and the place-ending +<i>yan</i>, which is added to the impersonal form of the verb, in this +instance, <i>cuicoa</i>. Mr. Bancroft entirely misapprehends Tezozomoc's +words about these establishments, and gives an erroneous rendering of +the term. See his <i>Native Races of the Pacific Coast</i>, Vol. II, p. +290, and Tezozomoc, <i>Cronica Mexicana</i>, cap. 18. +</p> + +<p> +<a name="fn05"></a><a href="#fn05_r">[5]</a> + Juan de Torquemada, <i>Monarquia Indiana</i>, Lib. VI, cap. +43. +</p> + +<p> +<a name="fn06"></a><a href="#fn06_r">[6]</a> + Torquemada, <i>Monarquia Indiana</i>, Lib. XVII, cap. 3. +Didacus Valades, who was in Mexico about 1550, writes of the natives: +"Habent instrumenta musica permulta in quibus semulatione quadam se +exercent." <i>Rhetorica Christiana</i>, Pars. IV, cap. 24. +</p> + +<p> +<a name="fn07"></a><a href="#fn07_r">[7]</a> + Descriptions are given by Edward Mühlenpfordt, <i>Die +Republik Mexico</i>, Bd. I, pp. 250-52 (Hannover, 1844). +</p> + +<p> +<a name="fn08"></a><a href="#fn08_r">[8]</a> + Molina translates <i>piqui</i>, "crear ô plasmar Dios alguna +cosa de nuevo." <i>Vocabulario de la Lengua Mexicana</i>, s.v. +</p> + +<p> +<a name="fn09"></a><a href="#fn09_r">[9]</a> + Sahagun, <i>Historia de Nueva España</i>, Lib. X, cap. 8. +</p> + +<p> +<a name="fn10"></a> +<a href="#fn10_r">[10]</a> + Boturini, <i>Idea de una Nueva Historia General</i>, p. 97. +</p> + +<p> +<a name="fn11"></a><a href="#fn11_r">[11]</a> + Clavigero, <i>Storia antica di Messico</i>, Lib. VII, p. +175. +</p> + +<p> +<a name="fn12"></a><a href="#fn12_r">[12]</a> + Torquemada, <i>Monarquia Indiana</i>, Lib. X, cap. 34. +</p> + +<p> +<a name="fn13"></a><a href="#fn13_r">[13]</a> + Duran, <i>Hist. de la Indias de Nueva España</i>, Tom. I, p. +233. +</p> + +<p> +<a name="fn14"></a><a href="#fn14_r">[14]</a> + Tezozomoc, <i>Cronica Mexicana</i>, cap. 64. +</p> + +<p> +<a name="fn15"></a><a href="#fn15_r">[15]</a> + Ixtlilxochitl, <i>Historia Chichimeca</i>, cap. 47. +</p> + +<p> +<a name="fn16"></a><a href="#fn16_r">[16]</a> + Boturini, <i>Idea de una Nueva Historia General</i>, p. 90. +</p> + +<p> +<a name="fn17"></a><a href="#fn17_r">[17]</a> + Tezozomoc, <i>Cronica Mexicana</i>, cap. 53. +</p> + +<p> +<a name="fn18"></a><a href="#fn18_r">[18]</a> + See Sahagun, <i>Historia de Neuva España</i>, Lib. IV, chap. +17, and Tezozomoc, <i>Cronica Mexicana</i>, cap. 64. +</p> + +<p> +<a name="fn19"></a><a href="#fn19_r">[19]</a> + <i>Cuitlaxoteyotl</i>, from <i>cuitatl</i>, mierda; +<i>tecuilhuicuicatl</i>, from <i>tecuilhuaztli</i>, sello, <i>tecuilonti</i>, el que +lo haze a otro, pecando contra natura. Molina, <i>Vocabulario</i>. +</p> + +<p> +<a name="fn20"></a><a href="#fn20_r">[20]</a> + William A. Hammond, <i>The Disease of the Scythians +(morbus feminarum) and Certain Analogous Conditions</i>, in the +<i>American Journal of Neurology and Psychiatry</i>, 1882. +</p> + +<p> +<a name="fn21"></a><a href="#fn21_r">[21]</a> + <i>Cronica Mexicana</i>, cap. 2. +</p> + +<p> +<a name="fn22"></a><a href="#fn22_r">[22]</a> + On this subject the reader may consult Parades, +<i>Compendio del Arte de la Lengua Mexicana</i>, pp. 5, 6, and Sandoval, +<i>Arte de la Lengua Mexicana</i>, pp. 60, 61. Tapia Zenteno whose <i>Arte +Novissima de la Lengua Mexicana</i> was published in 1753, rejects +altogether the saltillo, and says its invention is of no use except +to make students work harder! (pp. 3, 4.) The vowels with saltillo, +he maintains, are simply to be pronounced with a slight aspiration. +Nevertheless, the late writers continue to employ and describe the +saltillo, as Chimalpopoca, <i>Epitome á Modo Facil de aprender el +Idioma Nahuatl</i>, p. 6. (Mexico, 1869.) +</p> + +<p> +<a name="fn23"></a><a href="#fn23_r">[23]</a> + <i>Arte Novissima de la Lengua Mexicana</i>, pp. 3, 4. +</p> + +<p> +<a name="fn24"></a><a href="#fn24_r">[24]</a> + Duran, <i>Historia de Nueva España</i>, Tom. I, p. 230. +</p> + +<p> +<a name="fn25"></a><a href="#fn25_r">[25]</a> + The singer who began the song was called <i>cuicaito</i>, +"the speaker of the song." +</p> + +<p> +<a name="fn26"></a><a href="#fn26_r">[26]</a> + The most satisfactory description of these concerts is +that given by Geronimo de Mendieta, <i>Historia Eclesiastica Indiana</i>, +Lib. II, cap. 31. I have taken some particulars from Boturini and +Sahagun. +</p> + +<p> +<a name="fn27"></a><a href="#fn27_r">[27]</a> + Literally, "the broken drum," from <i>tlapana</i>, to break, +as they say <i>tlapanhuimetzli</i>, half moon. It is described by +Tezozomoc as "un atambor bajo." <i>Cronica Mexicana</i>, cap. 53. +</p> + +<p> +<a name="fn28"></a><a href="#fn28_r">[28]</a> + From <i>yollotl</i>, heart, and <i>pi</i>, to tear out. The +instrument is mentioned by Tezozomoc, <i>Cronica Mexicana</i>, cap. 48. On +the Yopico, and its ceremonies, see Sahagun, <i>Historia de Nueva +España</i>, Lib. II, cap. 1, and Appendix. +</p> + +<p> +<a name="fn29"></a><a href="#fn29_r">[29]</a> + Simeon, however, thinks the name arose from the growing +and swelling of the sound of the instrument (notes to Jourdanet's +translation of Sahagun, p. 28). Mr. H.H. Bancroft gives the +astonishing translation of teponaztli, "wing of stone vapor!" +(<i>Native Races of the Pacific States</i>, Vol. II, p. 293.) Brasseur +traced the word to a Maya-Quiche root, <i>tep</i>. In both Nahuatl and +Maya this syllable is the radicle of various words meaning to +increase, enlarge, to grow strong or great, etc. +</p> + +<p> +<a name="fn30"></a> +<a href="#fn30_r">[30]</a> + +Sahagun, <i>Hist. de Nueva España</i>, Lib. II, cap. 27. +</p> + +<p> +<a name="fn31"></a><a href="#fn31_r">[31]</a> + See <i>The Güegüence, a Comedy ballet in the Nahuatl +Spanish dialect of Nicaragua</i>, Introd., p. 29. (Philadelphia, 1883.) +</p> + +<p> +<a name="fn32"></a><a href="#fn32_r">[32]</a> + Theodor Baker, <i>Ueber die Musik der Nord-Amerikanischen +Wilden.</i>, pp. 51-53. (Leipzig, 1882.) +</p> + +<p> +<a name="fn33"></a><a href="#fn33_r">[33]</a> + <i>Omitl</i>, bone, <i>chicahuac</i>, strong. A specimen made of +the bone of a fossil elephant is possessed by Señor A. Chavero, of +Mexico. See Tezozomoc, <i>Cronica Mexicana</i>, cap. 55, and the note of +Orozco y Berra to that passage in the Mexican edition. Also Sahagun, +<i>Hist. de Nueva España</i>, Lib. VIII, cap. 20, who likewise describes +most of the instruments referred to in this section. +</p> + +<p> +<a name="fn34"></a><a href="#fn34_r">[34]</a> + H.T. Cresson, <i>On Aztec Music</i>, in the <i>Proceedings of +the Academy of Natural Sciences, Philadelphia</i>, 1883. +</p> + +<p> +<a name="fn35"></a><a href="#fn35_r">[35]</a> + Sahagun, <i>Historia de Nueva España</i>, Lib. II, +Appendice. +</p> + +<p> +<a name="fn36"></a><a href="#fn36_r">[36]</a> + Duran, <i>Historia de las Indias de Nueva España</i>, Tom. +I, p. 233. +</p> + +<p> +<a name="fn37"></a><a href="#fn37_r">[37]</a> + Boturini, <i>Idea de una Nueva Historia General</i>, +Appendice, p. 95. +</p> + +<p> +<a name="fn38"></a><a href="#fn38_r">[38]</a> + Echevarria, <i>Historia del Origen de las Gentes de Nueva +España</i>, Discurso Preliminar. +</p> + +<p> +<a name="fn39"></a><a href="#fn39_r">[39]</a> + Clavigero, <i>Storia Antica di Messico</i>, Lib. VII, p. +175. +</p> + +<p> +<a name="fn40"></a><a href="#fn40_r">[40]</a> + "Ihre Sprachen sind überreich an doppelsinnigen +Ausdrücken die sie absichtlich anwenden um ihre Gedanken zu +verbergen. Geistliche haben mir versichert, dass sie obgleich der +Aztekischen Sprache vollständig mächtig, oft den wahren Sinn einer +Beichte nicht zu verstehen vermochten, weil die Beichtende sich in +räthselhafter und metaphorreicher Weise auszudrücken pflegten." +Carlos von Gagern, <i>Charakteristik der Indianischen Bevölkerung +Mexico's</i>, p. 17 (in the <i>Mit. der Geog. Gesell.</i>, Wien. 1837). +</p> + +<p> +<a name="fn41"></a><a href="#fn41_r">[41]</a> + Carochi's translations are not quite literal. The +following notes will explain the compounds:—</p> +<p>1. <i>Tlauitl</i>, red ochre, <i>quecholli</i>, a bird so called, <i>aztatl</i>, a +heron, <i>ehualtia</i>, reverential of <i>ehua</i>, to rise up; hence, "It (or +he) shone like a noble red-winged heron rising in flight."</p> +<p>2. <i>Ayauitl</i>, mist; <i>coçamalotl</i>, rainbow; <i>tonameyotl</i>, shining, +brightness; <i>ti</i>, connective; <i>mani</i>, substantive verb. "The +brightness of the rain bow is there." There is no conjunction "and"; +Father Carochi seems to have carelessly taken <i>ayauh</i>, which is the +form of <i>ayauitl</i> in composition, for the conjunction <i>auh</i>, and. +Each of the lines given is a detached fragment, without connection +with the others.</p> +<p>3. <i>xiuitl</i>, something blue or green; <i>coyolli</i>, bells; +<i>tzitzilicaliztli</i>, tinkling. "The golden drum's +turquoise-bell-tinkling."</p> +<p>4. <i>xiuhtic</i>, blue or green; <i>tlapalli</i>, red; <i>cuiloa</i>, to paint or +write; <i>amoxtli</i>, book; <i>manca</i>, imperf. of <i>mani</i>. "There was a book +painted in red and green." 5. <i>chalchiuhuitl</i>, the jade; <i>cozcatl</i>, +a jewel; <i>mecatl</i>, a string; <i>totoma</i>, frequentative of <i>toma</i>, to +unfold, unwind. "I unwind my song like a string of precious jewels." +</p> + +<p> +<a name="fn42"></a><a href="#fn42_r">[42]</a> + See above, page 10 +</p> + +<p> +<a name="fn43"></a><a href="#fn43_r">[43]</a> + <i>On the Ikonomatic Method of Phonetic Writing, with +special reference to American Archeology</i>. By D. G. Brinton, in +Proceedings of the American Philosophical Society, for October, +1886. +</p> + +<p> +<a name="fn44"></a><a href="#fn44_r">[44]</a> + This fact is mentioned by Lord Kingsborough in his +great work on Mexico, Vol. VI, p. 533. +</p> + +<p> +<a name="fn45"></a><a href="#fn45_r">[45]</a> + It is described in the <i>Anales del Museo Nacional</i>, +Tom. III, p. 262. +</p> + +<p> +<a name="fn46"></a><a href="#fn46_r">[46]</a> + Echevarria's words are "los pongo en su idioma." <i>Hist. +del Origen de las Gentes que poblaron la Nueva España, Discurso +Preliminar</i>, in Kingsborough's <i>Mexico</i>, Vol. VIII. +</p> + +<p> +<a name="fn47"></a><a href="#fn47_r">[47]</a> + See his <i>Tezcuco en los Ultimas Tiempos de sus Antiguos +Reyes</i>. Parte IV (Mexico, 1826). +</p> + +<p> +<a name="fn48"></a><a href="#fn48_r">[48]</a> + See the description of this fragment of Boturini by +Señor Alfredo Chavero in the <i>Anales del Museo Nacional</i>, Tom. III, +p. 242. +</p> + +<p> +<a name="fn49"></a><a href="#fn49_r">[49]</a> + M. Aubin, <i>Notice sur une Collection d'Antiquités +Mexicaines</i>, pp. 8, 9. (Paris, 1851.) +</p> + +<p> +<a name="fn50"></a><a href="#fn50_r">[50]</a> + Printed very incorrectly in Lord Kingsborough's edition +of Ixtlilxochitl's <i>Relaciones Historicas</i> (Rel. X, Kingsborough, +<i>Antiquities of Mexico</i>, Vol. IX, p. 454). +</p> + +<p> +<a name="fn51"></a><a href="#fn51_r">[51]</a> + See Sahagun, <i>Historia de Nueva España</i>, Lib. II, +Appendix. +</p> + +<p> +<a name="fn52"></a><a href="#fn52_r">[52]</a> + Bustamente puts the number of the songs of +Nezahualcoyotl at eighty, of which he could find only one extant, and +this, as I understand his words, in Spanish only. See his <i>Tezcuco en +los Tiempos de sus Antiguous Reyes</i>, p. 253 (Mexico, 1826). When +Alexander von Humboldt visited Mexico he sought in vain for any +fragment of the songs of the royal bard. <i>Vues lies Cordillères</i>, +etc., Tom. II, p. 391. +</p> + +<p> +<a name="fn53"></a><a href="#fn53_r">[53]</a> + <i>Tardes Americanas</i>, pp. 90-94. (Mexico, 1778.) +</p> + +<p> +<a name="fn54"></a><a href="#fn54_r">[54]</a> + Torquemada, <i>Monarquia Indiana</i>, Lib. II, cap. 45. The +word <i>huehuetitlan</i>, seems to be a misprint for <i>ahuehuetitlan</i>, from +<i>ahuehuetl</i>, with the ligature <i>ti</i>, and the postposition <i>tlan</i>, +literally "among the cypresses." +</p> + +<p> +<a name="fn55"></a><a href="#fn55_r">[55]</a> + <i>Op. cit.</i>Tom. I, p. 795. +</p> + +<p> +<a name="fn56"></a><a href="#fn56_r">[56]</a> + <i>Grammatica del Idioma Mexicano</i>, p. 180. (Mexico, +1880.) +</p> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 12219 ***</div> +</body> +</html> + diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..77699c7 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #12219 (https://www.gutenberg.org/ebooks/12219) diff --git a/old/12219-8.txt b/old/12219-8.txt new file mode 100644 index 0000000..3c4e25f --- /dev/null +++ b/old/12219-8.txt @@ -0,0 +1,6254 @@ +The Project Gutenberg EBook of Ancient Nahuatl Poetry, by Daniel G. Brinton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Ancient Nahuatl Poetry + Brinton's Library of Aboriginal American Literature Number VII. + +Author: Daniel G. Brinton + +Release Date: April 30, 2004 [EBook #12219] + +Language: (English and Nahuatl) + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK ANCIENT NAHUATL POETRY *** + + + + +Produced by David Starner, GF Untermeyer and the Online Distributed +Proofreading Team + + + + + +[* Transcriber's note: The following substitutions have been made for +diacritical marks in the original text which are not available at DP: + +For vowels with a breve: [)a], [)e], [)i], [)o], [)u]. + +For vowels with a macron: [=a], [=e], [=i], [=o], [=u]. *] + + + + +ANCIENT NAHUATL POETRY, + +CONTAINING THE NAHUATL TEXT OF XXVII ANCIENT MEXICAN POEMS. + + + +BRITON'S LIBRARY OF ABORIGINAL AMERICAN LITERATURE, + +NUMBER VII. + + + +WITH A TRANSLATION, INTRODUCTION, NOTES AND VOCABULARY. + + + +BY + +DANIEL G. BRINTON + + + +1890 + + + + +PREFACE. + + +It is with some hesitation that I offer this volume to the scientific +public. The text of the ancient songs which it contains offers +extreme and peculiar difficulties to the translator, and I have been +obliged to pursue the task without assistance of any kind. Not a line +of them has ever before been rendered into an European tongue, and my +endeavors to obtain aid from some of the Nahuatl scholars of Mexico +have, for various reasons, proved ineffectual. I am therefore alone +responsible for errors and misunderstandings. + +Nevertheless, I have felt that these monuments of ancient native +literature are so interesting in themselves, and so worthy of +publication, that they should be placed at the disposition of +scholars in their original form with the best rendering that I could +give them at present, rather than to await the uncertain event of +years for a better. + +The text itself may be improved by comparison with the original MS. +and with the copy previously made by the Licentiate Chimalpopoca, +referred to on page 48. My own efforts in this direction have been +confined to a faithful reproduction in print of the MS. copy of the +Abbé Brasseur de Bourbourg. + +The Notes, which might easily have been extended, I have confined +within moderate compass, so as not to enlarge unduly the bulk of the +volume. + +To some, the Vocabulary may seem inadequate. I assume that those +persons who wish to make a critical study of the original text will +provide themselves with the Nahuatl Dictionaries of Molina or Siméon, +both of which are now easily obtainable, thanks to Mr. Julius +Platzmann for the reprint of Molina. I also assume that such students +will acquaint themselves with the rules of grammar and laws of +word-building of the tongue, and that they will use the vocabulary +merely as a labor-saving means of reaching the themes of compounds +and unusual forms of words. Employed in this manner, it will, I hope, +be found adequate. + +In conclusion, I would mention that there is a large body of Nahuatl +literature yet unpublished, both prose and poetry, modern and +ancient, and as the Nahuatl tongue is one of the most highly +developed on the American continent, it is greatly to be desired that +all this material should be at the command of students. The Nahuatl, +moreover, is not a difficult tongue; for an Englishman or a +Frenchman, I should say it is easier to acquire than German, its +grammar being simple and regular, and its sounds soft and sonorous. +It has special recommendations, therefore, to one who would acquaint +himself with an American language. + + + + +CONTENTS. + + + + PREFACE + + INTRODUCTION + + § 1. THE NATIONAL LOVE OF POETRY + § 2. THE POET AND HIS WORK + § 3. THE THEMES AND CLASSES OF THE SONGS + § 4. PROSODY OF THE SONGS + § 5. THE VOCAL DELIVERY OF THE SONGS + § 6. THE INSTRUMENTAL ACCOMPANIMENT + § 7. THE POETIC DIALECT + § 8. THE PRESERVATION OF THE ANCIENT SONGS + § 9. THE LX SONGS OF THE KING NEZAHUALCOYOTL + § 10. THE HISTORY OF THE PRESENT COLLECTION + + ANCIENT NAHUATL POEMS: + + I. SONG AT THE BEGINNING + II. A SPRING SONG, AN OTOMI SONG, A PLAIN SONG + III. ANOTHER PLAIN SONG + IV. AN OTOMI SONG OF THE MEXICANS + V. ANOTHER PLAIN SONG OF THE MEXICANS + VI. ANOTHER CHALCO-SONG, A POEM OF TETLAPAN QUETZANITZIN + VII. ANOTHER + VIII. COMPOSED BY A CERTAIN RULER IN MEMORY OF FORMER RULERS + IX. AN OTOMI SONG OF SADNESS + X. A SPRING SONG OF THE MEXICANS + XI. ANOTHER + XII. A SPRING SONG, A SONG OF EXHORTATION, + BECAUSE CERTAIN ONES DID NOT GO TO WAR + XIII. A SONG OF HUEXOTZINCO + XIV. A CHRISTIAN SONG + XV. THE REIGN OF TEZOZOMOCTLI + XVI. A SONG URGING TO WAR + XVII. A FLOWER SONG +XVIII. A SONG OF TOLLAN + XIX. A CHRISTIAN SONG + XX. A SONG LAMENTING THE TOLTECS + XXI. A SONG OF THE HUEXOTZINCOS, + COMING TO ASK AID OF MONTEZUMA AGAINST TLAXCALLA + XXII. A FLOWER SONG +XXIII. A SONG OF THE PRINCE NEZAHUALCOYOTL + XXIV. ANOTHER + XXV. A SONG OF LAMENTATION + XXVI. A SONG RELATING TO THE LORD NEZAHUALPILLI +XXVII. A CHRISTIAN SONG + + NOTES + + VOCABULARY + + INDEX OF NAHUATL PROPER NAMES, WITH EXPLANATIONS + + FOOTNOTES + + + + +ANCIENT NAHUATL POETRY. + + + + +INTRODUCTION. + + +§ 1. _THE NATIONAL LOVE OF POETRY._ + +The passionate love with which the Nahuas cultivated song, music and +the dance is a subject of frequent comment by the historians of +Mexico. These arts are invariably mentioned as prominent features of +the aboriginal civilization; no public ceremony was complete without +them; they were indispensable in the religious services held in the +temples; through their assistance the sacred and historical +traditions were preserved; and the entertainments of individuals +received their chief lustre and charm from their association with +these arts. + +The profession of the poet stood in highest honor. It was the custom +before the Conquest for every town, every ruler and every person of +importance to maintain a company of singers and dancers, paying them +fixed salaries, and the early writer, Duran, tells us that this +custom continued in his own time, long after the Conquest. He +sensibly adds, that he can see nothing improper in it, although it +was condemned by some of the Spaniards.[1] In the training of these +artists their patrons took a deep personal interest, and were not at +all tolerant of neglected duties. We are told that the chief selected +the song which was to be sung, and the tune by which it was to be +accompanied; and did any one of the choir sing falsely, a drummer +beat out of time, or a dancer strike an incorrect attitude, the +unfortunate artist was instantly called forth, placed in bonds and +summarily executed the next morning![2] + +With critics of such severity to please, no wonder that it was +necessary to begin the training early, and to set apart for it +definite places and regular teachers. Therefore it was one of the +established duties of the teachers in the calmecac or public school, +"to teach the pupils all the verses of the sacred songs which were +written in characters in their books."[3] There were also special +schools, called _cuicoyan_, singing places, where both sexes were +taught to sing the popular songs and to dance to the sound of the +drums.[4] In the public ceremonies it was no uncommon occurrence for +the audience to join in the song and dance until sometimes many +thousands would thus be seized with the contagion of the rhythmical +motion, and pass hours intoxicated (to use a favorite expression of +the Nahuatl poets) with the cadence and the movement. + +After the Conquest the Church set its face firmly against the +continuance of these amusements. Few of the priests had the liberal +views of Father Duran, already quoted; most of them were of the +opinion of Torquemada, who urges the clergy "to forbid the singing of +the ancient songs, because all of them are full of idolatrous +memories, or of diabolical and suspicious allusions of the same +character."[5] + +To take the place of the older melodies, the natives were taught the +use of the musical instruments introduced by the Spaniards, and very +soon acquired no little proficiency, so that they could perform upon +them, compose original pieces, and manufacture most of the +instruments themselves.[6] + +To this day the old love of the song and dance continues in the +Indian villages; and though the themes are changed, the forms remain +with little alteration. Travelers describe the movements as slow, and +consisting more in bending and swaying the body than in motions of +the feet; while the songs chanted either refer to some saint or +biblical character, or are erotic and pave the way to orgies.[7] + + +§ 2. _THE POET AND HIS WORK._ + +The Nahuatl word for a song or poem is _cuicatl_. It is derived from +the verb _cuica_, to sing, a term probably imitative or +onomatopoietic in origin, as it is also a general expression for the +twittering of birds. The singer was called _cuicani_, and is +distinguished from the composer of the song, the poet, to whom was +applied the term _cuicapicqui_, in which compound the last member, +_picqui_, corresponds strictly to the Greek _poiaetaes_, +being a derivative of _piqui_, to make, to create.[8] Sometimes he +was also called _cuicatlamantini_, "skilled in song." + +It is evident from these words, all of which belong to the ancient +language, that the distinction between the one who composed the poems +and those who sang them was well established, and that the Nahuatl +poetry was, therefore, something much above mere improvisation, as +some have thought. This does not alter the fact that a professed bard +usually sang songs of his own composition, as well as those obtained +from other sources. This is obvious from the songs in this +collection, many of which contain the expression _ni cuicani_, I, the +singer, which also refers to the maker of the song. + +In the classical work of Sahagun, the author describes the ancient +poet: "The worthy singer has a clear mind and a strong memory. He +composes songs himself and learns those of others, and is always +ready to impart either to the fellows of his craft. He sings with a +well-trained voice, and is careful to practice in private before he +appears before the public. The unworthy singer, on the other hand, is +ignorant and indolent. What he learns he will not communicate to +others. His voice is hoarse and untrained, and he is at once envious +and boastful."[9] + + +§ 3. _THE THEMES AND CLASSES OF THE SONGS._ + +From what he could learn about them some two centuries or more after +the Conquest, the antiquary Boturini classified all the ancient songs +under two general heads, the one treating mainly of historical +themes, while the other was devoted to purely fictitious, emotional +or imaginative subjects.[10] His terse classification is expanded by +the Abbé Clavigero, who states that the themes of the ancient poets +were various, some chanting the praises of the gods or petitioning +them for favors, others recalled the history of former generations, +others were didactic and inculcated correct habits of life, while +others, finally, were in lighter vein, treating of hunting, games and +love.[11] + +His remarks were probably a generalization from a chapter in +Torquemada's _Monarquia Indiana_, in which that writer states that +the songs at the sacred festivals differed in subject with the +different months and seasons. Thus, in the second month of their +calendar, at its stated festival, the people sang the greatness of +their rulers; in the seventh month all the songs were of love, of +women, or of hunting; in the eighth the chants recalled the noble +deeds of their ancestors and their divine origin; while in the ninth +month nothing was heard but verses fraught with lamentation for the +dead.[12] With less minuteness, Father Duran gives almost the same +information. He himself had often heard the songs which Montezuma of +Tenochtitlan, and Nezahualpizintli of Tezcuco, had ordered to be +composed in their own honor, describing their noble lineage, their +riches, their grandeur and their victories. These songs were in his +day still sung at the public dances of the natives, and he adds, +"although they were filled with laudation of their ancient rulers, it +gave me much pleasure to hear the praises of such grandeur." There +were other poets, he observes, who lived in the temples and composed +songs exclusively in honor of the gods.[13] + +These general expressions may be supplemented by a list of terms, +specifying particular classes of songs, preserved by various writers. +These are as follows:-- + +_melahuacuicatl_: this is translated by Tezozomoc, "a straight and +true song."[14] It is a compound of _melahuac_, straight, direct, +true; and _cuicatl_, song. It was a beginning or opening song at the +festivals, and apparently derived its name from its greater +intelligibility and directness of expression. A synonym, derived from +the same root, is _tlamelauhcayotl_, which appears in the title to +some of the songs in the present collection. + +_xopancuicatl_: this term is spelled by Ixtlilxochitl, +_xompacuicatl_, and explained to mean "a song of the spring" (from +_xopan_, springtime, _cuicatl_, song). The expression seems to be +figurative, referring to the beginning or early life of things. Thus, +the prophetic songs of Nezahualcoyotl, those which he sang when he +laid the foundation of his great palace, bore this name.[15] + +_teuccuicatl_: songs of the nobles (_teuctli_, _cuicatl_). These were +also called _quauhcuicatl_, "eagle songs," the term _quauhtli_, +eagle, being applied to distinguished persons. + +_xochicuicatl_: flower-song, one singing the praises of flowers. + +_icnocuicatl_: song of destitution or compassion. + +_noteuhcuicaliztli_: "the song of my lords." This appears to be a +synonymous expression for _teuccuicatl_; it is mentioned by Boturini, +who adds that on the day sacred to the god Xiuhteuctli the king began +the song so called.[16] + +_miccacuicatl_: the song for the dead (_miqui_, to die, _cuicatl_). +In this solemn chant the singers were seated on the ground, and their +hair was twisted in plaits around their heads.[17] + +In addition to the above terms drawn from the subject or character of +the songs, there were others, of geographical origin, apparently +indicating that the song, or its tune, or its treatment was borrowed +from another locality or people. These are:-- + +_Huexotzincayotl_: a song of Huexotzinco, a Nahuatl town, situated +east of the Lake of Tezcuco. This song was sung by the king and +superior nobles at certain festivals, and, in the prescribed order of +the chants, followed a _melahuaccuicatl_.[18] + +_Chalcayotl_: a song of Chalco, on the lake of the same name. This +followed the last mentioned in order of time at the festivals. + +_Otoncuicatl_: a song of the Otomis. These were the immediate +neighbors of the Nahuas, but spoke a language radically diverse. The +songs so-called were sung fourth on the list. + +_Cuextecayotl_: a song of the country of the Cuexteca, or Cuextlan, a +northern province of Mexico. + +_Tlauancacuextecayotl_: a song of the country of the +Tlauancacuexteca. + +_Anahuacayotl_: a song of Anahuac, that is, of a country near the +water, either the valley of Mexico, or the shores of the ocean. + +Some very ancient sacred songs were referred to by Tezozomoc as +peculiar to the worship of Huitzilopochtli, and, indeed, introduced +by this potent divinity. From their names, _cuitlaxoteyotl_, and +_tecuilhuicuicatl_,[19] I judge that they referred to some of those +pederastic rites which still prevail extensively among the natives of +the pueblos of New Mexico, and which have been described by Dr. +William A. Hammond and other observers.[20] One of these songs began, + + Cuicoyan nohuan mitotia; + + In-the-place-of-song with-me they-dance. + +But the old chronicler, who doubtless knew it all by heart, gives us +no more of it.[21] + + +§ 4. _PROSODY OF THE SONGS._ + +The assertion is advanced by Boturini that the genuine ancient +Nahuatl poetry which has been preserved is in iambic metre, and he +refers to a song of Nezahualcoyotl in his collection to prove his +opinion. What study I have given to the prosody of the Nahuatl tongue +leads me to doubt the correctness of so sweeping a statement. The +vocalic elements of the language have certain peculiarities which +prevent its poetry from entering unencumbered into the domain of +classical prosody. + +The quantity of Nahuatl syllables is a very important element in the +pronunciation of the tongue, but their quantity is not confined, as +in Latin, to long, short, and common. The Nahuatl vowels are long, +short, intermediate, and "with stress," or as the Spanish grammarians +say, "with a jump," _con saltillo_. The last mentioned is peculiar to +this tongue. The vowel so designated is pronounced with a momentary +suspension or catching of the breath, rendering it emphatic. + +These quantities are prominent features in the formal portions of the +language, characterizing inflections and declinations. No common +means of designating them have been adopted by the grammarians, and +for my present purpose, I shall make use of the following signs:-- + + [)a] , short. + + a , intermediate. + + [=a] , long. + + â , with stress. + +The general prosodic rules are:-- + +1. In polysyllabic words in which there are no long vowels, all the +vowels are intermediate. + +2. The vowels are long in the penultimate of the plurals of the +imperatives when the preterit of the verb ends in a vowel; the _[=a]_ +of the _c[=a]n_ of the imperatives; the _[=i]_ of the _t[=i]_; of the +gerundives; the last vowel of the futures when the verb loses a vowel +to form them; the penultimates of passives in _lo_, of impersonals, +of verbals in _oni_, _illi_, _olli_ and _oca_, of verbal nouns with +the terminations _yan_ and _can_; the _[=o]_ of abstract nouns in +_otl_ in composition; and those derived from long syllables. + +3. Vowels are "with stress" when they are the finals in the plurals +of nouns and verbs, also in the perfect preterite, in possessives +ending in â, ê, ô, and in the penultimate of nouns ending in _tli_, +_tla_ and _tle_ when these syllables are immediately preceded by the +vowel.[22] + +The practical importance of these distinctions may be illustrated by +the following examples:-- + + _tâtli_, = father. + + _t[=a]tl[)i]_, = thou drinkest. + + _t[=a]tlî_, = we drink. + +It is, however, evident from this example that the quantity of +Nahuatl syllables enters too much into the strictly formal part of +the language for rules of position, such as some of those above +given, to be binding; and doubtless for this reason the eminent +grammarian Carlos de Tapia Zenteno, who was professor of the tongue +in the University of Mexico, denies that it can be reduced to +definite rules of prosody like those of the Latin.[23] + +Substituting accent for quantity, there would seem to be an iambic +character to the songs. Thus the first words of Song I, were probably +chanted:-- + +_Nino' yolno' notza' campa' nic[)u] iz' yec tli' ahui aca' xochitl'_: +etc. + +But the directions given for the drums at the beginning of Songs +XVIII, XIX, etc., do not indicate a continuance of these feet, but of +others, as in XIX:-- + +u--, u--, u--, uu--, u--, u--, u--, etc. + +Indeed, we may suppose that the metre varied with the subject and the +skill of the poet. This, in fact, is the precise statement of Father +Duran,[24] who speaks of the native poets as "giving to each song a +different tune (_sonada_), as we are accustomed in our poetry to have +the sonnet, the octava rima and the terceto." + + +§ 5. _THE VOCAL DELIVERY OF THE SONG._ + +Descriptions of the concerts so popular among the Nahuas have been +preserved by the older writers, and it is of the highest importance +to understand their methods in order to appreciate the songs +presented in this volume. + +These concerts were held on ceremonial occasions in the open air, in +the village squares or in the courtyards of the houses. They began in +the morning and usually continued until nightfall, occasionally far +into the night. The musicians occupied the centre of the square and +the trained singers stood or sat around them. When the sign was given +to begin, the two most skillful singers, sometimes a man and a woman, +pronounced the first syllables of the song slowly but with a sharp +emphasis;[25] then the drums began in a low tone, and gradually increased in +strength as the song proceeded; the other singers united their voices +until the whole chorus was in action, and often the bystanders, to +the numbers of thousands, would ultimately join in the words of some +familiar song, keeping time by concerted movements of the hands and +feet. + +Each verse or couplet of the song was repeated three or four times +before proceeding to the next, and those songs which were of the +slowest measure and least emotional in character were selected for +the earlier hours of the festivals. None of the songs was lengthy, +even the longest, in spite of the repetitions, rarely lasting over an +hour.[26] + +The tone in which the words were chanted is described by Clavigero, +Mühlenpfordt and other comparatively recent travelers as harsh, +strident and disagreeable to the European ear. Mendieta calls it a +"contra-bass," and states that persons gifted with such a voice +cultivated it assiduously and were in great demand. The Nahuas call +it _tozquitl_, the singing voice, and likened it to the notes of +sweet singing birds. + + +§ 6. _THE INSTRUMENTAL ACCOMPANIMENT._ + +The Nahuas were not acquainted with any stringed instrument. They +manufactured, however, a variety of objects from which they could +extract what seemed to them melodious sounds. The most important were +two forms of drums, the _huehuetl_ and the _teponaztli_. + +The word _huehuetl_ means something old, something ancient, and +therefore important and great. The drum so-called was a hollow +cylinder of wood, thicker than a man's body, and usually about five +palms in height. The end was covered with tanned deerskin, firmly +stretched. The sides were often elaborately carved and tastefully +painted. This drum was placed upright on a stand in front of the +player and the notes were produced by striking the parchment with the +tips of the fingers. + +A smaller variety of this instrument was called _tlapanhuehuetl_, or +the half drum, which was of the same diameter but only half the +height.[27] Still another variety was the _yopihuehuetl_, "the drum +which tears out the heart,"[28] so called either by reason of its +penetrating and powerful sound, or because it was employed at the +_Yopico_, where that form of human sacrifice was conducted. + +The _teponaztli_ was a cylindrical block of wood hollowed out below, +and on its upper surface with two longitudinal parallel grooves +running nearly from end to end, and a third in the centre at right +angles to these, something in the shape of the letter I. The two +tongues left between the grooves were struck with balls of rubber, +_ulli_, on the ends of handles or drum sticks. These instruments +varied greatly in size, some being five feet in length, and others so +small that they could conveniently be carried suspended to the neck. +The _teponaztli_ was the house instrument of the Nahuas. It was +played in the women's apartments to amuse the noble ladies, and the +war captains carried one at the side to call the attention of their +cohorts on the field of battle (Sahagun). The word is derived from +the name of the tree whose wood was selected to make the drum, and +this in turn from the verb _tepunazoa_, to swell, probably from some +peculiarity of its growth.[29] + +A much superior instrument to the teponaztli, and doubtless a +development from it, was the _tecomapiloa_, "the suspended vase" +(_tecomatl_, gourd or vase, _piloa_, to hang or suspend). It was a +solid block of wood, with a projecting ridge on its upper surface and +another opposite, on its lower aspect; to the latter one or more +gourds or vases were suspended, which increased and softened the +sound when the upper ridge was struck with the _ulli_.[30] This was +undoubtedly the origin of the _marimba_, which I have described +elsewhere.[31] + +The musical properties of these drums have been discussed by Theodor +Baker. The teponaztli, he states, could yield but two notes, and +could not have been played in accord with the huehuetl. It served as +an imperfect contra-bass.[32] + +The _omichicahuaz_, "strong bone," was constructed somewhat on the +principle of a _teponaztli_. A large and long bone was selected, as +the femur of a man or deer, and it was channeled by deep longitudinal +incisions. The projections left between the fissures were rasped with +another bone or a shell, and thus a harsh but varied sound could be +produced.[33] + +The _tetzilacatl_, the "vibrator" or "resounder," was a sheet of +copper suspended by a cord, which was struck with sticks or with the +hand. It appears to have been principally confined to the sacred +music in the temples. + +The _ayacachtli_ was a rattle formed of a jar of earthenware or a +dried gourd containing pebbles which was fastened to a handle, and +served to mark time in the songs and dances. An extension of this +simple instrument was the _ayacachicahualiztli_, "the arrangement of +rattles," which was a thin board about six feet long and a span wide, +to which were attached bells, rattles and cylindrical pieces of hard +wood. Shaking this produced a jingle-jangle, agreeable to the native +ear. The Aztec bells of copper, _tzilinilli_, are really metallic +rattles, like our sleigh bells. They are often seen in collections of +Mexican antiquities. Other names for them were _coyolliyoyotli_. and + +Various forms of flutes and fifes, made of reeds, of bone or of +pottery, were called by names derived from the word _pitzaua_, to +blow (e.g., _tlapitzalli_, _uilacapitzli_), and sometimes, as being +punctured with holes, _zozoloctli_, from _zotl_, the awl or +instrument used in perforating skins, etc. Many of those made of +earthenware have been preserved, and they appear to have been a +highly-esteemed instrument, as Sahagun mentions that the leader of +the choir of singers in the temple bore the title _tlapitzcatzin_, +"the noble flute player." + +Large conches were obtained on the seashore and framed into wind +instruments called _quiquiztli_ and _tecciztli_, whose hoarse notes +could be heard for long distances, and whistles of wood, bone and +earthenware added their shrill notes to the noise of the chanting of +the singers. The shell of the tortoise, _ayotl_, dried and suspended, +was beaten in unison with such instruments. + +Recent researches by competent musical experts conducted upon +authentic specimens of the ancient Mexican instruments have tended to +elevate our opinion of their skill in this art. Mr. H.T. Cresson, of +the Academy of Natural Sciences, Philadelphia, has critically +examined the various Aztec clay flutes, whistles, etc., which are +there preserved, and has reached the following conclusions:-- + +"I. That upon the four-holed clay flageolets the chromatic and +diatonic scales can be produced with a full octave. + +"II. That the clay whistles or pitch pipes, which may be manipulated +in quartette, will produce an octave and a fourth. + +"III. From the facts above shown, the Aztecs must have possessed a +knowledge of the scales as known to us, which has been fully tested +by comparison with the flute and organ."[34] + +This result indicates for the instrumental accompaniment a much +higher position in musical notation than has hitherto been accepted. + + +§ 7. _THE POETIC DIALECT._ + +All the old writers who were familiar with the native songs speak of +their extreme obscurity, and the difficulty of translating them. No +one will question the intimate acquaintance with the Nahuatl language +possessed by Father Sahagun; yet no one has expressed more strongly +than he the vagueness of the Nahuatl poetic dialect. "Our enemy on +earth," he writes, "has prepared a thick woods and a dangerous ground +full of pitfalls, wherein to devise his evil deeds and to hide +himself from attack, as do wild beasts and venomous serpents. This +woods and these pitfalls are the songs which he has inspired to be +used in his service, as praises to his honor, in the temples and +elsewhere; because they are composed with such a trick that they +proclaim only what the devil commands, and are understood only by +those to whom they are addressed. It is well known that the cavern, +woods or depths in which the devil hides himself were these chants or +psalms which he himself has composed, and which cannot be understood +in their true significance except by those who are accustomed to the +peculiar style of their language."[35] + +Not less positive are the expressions of Father Diego Duran, +contemporary of Sahagun, and himself well versed in the native +tongue. "All their songs," he observes, "were composed in such +obscure metaphors that scarcely any one can understand them unless he +give especial attention to their construction."[36] The worthy +Boturini was puzzled by those which he had collected, and writes, +"the songs are difficult to explain, because they mystify historical +facts with constant allegorizing,"[37] and Boturini's literary +executor, Don Mariano Echevarria y Veitia, who paid especial +attention to the poetic fragments he had received, says frankly: "The +fact is, that as to the songs I have not found a person who can fully +translate them, because there are many words in them whose +signification is absolutely unknown to-day, and moreover which do not +appear in the vocabularies of Molina or others."[38] + +The Abbé Clavigero speaks in somewhat more definite terms of the +poetic forms and licenses of the language. He notes that in the +fragments of the ancient verses which had been preserved until his +day there were inserted between the significant words certain +interjections and meaningless syllables, apparently to fill out the +metre. Nevertheless, he considered the language of the chants, "pure, +pleasant, brilliant, figurative and replete with allusions to the +more pleasing objects in nature, as flowers, trees, brooks, etc."[39] +It is quite evident from the above extracts that in the translation +of the ancient songs in the present volume we must be prepared for +serious difficulties, the more so as the Nahuatl language, in the +opinion of some who are the best acquainted with it, lends itself +with peculiar facility to ambiguities of expression and obscure +figures of speech.[40] Students of American ethnology are familiar +with the fact that in nearly all tribes the language of the sacred +songs differs materially from that in daily life. + +Of the older grammarians, Father Carochi alone has left us actual +specimens of the ancient poetic dialect, and his observations are +regretably brief. They occur in his chapter on the composition of +nouns and read as follows:[41]-- + +"The ancient Indians were chary in forming compounds of more than two +words, while those of to-day exceed this number, especially if they +speak of sacred things; although in their poetic dialect the ancients +were also extravagant in this respect, as the following examples +show:-- + +1. Tl[=a]uhquéch[=o]llaztal[=e]hualtò t[=o]natoc. + +1. It is gleaming red like the tlauhquechol bird. + +2. Ayauhcoçam[=a]l[=o]t[=o]nam[=e]yòtimani. + +2. And it glows like the rainbow. + +3. Xiuhcóyólizítzîlica in te[=o]cuitlahu[=e]hu[=e]tl. + +3. The silver drum sounds like bells of turquoise. + +4. Xiuhtlapallàcuil[=o]l[=a]moxtli manca. + +4. There was a book of annals written and painted in colors. + +5. Nic ch[=a]lchiuhcozcameca quenmach tòtóma in nocuic. + +5. I see my song unfolding in a thousand directions, like a string of +precious stones." + +From the specimens presented in this volume and from the above +extracts, I would assign the following peculiarities to the poetic +dialect of the Nahuatl:-- + +I. Extreme frequency and richness of metaphor. Birds, flowers, +precious stones and brilliant objects are constantly introduced in a +figurative sense, often to the point of obscuring the meaning of the +sentence. + +II. Words are compounded to a much greater extent than in ordinary +prose writing. + +III. Both words and grammatical forms unknown to the tongue of daily +life occur. These may be archaic, or manufactured capriciously by the +poet. + +IV. Vowels are inordinately lengthened and syllables reduplicated, +either for the purpose of emphasis or of meter. + +V. Meaningless interjections are inserted for metrical effect, while +others are thrown in and repeated in order to express emotion. + +VI. The rhetorical figure known as aposiopesis, where a sentence is +left unfinished and in an interjectional condition, in consequence of +some emotion of the mind, is not rare and adds to the obscurity of +the wording. + + +§ 8. _THE PRESERVATION OF THE ANCIENT SONGS._ + +In a passage already quoted,[42] Sahagun imparts the interesting +information that the more important songs were written down by the +Nahuas in their books, and from these taught to the youth in the +schools. A certain branch of the Mexican hieroglyphic writing was +largely phonetic, constructed on that method to which I have applied +the adjective _ikonomatic_, and by which it was quite possible to +preserve the sound as well as the sense of sentences and verses.[43] +Such attention could have been bestowed only on the sacred, royal, or +legendary chants, while the compositions of ordinary poets would only +be disseminated by oral teaching. + +By one or both of these methods there was a large body of poetic +chants the property of the Nahuatl-speaking tribes, when they were +subjugated by the Europeans. Among the intelligent missionaries who +devoted their lives to mastering the language and translating into it +the doctrines of Christianity, there were a few who felt sufficient +interest in these chants to write some of them down in the original +tongue. Conspicuous among these was the laborious Bernardino de +Sahagun, whose works are our most valued sources of information on +all that concerns the life of the ancient Nahuas. He collected a +number of their sacred hymns, translated them into Spanish, and +inserted them into the Appendix to the Second Book of his _History of +New Spain_; but this portion of his work was destroyed by order of +the Inquisition, as a note in the original MS. expressly states.[44] + +A certain number, however, were preserved in the original tongue, +and, as already noted, we find the able grammarian Horatio Carochi, +who published his Grammar of the Nahuatl in 1645, quoting lines from +some as furnishing examples of the genuine ancient forms of +word-building. He could not, therefore, have doubted their antiquity +and authenticity. + +A number of these must have come to the knowledge and were probably +in the possession of the eminent mathematician and antiquary Don +Carlos de Siguenza y Gongora, who lived in the latter half of the +same century (died 1700). It was avowedly upon the information which +he thought he gleaned from these ancient chants that he constructed +his historical theory of the missionary labors of St. Thomas in +Mexico in the first century of our era. The title of the work he +wrote upon this notion was as follows:-- + +_Fenix del Occidente San Thomas Apóstol, hallado con el nombre de +Quetzalcoatl entre las cenizas de antiguas tradiciones, conservadas +en piedras, en Teoamoxtles Tultecas, y en cantares Teochichimecas y +Mexicanos."_ + +For many years this curious work, which was never printed, was +supposed to be lost; but the original MS. is extant, in the +possession of the distinguished antiquary Don Alfredo Chavero, of the +City of Mexico.[45] Unfortunately, however, the author did not insert +in his work any song in the native language nor a literal translation +of any, as I am informed by Señor Chavero, who has kindly examined +the work carefully at my request, with this inquiry in view. + +Half a century later, when Boturini was collecting his material, he +found but very few of the old poems. In the catalogue of his MSS. he +mentions (XIX, 1) some fragments of ancient songs, badly written, on +European paper, but he does not say whether in the original or +translated. The same doubt might rest on the two songs of +Nezahualcoyotl named in his Catalogue (V, 2). He does not +specifically state that they are in the original. The song of +Moquihuix, King of Tlatilulco, in which he celebrated his victory +over the Cuextla, which Boturini states in his text (p. 91) as in his +possession, is not mentioned at all in his Catalogue, and it is +uncertain whether his copy was in Nahuatl. + +His literary friend, however, Don Mariano Echevarria y Veitia, +removes the uncertainty about the two songs of Nezahualcoyotl, as he +informs us that they were in the original tongue, and adds that he +had inserted them in his History without translation.[46] I have +examined the manuscript of his work, now in the Lenox Library, New +York City, but it does not contain these texts, and evidently the +copy used by Bustamente did not.[47] + +Boturini included the translations of the two odes of Nezahualcoyotl +in a work on the Virgin of Guadelupe, only a fragment of which has +been preserved. One of the chapters in this Latin Essay is entitled +_De Indorum Poetarum Canticis sive Prosodiis_, in which he introduces +Ixtlilxochitl's translation and also a song in the original Nahuatl, +but the latter is doubtless of late date and unimportant as a really +native production.[48] + +The fragments of Boturini's library collected by M. Aubin, of Paris, +contain a number of the original ancient songs of the highest +importance, which make us regret the more that this collection has +been up to the present inaccessible to students. In his description +of these relics published in 1851, M. Aubin refers to the _Historical +Annals of the Mexican Nation_ (§ VIII, 10, of Boturini's Catalogue) +as containing "historical songs in a dialect so difficult that I have +not been able to translate them entirely," and adds that similar +songs are preserved in others of the ancient annals in his hands.[49] + + +§ 9. _THE LX SONGS OF THE KING NEZAHUALCOYOTL._ + +The most distinguished figure among the Nahuatl poets was +Nezahualcoyotl, ruler of Tezcuco. His death took place in 1472, at +the age of eighty years. His father, Ixtlilxochitl, had been deprived +of his possessions and put to death by Tezozomoc, King of the +Tepanecas, and until the death of the latter at an advanced age in +1427, Nezahualcoyotl could make but vain efforts to restore the power +of his family. Much of the time he was in extreme want, and for this +reason, and for his savage persistence in the struggle, he acquired +the name "the fasting or hungry wolf"-- _nezahualcoyotl_. Another of +his names was _Acolmiztli_, usually translated "arm of the lion," +from _aculli_, shoulder, and _miztli_, lion. + +A third was _Yoyontzin_, which is equivalent to _cevetor nobilis_, +from _yoyoma_ (_cevere_, i.e., _femora movere in re venered_); it is +to be understood figuratively as indicating the height of the +masculine forces. + +When his power became assured, he proved himself a liberal and +enlightened patron of the arts and industries. The poetry and music +of his native land attracted him the more as he felt within himself +the moving god, firing his imagination with poetic vision, the _Deus +in nobis, calescimus, agitant'illo_. Not only did he diligently seek +out and royally entertain skilled bards, but he himself had the +credit of composing sixty chants, and it appears that after the +Conquest there were that many written down in Roman characters and +attributed to him. We need not inquire too closely whether they were +strictly his own composition. Perhaps they were framed on themes +which he furnished, or were selected by him from those sung at his +court by various bards. The history of the works by royal authors +everywhere must not be too minutely scanned if we wish to leave them +their reputation for originality. + +He was of a philosophic as well as a poetic temperament, and +reflected deeply on the problems of life and nature. Following the +inherent tendency of the enlightened intellect to seek unity in +diversity, the One in the Many, he reached the conclusion to which so +many thinkers in all ages and of all races have been driven, that +underlying all phenomena is one primal and adequate Cause, the +Essence of all Existence. This conclusion he expressed in a +philosophic apothegm which was preserved by his disciples, in these +words:-- + +_Ipan in chicunauitlamanpan meztica in tloque nahuaque palne nohuani +teyocoyani icel teotl oquiyocox in ixquex quexquex in ittoni ihuan +amo ittoni._ + +"In the ninth series is the Cause of All, of us and of all created +things, the one only God who created all things both visible and +invisible."[50] + +To perpetuate the memory of this philosophic deduction he caused to +be constructed at Tezcuco a stone tower nine stories in height, the +ruins of which were visible long after the Spanish occupation. To +this tower he gave the name Chililitli, a term of uncertain meaning, +but which we find was applied in Tenochtitlan to a building sacred to +the Nine Winds.[51] To explain the introduction of this number, I +should add that a certain school of Nahuatl priests taught that the +heaven above and the earth below were each divided into nine +concentric arcs, each leading farther and farther away from the +conditions of the present life. Hence, there were nine heavens, +abodes of the gods, and nine lower regions, abodes of the souls of +the dead. Another school taught that there were not nine but thirteen +of these stages. + +The sixty poems by Nezahualcoyotl are mentioned by various writers as +in existence after the Conquest, reduced to writing in the original +tongue, and of several of them we have translations or abstracts.[52] +Of four the translations claim to be complete, and were published +entire for the first time in the original Spanish by Lord +Kingsborough in the ninth volume of his great work on the +_Antiquities of Mexico_. Since then they have received various +renderings in prose and verse into different languages at the hands +of modern writers. + +I shall give a literal prose translation from the Spanish, numbering +the poems and their verses, for convenience of reference, in the +order in which they appear in the pages of Lord Kingsborough. + + * * * * * + +The first is one referred to, and partly translated by Ixtlilxochitl, +in his _Historia Chichimeca_ (cap. 47). He calls it a _xopancuicatl_ +(see ante, p. 15), and states that it was composed and sung on the +occasion of the banquet when the king laid the foundations of his +great palace. He gives the first words in the original as follows:-- + +_Tlaxoconcaguican ani Nezahualcoyotzin;_ + +And the translation:-- + +"Hear that which says the King Nezahualcoyotl." + +Restoring the much mutilated original to what I should think was its +proper form, the translation should read:-- + +"Listen attentively to what I, the singer, the noble Nezahualcoyotl, +say:"-- + +I. + +1. Listen with attention to the lamentations which I, the King +Nezahualcoyotl, make upon my power, speaking with myself, and +offering an example to others. + +2. O restless and striving king, when the time of thy death shall +come, thy subjects shall be destroyed and driven forth; they shall +sink into dark oblivion. Then in thy hand shall no longer be the +power and the rule, but with the Creator, the All-powerful. + +3. He who saw the palaces and court of the old King Tezozomoc, how +flourishing and powerful was his sway, may see them now dry and +withered; it seemed as if they should last forever, but all that the +world offers is illusion and deception, as everything must end and +die. + +4. Sad and strange it is to see and reflect on the prosperity and +power of the old and dying King Tezozomoc; watered with ambition and +avarice, he grew like a willow tree rising above the grass and +flowers of spring, rejoicing for a long time, until at length, +withered and decayed, the storm wind of death tore him from his +roots, and dashed him in fragments to the ground. The same fate +befell the ancient King Colzatzli, so that no memory was left of him, +nor of his lineage. + +5. In these lamentations and in this sad song, I now call to memory +and offer as an example that which takes place in the spring, and the +end which overtook King Tezozomoc; and who, seeing this, can refrain +from tears and wailing, that these various flowers and rich delights +are bouquets that pass from hand to hand and all wither and end even +in the present life! + +6. Ye sons of kings and mighty lords, ponder well and think upon that +which I tell you in these my lamentations, of what takes place in +spring and of the end which overtook King Tezozomoc; and who, seeing +this, can refrain from tears and wailing that these various flowers +and rich delights are bouquets that pass from hand to hand and all +wither and end even in the present life! + +7. Let the birds now enjoy, with melodious voices, the abundance of +the house of the flowery spring, and the butterflies sip the nectar +of its flowers. + + * * * * * + +The second song is preserved in a Spanish metrical translation only, +but which from internal evidence I should judge to be quite literal. +The words of the poem do not represent it as a composition by the +royal poet, but one which was sung before him, and addressed to him. +It admonishes him to rejoice in the present moment, as the +uncertainties of life and fate must at some time, perhaps very soon, +deprive him of their enjoyment. + +II. + +1. I wish to sing for a moment, since time and occasion are +propitious; I hope to be permitted, as my intention merits it, and I +begin my song, though it were better called a lamentation. + +2. And thou, beloved companion, enjoy the beauty of these flowers, +rejoice with me, cast out fears, for if pleasure ends with life, so +also does pain. + +3. I, singing, will touch the sonorous instrument, and thou, +rejoicing in the flowers, dance and give pleasure to God the +powerful. Let us be happy in the present, for life is transitory. + +4. Thou hast placed thy noble court in Acolhuacan, thine are its +lintels, thou hast decked them, and one may well believe that with +such grandeur thy state shall increase and grow. + +5. O prudent Yoyontzin, famous king and peerless monarch, rejoice in +the present, be happy in the springtime, for a day shall come in +which thou shall vainly seek these joys. + +6. Then thy destiny shall snatch the sceptre from thy hand, thy moon +shall wane, no longer wilt thou be strong and proud, then thy +servants shall be destitute of all things. + +7. In this sad event, the nobles of thy line, the provinces of might, +children of noble parents, lacking thee as their lord, shall taste +the bitterness of poverty. + +8. They shall call to mind how great was thy pomp, thy triumphs and +victories, and bewailing the glory and majesty of the past, their +tears will flow like seas. + +9. These thy descendants who serve thy plume and crown, when thou art +gone, will forsake Culhuacan, and as exiles will increase their woes. + +10. Little will fame have to tell of this wondrous majesty, worthy of +a thousand heralds; the nations will only remember how wisely +governed the three chieftains who held the power, + +11. At Mexico, Montezuma the famous and valorous, at Culhuacan the +fortunate Nezahualcoyotl, and at the stronghold of Acatlapan, +Totoquilhuatli. + +12. I fear no oblivion for thy just deeds, standing as thou dost in +thy place appointed by the Supreme Lord of All, who governs all +things. + +13. Therefore, O Nezahualcoyotl, rejoice in what the present offers, +crown thyself with flowers from thy gardens, hear my song and music +which aim to please thee. + +14. The pleasures and riches of this life are but loaned, their +substance is vain, their appearance illusory; and so true is this +that I ask thee for an answer to these questions: + +15. What has become of Cihuapan? Of the brave Quantzintecomatzin? Of +Conahuatzin? What of all these people? Perhaps these very words have +already passed into another life. + +16. Would that we who are now united by the ties of love and +friendship could foresee the sharp edge of death, for nothing is +certain, and the future ever brings changes. + + * * * * * + +The third is a "spring song" in which the distinguished warriors of +the king are compared to precious stones. Such jewels were believed +by the Nahuas to possess certain mysterious powers as charms and +amulets, a belief, it is needless to say, found among almost all +nations. In verse 18 there is a reference to the superstition that at +dawn, when these jewels are exposed to the first rays of the sun, +they emit a fine vapor which wafts abroad their subtle potency. The +poem is in Spanish verse, and the original is said to have been +written down by Don Fernando de Avila, governor of Tlalmanalco, from +the mouth of Don Juan de Aguilar, governor of Cultepec, a direct +descendant of Nezahualcoyotl. + +III. + +1. The flowery spring has its house, its court, its palace, adorned +with riches, with goods in abundance. + +2. With discreet art they are arranged and placed, rich feathers, +precious stones, surpassing in luster the sun. + +3. There is the valued carbuncle, which from its beauteous center +darts forth rays which are the lights of knowledge. + +4. There is the prized diamond, sign of strength, shooting forth its +brilliant gleams. + +5. Here one sees the translucent emerald suggesting the hope of the +rewards of merit. + +6. Next follows the topaz, equaling the emerald, for the reward it +promises is a heavenly dwelling. + +7. The amethyst, signifying the cares which a king has for his +subjects, and moderation in desires. + +8. These are what kings, princes and monarchs delight to place upon +their breasts and crowns. + +9. All these stones with their varied and singular virtues, adorn Thy +house and court, O Father, O Infinite God! + +10. These stones which I the King Nezahualcoyotl have succeeded in +uniting in loving liens, + +11. Are the famous princes, the one called Axaxacatzin, the other +Chimalpopoca, and Xicomatzintlamata. + +12. To-day, somewhat rejoiced by the joy and words of these, and of +the other lords who were with them, + +13. I feel, when alone, that my soul is pleased but for a brief time, +and that all pleasure soon passes. + +14. The presence of these daring eagles pleases me, of these lions +and tigers who affright the world, + +15. These who by their valor win everlasting renown, whose name and +whose deeds fame will perpetuate. + +16. Only to-day am I glad and look upon these rich and varied stones, +the glory of my bloody battles. + +17. To-day, noble princes, protectors of the realm, my will is to +entertain you and to praise you. + +18. It seems to me that ye answer from your souls, like the fine +vapor arising from precious stones,-- + +19. "O King Nezahualcoyotl, O royal Montezuma, your subjects sustain +themselves with your soft dews. + +20. "But at last a day shall come which will cut away this power, and +all these will be left wretched orphans. + +21. "Rejoice, mighty King, in this lofty power which the King of +Heaven has granted you, rejoice and be glad. + +22. "In the life of this world there is no beginning anew, therefore +rejoice, for all good ends. + +23. "The future promises endless changes, griefs that your subjects +will have to undergo. + +24. "Ye see before you the instruments decked with wreaths of odorous +flowers; rejoice in their fragrance. + +25. "To-day there are peace, and goodfellowship; therefore let all +join hands and rejoice in the dances, + +26. "So that for a little while princes and kings and the nobles may +have pleasure in these precious stones, + +27. "Which through his goodness the will of the King Nezahualcoyotl +has set forth for you, inviting you to-day to his house." + + * * * * * + +The fourth song has been preserved in an Otomi translation by the +Mexican antiquary Granados y Galvez[53] and in an abstract by +Torquemada.[54] The latter gives the first words as follows:-- + +_Xochitl mamani in huehuetitlan:_ + +Which he translates:-- + +"There are fresh and fragrant flowers among the groves." + +It is said to have been composed at the time the king dedicated his +palace. + +IV. + +1. The fleeting pomps of the world are like the green willow trees, +which, aspiring to permanence, are consumed by a fire, fall before +the axe, are upturned by the wind, or are scarred and saddened by +age. + +2. The grandeurs of life are like the flowers in color and in fate; +the beauty of these remains so long as their chaste buds gather and +store the rich pearls of the dawn and saving it, drop it in liquid +dew; but scarcely has the Cause of All directed upon them the full +rays of the sun, when their beauty and glory fail, and the brilliant +gay colors which decked forth their pride wither and fade. + +3. The delicious realms of flowers count their dynasties by short +periods; those which in the morning revel proudly in beauty and +strength, by evening weep for the sad destruction of their thrones, +and for the mishaps which drive them to loss, to poverty, to death +and to the grave. All things of earth have an end, and in the midst +of the most joyous lives, the breath falters, they fall, they sink +into the ground. + +4. All the earth is a grave, and nought escapes it; nothing is so +perfect that it does not fall and disappear. The rivers, brooks, +fountains and waters flow on, and never return to their joyous +beginnings; they hasten on to the vast realms of Tlaloc, and the +wider they spread between their marges the more rapidly do they mould +their own sepulchral urns. That which was yesterday is not to-day; +and let not that which is to-day trust to live to-morrow. + +5. The caverns of earth are filled with pestilential dust which once +was the bones, the flesh, the bodies of great ones who sate upon +thrones, deciding causes, ruling assemblies, governing armies, +conquering provinces, possessing treasures, tearing down temples, +flattering themselves with pride, majesty, fortune, praise and +dominion. These glories have passed like the dark smoke thrown out by +the fires of Popocatepetl, leaving no monuments but the rude skins on +which they are written. + +6. Ha! ha! Were I to introduce you into the obscure bowels of this +temple, and were to ask you which of these bones were those of the +powerful Achalchiuhtlanextin, first chief of the ancient Toltecs; of +Necaxecmitl, devout worshiper of the gods; if I inquire where is the +peerless beauty of the glorious empress Xiuhtzal, where the peaceable +Topiltzin, last monarch of the hapless land of Tulan; if I ask you +where are the sacred ashes of our first father Xolotl; those of the +bounteous Nopal; those of the generous Tlotzin; or even the still +warm cinders of my glorious and immortal, though unhappy and luckless +father Ixtlilxochitl; if I continued thus questioning about all our +august ancestors, what would you reply? The same that I reply--I know +not, I know not; for first and last are confounded in the common +clay. What was their fate shall be ours, and of all who follow us. + +7. Unconquered princes, warlike chieftains, let us seek, let us sigh +for the heaven, for there all is eternal, and nothing is corruptible. +The darkness of the sepulchre is but the strengthening couch for the +glorious sun, and the obscurity of the night but serves to reveal the +brilliancy of the stars. No one has power to alter these heavenly +lights, for they serve to display the greatness of their Creator, and +as our eyes see them now, so saw them our earliest ancestors, and so +shall see them our latest posterity. + + * * * * * + +It will be seen that the philosophy of these songs is mostly of the +Epicurean and _carpe diem_ order. The certainty of death and the +mutability of fortune, observations which press themselves upon the +mind of man everywhere, are their principal staples, and cast over +them a hue of melancholy, relieved by exhortations to enjoy to the +utmost what the present moment offers of pleasure and sensual +gratification. Here and there a gleam of a higher philosophy lights +the sombre reflections of the bard; his thoughts turn toward the +infinite Creator of this universe, and he dimly apprehends that by +making Him the subject of his contemplation, there is boundless +consolation even in this mortal life. + +Both these leading _motifs_ recur over and over again in the songs +printed in the original in the present volume, and this similarity is +a common token of the authenticity of the book. + + +§ 10. _THE HISTORY OF THE PRESENT COLLECTION._ + +The most recent Mexican writers formally deny that any ancient +Mexican poetry is now extant. Thus the eminent antiquary, Don Alfredo +Chavero, in his elaborate work, _México á través de los Siglos_, +says, "the truth is, we know no specimens of the ancient poetry, and +those, whether manuscript or printed, which claim to be such, date +from after the Conquest."[55] In a similar strain the grammarian +Diario Julio Caballero, writes: "There has never come into our hands +a single poetic composition in this language. It is said that the +great King Nezahualcoyotl was a poet and composed various songs; +however that may be, the fact is that we have never seen any such +compositions, nor met any person who has seen them."[56] + +It is important, therefore, to state the exact provenance of the +specimens printed in this volume, many of which I consider to have +been composed previous to the Conquest, and written down shortly +after the Nahuatl language had been reduced to the Spanish alphabet. + +All of them are from a MS. volume in the library of the University of +Mexico, entitled _Cantares de los Mexicanos y otros opusculos_, +composed of various pieces in different handwritings, which, from +their appearance and the character of the letter, were attributed by +the eminent antiquary Don José F. Ramirez, to the sixteenth and +seventeenth centuries. + +The copy I have used is that made by the late Abbé Brasseur (de +Bourbourg). It does not appear to be complete, but my efforts to have +it collated with the original have not been successful. Another copy +was taken by the late well-known Mexican scholar Faustino +Chimalpopoca, which was in the possession of Señor Ramirez and sold +at the vendue of his books in 1880. It is No. 511 of the catalogue. + +The final decision of the age of the poems must come from a careful +scrutiny of the internal evidence, especially the thoughts they +contain and the language in which they are expressed. In applying +these tests, it should be remembered that a song may be almost wholly +ancient, that is, composed anterior to the Conquest, and yet display +a few later allusions introduced by the person who preserved it in +writing, so as to remove from it the flavor of heathenism. Some +probable instances of this kind will be pointed out in the Notes. + +The songs are evidently from different sources and of different +epochs. There are two notes inserted in the MS. which throw some +light on the origin of a few of the poems. The first is in connection +with No. XII. In my copy of the MS, the title of this song is written +twice, and between the two the following memorandum appears in +Spanish: + +"Ancient songs of the native Otomis, which they were accustomed to +sing at their festivals and marriages, translated into the Mexican +language, the play and the spirit of the song and its figures of +speech being always retained; as Your Reverence will understand, they +displayed considerable style and beauty, better than I can express +with my slight talent; and may Your Reverence at your convenience +approve and be entertained by them, as a skilled master of the +tongue, as Your Reverence is." + +From its position and from the titles following, this note appears to +apply only to No. XII. + +The second note is prefixed to No. XIV, which has no title. It is in +Nahuatl, and reads as follows:-- + + * * * * * + + | + -+- + | + | + + I H S + +Nican ompehua in cuicatl motenehua melahuac Huexotzincayotl ic +moquichitoya in tlatoque Huexotzinca mani mecatca; yexcan inic +tlatlamantitica, teuccuicatl ahnoço quauhcuicatl, xochicuicatl, +icnocuicatl. Auh inic motzotzona huehuetl cencamatl mocauhtiuh, auh +in occencamatl ipan huetzi yetetl ti; auh in huel ic ompehua centetl +ti; auh inic mocuepa quiniquac iticpa huehuetzi y huehuetl, zan +mocemana in maitl; auh quiniquac iyeinepantla occeppa itenco +hualcholoa in huehuetl; tel yehuatl itech mottaz, ynima ynaquin +cuicani quimati iniuh motzotzona; auh yancuican yenoceppa inin +cuicatl ychan D. Diego de Leon, Governador Azcapotzalco; yehuatl +oquitzotzon in D. Frco Placido ypan xihuitl 1551, ypan in +ezcalilitzin tl Jesu Christo. + + * * * * * + +This may be freely translated as follows:-- + + * * * * * + +"Here begins a song called a plain song of Huexotzinco as it was +recited by the lords of Huexotzinco. These songs are divided into +three classes, the songs of the nobles or of the eagles, the flower +songs, and the songs of destitution. (Directions follow for beating +the drum in unison with the voices.) This song was sung at the house +of Don Diego de Leon, Governor of Azcapotzalco; he who beat the drum +was Don Francisco Placido; in the year of the resurrection of our +Lord Jesus Christ 1551." + + * * * * * + +This assigns beyond doubt the song in question to the first half of +the sixteenth century, and we may therefore take its phraseology as a +type of the Nahuatl poetry shortly after the Conquest. It is also +stated to be a native composition, and from its contents, it was +clearly composed by one of the converts to the Christian faith. + + + + +ANCIENT NAHUATL POEMS. + + +I. + +_CUICAPEUHCAYOTL._ + +I. + +_SONG AT THE BEGINNING._ + +1. Ninoyolnonotza, campa nicuiz yectli, ahuiaca xochitl:--Ac +nitlatlaniz? Manozo yehuatl nictlatlani in quetzal huitzitziltin, in +chalchiuh huitzitzicatzin; manozo ye nictlatlani in zaquan papalotl; +ca yehuantin in machiz, ommati, campa cueponi in yectli ahuiac +xochitl, tla nitlahuihuiltequi in nican acxoyatzinitzcanquauhtla, +manoze nitlahuihuiltequi in tlauhquecholxochiquauhtla; oncan +huihuitolihui ahuach tonameyotoc in oncan mocehcemelquixtia; azo +oncan niquimittaz intla onechittitique; nocuexanco nictemaz ic +niquintlapaloz in tepilhuan, ic niquimellelquixtiz in teteuctin. + +1. I am wondering where I may gather some pretty, sweet flowers. Whom +shall I ask? Suppose that I ask the brilliant humming-bird, the +emerald trembler; suppose that I ask the yellow butterfly; they will +tell me, they know, where bloom the pretty, sweet flowers, whether I +may gather them here in the laurel woods where dwell the tzinitzcan +birds, or whether I may gather them in the flowery forests where the +tlauquechol lives. There they may be plucked sparkling with dew, +there they come forth in perfection. Perhaps there I shall see them +if they have appeared; I shall place them in the folds of my garment, +and with them I shall greet the children, I shall make glad the +nobles. + +2. Tlacazo nican nemi, ye nicaqui in ixochicuicatzin yuhqui tepetl +quinnananquilia; tlacazo itlan in meyaquetzalatl, xiuhtotoameyalli, +oncan mocuica, momotla, mocuica; nananquilia in centzontlatolli; azo +quinnananquilia in coyoltototl, ayacachiçahuacatimani, in nepapan +tlazocuicani totome. Oncan quiyectenehua in tlalticpaque +hueltetozcatemique. + +2. Truly as I walk along I hear the rocks as it were replying to the +sweet songs of the flowers; truly the glittering, chattering water +answers, the bird-green fountain, there it sings, it dashes forth, it +sings again; the mockingbird answers; perhaps the coyol bird answers, +and many sweet singing birds scatter their songs around like music. +They bless the earth pouring out their sweet voices. + +3. Nic itoaya, nitlaocoltzatzia; ma namechellelti y tlazohuane, niman +cactimotlalique, niman hualtato in quetzal huitzitziltin. Aquin +tictemohua, cuicanitzine? Niman niquinnanquilia niquimilhuia: Campa +catqui in yectli, ahuiac xochitl ic niquimellelquixtiz in +amohuampotzitzinhuan? Niman onechicacahuatzque ca nican +tlatimitzittitili ticuicani azo nelli ic tiquimellelquixtiz in +toquichpohuan in teteuctin. + +3. I said, I cried aloud, may I not cause you pain ye beloved ones, +who are seated to listen; may the brilliant humming-birds come soon. +Whom do we seek, O noble poet? I ask, I say: Where are the pretty, +fragrant flowers with which I may make glad you my noble compeers? +Soon they will sing to me, "Here we will make thee to see, thou +singer, truly wherewith thou shalt make glad the nobles, thy +companions." + +4. Tepeitic tonacatlalpa, xochitlalpa nechcalaquiqueo oncan on +ahuachtotonameyotimani, oncan niquittacaya in nepapan tlazoahuiac +xochitl, tlazohuelic xochitl ahuach quequentoc, +ayauhcozamalotonameyotimani, oncan nechilhuia, xixochitetequi, in +catlehuatl toconnequiz, ma mellelquiza in ticuicani, tiquinmacataciz +in tocnihuan in teteuctin in quellelquixtizque in tlalticpaque. + +4. They led me within a valley to a fertile spot, a flowery spot, +where the dew spread out in glittering splendor, where I saw various +lovely fragrant flowers, lovely odorous flowers, clothed with the +dew, scattered around in rainbow glory, there they said to me, "Pluck +the flowers, whichever thou wishest, mayest thou the singer be glad, +and give them to thy friends, to the nobles, that they may rejoice on +the earth." + +5. Auh nicnocuecuexantia in nepapan ahuiacxochitl, in huel +teyolquima, in huel tetlamachti, nic itoaya manozo aca tohuanti hual +calaquini, ma cenca miec in ticmamani; auh ca tel ye onimatico +nitlanonotztahciz imixpan in tocnihuan nican mochipa +tiqualtetequizque in tlazo nepapan ahuiac xochitl ihuan ticuiquihui +in nepapan yectliyancuicatl ic tiquimellelquixtizque in tocnihuan in +tlalticpactlaca in tepilhuan quauhtliya ocelotl. + +5. So I gathered in the folds of my garment the various fragrant +flowers, delicate scented, delicious, and I said, may some of our +people enter here, may very many of us be here; and I thought I +should go forth to announce to our friends that here all of us should +rejoice in the different lovely, odorous flowers, and that we should +cull the various sweet songs with which we might rejoice our friends +here on earth, and the nobles in their grandeur and dignity. + +6. Ca moch nicuitoya in nicuicani ic niquimicpac xochiti in tepilhuan +inic niquimapan in can in mac niquinten; niman niquehuaya yectli +yacuicatl ic netimalolo in tepilhuan ixpan in tloque in nahuaque, auh +in atley y maceuallo. + +6. So I the singer gathered all the flowers to place them upon the +nobles, to clothe them and put them in their hands; and soon I lifted +my voice in a worthy song glorifying the nobles before the face of +the Cause of All, where there is no servitude. + +7. Can quicuiz? Can quitlaz in huelic xochitl? Auh cuix nohuan aciz +aya in xochitlalpan, in tonacatlalpan, in atley y macehuallo in +nentlamati? Intla y tlacohua in tlalticpac ca çan quitemacehualtica +in tloque in nahuaque, in tlalticpac; ye nican ic chocan noyollo +noconilnamiquia in ompa onitlachiato y xochitlalpana nicuicani. + +7. Where shall one pluck them? Where gather the sweet flowers? And +how shall I attain that flowery land, that fertile land, where there +is no servitude, nor affliction? If one purchases it here on earth, +it is only through submission to the Cause of All; here on earth +grief fills my soul as I recall where I the singer saw the flowery +spot. + +8. Auh nic itoaya tlacazo amo qualcan in tlalticpac ye nican, tlacazo +occecni in huilohuayan, in oncan ca in netlamachtilli; tlezannen in +tlalticpac? tlacazo occecni yoliliz ximoayan, ma ompa niauh, ma ompa +inhuan noncuicati in nepapan tlazototome, ma ompa nicnotlamachti +yectliya xochitl ahuiaca xochitl, in teyolquima, in zan tepacca, +teahuiaca yhuintia, in zan tepacca, ahuiaca yhuintia. + +8. And I said, truly there is no good spot here on earth, truly in +some other bourne there is gladness; For what good is this earth? +Truly there is another life in the hereafter. There may I go, there +the sweet birds sing, there may I learn to know those good flowers, +those sweet flowers, those delicious ones, which alone pleasurably, +sweetly intoxicate, which alone pleasurably, sweetly intoxicate. + + +II. + +_XOPANCUICATL, OTONCUICATL, TLAMELAUHCAYOTL._ + +_A SPRING SONG, AN OTOMI SONG, A PLAIN SONG._ + +1. Onihualcalac nicuicani nepapan xochitlalpan, huel +teellelquixtican, tetlamachtican, oncan ahuach tonameyoquiauhtimani, +oncan cuicuica in nepapan tlazototome, on cuicatlaza in coyoltototl +cahuantimani inin tozquitzin in quellelquixtia in tloque in nahuaque +yehuan Dios, ohuaya, ohuaya. + +1. I, the singer, have entered many flower gardens, places of +pleasaunce, favored spots, where the dew spread out its glittering +surface, where sang various lovely birds, where the coyol birds let +fall their song, and spreading far around, their voices rejoiced the +Cause of All, He who is God, ohuaya! ohuaya! + +2. Oncan nicaqui in cuicanelhuayotl in nicuicani, tlacazo amo +tlalticpac in peuh yectli yancuicatl, tlacazo ompa in ilhuicatl itic +hual caquizti in conehua in tlazocoyoltototl in quimehuilia in +nepapan teoquecholme zacuantototl, oncan tlacazo quiyectenehua in +tloque in nahuaque, ohuaya, ohuaya. + +2. It is there that I the singer hear the very essence of song; +certainly not on earth has true poesy its birth; certainly it is +within the heavens that one hears the lovely coyol bird lift its +voice, that the various quechol and zacuan birds speak together, +there they certainly praise the Cause of All, ohuaya! ohuaya! + +3. Niyolpoxahua in nicaquia ni cuicani, acoquiza in notlalnamiquilizo +quin pepetlatiquiza in ilhuicame, nelcicihuiliz ehecayotiuh in +iquinalquixtia in ompa ontlatenehua in zacuanhuitzitzil in ilhuicatl +itic, ohuaya, ohuaya. + +3. I, the singer, labor in spirit with what I heard, that it may lift +up my memory, that it may go forth to those shining heavens, that my +sighs may be borne on the wind and be permitted to enter where the +yellow humming bird chants its praises in the heavens, ohuaya! +ohuaya! + +4. Auh nohuiampa nictlachialtia in noyollo auh tlacazo nelli in amo +ixquich quehua in tlazotototl, tlacazo ye oc tlapanahuia in ilhuicatl +itic y yollo in tloque in nahuaque mochiuhtica, ca intlacamo +teuhyotiuh in notlalnamiquiliz azo huelquinalquixtica ittazo in +tlamahuizolli in ilhuicac ic papaqui in ilhuicac tlazototome ixpan in +tloque nahuaque, ohuaya, ohuaya. + +4. And as in my thoughts I gaze around, truly no such sweet bird +lifts its voice, truly the things made for the heavens by the Cause +of All surpass all others, and unless my memory tends to things +divine scarcely will it be possible to penetrate these and witness +the wondrous sights in heaven, which rejoice the sweet heavenly birds +before the face of the Cause of All. + +5. Quenin ah nichocaz in tlalticpac? ye nican onca nemoayá +ninoztlacahuia, nicitoa aço zan ye ixquich in nican in tlalticpac +ontlamian toyolia, macuele ehuatl in tloque in nahuaque, ma ompa +inhuan nimitznocuicatili in ilhuicac mochanecahuan ca noyollo ehua +ompa nontlachia in monahuac in motloc tipalnemohua, ohuaya, ohuaya. + +5. How much, alas, shall I weep on earth? Truly I have lived here in +vain illusion; I say that whatever is here on earth must end with our +lives. May I be permitted to sing to thee, the Cause of All, there in +the heaven, a dweller in thy mansion, there may my soul lift its +voice and be seen with Thee and near Thee, Thou by whom we live, +ohuaya! ohuaya! + +6. Ma xicaquin nocuic in tinocniuh xochihuehuetl inic tzotzonaya +ilhuicacuicatl in nicchuaya, ic niquimellelquixtia in teteucti, +xochicueponi in noyollo izqui xochitl nictzetzelohuaya ic malitiuh in +no cuicatzin ixpan in tloque in nahuaque, ohuaya, ohuaya. + +6. List to my song, thou my friend, and to the flower-decked drum +which kept time to the heavenly song which I sang, that I might make +glad the nobles, raining down before them the flowery thoughts of my +heart as though they were flowers, that my noble song might grow in +glory before the face of the Cause of All, ohuaya! ohuaya! + + +III. + +_OCCE AL MISMO TONO TLAMELAUHCAYOTL._ + +_ANOTHER PLAIN SONG, TO THE SAME TUNE._ + +1. Xochicalco nihualcalaquia in nicuicani, oncan icac in +chalchiuhuehuetl, oncan chialon ipalnemohuani in teteuctin xochitl +tzetzeliuhtimani, tolquatectitla, xoyacaltitlan, onahuiaxtimani in +xochicopal tlenamactli huel teyolquima, cahuia ca ihuintia in toyollo +ixpan in tloque in nahuaque. + +1. I, the singer, entered into the house strewn with flowers, where +stood upright the emerald drum, where awaiting the Giver of Life the +nobles strewed flowers around, the place where the head is bowed for +lustration, the house of corrupt odors, where the burning fragrant +incense spreads and penetrates, intoxicating our souls in the +presence of the Cause of All. + +2. Ic motomá tocuic xochiahuia ca ihuinti in toyollo? Aoc ticmati +inic nepapan xochicuicatl ic ticcecemeltia in tloque nahuaque quen +ahtontlaelehuian; tinocniuh ma nohuehuetitlan ximoquetzaya nepapan +xochitl ic ximopanaya chalchiuh ocoxochitl mocpac xicmanaya +xicehuayan yectli yancuicatl ic melelquixtia in tloque in nahuaque. + +2. Where shall we obtain the fragrance which intoxicates our souls? +We do not yet know the various flower-songs with which we may rejoice +the Cause of All, however desirous we are; thou my friend, would that +thou bring to my instrument various flowers, that thou shouldst +clothe it in brilliant oco flowers, that thou shouldst offer them, +and lift thy voice in a new and worthy song to rejoice the Cause of +All. + +3. Tleymach tiquilnamiquia can mach in nemian moyollo ic timoyol +cecenmanaya ahuicpa tichuica timoyol popoloaya in tlalticpac? Ca mach +titlatiuh xihualmocuepaya xiccaquin yectli yancuicatl ximoyolciahuaya +xochiaticaya onahuiaxtimani oncan nicehuaya in yectli yancuicatl +nicuicani ic nicellelquixtia in tloque in nahuaque. + +3. Wherefore should we recall while the soul is in life that our +souls must be scattered hither and thither, and that wherever we go +we are to be destroyed on earth? Rather let us hide it, turn from it, +and listen to some worthy new song; delight thy soul with the +pervading fragrance of flowers, as I the singer lift my voice in a +new song that I may rejoice the Cause of All. + +4. Xihuallachian tinocniuh in oncan icayan xochihuehuetl tonameyo +ontotonauhtimani quetzal ecacehuazticaya on xopaleuhtimani in oncan +ic chialo ic malhuilo inipetl in icpal in tloque in nahuaque; xic +cahuaya in mixtecomatla xihualmocuepaya tohuan, xic ehua in +yancuicatl nicuicani ic niquellelquixtia in tloque in tlaneciz inic +moyollo caltitlan. + +4. Come hither, thou my friend, to where stands the drum, decked with +flowers, gleaming with brightness, green with the outspread plumes of +the quetzal bird, where are looked for and cared for the seats near +the Cause of All; leave the place of night and clouds, turn hither +with us, lift thy voice in the new song I sing so that I may rejoice +the Cause of All, as the dawn approaches in the house of thy heart. + +5. Tleçannen in nicyocoya in nitlaocolcuica inic niquimilnamiqui in +tepilhuan, in tlazomaquiztin, in tlazoteoxiuhme, in quetzaltotome, in +moteyotico, in motleyotico in tlalticpac? in ocnoma caquizti inin +tenyo, inin cahuanca, campa neltiazque? Ca zan titlacatico ca ompa +huel tochan in canin ximoayan inocapa in yolihuayan aic tlamian. + +5. Of what use is it that I frame my sad songs, that I recall to mind +the youths, the beloved children, the precious relatives, the dear +friends, famous and celebrated as they were on earth? Who now hears +their fame, their deeds? Where can they find them? All of us are but +mortal, and our home is there in the Hereafter, where there is life +without end. + + +IV. + +_MEXICA OTONCUICATL._ + +_AN OTOMI SONG OF THE MEXICANS._ + +1. Nicchalchiuhtonameyopetlahuaya, nictzinitzcanihuicaloaya, +niquilnamiquia nelhuayocuicatla, nic zacuanhuipanaya yectli +yancuicatl nicuicani, nicchalchiuhtlazonenelo ic nichualnextia in +xochicueponallotl ic nicellelquixtia in tloque in nahuaque. + +1. I, the singer, polished my noble new song like a shining emerald, +I arranged it like the voice of the tzinitzcan bird, I called to mind +the essence of poetry, I set it in order like the chant of the zacuan +bird, I mingled it with the beauty of the emerald, that I might make +it appear like a rose bursting its bud, so that I might rejoice the +Cause of All. + +2. Zacuantlazoihuiticaya tzinitzcan tlauquechol ic nicyaimatia, +nocuicatzin teocuitlatzitzilini nocuic nitoz; miahuatototl nocuica +cahuantimania, nicehuaya xochitzetzelolpá ixpan in tloque nahuaque. + +2. I skillfully arranged my song like the lovely feathers of the +zacuan bird, the tzinitzcan and the quechol; I shall speak forth my +song like the tinkling of golden bells; my song is that which the +miaua bird pours forth around him; I lifted my voice and rained down +flowers of speech before the face of the Cause of All. + +3. Qualli cuicanelhuayotlo, teocuitlaquiquizcopa nicehuaya, ilhuicac +cuicatlo nictenquixtia, nitoz miahuatototl, chalciuhtonameyotica, +niccueponaltia yectli yancuicatlo, nicehuaya xochitlenamaquilizticaya +ic nitlaahuialia nicuicani ixpan in tloque nahuaque. + +3. In the true spirit of song I lifted my voice through a trumpet of +gold, I let fall from my lips a celestial song, I shall speak notes +precious and brilliant as those of the miaua bird, I shall cause to +blossom out a noble new song, I lifted my voice like the burning +incense of flowers, so that I the singer might cause joy before the +face of the Cause of All. + +4. Teoquecholme nechnananquilia in nicuicani coyolicahuacaya yectli +yacuicatlan, cozcapetlaticaya chachalchiuhquetzalitztonameyo +xopaleuhtimania xopan xochicuiatl onilhuica ahuiaxtimanio, +xochiahuachtitlan nihualcuicaya nicuicani. + +4. The divine quechol bird answers me as I, the singer, sing, like +the coyol bird, a noble new song, polished like a jewel, a turquoise, +a shining emerald, darting green rays, a flower song of spring, +spreading celestial fragrance, fresh with the dews of roses, thus +have I the poet sung. + +5. Nictlapalimatia nicxoxochineloaya yectli yancuicatlan +cozcapetlaticaya, etc. + +5. I colored with skill, I mingled choice roses in a noble new song, +polished like a jewel, etc. (as in v. 4). + +6. Nocontimaloaya nocontlamachtiao xochiteyolquima cuicatlan +poyomapoctli ic ye ahuian ye noyollo, nihualyolcuecuechahuaya, +nicinecuia ahuiaca, xocomiqui in noyolia, nicinecuia yectliya +xochitla netlamachtiloyan, xochi ye ihuinti noyolia. + +6. I was glorified, I was enriched, by the flower-sweet song as by +the smoke of the poyomatl, my soul was contented, I trembled in +spirit, I inhaled the sweetness, my soul was intoxicated, I inhaled +the fragrance of delicious flowers in the place of riches, my soul +was drunken with the flowers. + + +V. + +_OTRO MEXICA TLAMELAUHCACUICAYOTL._ + +_ANOTHER PLAIN SONG OF THE MEXICANS._ + +1. Zanio in xochitl tonequimilol, zanio in cuicatl ic huehuetzi in +tellel in Dios ye mochan. + +1. I alone will clothe thee with flowers, mine alone is the song +which casts down our grief before God in thy house. + +2. In mach noca ompolihuiz in cohuayotl mach noca in icniuhyotl in +ononoya in ye ichan; ye nio Yoyontzin on cuicatillano ye +ipalnemohuani. + +2. True it is that my possessions shall perish, my friendships, their +home and their house; thus I, O Yoyontzin, pour forth songs to the +Giver of Life. + +3. Ma xiuhquechol xochi, zan in tzinitzcan malintoca zan miqui huaqui +xochitl zan ic tonmoquimiloa can titlatoani ya ti Nezahualcoyotl. + +3. Let the green quechol birds, let the tzinitzcan twine flowers for +us, only dying and withered flowers, that we may clothe thee with +flowers, thou ruler, thou Nezahualcoyotl. + +4. Ma yan moyoliuh quimati in antepilhuan in anquauhtin amo celo ca +mochipan titocnihuan, zancuel achic nican timochitonyazque o ye +ichano. + +4. Ye youths and ye braves, skilled in wisdom, may you alone be our +friends, while for a moment here we shall enjoy this house. + +5. Ca ye ompolihuiz in moteyo Nopiltzin, ti Tezozomoctli áca cá ye in +mocuica? aye a nihualchocao ca nihualicnotlamatica notia ye ichan. + +5. For thy fame shall perish, Nopiltzin, and thou, Tezozomoc, where +are thy songs? No more do I cry aloud, but rest tranquil that ye have +gone to your homes. + +6. An ca nihuallaocoya onicnotlamati ayo quico, ayoc quemanian, +namech aitlaquiuh in tlalticpac y icanontia ye ichan. + +6. Ye whom I bewailed, I know nevermore, never again; I am sad here +on earth that ye have gone to your homes. + + +VI. + +_OTRO CHALCAYOTL, CANTO DE TETLEPAN QUETZANITZIN._ + +_ANOTHER CHALCO-SONG, A POEM OF TETLEPAN QUETZANITZIN._ + +1. Aua nocnihue ninentlamatia zan ninochoquilia in monahuac aya +yehuan Dios, quexquich onmitzicnotlamachtia momacehual cemamanahuac +ontonitlanililo in ic tontlahuica tontecemilhuitiltia in tlalticpac. + +1. Alas, my friend, I was afflicted, I cried aloud on thy account to +God. How much compassion hast thou for thy servant in this world sent +here by thee to be thy subject for the space of a day on this earth! + +2. Macazo tleon xoconyoyocoya ti noyollo, yehua cuix ic nepohualoyan +in oncan nemohua yehua, in atle tlahuelli in antecocolia huel on +yecnemiz in tlalticpac. + +2. However that may be, mayst thou so dispose my heart, that it may +pass through this place of reckoning, without anger, without injury, +and live a good life on earth. + +3. In quimati noyollo nichoca yehua huel eza ye nelli in titicnihuan, +huellenelli nemoa in tlalticpac in tonicniuh tlatzihuiz yehuan Dios. + +3. My heart knows how truly I weep for my friend, how truly as it +lives on earth it cries aloud for thee, my friend, to God. + +4. Xontlachayan huitztlampayan, iquizayan in tonatiuh, +ximoyollehuayan oncan manian teoatl tlachinolli, oncan mocuica in +teucyotl in tlatocayotl yectliya xochitl in amo zannen mocuia, in +quetzallalpilo niaya macquauhtica, chimaltica neicaloloyan in +tlalticpac ic momacehuaya in yectliya xochitl in tiquelehuia in +ticnequia in tinocniuh in quitemacehualtia in quitenemactia in tloque +in nahuaque. + +4. Let thy soul awake and turn toward the south, toward the rising of +the sun, rouse thy heart that it turn toward the field of battle, +there let it win power and fame, the noble flowers which it will not +grasp in vain; adorned with a frontlet of quetzal feathers I went +forth armed with sword and shield to the battlefield on earth, that I +might merit these noble flowers with which we may rejoice as we wish +our friends, as the Cause of All may reward and grant to us. + +5. Nentiquelehuia in tictemoaya in tinocniuh yectliya xochitl can +ticuiz intlacamo ximicaliya, melchiquiuhticaya, mitonalticaya +ticmacehuaya in yectliyaxochitla, yaochoquiztli ixayoticaya in +quitemacehualtica in tloque in nahuaque. + +5. Vainly, O friends, do we desire and seek where we may cull those +noble flowers unless we fight with bared breasts, with the sweat of +the brow, meriting these noble flowers, in bitter and painful war, +for which the Cause of All will give reward. + + +VII. + +_OTRO._ + +_ANOTHER._ + +1. Tleinmach oamaxque on in antocnihuan in an Chiapaneca Otomi, +omachamelelacic: in ic oamihuintiqueo octicatl in oanquique ic +oamihuintique, xicualcuican, in amo ma in anhuehuetztoqueo, +ximozcalicano in antocnihuan nipatiazque in tochano, xopantlalpan ye +nican, ma quiza in amihuintiliz, on xitlachiacano ohuican ye +anmaquia, O! + +1. What have you done, O you our friends, you Chiapanecs and Otomis, +why have you grieved, that you were drunken with the wine which you +took, that you were drunken? Come hither and sing: do not lie +stretched out; arise, O friends, let us go to our houses here in this +land of spring; come forth from your drunkenness, see in what a +difficult place you must take it. + +2. Ca yeppa yuhqui in tizaoctli in tlalticpac, quitemacao ohuican ic +tecalaquiao teoatl tlachinolli quitoao texaxamatzao teopopoloao on +canin xaxamanio in tlazochalchihiuitl, in teoxihuitl, in maquiztli +tlazotetl in tepilhuan in coninio in xochitizaoctlio cuel can in +antocnihuan in tonicahuacao. + +2. For formerly it was so on earth that the white wine was taken in +difficult places, as on entering the battlefield, or, as it was said, +where the stones were broken and destroyed, where were broken into +fragments the lovely emeralds, the turquoises, the honored precious +stones, the youths, the children; therefore take the flowery white +wine, O friends and brothers. + +3. Ma ye ticiti in xochitlalpan in tochan xochitlalticpacilhuicacpaco +in huel ic xochiamemeyallotl on ahuiaxtimani, teyolquima yoliliz +ahuach xochitl in tochan in Chiappan, oncan timalolo in teucyotl in +tlatocayotl in chimalxochitl oncuepontimani tonacatlalpan. + +3. Let us drink it in the flowery land, in our dwelling surrounded by +the flowery earth and sky, where the fountains of the flowers send +their sweetness abroad; the delicious breath of the dewy flowers is +in our homes in Chiapas; there nobility and power make them glorious, +and the war-flowers bloom over a fertile land. + +4. Quemach in amo antlacaquio in antocnihuan tohuian tohuiano +xicahuacano, in tizaoctlio teoatlachinoloctli; ma ye ticiti in ompa +tinectilo in tochan xochiahuachoctli, zan ic ahuiaca ihuinti in +toyollo, tetlamachtio teyolquimao tixochiachichinatihui +netlamachtiloyan in toquizayan xochitlalpan tonacatlalpan: tlemach +oamaxqueo? xichualcaquican in tocuic in tamocnihuan, etc. + +4. Is it possible, oh friends, that you do not hear us? Let us go, +let us go, let us pour forth the white wine, the wine of battle; let +us drink where the wine sweet as the dew of roses is set forth in our +houses, let our souls be intoxicated with its sweetness; enriched, +steeped in delight, we shall soak up the water of the flowers in the +place of riches, going forth to a land of flowers, a fertile spot. +What have you done? Come hither and listen to our songs, O friends. + + +VIII. + +_OTRO, QUEUH CE TLATOHUANI IN QUIMILNAMIQUI IN TLATOQUE._ + +_COMPOSED BY A CERTAIN RULER IN MEMORY OF FORMER RULERS._ + +1. Tlaocolxochi ixayoticaya ic nichuipana in nocuic nicuicani, +niquimilnamiqui in tepilhuan, in teintoque, in tlaçotitoque in campa +in ximohuaya, in oteuctico, in otlatocatico in tlallia icpac, in +quetzalhuahuaciuhtoque in chalchiuhteintoque in tepilhuan, in maoc +imixpan in maoc oquitlani; in ye itto in tlalticpac iximachoca in +tloque in nahuaque. + +1. Weeping, I, the singer, weave my song of flowers of sadness; I +call to memory the youths, the shards, the fragments, gone to the +land of the dead; once noble and powerful here on earth, the youths +were dried up like feathers, were split into fragments like an +emerald, before the face and in the sight of those who saw them on +earth, and with the knowledge of the Cause of All. + +2. Y yo ya hue nitlaocolcuicaya in niquimilnamiqui in tepilhuan, ma +zan itla ninocuepa, ma niquimonana, ma niquinhualquixti in ompa in +ximoayan, ma oc oppa tihua in tlalticpac, ma oc quimahuizoqui in +tepilhuan in ticmahuizoa, azo huel yehuantin tlatlazomahuizozquia in +ipalnemohualoni, quemmach tomazehual in tlazaniuh ticmatican in +ticnopillahueliloque ic choca in noyollo nino tlalnamiquiliz huipana +in nicuicani choquiztica tlaocoltica nitlalnamiquia. + +2. Alas! alas! I sing in grief as I recall the children. Would that I +could turn back again; would that I could grasp their hands once +more; would that I could call them forth from the land of the dead; +would that we could bring them again on earth, that they might +rejoice and we rejoice, and that they might rejoice and delight the +Giver of Life; is it possible that we His servants should reject him +or should be ungrateful? Thus I weep in my heart as I, the singer, +review my memories, recalling things sad and grievous. + +3. Manozo zan nicmati in nechcaquizque intla itla yectli cuicatl +niquimehuili in ompa ximohuayan, ma ic niquipapacti, ma ic +niquimacotlaza inin tonez inin chichinaquiliz in tepilhuan. Cuix on +machiaz? Quennel nihualnellaquahua? Aquen manian ompa niquimontocaz? +Ano niquin nonotztaciz in ye yuh quin in tlalticpac. + +3. Would only that I knew they could hear me, there in the land of +the dead, were I to sing some worthy song. Would that I could gladden +them, that I could console the suffering and the torment of the +children. How can it be learned? Whence can I draw the inspiration? +They are not where I may follow them; neither can I reach them with +my calling as one here on earth. + + +IX. + +_OTRO TLAOCOLCUICA OTOMITL._ + +_AN OTOMI SONG OF SADNESS._ + +1. In titloque in tinahuaque nimitzontlaocolnonotzaya, nelcicihuiliz +mixpantzinco noconiyahuaya, ninentlamati in tlalticpac ye nican +nitlatematia, ninotolinia, in ayc onotechacic in pactli, in +necuiltonolli ye nican; tlezannen naicoyc amo y mochiuhyan, tlacazo +atle nican xotlacueponi in nentlamachtillia, tlacazo zan ihuian in +motloc in monahuac; Macuelehuatl ma xicmonequilti ma monahuactzinco +oc ehuiti in noyolia, ninixayohuatzaz in motloc monahuac +tipalnemohuani. + +1. To thee, the Cause of All, to thee I cried out in sadness, my +sighs rose up before thy face; I am afflicted here on earth, I +suffer, I am wretched, never has joy been my lot, never good fortune; +my labor has been of no avail, certainly nothing here lessens one's +suffering; truly only to be with thee, near thee; may it be thy will +that my soul shall rise to thee, may I pour out my tears to thee, +before thee, O thou Giver of Life. + +2. Quemachamiqueo in motimalotinemi co y in tlalticpac in ayac +contenmatio in atlamachilizneque o tlacazo can moztla cahuia on in +[)a]mitztenmati in titloque in tinahuaque inic momatio ca mochipa +tlalticpac, nemizqueo ninotlamatli motlaliao niquimittao, tlacazo +mixitl tlapatl oquiqueo ic nihualnelaquahua in ninotolinia o tlacazo +ompa in ximohuayan neittotiuh o, cazo tiquenamiqueo quiniquac ye +pachihuiz ye teyolloa. + +2. Happy are those who walk in thy favor here on earth, who never +neglect to offer up praise, nor, leaving till to-morrow, neglect +thee, thou Cause of All, that thou mayest be known in all the earth; +I know that they shall live, I see that they are established, +certainly they have drunk to forgetfulness while I am miserable, +certainly I shall go to see the land of the dead, certainly we shall +meet where all souls are contented. + +3. Ma cayac quen quichihuaya in iyollo in tlalticpac ye nican in +titlaocaxtinemi in tichocatinemia, ca zacuel achic ontlaniizoo, +tlacazo zan tontlatocatihuio in yuho otlatocatque tepilhuan, ma ic +ximixcuiti in tinocniuh in atonahuia in atihuelamati in tlalticpac o; +ma oc ye xim[)a]pana in tlaocolxochitl, choquizxochitl, xoyocatimalo +o xochielcicihuiliztlio in ihuicpa toconiyahuazon in tloque in +nahuaque. + +3. Never were any troubled in spirit on the earth who appealed to +thee, who cried to thee, only for an instant were they cast down, +truly thou caused them to rule as they ruled before: Take as an +example on earth, O friend, the fever-stricken patient; clothe +thyself in the flowers of sadness, in the flowers of weeping, give +praises in flowers of sighs that may carry you toward the Cause of +All. + +4. Ica ye ninapanao tlaocolxochicozcatlon, nomac ommanian +elcicihuilizchimàlxochitlon, nic ehuaya in tlaocolcuicatloo, +nicchalchiuhcocahuicomana yectli yancuicatl, nic ahuachxochilacatzoa, +yn o chalchiuhuehueuhilhuitl, itech nictlaxilotia in nocuicatzin in +nicuicani ye niquincuilia in ilhuicac chanequeo zacuantototl, +quetzaltzinitzcantototl teoquechol inon tl[)a]toa quechol in qui +cecemeltia in tloque, etc. + +4. I array myself with the jewels of saddest flowers; in my hands are +the weeping flowers of war; I lift my voice in sad songs; I offer a +new and worthy song which is beautiful and melodious; I weave songs +fresh as the dew of flowers; on my drum decked with precious stones +and plumes I, the singer, keep time to my song, as I take it from +those dwellers in the heavens, the zacuan bird, the beautiful +tzinitzcan, the divine quechol, those melodious birds who give joy to +the Cause of All. + + +X. + +_MEXICA XOPANCUICATL TLAMELAUHCAYOTL._ + +_A SPRING SONG OF THE MEXICANS, A PLAIN SONG._ + +1. Tlaocoya in noyollo nicuicanitl nicnotlamatia, yehua za yey +xochitl y zan ye in cuicatlin, ica nitlacocoa in tlalticpac ye nican, +ma nequitocan intech cocolia intech miquitlani moch ompa onyazque +cano y ichan, ohuaya. + +1. My heart grieved, I, the singer, was afflicted, that these are the +only flowers, the only songs which I can procure here on earth; see +how they speak of sickness and of death, how all go there to their +homes, alas. + +2. I inquemanian in otonciahuic, in otontlatzihuic tocon ynayaz in +momahuizco in motenyo in tlalticpac, ma nenquitocane, ohuaya, etc. + +2. Sometimes thou hast toiled and acquired skill, thou takest refuge +in thy fame and renown on earth; but see how vain they speak, alas. + +3. Inin azan oc huelnemohuan in tlalticpac mazano ihuian yehuan Dios +quiniquac onnetemoloa in tiaque in canin ye ichan, ohuaya. + +3. As many as live on earth, truly they go to God when they descend +to the place where are their homes, alas. + +4. Hu inin titotolinia ma yuhquitimiquican ma omochiuh in mantech +onittocan in tocnihuan in matech onahuacan in quauhtin y a ocelotl. + +4. Alas, we miserable ones, may it happen when we die that we may see +our friends, that we may be with them in grandeur and strength. + +5. Mazo quiyocoli macaoc xictemachican, can antlahuicaya y caya +amechmotlatili in ipalnemohuani, ohuaya. + +5. Although He is the Creator, do not hope that the Giver of Life has +sent you and has established you. + +6. Ay ya yo xicnotlamatican Tezcacoacatl, Atecpanecatl mach nel +amihuihuinti in cozcatl in chalchihuitli, ma ye anmonecti, ma ye +antlaneltocati. + +6. Be ye grieved, ye of Tezcuco and Atecpan, that ye are intoxicated +with gems and precious stones; come forth to the light, come and +believe. + + +XI. + +_OTRO._ + +_ANOTHER._ + +1. Nicchocaehua, nicnotlamati, nicelnamiqui ticauhtehuazque yectliya +xochitl yectli yancuicatl; ma octonahuiacan, ma oc toncuicacan cen +tiyahui tipolihui ye ichan, etc. + +1. I lift my voice in wailing, I am afflicted, as I remember that we +must leave the beautiful flowers, the noble songs; let us enjoy +ourselves for a while, let us sing, for we must depart forever, we +are to be destroyed in our dwelling place. + +2. Achtleon ah yuhquimati in tocnihuan cocoya in noyollo qualani +yehua ay oppan in tlacatihua ye ay oppa piltihuaye yece yequi +xoantlalticpac. + +2. Is it indeed known to our friends how it pains and angers me that +never again can they be born, never again be young on this earth? + +3. Oc achintzinca y tetloc ye nican tenahuacan aic yezco on aic +nahuiaz aic nihuelamatiz. + +3. Yet a little while with them here, then nevermore shall I be with +them, nevermore enjoy them, nevermore know them. + +4. In can on nemian noyollo yehua? Can huel ye nochan? Can huel +nocallamanian? Ninotolinia tlalticpac. + +4. Where shall my soul dwell? Where is my home? Where shall be my +house? I am miserable on earth. + +5. Zan ye tocontemaca ye tocontotoma in mochalchiuh, ye on +quetzalmalintoc, zacuan icpac xochitl, za yan tiquinmacayan tepilhuan +O. + +5. We take, we unwind the jewels, the blue flowers are woven over the +yellow ones, that we may give them to the children. + +6. In nepapan xochitl conquimilo, conihuiti ye noyollo niman +nichocaya ixpan niauh in tonan. + +6. Let my soul be draped in various flowers; let it be intoxicated by +them, for soon must I weeping go before the face of our mother. + +7. Zan nocolhuia: ipalnemohua ma ca ximozoma, ma ca ximonenequin +tlalticpac, mazo tehuantin motloc tinemican y, zan ca ye moch ana +ilhuicatlitica. + +7. This only do I ask:--Thou Giver of Life, be not angry, be not +severe on earth, let us live with thee on earth, take us to the +Heavens. + +8. Azo tle nello nicyaitohua nican ipalnemohua, zan tontemiqui y, zan +toncochitlehuaco, nicitoa in tlalticpac ye ayac huel tontiquilhuia ye +nicana. + +8. But what can I speak truly here of the Giver of Life? We only +dream, we are plunged in sleep; I speak here on earth; but never can +we speak in worthy terms here. + +9. In manel ye chalchihuitl, mantlamatilolli, on aya mazo ya +ipalnemohuani ayac hueltic ilhuia nicana. + +9. Although it may be jewels and precious ointments (of speech), yet +of the Giver of Life, one can never here speak in worthy terms. + + +XII. + +_XOPANCUICATL NENONOTZALCUICATL IPAMPA IN AQUIQUE AMO ON MIXTILIA IN +YAOC._ + +_A SPRING SONG, A SONG OF EXHORTATION, BECAUSE CERTAIN ONES DID NOT +GO TO THE WAR._ + +1. Nictzotzonan nohuehueuh nicuicatlamatquetl ic niquimonixitia ic +niquimitlehua in tocnihuan in atle in yollo quimati in aic tlathui +ipan inin yollo yaocochmictoque in inpan motimaloa in +mixtecomatlayohualli anen niquito huay motolinia y, maquicaqui qui y +xochitlathuicacuicatl occeh tzetzeuhtimania huehuetitlana, ohuaya, +ohuai. + +1. I strike on my drum, I the skillful singer, that I may arouse, +that I may fire our friends, who think of nothing, to whose minds +plunged in sleep the dawn has not appeared, over whom are yet spread +the dark clouds of night; may I not call in vain and poorly, may they +hear this song of the rosy dawn, poured abroad widely by the drum, +ohe! ohe! + +2. Tlahuizcalteochitla oncuepontimani in ixochiquiyaopan in tloque in +nahuaque, onahuachtotonameyotimani in teyolquima; ma xiqualitacan in +atle ipan ontlatao, zannen cuepontimanio ayac mahaca quelehuiao in +antocnihuan amo zannen ya xochitl yoliliztlapalneucxochitla e. + +2. The divine flowers of dawn blossom forth, the war flowers of the +Cause of All; glittering with dew they scatter abroad their +fragrance; bring them hither that they be not hidden nor bloom in +vain, that they may rejoice you our friends, and not in vain shall be +the flowers, the living, colored, brilliant flowers. + +3. Quiyolcaihuintiaya in teyolia, zan oncan ye omania, zan oncan ye +oncuepontimania quauhtepetitlan in ya hualiuhcancopa y +ixtlahuatlitica oncan inemaya oc teoatl tlachinolli a. Oncan in +epoyahuayan in teoquauhtli oncan iquiquinacayan, in ocelotl, +ipixauhyan in nepapan tlazomaquiztetl, in emomolotzayan in nepapan +tlazopilihuitl, oncan teintoque oncan xamantoque in tepilhuan. + +3. They intoxicate the soul, but they are only found, they blossom +only on the lofty mountains, on the broad plains where glorious war +finds its home. There is where the eagles gather in bands of sixties, +there the tigers roar, there the various beloved stones rain down, +there the various dear children are cut to pieces; there the youths +are split into shards and ground into fragments. + +4. Tlacuah yehuantin in tepilhuani conelehuiao, in +tlahuizcalxochitlan ya nemamallihuao ic tetlan[)e]nectiao, in +ilhuicac onocon iceolitzin yn iotepiltzina quitzetzelotimanio a in +tepilhuan in quauhtliya ocelotl, in quimemactiao in +xochicueponalotlon in quimihuintia yeyolxochiahuechtlia. + +4. Stoutly do those youths rejoice, laboring for the rose of the dawn +that they may win it; and in heaven, He, the only one, the noble one, +pours down upon the youths strength and courage, that they may pluck +the budding flowers of the pathway, that they may be intoxicated with +the dew-damp flowers of the spirit. + +5. In ic timomatia in tinocniuh zan ne yan xochitlon in tiquelehuiaon +in tlalticpac, quen toconcuizon quen ticyachihuazon, timotolinia in +tiquimiztlacoa a in tepilhuan xochitica cuicatica; ma xihuallachican +in atle y ica mitl, ehuaon zan moch yehuantin in tepilhuan +zacuanmeteoquecholtitzinitzcatlatlauhquecholtin moyeh yectitinemio in +onmatio in ixtlahuatlitican. + +5. Know, my friend, that these are the only flowers which will give +thee pleasure on earth; mayest thou take them and make them; O poor +one, search out for thy children these flowers and songs. Look not +hither without arrows, let all the youths lift up their voices, like +zacuan birds, divine quechols, tzinitzcans, and red quechols, who +live joyous lives, and know the fields. + +6. Chimalxochitl, quauhpilolxochitl ic oquichtlamatimani in y +antepilhuan xochicozcaocoxochitl ic mapantimanian, quitimaloao +yectliya cuicatl, yectliya xochitl, imezo imelchiquiuh patiuh +mochihuaya in quicelia on in teoatl tlachinolli; y iantocnihuan +tliliuhquitepeca in tiyaotehua huey otlipana, ma huel xoconmanao y ye +mochimalo, huel xonicaon in ti quauhtliya ocelotla. + +6. O youths, here there are skilled men in the flowers of shields, in +the flowers of the pendant eagle plumes, the yellow flowers which +they grasp; they pour forth noble songs, noble flowers; they make +payment with their blood, with their bare breasts; they seek the +bloody field of war. And you, O friends, put on your black paint, for +war, for the path of victory; let us lay hands on our shields, and +raise aloft our strength and courage. + + +XIII. + +_HUEXOTZINCAYOTL._ + +_A SONG OF HUEXÔTZINCO._ + +1. Zan tlaocolxochitl, tlaocolcuicatl on mania Mexico nican ha in +Tlatilolco, in yece ye oncan on neiximachoyan, ohuaya. + +1. Only sad flowers, sad songs, are here in Mexico, in Tlatilolco, in +this place these alone are known, alas. + +2. Ixamayo yectli in zan ca otitech icneli ipalnemohuani, in za can +tipopolihuizque in timacehualta, ohuaya. + +2. It is well to know these, if only we may please the Giver of Life, +lest we be destroyed, we his subjects, alas. + +3. Ototlahueliltic, zan titotolinia timacehualtinquezo huel +tehuantin, otiquittaque in cococ ye machoyan, ohuaya. + +3. We have angered Him, we are only wretched beings, slaves by blood; +we have seen and known affliction, alas. + +4. Ticmomoyahua, ticxoxocoyan in momacehualy in Tlatilolco cococ +moteca cococ ye machoyan ye ic ticiahuia ipalnemoani, ohuaya. + +4. We are disturbed, we are embittered, thy servants here in +Tlatilolco, deprived of food, made acquainted with affliction, we are +fatigued with labor, O Giver of Life, alas. + +5. Choquiztli moteca ixayotl pixahui oncan a in Tlatilolco; in atlan +yahqueon o in Mexica ye cihua nelihui ica yehuilo a oncan ontihui in +tocnihuan a, ohuaya. + +5. Weeping is with us, tears fall like rain, here in Tlatilolco; as +the Mexican women go down to the water, we beg of them for ourselves +and our friends, alas. + +6. In ic neltic o ya cahua Atloyantepetl o in Mexico in poctli +ehuatoc ayahuitl onmantoc, in tocon ya chihuaya ipalnemoani, ohuaya. + +6. Even as the smoke, rising, lies in a cloud over Mount Atloyan, in +Mexico, so does it happen unto us, O Giver of Life, alas. + +7. In anMexica ma xiquilnamiquican o yan zan topan quitemohuia y +ellelon i mahuizo yehuan zan yehuan Dios, yehua anquin ye oncan in +coyonacazco, ohuaya. + +7. And you Mexicans, may you remember concerning us when you descend +and suffer before the majesty of God, when there you shall howl like +wolves. + +8. Za can ye oncan zan quinchoquiz tlapaloa o anquihuitzmanatl incan +ye[)u]ch motelchiuh on ya o anquin ye mochin, ha in tlayotlaqui, ah +in tlacotzin, ah in tlacateuctli in oquichtzin y huihui ica ça ye con +yacauhqui in Tenochtitlan, ohuaya. + +8. There, there will be only weeping as your greeting when you come, +there you will be accursed, all of you, workers in filth, slaves, +rulers or warriors, and thus Tenochtitlan will be deserted. + +9. In antocnihuan ma xachocacan aya ma x[)a]conmatican ica ye +ticcauhque Mexicayotl huiya, zan ye yatl chichixhuiya no zan ye +tlaqualli chichixaya zan con aya chiuhqui in ipalnemoani ha in +Tlatilolco y, ohuaya. + +9. Oh friends, do not weep, but know that sometime we shall have left +behind us the things of Mexico, and then their water shall be made +bitter and their food shall be made bitter, here in Tlatilolco, as +never before, by the Giver of Life. + +10. Tel ah zan yhuian huicoque hon in motelchiuhtzin ha in tlacotzin +zan mocuica ellaquauhque ac achinanco in ahiquac in tlepan quixtiloto +in coyohuacan, ohuaya. + +10. The disdained and the slaves shall go forth with song; but in a +little while their oppressors shall be seen in the fire, amid the +howling of wolves. + + +XIV. + +1. Zan tzinitzcan impetlatl ipan, ohuaya; on tzinitzcan iceliztoca +oncan izan in ninentlamatia, in zan icnoxochicuicatica inocon ya +temohua ya ohuaya, ohuaya. + +1. Only the tzinitzcan is in power, the tzinitzcan arouses me in my +affliction, letting fall its songs like sad flowers. + +2. In canin nemiya icanon in nemitoconchia ye nican huehuetitlan a +ayiahue, ye onnentlamacho, ye mocatlaocoyalo ay xopancaliteca, +ohuaya, ohuaya. + +2. Wherever it wanders, wherever it lives, one awaits it here with +the drum, in affliction, in distress, here in the house of spring. + +3. Ac ipiltzin? Achanca ipiltzin yehuayan Dios Jesu Christo can +quicuilo antlacuiloa quicuilo ancuicatl a ohuaya, ohuaya. + +3. Who is the royal son? Is not the royal son, the son of God, Jesus +Christ, as was written in your writings, as was written in your +songs? + +4. O achan canel ompa huiz canin ilhuicac y xochintlacuilol +xochincalitec a ohuaya ohuaya. + +4. Is not the flowery writing within the house of flowers that he +shall come there from heaven? + +5. In ma ontlachialoya in ma ontl[)a]tlamahuicolo in +tlapapalcalimanican y ipalnemoa y tlayocol yehuan Dios, ohuaya. + +5. Look around and wonder at this scene of many colored houses which +God has created and endowed with life. + +6. Techtolinian techtl[)a]tlanectia y icuicaxochiamilpan, +intechontl[)a]tlachialtian ipalnemohua itlayocol yehuan Dios a +ohuaya. + +6. They make us who are miserable to see the light among the flowers +and songs of the fertile fields, they cause us to see those things +which God has created and endowed with life. + +7. Ya ixopantla ixopantlatinenemi ye nican ixtlahuatl yteey, za +xiuhquechol quiahuitl zan topan xaxamacay in atlixco ya ohuaya, +ohuaya. + +7. They dwell in the place of spring, in the place of spring, here +within the broad fields, and only for our sakes does the +turquoise-water fall in broken drops on the surface of the lake. + +8. Zan ye nauhcampay ontlapepetlantoc, oncan onceliztoc in +cozahuizxochitl, oncan nemi in Mexica in tepilhuan a ohuaya ohuaya. + +8. Where it gleams forth in fourfold rays, where the fragrant yellow +flowers bud, there live the Mexicans, the youths. + + +XV. + +_TEZOZOMOCTLI IC MOTECPAC._ + +_THE REIGN OF TEZOZOMOCTLI._ + +1. Zan ca tzihuactitlan, mizquititlan, aiyahue Chicomoztocpa, mochi +ompa yahuitze antl[)a]tohuan ye nican, ohuaya, ohuaya. + +1. From the land of the tzihuac bushes, from the land of the mezquite +bushes, where was ancient Chicomoztoc, thence came all your rulers +hither. + +2. Nican momalinaco in colcahuahtecpillotl huiya nican milacatzoa in +Colhuaca Chichimecayotl in toteuchuahuia. + +2. Here unrolled itself the royal line of Colhuacan, here our nobles +of Colhuacan, united with the Chichimecs. + +3. Ma oc achitzinca xomotlanecuican antepilhuan huiya tlacateuhtzin +Huitzilihuitl a ya cihuacoatl y Quauhxilotl huia totomihuacan +Tlalnahuacatl aya zan ca xiuhtototl Ixtlilxochitl y quenman +tlatzihuiz quimohmoyahuaquiuh yauh y tepeuh yehuan Dios ica ye choca +Tezozomoctli ohuaya ohuaya. + +3. Sing for a little while concerning these, O children, the +sovereign Huitzilihuitl, the judge Quauhxilotl, of our bold leader +Tlalnahuacatl, of the proud bird Ixtlilxochitl, those who went forth, +and conquered and ruled before God, and bewail Tezozomoctli. + +4. Yenoceppa mizquitl yacahuantimani Hueytlalpani, anquican itlatol +yehuan Dios a ohuaya, ohuaya. + +4. A second time they left the mezquite bushes in Hue Tlalpan, +obeying the order of God. + +5. Can onyeyauh xochitl, can oyeyauh yeh intoca quauhtli ocelotl huia +ya moyahuaya xelihuia Atloyantepetl Hueytlalpan y anquizan itlatol +ipalnemohua ohuaya ohuaya. + +5. They go where are the flowers, where they may gain grandeur and +power, dividing asunder they leave the mountain Atloyan and Hue +Tlalpan, obeying the order of the Giver of Life. + +6. Oncuiltonoloc, onechtlachtiloc, in teteuctin cemanahuac y huel +zotoca huipantoca y tl[)a]tol ipalnemohuani, huel quimothuitico, huel +quiximatico y yollo yehuan Dios huiya chalchihuitl maquiztliya +tlamatelolliya tizatla ihuitla za xochitl quimatico yaoyotla ohuaya +ohuaya. + +6. It is cause of rejoicing, that I am enabled to see our rulers from +all parts gathering together, arranging in order the words of the +Giver of Life, and that their souls are caused to see and to know +that God is precious, wonderful, a sweet ointment, and that they are +known as flowers of wise counsel in the affairs of war. + +7. Oya in Tochin y miec acalcatli, Acolmiztlan teuctli zan Catocih +teuctli Yohuallatonoc y yehuan Cuetzpaltzin Iztaccoyotl totomihuacan +Tlaxcallan ohuaye Coatziteuctli Huitlalotzin za xochitl quimatico +yaoyotla ohuaya ohuaya. + +7. There were Tochin, with many boats, the noble Acolmiztlan, the +noble Catocih, Yohuallatonoc, and Cuetzpaltzin, and Iztaccoyotl, bold +leaders from Tlaxcalla, and Coatziteuctli, and Huitlalotzin, famed as +flowers on the field of battle. + +8. Tley an quiyocoya anteteuctin y Huexotzinca? ma xontlachiacan +Acolihu[)a]can in quatlapanca oncan ye Huexotla itztapallocan huia +yeyahuatimani Atloyantepetl a ohuaya. + +8. For what purpose do you make your rulers, men of Huexotzinco? Look +at Acolhuacan where the men of Huexotzinco are broken with toil, are +trod upon like paving stones, and wander around the mountain Atloyan. + +9. Oncan in pochotl ahuehuetl oncan icaca mizquitl ye oztotlhui[)a] +tetlaquahuac quimatia ipalnemohuani oyao ai ya hue ohuaya. + +9. There is a ceiba tree, a cypress tree, there stands a mezquite +bush, strong as a cavern of stone, known as the Giver of Life. + +10. Tlacateotl nopiltzin Chichimecatl y tleonmach itla techcocolia +Tezozomoctli tech in micitlani ye ehuaya atayahuili quinequia yaoyotl +necaliztlon quima Acolhuacan ohuaya. + +10. Ruler of men, Nopiltzin, Chicimec, O Tezozomoctli, why hast thou +made us sick, why brought us to death, through not desiring to offer +war and battle to Acolhuacan? + +11. Tel ca tonehua ticahuiltia ipalnemohuani Colihua o o Mexicatl y +tlahcateotl huiaya atayahuili quinequia yaoyotl necaliztl qui mana +Acolhuacan a ohuaya ohuaya. + +11. But we lift up our voice and rejoice in the Giver of life; the +men of Colhuacan and the Mexican leader have ruined us, through not +desiring to offer war and battle to Acolhuacan. + +12. Zan ye on necuiltonolo in tlalticpac ay oppan titlano chimalli +xochitl ay oppan ahuiltilon ipalnemohua; ye ic anauia in tlailotlaqui +xayacamacha huia ho ay ya yi ee ohuaya ha ohuaya. + +12. The only joy on earth will be again to send the shield-flower, +again to rejoice the Giver of Life; already are discontented the +faces of the workers in filth. + +13. Inacon anquelehuia chimalli xochitl y yohual xochitli +tl[)a]chinol xochitl; ye ic neyahpanalo antepilhuan huiya +Quetzalmamatzin Huitznahuacatl ohuaye ho ha yia yi ee oua yi aha +ohuaya. + +13. Therefore you rejoice in the shield-flowers, the flowers of +night, the flowers of battle; already are ye clothed, ye children of +Quetzalmamatzin and Huitznahuacatl. + +14. Chimal tenamitl oncan in nemohua yehua necalia huilotl oyahualla +icahuaca yehuaya on canin ye nemi in tecpipiltin Xiuhtzin +xayacamachani amehuano o anconahuiltia ipalnemohua ohuaya. + +14. Your shield and your wall of safety are where dwells the sweet +joy of war, where it comes, and sings and lifts its voice, where +dwell the nobles, the precious stones, making known their faces; thus +you give joy to the Giver of Life. + +15. In ma huel netotilo mannemamanaloya yaonahuac a on +netlamachtiloyan ipan nechihuallano ohuaye in tepiltzin can ye +mocuetlaca ohuaya, ohuaya. + +15. Let your dancing, and banqueting be in the battle, there be your +place of gain, your scene of action, where the noble youths perish. + +16. Quetzalipantica oyo huiloa ahuiltiloni ipalnemohuan yectlahuacan +in tapalcayocan a ohuaya ohuaya. + +16. Dressed in their feathers they go rejoicing the Giver of Life to +the excellent place, the place of shards. + +17. Oyo hualehuaya ye tocalipan oyohua yehua Huexotzincatl y +tototihua o o Iztaccoyotla ohuaya ohuaya. + +17. He lifted up his voice in our houses like a bird, that man of +Huexotzinco, Iztaccoyotl. + +18. Ace melle ica ton[)a]coquiza y nican topantilemonti Tlaxcaltecatl +itocoya cacalia in altepetl y Huexochinco ya ohuaya. + +18. Whoever is aggrieved let him come forth with us against the men +of Tlaxcallan, let him follow where the city of Huexotzinco lets +drive its arrows. + +19. Cauhtimanizo polihuiz tlalli yan totomihuacan huia cehuiz yiollo +o antepilhuan a Huexotzinca y ohuaya ohuaya. + +19. Our leaders will lay waste, they will destroy the land, and your +children, O Huexotzincos, will have peace of mind. + +20. Mizquitl y mancan tzihuactli y mancan ahuehuetl onicacahuia +ipalnemohua, xonicnotlamati mochi elimanca Huexotzinco ya zanio oncan +in huel on mani tlalla ohuaya ohuaya. + +20. The mezquite was there, the tzihuac was there, the Giver of Life +has set up the cypress; be sad that evil has befallen Huexotzinco, +that it stands alone in the land. + +21. Zan nohuian tlaxixinia tlamomoyahua y ayoc anmocehuia +mom[)a]cehual y hualcaco mocuic in icelteotl oc xoconyocoyacan +antepilhuan a ohuaya ohuaya. + +21. In all parts there are destruction and desolation, no longer are +there protection and safety, nor has the one only God heard the song; +therefore speak it again, you children; + +22. Zan mocuepa itlatol conahuiloa ipalnemohua Tepeyacac ohuaye +antepilhuan ohuaya ohuaya. + +22. That the words may be repeated, you children, and give joy to the +Giver of Life at Tepeyacan. + +23. Canel amonyazque xoconmolhuican an Tlaxcalteca y Tlacomihuatzin +hui oc oyauh itlachinol ya yehuan Dios a ohuaya. + +23. And since you are going, you Tlaxcallans, call upon +Tlacomihuatzin that he may yet go to this divine war. + +24. Cozcatl ihuihui quetzal n[)e]huihuia oc zo conhuipanque zan +Chichimeca y Totomihua a Iztaccoyotl a ohuaya ohuaya. + +24. The Chichimecs and the leaders and Iztaccoyotl have with +difficulty and vain labor arranged and set in order their jewels and +feathers. + +25. Huexotzinco ya zan quiauhtzinteuctli techcocolia Mexicatl +itechcocolia Acolihuiao ach quennelotihua tonyazque quenonamican a +ohuaye ohuaye. + +25. At Huexotzinco the ruler Quiauhtzin hates the Mexicans, hates the +Acolhuacans; when shall we go to mix with them, to meet them? + +26. Ay antlayocoya anquimitoa in amotahuan an teteuctin ayoquantzin +ihuan a in tlepetztic in cacha ohuaya tzihuacpopoca yo huaya. + +26. Set to work and speak, you fathers, to your rulers, to your +lords, that they may make a blazing fire of the smoking tzihuac wood. + +27. Ca zan catcan Chalco Acolihuaca huia totomihuacan y amilpan in +Quauhquecholla quixixinia in ipetl icpal yehuan Dios ohoaya ohuaya. + +27. The Acolhuacans were at Chalco, the Otomies were in your +cornfields at Quauhquechollan, they laid them waste by the permission +of God. + +28. Tlazoco a ye nican tlalli tepetl yecocoliloya cemanahuac a +ohuaya. + +28. The fields and hills are ravaged, the whole land has been laid +waste. + +29. Quennel conchihuazque atl popoca itlacoh in teuctli tlalli +mocuepaya Mictlan onmatia Cacamatl onteuctli, quennel conchihuazque, +ohuaya ohuaya. + +29. What remedy can they turn to? Water and smoke have spoiled the +land of the rulers; they have gone back to Mictlan attaching +themselves to the ruler Cacamatl. What remedy can they turn to? + + +XVI. + +1. On onellelacic quexquich nic ya ittoa antocnihuan ayiaue +noconnenemititica noyollon tlalticpac y noconycuilotica, ay niyuh can +tinemi ahuian yeccan, ay cemellecan in tenahuac y, ah nonnohuicallan +in quenon amican ohuaya. + +1. It is a bitter grief to see so many of you, dear friends not +walking with me in spirit on the earth, and written down with me; +that no more do I walk in company to the joyful and pleasant spots; +that nevermore in union with you do I journey to the same place. + +2. Zan nellin quimati ye noyollo za nelli nicittoa antocnihuan, +ayiahue aquin quitlatlauhtia icelteotl yiollo itlacoca con aya macan. +Machamo oncan? In tlalticpac machamo oppan piltihua. Ye nelli nemoa +in quenon amican ilhuicatl y itec icanyio oncan in netlamachtilo y +ohuaya. + +2. Truly I doubt in my heart if I really see you, dear friends; Is +there no one who will pray to the one only God that he take this +error from your hearts? Is no one there? No one can live a second +time on earth. Truly they live there within the heavens, there in a +place of delight only. + +3. O yohualli icahuacan teuctlin popoca ahuiltilon Dios +ipalnemohuani: chimalli xochitl in cuecuepontimani in mahuiztli +moteca molinian tlalticpac, ye nican ic xochimicohuayan in ixtlahuac +itec a ohuaya ohuaya. + +3. At night rises up the smoke of the warriors, a delight to the Lord +the Giver of Life; the shield-flower spreads abroad its leaves, +marvelous deeds agitate the earth; here is the place of the fatal +flowers of death which cover the fields. + +4. Yaonauac ye oncan yaopeuhca in ixtlahuac itec iteuhtlinpopoca ya +milacatzoa y momalacachoa yaoxochimiquiztica antepilhuan in +anteteuctin zan Chichimeca y ohuaya. + +4. The battle is there, the beginning of the battle is in the open +fields, the smoke of the warriors winds around and curls upward from +the slaughter of the flowery war, ye friends and warriors of the +Chichimecs. + +5. Maca mahui noyollo ye oncan ixtlahuatl itic, noconele hua in +itzimiquiliztli zan quinequin toyollo yaomiquiztla ohuaya. + +5. Let not my soul dread that open field; I earnestly desire the +beginning of the slaughter, may thy soul long for the murderous +strife. + +6. O anquin ye oncan yaonahuac, noconelehuia in itzi miquiliztli can +quinequin toyollo yaomiquiztla ohuaya ohuaya. + +6. O you who are there in the battle, I earnestly desire the +beginning of the slaughter, may thy soul long for the murderous +strife. + +7. Mixtli ye ehuatimani yehuaya moxoxopan ipalnemohuani ye oncan +celiztimani a in quauhtlin ocelotl, ye oncan cueponio o in tepilhuan +huiya in tlachinol, ohuaya ohuaya. + +7. The cloud rises upward, rising into the blue sky of the Giver of +Life; there blossom forth prowess and daring, there, in the battle +field, come the children to maturity. + +8. In ma oc tonahuican antocnihuan ayiahuc, ma oc xonahuiacan +antepilhuan in ixtlahuatl itec, y nemoaquihuic zan tictotlanehuia o a +in chimalli xochitl in tlachinoll, ohuaya, ohuaya, ohuaya. + +8. Let us rejoice, dear friends, and may ye rejoice, O children, +within the open field, and going forth to it, let us revel amid the +shield-flowers of the battle. + +XVII. + +_XOCHICUICATL._ + +_A FLOWER SONG._ + +1. Can ti ya nemia ticuicanitl ma ya hualmoquetza xochihuehuetl +quetzaltica huiconticac teocuitlaxochinenepaniuhticac y ayamo aye +iliamo aye huiy ohuaya, ohuaya. + +1. Where thou walkest, O singer, bring forth thy flowery drum, let it +stand amid beauteous feathers, let it be placed in the midst of +golden flowers; + +2. Tiquimonahuiltiz in tepilhuan teteucto in quauhtlo ocelotl ayamo, +etc. + +2. That thou mayest rejoice the youths and the nobles in their +grandeur. + +3. In tlac[)a]ce otemoc aya huehuetitlan ya nemi in cuicanitlhuia zan +qui quetzal in tomaya quexexeloa aya icuic ipalnemoa qui ya nanquilia +in coyolyantototl oncuicatinemi xochimanamanaya taxocha ohuaya, +ohuaya. + +3. Wonderful indeed is it how the living song descended upon the +drum, how it loosened its feathers and spread abroad the songs of the +Giver of Life, and the coyol bird answered, spreading wide its notes, +offering up its flowery songs of flowers. + +4. In canon in noconcaqui in tlatol aya tlacazo yehuatl ipalnemoa +quiyananquilia quiyananquilia in coyolyantototl on cuicatinemi +xochimanamanaya, etc. + +4. Wherever I hear those words, perhaps the Giver of Life is +answering, as answers the coyol bird, spreading wide its notes, +offering up its flowery song of flowers. + +5. In chalchihuitl ohuayee on quetzal pipixauhtimania in amo +tlatolhuia, noyuh ye quittoa yayoquan yehuayan cuetzpal ohuaye +anquinelin ye quimatin ipalnemoa ohuaya. + +5. It rains down precious stones and beauteous feathers rather than +words; it seems to be as one reveling in food, as one who truly knows +the Giver of Life. + +6. Noyuh quichihua con teuctlon timaloa yecan quetzalmaquiztla +matilolticoya conahuiltia icelteotlhuia achcanon azo a yan ipalnemoa +achcanon azo tle nel in tlalticpac ohuaya. + +6. Thus do the nobles glorify themselves with things of beauty, honor +and delight, that they may please the one only god, though one knows +not the dwelling of the Giver of Life, one knows not whether he is on +earth. + +7. Macuelachic aya maoc ixquich cahuitl niquin notlanehui in +chalchiuhtini in maquiztini in tepilhuan aya; zan nicxochimalina in +tecpillotl huia: zan ca nican nocuic ica ya nocon ilacatzohua a in +huehuetitlan a ohuaya ohuaya. + +7. May I yet for a little while have time to revel in those precious +and honorable youths; may I wreathe flowers for their nobility; may I +here yet for a while wind the songs around the drum. + +8. Oc noncoati nican Huexotzinco y nitl[)a]tohuani ni teca ehuatzin +huiya chalchiuhti zan quetzalitztin y, niquincenquixtia in tepilhuan +aya zan nicxochimalina in tecpillotl huia ohuaya ohuaya. + +8. I am a guest here among the rulers of Huexotzinco; I lift up my +voice and sing of precious stones and emeralds; I select from among +the youths those for whom I shall wreathe the flowers of nobility. + +9. A in ilhuicac itic ompa yeya huitz in yectliyan xochitl yectliyan +cuicatl y, conpolo antellel conpolo antotlayocol y in tlacazo yehuatl +in Chichimecatl teuctli in teca yehuatzin ica xonahuiacan a ohuaya +ohuaya. + +9. There comes from within the heavens a good flower, a good song, +which will destroy your grief, destroy your sorrow; therefore, Chief +of the Chichimecs, be glad and rejoice. + +10. Moquetzal izqui xochintzetzeloa in icniuhyotl +aztlacaxtlatlapantica ye onmalinticac in quetzalxiloxochitl imapan +onn[)e]nemi conchichichintinemi in teteuctin in tepilhuan. + +10. Here, delightful friendship, turning about with scarlet dyed +wings, rains down its flowers, and the warriors and youths, holding +in their hands the fragrant xilo flowers, walk about inhaling the +sweet odor. + +11. Zan teocuitlacoyoltototl o huel yectli namocuic huel yectli in +anq'ehua anquin ye oncan y xochitl y ya hualyuhcan y xochitl imapan +amoncate in amontlatl[)a]toa ye ohuaya ohui ohui ilili y yao ayya hue +ho ama ha ilili ohua y yaohuia. + +11. The golden coyol bird sings sweetly to you, sweetly lifts its +voice like a flower, like sweet flowers in your hand, as you converse +and lift your voice in singing, etc. + +12. O ach ancati quechol in ipalnemoa o ach ancati tlatocauh yehuan +Dios huiya achto tiamehuan anquitztoque tlahuizcalli amoncuicatinemi +ohui, ohui, ilili, etc. + +12. Even like the quechol bird to the Giver of Life, even as the +herald of God, you have waited for the dawn, and gone forth singing +ohui, etc. + +13. Maciuhtiao o in quinequi noyollo, zan chimalli xochitl mixochiuh +ipalnemoani, quen conchihuaz noyollo yehua onentacico tonquizaco in +tlalticpac a ohuaya ohuaya. + +13. Although I wish that the Giver of Life shall give for flowers the +shield-flower, how shall I grieve that your efforts have been in +vain, that you have gone forth from the world. + +14. Zan ca yuhqui noyaz in o ompopoliuh xochitla antlenotleyoye in +quemmanian, antlenitacihcayez in tlalticpac. Manel xochitl manel +cuicatl, quen conchihuaz noyollo yehua onentacico tonquizaco in +tlalticpac ohuaya ohuaya. + +14. Even as I shall go forth into the place of decayed flowers, so +sometime will it be with your fame and deeds on earth. Although they +are flowers, although they are songs, how shall I grieve that your +efforts have been in vain, that you have gone forth from the world. + +15. Manton ahuiacan antocnihuan aya ma on nequech nahualo nican huiya +a xochintlaticpac ontiyanemi yenican ayac quitlamitehuaz in xochitl +in cuicatl in mani a ichan ipalnemohuani yi ao ailili yi ao aya hue +aye ohuaya. + +15. Let us be glad, dear friends, let us rejoice while we walk here +on this flowery earth; may the end never come of our flowers and +songs, but may they continue in the mansion of the Giver of Life. + +16. In zancuelachitzincan tlalticpac aya ayaoc noiuhcan +quennonamicani cuixocpacohua icniuhtihuay auh in amo zanio nican +totiximatizo in tlalticpac y yiao ha ilili yiao. + +16. Yet a little while and your friends must pass from earth. What +does friendship offer of enjoyment, when soon we shall no longer be +known on earth? + +17. Noconca con cuicatl noconca o quin tlapitzaya xochimecatl ayoquan +teuctliya ahuayie, ohuayiao ayio yo ohua. + +17. This is the burden of my song, of the garland of flowers played +on the flute, without equal in the place of the nobles. + +18. Zan mitzyananquili omitzyananquili xochincalaitec y in +aquiauhatzin in tlacateuhtli ayapancatl yahuayia. + +18. Within the house of flowers the Lord of the Waters, of the Gate +of the Waters, answers thee, has answered thee. + +19. Can tinemi noteouh ipalnemohuani mitztemohua in quemmanian y +mocanitlaocoyan, nicuicanitlhuia, zan ni mitzahuiltiaya ohuiyan +tililiyanco huia ohuaya ohuaya. + +19. Where thou livest, my beloved, the Giver of Life sends down upon +thee sometimes things of sadness; but I, the singer, shall make thee +glad in the place of difficulty, in the place of cumber. + +20. In zan ca izqui xochitl in quetzalizqui xochitl pixahui ye nican +xopancalaitec i tlacuilolcalitec, zan nimitzahahuiltiaya ohui. + +20. Here are the many flowers, the beauteous flowers, rained down +within the house of spring, within its painted house, and I with them +shall make thee glad. + +21. O anqui ye oncan Tlaxcala, ayahue, chalchiuhtetzilacuicatoque in +huehuetitlan ohuaye, xochin poyon ayiahue Xicontencatl teuctli in +Tizatlacatzin in camaxochitzin cuicatica y melelquiza xochiticaya on +chielo itlatol ohuay icelteotl ohuaya. + +21. O, you there in Tlaxcala, you have played like sweet bells upon +your drums, even like brilliantly colored flowers. There was +Xicontecatl, lord of Tizatlan, the rosy-mouthed, whose songs gave joy +like flowers, who listened to the words of the one only God. + +22. O, anqui nohuia y, ye mochan ipalnemohua xochipetlatl ye noca +xochitica on tzauhticac oncan mitztlatlauhtia in tepilhua ohuaya. + +22. Thy house, O Giver of Life is in all places; its mats are of +flowers, finely spun with flowers, where thy children pray to thee. + +23. In nepapan xochiquahuitl onicac, aya, huehuetitlan a a yiahue, +can canticaya quetzaltica malintimani, ya, yecxochitl motzetzeloaya +ohuaya ohuaya. + +23. A rain of various flowers falls where stands the drum, beauteous +wreaths entwine it, sweet flowers are poured down around it. + +24. Can quetzatzal petlacoatl yepac o, ye nemi coyoltototl +cuicatinemiya, can quinanquili teuctli ya, +conahuiltianquauhtloocelotl ohuaya ohuaya. + +24. Where the brilliant scolopender basks, the coyol bird scatters +abroad its songs, answering back the nobles, rejoicing in their +prowess and might. + +25. Xochitzetzeliuhtoc y, niconnetolilo antocnihuan huehuetitlan ai +on chielo can nontlamati toyollo yehua ohuaya ohuaya. + +25. Scattering flowers I rejoice you, dear friends, with my drum, +awaiting what comes to our minds. + +26. In zan ca yehuan Dios tlaxic, ya, caquican yehual temoya o +ilhuicatl itic, y, cuicatihuitz, y, quinanquilia o, angelotin +ontlapitztihuitzteaya oyiahue yaia o o ohuaya ohuaya. + +26. It reaches even to God, he hears it seeking him within the +heavens, the song comes and the angels answer, playing on their +flutes. + +27. Zan ninentlamatia can niquauhtenco ayahue can. * * * + +27. But I am sad within this wood. + + +XVIII. + +_NICAN OMPEHUA TEPONAZCUICATL._ + +_HERE BEGIN SONGS FOR THE TEPONAZTLI._ + +_Tico, tico, toco, toto, auh ic ontlantiuh cuicatl, tiqui, ti ti, +tito, titi._ + +_Tico, tico, toco, toto, and as the song approaches the end, tiqui, +titi, tito, titi._ + +1. Tollan aya huapalcalli manca, nozan in mamani coatlaquetzalli +yaqui yacauhtehuac Nacxitl Topiltzin, onquiquiztica ye choquililo in +topilhuan ahuay yeyauh in polihuitiuh nechcan Tlapallan ho ay. + +1. At Tollan there stood the house of beams, there yet stands the +house of plumed serpents left by Nacxitl Topiltzin; going forth +weeping, our nobles went to where he was to perish, down there at +Tlapallan. + +2. Nechcayan Cholollan oncan tonquizaya Poyauhtecatitlan, in +quiyapanhuiya y Acallan anquiquiztica ye choquililon ye. + +2. We went forth from Cholula by way of Poyauhtecatl, and ye went +forth weeping down by the water toward Acallan. + +3. Nonohualco ye nihuitz ye nihui quecholi nimamaliteuctla, +nicnotlamatia oyah quin noteuc ye ihuitimali, nechya icnocauhya +nimatlac xochitl, ayao ayao o ayya y yao ay. + +3. I come from Nonohualco as if I carried quechol birds to the place +of the nobles; I grieve that my lord has gone, garlanded with +feathers; I am wretched like the last flower. + +4. In tepetl huitomica niyaychocaya, axaliqueuhca nicnotlamatiya o +yaquin noteuc (etc. as v. 3). + +4. With the falling down of mountains I wept, with the lifting up of +sands I was wretched, that my lord had gone. + +5. In Tlapallan aya mochieloca monahuatiloca ye cochiztla o anca ca +zanio ayao, ayao, ayao. + +5. At Tlapallan he was waited for, it was commanded that there he +should sleep, thus being alone. + +6. Zan tiyaolinca ye noteuc ic ihuitimali, tinahuatiloya ye Xicalanco +o anca zacanco. + +6. In our battles my lord was garlanded with feathers; we were +commanded to go alone to Xicalanco. + +7. Ay yanco ay yanco ayamo aya ayhuiya ayanco ayyanco ayamo aye +ahuiya que ye mamaniz mocha moquiapana, oquen ye mamaniz +moteuccallatic ya icnocauhqui nican Tollan Nonohualco ya y ya y ya o +ay. + +7. Alas! and alas! who will be in thy house to attire thee? Who will +be the ruler in thy house, left desolate here in Tollan, in +Nonohualco? + +8. In ye quinti chocaya teuctlon, timalon que ye mamaniz mochan (etc. +as v. 7). + +8. After he was drunk, the ruler wept; we glorified ourselves to be +in thy dwelling. + +9. In tetl, in quahuitl o on timicuilotehuac nachcan Tollan y inon +can in otontlatoco Naxitl Topiltzin y aye polihuiz ye motoca ye ic ye +chocaz in momacehual ay yo. + +9. Misfortune and misery were written against us there in Tollan, +that our leader Nacxitl Topiltzin was to be destroyed and thy +subjects made to weep. + +10. Zan can xiuhcalliya cohuacallaya in oticmatehuac nachcan Tollan y +inon can yn otontlatoco Naxitl Topiltzin (etc. as in v. 9). + +10. We have left the turquoise houses, the serpent houses there in +Tollan, where ruled our leader Nacxitl Topiltzin. + + +XIX. + +_Tico toco toco ti quiti quiti quiti quito; can ic mocneptiuh._ + +_Tico, toco, toco, tiquiti, quiti, quiti, quito; where it is to turn +back again._ + +1. Tlapapal xochiceutli niyolaya nepapan tonacan xochitl moyahuaya +oncueponti moquetzaco ya naya aya ye teo ya ixpan tonaa Santa Maria +ayyo. + +1. Resting amid parti-colored flowers I rejoiced; the many shining +flowers came forth, blossomed, burst forth in honor of our mother +Holy Mary. + +2. An ya ya cuicaya zan quetzala xihuitl tomolihui yan aya ye +nitlachihual icelteotl y ye Dios aya ni itlayocolaoya yecoc ya. + +2. They sang as the beauteous season grew, that I am but a creature +of the one only God, a work of his hands that he has made. + +3. Zan ca tlaauilolpan nemia moyollo amoxpetlatl ipan toncuicaya +tiquimonyaitotia teteuctin aya in obispo ya zan ca totatzin aya oncan +titlatoa atlitempan ay yo. + +3. Mayst thy soul walk in the light, mayst thou sing in the great +book, mayst thou join the dance of the rulers as our father the +bishop speaks in the great temple. + +4. Yehuan Dios mitzyocox aya xochitla ya mitztlacatilo yancuicatl +mitzicuiloa Santa Maria in obispo ya. + +4. God created thee, he caused thee to be born in a flowery place, +and this new song to Holy Mary the bishop wrote for thee. + + +XX. + +1. Tolteca icuilihuia ahaa ya ha on tlantoc amoxtli ya moyollo ya on +aya mochonaciticac o o Toltecayootl aic aya ninemiz ye nican ay yo. + +1. The Toltecs have been taken, alas, the book of their souls has +come to an end, alas, everything of the Toltecs has reached its +conclusion, no longer do I care to live here. + +2. Ac ya nechcuiliz, ac ye nohuan oyaz o, nicaz a anni icuihuan aya y +yancuicanitl y yehetl y noxochiuh non cuica ihuitequi onteixpan ayyo. + +2. Who will take me? Who will go with me? I am ready to be taken, +alas. All that was fresh, the perfume, my flowers, my songs, have +gone along with them. + +3. Huey in tetl nictequintomahuac quahuitl, nicicuiloa yancuicatl +itech aya oncan nomitoz in quemmanian in can niyaz nocuica machio +nicyacauhtiaz in tlalticpac, y onnemiz noyol zan ca ye nican ya +hualla y yancoya nolnamicoca nemiz ye noteyo ay yo. + +3. Great is my affliction, weighty is my burden; I write out a new +song concerning it, that some time I may speak it there where I shall +go, a song to be known when I shall leave the earth, that my soul +shall live after I have gone from here, that my fame shall live fresh +in memory. + +4. Nichocaya niquittoaya nicnotza noyollo ma niquitta cuicanelhuayotl +ayama nicyatlalaquiya ma ya ica tlalticpac quimman mochihua onnenemiz +noyol y. Zan ca teucxochitl ahuiaca ipotocaticac mocepanoayan +toxochiuh ay ye ayao ohuiy on can quiya itzmolini ye nocuic celia +notlatollaquillo ohua in toxochiuh icac iquiapani ayao. + +4. I cried aloud, I looked about, I reflected how I might see the +root of song, that I might plant it here on the earth, and that then +it should make my soul to live. The sweet exhalations of the lovely +flowers rose up uniting with our flowers; one hears them growing as +my song buds forth, filled with my words our flowers stand upright in +the waters. + +5. Tel ca cahua xochitl ahuiac xeliuhtihuitz a ipotocaya in ahuiyac +poyomatlin pixahua oncan ninenenemi nicuicanitl y ye aya o ohui y on +ca quiya itzmolinï ye nocuic celia, etc. + +5. But the flowers depart, their sweetness is divided and exhales, +the fragrant poyomatl rains down its leaves where I the poet walk in +sadness; one hears them growing, etc. + + +XXI. + +_HUEXOTZINCAYOTL._ + +_A SONG OF THE HUEXOTZINCOS,_ + +_Viniendo los de Huexotzinco à pedir socorro à Moteuczoma Tlaxcalla._ + +_Coming to Ask Aid of Montezuma Against Tlaxcalla._ + +1. Tlacuiloltzetzeliuhticac moyoliol tiMoteuczom[=a]tzi +nichuicatihuitz nictzetzelotihuitz y o huetzcani +xochinquetzalpapalotl moquetzalizouhtihuitz noconitotia +chalchiuhatlaquiquizcopa niyahueloncuica chalchiuhhuilacapitzli +nicteocuitlapitza ya ho ay la ya o haye ohuichile amiyacale. + +1. Raining down writings for thy mind, O Montezuma, I come hither, I +come raining them down, a very jester, a painted butterfly; stringing +together pretty objects, I seem to be as one cementing together +precious stones, as I chant my song on my emerald flute, as I blow on +my golden flute, ya ho, ay la, etc. + +2. Ohuaya ye onniceelehuia moxochiuh aya ipalnemoani yehuay[=a] Dios +aya ilihu[=a]ca nahuiche nictzetzeloaya noncuicatilo yaha y. + +2. Yes, I shall cause thy flowers to rejoice the Giver of Life, the +God in heaven, as hither I come raining down my songs, ya ho. + +3. Tozmilini xochitl in noyolyol ay yahue tozmilini xochitl noteponaz +ayanco ayancayome oncana y yahue nicxochiamoxtozimmanaya itlatol +ayanco ayanca yomeho. + +3. A sweet voiced flower is my mind, a sweet voiced flower is my +drum, and I sing the words of this flowery book. + +4. Xompaqui xonahuia annochipanicantiyazque ye ichano +nohueyetzinteuctli Moteuczomatzi, totlaneuh tlpc totlaneuh uelic +xochitl o ayanco. + +4. Rejoice and be glad ye who live amid the flowers in the house of +my great lord Montezuma, we must finish with this earth, we must +finish with the sweet flowers, alas. + +5. Tlachinoltepec yn ahuicacopa tixochitonameyo timoquetzaco y yehuan +Dios a ocelozacatl ypan quauhtli choca ymopopoyauhtoc y yanco y liyan +cay yahue ayli y yacalco y ya y ycho zaca y yahue. + +5. At the Mount of Battle we bring forth our sweet and glittering +flowers before God, plants having the lustre of the tiger, like the +cry of the eagle, leaving glorious memory, such are the plants in +this house. + +6. Ohuaya yehe nipa tlantinemia ixpan Dios a +ninozozohuayatlauhquechol, zaquan quetzal in tlayahualol papalotl +mopilihuitzetzeloa teixpana xochiatlaquiquizcopa oh tlatoca ye nocuic +y yanco ili, etc. + +6. Alas! in a little while there is an end before God to all living; +let me therefore string together beauteous and yellow feathers, and +mingling them with the dancing butterflies rain them down before you, +scattering the words of my song like water dashed from flowers. + +7. Nehcoya ompa ye nihuithuiya xoxouhqui hueyatla ymancan zanniman +olini pozoni tetecuica ic nipa tlania, zan iquetzal in tototl +xiuhquechol tototl no chiuhtihuitz'y ni yahuinac ya Huexotzinco +Atzalan ayome. + +7. I would that I could go there where lies the great blue water +surging, and smoking and thundering, till after a time it retires +again: I shall sing as the quetzal, the blue quechol, when I go back +to Huexotzinco among the waters (_or_, and Atzalan). + +8. Zan niquintocaz aya niquimiximatitiuh nohueyotzitzinhuan +chalchiuhquechol y canca xiuhquechol in teocuitlapapalotl in +cozcatototl ontlapia ye onca Huexotzinco Atzalan ayame; + +8. I shall follow them, I shall know them, my beloved Huexotzincos; +the emerald quechol birds, the green quechol, the golden butterflies, +and yellow birds, guard Huexotzinco among the waters (_or_, and +Atzalan). + +9. Xochi Atzalaan teocuitlaatl chalchiuhatl y nepaniuhyan itlatoaya +in quetzalcanauhtli quetzalnocuitlapilli cuecueyahuaya yliya yliya +yaho ayli yaho aye huichile anicale. + +9. Among the flowery waters, the golden waters, the emerald waters, +at the junction of the waters which the blue duck rules moving her +spangled tail. + +10. Huecapan nicac nicuicanitl huiya zaquan petlatolini, ma nica +yeninemia nicyeyectian cuicatla in nic xochiotia yayaho yahii. + +10. I the singer stand on high on the yellow rushes; let me go forth +with noble songs and laden with flowers. + + +XXII. + +_Tico tico ticoti tico tico ticoti auh ic ontlantiuk in cuicatl +totoco totoco._ + +_Tico, tico, ticoti, tico, tico, ticoti, and then the song ends with +totoco, totoco._ + +1. Xichocayan nicuicanitl nicitta noxochiuh zan nomac ommania zan +quihuintia ye noyollo ni cuicatl aya nohuian nemia, zan ca ye noyollo +notlayocola in cayo. + +1. In the place of tears I the singer watch my flowers; they are in +my hand; they intoxicate my soul and my song, as I walk alone with +them, with my sad soul among them. + +2. Xiuhtlamatelolla quetzalchalchiuhtla ipan ye nicmatia nocuic aya +ma yectlaxochitl y, zan nomac ton mania, etc. + +2. In this spot, where the herbage is like sweet ointment and green +as the turquoise and emerald, I think upon my song, holding the +beauteous flowers in my hand, etc. (as in v. 1). + +3. In quetzalin chalchiuhtla ipan ye nicmatia yectli ye nocuic yectli +noxochiuh annicuihuan tepilhuan aya xonahuiacan a ayac onnemiz o in +tlalticpac ayo. + +3. In this spot of turquoise and emerald, I think upon beauteous +songs, beauteous flowers; let us rejoice now, dear friends and +children, for life is not long upon earth. + +4. O an niquitquiz ye niaz yectli nocuic yectli noxochiuhui +annicuihuan tepilhuan aya. + +4. I shall hasten forth, I shall go to the sweet songs, the sweet +flowers, dear friends and children. + +5. O huayanco o nichocaya a huayanco o cahua y yahue nictzetzelo +xochitl ay yo. + +5. O he! I cried aloud; O he! I rained down flowers as I left. + +6. Mach nohuan tonyaz quennonamica o ah nicitquiz xochitl zan +nicuicanitl huiya ma yo a xonahuiyacan to ya nemia ticaqui ye nocuic +ahuaya. + +6. Let us go forth anywhere; I the singer shall find and bring forth +the flowers; let us be glad while we live; listen to my song. + +7. Ay ca nichocaya nicuicanitl ya icha ahuicaloyan cuicatl ha Mictlan +temohuiloya yectliya xochitl onca ya oncaa y yao ohuayan ca ya ilaca +tziuhan ca na y yo. + +7. I the poet cry out a song for a place of joy, a glorious song +which descends to Mictlan, and there turns about and comes forth +again. + +8. Amo nequimilool amo neccuiltonol antepilhuan aychaa ohuicaloyan +cuicatl. + +8. I seek neither vestment nor riches, O children, but a song for a +place of joy. + + +XXIII. + +_YCUIC NEZAHUALCOYOTZIN._ + +_SONGS OF THE PRINCE NEZAHUALCOYOTL._ + +_Totoco totoco tico, totoco totoco ic ontlantiuh tico titico ti tico +tico._ + +_Totoco, totoco, tico, totoco totoco, then it ends with tico titico, +titico, tico._ + +1. Nicaya quetza con tohuehueuh aoniquimitotia quauhtlocelo yn ca +tiyayhcac in cuicaxochitl, nictemoan cuicatl ye tonequimilol ayyo. + +1. I bring forth our drum that I may show the power and the grandeur +in which thou standest, decked with flowers of song: I seek a song +wherewith to drape thee, ah! oh! + +2. Ti Nopiltzi o ti Nezahualcoyotl o tiya Mictl a quenonamica y yece +miyoncan ay yo. + +2. Thou, my Lord, O thou Nezahualcoyotl, thou goest to Mictlan in +some manner and at a fixed time, ere long. + +3. Quiyon quiyon caya nichocaya ya ni Nezahualcoyotl huiya queni yeno +yaz o ya nipolihuiz oya miquitla ye nimitzcahua noteouh ypalnemo o +tinechnahuatia ye niaz nipolihuiz aya, yo. + +3. For this, for this, I weep, I Nezahualcoyotl, inasmuch as I am to +go, I am to be lost in death, I must leave thee; my God, the Giver of +Life, thou commandest me, that I go forth, that I be lost, alas. + +4. Quenon maniz tlallin Acolihuacan huiya cuixoca quen mano o +ticmomoyahuaz in momacehuali ye nimitzcahua noteouh, etc. + +4. How shall the land of Acolhuacan remain, alas? How shall we, thy +servants, spread abroad its fame? I must leave thee; my God, etc. + +5. Can yio cuicatli tonequimilol quipoloaya a in totlacuiloli +tepilhuan oo maya o huitihua nican aya ayac ichan tlalticpac oo +ticyacencahuazque huelic ye xochitl ayio. + +5. Even this song for thy draping may perish, which we have written +for our children, it will no longer have a home here on earth when we +shall wholly leave these fragrant flowers. + +6. O ayac quitlamitaz monecuiltonol ypalnemoa a noyolquimati +cuelachic otictlanehuico Nezahualcoyotzin ay oppatihua nican anaya y +chan tlpc. Oon yn ay oppatihua in tlalticpacqui, zan nicuicanitl +ayaho onnichocaya niquelnamiqui Nezahualcoyotl aya ho. + +6. Alas! thy riches shall end; the Giver of Life teaches me that but +for a little while do we enjoy the prince Nezahualcoyotl, nor a +second time will he come to his house on earth; no second time will +he rejoice on earth; but I the singer grieve, recalling to memory +Nezahualcoyotl. + +7. Xo acico ye nican in teotl aya ypalnemoa, ayaho on nichocaya a +niquelnamiqui Nezalhuacoyotl ayio. + +7. Let us seek while here the god, the Giver of Life; I grieve, +recalling to memory Nezahualcoyotl. + + +XXIV. + +_Quititi, quititi, quiti tocoto, tocoti tocoto tocoti zan ic +mocueptiuh._ + +_Quititi, quititi, quiti tocoto, tocoti, tocoto, tocoti, then it is +to turn back again._ + +1. Ma xochicuicoya ma ichtoa nichuana ayyahue teyhuinti xochitl ao ya +noyehcoc ye nica poyoma xahuallan timaliuhtihuitz ay yo. + +1. Let me pluck flowers, let me see them, let me gather the really +intoxicating flowers; the flowers are ready, many colored, varied in +hue, for our enjoyment. + +2. Ma xochitl oyecoc ye nican ayyahuc can tlaahuixochitla moyahuaya +motzetzeloa ancazo yehuatl in nepapaxochitl ayyo. Zan commoni +huchuetl ma ya netotilo. + +2. The flowers are ready here in this retired spot, this spot of +fragrant flowers, many sorts of flowers are poured down and scattered +about; let the drum be ready for the dance. + +3. Yn quetzal poyomatl ayc ihcuilihuic noyol nicuicanitl in xochitl +ayan tzetzelihui ya ancuel ni cuiya ma xonahuacan ayio zan noyolitic +ontlapanion cuicaxochitl nicyamoyahuaya yxoochitla. + +3. I the singer take and pour down before you from my soul the +beautiful poyomatl, not to be painted, and other flowers; let us +rejoice, while I alone within my soul disclose the songs of flowers, +and scatter them abroad in the place of flowers. + +4. Cuicatl ya ninoquinilotehuaz in quemmanian xochineneliuhtiaz +noyollo yehuan tepilhuan oonteteuctin in ca yio. + +4. I shall leave my songs in order that sometime I may mingle the +flowers of my heart with the children and the nobles. + +5. Zan ye ic nichoca in quemanian zan nicaya ihtoa noxochiteyo +nocuicatoca nictlalitehuaz in quemanian xochineneliuhtiaz, etc. + +5. I weep sometimes as I see that I must leave the earth and my +flowers and songs, that sometime these flowers will be vain and +useless. + + +XXV. + +_Tico toco tocoto ic ontlantiuh ticoto ticoto._ + +_Tico, toco, tocoto, and then it ends, ticoto, ticoto._ + +1. Toztliyan quechol nipa tlantinemia in tlallaicpac oquihuinti ye +noyol ahua y ya i. + +1. The sweet voiced quechol there, ruling the earth, has intoxicated +my soul. + +2. Ni quetzaltototl niyecoya ye iquiapan ycelteotl yxochiticpac +nihueloncuica oo nicuicaihtoa paqui ye noyol ahuay. + +2. I am like the quetzal bird, I am created in the house of the one +only God; I sing sweet songs among the flowers; I chant songs and +rejoice in my heart. + +3. Xochiatl in pozontimania in tlallaicpac oquihuinti ye noyol ahua. + +3. The fuming dew-drops from the flowers in the field intoxicate my +soul. + +4. Ninochoquilia niquinotlamati ayac in chan oo tlallicpac ahua. + +4. I grieve to myself that ever this dwelling on earth should end. + +5. Zan niquittoaya ye ni Mexicatl mani ya huiya nohtlatoca +tequantepec ni yahui polihuin chittepehua a ya ye choca in +tequantepehua o huaye. + +5. I foresaw, being a Mexican, that our rule began to be destroyed, I +went forth weeping that it was to bow down and be destroyed. + +6. Ma ca qualania nohueyotehua Mexicatli polihui chile. + +6. Let me not be angry that the grandeur of Mexico is to be +destroyed. + +7. Citlalin in popocaya ipan ye moteca y za ye polihui a zan ye +xochitecatl ohuaye. + +7. The smoking stars gather together against it; the one who cares +for flowers is about to be destroyed. + +8. Zan ye chocaya amaxtecatl aya caye chocaya tequantepehua. + +8. He who cared for books wept, he wept for the beginning of the +destruction. + + +XXVI. + +_Toto tiquiti tiquiti ic ontlantiuh tocotico tocoti toto titiqui toto +titiquiti._ + +_Toto tiquiti tiquiti, then it ends tocotico, tocoti toto titiqui +toto titiquiti._ + +1. Oya moquetz huel oon ma on netotilo teteuctin aya ma +onnetlanehuihuilo chalchihuitl on quetzali patlahuac, ayac ichan +tlalticpac, ayio zan nomac onmania ooo y xochiuh aya ipalnemoa ma +onnetlanehuilo chalchihuitl. + +1. Come forth to the dance, ye lords, let there be abundance of +turquoise and feathers; our dwelling on earth is not for long; only +let the gods give me flowers to my hand, give me abundance of +turquoises. + +2. Oyohual in colinia o on in icelteotl ipalnemaa Anahuac o onnemia +noyol ayio. + +2. Come let us move in the dance in honor of the one only god, the +Giver of Life, while my soul lives by the waters (_or_, in Anahuac). + +3. In yancuica oncan quixima ipalnemoani ca ye Nonoalco ahuilizapan i +in teuctli yehua Nezahualpilli y yece ye oncan aya in tlacoch +tenanpan Atlixco ayio. + +3. The Giver of Life made known a new song after the lord +Nezahualpilli entered the strongholds of Nonoalco and sped his arrows +within the walls of Atlixco. + +4. Zan momac otitemic motlahuan zomal a ica ticahuiltia icelteotl in +teuctli yehua. + +4. Thou hast filled thy plate and thy cup in thy hands and hast +rejoiced in the one only God, the Lord. + +5. Y yeho aye icnotlamati +noyollo, zan niNonoalcatl, zan can nicolintototl o nocamapan aya +Mexicatl in ca yio. + +5. Alas, how I am afflicted in my soul, I, a resident of Nonoalco; I +am like a wild bird, my face is that of a Mexican. + +6. On quetzal pipixauhtoc motlachinolxochiuh in ipalnemoa zan ca +nicolintototl, etc. + +6. The beauteous flowers of thy battles lie abundantly snowed down, O +Giver of Life; I am like a wild bird, etc. + + +XXVII. + +_Toco toco tiqui tiqui ic ontlantiuh toco tico tocoti._ + +_Toco, toco, tiqui, tiqui, and then it ends toco, tico, tocoli._ + +1. Ma ya pehualo ya nicuihua in ma ya on acico ye nicaan aya oya +y[)e]coc yehuan Dios in cayio in ma ya ca ya onahuilihuan tepilhuan a +ayamo acico ya yehuan Dios oncan titemoc yehuan Dios a oncan huel in +oncan tlacat y ye Yesu Cristo in ca yio. + +1. Let my song be begun, let it spread abroad from here as far as God +has created; may the children be glad, may it reach to God, there to +God whom we seek, there where is Jesus Christ who was born. + +2. In oncan tlahuizcalli milintimani mochan aya moxochiuhaya Dios aya +chalchiuhcueponi maquiztzetzelihui onnetlamachtiloya in ca yio in +oncan ya o nepapan izhuayo moxochiuh aya Dios a. + +2. There the dawn spreads widely over the fields, over thy house, and +thy flowers, O God, blossom beauteous as emeralds; they rain down in +wondrous showers, in that place of happiness; there alone may my +flowers, of various leaves, be found, O God. + +3. Zan ye xochitl moyahua oo zan ca itlatol in ipalnemoani o ontepan +ye moteca anahuac ooica tichuelmana atl on yan tepetl ayio. + +3. There the flowers are the words of the Giver of Life; they are +upon the mountains and by the waters; we find them alike by the water +and the mountain. + +4. Zan temomac mania cemilhuitl in niman ye tehuatl toconyaittoaya +ipalnemoani. + +4. Our day is in thy hand, and soon we shall see thee, thou Giver of +Life. + + + + +NOTES. + + +NOTES FOR SONG I. + +The song is an allegory, portraying the soul-life of the poet. By the +flowers which he sets forth to seek, we are to understand the songs +which he desires to compose. He asks himself where the poetic +inspiration is to be sought, and the answer is the same as was given +by Wordsworth, that it is to the grand and beautiful scenes of Nature +that the poet must turn for the elevation of soul which will lift him +to the sublimest heights of his art. But this exaltation bears with +it the heavy penalty that it disqualifies for ordinary joys. As in +medieval tales, he who had once been admitted to fairyland, could +nevermore conquer his longing to return thither, so the poet longs +for some other condition of existence where the divine spirit of song +may forever lift him above the trials and the littleness of this +earthly life. + +There is no sign of Christian influence in the poem, and it is +probably one handed down from a generation anterior to the Conquest. + +1. The word _peuhcayotl_ from _peua_, to begin, intimates that this +was a song chanted at the beginning of a musical entertainment. The +verses are longer, and the phraseology plainer than in many of those +following. There is also an absence of interjections and lengthened +vowels, all of which indicate that the time was slow, and the actions +of the singer temperate, as was the custom at the beginning of a +_baile_. (See Introd., p. 20.) + +1. _Ninoyolnonotza_, a reflexive, frequentative form from _notza_, to +think, to reflect, itself from the primitive radicle _no_, mind, +common to both the Nahuatl and Maya languages. The syllable _yol_ is +for _yollotl_, heart, in its figurative sense of soul or mind. The +combination of _yolnonotza_ is not found in any of the dictionaries. +The full sense is, "I am thinking by myself, in my heart." + +_ahuiaca_, an adverbial form, usually means "pleasant-smelling," +though in derivation it is from the verb _ahuia_, to be satisfied +with. + +_quetzal_, for _quetzalli_, a long, handsome blue feather from the +quetzal bird, often used figuratively for anything beautiful or +precious. + +_chalchiuh_ for _chalchiuitl_, the famous green-stone, jade or +emerald, so highly prized by the Mexicans; often used figuratively +for anything noble, beautiful and esteemed. + +_huitzitzicatin_, a word not found in the dictionaries, appears to be +from _tzitzilca_, to tremble, usually from cold, but here applied to +the tremulous motion of the humming bird as it hovers over a flower. + +_zacuan_, the yellow plumage of the zacuan bird, and from similarity +of color here applied to the butterfly. The zacuan is known to +ornithologists as the _Oriolus dominicensis_. These birds are +remarkably gregarious, sometimes as many as a hundred nests being +found in one tree (see Eduard Mühlenpfort, _Versuch einer getreuen +Schilderung der Republik Mexiko_, Bd. I, p. 183). + +_acxoyatzinitzcanquauhtla_; composed of _acxoyatl_, the wild laurel; +_tzinitzcan_, the native name of the _Trogon mexicanus_, renowned for +its beautiful plumage; _quauhtli_, a tree; and the place-ending +_tla_, meaning abundance. + +_tlauquecholxochiquauhtla_; composed of _tlauquechol_, the native +name of the red, spoon-billed heron, _Platalea ajaja; xochitl_, +flower; _quauhtli_, tree; and the place-ending _tla_. + +_tonameyotoc_, the root is the verb _tona_, to shine, to be warm; +_tonatiuh_, the sun; _tonameyotl_, a ray of the sun, etc. As warmth +and sunlight are the conditions of growth and fertility, many +derivatives from this root signify abundance, riches, etc. + +_mocehcemelquixtia_; _mo_ is the reflexive pronoun, 3d sing., often +used impersonally; _cehcemel_, is a reduplicated form of the numeral +_ce_, one; it conveys the sense of entire, whole, perfect, and is +thus an interesting illustration of the tendency of the untutored +mind to associate the idea of unity with the notion of perfection; +_quixtia_ is the compulsive form of _quiza_, to go forth. + +_onechittitique_; 3d person plural, preterit, of the causative form +of _itta_, to see; _ittitia_, to cause to see, to show; _nech_, me, +accusative form of the pronoun. + +_nocuexanco_; from _cuexantli_, the loose gown worn by the natives, +extending from the waist to the knees. Articles were carried in it as +in an apron; _no-cuexan-co_, my-gown-in, the terminal _tli_ being +dropped on suffixing the postposition. + +_tepilhuan_; from _pilli_, boy, girl, child, young person, with the +relative, indefinite, pronominal prefix _te_, and the pronominal +plural termination _huan_, to take which, _pilli_ drops its last +syllable, _li_; hence, _te-pil-huan_, somebody's children, or in +general, the young people. This word is of constant occurrence in the +songs. + +_teteuctin_, plural with reduplication of _teuctli_, a noble, a +ruler, a lord. The singer addresses his audience by this respectful +title. + +2. _ixochicuicatzini_; _i_, poss. pron. 3d sing.; _xochitl_, flower; +_cuicatl_, song; _tzin_, termination signifying reverence or +affection; "their dear flower-songs." + +_yuhqui tepetl_, etc. The echo in the Nahuatl tongue is called +_tepeyolotl_, the heart or soul of the mountain (not in Simeon's +_Dictionnaire_, but given by Tezozomoc, _Cronica Mexicana_, p. 202). + +_meyaquetzalatl_; from _meya_, to flow slowly, to trickle; +_quetzalli_, beautiful; _atl_, water. + +_xiuhtotoameyalli_; the root _xiuh_ meant originally green (or blue, +as they were not distinguished apart); hence _xiuitl_, a leaf or +plant, the green herbage; as where the Nahuas then were this was +renewed annually, _xiuitl_ came to mean a year; as a comet seems to +have a bunch of fiery flames growing from it, this too was _xiuitl_, +and a turquoise was called by the same term; in the present compound, +it is employed adjectively; _xiuh-totol_, turquoise-bird, is the +_Guiaca cerulea_, Linn.; _ameyalli_, from _atl_, water, _meya_, to +trickle, and the noun ending. + +_mo-motla_; to throw one's self, to dash one's self against +something, etc. + +_centzontlatolli_; literally," four hundred speeches." The numeral +four hundred was employed, like the Greek "myriad," to express +vaguely any extraordinary number. The term may be rendered "the +myriad-voiced," and was the common name of the mocking-bird, called +by ornithologists _Turdus polyglottus_, _Calandria polyglotta_, and +_Mimus polyglotta_. + +_coyoltototl_, literally, "the rattle-bird," so called from its +peculiar notes (_coyolli_ = a rattle), is one of the _Tanegridae_, +probably the _Piranga hepatica_. + +_ayacachicahuactimani_; composed of _ayacachtli_, the rattle (see +_ante_, page 24); and _icahuaca_, to sing (of birds); to the theme of +this verb is added the connective syllable _ti_, and the verb _mani_, +which, in such connection, indicates that the action of the former +verb is expended over a large surface, broadly and widely (see Olmos, +_Gram. de la Langue Nahuatl_, p. 155, where, however, the connective +_ti_ is erroneously taken for the pronoun _ti_). + +_hueltetozcatemique_; composed of _huel_, good or well; _tetozca_, +from _tozquitl_, the singing voice; and _temo_, to let fall, to drop; +_que_ is the plural verbal termination. + +3. _ma n-amech-ellelti_, vetative causative from _elleloa_, to cause +pain. + +_cactimotlalique_, appears to be a compound of _caqui_, to listen, to +hear, and _tlalia_, to seat, to place. + +_amohuampotzitzinhuan_, a compound based on the pronoun of the second +person plural, _amo_, the particle _po_, which means similarity or +likeness, and the reduplicated reverential plural termination. The +same particle _po_, appears a few lines later in _toquichpohuan_; +_potli_ = comrade, compeer. + +4. _Tepeitic_, from _tepetl_, mountain, _ititl_, belly, from which is +derived the proposition _itic_, within, among. The term is applied to +a ravine or sequestered valley. + +5. _quauhtliya ocelotl_, the expression _quauhtli, ocelotl_, is of +frequent occurrence in the ancient Nahuatl writers. The words mean +literally "eagle, tiger." These were military titles applied to +officers commanding small bodies of troops; figuratively, the words +mean control, power, and dignity; also, bravery and virtue. Comp. +Agustin de Vetancurt, _Teatro Mexicano_, Tratado II, cap. 3. + +6. _in tloque in nahuaque_; this expression, applied by the ancient +Nahuas to the highest divinity, is attributed by some to +Nezahualcoyotl (see above, p. 36). It is composed of two +postpositions _tloc_ and _nahaac_, and in the form given conveys the +meaning "to whom are present and in whom are immanent all things +having life." See Agustin de la Rosa, _Analisis de la Platica +Mexicana sobre el Mislerio de la Santisima Trinidad_, p. 11 +(Guadalajara, 1871). The epithet was applied in heathen times to the +supreme divinity Tonacateotl; see the _Codex Telleriano-Remensis_, in +Kingsborough's _Mexico_, Vol. VI, p. 107. + +8. _ximoayan_; this word does not appear in the dictionaries of +Molina or Simeon, and is a proof, as is the sentiment of the whole +verse, that the present poem belongs to a period previous to the +Conquest. The term means "where all go to stay," and was the name of +the principal realm of departed souls in the mythology of the ancient +Nahuas. See Bartholome de Alva, _Confessionario en Lengua Mexicana_, +fol. 13 (Mexico, 1634); Tezozomoc, _Cronica Mexicana_, cap. 55; D.G. +Brinton; _The Journey of the Soul_ (in Aztec and Aryan Myths), +Philadelphia, 1883. + +_yhuintia_, causative form of _ihuinti_, to make drunk. The Nirvana +of the Nahuas was for the soul to lie in dense smoke and darkness, +filled with utter content, and free from all impressions ("en lo +profundo de contento y obscuridad," Tezozomoc, _Cronica Mexicana_, +cap. 55). + + +NOTES FOR SONG II. + +On the signification of the titles given to this poem see the +Introduction, § 3. + +1. _yehnan Dios_; literally "who are God;" the introduction of the +Spanish _Dios_, God, is in explanation of _in tloque in nahuaque_; so +far from proving that this song is of late date, this vouches for its +genuine ancient character, through the necessity for such +explanation. + +2. _nelhuayotl_, the essence or source of something, its true nature; +probably from _nelli_, true. + +_teoquecholme_; the prefix _teotl_, divine, is often added as an +expression of admiration. Sahagun mentions the _teoquechol_ as a bird +of brilliant plumage. + + +NOTES FOR SONG III. + +The poet recalls a recent attendance on the obsequies of an +acquaintance, and seeks to divert his mind from the gloomy +contemplation of death and the ephemeral character of mortal joys by +urging his friend to join in the pleasure of the hour, and by +suggesting the probability of an after life. + +1. _xochicalco_; compounded of _xochitl_, flower; _calli_, house; and +the postposition, _co_. The term was applied to any room decorated +with flowers; here, to the mortuary chamber, which Tezozomoc tells us +was decked with roses and brilliant feathers. + +_ipalnemohuani_, literally "the one by whom life exists." The +composition is _i_, possessive pronoun, third person, singular; +_pal_, postposition, by; _nemoani_, singular of the present in _ni_ +of the impersonal form of the verb _nemi_, to live, with the meaning +to do habitually that which the verb expresses. It is an ancient +epithet applied to the highest divinity, and is found in the _Codex +Telleriano-Remensis_, Kingsborough's _Mexico_, Vol. VI, p. 128, note. + +_tolquatectitlan_, from _toloa_, to lower, to bow; _quatequia_, to +immerse the head; _tlan_, place ending. In the ancient funeral +ceremonies the faces of the assistants were laved with holy water. On +this rite see the note of Orozco y Berra to his edition of the +_Cronica Mexicana_ of Tezozomoc, p. 435 (Mexico, 1878). + +_xoyacaltitlan_; from _xoyaui_, to spoil, to decay, whence +_xoyauhqui_, rank, unpleasant, like the odor of decaying substances. + +_xochicopal tlenamactli_, "the incense of sweet copal," which was +burned in the funeral chamber (see Tezozomoc's description of the +obsequies of Axayaca, _Cron. Mex._, cap. 55). + +2. The translation of this verse offers some special difficulties. + + +NOTES FOR SONG IV. + +A poem of unusually rich metaphors is presented, with the title "A +Song of the Mexicans, after the manner of the Otomis." It is a +rhapsody, in which the bard sings his "faculty divine," and describes +the intoxication of the poetic inspiration. It has every inherent +mark of antiquity, and its thought is free from any tincture of +European influence. + +2. _miahuatototl_, literally, "the corn-silk bird," _miahua_ being +the term applied to the silk or tassel of the maize ear when in the +milk. I have not found its scientific designation. + +6. _poyomatl_; the poyomatli is described by Sahagun (_Hist. de la +Nueva España_, Lib. X, cap. 24) as a species of rose, portions of +which were used to fill the cane tubes or pipes used for smoking. He +names it along with certain fungi employed for the same purpose, and +it probably produced a narcotic effect. + + +NOTES FOR SONG V. + +From the wording, this appears to be one of the lost songs of +Nezahualcoyotl, either composed by him or sung before him. (See the +Introduction, p. 35.) It is a funeral dirge, dwelling on the fact of +universal and inevitable death, and the transitoriness of life. There +is in it no hint of Christian consolation, no comfortable hope of +happiness beyond the grave. Hence it dates, in all likelihood, from a +period anterior to the arrival of the missionaries. + +1. _tonequimilol_; I take this to be a derivative from _quimiloa_, to +wrap up, especially, to shroud the dead, to wrap the corpse in its +winding sheets, as was the custom of the ancient Mexicans. The word, +however, seems an archaic form, as it does not lend itself readily to +analysis. + +The expression _in Dios_, I explain as in the note to II, 1, and do +not consider that it detracts from the authentic antiquity of the +poem. + +2. _yoyontzin_; on the significance of this appellation of +Nezahualcoyotl, see Introduction, p. 35. + +3. _ti Nezahualcoyotl_; "thou Nezahualcoyotl." The princely poet may +have addressed himself in this expression, or we may suppose the song +was chanted before him. + +5. _Nopiltzin_; the reference is to Quetzalcoatl, the famous "fair +God" of the Nahuas, and in myth, the last ruler of the Toltecs. See +D.G. Brinton, _American Hero Myths_ (Philadelphia, 1882). The term +means "my beloved Lord." On Tezozomoc, see Introduction, p. 35. + +6. The text of the latter part or refrain of verses 5 and 6 is +corrupt, and my translation is doubtful. + + +NOTES FOR SONG VI. + +Most of the poems in this collection are not assigned to any author, +but this, and apparently the one following, are recorded as the +compositions of Tetlapan Quetzanitzin. He is evidently the personage +spoken of by Sahagun as "King of Tlacopan," as present with Montezuma +on the occasion of his first interview with Cortez. Later in the +struggle Tetlapan appears as the associate of Quauhtemoctzin, the +"King of Mexico." (See Sahagun, _Hist. de la Nueva España_, Lib. XII, +cap. 16 and 40.) M. Rémi Simeon explains the name to mean "he who +deceives the people by magic;" deriving it from _quetza_, he places; +_te_, the people, _tlepan_, on the fire. A simpler derivation seems +to me possible from _tetlapanqui_, miner, or quarryman (literally, +stone-breaker), and _quetzalli_, red; _quetzatzin_, the lord or +master of the miners. + +Both this and the following are war songs, and have marked similarity +in thought and wording. The introduction of the Spanish _Dios_ was +doubtless substituted by the scribe, for the name of some native god +of war, perhaps Huitzilopochtli. + +1. _Aua_; this word I take to be a form of the interjection _yahue_, +or, as Olmos gives it in his _Grammar, aa_. + +2. _nepohualoyan_; "the place of counting or reckoning," from +_pohua_, to count. The reference is not clear, and the translation +uncertain. In some parts of ancient Mexico they used in their +accounting knotted cords of various colors, like the Peruvian +_quipus_. These were called _nepohualtzitzin_. + +4. This verse is remarkable for its sonorous phrases and the archaic +forms of the words. Its translation offers considerable difficulty. + +_xontlachayan_, I take to be an imperative form from _tlachia_, to +look, with the euphonic _on_. + +_teoatl tlachinolli_, literally "the divine water (i.e. blood), the +burning," and the expression means war, battle. In one of his sermons +Fray Juan Bautista describes the fall of Jericho in the words, +_otlaltitechya in altepetl teuatl tlachinolli ye opoliuh_, and +explains it, "the town was destroyed with fire and blood" (_Sermones +en Lengua Mexicana_, p. 122). The word _tlachinolli_ is from +_chinoa_, to burn. + +_quetzalalpilo_; a compound of _quetzalli_, a beautiful feather, and +_tlalpiloni_, the band which passed around the head to keep the hair +in place. + +5. _melchiquiuhticaya_; "he who presented his breast," an imperfect, +reflexive form. Molina gives _melchiquiuh petlauhqui_, with the +translation _despechugado_. _Vocabulario Mexicana, s.v._ + + +NOTES FOR SONG VII. + +The second specimen from the muse of Tetlapan Quetzanitzin is the +noblest war song in the collection. It is an appeal to his friends to +join in a foray to Chiapas. The intoxication of the battle field is +compared to that produced by the strong white wine prepared from +maguey, which was drunk only on solemn occasions. The bard likens the +exhaustion of his fellow warriors from previous conflicts, to the +stupor which follows a debauch, and he exhorts them to throw it +aside. + +1. _oamaxque_, _o_, pret. _am_, you, _axque_, 2d pl. pret. from _ay_, +to do. + +_octicatl_, apparently an old form from _octli_, the intoxicating +beverage prepared from the maguey. + +_oanquique_, 2d pl. pret. from _cui_, to take. + +_ohuican_, a place of difficulty and danger. The frequent addition of +the terminal _o_ in this and the succeeding verses is merely +euphonic. + +2. _teoatl tlachinolli_; see note VI, 4. + +_in maquiztli tlazotetl_, the beloved jewels, a phrase which +indicates that the broken stones and splintered emeralds referred to +are the young warriors who fall in battle, the pride of their +parents' hearts, who are destroyed in the fight. + +The _tizaoctli_, white wine (_tizatl_, chalk, hence white, and +_octli_, wine), referred to in this passage, is said by Sahagun to +have been drunk especially at the feast of the god Papaztac, one of +the many gods of the wine cup. _Hist. de Nueva España_. Lib. II, App. +Tezozomoc mentions it as handed to the mourners at funeral +ceremonies. _Cronica Mexicana_, cap. 55. + +3. _xochitlalticpacilhtuicacpao_; in this long compound of _xochitl_, +flower, _tlalti_, earth, and _ilhuicatl_, sky, with various +postpositions and the euphonic terminal _o_, the final _pa_ gives the +sense of location, towards, in the direction of. + +_chimalxochiti_; "the shield flower," the shield or buckler of the +ancient warriors, ornamented with tassels and feathers, is not +unaptly called the flower of war. + + +NOTES FOR SONG VIII. + +The entire absence in this lament for the dead of any consolation +drawn from Christian doctrines, points clearly to a date for its +composition earlier than the teachings of the missionaries. Its cry +of woe is hopeless, and the title attributes its authorship to one of +the old chieftains, _tlatoani_, who held the power before the +Spaniard arrived. + +1. _quetzalhuahuaciuhtoque_, from _quetzalli, huaqui_; _in +teintoque_, the splinters; the same simile is employed in VII, 2. + +2. _ximoayan_, see note to I, 8. The occurrence of this term here and +in verse 3 testifies to the fact of a composition outside of +Christian influences. + + +NOTES FOR SONG IX. + +The title does not necessarily mean that this song is a translation +from the Otomi language, but merely that the time to which it was +chanted was in the Otomi style; or, the term _Otomi_ may have +reference to the military officer so called. The word is perhaps a +compound of _otli_, path, and _mitl_, arrow. + +The bard sings the vanity of earthly pleasures, and the reality of +earthly pains; he exhorts himself and his hearers not to neglect the +duties of religion, and lauds his own skill in song, which he +compares to the sweet voices of melodious birds. There is nothing in +the poem which reflects European influence. + +1. _xotlacueponi_; the meaning of this compound is obscure. It is not +found in the dictionaries. + +2. The terminal _o_ is inserted several times in the passage to +express emotion and fill the metre. + +_mixitl tlapatl_. A phrase signifying the stupor or drunkenness that +comes from swallowing or smoking narcotic plants. See Olmos, +_Grammaire de la Langue Nahuatl_, pp. 223, 228; _oquiqueo_ is from +_i_, to drink, or _cui_, to take, the _o_ terminal being euphonic. + + +NOTES FOR SONG X. + +The poet expresses his grief that his songs all dwell on painful +topics; he exhorts his hearers of the vanity of fame and skill in +handicrafts, and of the uncertainty of life; closing, he appeals +especially to those of Tezcuco and Atecpan to listen and believe his +warnings. + +In spite of the introduction of the Spanish word _Dios_, and the +exhortation to "believe," in the last line, it is possible that the +substance of this song was due to purely native inspiration; yet it +may have been, like Song XIX, one of those written at an early period +for the converts by the missionaries. + + +NOTES FOR SONG XI. + +In a similar strain as in the last poem, the bard bewails the +briefness of human life and friendships. He closes with an appeal to +the Master of Life, of whom no mortal tongue can speak in worthy and +appropriate terms. + +6. _ihuiti_, apparently a form of _ihuintia_. + +_tonan_; the reference appears to be to _Tonantzin_, Our Mother, +otherwise known as Cihuacoatl, the Serpent Woman. She was the +mythical mother of the human race, and dispensed afflictions and +adverse fortune. See Sahagun, _Hist. de la Nueva España_, Lib. I, +cap. 6. The name is a proof of the antiquity of the poem, which is +throughout in the spirit of the ancient religion. + + +NOTES FOR SONG XII. + +As stated in the Introduction (§ 10), a note prefixed to this song +introduces it as a translation from the Otomi into the Nahuatl +tongue. It admirably illustrates the poetic flexibility of the +Nahuatl. + +3. _epoyhuayan_, from _epoalli_, sixty; _teoquauhtli ocelott_, +"divine eagles, tigers." These terms refer to the warriors bearing +these titles. + +_tlazomaquiztetl_, "beloved, precious stones," a figure of speech +referring to the youths who go to war. The same or similar metaphors +are used in previous songs. + +5. The fifth and sixth verses present serious difficulties of +construction which I do not flatter myself I have overcome. + + +NOTES FOR SONG XIII. + +The inhabitants of Huexotzinco were in frequent strife with those of +Mexico-Tenochtitlan, and on various occasions the latter captured +many prisoners. The present poem is represented to be a composition +of one of these prisoners when he and his companions were confined in +Tlatilolco, one of the suburbs of Tenochtitlan. It breathes hatred +against his captors and an ardent thirst for vengeance. The latest +date at which I find captives from Huexotzinco detained in Mexico is +1511, and it is to this year, therefore, that I assign the +composition of the poem. + +5. _Atloyantepetl_; this name possibly means "the mountain of the +place of the water-falcons" (_atl_, water; _tlatli_, falcon; _yan_, +place-ending; _tepetl_, mountain). I have not found it in other +writers. (See Index.) + +8. _tlaylotlaqui_; Siméon, on the authority of Aubin, explains this +term as the name of a tribe living near Tezcuco. In derivation it +appears to be a term of contempt, "workers in filth or refuse," scum, +offscourings. It also appears in Song XV. + +10. The construction of this verse is so obscure, or the text so +imperfect, that the translation is doubtful. + + +NOTES FOR SONG XIV. + +This poem, chanted in 1551 before the Governor of Azcapotzalco, by +Francisco Placido, a native of Huexotzinco, is a Christian song in +the style and metre of the ancient poetry. See the Introduction, p. +51. + +1. _impetlatl_; the ordinary meaning of _petlatl_ is a mat or rug; it +is here to be taken in its figurative sense of power or authority, +chiefs and other prominent persons being provided with mats at the +councils, etc. + + +NOTES FOR SONG XV. + +This extremely difficult composition seems to be a war song, in which +the bard refers to the traditional history of the Nahuas, names some +of their most prominent warriors, and incites his hearers to deeds of +prowess on the battle field. I do not claim for my version more than +a general correspondence to the thought of the original. In several +parts, especially verse 18, the text is obviously defective. + +1. _tzihuactitlan_; "the land of the tzihuac bushes." The tzihuactli +is a small kind of maguey which grows in rocky localities. The tenth +edifice of the great temple at Tenochtitlan was a wall surrounding an +artificial rockery planted with these bushes. Sahagun, who mentions +this fact, adds that the name of this edifice was _Teotlalpan_, which +literally means "on holy ground." (_Hist. de la Nueva España_, Lib. +II, App.) The _mizquitl_ is the common _Mimosa circinalis_. + +_Chicomoztoc_; "at the Seven Caves," a famous locality in Mexican +legend, and the supposed birthplace of their race. + +2. _Colhuacan_ is probably for Acolhuacan; the early rulers of the +latter were of the blood of the Chichimec chiefs of the Tepanecas. + +4. _Hueytlalpan_, "at the ancient land," perhaps for Huetlapallan, a +1ocality often referred to in the migration myths of the Nahuas. + +5. _Atloyan_; see note to XIII, 6. + +9. The ceiba and cypress trees were employed figuratively to indicate +protection and safeguard. See Olmos, _Gram. de la Langue Nahuatl_, p. +211. + +12. On _tlailotlaqui_, see note to XIII, 8. The interjectional +appendages to this and the following verse are increased. + +15. Tepeyacan was the name of a mountain on which before the Conquest +was a temple dedicated to the "Mother of our Life," Tonantzin. + +16. _tlapalcayocan_, "the place of shards," of broken pieces, i.e., +the field of battle. + +19. The word _totomihuacan_, which has already occurred in vv. 3 and +7, I have translated as referring to the war captains of the Mexican +armies, called _otomi_ (see Bandelier, _On the Art of War of the +Ancient Mexicans_, p. 117). I am quite open for correction however. + +27. _in ipetl icpal_; in a translation of an ancient song, +Ixtlilxochitl renders the expression _in ipetl icpal in teotl_, "en +el trono y tribunal de Dios," _Historia Chichimeca_, cap. 32. + +29. _Mictlan_; the place of departed souls in Aztec mythology. + + +NOTES FOR SONG XVI. + +In this stirring war-song, the poet reproaches his friends for their +lukewarmness in the love of battle. He reminds them that life is +transitory, and the dead rise not again, and that the greatest joy of +the brave is on the ringing field of fray where warriors win renown. +It is in the spirit of the Scotch harper:-- + +"'Twere worth ten years of peaceful life, + +One hour of such a day." + +1. Each verse terminates with an interjectional refrain. The frequent +introduction of the particle _on_ is intended to add strength and +gravity to the oration. + +2. _oppan piltihua_. Compare this expression with that in v. 22, p. +44. + +3. _xochimicohuayan_, should perhaps be translated, "where the +captives to be immolated to the Gods are taken." The _xochimique_, +"those destined to a flowery death" were the captives who were +reserved for sacrifice to the gods. See Joan Bautista, _Sermonario en +Lengua Mexicana_, p. 180. + +4. _yaoxochimiquiztica_, "pertaining to the slaughter of the flowery +war." This adjective refers to the peculiar institution of the +"flowery war," _guerra florida_, which obtained among the ancient +Mexicans. It appears to have been a contest without provocation, and +merely for the display of prowess and to take captives to supply the +demand for human sacrifices in the religious rites. On this see +Tezozomoc, _Cronica Mexicana_, cap. 96. + + +NOTES FOR SONG XVII. + +In this long fragment--the closing strophes are missing in my +MS.--the bard represents himself as a stranger appearing before the +nobles of Huexotzinco at some festival. The first two verses appear +to be addressed to him by the nobles. They ask him to bring forth his +drum and sing. He begins with a laudation of the power of music, +proceeds to praise the noble company present, and touches those +regretful chords, so common in the Nahuatl poetry, which hint at the +ephemeral nature of all joy and the certainty of death and oblivion. +An appeal is made to the Master of Life who inspires the soul of the +poet, and whose praises should be ever in mind. + +The words _Dios_ and _angelotin_, in verse 26th, indicate that the +poem has received some "recension" by the Spanish copyist; but the +general tone impresses me as quite aboriginal in character. + +2. _quauhtlocelotl_, see note to I, 5. + +3. In this verse, as frequently elsewhere, the syllable ya is +introduced merely to complete the metre. Ordinarily it is the sign of +the imperfect tense, and has other meanings (see the Vocabulary), but +in many instances does not admit of translation. + +8. _noncoati_, for _ni-on-coatl_, I am a guest. + +18. The references in this verse are obscure, and I doubt if I have +solved them. + +20. "The house of spring;" compare the expression in v. 1, of +Nezahualcoyotl's song, p. 42. + +21. A long oration of Xicontecatl, lord of Tizatlan, may be found in +Clavigero, _Hist. Antica di Messico_, Tom. III, p. 40. The expression +in _camaxochitzin_, from _camatl_, mouth, _xochitl_, rose, flower, +and the reverential _tzin_, is noteworthy. + +24. _petlacoatl_, the centipede or scolopender; from _petlatl_, mat, +and _coatl_, serpent, as they are said to intertwine with each other, +like the threads of a mat (Sahagun, Lib. XII, cap. 4). + + +NOTES FOR SONG XVIII. + +At this portion of the MS. several poems are preceded by a line of +syllables indicating their accompaniment on the teponaztli (see +Introduction, p. 32). + +The present number is one of the most noteworthy songs of the +collection. It belongs to the ancient cyclus of Quetzalcoatl myths, +and gives a brief relation of the destruction of Tollan and the +departure and disappearance of the Light God, Quetzalcoatl Ce Acatl. +As I have elsewhere collated this typical myth at length, and +interpreted it according to the tenets of modern mythologic science, +I shall not dwell upon it here (see D.G. Brinton, _American Hero +Myths_, Phila., 1882). + +The text of the poem is quite archaic, and presents many +difficulties. But my translation, I think, gives the general sense +correctly. + +1. _huapalcalli_; literally, "the house constructed of beams." This +name was applied to the chief temple of the Toltecs; the ruins of an +ancient structure at Tollantzinco were pointed out at the time of the +Conquest as those of this building (see Sahagun, _Hist. de la Nueva +España_, Lib. X, cap. 29). + +_coatlaquetzalli_; this edifice, said to have been left incomplete by +Quetzalcoatl, when he forsook Tollan, had pillars in the form of a +serpent, the head at the base, the tail at the top of the pillar. +(See Orozco y Berra, _Hist. Antigua de Mexico_, Tom. III, pp. 30 and +46.) The structure is mentioned as follows in the _Anales de +Cuauhtitlan_:-- + +_Auh iniquac nemia Quetzalcoatl quitzintica, quipeuahtica iteocal +quimaman coatlaquetzali ihuan amo quitzonquixti, amo quipantlaz."_ + +"And when Quetzalcoatl was living, he began and commenced the temple +of his which is the Coatlaquetzali (Serpent Plumes), and he did not +finish it, he did not fully erect it." + +_Nacxitl Topiltzin_, "Our Lord the four-footed." _Nacxitl_ appears to +have been the name of Quetzalcoatl, in his position as lord of the +merchants. Compare Sahagun, ubi supra, Lib. I, cap. 19. + +2. _Poyauhtecatl_, a volcano near Orizaba, mentioned by Sahagun. +_Acallan_, a province bordering on the Laguna de los Terminos. The +myth reported that Quetzalcoatl journeyed to the shores of the Gulf +about the isthmus of Tehuantepec and there disappeared. + +3. _Nonohualco_; the reference is to the _cerro de Nonoalco_, which +plays a part in the Quetzalcoatl myth. The words of the song are +almost those of Tezcatlipoca when he is introduced to Quetzalcoatl. +Asked whence he came, he replied, "Nihuitz in Nonohualcatepetl +itzintla, etc." (_Anales de Cuauhtitlan_). + +4. The occurrences alluded to are the marvels performed by +Quetzalcoatl on his journey from Tulan. See my American Hero Myths, +p. 115. + +5. The departure of Quetzalcoatl was because he was ordered to repair +to Tlapallan, supposed to be beyond Xicalanco. + +8. _quinti_, for _iquintia_; the reference is to the magic draught +given Quetzalcoatl by Tezcatlipoca. + +9. _In tetl, in quahuitl_; literally, "stone and stick;" a very +common phrase in Nahautl, to signify misfortunes. + + +NOTES FOR SONG XIX. + +In this song we have avowedly a specimen of an early chant prepared +probably by Bishop Zummarraga for the native converts. The +accompaniment on the teponaztli is marked at the beginning. The +language is noticeably different from the hymn to Quetzalcoatl just +given (XVIII). + + +NOTES FOR SONG XX. + +Another song of the antique Quetzalcoatl cyclus. It bewails the loss +of Tulan, and the bard seeks in vain for any joyous theme to inspire +his melody, reflecting on all that has bloomed in glory and now is +gone forever. + +3. _Tetl-quahitl_; see note to XVIII, 9. + + +NOTES FOR SONG XXI. + +The occurrence to which this poem alludes took place about the year +1507. The chroniclers state that it was in the early period of the +reign of Montezuma II, that the natives of Huexotzinco, at that time +allies of the Mexicans, were severely harassed by the Tlascallans, +and applied, not in vain, to their powerful suzerain to aid them. +(See Tezozomoc, _Cronica Mexicana_, cap. 97.) + +The poet does not appear to make a direct petition, but indirectly +praises the grandeur of Montezuma and expresses his own ardent love +for his native Huexotzinco. The song would appear to be used as a +delicate prelude to the more serious negotiations. It is one of the +few historical songs in the collection. From the references in verses +1 and 3 we infer that this singer held in his hand the painted book +from which he recited the couplets. This may explain the presentation +of the piece. + +1. _huetzcani_; one who laughs, a jester, perhaps the designation of +one who sang cheerful songs. + +_chalchiuhatlaquiquizcopa_; a. word of difficult analysis. I suspect +an omission of an _l_, and that the compound includes _tlaquilqui_, +one who fastens and puts together, a mason, etc. + +5. The sense is that the warriors of Montezuma when on the field of +battle, shine in their deeds like beautiful flowers in a field, and +win lasting fame by their exploits. + +_mopopoyauhtoc_. The grammarian Olmos explains the reflexive verb +_mopopoyauhtiuh_ to signify "he leaves an honored memory of his +exploits." See Siméon, _Dictionaire de la Langue Nahuatl_, sub voce. + +7. _Huexotzinco atzalan_; "Huexotzinco amid the waters." This +expression, repeated in verse 8, appears inappropriate to the town of +Huexotzinco, which lies inland. In fact, the description in verse 7 +applies to Tenochtitlan rather than the singer's own town. But the +text does not admit this translation. Perhaps we should read +"Huexotzinco and Atzalan," as there are yet two villages of that name +in the state of Puebla (which embraced part of ancient Huexotzinco). + +10. _petiatolini_, I have derived from _petlatl_, suspecting an error +in transcription. The reference is to the rushes in the mat on which +the singer stood. + + +NOTES FOR SONG XXII. + +The ordinary sad burden of the Nahuatl poets is repeated with +emphasis in this plaint. It is a variation of the Epicurean advice, +"Eat, drink, and be merry, for to-morrow we die." Both the sentiment +and the reference to Mictlan in verse 7, point it out as a production +uninfluenced by Christian teaching. + +7. The word _ahuicaloyan_, place of sweetness, would seem to be +identical with _ohuicaloyan_, place of difficulty, in v. 8; I have +regarded the latter as an error of transcription. + + +NOTES FOR SONG XXIII. + +Although No. V. is probably one of the lost songs of Nezahualcoyotl, +the present is the only one of the collection which is definitely +attributed to him. The language is very archaic, and in the sentiment +there is every mark of antiquity. + +The text is apparently a dialogue, which was chanted as strophe and +antistrophe, the one singer speaking for the King, the other for the +bard himself. + +The word _teotl_ is used for divinity, and it is doubtless this word +for which the copyists of some of the other songs have substituted +the Spanish _Dios_, thus conveying an impression that the chants +themselves were of late date. + +The last verse, however, seems to be by one who lives after the time +of the great poet-prince, and is calling him to memory. + + +NOTES FOR SONG XXIV. + +It will be seen that there is a wearisome sameness in the theme of +most of the short poems. Probably the bards followed conventional +models, and feared for the popularity of their products, did they +seek originality. Here again are the same delight in flowers and +songs, and the same grief at the thought that all such joys are +evanescent and that soon "death closes all." + +I consider the poem one of undoubted antiquity and purely native in +thought and language. + + +NOTES FOR SONG XXV. + +The destruction of the Mexican state was heralded by a series of +omens and prodigies which took place at various times during the ten +years preceding the arrival of Cortes. They are carefully recorded by +Sahagun, in the first chapter of the 12th book of his history. They +included a comet, or "smoking star," as these were called in Nahuatl, +and a bright flame in the East and Southeast, over the mountains, +visible from midnight to daylight, for a year. This latter occurred +in 1509. The song before us is a boding chant, referring to such +prognostics, and drawing from them the inference that the existence +of Mexico was doomed. It was probably from just such songs that +Sahagun derived his information. + +1. _toztliyan_, I suppose from _tozquitl_, the singing voice, in the +locative; literally, "the quechol in the place of sweet-singing." + +2. _iquiapan_, from _i_, possessive prefix, _quiauatl_, door, +entrance, house, _pan_, in. + +5. An obscure verse; _tequantepec_, appears to be a textual error; +_tequani_, a ravenous beast, from _qua_ to eat; _tepec_, a mountain; +but _tequantepehua_ occurring twice later in the poem induces the +belief _tequani_ should be taken in its figurative sense of +affliction, destruction, and that _tepec_ is an old verbal form. + +7. _Xochitecatl_, "one who cares for flowers," is said by Sahagun to +have been the name applied to a woman doomed to sacrifice to the +divinities of the mountains (_Hist. Nueva España_, Lib. II, cap. 13). + +8. _amaxtecatl_, or _amoxtecatl_, as the MS. may read, from +_amoxtli_, a book. + + +NOTES FOR SONG XXVI. + +This seems to be a song of victory to celebrate an attack upon +Atlixco by the ruler of Tezcuco, the famous Nezahualpilli. This +monarch died in 1516, and therefore the song must antedate this +period, if it is genuine. It has every intrinsic evidence of +antiquity, and I think may justly be classed among those preserved +from a time anterior to the Conquest. According to the chronologies +preserved, the attack of Nezahualpilli upon Atlixco was in the year +XI _tochtli_, which corresponds to 1490, two years before the +discovery by Columbus (see Orozco y Berra, _Hist. Antigua de Mexico_, +Tom. III, p. 399). + + +NOTES FOR SONG XXVII. + +My MS. closes with a Christian song in the style of the ancient +poetry. It is valuable as indicating the linguistic differences +between these later productions of the sixteenth century and those +earlier ones, such as XXVI, which I have not hesitated to assign to +an epoch before the Spaniards landed upon the shores of New Spain. + + + + +VOCABULARY. + + +The Roman numerals refer to the songs, the Arabic to the verses, in +which the word occurs. Abbreviations: _lit_., literally; _ref_., +reflexive; _pret_., preterit; _rev_., reverential; _freq_., +frequentative; _post_., postposition; _Span_., a Spanish word. + +A, _adv_. No, not, in comp. +A, _n_. For atl, water, in comp.; as _acalli_, water-house, _i.e._, a + boat. +A, _interj_. Oh! ah! placed after the word on which stress is laid. +AC, _pron., interj_. Who? +ACA, _pron_. Some, any; somebody. +ACALLI, _n_. A boat, of any kind. +ACH, _dubitative particle_. Indeed? is it not? etc. +ACHITZINCA, _adv_. A little while, a short time. +ACHQUEN, _adv_. At what time? When? +ACI, _v_. To reach, to acquire. +ACOHUETZI, _v_. To console, to make glad. I, 3. +ACOQUIZA, _v_. To lift up, to raise, to increase in dignity or power. +ACOTLAZA, _v_. To console. +ACXOYATL, _n_. The wild laurel. +AHAUIA, _v_. To rejoice, take pleasure in; freq. of _ahuia_. +AHUACHIA, _v_. To wet one's self, to bathe. VII, 4. +AHUACHTLI, _n_. Dew, moisture. +AHUEHUETL, _n_. The cypress tree; _Cupressus disticha_. +AHUIA, _v_. To rejoice, to be joyful. +AHUIAC, _adj_. Agreeable, pleasant, sweet. +AHUIAN, _adj_. Content, satisfied. +AHUICPA, _adv_. From one place to another. III, 3. +AIC, _adv_. Never. +ALTEPETL, _n_. Town, city, citadel. +AMECH, _pron. ret_. You, to you. +AMEYALLI, _n_. A fountain, a stream; _lit_., flowing water. +AMILLI, _n_. Watered and arable land. XIV, 6. +AMO, _adv_. No, not; _amo ma_, no other; _amo zannen_, not in vain; + _pron_., you, yours. +AMOXPETLATL, _n_. Book-mat. See XIX, 3. +AMOXTECATL, _n_. See XXV, 8, note. +AN, _pron_. You. +ANA, _v_. To take, to grasp, to seize. +ANAHUIA, _v_. To be dissatisfied. +ANCA, _adv_. Of the kind that. XVII, 12. +ANE, _adv_. Hollo! in calling. +ANGELOTIN, _n_. Angels. Span. XVII, 26. +ANO, _adv_. As little, neither. +ANOZO, _conj_. Or, perhaps. +AOC, _adv_. Not yet. +APANA, _v_. To clothe. +APANO, _v_. To ford, to cross water. XVIII, 2. +AQUEN, _adv_. Nothing, in no manner. +AQUIN, _pron_. Who? _in aquin_, he who. +AT, _adv_. Perhaps, perchance. +ATAYAHUILI, for _at aya ueli_. Not yet, not even. +ATIHUELMATI, _v_. Not to be well. IX, 3. +ATL, _v_. Water. +ATLAMACHTIA, _v_. To praise one; _ref_., to be proud. +ATLE, _pron_. Nothing. +ATLEY, _in atley_. Without. +ATONAUIA, _v_. To have a fever, to be sick. +AUH, _conj_. And, even, also. +AXALLI, _n_. Bar-sand, water-sand. +AY, _v_. pret. _oax_. To do, to make. +AYA, _adv_. Not yet, not now. +AYACACHTLI, _n_. A musical instrument. See p. 24. +AYAHUITL, _n_. Fog, mist, vapor. +AYAUH COZAMALOTL, _n_. The rainbow; _lit_., "mist of water jewels." +AYOC, _adv_. Already not. _Ayoctle_, nothing more. +AYOQUAN, _adv_. Aoc-iuan. Nothing like it, unequaled. XVII, 17. +AYOQUIC, _adv_. Nevermore. V, 6. +AZAN, _adv_. Not a little, not a few. +AZO, _conj_. Or, perhaps, perchance. +AZTLACAPALLI, _n_. The tail feathers of a bird. XVII, 10. + +C, _pron. rel_. He, her, it, him; _postpos_., with, by, in, from, at. +CA, _adv_. Already, yes, because, for, truly, only. +CA, _v_. To be (in a place). +_CA_, _postpos_. With, by, by means of. +CACALI, _v_. To discharge arrows. +CACOPA, _post_. Toward, towards. +CAHUA, _v_. To leave, to let, to desert, to stop, to lay down. +CALAQUIA, _v_. To enter, to go in. +CALLI, _n_. A house; in comp. _cal_, as _nocal_, my house. +CALMECAC, _n_. A public school, p. 10. +CAMAPANTLI, _n_. The cheeks, the face. XXVI, 5. +CAMATL, _n_. The mouth. +CAMPA, _adv_. Where, whither. +CAN, _adv_. and _postpos_. Where. +CANAUHTLI, _n_. A duck. XXI, 9. +CANEL, _adv_. Since, as, because. +CAQUI, _v_. To hear, to listen to. +CATLEHUATL, _pron_. Who? which? whoever, whatever. +CATQUI, _v. irreg_. From _ca_, to be (in a place). +CAUHTEHUA, _v_. To leave a place. +CAXTLAUITL, _n_. A kind of ochre. XVII, 10. +CE, _adj_. and _art_. One, a, an. +CECE, or Cecen, _adj_. Each, every. +CECEMELQUIXTIA, _v_. To come forth wholly, perfectly. I, 1. +CECEMELTIA, _v. ref_. To rejoice, to feel glad. +CECEMELTIC, _adj_. Complete, whole, entire. +CECEMMANA, _v_. To disperse, to scatter. +CEHUIA, _v_. To rest, to repose. +CEL, Sole only. +CELIA, _v_. 1. To receive, to obtain. 2. To blossom, to bloom. +CEMANAHUATL, _n_. The world, the universe. +CEMELLE, _adv_. With peace or joy. Usually with a negative _aic + cemelle_, never peacefully. XV, 18; XVI, 1. +CEMILHUILTILIA, _v_. To detain one for a day. +CEMILHUITL, _n_. One day. +CEN, _adv_. Forever, for always; _cen yauh_, to go forever, to die. +CENCA, _adv_. Very much, exceedingly. +CENCI, _adv_. Elsewhere. +CENQUIXTIA, _v_. To select from, to pick from. +CENTZONTLATOLLI, _n_. The mocking bird, _Turdus polyglottus_; _lit_., + "the myriad-voiced." +CENTZONTLI, _adj. num_. Four hundred, used for any large number. +CEPANOA, _v_. To unite, to join together. +CHALCHIUHITL, _n_. The Mexican jade or green stone; emerald _fig_., + green; precious. +CHANE, _n_. Inhabitant or resident of a place. +CHANTLI, _n_. A dwelling, a residence; in comp., _chan_. +CHIA, _v_. To wait, to expect. +CHIALONI, _n_. That which is awaited or expected. +CHICAHUAC, _adj_. Strong, powerful. +CHICHIA, _v_. 1. To make bitter. 2. To obey. XIII, 9. +CHICHINA, _v_. To snuff up, imbibe, or suck up, especially the odors + of burning incense, through a tube. VII, 4; XVII, 10. +CHICHINAQUILIZTLI, _n_. Torment, pain, suffering. +CHIHUA, _v_. To make, to do, to happen; _chihua in noyollo_, my heart + is troubled, I am pained. +CHIMALLI, _n_. The native shield or buckler. VI, 4. +CHITONI, _v_. To sparkle, to glitter. +CHITONIA, _v_. To gain, to realize a profit. V, 4. +CHITTOLINI, _v_. To bow down, to sink. +CHOCA, _v_. To cry (of animals and man). +CIAHUI, _v_. To fatigue one's self, to tire. +CIHUACOATL, _n_. A magistrate of high rank; _lit_.,"woman serpent." +CIHUATL, _n_. A woman. +CITLALIN, _n_. A star. +CO, _postpos_. In, from. +COA, or COHUA, _v_. To buy, to purchase. +COCHITIA, _v_. To sleep. +COCOA, _v_. To pain, to give pain. +COCOLIA, _v_. To hate. +COCOYA, _v_. To be sick. +COHUATL, or COATL, _n_. A serpent; a guest; a twin; the navel; a + spade. +COHUAYOTL, _n_. Buying, purchasing. V, 2. +COLLI, _n_. Ancestor, forefather. +COLOA, _v_. To twist, to turn, to bend. +COMONI, _v_. To crackle (of a fire); to be turbulent (of people). + XXIV. +CON, _pron_. Some one; comp. of _c_ and _on_. +COPA, _postpos_. By, toward. +COPALLI, _n_. Resin, gum copal. +COYOUA, _v_. To cry, to yell. XIII, 7. +COYOHUACAN, _n_. The place of wolves. XIII, 10. +COYOLTOTOTL, _n_. The coyol bird, _Piranga hepatica_. +COYOTL, _n_. The coyote, the Mexican wolf. +COZCATIA, _v_. To deck with golden chains. IV, 4. +COZCATL, _n_. Jewel, precious stone; a string of such; a chain or + collar. +CUECUEXANTIA, _v_. To gather in the folds of the robe. +CUECUEYA, _v_. To move to and fro. XXI, 9. +CUEPA, _v_. To turn, to return, to bring back. +CUEPONI, _v_. To blossom, to bud, to bloom. +CUETLANI, _v_. To wilt, to perish. XV, 15. +CUETZPALTI, _v_. To act as a glutton, to revel in. XVII, 5. +CUEXANTLI, _n_. Gown, robe, petticoat. +CUI, _v_. To take, to gather, to collect. +CUICA, _n_. A song, a poem. +CUICANI, _n_. A singer, a poet. +CUICOYAN, _n_. A place for singing. See note to p. 10. +CUIHUA, _v_. Pass. of _cui_, q. v. +CUILIA, _v_. Rev. of _cui_, q. v. +CUILOA, _v_. To paint, to write. +CUILTONOA, _v_. To be rich; to rejoice greatly; to enrich or cause + joy. XV, 6. +CUITLATL, _n_. Excrement, dung. +CUIX, _adv_. An interrogative particle. + +ECACEHUAZTLI, _n_. A fan. +EHECATL, _n_. Wind, air. +EHECAYO, _adj_. Full of wind, stormy. +EHUA, _v_. To lift up, especially to raise the voice in singing. +ELCHIQUIHUITL, _n_. The breast, the stomach. +ELCHIQUIUHEUA, _v_. To fatigue, to tire. VI, 5. +ELCICIHUILIZTLI, _n_. A sigh, a groan. +ELEHUIA, _v_. To desire ardently, to covet. +ELLAQUAHUA, _v_. To animate, to inspire. +ELLELACI, _v_. To suffer great pain. +ELLELLI, _n_. Suffering, pain. +ELLELQUIXTIA, _v_. To cause joy, to make glad. +ELLELTIA, _v. Ref_., to regret, to repent, to abstain; _act_., to + prevent, to hinder, to impede, to cause pain. +EPOALLI, _adj. num_. Sixty. +EZTLI, _n_. Blood. + +HUAHUAQUI, _u_. To dry up, to wither wholly. VIII, 1. +HUAL, _adv_. Hither, toward this place. +HUALLAUH, _v. irreg_. To come hither. +HUAN, _postpos_. In company with; also, a plural termination. +HUAPALCALLI, _n_. Houses of planks. See XVIII, 1. +HUAQUI, _v_. To dry up, to wither. +HUECAPAN, _adj_. Lofty. +HUECATLAN, _adj_. Deep, profound. +HUEHUETL, _n_. A drum. See page 22. +HUEHUETZI, _v. freq_. To fall often. +HUEIYOTL, _n_. Greatness, grandeur. +HUEL, _adv_. Well, good, pleasant. +HUELIC, _adj_. Sweet, pleasant, fragrant. +HUELMANA, _v_. To make smooth, or even; to polish, to burnish. +HUETZCANI, _n_. A jester, a laugher. XXI, 1. +HUETZI, _v_. To fall. +HUETZTOC, _v_. To be stretched out, to be in bed. +HUEY, _adj_. Great, large. +HUEYATLAN, _n_. Place of increase, from _hueya_, to grow greater. +HUIC, _postpos_. Toward, against. +HUICA _v_. To accompany; to carry off; to govern, to rule, to direct. +HUIHUICA, _v_. To follow in crowds, or often. +HUIHUITEQUI, _v_. To gather, to pluck. +HUILOHUAYAN, _n_. Bourne, goal, terminus; from _huiloa_, all go. +HUIPANA, _v_. To put in order, to arrange. +HUITOMI, _v_. To split, to fall. XVIII, 4. +HUITZ, _v_. To come. +HUITZITZICATIN, _n_. The humming bird. I, 1. +HUITZITZILIN, _n_. The humming bird, _Trochilus_. +HUITZLI, _n_. A thorn, especially of the maguey. +HUITZTLAN, _n_. The south; _huitztlampa_, from or to the south. + +I, _v_. Pret. _oic_. To drink. +I, _pron_. His, her, its, their. +IC, _conj_. For, since, because; _prep_. With, towards, by, in; + _adv_. Where? when? _zan ic_, as soon as, often, only, on + purpose. +ICA, _post_. With him, her, it, etc. +ICÂ, _adv_. Sometimes, occasionally. +ICAC, _v_. To stand upright. +ICAHUACA, _v_. To sing (of birds). +ICALI, _v_. To war, to fight. VI, 5. +ICAUHTLI, _n_. Younger brother. VII, 2. +ICELIA, _v_. To incite another, to devote one's self to. +ICNELIA, _v_. To do good, to benefit. +ICNIUHTLI, _n_. A friend, a companion; _tocnihuan_, our friends. +ICNOPILLAHUELILOCATI, _v_. To be ungrateful. +ICNOTLAMACHTIA, _v_. To excite compassion. +ICPAC, _postpos_. Upon, over. +IHUAN, _conj_. And, also. +IHUI, _adv_. Of this kind, in this way. +IHUINTI, _v_. To intoxicate, to make drunk. +IHUITL, _n_. Feather, plumage. +ILACATZIUI, _v_. To twist, to twine. +ILACATZOA, _v_. To twine around, to wind about. XV, 2. +ILCAHUA, _v_. To forget. +ILHUIA, _v_. To speak, to say, to tell. +ILHUICATL, _n_. Heaven, the sky. +ILNAMIQUILIA, _v_. To remember, to call to mind. +ILPIA, _v_. To bind, to fasten. +IM, See _in_. +IMATI, _v_. To be skillful or wise; to prepare or arrange something + skillfully. +IN, _art. and pron_. He, they, the, which, etc.; _in ma oc_, + meanwhile; _in ic_, so that, in order that. +INAYA, _v_. To confer, to hide. X, 2. +INECUI, _v_. To smell something, to perceive an odor. IV, 6. +INIC, _adv_. For, in order that, after that. +ININ, _pron_. These, they. +INIQUAC, _conj_. When. +INNE, _conj_. But. +INOC, _adv_. While, during. +INON, _pron_. Those. +INTLA, _conj_. If. +INTLACAMO, _adv_. Unless, if not. +IPALNEMOANI, _n_. A name of God. See III, 1, note. +IPAMPA, _adv_. Because. +IPOTOCTLI, _n_. Smoke, vapor, exhalation. +ITAUHCAYOTL, _n_. Fame, honor. XVII, 14. +ITHUA, _v_. To see, for _itla_. XV, 6. +ITIA, _v_. 1. To drink; to cause to drink. 2. To suit, to fit. +ITIC, _postpos_. Within, inside of. +ITLANI, _v_. To ask, to solicit, to demand. +ITOA, _v_. To say, to speak, to tell. +ITONALIZTLI, _n_. Sweat; _fig_., hard work. VI, 5. +ITOTIA, _n_. To dance in the native fashion. +ITOTILIZTLI, _n_. Dance. +ITTA, _v_. To see, to behold. +ITTITIA, _v_. To show, to make evident. +ITZMOLINI, _v_. To be born, to sprout, to grow. XX, 4. +ITZTAPALLI, _n_. Paving stone. XV, 8. +ITZTOC, _v_. To watch, to keep awake, to wait for. XVII, 12. +IXAMAYO, _adj_. Known, recognized. XIII, 2. +IXAYOTL, _n_. A tear (from the eyes). +IXCUITIA, _v_. To take example. +IXIMACHOCA, _n_. The knowledge of a person. +IXIMATI, _v_. To know personally. +IXITIA, _v_. To awake, to arouse. +IXPAN, _postpos_. Before the face of, in presence of. +IXQUICH, _adv_. As many as. +IXTIA, _v_. To face a person, especially the enemy; to watch. +IXTLAHUATL, _n_. Open field, savanna, desert. +IXTLAN, _postpos_. Before the face of. +IXTLI, _n_. Face, visage; eye. +IZA, _v_. To awaken, to arouse. +IZCALI, _v_. To arise, to rise up. +IZHUATL, _n_. A leaf of a tree, etc. +IZHUAYO, _adj_. Leafy, with leaves. +IZQUI, _adj., pl_. izquintin. As many, so many, all; _izqui in + quezqui_, as many as. +IZTAC, _adj_. White. +IZTLACAHUIA, _v_. To deceive, to cheat. +IZTLACOA, _v_. To search for; _ref_., to take counsel. + +MA, _adv_. Sign of optative, subjunctive and vetative; _ma oc_, yet a + while. +MACA, _v_. To give, to present. +MA CA, _neg_. Do not. +MACAIC, _adv_. Never. +MACAZO TLEIN, _neg_. No matter, for all that. VI, 2. +MACEHUALLOTL, _n_. Servitude, slavery. +MACEUALTI, _v. defect_. To merit; to be happy. +MACEHUALTIA, _v_. 1. _nino_, to make another a vassal, to reduce to + vassalage; _nite_, to give vassals to one; _nita_, to impose a + penance on one. +MACH, _adv_. An intensive particle. +MACHTIA, _v_. To cause to know, to teach, to learn. +MACIUI, _adv_. Although, granted that. XVII, 13. +MACQUAITL, _n_. The native sword. VI, 4. +MACUELE, _adv_. Would that--sign of the optative. +MAHACA, _adv_. Not, no. +MAHUI, _v_. To fear, to have fear. +MAHUIZTI, _v_. To be esteemed, to be honored. +MAITL, _n_. The hand, the arm. In comp. _ma_, as _noma_, my hand. +MALACACHOA, _v_. To twine, to fold. XVI, 4. +MALHUIA, _v_. To regale, to treat well, to take care of. +MALINA, _v_. To twine, to wreathe. +MALINTIUH, _v_. To twine, to twist, to enwreathe. +MAMALIA, _v_. To carry. +MAMALLI, _v_. To enter, to penetrate. XII, 4. +MAMANA, _v_. To arrange a feast, to set in order. XV, 15. +MAMANI, _v_. See Mani. +MANA, _v_. To offer offerings. XVII, 3. +MANCA, _v_. Imp. of _Mani_. +MANEN, _neg_. That not, that it does not happen, etc. +MANI, _v_. To be (of broad or wide things); to be stretched out. +MANOZO, _adv_. Or, if. +MAQUIZTLI, _n_. A bracelet or other ornament of the arm. III, 5. +MATI, _v_. To know. _Ref_., to think, to reflect; _qui-mati noyollo_, + I presume, I doubt; _nonno-mati_, I attach myself to a person + or thing. +MATILOA, _v_. To anoint, to rub. +MAZO, _adv_. Although. +MEYA, _v_. To flow, to trickle. +MIAHUATOTOTL, _n_. A bird. IV, 2. +MICOHUANI, _adj_. Mortal, deadly. +MIEC, _adv_. Much, many. +MILLI, _n_. Cultivated field. +MIQUI, _v_. To die, to kill. +MIQUITLANI, _v_. To desire death. X, 1. +MITZ, _pron_. Thee, to thee. +MIXITL, _n_. A narcotic plant. See _tlapatl_. IX, 2. +MIXTECOMATL, _n_. A dark night, a dark place. III, 4. +MIZQUITL, _n_. The mesquite. XV, 1. +MO, _pron_. 1. Thy, thine; 2. _Pron. ref_. 3 sing., he, him, they, + them. +MOCHI, _adj_. All. +MOCHIPA, _adv_. Always. +MOLINIANI, _n_. One who moves, or agitates. XVI, 3. +MOMOLOTZA, _v_. To cause to foam, to cut to pieces. XII, 3. +MOTELCHIUH, _n_. The governor of Tenochtitlan. XIII, 8.--See + _telchihua_. +MOTLA, _v_. To throw, to fall. I, 1. +MOTLALI, _adj_. Seated, placed, in repose. +MOYAUA, _v_. To conquer; to become cloudy or troubled (of water); to + talk about; to boast. +MOZTLA, _adv_. To-morrow. + +NAHUAC, _postpos_. Toward, by, along, near to. +NAHUI, _adj. num_. Four. +NALQUIXTIA, _v_. To cause to penetrate, causative of _nalquiza_, to + penetrate. +NANANQUILIA, _v_. To answer, to reply to. +NANTLI, _n_. Mother, _tonan_, our mother, etc. +NAUHCAMPA, _adv_. In four directions, to four places. +NE, _pron_. Reflexive pronoun 3d person in verbal substantives and + impersonal verbs. +NE, _pron_. for _nehuatl_. I, me. +NECALIZTLI, _n_. Battle, combat. +NECH, _pron_. Me, to me. +NECHCA, _adv_. There, down there; like the French _là-bas; ocye + nechca_, formerly, once. +NECI, _v_. To appear, to show one's self or others. +NECO, _v_. Pass, of _nequi_, q. v. +NECTIA, _v_. To desire, to wish for. +NECUILTONOLLI, _n_. Riches, possessions. +NEICALOLOYAN, _n_. The field of battle. +NEIXIMACHOYAN, _n_. A place where one is taught. XIII, 1. +NEL, _adv_. But. +NELHUAYOTL, _n_. A root; _fig_., principle, foundation, essence. +NELIHUI, _adv_. It is thus, even thus; _mazo nelihui_, though it be + thus. +NELLI, _adv_. Truly, verily. +NELOA, _v_. To mingle, to shake, to beat. +NELTIA, _v_. To verify, to make true. +NEMACTIA, _v_. 1. To receive, to obtain. 2. To give, to grant. +NEMAYAN, _adv_. In the course of the year. XII, 3. +NEMI, _v_. To live, to dwell, to walk. +NEMOA, _v. impers_. To live, to dwell. +NEN, _adv_. Vainly, in vain. +NENCHIUA, _v_. To do in vain. +NENECTIA, _v_. To obtain by effort. XII, 4. +NENELIUHTICA, _adj_. Mixed up, mingled together. +NENELOA, _v_. To mix, to mingle. +NENEPANOA, _v. freq_. To mix, to mingle. XVII, 1. +NENEQUI, _v_. To act tyrannically; to feign; to covet. XI, 7. +NENNEMI, _v_. To wander about. +NENONOTZALCUICATL, _n_. A song of exhortation. +NENTACI, _v_. To fail, to come to naught. XVII, 13, 14. +NENTLAMACHTIA, _v. ref_. To afflict one's self, to torment one's + self. +NENTLAMATI, _v_. To be afflicted, disconsolate. +NEPA, _adv_. Here, there. _Ye nepa_, a little further, beyond. XXI, + 6. _Oc nepa_, further on. +NEPANIUI, _v_. To join, to unite. +NEPANTLA, _postpos_. In the midst of. +NEPAPAN, _adj_. Various, diverse, different. +NEPOHUALOYAN, _n_. The place where one is reckoned, read, or counted. + VI, 2. +NEQUI, _v_. To wish, to desire. +NETLAMACHTILIZTLI, _n_. Riches, property. +NETLAMACHTILOYAN, _n_. A prosperous place. IV, 6; VII, 4. +NETLANEHUIHUIA, _v_. To have an abundance of all things. XXVI, 1. +NETOTILIZTLI, _n_. Dance, dancing. +NETOTILOYAN, _n_. Place of dancing. +NI, _pron. pers_. I. Before a vowel, _n_. +NICAN, _adj_. Here, hither. +NIHUI, _adv_. From _no-ihui_, thus, of the same manner. XVIII, 3. +NIMAN, _adv_. Soon, promptly. +NINO, _pron. ref_. I myself. +NIPA, _adv_. Here, in this part, there. +NO, _adv_. Also, like, _no yuh_, in the same way, thus. _Pron_. My, + mine. +NOCA, _pron_. For me, for my sake, by me. +NOHUAN, _pron_. With me. +NOHUIAMPA, _adv_. In all directions, on all sides. +NOHUIAN, _adv_. Everywhere, on all sides. +NONOYAN, _n_. Place of residence. V, 2. +NONOTZA, _v_. To consult, to take counsel, to reflect. +NOTZA, _v_. To call some one. +NOZAN, _adv_. Even yet, and yet, to this day. + +OBISPO, _n_. Bishop. _Span_. XIX, 4. +OC, _adv_. Yet, again; _oc achi_, yet a little; _oc achi ic_, yet + more, comparative; _oc pe_, first, foremost. +OCELOTL, _n_. The tiger; a warrior so called. See note to I, 5. +OCOXOCHITL, _n_. A fragrant mountain flower. III, 2. +OCTICATL, _n_. See note to VII, 1. +OCTLI, _n_. The native wine from the maguey. In comp., _oc_. +OHUAGA, _interj_. Oh! alas! +OHUI, _adj_. Difficult, dangerous. +OHUICALOYAN, _n_. A difficult or dangerous place. XXII, 7. +OHUICAN, _n_. A difficult or dangerous place. +OME, _adj_. Two. +OMITL, _n_. A bone. +OMPA, _adv_. Where. +ON, _adv_. A euphonic particle, sometimes indicating action at a + distance, at other times generalizing the action of the verb. +ONCAN, _adv_. There, thither. +ONOC, _v_. To be lying down. +OPPA, _adv_. A second time, twice. +OQUICHTLI, _n_. A male, a man. +OTLI, _n_. Path, road, way. +OTOMITL, _n_. An Otomi; a military officer so called. +OTONCUICATL, _n_. An Otomi song. II, 1. + +PACHIUI NOYOLLO, _v_. I am content, satisfied. IX, 2. +PACQUI, _v_. To please, to delight. +PACTLI, _n_. Pleasure, joy. +PAL, _postpos_. By, by means of. +PAMPA, _postpos_. For, because. +PAN, _postpos_. Upon; _apan_, upon the water. +PAPALOTL, _n_. The butterfly. +PAPAQUI, _v_. To cause great joy. +PATIUHTLI, _n_. Price, wages, reward. +PATLAHUAC, _adj_. Large, spacious. +PATLANI, _v_. To fly. +PEHUA, _v. Pret., opeuh_, to begin, to commence. +PEPETLACA, _v_. To shine, to glitter. +PEPETLAQUILTIA, _v_. To cause to shine. +PETLACOATL, _n_. The scolopender, the centipede. XVII, 24. +PETLATL, _n_. A mat, a rug (of reeds or flags); _fig_., power, + authority. +PETLATOTLIN, _n_. A rush suitable to make mats. XXI, 10. +PETLAUA, _v_. To polish, to rub to brightness. +PEUHCAYOTL, _n_. Beginning, commencement. +PILIHUI, _v_. To fasten to, to mingle with. XXI, 6. +PILIHUITL, _n_. Beloved child. XII, 3. +PILLI, _n_. Son, daughter, child. A noble, a chief, a ruler, a lord. + _Tepilhuan_, the children, the young people. _Nopiltzin_, my + lord. +PILOA, _v_. To hang down, to suspend. +PILTIHUA, _v_. To be a boy, to be young. +PIPIXAUI, _v_. To snow, to rain heavily. +PIXAUI, _v_. To snow, to rain. +POCHOTL, _n_. The ceiba tree; _fig_., protector, chief. +POCTLI, _n_. Smoke, vapor, fog, mist. +POLOA, _v_. To destroy; to perish. +POPOLOA, _v_. Freq. of _poloa_. +POPOYAUHTIUH, _v_. To leave a glorious memory. XXI, 5. +POXAHUA, _v_. To work the soil, to labor. +POYAUA, _v_. To color, to dye. XVII, 21. +POYAUI, _v_. To become clear, to clear off. +POYOMATL, _n_. A flower like the rose. IV, 6. +POZONI, _v_. To boil, to seethe; fig., to be angry. + +QUA, _v_. To eat. +QUAHTLA, _n_. Forest, woods. +QUAHUITL, _n_. A tree; a stick; _fig_., chastisement. +QUAITL, _n_. Head, top, summit. +QUALANI, _v_. To anger, to irritate. +QUALLI, _adj_. Good, pleasant. +QUATLAPANA, _v_. To break one's head; to suffer much. +QUAUHTLI, _n_. The eagle; a warrior so called; bravery, distinction. + I, 5. +QUEMACH, _adv_. Is it possible! +QUEMMACH AMIQUE, _rel_. Those who are happy, the happy ones. IX, 2. +QUENAMI, _adv_. As, the same as. +QUENAMI CAN, _adv_. As there, the same as there, sometimes with _on_ + euphonic inserted, _quenonami_. +QUENIN, _adj_. How, how much. +QUENNEL, _adv_. What is to be done? What remedy? +QUENNONAMICAN, See under _quenami_. +QUEQUENTIA, _v_. To clothe, to attire. +QUETZA, _v. Nino_, to rise up; to unite with; to aid; _nite_, to lift + up. +QUETZALLI, _n_. A beautiful feather; _fig_., something precious or + beautiful. +QUETZALTOTOTL, _n_. A bird; _Trogon pavoninus_. +QUEXQUICH, _pron_. So many as, how much. +QUI, _pron. rel_. He, her, it, they, them. +QUIAUATL, _n_. Entrance, door. XVII, 18. +QUIAUITL, _n_. Rain, a shower. +QUIMILOA, _v_. To wrap up, to clothe, to shroud the dead. XI, 6. +QUIN, _pron. rel_. They, then. +QUIQUINACA, _v_. To groan, to buzz, etc. +QUIQUIZOA, _v_. To ring bells. IV, 3. +QUIZA, _v_. To go forth, to emerge. +QUIZQUI, _adj_. Separated, divided. +QUIZTIQUIZA, _v_. To go forth hastily. XXII. + +TAPALCAYOA, _v_. To be full of potsherds and broken bits. XV, 16. +TATLI, _n. and v_. See p. 19. +TE, _pron. pers_. 1. Thou. 2. _Pron. rel. indef_. Somebody. +TEAHUIACA, _adj_. Pleasing, agreeable. +TECA, _pron_. Of some one; _te_ and _ca_. +TECA, _v_. To stretch out, to sleep; to concern one's self with. + _Moteca_, they unite together. +TECH, _postpos_. In, upon, from. _Pron_. Us. +TECOCOLIA, _n_. A hated person, an enemy. +TECOMAPILOA, _n_. A musical instrument. See p. 23. +TECPILLI, _n_. Nobleman, lord. +TECPILLOTL, _n_. The nobility; noble bearing, courtesy. +TEHUAN, _pron_. 1. We. 2. With some one. +TEHUATL, _pron_. Thou. +TEINI, _v_. To break, to fracture. +TEL, _conj_. But, though. +TELCHIHUA, _v_. To detest, to hate, to curse. +TEMA, _v_. To place something somewhere. +TEMACHIA, _v_. To have confidence in, to expect, to hope for. +TEMI, _v_. To be filled, replete; to be stretched out. XXVI, 4. +TEMIQUI, _v_. To dream. +TEMO, _v_. To descend, to let fall. +TEMOA, _v_. To search, to seek. +TENAMITL, _n_. A town; the wall of a town. +TENAUAC, _post_. With some one, near some one. +TENMATI, _v_. To be idle, negligent, unfortunate. +TENQUIXTIA, _v_. To speak forth, to pronounce, to declare. +TENYOTL, _n_. Fame, honor. +TEOATL, _n_. Divine water. See VI, 4, note. +TEOCUITLA, _n_. Gold, of gold. +TEOHUA, _n_. A priest. XVII, 19. +TEOQUECHOL, _n_. A bird of beautiful plumage. +TEOTL, _n_. God, divinity. +TEOXIHUITL, _n_. Turquoise; _fig_., relation, ruler, parent. +TEPACCA, _adj_. Causing joy, pleasurable. +TEPEITIC, _n_. Narrow valley, glade, glen. +TEPETL, _n_. A mountain, a hill. +TEPEUA, _v_. To spread abroad, to scatter, to conquer. XV, 3. +TEPONAZTLI, _n_. A drum. See p. 22. +TEPOPOLOANI, _v_. To slay, to slaughter. +TEQUANI, _n_. A wild beast, a savage person. +TEQUI, _v_. To cut. +TETECUICA, _v_. To make a loud noise, to thunder. XXI, 7. +TETL, _n_. A stone, a rock. In comp., _te_. +TETLAMACHTI, _n_. That which enriches, glorifies, or pleases. +TETLAQUAUAC, _adj_. Hard or strong as stone. Comp. of _tetl_ and + _tlaquauac_. +TETOZCATEMO, _v_. To let fall or throw forth notes of singing. I, 2. +TETZILACATL, _n_. A copper gong. XVII, 21. See p. 24. +TEUCTLI, _n_., pl. _teteuctin_. A noble, a ruler, a lord; _in + teteuctin_, the lords, the great ones. +TEUCYOTL, _n_. Nobility, lordship. +TEUH, _postpos_. Like, similar to. +TEUHYOTL, _n_. Divinity, divineness. +TEYOLQUIMA, _adj_. Pleasing, odorous, sweet. +TEYOTL, _n_. Fame, honor. +TI, _pron_. 1. thou; _timo_, ref.; _tic_, act. 2. we; _tito_, ref.; + _tic_, act. +TILANI, _v_. To draw out. +TILINI, _v_. To crowd, to press. XVII, 19. +TIMALOA, _v_. To glorify, to exalt, to praise. +TIMO, _pron. ref_. Thou thyself. +TITO, _pron. ref_. We ourselves. +TIZAITL, _n_. Chalk; anything white; an example or model. +TIZAOCTLI, _n_. White wine. See VII, 2. +TLA, _adv_., for _intla_, if; _pron. indef_., something, anything; + _postpos_. in abundance. +TLACACE, _interj_. Expressing astonishment or admiration. XVII, 3. +TLACAQUI, _v_. To hear, to understand. +TLACATEUCTLI, _n_. A sovereign, a ruler. +TLACATI, _v_. To be born. +TLACATL, _n_. Creature, person. +TLACAZO, _adv_. Truly, certainly. +TLACHIA, _v_. To see, to look upon. +TLACHIHUAL, _n_. Creature, invention. +TLACHINOLLI, _n_. Battle, war; from _chinoa_, to burn. +TLACOA, _v_. To injure, to do evil, to sin. +TLACOCHTLI, _n_. The arrow. +TLACOCOA, _v_. To buy, to purchase. X, 1. +TLACOHUA, _v_. To buy, to purchase. +TLACOHUA, _v_. To beat, to chastise. +TLACOTLI, _n_. A servant, slave. +TLACOUIA, _v_. To split, to splinter. +TLACUILOA, _v_. To inscribe, to paint in, to write down. +TLAELEHUIANI, _adj_. Desirous of, anxious for. +TLAHUELLI, _n_. Anger, ire. +TLAHUICA, _n_. Servant, page; also, a native of the province of + Tlahuican. (See _Index_.} +TLAILOTLAQUI, _n_. "Workers in filth;" scum; a term applied in + contempt. XIII, 8; XV, 12, 14. Also a proper name. + (See _Index_.) +TLALAQUIA, _v_. To bury, to inter. +TLALLI, _n_. Earth, ground; _tlalticpac_, on the earth. +TLALNAMIQUI, _v_. To think of, to remember. +TLALPILONI, _n_. An ornament for the head. VI, 4, from _ilpia_. +TLAMACHTI, _v. ref_. To be rich, happy, prosperous. +TLAMAHUIZOLLI, _n_. Miracle, wonder. +TLAMATILLOLLI, _n_. Ointment; anything rubbed in the hands. XI, 9. +TLAMATQUI, _adj_. Skillful, adroit. +TLAMATTICA, _adj_. Calm, tranquil. +TLAMELAUHCAYOTL, _n_. A plain or direct song. II, 1. +TLAMI, _v_. To end, to finish, to come to an end. +TLAMOMOYAUA, _v_. To scatter, to destroy. XV, 21. +TLAN, _postpos_. Near to, among, at. +TLANECI, _v_. To dawn, to become day. _Ye tlaneci_, the day breaks. +TLANEHUIA, _v. Nicno_. To revel, to indulge one's self in. XXI, 8. +TLANELTOCA, _v_. To believe in, to have faith in. +TLANIA, _v_. To recover one's self, to return within one's self. +TLANIICZA, _v_. To abase, to humble. IX, 3. +TLANTIA, _v_. To terminate, to end. +TLAOCOL, _adj_. Sad, melancholy, pitiful, merciful. +TLAOCOLIA, _v_. To be sad, etc. +TLAOCOLTZATZIA, _v_. To cry aloud with grief. I, 3. +TLAPALHUIA, _v., rel_. To be brilliant or happy; act_., to salute a + person; to paint something. +TLAPALLI, _n_. and _adj_. Colored; dyed; red. +TLAPALOA, _v_. To salute, to greet. +TLAPANAHUIA, _adj_. Surpassing, superior, excellent; used to form + superlatives. +TLAPANI, _v_. To dye, to color. XVII, 10. +TLAPAPALLI, _adj_. Striped, in stripes. +TLAPATL, _n_. The castor-oil plant; the phrase _mixitl tlapatl_ means + stupor, intoxication. IX, 2. +TLAPEPETLANI, _v_. To sparkle, to shine forth. +TLAPITZA, _v_. Fr. _pitza_, to play the flute. XVII, 26. +TLAQUALLI, _n_. Food, eatables. +TLAQUAUAC, _adj_. Strong, hard. +TLAQUAUH, _adj_. Strongly, forcibly. +TLAQUILLA, _adj_. Stopped up, filled. XX, 4. +TLAQUILQUI, _n_. One who plasters, a mason. XXI, 1. +TLATEMMATI, _v_. To suffer afflictions. +TLATENEHUA, _v_. To promise. +TLATHUI, _v_. To dawn, to become light. +TLATIA, _v_. 1. To hide, to conceal; 2. to burn, to set on fire. +TLATLAMANTITICA, _adj_. Divided, separated. +TLATLATOA, _v_. To speak much or frequently. XVII, 11. +TLATLAUHTIA, _v_. To pray. XVI, 3. +TLATOANI, _n_. Ruler, lord. +TLATOCAYOTL, _n_. The quality of governing or ruling. +TLATOLLI, _n_. Word, speech, order. +TLATZIHUI, _v_. To neglect, to be negligent; to be abandoned, to lie + fallow; to leave, to withdraw. +TLAUANTLI, _n_. Vase, cup. XXVI, 4. +TLAUHQUECHOL, _n_. A bird, the red heron, _Platalea ajaja_. +TLAUILLOTL, _n_. Clearness, light. X, 1. +TLAXILLOTIA, _v_. To arrange, sustain, support. IX, 4. +TLAXIXINIA, _v_. To disperse, to destroy. +TLAYAUA, _v_. To make an encircling figure in dancing. +TLAYAUALOLLI, _adj_. Encircled, surrounded. XXI, 6. +TLAYLOTLAQUI, _n_. See XIII, 8. +TLAYOCOLIA, _v_. To make, to form, to invent. XIV. +TLAYOCOYALLI, _n_. Creature, invention. +TLAZA, _v_. To throw away; _fig_., to reject, to despise. +TLAZOTLA, _v_. To love, to like. +TLE, _pron. int_. and _rel_. What? That. +TLEAHUA, _v_. To set on fire, to fire. +TLEIN, _pron., int_. and _rel_. What? That. +TLEINMACH, _adv_. Why? For what reason? +TLENAMACTLI, _n_. Incense burned to the gods. III, 1. +TLEPETZTIC, _adj_. Shining like fire, _tletl_, _petzlic_. XV, 26. +TLETL, _n_. Fire. +TLEYMACH, _adv_. Why? Wherefore? +TLEYOTL, _n_. Fame, honor. +TLEZANNEN, _adv_. To what good? Cui bono? +TLILIUHQUI, _adj_. Black, brown. +TLILIUI, _v_. To blacken, to paint black. XII, 6. +TLOC, _postpos_. With, near to. +TLOQUE NAHUAQUE, _n_. A name of divinity. See I, 6, note. +TO, _pron. posses_. Our, ours. +TOCA, _v_. To follow. +TOCI, _n_. "Our ancestress," a divinity so called. +TOCO, _v_. Impers. of _toca_. +TOHUAN, _pron_. With us. +TOLINIA, _v_. To be poor, to be unfortunate. +TOLQUATECTITLAN, _n_. The place where the head is bowed for + lustration. III, 1. +TOMA, _v_. To loosen, to untie, to open. XVII, 3. +TOMAHUAC, _adj_. Great, heavy, large. +TONACATI, _v_. To be prosperous or fertile. +TONACATLALLI, _n_. Rich or fertile land. +TONAMEYO, _adj_. Shining like the sun, glittering. +TONAMEYOTL, _n_. Ray of the sun, light, brilliancy. +TONATIUH, _n_. The sun. +TONEUA, _v_. To suffer pain; _nite_, to inflict pain. +TOQUICHPOHUAN, _n_. Our equals. I, 3. +TOTOTL, _n_. A bird, generic term. +TOZMILINI, _adj_. Sweet voiced. XXI, 3. +TOZNENETL, _n_. A parrot, _Psittacus signatus_. +TOZQUITL, _n_. The singing voice, p. 21. +TZALAN, _postpos_. Among, amid. +TZATZIA, _v_. To shout, to cry aloud. +TZAUHQUI, _v_. To spin. XVII, 22. +TZETZELIUI, _v_. To rain, to snow; _fig_., to pour down. +TZIHUAC, _n_. A species of bush. XV, 1. +TZIMIQUILIZTLI, _n_. Slaughter, death. XVI, 5. +TZINITZCAN, _n_. A bird, _Trogon Mexicanus_. +TZITZILINI, _n_. A bell. +TZOTZONA, _v_. To strike the drum. + +UALLAUH, _v_. To come. See _huallauh_. +UITZ, _v_. To come. +ULLI, _n_. Caoutchouc. See p. 22. + +XAHUA, _v_. To paint one's self, to array one's self in the ancient + manner. XXIV, 1. +XAMANI, _v_. To break, to crack. +XAXAMATZA, _v_. To cut in pieces, to break into bits. +XAYACATL, _n_. Face, mask. +XELIHUI, _v_. To divide, to distribute. +XEXELOA, _v_. To divide, to distribute. +XILOTL, _n_. Ear of green corn. +XILOXOCHITL, _n_. The flower of maize. XVII, 10. +XIMOAYAN, _n_. A place of departed souls. See I, 8. +XIMOHUAYAN, _n_. Place of departed spirits. VIII, 1. +XIUHTOTOTL, _n_. A bird, _Guiaca cerulea_. +XIUITL, _n_. A leaf, plant; year; anything green. +XOCHICALLI, _n_. A house for flowers, or adorned with them. +XOCHIMECATL, _n_. A rope or garland of flowers. +XOCHIMICOHUAYAN, _n_. See XVI, 3, note. +XOCHITECATL, _n_. See XXV, 7, note. +XOCHITL, _n_. A flower, a rose. +XOCHIYAOTL, _n_. Flower-war. See XVI, 4, note. +XOCOMIQUI, _v_. To intoxicate, to become drunk. +XOCOYA, _v_. To grow sour. XIII, 4. +XOPALEUAC, _n_. Something very green. +XOPAN, _n_. The springtime. +XOTLA, _v_. To blossom, to flower; to warm, to inflame; to cut, to + scratch, to saw. +XOXOCTIC, _adj_. Green; blue. XVI, 6. +XOYACALTITLAN, _n_. The house or place of decay. III, 1. + +Y., Abbrev. for _ihuan_, and _in_, q. v. +YA, _adv_. Already, thus; same as _ye_; _v_., to suit, to fit. Part. + euphonic or expletive. See note to XVII, 3. +YAN, _postpos_. Suffix signifying place. +YANCUIC, _adj_. New, fresh, recent. +YANCUICAN, _adv_. Newly, recently. +YAOTL, _n_. War, battle. +YAOYOTL, _n_. Warfare. +YAQUI, _adj_. Departed, gone, left for a place. +YAUH, _v., irreg_. To go. +YE, _adv_. Already, thus; _ye no ceppa_, a second time; _ye ic_, + already, it is already. +YE, _pron_. He, those, etc. +YE, _adj. num_. Three. +YECE, _adv_. But. +YECEN, _adv_. Finally, at last. +YECNEMI, _v_. To live righteously. +YECOA, _v_. To do, to finish, to conclude. +YECTENEHUA, _v_. To bless, to speak well of. +YECTLI, _adj_. Good, worthy, noble. +YEHUATL, _pron_. He, she, it. Pl. _yehuan, yehuantin_. +YEHUIA, _v_. To beg, to ask charity. +YEPPA YUHQUI. Formerly, it was there. VII, 2. +YHUINTIA. See _ihuinti_. +YOCATL, _n_. Goods, possessions; _noyocauh_, my property. XV, 26. +YOCAUA, _n_. Master, possessor, owner. +YOCOLIA, _v_. To form, to make. +YOCOYA, _v_. To make, to invent, to create. +YOHUATLI, _n_. Night, darkness. +YOLAHUIA, _v_. To rejoice greatly. +YOLCIAHUIA, _v_. To please one's self, to make glad. +YOLCUECUECHOA, _v_. To make the heart tremble. IV, 6. +YOLEHUA, _v_. To excite, to animate. +YOLIHUAYAN, _n_. A place of living III, 5. +YOLLO, _adj_. Adroit, skillful; also for _iyollo_, his heart. +YOLLOTL, _v_. Heart, mind, soul. +YOLNONOTZA, _v_. See note to I, 1. +YOLPOXAHUA, _v_. To toil mentally. +YUHQUI, _adv_. As, like. +YUHQUIMATI, _v_. To understand, to realize. + +ZACATL, _n_. Herbage, straw, hay. XXI, 5. +ZACUAN, _n_. Feather of the zacuan bird; _fig_., yellow; prized. +ZACUAN TOTOTL, _n_. The zacuan bird, _Oriolus dominicensis_. +ZAN, _adv_. Only, but; _zan cuel_, in a short time; _zanen_, perhaps; + _Zan nen_, in vain. +ZANCUEL ACHIC, _adv_. A moment, an instant; often; _zan ye_, but + again, but quickly. +ZANIO, _pron_. I alone, he or it alone. +ZOA, _v_. To pierce; to spread out; to open; to sew; to string + together; to put in order. +ZOLIN TOTOTL, _n_. The quail. +ZOMA, _v_. To become angry. +ZOMALE, _adj_. For _comalli_, vase, cup. XXVI, 4. + + + + +INDEX OF NAHUATL PROPER NAMES, WITH EXPLANATIONS. + + +ACALLAN, 105. "The place of boats," from _acalli_, boat. An ancient +province at the mouth of the Usumacinta river; but the name was +probably applied to other localities also. + +ACATLAPAN, 41. A village southeast of Chalco. From _acatla_, a place +of reeds, and _pan_, in or at. + +ACHALCHIUHTLANEXTIN, 46. The first chief of the Toltecs; another form +of _chalchiuhtonac_. Both names mean "the gleam of the precious +jade." Compare Torquemada, _Monarquia Indiana_. Lib. III., cap. 7; +Orozco y Berra, _Hist. Antigua de Mexico_, Tom. III., p. 42. The date +of the beginning of his reign is put at A.D. 667 or 700. + +ACOLHUACAN, 40, 91, 119. A compound of _atl_, water, and _colhuacan_, +(q. v.) = "Colhuacan by the water," the name of the state of which +Tetzcuco was the capital, in the valley of Mexico. + +ACOLMIZTLAN, 89, from + +ACOLMIZTLI, 35. A name of Nezahualcoyotl (see p. 35), also of other +warriors. + +ANAHUAC, 125. From _atl_, water, _nahuac_, by, = the land by the +water. The term was applied first to the land by the lakes in the +Valley of Mexico, and later to that along both the Gulf of Mexico and +the Pacific Ocean. + +ATECPAN, 77. "The royal residence by the water" (_atl, tecpan_). I do +not find this locality mentioned elsewhere. + +ATLIXCO, 125. "Where the water shows its face" (_atl, ixtli, co_). A +locality southeast of Tezcuco, near the lake, so called from a large +spring. See Motolinia, _Historia de los Indios_, Trat. III, cap. 18. + +ATLOYANTEPETL, 85, 89, 91. Perhaps for _atlauantepetl_, "the mountain +that rules the waters." But see note to XIII, v. 6. + +ATZALAN, 114. "Amid the waters" (_atl, tzalan_). Perhaps not a proper +name; but two villages in the present State of Puebla are called +Atzala (see Orozco y Berra, _Geografia de las Lenguas de Mexico_, pp. +212, 213). + +AXAXACATZIN, 43. Probably for _axayacatzin_, reverential of +_axayacatl_, the name of a species of marsh fly. It was also the name +of the sixth ruler of Mexico (flor. about 1500), and doubtless of +other distinguished persons. See Ixtlilxochitl, _Historia +Chichimeca_, cap. 51. + +AZCAPOTZALCO, 50, 51. An ancient town in the valley of Mexico, once +the capital city of the Tepanecas (q. v.). The word means "place of +the ant-hills," from _azcaputzalli_. + +AZTECS, 25. A Nahuatl tribe who derived their name from their +mythical ancient home, Aztlan. The derivation is obscure, but +probably is from the same radical as _iztac_, white, and, therefore, +Father Duran was right in translating Aztlan, "place of whiteness," +the reference being to the East, whence the Aztecs claim to have +come. See Duran, _Historia de las Indias_, cap. II. + + +CACAMATL, 94, 95. The reference appears to be to Cacamatzin (the +_Noble Sad One_, from _cacamaua_, fig. to be sad), last ruler of +Tezcuco, son and successor, in 1516, of Nezahualpilli. He was put to +death by Cortes. + +CATOCIH, 89. A doubtful word, which may not be a proper name. + +CHALCO, 16, 69, 95. A town and lake in the valley of Mexico. The +people were Nahuas and subject to Mexico. The word is probably +derived from _Challi_, with the postpos. _co_, meaning "at the mouth" +(of a river). See Buschmann, _Ueber die Aztekischen Ortsnamen_, s. +689, and comp. _Codex Ramirez_, p. 18. + +CHIAPA, CHIAPANECA, 70, 71. The province and inhabitants of Chiapas, +in Southern Mexico. There were colonies of Nahuas in Chiapas, though +most of the natives spoke other tongues. The derivation is probably +from _chia_, a mucilaginous seed highly esteemed in Mexico. + +CHICHIMECATL or CHICHIMECS, 88, 89, 91, 101. A rude hunting tribe, +speaking Nahuatl, who settled, in early times, in the valley of +Mexico. The name was said to be derived from _chichi_, a dog, on +account of their devotion to hunting (_Cod. Ramirez_). Others say it +was that of their first chieftain. + +CHICOMOZTOC, 88, 89. "At the seven caves," the name of the mythical +locality from which the seven Nahuatl tribes derived their origin. +The _Codex Ramirez_ explains the seven caves to mean the seven houses +or lineages (totems) of which the nation consisted. + +CHILILITLI, 36. Name of a tower of sacred import. It is apparently a +compound of _chia_ or _chielia_, to watch, and _tlilli_, blackness, +obscurity, hence "a night watch-tower." It was probably used for the +study of the sky at night. + +CHIMALPOPOCA, 43. "The smoking shield," from _chimalli_, shield, and +_popoca_. The name of several distinguished warriors and rulers in +ancient Mexico. + +CHOLULA or CHOLOLLAN, 105. Name of a celebrated ancient state and +city. From _choloa_, with the probable meaning, "place of refuge," +"place of the fugitives." + +CIHUAPAN, 41. Name of a warrior, otherwise unknown. From _cihuatl_, +woman, _pan_, among, with. + +COATZITEUCTLI, 89. A name compound of _coatzin_, reverential form of +_coatl_, serpent, and _teuctli_, lord. + +COLHUA, A people of Nahuatl affinity, who dwelt in ancient times in +the valley of Mexico. See _Colhuacan_. + +COLHUACAN, 88, 89, 91. A town in the valley of Mexico. In spite of +the arguments to the contrary, I believe the Colhua were of Nahuatl +lineage, and that the name is derived from _colli_, ancestor; +_colhuacan_, the residence of the ancestors; with this signification, +it was applied to many localities. It must be distinguished from +_Acolhuacan_. Its ikonomatic symbol was a hill bent over at the top, +from _coloa_, to bend. + +COLZAZTLI, 39. Probably for Coltzatztli, one who cries out or calls +to the ancestors (_colli, tzatzia_). A chief whom I have not found +elsewhere mentioned. + +CONAHUATZIN, 41. A warrior not elsewhere mentioned. By derivation it +means "noble son of the lord of the water" (_conetl, ahua, tzin_). + +CUETZPALTZIN, 89. A proper name, from _cuetzpalli_, the 4th day of +the month. + +CUEXTLA, 33. A province of ancient Mexico. See Torquemada, _Monarquia +Indiana_. Lib. II, caps. 53, 56. + +CULTEPEC, 42. A village five leagues from Tezcuco, at the foot of the +mountains. Deriv., _colli_, ancestor, _tepetl_, mountain or town, +with post-pos. _c_; "at the town of the ancestors." + + +HUETLALPAN or HUETLAPALLAN, 89. The original seat of the mythical +Toltecs. The name is a compound of _hue_, old, and _Tlapallan_, q. v. + +HUEXOTZINCO, 50, 83, 91, 99, 113. An independent State of ancient +Anahuac, south of Tlascala and west of Cholula. The name means "at +the little willow woods," being a diminutive from _huexatla_, place +of willows. + +HUITLALOTZIN, 89. From _huitlallotl_, a species of bird, with the +reverential termination. Name of a warrior. + +HUITZILAPOCHTLI, 16. Tribal god of the Mexicans of Tenochtitlan. The +name is usually derived from _huitzitzilin_, humming bird, and +_opochtli_, left (_Cod. Ramirez_, p. 22), but more correctly from +_huitztli_, the south, _iloa_, to turn, _opochtli_, the left hand, +"the left hand turned toward the south," as this god directed the +wanderings of the Mexicans southward. The humming bird was used as +the "ikonomatic" symbol of the name. + +HUITZILIHUITL, 89. "Humming-bird feather." Name of an ancient ruler +of Mexico, and of other warriors. + +HUITZNAHUACATL, 91. A ruler of Huexotlan (Clavigero); a member of the +Huitznahua, residents of the quarters so called in Tezcuco and +Tenochtitlan (Ixtlilxochitl, _Hist. Chichimeca_, cap. 38). + + +IXTLILXOCHITL, 35, 46, 89. A ruler of Acolhuacan, father of +Nezahualcoyotl. Comp. _ixtli_, face, _tlilxochitl_, the vanilla +(literally, the black flower). + +IZTACCOYOTL, 89, 93. "The white wolf." Name of a warrior otherwise +unknown. + + +MEXICANS, 67, 83, 85, 87, 123, 125. See + +MEXICO, 83, 123. Name of the town and state otherwise called +Tenochtitlan. _Mexitl_ was one of the names of the national god +Huitzilopochtli, and Mexico means "the place of Mexitl," indicating +that the city was originally called from a fane of the god. + +MICTLAN, 95, 117, 119. The Mexican Hades, literally, "the place of +the dead." + +MONTEZUMA, 14, 41, 113. The name of the ruler of Mexico on the +arrival of Cortes. The proper form is _Moteuhzomatzin_ or +_Motecuhzomatzin_, and the meaning, "he who is angry in a noble +manner." ("señor sañudo," _Cod. Ramirez_, p. 72; "qui se fache en +seigneur," Siméon, _Dict. de la Langue Nahuatl_, s. v.). + +MOQUIHUIX, 33. The fourth ruler of Tlatilolco. He assumed the power +in 1441, according to some writers (Bustamente, _Tezcoco, en los +Ultimas Tiempos de sus Antiguos Reyes_, p. 269). The name probably +means "He who comes forth a freeman." See Ixtlilxochitl, _Historia +Chichimeca_, caps. 36, 51. + + +NACXITL TOPILTZIN, 105, 107. Nacxitl, "the four footed" (_nahui, +ixitl_), was the name of one of the gods of the merchants (Sahagun, +_Hist, de Nueva España_, Lib. I, c. 19). In the song it is applied to +Quetzalcoatl, who was also regarded as a guardian of merchants. + +NAHUATL, (9, etc.). A term applied to the language otherwise known as +Aztec or Mexican. As an adjective it means "well-sounding," or, +pleasant to the ear. From this, the term _Nahua_ is used collectively +for all tribes who spoke the Nahuatl tongue. _Nahuatl_ also means +clever, skillful, and the derivation is probably from the root _na_, +to know. + +NECAXECMITL, 46. Name of uncertain meaning of a person otherwise +unknown. + +NEZAHUALCOYOTL, 35, 67, 119. Chief of the Acolhuas, and ruler in +Tezcuco from 1427 to 1472, or thereabouts. He was a distinguished +patron of the arts and a celebrated poet. See p. 35, et seq. + +NEZAHUALPILLI, or NEZAHUALPIZINTLI, 14, 125. Ruler of Acolhuacan, son +of Nezahualcoyotl. His accession is dated in 1470 or 1472. + +NONOHUALCO, 105, 125. Name of one of the quarters of the ancient city +of Mexico; also of a mountain west of the valley of Mexico. The +derivation is probably from _onoc_, to lie down; _onohua_, to sleep; +_onohuayan_, a settled spot, an inhabited place. The _co_ is a +postposition. + +NOPAL or NOPALTZIN, 46. Ruler of Acolhuacan, A. D. 1260-1263, +according to some chronologies. The name is from _nopalli_, the +cactus or opuntia. + +NOPILTZIN, 67, 91. "My son," or "my lord," a term of deference +applied to superiors, from _pilli_, which means son and also lord, +like the old English _child_. Cf. _Topiltzin_. + + +OTOMIS, 16, 49, 58, 64, 71, 95. A nation which inhabited a portion of +the valley of Mexico and region adjacent, entirely dissimilar in +language and appearance from the Nahuas. The etymologies suggested +are unsatisfactory. + +POPOCATEPETL, 46. "The smoking mountain," the name of a famous +volcano rising from the valley of Mexico. + +POYAUHTECATL, 105. A volcano near Orizaba (Sahagun. _Hist. de Nueva +España_, Lib. I, cap. 21). Derived from _poyaua_, to color, to +brighten. + +QUANTZINTECOMATZIN, 41. A warrior not otherwise known. The name is a +double reverential, from _quani_, eater, and _tecomatl_, vase, "The +noble eater from the royal dish." + +QUAUHQUECHOLLAN, 95. A village and plain near the southern base of +Popocatepetl. It means "the place of the quechol woods," or the trees +among which quechol birds are found. See Motolinia, _Historia de los +Indios_, Trat. III, cap. 18. + +QUAUHXILOTL, 89. Name of a large tree, and applied to a warrior, +ruler of Iztapallocan, whom Ixtlilxochitl, King of Tezcuco, placed at +the head of his troops in his war with Tezozomoc. See Clavigero, +_Storia Antica di Messico_, Tom. I, p. 185. + +QUETZALCOATL, 32, 143, 144. See note on p. 143. + +QUETZALMAMATZIN, 91. Name of a warrior, "the noble one of the +beautiful hands" (_quetzalli, mama_, pl. of _maitl_, and rev. term, +_tzin_). Perhaps the same as Quetzalmemalitzin, ruler of Teotihuacan, +mentioned by Ixtlilxochitl, _Historia Chichimeca_, cap. 35. + +QUIAUHTZIN, 93. Name of a warrior, "The noble rain" (_quiauitl, +tziri_). + + +TENOCHTITLAN, 85. The current name for the City of Mexico; literally, +"at the stone-nopal," from _tetl_, stone, _nochtli_, nopal, and +postpos., _tlan_. The term refers to an ancient tradition. + +TEPANECAS or TECPANECAS, 35. A powerful nation of Nahuatl lineage, +who dwelt in the valley of Mexico. They were destroyed in 1425 by the +Acolhuas and Mexicans, and later the state of Tlacopan was formed +from their remnants. Comp. probably from _tecpan_, a royal residence, +with the gentile termination. + +TEPEYACAC, TEPEYACAN, 93. From _tepetl_, mountain, _yacatl_, nose, +point, and postpos, _c_. 1. A small mountain on which the celebrated +church of the Virgin of Guadalupe now stands. 2. A large town and +state subject to ancient Mexico, now Tepeaca in the province of +Puebla. + +TETLAPAN QUETZANITZIN, 68, 69. A ruler of Tlatilolco, contemporary of +the conquest. See Note to Song VI. + +TETZCOCO, now TEZCUCO, 14, 35, 36, 77. Capital city of Acolhuacan, +and residence of Nezahualcoyotl. It has been called "the Athens of +Anahuac." The derivation of the name is from a plant called +_tetzculli_ (_Cod. Ramirez_). + +TEZOZOMOC, TEZOZOMOCTLI, 35, 39, 67, 88, 89. A ruler of the +Tepanecas, celebrated for his warlike skill and severity. His death +is placed in the year 1427. The name, like Montezuma, is derived from +_zoma_, to be angry, in this case from the reduplicated frequentative +form, _zozoma_. + +TIZATLAN, 103. "The place of white varnish" (_tizatl_), the name of +one of the four quarters of the city of Tlascala. + +TLACOMIHUATZIN, 93. "The noble cousin of the lynx" (_tlacomiztli_, +lynx, huan, postpos., denoting affinity, _tzin_, reverential). The +name of a warrior. + +TLACOPAN, now TACUBA, 135. A small state west of Mexico and subject +to it, built up on the ruins of the ancient Tepanecas. Comp. from +_tlacotli_, a slave. + +TLAHUICAN, 118. A Nahuatl province south of the valley of Mexico, so +called from the cinnabar, _tlahuitl_, there obtained (Buschmann; but +the _Cod. Ramirez_ gives the meaning "toward the earth," from +_tlalli_ and _huic_). [*Transcriber's note: TLAHUICAN not found in +text. See Tlahuica in Vocabulary.] + +TLAILOTLACAN, 140. One of the seven divisions of the city of Tezcuco +(_Ixtlilxochitl_, _Hist. Chichimeca_, cap. 38). [*Transcriber's note: +TLAILOTLACAN not found in text.] + +TLAILOTLAQUI, 84. Literally, "workers in refuse," or "scavengers." +Said by M. Aubin to have been a tribe who settled in Tezcuco in the +reign of Quinantzin. The term is apparently one of contempt. +[*Transcriber's note: TLAILOTLAQUI not found on page 84 in text. See +Tlailotlaqui in Vocabulary.] + +TLALMANALCO, 42. A village near the foot of the volcano Popocatepetl. +Derived from _tlalmanalli_, level ground, with postpos. _co_. + +TLALNAHUACATL, 89. "Dweller on the land;" name of a warrior. + +TLALOC, 45. God of rain and the waters; a famous divinity among the +ancient Mexicans. The word means "stretched on the earth," and the +idol of the god represented a man extended on his back holding a +vase. + +TLAPALLAN, 105. A mythical land from which the Toltecs were fabled to +have come and to which Quetzalcoatl returned. The derivation is from +_tlapalli_, color, especially red. + +TLATETOLCO, TLATILULCO, 33, 83, 85. A suburb of the ancient city of +Mexico, founded in 1338; from _tlatelli_, a mound, _ololoa_, to make +round, the sense being "an island." See Motolinia, _Historia de los +Indios_, Trat. III, cap. 7. + +TLAXCALLAN, now TLASCALA, 89, 93, 103. "The place of bread," from +_tlaxcalli_, bread. Site of a warlike tribe of Nahuatl descent, east +of the valley of Mexico. + +TLATZIN, 46. Chief of a town of the Chichimecs, situated on Lake +Chalco. He flourished toward the close of the 14th century. From +_tlatli_, a falcon. + +TOCHIN, 89. From _tochtli_, rabbit; name of the brother of the +Tezcucan ruler Quinantzin, and of many other personages. + +TOLLAN, or TULAN, 46, 105, 107. The ancient mythical capital of the +Toltecs. The common derivation from _tolin_, a rush, is erroneous. +The name is a syncopated form of _tonatlan_, "the place of the sun." + +TOLTEC, properly TOLTECATL, 46, 111. An inhabitant of Tollan. The +Toltecs were a mythical people, whose civilization was supposed to +have preceded that of the Aztecs. + +TOPILTZIN, 46, 105. "Our son" or "Our lord" (see Nopiltzin). The term +was especially applied to Quetzalcoatl, q. v. See Orozco y Berra, +_Hist. Antig. de Mexico_, Tom. III, p. 54. + +TOTOQUILHUATLI, 41. From _totoquilia_, to act as agent or lieutenant. +Ruler of Tlacopan. The verse of the song in which this name occurs is +given in the original Nahuatl by Ixtlilxochitl, who says it was very +popular throughout New Spain. See his _Historia Chichimeca_, cap. 32. + + +XICALANCO, 107. A locality on the borders of the province Tabasco. +The people spoke Nahuatl. Deriv. _xicalli_, gourd or jar, and +postpos. _co_. + +XICOMATZINTLAMATA, 43. Name of a warrior not otherwise known. The +compound seems to mean "skillful with angry hand" (_xicoa, maitl, +tlamati_). + +XICONTECATL, 103. Name of several distinguished Tlascalan warriors, +lords of Tizatlan. See Clavigero, _Hist. Antica di Messico_, Tom. +III, pp. 38 and 40, One was a favorite of Nezahualcoyotl. See +Ixtlilxochitl, _Historia Chichimeca_, cap. 40. + +XIUHTEUCTLI, 15. The god of fire, literally, "the lord of the year," +or "of the foliage." + +XIUHTZAL, 46. A queen of ancient Tollan, said by Clavigero to have +ruled from A. D. 979 to 984. Other writers give the name more +correctly Xiuhtlaltzin, "Lady of the Green Fields," and place her +death in 987. (Orozco y Berra, _Hist. Antig. de Mexico_, Tom. III, p. +45.) + +XOLOTL, 46. An early if not the first king of the Chichimecs. His +death occurred in 1232. + + +YOHUALLATONOC, 89. "Shining at night." Name of a warrior. + +YOPICO, 22. A division of the ancient city of Mexico, containing a +temple of this name. The word means "the place of the tearing out of +hearts" (_yolltol, pi, co_), from the form of sacrifice there carried +out. + +YOYONTZIN, 35, 40, 66, 67. A name of Nezahualcoyotl. See p. 35. + + + + +FOOTNOTES. + + +[Footnote 1: Diego Duran, _Historia de las Indias de Nueva España_, +Tom. I, p. 233; and compare Geronimo de Mendieta, _Historia +Eclesiastica Indiana_, Lib. II, cap. 31.] + +[Footnote 2: Sahagun, _Historia de Nueva España_, Lib. VIII, cap. +26.] + +[Footnote 3: Sahagun, _Historia de Nueva España_, Lib. III, cap. 8.] + +[Footnote 4: _Cuicoyan_, from _cuica_, song, and the place-ending +_yan_, which is added to the impersonal form of the verb, in this +instance, _cuicoa_. Mr. Bancroft entirely misapprehends Tezozomoc's +words about these establishments, and gives an erroneous rendering of +the term. See his _Native Races of the Pacific Coast_, Vol. II, p. +290, and Tezozomoc, _Cronica Mexicana_, cap. 18.] + +[Footnote 5: Juan de Torquemada, _Monarquia Indiana_, Lib. VI, cap. +43.] + +[Footnote 6: Torquemada, _Monarquia Indiana_, Lib. XVII, cap. 3. +Didacus Valades, who was in Mexico about 1550, writes of the natives: +"Habent instrumenta musica permulta in quibus semulatione quadam se +exercent." _Rhetorica Christiana_, Pars. IV, cap. 24.] + +[Footnote 7: Descriptions are given by Edward Mühlenpfordt, _Die +Republik Mexico_, Bd. I, pp. 250-52 (Hannover, 1844).] + +[Footnote 8: Molina translates _piqui_, "crear ô plasmar Dios alguna +cosa de nuevo." _Vocabulario de la Lengua Mexicana_, s.v.] + +[Footnote 9: Sahagun, _Historia de Nueva España_, Lib. X, cap. 8.] + +[Footnote 10: Boturini, _Idea de una Nueva Historia General_, p. 97.] + +[Footnote 11: Clavigero, _Storia antica di Messico_, Lib. VII, p. +175.] + +[Footnote 12: Torquemada, _Monarquia Indiana_, Lib. X, cap. 34.] + +[Footnote 13: Duran, _Hist. de la Indias de Nueva España_, Tom. I, p. +233.] + +[Footnote 14: Tezozomoc, _Cronica Mexicana_, cap. 64.] + +[Footnote 15: Ixtlilxochitl, _Historia Chichimeca_, cap. 47.] + +[Footnote 16: Boturini, _Idea de una Nueva Historia General_, p. 90.] + +[Footnote 17: Tezozomoc, _Cronica Mexicana_, cap. 53.] + +[Footnote 18: See Sahagun, _Historia de Neuva España_, Lib. IV, chap. +17, and Tezozomoc, _Cronica Mexicana_, cap. 64.] + +[Footnote 19: _Cuitlaxoteyotl_, from _cuitatl_, mierda; +_tecuilhuicuicatl_, from _tecuilhuaztli_, sello, _tecuilonti_, el que +lo haze a otro, pecando contra natura. Molina, _Vocabulario_.] + +[Footnote 20: William A. Hammond, _The Disease of the Scythians +(morbus feminarum) and Certain Analogous Conditions_, in the +_American Journal of Neurology and Psychiatry_, 1882.] + +[Footnote 21: _Cronica Mexicana_, cap. 2.] + +[Footnote 22: On this subject the reader may consult Parades, +_Compendio del Arte de la Lengua Mexicana_, pp. 5, 6, and Sandoval, +_Arte de la Lengua Mexicana_, pp. 60, 61. Tapia Zenteno whose _Arte +Novissima de la Lengua Mexicana_ was published in 1753, rejects +altogether the saltillo, and says its invention is of no use except +to make students work harder! (pp. 3, 4.) The vowels with saltillo, +he maintains, are simply to be pronounced with a slight aspiration. +Nevertheless, the late writers continue to employ and describe the +saltillo, as Chimalpopoca, _Epitome á Modo Facil de aprender el +Idioma Nahuatl_, p. 6. (Mexico, 1869.)] + +[Footnote 23: _Arte Novissima de la Lengua Mexicana_, pp. 3, 4.] + +[Footnote 24: Duran, _Historia de Nueva España_, Tom. I, p. 230.] + +[Footnote 25: The singer who began the song was called _cuicaito_, +"the speaker of the song."] + +[Footnote 26: The most satisfactory description of these concerts is +that given by Geronimo de Mendieta, _Historia Eclesiastica Indiana_, +Lib. II, cap. 31. I have taken some particulars from Boturini and +Sahagun.] + +[Footnote 27: Literally, "the broken drum," from _tlapana_, to break, +as they say _tlapanhuimetzli_, half moon. It is described by +Tezozomoc as "un atambor bajo." _Cronica Mexicana_, cap. 53.] + +[Footnote 28: From _yollotl_, heart, and _pi_, to tear out. The +instrument is mentioned by Tezozomoc, _Cronica Mexicana_, cap. 48. On +the Yopico, and its ceremonies, see Sahagun, _Historia de Nueva +España_, Lib. II, cap. 1, and Appendix.] + +[Footnote 29: Simeon, however, thinks the name arose from the growing +and swelling of the sound of the instrument (notes to Jourdanet's +translation of Sahagun, p. 28). Mr. H.H. Bancroft gives the +astonishing translation of teponaztli, "wing of stone vapor!" +(_Native Races of the Pacific States_, Vol. II, p. 293.) Brasseur +traced the word to a Maya-Quiche root, _tep_. In both Nahuatl and +Maya this syllable is the radicle of various words meaning to +increase, enlarge, to grow strong or great, etc.] + +[Footnote 30: Sahagun, _Hist. de Nueva España_, Lib. II, cap. 27.] + +[Footnote 31: See _The Güegüence, a Comedy ballet in the Nahuatl +Spanish dialect of Nicaragua_, Introd., p. 29. (Philadelphia, 1883.)] + +[Footnote 32: Theodor Baker, _Ueber die Musik der Nord-Amerikanischen +Wilden._, pp. 51-53. (Leipzig, 1882.)] + +[Footnote 33: _Omitl_, bone, _chicahuac_, strong. A specimen made of +the bone of a fossil elephant is possessed by Señor A. Chavero, of +Mexico. See Tezozomoc, _Cronica Mexicana_, cap. 55, and the note of +Orozco y Berra to that passage in the Mexican edition. Also Sahagun, +_Hist. de Nueva España_, Lib. VIII, cap. 20, who likewise describes +most of the instruments referred to in this section.] + +[Footnote 34: H.T. Cresson, _On Aztec Music_, in the _Proceedings of +the Academy of Natural Sciences, Philadelphia_, 1883.] + +[Footnote 35: Sahagun, _Historia de Nueva España_, Lib. II, +Appendice.] + +[Footnote 36: Duran, _Historia de las Indias de Nueva España_, Tom. +I, p. 233.] + +[Footnote 37: Boturini, _Idea de una Nueva Historia General_, +Appendice, p. 95.] + +[Footnote 38: Echevarria, _Historia del Origen de las Gentes de Nueva +España_, Discurso Preliminar.] + +[Footnote 39: Clavigero, _Storia Antica di Messico_, Lib. VII, p. +175.] + +[Footnote 40: "Ihre Sprachen sind überreich an doppelsinnigen +Ausdrücken die sie absichtlich anwenden um ihre Gedanken zu +verbergen. Geistliche haben mir versichert, dass sie obgleich der +Aztekischen Sprache vollständig mächtig, oft den wahren Sinn einer +Beichte nicht zu verstehen vermochten, weil die Beichtende sich in +räthselhafter und metaphorreicher Weise auszudrücken pflegten." +Carlos von Gagern, _Charakteristik der Indianischen Bevölkerung +Mexico's_, p. 17 (in the _Mit. der Geog. Gesell._, Wien. 1837).] + +[Footnote 41: Carochi's translations are not quite literal. The +following notes will explain the compounds:-- + +1. _Tlauitl_, red ochre, _quecholli_, a bird so called, _aztatl_, a +heron, _ehualtia_, reverential of _ehua_, to rise up; hence, "It (or +he) shone like a noble red-winged heron rising in flight." + +2. _Ayauitl_, mist; _coçamalotl_, rainbow; _tonameyotl_, shining, +brightness; _ti_, connective; _mani_, substantive verb. "The +brightness of the rain bow is there." There is no conjunction "and"; +Father Carochi seems to have carelessly taken _ayauh_, which is the +form of _ayauitl_ in composition, for the conjunction _auh_, and. +Each of the lines given is a detached fragment, without connection +with the others. + +3. _xiuitl_, something blue or green; _coyolli_, bells; +_tzitzilicaliztli_, tinkling. "The golden drum's +turquoise-bell-tinkling." + +4. _xiuhtic_, blue or green; _tlapalli_, red; _cuiloa_, to paint or +write; _amoxtli_, book; _manca_, imperf. of _mani_. "There was a book +painted in red and green." 5. _chalchiuhuitl_, the jade; _cozcatl_, +a jewel; _mecatl_, a string; _totoma_, frequentative of _toma_, to +unfold, unwind. "I unwind my song like a string of precious jewels."] + +[Footnote 42: See above, page 10] + +[Footnote 43: _On the Ikonomatic Method of Phonetic Writing, with +special reference to American Archeology_. By D. G. Brinton, in +Proceedings of the American Philosophical Society, for October, +1886.] + +[Footnote 44: This fact is mentioned by Lord Kingsborough in his +great work on Mexico, Vol. VI, p. 533.] + +[Footnote 45: It is described in the _Anales del Museo Nacional_, +Tom. III, p. 262.] + +[Footnote 46: Echevarria's words are "los pongo en su idioma." _Hist. +del Origen de las Gentes que poblaron la Nueva España, Discurso +Preliminar_, in Kingsborough's _Mexico_, Vol. VIII.] + +[Footnote 47: See his _Tezcuco en los Ultimas Tiempos de sus Antiguos +Reyes_. Parte IV (Mexico, 1826).] + +[Footnote 48: See the description of this fragment of Boturini by +Señor Alfredo Chavero in the _Anales del Museo Nacional_, Tom. III, +p. 242.] + +[Footnote 49: M. Aubin, _Notice sur une Collection d'Antiquités +Mexicaines_, pp. 8, 9. (Paris, 1851.)] + +[Footnote 50: Printed very incorrectly in Lord Kingsborough's edition +of Ixtlilxochitl's _Relaciones Historicas_ (Rel. X, Kingsborough, +_Antiquities of Mexico_, Vol. IX, p. 454).] + +[Footnote 51: See Sahagun, _Historia de Nueva España_, Lib. II, +Appendix.] + +[Footnote 52: Bustamente puts the number of the songs of +Nezahualcoyotl at eighty, of which he could find only one extant, and +this, as I understand his words, in Spanish only. See his _Tezcuco en +los Tiempos de sus Antiguous Reyes_, p. 253 (Mexico, 1826). When +Alexander von Humboldt visited Mexico he sought in vain for any +fragment of the songs of the royal bard. _Vues lies Cordillères_, +etc., Tom. II, p. 391.] + +[Footnote 53: _Tardes Americanas_, pp. 90-94. (Mexico, 1778.)] + +[Footnote 54: Torquemada, _Monarquia Indiana_, Lib. II, cap. 45. The +word _huehuetitlan_, seems to be a misprint for _ahuehuetitlan_, from +_ahuehuetl_, with the ligature _ti_, and the postposition _tlan_, +literally "among the cypresses."] + +[Footnote 55: _Op. cit._ Tom. I, p. 795.] + +[Footnote 56: _Grammatica del Idioma Mexicano_, p. 180. (Mexico, +1880.) + + + + + +End of Project Gutenberg's Ancient Nahuatl Poetry, by Daniel G. Brinton + +*** END OF THIS PROJECT GUTENBERG EBOOK ANCIENT NAHUATL POETRY *** + +***** This file should be named 12219-8.txt or 12219-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/2/2/1/12219/ + +Produced by David Starner, GF Untermeyer and the Online Distributed +Proofreading Team + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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Brinton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Ancient Nahuatl Poetry + Brinton's Library of Aboriginal American Literature Number VII. + +Author: Daniel G. Brinton + +Release Date: April 30, 2004 [EBook #12219] + +Language: (English and Nahuatl) + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK ANCIENT NAHUATL POETRY *** + + + + +Produced by David Starner, GF Untermeyer and the Online Distributed +Proofreading Team + + + + + + +</pre> + + +<h1>ANCIENT +<br>NAHUATL +<br>POETRY,</h1> + +<h3>CONTAINING THE NAHUATL TEXT +<br>OF XXVII ANCIENT MEXICAN POEMS.</h3> +<h3>BRITON'S LIBRARY OF ABORIGINAL AMERICAN LITERATURE, +<br>NUMBER VII.</h3> + +<h4>WITH A TRANSLATION, INTRODUCTION, NOTES AND VOCABULARY.</h4> +<h4>BY</h4> +<h2>DANIEL G. BRINTON</h2> + +<h4>1890</h4> + + +<a name="PREFACE"></a><h2>PREFACE.</h2> + +<p>It is with some hesitation that I offer this volume to the scientific +public. The text of the ancient songs which it contains offers +extreme and peculiar difficulties to the translator, and I have been +obliged to pursue the task without assistance of any kind. Not a line +of them has ever before been rendered into an European tongue, and my +endeavors to obtain aid from some of the Nahuatl scholars of Mexico +have, for various reasons, proved ineffectual. I am therefore alone +responsible for errors and misunderstandings.</p> + +<p>Nevertheless, I have felt that these monuments of ancient native +literature are so interesting in themselves, and so worthy of +publication, that they should be placed at the disposition of +scholars in their original form with the best rendering that I could +give them at present, rather than to await the uncertain event of +years for a better.</p> + +<p>The text itself may be improved by comparison with the original MS. +and with the copy previously made by the Licentiate Chimalpopoca, +referred to on page 48. My own efforts in this direction have been +confined to a faithful reproduction in print of the MS. copy of the +Abbé Brasseur de Bourbourg.</p> + +<p>The Notes, which might easily have been extended, I have confined +within moderate compass, so as not to enlarge unduly the bulk of the +volume.</p> + +<p>To some, the Vocabulary may seem inadequate. I assume that those +persons who wish to make a critical study of the original text will +provide themselves with the Nahuatl Dictionaries of Molina or Siméon, +both of which are now easily obtainable, thanks to Mr. Julius +Platzmann for the reprint of Molina. I also assume that such students +will acquaint themselves with the rules of grammar and laws of +word-building of the tongue, and that they will use the vocabulary +merely as a labor-saving means of reaching the themes of compounds +and unusual forms of words. Employed in this manner, it will, I hope, +be found adequate.</p> + +<p>In conclusion, I would mention that there is a large body of Nahuatl +literature yet unpublished, both prose and poetry, modern and +ancient, and as the Nahuatl tongue is one of the most highly +developed on the American continent, it is greatly to be desired that +all this material should be at the command of students. The Nahuatl, +moreover, is not a difficult tongue; for an Englishman or a +Frenchman, I should say it is easier to acquire than German, its +grammar being simple and regular, and its sounds soft and sonorous. +It has special recommendations, therefore, to one who would acquaint +himself with an American language.</p> + +<a name="CONTENTS"></a><h2>CONTENTS.</h2> + +<ul style="list-style-type: none"> + +<li class="hdr"><a href="#PREFACE"><big>PREFACE</big></a></li> + +<li class="hdr"><a href="#INTRODUCTION"><big>INTRODUCTION</big></a></li> + +<li><a href="#S_1">§ 1. THE NATIONAL LOVE OF POETRY</a></li> +<li><a href="#S_2">§ 2. THE POET AND HIS WORK</a></li> +<li><a href="#S_3">§ 3. THE THEMES AND CLASSES OF THE SONGS</a></li> +<li><a href="#S_4">§ 4. PROSODY OF THE SONGS</a></li> +<li><a href="#S_5">§ 5. THE VOCAL DELIVERY OF THE SONGS</a></li> +<li><a href="#S_6">§ 6. THE INSTRUMENTAL ACCOMPANIMENT</a></li> +<li><a href="#S_7">§ 7. THE POETIC DIALECT</a></li> +<li><a href="#S_8">§ 8. THE PRESERVATION OF THE ANCIENT SONGS</a></li> +<li><a href="#S_9">§ 9. THE LX SONGS OF THE KING NEZAHUALCOYOTL</a></li> +<li><a href="#S_10">§ 10. THE HISTORY OF THE PRESENT COLLECTION</a></li> + +<li class="hdr"><a href="#POEMS"><big>ANCIENT NAHUATL POEMS:</big></a></li> + +<li><a href="#I">I. SONG AT THE BEGINNING</a></li> +<li><a href="#II">II. A SPRING SONG, AN OTOMI SONG, A PLAIN SONG</a></li> +<li><a href="#III">III. ANOTHER PLAIN SONG</a></li> +<li><a href="#IV">IV. AN OTOMI SONG OF THE MEXICANS</a></li> +<li><a href="#V">V. ANOTHER PLAIN SONG OF THE MEXICANS</a></li> +<li><a href="#VI">VI. ANOTHER CHALCO-SONG, A POEM OF TETLAPAN QUETZANITZIN</a></li> +<li><a href="#VII">VII. ANOTHER</a></li> +<li><a href="#VIII">VIII. COMPOSED BY A CERTAIN RULER IN MEMORY OF FORMER RULERS</a></li> +<li><a href="#IX">IX. AN OTOMI SONG OF SADNESS</a></li> +<li><a href="#X">X. A SPRING SONG OF THE MEXICANS</a></li> +<li><a href="#XI">XI. ANOTHER</a></li> +<li><a href="#XII">XII. A SPRING SONG, A SONG OF EXHORTATION, BECAUSE CERTAIN ONES DID NOT GO TO WAR</a></li> +<li><a href="#XIII">XIII. A SONG OF HUEXOTZINCO</a></li> +<li><a href="#XIV">XIV. A CHRISTIAN SONG</a></li> +<li><a href="#XV">XV. THE REIGN OF TEZOZOMOCTLI</a></li> +<li><a href="#XVI">XVI. A SONG URGING TO WAR</a></li> +<li><a href="#XVII">XVII. A FLOWER SONG</a></li> +<li><a href="#XVIII">XVIII. A SONG OF TOLLAN</a></li> +<li><a href="#XIX">XIX. A CHRISTIAN SONG</a></li> +<li><a href="#XX">XX. A SONG LAMENTING THE TOLTECS</a></li> +<li><a href="#XXI">XXI. A SONG OF THE HUEXOTZINCOS, COMING TO ASK AID OF MONTEZUMA AGAINST TLAXCALLA</a></li> +<li><a href="#XXII">XXII. A FLOWER SONG</a></li> +<li><a href="#XXIII">XXIII. A SONG OF THE PRINCE NEZAHUALCOYOTL</a></li> +<li><a href="#XXIV">XXIV. ANOTHER</a></li> +<li><a href="#XXV">XXV. A SONG OF LAMENTATION</a></li> +<li><a href="#XXVI">XXVI. A SONG RELATING TO THE LORD NEZAHUALPILLI</a></li> +<li><a href="#XXVII">XXVII. A CHRISTIAN SONG</a></li> + +<li class="hdr"><a href="#NOTES"><big>NOTES</big></a></li> + +<li class="hdr"><a href="#VOCABULARY"><big>VOCABULARY</big></a></li> + +<li class="hdr"><a href="#INDEX"><big>INDEX OF NAHUATL PROPER NAMES, WITH EXPLANATIONS</big></a></li> + +<li class="hdr"><a href="#FOOTNOTES"><big>FOOTNOTES</big></a></li> + +</ul> + +<h1>ANCIENT NAHUATL POETRY.</h1> + +<a name="INTRODUCTION"></a><h2>INTRODUCTION.</h2> + +<a name="S_1"></a><h3>§ 1. <i>THE NATIONAL LOVE OF POETRY.</i></h3> + +<p>The passionate love with which the Nahuas cultivated song, music and +the dance is a subject of frequent comment by the historians of +Mexico. These arts are invariably mentioned as prominent features of +the aboriginal civilization; no public ceremony was complete without +them; they were indispensable in the religious services held in the +temples; through their assistance the sacred and historical +traditions were preserved; and the entertainments of individuals +received their chief lustre and charm from their association with +these arts.</p> + +<p>The profession of the poet stood in highest honor. It was the custom +before the Conquest for every town, every ruler and every person of +importance to maintain a company of singers and dancers, paying them +fixed salaries, and the early writer, Duran, tells us that this +custom continued in his own time, long after the Conquest. He +sensibly adds, that he can see nothing improper in it, although it +was condemned by some of the Spaniards.<a name="fn01_r"></a><a href="#fn01"><sup><small>1</small></sup></a> In the training of these +artists their patrons took a deep personal interest, and were not at +all tolerant of neglected duties. We are told that the chief selected +the song which was to be sung, and the tune by which it was to be +accompanied; and did any one of the choir sing falsely, a drummer +beat out of time, or a dancer strike an incorrect attitude, the +unfortunate artist was instantly called forth, placed in bonds and +summarily executed the next morning!<a name="fn02_r"></a><a href="#fn02"><sup><small>2</small></sup></a></p> + +<p>With critics of such severity to please, no wonder that it was +necessary to begin the training early, and to set apart for it +definite places and regular teachers. Therefore it was one of the +established duties of the teachers in the calmecac or public school, +"to teach the pupils all the verses of the sacred songs which were +written in characters in their books."<a name="fn03_r"></a><a href="#fn03"><sup><small>3</small></sup></a> There were also special +schools, called <i>cuicoyan</i>, singing places, where both sexes were +taught to sing the popular songs and to dance to the sound of the +drums.<a name="fn04_r"></a><a href="#fn04"><sup><small>4</small></sup></a> + In the public ceremonies it was no uncommon occurrence for +the audience to join in the song and dance until sometimes many +thousands would thus be seized with the contagion of the rhythmical +motion, and pass hours intoxicated (to use a favorite expression of +the Nahuatl poets) with the cadence and the movement.</p> + +<p>After the Conquest the Church set its face firmly against the +continuance of these amusements. Few of the priests had the liberal +views of Father Duran, already quoted; most of them were of the +opinion of Torquemada, who urges the clergy "to forbid the singing of +the ancient songs, because all of them are full of idolatrous +memories, or of diabolical and suspicious allusions of the same +character."<a name="fn05_r"></a><a href="#fn05"><sup><small>5</small></sup></a></p> + +<p>To take the place of the older melodies, the natives were taught the +use of the musical instruments introduced by the Spaniards, and very +soon acquired no little proficiency, so that they could perform upon +them, compose original pieces, and manufacture most of the +instruments themselves.<a name="fn06_r"></a><a href="#fn06"><sup><small>6</small></sup></a></p> + +<p>To this day the old love of the song and dance continues in the +Indian villages; and though the themes are changed, the forms remain +with little alteration. Travelers describe the movements as slow, and +consisting more in bending and swaying the body than in motions of +the feet; while the songs chanted either refer to some saint or +biblical character, or are erotic and pave the way to orgies.<a name="fn07_r"></a><a href="#fn07"><sup><small>7</small></sup></a></p> + +<a name="S_2"></a><h3>§ 2. <i>THE POET AND HIS WORK.</i></h3> + +<p>The Nahuatl word for a song or poem is <i>cuicatl</i>. It is derived from +the verb <i>cuica</i>, to sing, a term probably imitative or +onomatopoietic in origin, as it is also a general expression for the +twittering of birds. The singer was called <i>cuicani</i>, and is +distinguished from the composer of the song, the poet, to whom was +applied the term <i>cuicapicqui</i>, in which compound the last member, +<i>picqui</i>, corresponds strictly to the Greek ποιητὴς, +being a derivative of <i>piqui</i>, to make, to create.<a name="fn08_r"></a><a href="#fn08"><sup><small>8</small></sup></a> Sometimes he +was also called <i>cuicatlamantini</i>, "skilled in song."</p> + +<p>It is evident from these words, all of which belong to the ancient +language, that the distinction between the one who composed the poems +and those who sang them was well established, and that the Nahuatl +poetry was, therefore, something much above mere improvisation, as +some have thought. This does not alter the fact that a professed bard +usually sang songs of his own composition, as well as those obtained +from other sources. This is obvious from the songs in this +collection, many of which contain the expression <i>ni cuicani</i>, I, the +singer, which also refers to the maker of the song.</p> + +<p>In the classical work of Sahagun, the author describes the ancient +poet: "The worthy singer has a clear mind and a strong memory. He +composes songs himself and learns those of others, and is always +ready to impart either to the fellows of his craft. He sings with a +well-trained voice, and is careful to practice in private before he +appears before the public. The unworthy singer, on the other hand, is +ignorant and indolent. What he learns he will not communicate to +others. His voice is hoarse and untrained, and he is at once envious +and boastful."<a name="fn09_r"></a><a href="#fn09"><sup><small>9</small></sup></a></p> + +<a name="S_3"></a><h3>§ 3. <i>THE THEMES AND CLASSES OF THE SONGS.</i></h3> + +<p>From what he could learn about them some two centuries or more after +the Conquest, the antiquary Boturini classified all the ancient songs +under two general heads, the one treating mainly of historical +themes, while the other was devoted to purely fictitious, emotional +or imaginative subjects.<a name="fn10_r"></a><a href="#fn10"><sup><small>10</small></sup></a> His terse classification is expanded by +the Abbé Clavigero, who states that the themes of the ancient poets +were various, some chanting the praises of the gods or petitioning +them for favors, others recalled the history of former generations, +others were didactic and inculcated correct habits of life, while +others, finally, were in lighter vein, treating of hunting, games and +love.<a name="fn11_r"></a><a href="#fn11"><sup><small>11</small></sup></a></p> + +<p>His remarks were probably a generalization from a chapter in +Torquemada's <i>Monarquia Indiana</i>, in which that writer states that +the songs at the sacred festivals differed in subject with the +different months and seasons. Thus, in the second month of their +calendar, at its stated festival, the people sang the greatness of +their rulers; in the seventh month all the songs were of love, of +women, or of hunting; in the eighth the chants recalled the noble +deeds of their ancestors and their divine origin; while in the ninth +month nothing was heard but verses fraught with lamentation for the +dead.<a name="fn12_r"></a><a href="#fn12"><sup><small>12</small></sup></a> With less minuteness, Father Duran gives almost the same +information. He himself had often heard the songs which Montezuma of +Tenochtitlan, and Nezahualpizintli of Tezcuco, had ordered to be +composed in their own honor, describing their noble lineage, their +riches, their grandeur and their victories. These songs were in his +day still sung at the public dances of the natives, and he adds, +"although they were filled with laudation of their ancient rulers, it +gave me much pleasure to hear the praises of such grandeur." There +were other poets, he observes, who lived in the temples and composed +songs exclusively in honor of the gods.<a name="fn13_r"></a><a href="#fn13"><sup><small>13</small></sup></a></p> + +<p>These general expressions may be supplemented by a list of terms, +specifying particular classes of songs, preserved by various writers. +These are as follows:—</p> + +<p><i>melahuacuicatl</i>: this is translated by Tezozomoc, "a straight and +true song."<a name="fn14_r"></a><a href="#fn14"><sup><small>14</small></sup></a> It is a compound of <i>melahuac</i>, straight, direct, +true; and <i>cuicatl</i>, song. It was a beginning or opening song at the +festivals, and apparently derived its name from its greater +intelligibility and directness of expression. A synonym, derived from +the same root, is <i>tlamelauhcayotl</i>, which appears in the title to +some of the songs in the present collection.</p> + +<p><i>xopancuicatl</i>: this term is spelled by Ixtlilxochitl, +<i>xompacuicatl</i>, and explained to mean "a song of the spring" (from +<i>xopan</i>, springtime, <i>cuicatl</i>, song). The expression seems to be +figurative, referring to the beginning or early life of things. Thus, +the prophetic songs of Nezahualcoyotl, those which he sang when he +laid the foundation of his great palace, bore this name.<a name="fn15_r"></a><a href="#fn15"><sup><small>15</small></sup></a></p> + +<p><i>teuccuicatl</i>: songs of the nobles (<i>teuctli</i>, <i>cuicatl</i>). These were +also called <i>quauhcuicatl</i>, "eagle songs," the term <i>quauhtli</i>, +eagle, being applied to distinguished persons.</p> + +<p><i>xochicuicatl</i>: flower-song, one singing the praises of flowers.</p> + +<p><i>icnocuicatl</i>: song of destitution or compassion.</p> + +<p><i>noteuhcuicaliztli</i>: "the song of my lords." This appears to be a +synonymous expression for <i>teuccuicatl</i>; it is mentioned by Boturini, +who adds that on the day sacred to the god Xiuhteuctli the king began +the song so called.<a name="fn16_r"></a><a href="#fn16"><sup><small>16</small></sup></a></p> + +<p><i>miccacuicatl</i>: the song for the dead (<i>miqui</i>, to die, <i>cuicatl</i>). +In this solemn chant the singers were seated on the ground, and their +hair was twisted in plaits around their heads.<a name="fn17_r"></a><a href="#fn17"><sup><small>17</small></sup></a></p> + +<p>In addition to the above terms drawn from the subject or character of +the songs, there were others, of geographical origin, apparently +indicating that the song, or its tune, or its treatment was borrowed +from another locality or people. These are:—</p> + +<p><i>Huexotzincayotl</i>: a song of Huexotzinco, a Nahuatl town, situated +east of the Lake of Tezcuco. This song was sung by the king and +superior nobles at certain festivals, and, in the prescribed order of +the chants, followed a <i>melahuaccuicatl</i>.<a name="fn18_r"></a><a href="#fn18"><sup><small>18</small></sup></a></p> + +<p><i>Chalcayotl</i>: a song of Chalco, on the lake of the same name. This +followed the last mentioned in order of time at the festivals.</p> + +<p><i>Otoncuicatl</i>: a song of the Otomis. These were the immediate +neighbors of the Nahuas, but spoke a language radically diverse. The +songs so-called were sung fourth on the list.</p> + +<p><i>Cuextecayotl</i>: a song of the country of the Cuexteca, or Cuextlan, a +northern province of Mexico.</p> + +<p><i>Tlauancacuextecayotl</i>: a song of the country of the +Tlauancacuexteca.</p> + +<p><i>Anahuacayotl</i>: a song of Anahuac, that is, of a country near the +water, either the valley of Mexico, or the shores of the ocean.</p> + +<p>Some very ancient sacred songs were referred to by Tezozomoc as +peculiar to the worship of Huitzilopochtli, and, indeed, introduced +by this potent divinity. From their names, <i>cuitlaxoteyotl</i>, and +<i>tecuilhuicuicatl</i>,<a name="fn19_r"></a><a href="#fn19"><sup><small>19</small></sup></a> I judge that they referred to some of those +pederastic rites which still prevail extensively among the natives of +the pueblos of New Mexico, and which have been described by Dr. +William A. Hammond and other observers.<a name="fn20_r"></a><a href="#fn20"><sup><small>20</small></sup></a> One of these songs began,</p> + +<center> +<table style="width: 10%"> + <tbody style="vertical-align: top"> + <tr> <td>Cuicoyan</td> <td>|</td> <td>nohuan</td> <td>|</td> <td>mitotia;</td> </tr> + <tr> <td>In-the-place-of-song</td> <td>|</td> <td>with-me</td> <td>|</td> <td>they-dance.</td> </tr> + </tbody> +</table> +</center> + +<p>But the old chronicler, who doubtless knew it all by heart, gives us +no more of it.<a name="fn21_r"></a><a href="#fn21"><sup><small>21</small></sup></a></p> + +<a name="S_4"></a><h3>§ 4. <i>PROSODY OF THE SONGS.</i></h3> + +<p>The assertion is advanced by Boturini that the genuine ancient +Nahuatl poetry which has been preserved is in iambic metre, and he +refers to a song of Nezahualcoyotl in his collection to prove his +opinion. What study I have given to the prosody of the Nahuatl tongue +leads me to doubt the correctness of so sweeping a statement. The +vocalic elements of the language have certain peculiarities which +prevent its poetry from entering unencumbered into the domain of +classical prosody.</p> + +<p>The quantity of Nahuatl syllables is a very important element in the +pronunciation of the tongue, but their quantity is not confined, as +in Latin, to long, short, and common. The Nahuatl vowels are long, +short, intermediate, and "with stress," or as the Spanish grammarians +say, "with a jump," <i>con saltillo</i>. The last mentioned is peculiar to +this tongue. The vowel so designated is pronounced with a momentary +suspension or catching of the breath, rendering it emphatic.</p> + +<p>These quantities are prominent features in the formal portions of the +language, characterizing inflections and declinations. No common +means of designating them have been adopted by the grammarians, and +for my present purpose, I shall make use of the following signs:—</p> + +<center> +<table style="width: 10%"> + <tbody style="vertical-align: top"> + <tr> <td>ă</td> <td>,</td> <td>short.</td> </tr> + <tr> <td>a</td> <td>,</td> <td>intermediate</td> </tr> + <tr> <td>ā</td> <td>,</td> <td>long.</td> </tr> + <tr> <td>â</td> <td>,</td> <td>with stress.</td> </tr> + </tbody> +</table> +</center> + +<p>The general prosodic rules are:—</p> + +<p>1. In polysyllabic words in which there are no long vowels, all the +vowels are intermediate.</p> + +<p>2. The vowels are long in the penultimate of the plurals of the +imperatives when the preterit of the verb ends in a vowel; the <i>ā</i> +of the <i>cān</i> of the imperatives; the <i>ī</i> of the <i>tī</i>; of the +gerundives; the last vowel of the futures when the verb loses a vowel +to form them; the penultimates of passives in <i>lo</i>, of impersonals, +of verbals in <i>oni</i>, <i>illi</i>, <i>olli</i> and <i>oca</i>, of verbal nouns with +the terminations <i>yan</i> and <i>can</i>; the <i>ō</i> of abstract nouns in +<i>otl</i> in composition; and those derived from long syllables.</p> + +<p>3. Vowels are "with stress" when they are the finals in the plurals +of nouns and verbs, also in the perfect preterite, in possessives +ending in â, ê, ô, and in the penultimate of nouns ending in <i>tli</i>, +<i>tla</i> and <i>tle</i> when these syllables are immediately preceded by the +vowel.<a name="fn22_r"></a><a href="#fn22"><sup><small>22</small></sup></a></p> + +<p>The practical importance of these distinctions may be illustrated by +the following examples:—</p> + +<center> +<table style="width: 10%"> + <tbody style="vertical-align: top"> + <tr> <td><i>tâtli</i></td> <td>,</td> <td>father.</td> </tr> + <tr> <td><i>tātlĭ</i></td> <td>,</td> <td>thou drinkest.</td> </tr> + <tr> <td><i>tātlî</i></td> <td>,</td> <td>we drink.</td> </tr> + </tbody> +</table> +</center> + +<p>It is, however, evident from this example that the quantity of +Nahuatl syllables enters too much into the strictly formal part of +the language for rules of position, such as some of those above +given, to be binding; and doubtless for this reason the eminent +grammarian Carlos de Tapia Zenteno, who was professor of the tongue +in the University of Mexico, denies that it can be reduced to +definite rules of prosody like those of the Latin. +<a name="fn23_r"></a><a href="#fn23"><sup><small>23</small></sup></a></p> + +<p>Substituting accent for quantity, there would seem to be an iambic +character to the songs. Thus the first words of Song I, were probably +chanted:—</p> + +<p><i>Nino' yolno' notza' campa' nicŭ iz' yec tli' ahui aca' xochitl'</i>: +etc.</p> + +<p>But the directions given for the drums at the beginning of Songs +XVIII, XIX, etc., do not indicate a continuance of these feet, but of +others, as in XIX:—</p> + +<p>u—, u—, u—, uu—, u—, u—, u—, etc.</p> + +<p>Indeed, we may suppose that the metre varied with the subject and the +skill of the poet. This, in fact, is the precise statement of Father +Duran,<a name="fn24_r"></a><a href="#fn24"><sup><small>24</small></sup></a> who speaks of the native poets as "giving to each song a +different tune (<i>sonada</i>), as we are accustomed in our poetry to have +the sonnet, the octava rima and the terceto."</p> + +<a name="S_5"></a><h3>§ 5. <i>THE VOCAL DELIVERY OF THE SONG.</i></h3> + +<p>Descriptions of the concerts so popular among the Nahuas have been +preserved by the older writers, and it is of the highest importance +to understand their methods in order to appreciate the songs +presented in this volume.</p> + +<p>These concerts were held on ceremonial occasions in the open air, in +the village squares or in the courtyards of the houses. They began in +the morning and usually continued until nightfall, occasionally far +into the night. The musicians occupied the centre of the square and +the trained singers stood or sat around them. When the sign was given +to begin, the two most skillful singers, sometimes a man and a woman, +pronounced the first syllables of the song slowly but with a sharp +emphasis;<a name="fn25_r"></a><a href="#fn25"><sup><small>25</small></sup></a>then +the drums began in a low tone, and gradually increased in +strength as the song proceeded; the other singers united their voices +until the whole chorus was in action, and often the bystanders, to +the numbers of thousands, would ultimately join in the words of some +familiar song, keeping time by concerted movements of the hands and +feet.</p> + +<p>Each verse or couplet of the song was repeated three or four times +before proceeding to the next, and those songs which were of the +slowest measure and least emotional in character were selected for +the earlier hours of the festivals. None of the songs was lengthy, +even the longest, in spite of the repetitions, rarely lasting over an +hour.<a name="fn26_r"></a><a href="#fn26"><sup><small>26</small></sup></a></p> + +<p>The tone in which the words were chanted is described by Clavigero, +Mühlenpfordt and other comparatively recent travelers as harsh, +strident and disagreeable to the European ear. Mendieta calls it a +"contra-bass," and states that persons gifted with such a voice +cultivated it assiduously and were in great demand. The Nahuas call +it <i>tozquitl</i>, the singing voice, and likened it to the notes of +sweet singing birds.</p> + +<a name="S_6"></a><h3>§ 6. <i>THE INSTRUMENTAL ACCOMPANIMENT.</i></h3> + +<p>The Nahuas were not acquainted with any stringed instrument. They +manufactured, however, a variety of objects from which they could +extract what seemed to them melodious sounds. The most important were +two forms of drums, the <i>huehuetl</i> and the <i>teponaztli</i>.</p> + +<p>The word <i>huehuetl</i> means something old, something ancient, and +therefore important and great. The drum so-called was a hollow +cylinder of wood, thicker than a man's body, and usually about five +palms in height. The end was covered with tanned deerskin, firmly +stretched. The sides were often elaborately carved and tastefully +painted. This drum was placed upright on a stand in front of the +player and the notes were produced by striking the parchment with the +tips of the fingers.</p> + +<p>A smaller variety of this instrument was called <i>tlapanhuehuetl</i>, or +the half drum, which was of the same diameter but only half the +height.<a name="fn27_r"></a><a href="#fn27"><sup><small>27</small></sup></a> Still another variety was the <i>yopihuehuetl</i>, "the drum +which tears out the heart,"<a name="fn28_r"></a><a href="#fn28"><sup><small>28</small></sup></a> so called either by reason of its +penetrating and powerful sound, or because it was employed at the +<i>Yopico</i>, where that form of human sacrifice was conducted.</p> + +<p>The <i>teponaztli</i> was a cylindrical block of wood hollowed out below, +and on its upper surface with two longitudinal parallel grooves +running nearly from end to end, and a third in the centre at right +angles to these, something in the shape of the letter I. The two +tongues left between the grooves were struck with balls of rubber, +<i>ulli</i>, on the ends of handles or drum sticks. These instruments +varied greatly in size, some being five feet in length, and others so +small that they could conveniently be carried suspended to the neck. +The <i>teponaztli</i> was the house instrument of the Nahuas. It was +played in the women's apartments to amuse the noble ladies, and the +war captains carried one at the side to call the attention of their +cohorts on the field of battle (Sahagun). The word is derived from +the name of the tree whose wood was selected to make the drum, and +this in turn from the verb <i>tepunazoa</i>, to swell, probably from some +peculiarity of its growth.<a name="fn29_r"></a><a href="#fn29"><sup><small>29</small></sup></a></p> + +<p>A much superior instrument to the teponaztli, and doubtless a +development from it, was the <i>tecomapiloa</i>, "the suspended vase" +(<i>tecomatl</i>, gourd or vase, <i>piloa</i>, to hang or suspend). It was a +solid block of wood, with a projecting ridge on its upper surface and +another opposite, on its lower aspect; to the latter one or more +gourds or vases were suspended, which increased and softened the +sound when the upper ridge was struck with the <i>ulli</i>.<a name="fn30_r"></a><a href="#fn30"><sup><small>30</small></sup></a> This was +undoubtedly the origin of the <i>marimba</i>, which I have described +elsewhere.<a name="fn31_r"></a><a href="#fn31"><sup><small>31</small></sup></a></p> + +<p>The musical properties of these drums have been discussed by Theodor +Baker. The teponaztli, he states, could yield but two notes, and +could not have been played in accord with the huehuetl. It served as +an imperfect contra-bass.<a name="fn32_r"></a><a href="#fn32"><sup><small>32</small></sup></a></p> + +<p>The <i>omichicahuaz</i>, "strong bone," was constructed somewhat on the +principle of a <i>teponaztli</i>. A large and long bone was selected, as +the femur of a man or deer, and it was channeled by deep longitudinal +incisions. The projections left between the fissures were rasped with +another bone or a shell, and thus a harsh but varied sound could be +produced.<a name="fn33_r"></a><a href="#fn33"><sup><small>33</small></sup></a></p> + +<p>The <i>tetzilacatl</i>, the "vibrator" or "resounder," was a sheet of +copper suspended by a cord, which was struck with sticks or with the +hand. It appears to have been principally confined to the sacred +music in the temples.</p> + +<p>The <i>ayacachtli</i> was a rattle formed of a jar of earthenware or a +dried gourd containing pebbles which was fastened to a handle, and +served to mark time in the songs and dances. An extension of this +simple instrument was the <i>ayacachicahualiztli</i>, "the arrangement of +rattles," which was a thin board about six feet long and a span wide, +to which were attached bells, rattles and cylindrical pieces of hard +wood. Shaking this produced a jingle-jangle, agreeable to the native +ear. The Aztec bells of copper, <i>tzilinilli</i>, are really metallic +rattles, like our sleigh bells. They are often seen in collections of +Mexican antiquities. Other names for them were <i>coyolli</i> and +<i>yoyotli</i>.</p> + +<p>Various forms of flutes and fifes, made of reeds, of bone or of +pottery, were called by names derived from the word <i>pitzaua</i>, to +blow (e.g., <i>tlapitzalli</i>, <i>uilacapitzli</i>), and sometimes, as being +punctured with holes, <i>zozoloctli</i>, from <i>zotl</i>, the awl or +instrument used in perforating skins, etc. Many of those made of +earthenware have been preserved, and they appear to have been a +highly-esteemed instrument, as Sahagun mentions that the leader of +the choir of singers in the temple bore the title <i>tlapitzcatzin</i>, +"the noble flute player."</p> + +<p>Large conches were obtained on the seashore and framed into wind +instruments called <i>quiquiztli</i> and <i>tecciztli</i>, whose hoarse notes +could be heard for long distances, and whistles of wood, bone and +earthenware added their shrill notes to the noise of the chanting of +the singers. The shell of the tortoise, <i>ayotl</i>, dried and suspended, +was beaten in unison with such instruments.</p> + +<p>Recent researches by competent musical experts conducted upon +authentic specimens of the ancient Mexican instruments have tended to +elevate our opinion of their skill in this art. Mr. H.T. Cresson, of +the Academy of Natural Sciences, Philadelphia, has critically +examined the various Aztec clay flutes, whistles, etc., which are +there preserved, and has reached the following conclusions:—</p> + +<p>"I. That upon the four-holed clay flageolets the chromatic and +diatonic scales can be produced with a full octave.</p> + +<p>"II. That the clay whistles or pitch pipes, which may be manipulated +in quartette, will produce an octave and a fourth.</p> + +<p>"III. From the facts above shown, the Aztecs must have possessed a +knowledge of the scales as known to us, which has been fully tested +by comparison with the flute and organ."<a name="fn34_r"></a><a href="#fn34"><sup><small>34</small></sup></a></p> + +<p>This result indicates for the instrumental accompaniment a much +higher position in musical notation than has hitherto been accepted.</p> + +<a name="S_7"></a><h3>§ 7. <i>THE POETIC DIALECT.</i></h3> + +<p>All the old writers who were familiar with the native songs speak of +their extreme obscurity, and the difficulty of translating them. No +one will question the intimate acquaintance with the Nahuatl language +possessed by Father Sahagun; yet no one has expressed more strongly +than he the vagueness of the Nahuatl poetic dialect. "Our enemy on +earth," he writes, "has prepared a thick woods and a dangerous ground +full of pitfalls, wherein to devise his evil deeds and to hide +himself from attack, as do wild beasts and venomous serpents. This +woods and these pitfalls are the songs which he has inspired to be +used in his service, as praises to his honor, in the temples and +elsewhere; because they are composed with such a trick that they +proclaim only what the devil commands, and are understood only by +those to whom they are addressed. It is well known that the cavern, +woods or depths in which the devil hides himself were these chants or +psalms which he himself has composed, and which cannot be understood +in their true significance except by those who are accustomed to the +peculiar style of their language."<a name="fn35_r"></a><a href="#fn35"><sup><small>35</small></sup></a></p> + +<p>Not less positive are the expressions of Father Diego Duran, +contemporary of Sahagun, and himself well versed in the native +tongue. "All their songs," he observes, "were composed in such +obscure metaphors that scarcely any one can understand them unless he +give especial attention to their construction."<a name="fn36_r"></a><a href="#fn36"><sup><small>36</small></sup></a> The worthy +Boturini was puzzled by those which he had collected, and writes, +"the songs are difficult to explain, because they mystify historical +facts with constant allegorizing,"<a name="fn37_r"></a><a href="#fn37"><sup><small>37</small></sup></a> and Boturini's literary +executor, Don Mariano Echevarria y Veitia, who paid especial +attention to the poetic fragments he had received, says frankly: "The +fact is, that as to the songs I have not found a person who can fully +translate them, because there are many words in them whose +signification is absolutely unknown to-day, and moreover which do not +appear in the vocabularies of Molina or others."<a name="fn38_r"></a><a href="#fn38"><sup><small>38</small></sup></a></p> + +<p>The Abbé Clavigero speaks in somewhat more definite terms of the +poetic forms and licenses of the language. He notes that in the +fragments of the ancient verses which had been preserved until his +day there were inserted between the significant words certain +interjections and meaningless syllables, apparently to fill out the +metre. Nevertheless, he considered the language of the chants, "pure, +pleasant, brilliant, figurative and replete with allusions to the +more pleasing objects in nature, as flowers, trees, brooks, etc."<a name="fn39_r"></a><a href="#fn39"><sup><small>39</small></sup></a> +It is quite evident from the above extracts that in the translation +of the ancient songs in the present volume we must be prepared for +serious difficulties, the more so as the Nahuatl language, in the +opinion of some who are the best acquainted with it, lends itself +with peculiar facility to ambiguities of expression and obscure +figures of speech.<a name="fn40_r"></a><a href="#fn40"><sup><small>40</small></sup></a> Students of American ethnology are familiar +with the fact that in nearly all tribes the language of the sacred +songs differs materially from that in daily life.</p> + +<p>Of the older grammarians, Father Carochi alone has left us actual +specimens of the ancient poetic dialect, and his observations are +regretably brief. They occur in his chapter on the composition of +nouns and read as follows:<a name="fn41_r"></a><a href="#fn41"><sup><small>41</small></sup></a>—</p> + +<p>"The ancient Indians were chary in forming compounds of more than two +words, while those of to-day exceed this number, especially if they +speak of sacred things; although in their poetic dialect the ancients +were also extravagant in this respect, as the following examples +show:—</p> + +<p>1. Tlāuhquéchōllaztalēhualtò tōnatoc.</p> + +<p>1. It is gleaming red like the tlauhquechol bird.</p> + +<p>2. Ayauhcoçamālōtōnamēyòtimani.</p> + +<p>2. And it glows like the rainbow.</p> + +<p>3. Xiuhcóyólizítzîlica in teōcuitlahuēhuētl.</p> + +<p>3. The silver drum sounds like bells of turquoise.</p> + +<p>4. Xiuhtlapallàcuilōlāmoxtli manca.</p> + +<p>4. There was a book of annals written and painted in colors.</p> + +<p>5. Nic chālchiuhcozcameca quenmach tòtóma in nocuic.</p> + +<p>5. I see my song unfolding in a thousand directions, like a string of +precious stones."</p> + +<p>From the specimens presented in this volume and from the above +extracts, I would assign the following peculiarities to the poetic +dialect of the Nahuatl:—</p> + +<p>I. Extreme frequency and richness of metaphor. Birds, flowers, +precious stones and brilliant objects are constantly introduced in a +figurative sense, often to the point of obscuring the meaning of the +sentence.</p> + +<p>II. Words are compounded to a much greater extent than in ordinary +prose writing.</p> + +<p>III. Both words and grammatical forms unknown to the tongue of daily +life occur. These may be archaic, or manufactured capriciously by the +poet.</p> + +<p>IV. Vowels are inordinately lengthened and syllables reduplicated, +either for the purpose of emphasis or of meter.</p> + +<p>V. Meaningless interjections are inserted for metrical effect, while +others are thrown in and repeated in order to express emotion.</p> + +<p>VI. The rhetorical figure known as aposiopesis, where a sentence is +left unfinished and in an interjectional condition, in consequence of +some emotion of the mind, is not rare and adds to the obscurity of +the wording.</p> + +<a name="S_8"></a><h3>§ 8. <i>THE PRESERVATION OF THE ANCIENT SONGS.</i></h3> + +<p>In a passage already quoted,<a name="fn42_r"></a><a href="#fn42"><sup><small>42</small></sup></a> + Sahagun imparts the interesting +information that the more important songs were written down by the +Nahuas in their books, and from these taught to the youth in the +schools. A certain branch of the Mexican hieroglyphic writing was +largely phonetic, constructed on that method to which I have applied +the adjective <i>ikonomatic</i>, and by which it was quite possible to +preserve the sound as well as the sense of sentences and verses.<a name="fn43_r"></a><a href="#fn43"><sup><small>43</small></sup></a> +Such attention could have been bestowed only on the sacred, royal, or +legendary chants, while the compositions of ordinary poets would only +be disseminated by oral teaching.</p> + +<p>By one or both of these methods there was a large body of poetic +chants the property of the Nahuatl-speaking tribes, when they were +subjugated by the Europeans. Among the intelligent missionaries who +devoted their lives to mastering the language and translating into it +the doctrines of Christianity, there were a few who felt sufficient +interest in these chants to write some of them down in the original +tongue. Conspicuous among these was the laborious Bernardino de +Sahagun, whose works are our most valued sources of information on +all that concerns the life of the ancient Nahuas. He collected a +number of their sacred hymns, translated them into Spanish, and +inserted them into the Appendix to the Second Book of his <i>History of +New Spain</i>; but this portion of his work was destroyed by order of +the Inquisition, as a note in the original MS. expressly states.<a name="fn44_r"></a><a href="#fn44"><sup><small>44</small></sup></a></p> + +<p>A certain number, however, were preserved in the original tongue, +and, as already noted, we find the able grammarian Horatio Carochi, +who published his Grammar of the Nahuatl in 1645, quoting lines from +some as furnishing examples of the genuine ancient forms of +word-building. He could not, therefore, have doubted their antiquity +and authenticity.</p> + +<p>A number of these must have come to the knowledge and were probably +in the possession of the eminent mathematician and antiquary Don +Carlos de Siguenza y Gongora, who lived in the latter half of the +same century (died 1700). It was avowedly upon the information which +he thought he gleaned from these ancient chants that he constructed +his historical theory of the missionary labors of St. Thomas in +Mexico in the first century of our era. The title of the work he +wrote upon this notion was as follows:—</p> + +<p><i>Fenix del Occidente San Thomas Apóstol, hallado con el nombre de +Quetzalcoatl entre las cenizas de antiguas tradiciones, conservadas +en piedras, en Teoamoxtles Tultecas, y en cantares Teochichimecas y +Mexicanos."</i></p> + +<p>For many years this curious work, which was never printed, was +supposed to be lost; but the original MS. is extant, in the +possession of the distinguished antiquary Don Alfredo Chavero, of the +City of Mexico.<a name="fn45_r"></a><a href="#fn45"><sup><small>45</small></sup></a> Unfortunately, however, the author did not insert +in his work any song in the native language nor a literal translation +of any, as I am informed by Señor Chavero, who has kindly examined +the work carefully at my request, with this inquiry in view.</p> + +<p>Half a century later, when Boturini was collecting his material, he +found but very few of the old poems. In the catalogue of his MSS. he +mentions (XIX, 1) some fragments of ancient songs, badly written, on +European paper, but he does not say whether in the original or +translated. The same doubt might rest on the two songs of +Nezahualcoyotl named in his Catalogue (V, 2). He does not +specifically state that they are in the original. The song of +Moquihuix, King of Tlatilulco, in which he celebrated his victory +over the Cuextla, which Boturini states in his text (p. 91) as in his +possession, is not mentioned at all in his Catalogue, and it is +uncertain whether his copy was in Nahuatl.</p> + +<p>His literary friend, however, Don Mariano Echevarria y Veitia, +removes the uncertainty about the two songs of Nezahualcoyotl, as he +informs us that they were in the original tongue, and adds that he +had inserted them in his History without translation.<a name="fn46_r"></a><a href="#fn46"><sup><small>46</small></sup></a> I have +examined the manuscript of his work, now in the Lenox Library, New +York City, but it does not contain these texts, and evidently the +copy used by Bustamente did not.<a name="fn47_r"></a><a href="#fn47"><sup><small>47</small></sup></a></p> + +<p>Boturini included the translations of the two odes of Nezahualcoyotl +in a work on the Virgin of Guadelupe, only a fragment of which has +been preserved. One of the chapters in this Latin Essay is entitled +<i>De Indorum Poetarum Canticis sive Prosodiis</i>, in which he introduces +Ixtlilxochitl's translation and also a song in the original Nahuatl, +but the latter is doubtless of late date and unimportant as a really +native production.<a name="fn48_r"></a><a href="#fn48"><sup><small>48</small></sup></a></p> + +<p>The fragments of Boturini's library collected by M. Aubin, of Paris, +contain a number of the original ancient songs of the highest +importance, which make us regret the more that this collection has +been up to the present inaccessible to students. In his description +of these relics published in 1851, M. Aubin refers to the <i>Historical +Annals of the Mexican Nation</i> (§ VIII, 10, of Boturini's Catalogue) +as containing "historical songs in a dialect so difficult that I have +not been able to translate them entirely," and adds that similar +songs are preserved in others of the ancient annals in his hands.<a name="fn49_r"></a><a href="#fn49"><sup><small>49</small></sup></a></p> + +<a name="S_9"></a><h3>§ 9. <i>THE LX SONGS OF THE KING NEZAHUALCOYOTL.</i></h3> + +<p>The most distinguished figure among the Nahuatl poets was +Nezahualcoyotl, ruler of Tezcuco. His death took place in 1472, at +the age of eighty years. His father, Ixtlilxochitl, had been deprived +of his possessions and put to death by Tezozomoc, King of the +Tepanecas, and until the death of the latter at an advanced age in +1427, Nezahualcoyotl could make but vain efforts to restore the power +of his family. Much of the time he was in extreme want, and for this +reason, and for his savage persistence in the struggle, he acquired +the name "the fasting or hungry wolf"— <i>nezahualcoyotl</i>. Another of +his names was <i>Acolmiztli</i>, usually translated "arm of the lion," +from <i>aculli</i>, shoulder, and <i>miztli</i>, lion.</p> + +<p>A third was <i>Yoyontzin</i>, which is equivalent to <i>cevetor nobilis</i>, +from <i>yoyoma</i> (<i>cevere</i>, i.e., <i>femora movere in re venered</i>); it is +to be understood figuratively as indicating the height of the +masculine forces.</p> + +<p>When his power became assured, he proved himself a liberal and +enlightened patron of the arts and industries. The poetry and music +of his native land attracted him the more as he felt within himself +the moving god, firing his imagination with poetic vision, the <i>Deus +in nobis, calescimus, agitant'illo</i>. Not only did he diligently seek +out and royally entertain skilled bards, but he himself had the +credit of composing sixty chants, and it appears that after the +Conquest there were that many written down in Roman characters and +attributed to him. We need not inquire too closely whether they were +strictly his own composition. Perhaps they were framed on themes +which he furnished, or were selected by him from those sung at his +court by various bards. The history of the works by royal authors +everywhere must not be too minutely scanned if we wish to leave them +their reputation for originality.</p> + +<p>He was of a philosophic as well as a poetic temperament, and +reflected deeply on the problems of life and nature. Following the +inherent tendency of the enlightened intellect to seek unity in +diversity, the One in the Many, he reached the conclusion to which so +many thinkers in all ages and of all races have been driven, that +underlying all phenomena is one primal and adequate Cause, the +Essence of all Existence. This conclusion he expressed in a +philosophic apothegm which was preserved by his disciples, in these +words:—</p> + +<p><i>Ipan in chicunauitlamanpan meztica in tloque nahuaque palne nohuani +teyocoyani icel teotl oquiyocox in ixquex quexquex in ittoni ihuan +amo ittoni.</i></p> + +<p>"In the ninth series is the Cause of All, of us and of all created +things, the one only God who created all things both visible and +invisible."<a name="fn50_r"></a><a href="#fn50"><sup><small>50</small></sup></a></p> + +<p>To perpetuate the memory of this philosophic deduction he caused to +be constructed at Tezcuco a stone tower nine stories in height, the +ruins of which were visible long after the Spanish occupation. To +this tower he gave the name Chililitli, a term of uncertain meaning, +but which we find was applied in Tenochtitlan to a building sacred to +the Nine Winds.<a name="fn51_r"></a><a href="#fn51"><sup><small>51</small></sup></a> To explain the introduction of this number, I +should add that a certain school of Nahuatl priests taught that the +heaven above and the earth below were each divided into nine +concentric arcs, each leading farther and farther away from the +conditions of the present life. Hence, there were nine heavens, +abodes of the gods, and nine lower regions, abodes of the souls of +the dead. Another school taught that there were not nine but thirteen +of these stages.</p> + +<p>The sixty poems by Nezahualcoyotl are mentioned by various writers as +in existence after the Conquest, reduced to writing in the original +tongue, and of several of them we have translations or abstracts.<a name="fn52_r"></a><a href="#fn52"><sup><small>52</small></sup></a> +Of four the translations claim to be complete, and were published +entire for the first time in the original Spanish by Lord +Kingsborough in the ninth volume of his great work on the +<i>Antiquities of Mexico</i>. Since then they have received various +renderings in prose and verse into different languages at the hands +of modern writers.</p> + +<p>I shall give a literal prose translation from the Spanish, numbering +the poems and their verses, for convenience of reference, in the +order in which they appear in the pages of Lord Kingsborough.</p> + +<hr style="width: 50%;"> + +<p>The first is one referred to, and partly translated by Ixtlilxochitl, +in his <i>Historia Chichimeca</i> (cap. 47). He calls it a <i>xopancuicatl</i> +(see ante, p. 15), and states that it was composed and sung on the +occasion of the banquet when the king laid the foundations of his +great palace. He gives the first words in the original as follows:—</p> + +<p><i>Tlaxoconcaguican ani Nezahualcoyotzin;</i></p> + +<p>And the translation:—</p> + +<p>"Hear that which says the King Nezahualcoyotl."</p> + +<p>Restoring the much mutilated original to what I should think was its +proper form, the translation should read:—</p> + +<p>"Listen attentively to what I, the singer, the noble Nezahualcoyotl, +say:"—</p> + +<h4>I.</h4> + +<p>1. Listen with attention to the lamentations which I, the King +Nezahualcoyotl, make upon my power, speaking with myself, and +offering an example to others.</p> + +<p>2. O restless and striving king, when the time of thy death shall +come, thy subjects shall be destroyed and driven forth; they shall +sink into dark oblivion. Then in thy hand shall no longer be the +power and the rule, but with the Creator, the All-powerful.</p> + +<p>3. He who saw the palaces and court of the old King Tezozomoc, how +flourishing and powerful was his sway, may see them now dry and +withered; it seemed as if they should last forever, but all that the +world offers is illusion and deception, as everything must end and +die.</p> + +<p>4. Sad and strange it is to see and reflect on the prosperity and +power of the old and dying King Tezozomoc; watered with ambition and +avarice, he grew like a willow tree rising above the grass and +flowers of spring, rejoicing for a long time, until at length, +withered and decayed, the storm wind of death tore him from his +roots, and dashed him in fragments to the ground. The same fate +befell the ancient King Colzatzli, so that no memory was left of him, +nor of his lineage.</p> + +<p>5. In these lamentations and in this sad song, I now call to memory +and offer as an example that which takes place in the spring, and the +end which overtook King Tezozomoc; and who, seeing this, can refrain +from tears and wailing, that these various flowers and rich delights +are bouquets that pass from hand to hand and all wither and end even +in the present life!</p> + +<p>6. Ye sons of kings and mighty lords, ponder well and think upon that +which I tell you in these my lamentations, of what takes place in +spring and of the end which overtook King Tezozomoc; and who, seeing +this, can refrain from tears and wailing that these various flowers +and rich delights are bouquets that pass from hand to hand and all +wither and end even in the present life!</p> + +<p>7. Let the birds now enjoy, with melodious voices, the abundance of +the house of the flowery spring, and the butterflies sip the nectar +of its flowers.</p> + +<hr style="width: 50%;"> + +<p>The second song is preserved in a Spanish metrical translation only, +but which from internal evidence I should judge to be quite literal. +The words of the poem do not represent it as a composition by the +royal poet, but one which was sung before him, and addressed to him. +It admonishes him to rejoice in the present moment, as the +uncertainties of life and fate must at some time, perhaps very soon, +deprive him of their enjoyment.</p> + +<h4>II.</h4> + +<p>1. I wish to sing for a moment, since time and occasion are +propitious; I hope to be permitted, as my intention merits it, and I +begin my song, though it were better called a lamentation.</p> + +<p>2. And thou, beloved companion, enjoy the beauty of these flowers, +rejoice with me, cast out fears, for if pleasure ends with life, so +also does pain.</p> + +<p>3. I, singing, will touch the sonorous instrument, and thou, +rejoicing in the flowers, dance and give pleasure to God the +powerful. Let us be happy in the present, for life is transitory.</p> + +<p>4. Thou hast placed thy noble court in Acolhuacan, thine are its +lintels, thou hast decked them, and one may well believe that with +such grandeur thy state shall increase and grow.</p> + +<p>5. O prudent Yoyontzin, famous king and peerless monarch, rejoice in +the present, be happy in the springtime, for a day shall come in +which thou shall vainly seek these joys.</p> + +<p>6. Then thy destiny shall snatch the sceptre from thy hand, thy moon +shall wane, no longer wilt thou be strong and proud, then thy +servants shall be destitute of all things.</p> + +<p>7. In this sad event, the nobles of thy line, the provinces of might, +children of noble parents, lacking thee as their lord, shall taste +the bitterness of poverty.</p> + +<p>8. They shall call to mind how great was thy pomp, thy triumphs and +victories, and bewailing the glory and majesty of the past, their +tears will flow like seas.</p> + +<p>9. These thy descendants who serve thy plume and crown, when thou art +gone, will forsake Culhuacan, and as exiles will increase their woes.</p> + +<p>10. Little will fame have to tell of this wondrous majesty, worthy of +a thousand heralds; the nations will only remember how wisely +governed the three chieftains who held the power,</p> + +<p>11. At Mexico, Montezuma the famous and valorous, at Culhuacan the +fortunate Nezahualcoyotl, and at the stronghold of Acatlapan, +Totoquilhuatli.</p> + +<p>12. I fear no oblivion for thy just deeds, standing as thou dost in +thy place appointed by the Supreme Lord of All, who governs all +things.</p> + +<p>13. Therefore, O Nezahualcoyotl, rejoice in what the present offers, +crown thyself with flowers from thy gardens, hear my song and music +which aim to please thee.</p> + +<p>14. The pleasures and riches of this life are but loaned, their +substance is vain, their appearance illusory; and so true is this +that I ask thee for an answer to these questions:</p> + +<p>15. What has become of Cihuapan? Of the brave Quantzintecomatzin? Of +Conahuatzin? What of all these people? Perhaps these very words have +already passed into another life.</p> + +<p>16. Would that we who are now united by the ties of love and +friendship could foresee the sharp edge of death, for nothing is +certain, and the future ever brings changes.</p> + +<hr style="width: 50%;"> + +<p>The third is a "spring song" in which the distinguished warriors of +the king are compared to precious stones. Such jewels were believed +by the Nahuas to possess certain mysterious powers as charms and +amulets, a belief, it is needless to say, found among almost all +nations. In verse 18 there is a reference to the superstition that at +dawn, when these jewels are exposed to the first rays of the sun, +they emit a fine vapor which wafts abroad their subtle potency. The +poem is in Spanish verse, and the original is said to have been +written down by Don Fernando de Avila, governor of Tlalmanalco, from +the mouth of Don Juan de Aguilar, governor of Cultepec, a direct +descendant of Nezahualcoyotl.</p> + +<h4>III</h4> + +<p>1. The flowery spring has its house, its court, its palace, adorned +with riches, with goods in abundance.</p> + +<p>2. With discreet art they are arranged and placed, rich feathers, +precious stones, surpassing in luster the sun.</p> + +<p>3. There is the valued carbuncle, which from its beauteous center +darts forth rays which are the lights of knowledge.</p> + +<p>4. There is the prized diamond, sign of strength, shooting forth its +brilliant gleams.</p> + +<p>5. Here one sees the translucent emerald suggesting the hope of the +rewards of merit.</p> + +<p>6. Next follows the topaz, equaling the emerald, for the reward it +promises is a heavenly dwelling.</p> + +<p>7. The amethyst, signifying the cares which a king has for his +subjects, and moderation in desires.</p> + +<p>8. These are what kings, princes and monarchs delight to place upon +their breasts and crowns.</p> + +<p>9. All these stones with their varied and singular virtues, adorn Thy +house and court, O Father, O Infinite God!</p> + +<p>10. These stones which I the King Nezahualcoyotl have succeeded in +uniting in loving liens,</p> + +<p>11. Are the famous princes, the one called Axaxacatzin, the other +Chimalpopoca, and Xicomatzintlamata.</p> + +<p>12. To-day, somewhat rejoiced by the joy and words of these, and of +the other lords who were with them,</p> + +<p>13. I feel, when alone, that my soul is pleased but for a brief time, +and that all pleasure soon passes.</p> + +<p>14. The presence of these daring eagles pleases me, of these lions +and tigers who affright the world,</p> + +<p>15. These who by their valor win everlasting renown, whose name and +whose deeds fame will perpetuate.</p> + +<p>16. Only to-day am I glad and look upon these rich and varied stones, +the glory of my bloody battles.</p> + +<p>17. To-day, noble princes, protectors of the realm, my will is to +entertain you and to praise you.</p> + +<p>18. It seems to me that ye answer from your souls, like the fine +vapor arising from precious stones,—</p> + +<p>19. "O King Nezahualcoyotl, O royal Montezuma, your subjects sustain +themselves with your soft dews.</p> + +<p>20. "But at last a day shall come which will cut away this power, and +all these will be left wretched orphans.</p> + +<p>21. "Rejoice, mighty King, in this lofty power which the King of +Heaven has granted you, rejoice and be glad.</p> + +<p>22. "In the life of this world there is no beginning anew, therefore +rejoice, for all good ends.</p> + +<p>23. "The future promises endless changes, griefs that your subjects +will have to undergo.</p> + +<p>24. "Ye see before you the instruments decked with wreaths of odorous +flowers; rejoice in their fragrance.</p> + +<p>25. "To-day there are peace, and goodfellowship; therefore let all +join hands and rejoice in the dances,</p> + +<p>26. "So that for a little while princes and kings and the nobles may +have pleasure in these precious stones,</p> + +<p>27. "Which through his goodness the will of the King Nezahualcoyotl +has set forth for you, inviting you to-day to his house."</p> + +<hr style="width: 50%;"> + +<p>The fourth song has been preserved in an Otomi translation by the +Mexican antiquary Granados y Galvez<a name="fn53_r"></a><a href="#fn53"><sup><small>53</small></sup></a> and in an abstract by +Torquemada.<a name="fn54_r"></a><a href="#fn54"><sup><small>54</small></sup></a> The latter gives the first words as follows:—</p> + +<p><i>Xochitl mamani in huehuetitlan:</i></p> + +<p>Which he translates:—</p> + +<p>"There are fresh and fragrant flowers among the groves."</p> + +<p>It is said to have been composed at the time the king dedicated his +palace.</p> + +<h4>IV.</h4> + +<p>1. The fleeting pomps of the world are like the green willow trees, +which, aspiring to permanence, are consumed by a fire, fall before +the axe, are upturned by the wind, or are scarred and saddened by +age.</p> + +<p>2. The grandeurs of life are like the flowers in color and in fate; +the beauty of these remains so long as their chaste buds gather and +store the rich pearls of the dawn and saving it, drop it in liquid +dew; but scarcely has the Cause of All directed upon them the full +rays of the sun, when their beauty and glory fail, and the brilliant +gay colors which decked forth their pride wither and fade.</p> + +<p>3. The delicious realms of flowers count their dynasties by short +periods; those which in the morning revel proudly in beauty and +strength, by evening weep for the sad destruction of their thrones, +and for the mishaps which drive them to loss, to poverty, to death +and to the grave. All things of earth have an end, and in the midst +of the most joyous lives, the breath falters, they fall, they sink +into the ground.</p> + +<p>4. All the earth is a grave, and nought escapes it; nothing is so +perfect that it does not fall and disappear. The rivers, brooks, +fountains and waters flow on, and never return to their joyous +beginnings; they hasten on to the vast realms of Tlaloc, and the +wider they spread between their marges the more rapidly do they mould +their own sepulchral urns. That which was yesterday is not to-day; +and let not that which is to-day trust to live to-morrow.</p> + +<p>5. The caverns of earth are filled with pestilential dust which once +was the bones, the flesh, the bodies of great ones who sate upon +thrones, deciding causes, ruling assemblies, governing armies, +conquering provinces, possessing treasures, tearing down temples, +flattering themselves with pride, majesty, fortune, praise and +dominion. These glories have passed like the dark smoke thrown out by +the fires of Popocatepetl, leaving no monuments but the rude skins on +which they are written.</p> + +<p>6. Ha! ha! Were I to introduce you into the obscure bowels of this +temple, and were to ask you which of these bones were those of the +powerful Achalchiuhtlanextin, first chief of the ancient Toltecs; of +Necaxecmitl, devout worshiper of the gods; if I inquire where is the +peerless beauty of the glorious empress Xiuhtzal, where the peaceable +Topiltzin, last monarch of the hapless land of Tulan; if I ask you +where are the sacred ashes of our first father Xolotl; those of the +bounteous Nopal; those of the generous Tlotzin; or even the still +warm cinders of my glorious and immortal, though unhappy and luckless +father Ixtlilxochitl; if I continued thus questioning about all our +august ancestors, what would you reply? The same that I reply—I know +not, I know not; for first and last are confounded in the common +clay. What was their fate shall be ours, and of all who follow us.</p> + +<p>7. Unconquered princes, warlike chieftains, let us seek, let us sigh +for the heaven, for there all is eternal, and nothing is corruptible. +The darkness of the sepulchre is but the strengthening couch for the +glorious sun, and the obscurity of the night but serves to reveal the +brilliancy of the stars. No one has power to alter these heavenly +lights, for they serve to display the greatness of their Creator, and +as our eyes see them now, so saw them our earliest ancestors, and so +shall see them our latest posterity.</p> + +<hr style="width: 50%;"> + +<p>It will be seen that the philosophy of these songs is mostly of the +Epicurean and <i>carpe diem</i> order. The certainty of death and the +mutability of fortune, observations which press themselves upon the +mind of man everywhere, are their principal staples, and cast over +them a hue of melancholy, relieved by exhortations to enjoy to the +utmost what the present moment offers of pleasure and sensual +gratification. Here and there a gleam of a higher philosophy lights +the sombre reflections of the bard; his thoughts turn toward the +infinite Creator of this universe, and he dimly apprehends that by +making Him the subject of his contemplation, there is boundless +consolation even in this mortal life.</p> + +<p>Both these leading <i>motifs</i> recur over and over again in the songs +printed in the original in the present volume, and this similarity is +a common token of the authenticity of the book.</p> + +<a name="S_10"></a><h3>§ 10. <i>THE HISTORY OF THE PRESENT COLLECTION.</i></h3> +<p>The most recent Mexican writers formally deny that any ancient +Mexican poetry is now extant. Thus the eminent antiquary, Don Alfredo +Chavero, in his elaborate work, <i>México á través de los Siglos</i>, +says, "the truth is, we know no specimens of the ancient poetry, and +those, whether manuscript or printed, which claim to be such, date +from after the Conquest."<a name="fn55_r"></a><a href="#fn55"><sup><small>55</small></sup></a> In a similar strain the grammarian +Diario Julio Caballero, writes: "There has never come into our hands +a single poetic composition in this language. It is said that the +great King Nezahualcoyotl was a poet and composed various songs; +however that may be, the fact is that we have never seen any such +compositions, nor met any person who has seen them."<a name="fn56_r"></a><a href="#fn56"><sup><small>56</small></sup></a></p> + +<p>It is important, therefore, to state the exact provenance of the +specimens printed in this volume, many of which I consider to have +been composed previous to the Conquest, and written down shortly +after the Nahuatl language had been reduced to the Spanish alphabet.</p> + +<p>All of them are from a MS. volume in the library of the University of +Mexico, entitled <i>Cantares de los Mexicanos y otros opusculos</i>, +composed of various pieces in different handwritings, which, from +their appearance and the character of the letter, were attributed by +the eminent antiquary Don José F. Ramirez, to the sixteenth and +seventeenth centuries.</p> + +<p>The copy I have used is that made by the late Abbé Brasseur (de +Bourbourg). It does not appear to be complete, but my efforts to have +it collated with the original have not been successful. Another copy +was taken by the late well-known Mexican scholar Faustino +Chimalpopoca, which was in the possession of Señor Ramirez and sold +at the vendue of his books in 1880. It is No. 511 of the catalogue.</p> + +<p>The final decision of the age of the poems must come from a careful +scrutiny of the internal evidence, especially the thoughts they +contain and the language in which they are expressed. In applying +these tests, it should be remembered that a song may be almost wholly +ancient, that is, composed anterior to the Conquest, and yet display +a few later allusions introduced by the person who preserved it in +writing, so as to remove from it the flavor of heathenism. Some +probable instances of this kind will be pointed out in the Notes.</p> + +<p>The songs are evidently from different sources and of different +epochs. There are two notes inserted in the MS. which throw some +light on the origin of a few of the poems. The first is in connection +with No. XII. In my copy of the MS, the title of this song is written +twice, and between the two the following memorandum appears in +Spanish:</p> + +<p>"Ancient songs of the native Otomis, which they were accustomed to +sing at their festivals and marriages, translated into the Mexican +language, the play and the spirit of the song and its figures of +speech being always retained; as Your Reverence will understand, they +displayed considerable style and beauty, better than I can express +with my slight talent; and may Your Reverence at your convenience +approve and be entertained by them, as a skilled master of the +tongue, as Your Reverence is."</p> + +<p>From its position and from the titles following, this note appears to +apply only to No. XII.</p> + +<p>The second note is prefixed to No. XIV, which has no title. It is in +Nahuatl, and reads as follows:—</p> + +<hr style="width: 50%;"> + +<center><b><big><big>†</big></big></b></center> + +<center><b><big>I H S</big></b></center> + +<p>Nican ompehua in cuicatl motenehua melahuac Huexotzincayotl ic +moquichitoya in tlatoque Huexotzinca mani mecatca; yexcan inic +tlatlamantitica, teuccuicatl ahnoço quauhcuicatl, xochicuicatl, +icnocuicatl. Auh inic motzotzona huehuetl cencamatl mocauhtiuh, auh +in occencamatl ipan huetzi yetetl ti; auh in huel ic ompehua centetl +ti; auh inic mocuepa quiniquac iticpa huehuetzi y huehuetl, zan +mocemana in maitl; auh quiniquac iyeinepantla occeppa itenco +hualcholoa in huehuetl; tel yehuatl itech mottaz, ynima ynaquin +cuicani quimati iniuh motzotzona; auh yancuican yenoceppa inin +cuicatl ychan D. Diego de Leon, Governador Azcapotzalco; yehuatl +oquitzotzon in D. Frco Placido ypan xihuitl 1551, ypan in +ezcalilitzin tl Jesu Christo.</p> + +<hr style="width: 50%;"> + +<p>This may be freely translated as follows:—</p> + +<hr style="width: 50%;"> + +<p>"Here begins a song called a plain song of Huexotzinco as it was +recited by the lords of Huexotzinco. These songs are divided into +three classes, the songs of the nobles or of the eagles, the flower +songs, and the songs of destitution. (Directions follow for beating +the drum in unison with the voices.) This song was sung at the house +of Don Diego de Leon, Governor of Azcapotzalco; he who beat the drum +was Don Francisco Placido; in the year of the resurrection of our +Lord Jesus Christ 1551."</p> + +<hr style="width: 50%;"> + +<p>This assigns beyond doubt the song in question to the first half of +the sixteenth century, and we may therefore take its phraseology as a +type of the Nahuatl poetry shortly after the Conquest. It is also +stated to be a native composition, and from its contents, it was +clearly composed by one of the converts to the Christian faith.</p> + +<a name="POEMS"></a><h2>ANCIENT NAHUATL POEMS.</h2> + +<center> +<table style="width: 80%"> + <tbody style="vertical-align: top"> + <tr> + <td><a name="I"></a><h3>I. <i>CUICAPEUHCAYOTL.</i></h3></td> + <td> <h3>I. <i>SONG AT THE BEGINNING.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Ninoyolnonotza, campa nicuiz yectli, ahuiaca xochitl:—Ac +nitlatlaniz? Manozo yehuatl nictlatlani in quetzal huitzitziltin, in +chalchiuh huitzitzicatzin; manozo ye nictlatlani in zaquan papalotl; +ca yehuantin in machiz, ommati, campa cueponi in yectli ahuiac +xochitl, tla nitlahuihuiltequi in nican acxoyatzinitzcanquauhtla, +manoze nitlahuihuiltequi in tlauhquecholxochiquauhtla; oncan +huihuitolihui ahuach tonameyotoc in oncan mocehcemelquixtia; azo +oncan niquimittaz intla onechittitique; nocuexanco nictemaz ic +niquintlapaloz in tepilhuan, ic niquimellelquixtiz in teteuctin.</blockquote> + </td> + <td> + <blockquote>1. I am wondering where I may gather some pretty, sweet flowers. Whom +shall I ask? Suppose that I ask the brilliant humming-bird, the +emerald trembler; suppose that I ask the yellow butterfly; they will +tell me, they know, where bloom the pretty, sweet flowers, whether I +may gather them here in the laurel woods where dwell the tzinitzcan +birds, or whether I may gather them in the flowery forests where the +tlauquechol lives. There they may be plucked sparkling with dew, +there they come forth in perfection. Perhaps there I shall see them +if they have appeared; I shall place them in the folds of my garment, +and with them I shall greet the children, I shall make glad the +nobles.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Tlacazo nican nemi, ye nicaqui in ixochicuicatzin yuhqui tepetl +quinnananquilia; tlacazo itlan in meyaquetzalatl, xiuhtotoameyalli, +oncan mocuica, momotla, mocuica; nananquilia in centzontlatolli; azo +quinnananquilia in coyoltototl, ayacachiçahuacatimani, in nepapan +tlazocuicani totome. Oncan quiyectenehua in tlalticpaque +hueltetozcatemique.</blockquote> + </td> + <td> + <blockquote>2. Truly as I walk along I hear the rocks as it were replying to the +sweet songs of the flowers; truly the glittering, chattering water +answers, the bird-green fountain, there it sings, it dashes forth, it +sings again; the mockingbird answers; perhaps the coyol bird answers, +and many sweet singing birds scatter their songs around like music. +They bless the earth pouring out their sweet voices.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Nic itoaya, nitlaocoltzatzia; ma namechellelti y tlazohuane, niman +cactimotlalique, niman hualtato in quetzal huitzitziltin. Aquin +tictemohua, cuicanitzine? Niman niquinnanquilia niquimilhuia: Campa +catqui in yectli, ahuiac xochitl ic niquimellelquixtiz in +amohuampotzitzinhuan? Niman onechicacahuatzque ca nican +tlatimitzittitili ticuicani azo nelli ic tiquimellelquixtiz in +toquichpohuan in teteuctin.</blockquote> + </td> + <td> + <blockquote>3. I said, I cried aloud, may I not cause you pain ye beloved ones, +who are seated to listen; may the brilliant humming-birds come soon. +Whom do we seek, O noble poet? I ask, I say: Where are the pretty, +fragrant flowers with which I may make glad you my noble compeers? +Soon they will sing to me, "Here we will make thee to see, thou +singer, truly wherewith thou shalt make glad the nobles, thy +companions."</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Tepeitic tonacatlalpa, xochitlalpa nechcalaquiqueo oncan on +ahuachtotonameyotimani, oncan niquittacaya in nepapan tlazoahuiac +xochitl, tlazohuelic xochitl ahuach quequentoc, +ayauhcozamalotonameyotimani, oncan nechilhuia, xixochitetequi, in +catlehuatl toconnequiz, ma mellelquiza in ticuicani, tiquinmacataciz +in tocnihuan in teteuctin in quellelquixtizque in tlalticpaque.</blockquote> + </td> + <td> + <blockquote>4. They led me within a valley to a fertile spot, a flowery spot, +where the dew spread out in glittering splendor, where I saw various +lovely fragrant flowers, lovely odorous flowers, clothed with the +dew, scattered around in rainbow glory, there they said to me, "Pluck +the flowers, whichever thou wishest, mayest thou the singer be glad, +and give them to thy friends, to the nobles, that they may rejoice on +the earth."</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Auh nicnocuecuexantia in nepapan ahuiacxochitl, in huel +teyolquima, in huel tetlamachti, nic itoaya manozo aca tohuanti hual +calaquini, ma cenca miec in ticmamani; auh ca tel ye onimatico +nitlanonotztahciz imixpan in tocnihuan nican mochipa +tiqualtetequizque in tlazo nepapan ahuiac xochitl ihuan ticuiquihui +in nepapan yectliyancuicatl ic tiquimellelquixtizque in tocnihuan in +tlalticpactlaca in tepilhuan quauhtliya ocelotl.</blockquote> + </td> + <td> + <blockquote>5. So I gathered in the folds of my garment the various fragrant +flowers, delicate scented, delicious, and I said, may some of our +people enter here, may very many of us be here; and I thought I +should go forth to announce to our friends that here all of us should +rejoice in the different lovely, odorous flowers, and that we should +cull the various sweet songs with which we might rejoice our friends +here on earth, and the nobles in their grandeur and dignity.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Ca moch nicuitoya in nicuicani ic niquimicpac xochiti in tepilhuan +inic niquimapan in can in mac niquinten; niman niquehuaya yectli +yacuicatl ic netimalolo in tepilhuan ixpan in tloque in nahuaque, auh +in atley y maceuallo.</blockquote> + </td> + <td> + <blockquote>6. So I the singer gathered all the flowers to place them upon the +nobles, to clothe them and put them in their hands; and soon I lifted +my voice in a worthy song glorifying the nobles before the face of +the Cause of All, where there is no servitude.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Can quicuiz? Can quitlaz in huelic xochitl? Auh cuix nohuan aciz +aya in xochitlalpan, in tonacatlalpan, in atley y macehuallo in +nentlamati? Intla y tlacohua in tlalticpac ca çan quitemacehualtica +in tloque in nahuaque, in tlalticpac; ye nican ic chocan noyollo +noconilnamiquia in ompa onitlachiato y xochitlalpana nicuicani.</blockquote> + </td> + <td> + <blockquote>7. Where shall one pluck them? Where gather the sweet flowers? And +how shall I attain that flowery land, that fertile land, where there +is no servitude, nor affliction? If one purchases it here on earth, +it is only through submission to the Cause of All; here on earth +grief fills my soul as I recall where I the singer saw the flowery +spot.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Auh nic itoaya tlacazo amo qualcan in tlalticpac ye nican, tlacazo +occecni in huilohuayan, in oncan ca in netlamachtilli; tlezannen in +tlalticpac? tlacazo occecni yoliliz ximoayan, ma ompa niauh, ma ompa +inhuan noncuicati in nepapan tlazototome, ma ompa nicnotlamachti +yectliya xochitl ahuiaca xochitl, in teyolquima, in zan tepacca, +teahuiaca yhuintia, in zan tepacca, ahuiaca yhuintia.</blockquote> + </td> + <td> + <blockquote>8. And I said, truly there is no good spot here on earth, truly in +some other bourne there is gladness; For what good is this earth? +Truly there is another life in the hereafter. There may I go, there +the sweet birds sing, there may I learn to know those good flowers, +those sweet flowers, those delicious ones, which alone pleasurably, +sweetly intoxicate, which alone pleasurably, sweetly intoxicate.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_I">Notes for Song I</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="II"></a><h3>II. <i>XOPANCUICATL, OTONCUICATL, TLAMELAUHCAYOTL.</i></h3></td> + <td> <h3>II. <i>A SPRING SONG, AN OTOMI SONG, A PLAIN SONG.</i></h3> + </td> + </tr> + <tr> + <td> + <blockquote>1. Onihualcalac nicuicani nepapan xochitlalpan, huel +teellelquixtican, tetlamachtican, oncan ahuach tonameyoquiauhtimani, +oncan cuicuica in nepapan tlazototome, on cuicatlaza in coyoltototl +cahuantimani inin tozquitzin in quellelquixtia in tloque in nahuaque +yehuan Dios, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>1. I, the singer, have entered many flower gardens, places of +pleasaunce, favored spots, where the dew spread out its glittering +surface, where sang various lovely birds, where the coyol birds let +fall their song, and spreading far around, their voices rejoiced the +Cause of All, He who is God, ohuaya! ohuaya!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Oncan nicaqui in cuicanelhuayotl in nicuicani, tlacazo amo +tlalticpac in peuh yectli yancuicatl, tlacazo ompa in ilhuicatl itic +hual caquizti in conehua in tlazocoyoltototl in quimehuilia in +nepapan teoquecholme zacuantototl, oncan tlacazo quiyectenehua in +tloque in nahuaque, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>2. It is there that I the singer hear the very essence of song; +certainly not on earth has true poesy its birth; certainly it is +within the heavens that one hears the lovely coyol bird lift its +voice, that the various quechol and zacuan birds speak together, +there they certainly praise the Cause of All, ohuaya! ohuaya!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Niyolpoxahua in nicaquia ni cuicani, acoquiza in notlalnamiquilizo +quin pepetlatiquiza in ilhuicame, nelcicihuiliz ehecayotiuh in +iquinalquixtia in ompa ontlatenehua in zacuanhuitzitzil in ilhuicatl +itic, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>3. I, the singer, labor in spirit with what I heard, that it may lift +up my memory, that it may go forth to those shining heavens, that my +sighs may be borne on the wind and be permitted to enter where the +yellow humming bird chants its praises in the heavens, ohuaya! +ohuaya!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Auh nohuiampa nictlachialtia in noyollo auh tlacazo nelli in amo +ixquich quehua in tlazotototl, tlacazo ye oc tlapanahuia in ilhuicatl +itic y yollo in tloque in nahuaque mochiuhtica, ca intlacamo +teuhyotiuh in notlalnamiquiliz azo huelquinalquixtica ittazo in +tlamahuizolli in ilhuicac ic papaqui in ilhuicac tlazototome ixpan in +tloque nahuaque, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>4. And as in my thoughts I gaze around, truly no such sweet bird +lifts its voice, truly the things made for the heavens by the Cause +of All surpass all others, and unless my memory tends to things +divine scarcely will it be possible to penetrate these and witness +the wondrous sights in heaven, which rejoice the sweet heavenly birds +before the face of the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Quenin ah nichocaz in tlalticpac? ye nican onca nemoayá +ninoztlacahuia, nicitoa aço zan ye ixquich in nican in tlalticpac +ontlamian toyolia, macuele ehuatl in tloque in nahuaque, ma ompa +inhuan nimitznocuicatili in ilhuicac mochanecahuan ca noyollo ehua +ompa nontlachia in monahuac in motloc tipalnemohua, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>5. How much, alas, shall I weep on earth? Truly I have lived here in +vain illusion; I say that whatever is here on earth must end with our +lives. May I be permitted to sing to thee, the Cause of All, there in +the heaven, a dweller in thy mansion, there may my soul lift its +voice and be seen with Thee and near Thee, Thou by whom we live, +ohuaya! ohuaya!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Ma xicaquin nocuic in tinocniuh xochihuehuetl inic tzotzonaya +ilhuicacuicatl in nicchuaya, ic niquimellelquixtia in teteucti, +xochicueponi in noyollo izqui xochitl nictzetzelohuaya ic malitiuh in +no cuicatzin ixpan in tloque in nahuaque, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>6. List to my song, thou my friend, and to the flower-decked drum +which kept time to the heavenly song which I sang, that I might make +glad the nobles, raining down before them the flowery thoughts of my +heart as though they were flowers, that my noble song might grow in +glory before the face of the Cause of All, ohuaya! ohuaya!</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_II">Notes for Song II</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="III"></a><h3>III. <i>OCCE AL MISMO TONO TLAMELAUHCAYOTL.</i></h3></td> + <td> <h3>III. <i>ANOTHER PLAIN SONG, TO THE SAME TUNE.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Xochicalco nihualcalaquia in nicuicani, oncan icac in +chalchiuhuehuetl, oncan chialon ipalnemohuani in teteuctin xochitl +tzetzeliuhtimani, tolquatectitla, xoyacaltitlan, onahuiaxtimani in +xochicopal tlenamactli huel teyolquima, cahuia ca ihuintia in toyollo +ixpan in tloque in nahuaque.</blockquote> + </td> + <td> + <blockquote>1. I, the singer, entered into the house strewn with flowers, where +stood upright the emerald drum, where awaiting the Giver of Life the +nobles strewed flowers around, the place where the head is bowed for +lustration, the house of corrupt odors, where the burning fragrant +incense spreads and penetrates, intoxicating our souls in the +presence of the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ic motomá tocuic xochiahuia ca ihuinti in toyollo? Aoc ticmati +inic nepapan xochicuicatl ic ticcecemeltia in tloque nahuaque quen +ahtontlaelehuian; tinocniuh ma nohuehuetitlan ximoquetzaya nepapan +xochitl ic ximopanaya chalchiuh ocoxochitl mocpac xicmanaya +xicehuayan yectli yancuicatl ic melelquixtia in tloque in nahuaque.</blockquote> + </td> + <td> + <blockquote>2. Where shall we obtain the fragrance which intoxicates our souls? +We do not yet know the various flower-songs with which we may rejoice +the Cause of All, however desirous we are; thou my friend, would that +thou bring to my instrument various flowers, that thou shouldst +clothe it in brilliant oco flowers, that thou shouldst offer them, +and lift thy voice in a new and worthy song to rejoice the Cause of +All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Tleymach tiquilnamiquia can mach in nemian moyollo ic timoyol +cecenmanaya ahuicpa tichuica timoyol popoloaya in tlalticpac? Ca mach +titlatiuh xihualmocuepaya xiccaquin yectli yancuicatl ximoyolciahuaya +xochiaticaya onahuiaxtimani oncan nicehuaya in yectli yancuicatl +nicuicani ic nicellelquixtia in tloque in nahuaque.</blockquote> + </td> + <td> + <blockquote>3. Wherefore should we recall while the soul is in life that our +souls must be scattered hither and thither, and that wherever we go +we are to be destroyed on earth? Rather let us hide it, turn from it, +and listen to some worthy new song; delight thy soul with the +pervading fragrance of flowers, as I the singer lift my voice in a +new song that I may rejoice the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Xihuallachian tinocniuh in oncan icayan xochihuehuetl tonameyo +ontotonauhtimani quetzal ecacehuazticaya on xopaleuhtimani in oncan +ic chialo ic malhuilo inipetl in icpal in tloque in nahuaque; xic +cahuaya in mixtecomatla xihualmocuepaya tohuan, xic ehua in +yancuicatl nicuicani ic niquellelquixtia in tloque in tlaneciz inic +moyollo caltitlan.</blockquote> + </td> + <td> + <blockquote>4. Come hither, thou my friend, to where stands the drum, decked with +flowers, gleaming with brightness, green with the outspread plumes of +the quetzal bird, where are looked for and cared for the seats near +the Cause of All; leave the place of night and clouds, turn hither +with us, lift thy voice in the new song I sing so that I may rejoice +the Cause of All, as the dawn approaches in the house of thy heart.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Tleçannen in nicyocoya in nitlaocolcuica inic niquimilnamiqui in +tepilhuan, in tlazomaquiztin, in tlazoteoxiuhme, in quetzaltotome, in +moteyotico, in motleyotico in tlalticpac? in ocnoma caquizti inin +tenyo, inin cahuanca, campa neltiazque? Ca zan titlacatico ca ompa +huel tochan in canin ximoayan inocapa in yolihuayan aic tlamian.</blockquote> + </td> + <td> + <blockquote>5. Of what use is it that I frame my sad songs, that I recall to mind +the youths, the beloved children, the precious relatives, the dear +friends, famous and celebrated as they were on earth? Who now hears +their fame, their deeds? Where can they find them? All of us are but +mortal, and our home is there in the Hereafter, where there is life +without end.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_III">Notes for Song III</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="IV"></a><h3>IV. <i>MEXICA OTONCUICATL.</i></h3></td> + <td> <h3>IV. <i>AN OTOMI SONG OF THE MEXICANS.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Nicchalchiuhtonameyopetlahuaya, nictzinitzcanihuicaloaya, +niquilnamiquia nelhuayocuicatla, nic zacuanhuipanaya yectli +yancuicatl nicuicani, nicchalchiuhtlazonenelo ic nichualnextia in +xochicueponallotl ic nicellelquixtia in tloque in nahuaque.</blockquote> + </td> + <td> + <blockquote>1. I, the singer, polished my noble new song like a shining emerald, +I arranged it like the voice of the tzinitzcan bird, I called to mind +the essence of poetry, I set it in order like the chant of the zacuan +bird, I mingled it with the beauty of the emerald, that I might make +it appear like a rose bursting its bud, so that I might rejoice the +Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Zacuantlazoihuiticaya tzinitzcan tlauquechol ic nicyaimatia, +nocuicatzin teocuitlatzitzilini nocuic nitoz; miahuatototl nocuica +cahuantimania, nicehuaya xochitzetzelolpá ixpan in tloque nahuaque.</blockquote> + </td> + <td> + <blockquote>2. I skillfully arranged my song like the lovely feathers of the +zacuan bird, the tzinitzcan and the quechol; I shall speak forth my +song like the tinkling of golden bells; my song is that which the +miaua bird pours forth around him; I lifted my voice and rained down +flowers of speech before the face of the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Qualli cuicanelhuayotlo, teocuitlaquiquizcopa nicehuaya, ilhuicac +cuicatlo nictenquixtia, nitoz miahuatototl, chalciuhtonameyotica, +niccueponaltia yectli yancuicatlo, nicehuaya xochitlenamaquilizticaya +ic nitlaahuialia nicuicani ixpan in tloque nahuaque.</blockquote> + </td> + <td> + <blockquote>3. In the true spirit of song I lifted my voice through a trumpet of +gold, I let fall from my lips a celestial song, I shall speak notes +precious and brilliant as those of the miaua bird, I shall cause to +blossom out a noble new song, I lifted my voice like the burning +incense of flowers, so that I the singer might cause joy before the +face of the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Teoquecholme nechnananquilia in nicuicani coyolicahuacaya yectli +yacuicatlan, cozcapetlaticaya chachalchiuhquetzalitztonameyo +xopaleuhtimania xopan xochicuiatl onilhuica ahuiaxtimanio, +xochiahuachtitlan nihualcuicaya nicuicani.</blockquote> + </td> + <td> + <blockquote>4. The divine quechol bird answers me as I, the singer, sing, like +the coyol bird, a noble new song, polished like a jewel, a turquoise, +a shining emerald, darting green rays, a flower song of spring, +spreading celestial fragrance, fresh with the dews of roses, thus +have I the poet sung.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Nictlapalimatia nicxoxochineloaya yectli yancuicatlan +cozcapetlaticaya, etc.</blockquote> + </td> + <td> + <blockquote>5. I colored with skill, I mingled choice roses in a noble new song, +polished like a jewel, etc. (as in v. 4).</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Nocontimaloaya nocontlamachtiao xochiteyolquima cuicatlan +poyomapoctli ic ye ahuian ye noyollo, nihualyolcuecuechahuaya, +nicinecuia ahuiaca, xocomiqui in noyolia, nicinecuia yectliya +xochitla netlamachtiloyan, xochi ye ihuinti noyolia.</blockquote> + </td> + <td> + <blockquote>6. I was glorified, I was enriched, by the flower-sweet song as by +the smoke of the poyomatl, my soul was contented, I trembled in +spirit, I inhaled the sweetness, my soul was intoxicated, I inhaled +the fragrance of delicious flowers in the place of riches, my soul +was drunken with the flowers.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_IV">Notes for Song IV</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="V"></a><h3>V. <i>OTRO MEXICA TLAMELAUHCACUICAYOTL.</i></h3></td> + <td> <h3>V. <i>ANOTHER PLAIN SONG OF THE MEXICANS.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Zanio in xochitl tonequimilol, zanio in cuicatl ic huehuetzi in +tellel in Dios ye mochan.</blockquote> + </td> + <td> + <blockquote>1. I alone will clothe thee with flowers, mine alone is the song +which casts down our grief before God in thy house.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. In mach noca ompolihuiz in cohuayotl mach noca in icniuhyotl in +ononoya in ye ichan; ye nio Yoyontzin on cuicatillano ye +ipalnemohuani.</blockquote> + </td> + <td> + <blockquote>2. True it is that my possessions shall perish, my friendships, their +home and their house; thus I, O Yoyontzin, pour forth songs to the +Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Ma xiuhquechol xochi, zan in tzinitzcan malintoca zan miqui huaqui +xochitl zan ic tonmoquimiloa can titlatoani ya ti Nezahualcoyotl.</blockquote> + </td> + <td> + <blockquote>3. Let the green quechol birds, let the tzinitzcan twine flowers for +us, only dying and withered flowers, that we may clothe thee with +flowers, thou ruler, thou Nezahualcoyotl.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Ma yan moyoliuh quimati in antepilhuan in anquauhtin amo celo ca +mochipan titocnihuan, zancuel achic nican timochitonyazque o ye +ichano.</blockquote> + </td> + <td> + <blockquote>4. Ye youths and ye braves, skilled in wisdom, may you alone be our +friends, while for a moment here we shall enjoy this house.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Ca ye ompolihuiz in moteyo Nopiltzin, ti Tezozomoctli áca cá ye in +mocuica? aye a nihualchocao ca nihualicnotlamatica notia ye ichan.</blockquote> + </td> + <td> + <blockquote>5. For thy fame shall perish, Nopiltzin, and thou, Tezozomoc, where +are thy songs? No more do I cry aloud, but rest tranquil that ye have +gone to your homes.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. An ca nihuallaocoya onicnotlamati ayo quico, ayoc quemanian, +namech aitlaquiuh in tlalticpac y icanontia ye ichan.</blockquote> + </td> + <td> + <blockquote>6. Ye whom I bewailed, I know nevermore, never again; I am sad here +on earth that ye have gone to your homes.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_V">Notes for Song V</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="VI"></a><h3>VI. <i>OTRO CHALCAYOTL, CANTO DE TETLEPAN QUETZANITZIN.</i></h3></td> + <td> <h3>VI. <i>ANOTHER CHALCO-SONG, A POEM OF TETLEPAN QUETZANITZIN.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Aua nocnihue ninentlamatia zan ninochoquilia in monahuac aya +yehuan Dios, quexquich onmitzicnotlamachtia momacehual cemamanahuac +ontonitlanililo in ic tontlahuica tontecemilhuitiltia in tlalticpac.</blockquote> + </td> + <td> + <blockquote>1. Alas, my friend, I was afflicted, I cried aloud on thy account to +God. How much compassion hast thou for thy servant in this world sent +here by thee to be thy subject for the space of a day on this earth!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Macazo tleon xoconyoyocoya ti noyollo, yehua cuix ic nepohualoyan +in oncan nemohua yehua, in atle tlahuelli in antecocolia huel on +yecnemiz in tlalticpac.</blockquote> + </td> + <td> + <blockquote>2. However that may be, mayst thou so dispose my heart, that it may +pass through this place of reckoning, without anger, without injury, +and live a good life on earth.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. In quimati noyollo nichoca yehua huel eza ye nelli in titicnihuan, +huellenelli nemoa in tlalticpac in tonicniuh tlatzihuiz yehuan Dios.</blockquote> + </td> + <td> + <blockquote>3. My heart knows how truly I weep for my friend, how truly as it +lives on earth it cries aloud for thee, my friend, to God.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Xontlachayan huitztlampayan, iquizayan in tonatiuh, +ximoyollehuayan oncan manian teoatl tlachinolli, oncan mocuica in +teucyotl in tlatocayotl yectliya xochitl in amo zannen mocuia, in +quetzallalpilo niaya macquauhtica, chimaltica neicaloloyan in +tlalticpac ic momacehuaya in yectliya xochitl in tiquelehuia in +ticnequia in tinocniuh in quitemacehualtia in quitenemactia in tloque +in nahuaque.</blockquote> + </td> + <td> + <blockquote>4. Let thy soul awake and turn toward the south, toward the rising of +the sun, rouse thy heart that it turn toward the field of battle, +there let it win power and fame, the noble flowers which it will not +grasp in vain; adorned with a frontlet of quetzal feathers I went +forth armed with sword and shield to the battlefield on earth, that I +might merit these noble flowers with which we may rejoice as we wish +our friends, as the Cause of All may reward and grant to us.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Nentiquelehuia in tictemoaya in tinocniuh yectliya xochitl can +ticuiz intlacamo ximicaliya, melchiquiuhticaya, mitonalticaya +ticmacehuaya in yectliyaxochitla, yaochoquiztli ixayoticaya in +quitemacehualtica in tloque in nahuaque.</blockquote> + </td> + <td> + <blockquote>5. Vainly, O friends, do we desire and seek where we may cull those +noble flowers unless we fight with bared breasts, with the sweat of +the brow, meriting these noble flowers, in bitter and painful war, +for which the Cause of All will give reward.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_VI">Notes for Song VI</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="VII"></a><h3>VII. <i>OTRO.</i></h3></td> + <td> <h3>VII. <i>ANOTHER.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Tleinmach oamaxque on in antocnihuan in an Chiapaneca Otomi, +omachamelelacic: in ic oamihuintiqueo octicatl in oanquique ic +oamihuintique, xicualcuican, in amo ma in anhuehuetztoqueo, +ximozcalicano in antocnihuan nipatiazque in tochano, xopantlalpan ye +nican, ma quiza in amihuintiliz, on xitlachiacano ohuican ye +anmaquia, O!</blockquote> + </td> + <td> + <blockquote>1. What have you done, O you our friends, you Chiapanecs and Otomis, +why have you grieved, that you were drunken with the wine which you +took, that you were drunken? Come hither and sing: do not lie +stretched out; arise, O friends, let us go to our houses here in this +land of spring; come forth from your drunkenness, see in what a +difficult place you must take it.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ca yeppa yuhqui in tizaoctli in tlalticpac, quitemacao ohuican ic +tecalaquiao teoatl tlachinolli quitoao texaxamatzao teopopoloao on +canin xaxamanio in tlazochalchihiuitl, in teoxihuitl, in maquiztli +tlazotetl in tepilhuan in coninio in xochitizaoctlio cuel can in +antocnihuan in tonicahuacao.</blockquote> + </td> + <td> + <blockquote>2. For formerly it was so on earth that the white wine was taken in +difficult places, as on entering the battlefield, or, as it was said, +where the stones were broken and destroyed, where were broken into +fragments the lovely emeralds, the turquoises, the honored precious +stones, the youths, the children; therefore take the flowery white +wine, O friends and brothers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Ma ye ticiti in xochitlalpan in tochan xochitlalticpacilhuicacpaco +in huel ic xochiamemeyallotl on ahuiaxtimani, teyolquima yoliliz +ahuach xochitl in tochan in Chiappan, oncan timalolo in teucyotl in +tlatocayotl in chimalxochitl oncuepontimani tonacatlalpan.</blockquote> + </td> + <td> + <blockquote>3. Let us drink it in the flowery land, in our dwelling surrounded by +the flowery earth and sky, where the fountains of the flowers send +their sweetness abroad; the delicious breath of the dewy flowers is +in our homes in Chiapas; there nobility and power make them glorious, +and the war-flowers bloom over a fertile land.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Quemach in amo antlacaquio in antocnihuan tohuian tohuiano +xicahuacano, in tizaoctlio teoatlachinoloctli; ma ye ticiti in ompa +tinectilo in tochan xochiahuachoctli, zan ic ahuiaca ihuinti in +toyollo, tetlamachtio teyolquimao tixochiachichinatihui +netlamachtiloyan in toquizayan xochitlalpan tonacatlalpan: tlemach +oamaxqueo? xichualcaquican in tocuic in tamocnihuan, etc.</blockquote> + </td> + <td> + <blockquote>4. Is it possible, oh friends, that you do not hear us? Let us go, +let us go, let us pour forth the white wine, the wine of battle; let +us drink where the wine sweet as the dew of roses is set forth in our +houses, let our souls be intoxicated with its sweetness; enriched, +steeped in delight, we shall soak up the water of the flowers in the +place of riches, going forth to a land of flowers, a fertile spot. +What have you done? Come hither and listen to our songs, O friends.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_VII">Notes for Song VII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="VIII"></a><h3>VIII. <i>OTRO, QUEUH CE TLATOHUANI IN QUIMILNAMIQUI IN TLATOQUE.</i></h3></td> + <td> <h3>VIII. <i>COMPOSED BY A CERTAIN RULER IN MEMORY OF FORMER RULERS.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Tlaocolxochi ixayoticaya ic nichuipana in nocuic nicuicani, +niquimilnamiqui in tepilhuan, in teintoque, in tlaçotitoque in campa +in ximohuaya, in oteuctico, in otlatocatico in tlallia icpac, in +quetzalhuahuaciuhtoque in chalchiuhteintoque in tepilhuan, in maoc +imixpan in maoc oquitlani; in ye itto in tlalticpac iximachoca in +tloque in nahuaque.</blockquote> + </td> + <td> + <blockquote>1. Weeping, I, the singer, weave my song of flowers of sadness; I +call to memory the youths, the shards, the fragments, gone to the +land of the dead; once noble and powerful here on earth, the youths +were dried up like feathers, were split into fragments like an +emerald, before the face and in the sight of those who saw them on +earth, and with the knowledge of the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Y yo ya hue nitlaocolcuicaya in niquimilnamiqui in tepilhuan, ma +zan itla ninocuepa, ma niquimonana, ma niquinhualquixti in ompa in +ximoayan, ma oc oppa tihua in tlalticpac, ma oc quimahuizoqui in +tepilhuan in ticmahuizoa, azo huel yehuantin tlatlazomahuizozquia in +ipalnemohualoni, quemmach tomazehual in tlazaniuh ticmatican in +ticnopillahueliloque ic choca in noyollo nino tlalnamiquiliz huipana +in nicuicani choquiztica tlaocoltica nitlalnamiquia.</blockquote> + </td> + <td> + <blockquote>2. Alas! alas! I sing in grief as I recall the children. Would that I +could turn back again; would that I could grasp their hands once +more; would that I could call them forth from the land of the dead; +would that we could bring them again on earth, that they might +rejoice and we rejoice, and that they might rejoice and delight the +Giver of Life; is it possible that we His servants should reject him +or should be ungrateful? Thus I weep in my heart as I, the singer, +review my memories, recalling things sad and grievous.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Manozo zan nicmati in nechcaquizque intla itla yectli cuicatl +niquimehuili in ompa ximohuayan, ma ic niquipapacti, ma ic +niquimacotlaza inin tonez inin chichinaquiliz in tepilhuan. Cuix on +machiaz? Quennel nihualnellaquahua? Aquen manian ompa niquimontocaz? +Ano niquin nonotztaciz in ye yuh quin in tlalticpac.</blockquote> + </td> + <td> + <blockquote>3. Would only that I knew they could hear me, there in the land of +the dead, were I to sing some worthy song. Would that I could gladden +them, that I could console the suffering and the torment of the +children. How can it be learned? Whence can I draw the inspiration? +They are not where I may follow them; neither can I reach them with +my calling as one here on earth.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_VIII">Notes for Song VIII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="IX"></a><h3>IX. <i>OTRO TLAOCOLCUICA OTOMITL.</i></h3></td> + <td> <h3>IX. <i>AN OTOMI SONG OF SADNESS.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. In titloque in tinahuaque nimitzontlaocolnonotzaya, nelcicihuiliz +mixpantzinco noconiyahuaya, ninentlamati in tlalticpac ye nican +nitlatematia, ninotolinia, in ayc onotechacic in pactli, in +necuiltonolli ye nican; tlezannen naicoyc amo y mochiuhyan, tlacazo +atle nican xotlacueponi in nentlamachtillia, tlacazo zan ihuian in +motloc in monahuac; Macuelehuatl ma xicmonequilti ma monahuactzinco +oc ehuiti in noyolia, ninixayohuatzaz in motloc monahuac +tipalnemohuani.</blockquote> + </td> + <td> + <blockquote>1. To thee, the Cause of All, to thee I cried out in sadness, my +sighs rose up before thy face; I am afflicted here on earth, I +suffer, I am wretched, never has joy been my lot, never good fortune; +my labor has been of no avail, certainly nothing here lessens one's +suffering; truly only to be with thee, near thee; may it be thy will +that my soul shall rise to thee, may I pour out my tears to thee, +before thee, O thou Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Quemachamiqueo in motimalotinemi co y in tlalticpac in ayac +contenmatio in atlamachilizneque o tlacazo can moztla cahuia on in +ămitztenmati in titloque in tinahuaque inic momatio ca mochipa +tlalticpac, nemizqueo ninotlamatli motlaliao niquimittao, tlacazo +mixitl tlapatl oquiqueo ic nihualnelaquahua in ninotolinia o tlacazo +ompa in ximohuayan neittotiuh o, cazo tiquenamiqueo quiniquac ye +pachihuiz ye teyolloa.</blockquote> + </td> + <td> + <blockquote>2. Happy are those who walk in thy favor here on earth, who never +neglect to offer up praise, nor, leaving till to-morrow, neglect +thee, thou Cause of All, that thou mayest be known in all the earth; +I know that they shall live, I see that they are established, +certainly they have drunk to forgetfulness while I am miserable, +certainly I shall go to see the land of the dead, certainly we shall +meet where all souls are contented.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Ma cayac quen quichihuaya in iyollo in tlalticpac ye nican in +titlaocaxtinemi in tichocatinemia, ca zacuel achic ontlaniizoo, +tlacazo zan tontlatocatihuio in yuho otlatocatque tepilhuan, ma ic +ximixcuiti in tinocniuh in atonahuia in atihuelamati in tlalticpac o; +ma oc ye ximăpana in tlaocolxochitl, choquizxochitl, xoyocatimalo +o xochielcicihuiliztlio in ihuicpa toconiyahuazon in tloque in +nahuaque.</blockquote> + </td> + <td> + <blockquote>3. Never were any troubled in spirit on the earth who appealed to +thee, who cried to thee, only for an instant were they cast down, +truly thou caused them to rule as they ruled before: Take as an +example on earth, O friend, the fever-stricken patient; clothe +thyself in the flowers of sadness, in the flowers of weeping, give +praises in flowers of sighs that may carry you toward the Cause of +All.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Ica ye ninapanao tlaocolxochicozcatlon, nomac ommanian +elcicihuilizchimàlxochitlon, nic ehuaya in tlaocolcuicatloo, +nicchalchiuhcocahuicomana yectli yancuicatl, nic ahuachxochilacatzoa, +yn o chalchiuhuehueuhilhuitl, itech nictlaxilotia in nocuicatzin in +nicuicani ye niquincuilia in ilhuicac chanequeo zacuantototl, +quetzaltzinitzcantototl teoquechol inon tlătoa quechol in qui +cecemeltia in tloque, etc.</blockquote> + </td> + <td> + <blockquote>4. I array myself with the jewels of saddest flowers; in my hands are +the weeping flowers of war; I lift my voice in sad songs; I offer a +new and worthy song which is beautiful and melodious; I weave songs +fresh as the dew of flowers; on my drum decked with precious stones +and plumes I, the singer, keep time to my song, as I take it from +those dwellers in the heavens, the zacuan bird, the beautiful +tzinitzcan, the divine quechol, those melodious birds who give joy to +the Cause of All.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_IX">Notes for Song IX</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="X"></a><h3>X. <i>MEXICA XOPANCUICATL TLAMELAUHCAYOTL.</i></h3></td> + <td> <h3>X. <i>A SPRING SONG OF THE MEXICANS, A PLAIN SONG.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Tlaocoya in noyollo nicuicanitl nicnotlamatia, yehua za yey +xochitl y zan ye in cuicatlin, ica nitlacocoa in tlalticpac ye nican, +ma nequitocan intech cocolia intech miquitlani moch ompa onyazque +cano y ichan, ohuaya.</blockquote> + </td> + <td> + <blockquote>1. My heart grieved, I, the singer, was afflicted, that these are the +only flowers, the only songs which I can procure here on earth; see +how they speak of sickness and of death, how all go there to their +homes, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. I inquemanian in otonciahuic, in otontlatzihuic tocon ynayaz in +momahuizco in motenyo in tlalticpac, ma nenquitocane, ohuaya, etc.</blockquote> + </td> + <td> + <blockquote>2. Sometimes thou hast toiled and acquired skill, thou takest refuge +in thy fame and renown on earth; but see how vain they speak, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Inin azan oc huelnemohuan in tlalticpac mazano ihuian yehuan Dios +quiniquac onnetemoloa in tiaque in canin ye ichan, ohuaya.</blockquote> + </td> + <td> + <blockquote>3. As many as live on earth, truly they go to God when they descend +to the place where are their homes, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Hu inin titotolinia ma yuhquitimiquican ma omochiuh in mantech +onittocan in tocnihuan in matech onahuacan in quauhtin y a ocelotl.</blockquote> + </td> + <td> + <blockquote>4. Alas, we miserable ones, may it happen when we die that we may see +our friends, that we may be with them in grandeur and strength.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Mazo quiyocoli macaoc xictemachican, can antlahuicaya y caya +amechmotlatili in ipalnemohuani, ohuaya.</blockquote> + </td> + <td> + <blockquote>5. Although He is the Creator, do not hope that the Giver of Life has +sent you and has established you.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Ay ya yo xicnotlamatican Tezcacoacatl, Atecpanecatl mach nel +amihuihuinti in cozcatl in chalchihuitli, ma ye anmonecti, ma ye +antlaneltocati.</blockquote> + </td> + <td> + <blockquote>6. Be ye grieved, ye of Tezcuco and Atecpan, that ye are intoxicated +with gems and precious stones; come forth to the light, come and +believe.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_X">Notes for Song X</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XI"></a><h3>XI. <i>OTRO.</i></h3></td> + <td> <h3>XI. <i>ANOTHER.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Nicchocaehua, nicnotlamati, nicelnamiqui ticauhtehuazque yectliya +xochitl yectli yancuicatl; ma octonahuiacan, ma oc toncuicacan cen +tiyahui tipolihui ye ichan, etc.</blockquote> + </td> + <td> + <blockquote>1. I lift my voice in wailing, I am afflicted, as I remember that we +must leave the beautiful flowers, the noble songs; let us enjoy +ourselves for a while, let us sing, for we must depart forever, we +are to be destroyed in our dwelling place.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Achtleon ah yuhquimati in tocnihuan cocoya in noyollo qualani +yehua ay oppan in tlacatihua ye ay oppa piltihuaye yece yequi +xoantlalticpac.</blockquote> + </td> + <td> + <blockquote>2. Is it indeed known to our friends how it pains and angers me that +never again can they be born, never again be young on this earth?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Oc achintzinca y tetloc ye nican tenahuacan aic yezco on aic +nahuiaz aic nihuelamatiz.</blockquote> + </td> + <td> + <blockquote>3. Yet a little while with them here, then nevermore shall I be with +them, nevermore enjoy them, nevermore know them.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. In can on nemian noyollo yehua? Can huel ye nochan? Can huel +nocallamanian? Ninotolinia tlalticpac.</blockquote> + </td> + <td> + <blockquote>4. Where shall my soul dwell? Where is my home? Where shall be my +house? I am miserable on earth.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Zan ye tocontemaca ye tocontotoma in mochalchiuh, ye on +quetzalmalintoc, zacuan icpac xochitl, za yan tiquinmacayan tepilhuan +O.</blockquote> + </td> + <td> + <blockquote>5. We take, we unwind the jewels, the blue flowers are woven over the +yellow ones, that we may give them to the children.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. In nepapan xochitl conquimilo, conihuiti ye noyollo niman +nichocaya ixpan niauh in tonan.</blockquote> + </td> + <td> + <blockquote>6. Let my soul be draped in various flowers; let it be intoxicated by +them, for soon must I weeping go before the face of our mother.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Zan nocolhuia: ipalnemohua ma ca ximozoma, ma ca ximonenequin +tlalticpac, mazo tehuantin motloc tinemican y, zan ca ye moch ana +ilhuicatlitica.</blockquote> + </td> + <td> + <blockquote>7. This only do I ask:—Thou Giver of Life, be not angry, be not +severe on earth, let us live with thee on earth, take us to the +Heavens.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Azo tle nello nicyaitohua nican ipalnemohua, zan tontemiqui y, zan +toncochitlehuaco, nicitoa in tlalticpac ye ayac huel tontiquilhuia ye +nicana.</blockquote> + </td> + <td> + <blockquote>8. But what can I speak truly here of the Giver of Life? We only +dream, we are plunged in sleep; I speak here on earth; but never can +we speak in worthy terms here.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>9. In manel ye chalchihuitl, mantlamatilolli, on aya mazo ya +ipalnemohuani ayac hueltic ilhuia nicana.</blockquote> + </td> + <td> + <blockquote>9. Although it may be jewels and precious ointments (of speech), yet +of the Giver of Life, one can never here speak in worthy terms.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XI">Notes for Song XI</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XII"></a><h3>XII. <i>XOPANCUICATL NENONOTZALCUICATL IPAMPA IN AQUIQUE AMO ON MIXTILIA IN YAOC.</i></h3></td> + <td> <h3>XII. <i>A SPRING SONG, A SONG OF EXHORTATION, BECAUSE CERTAIN ONES DID NOT GO TO THE WAR.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Nictzotzonan nohuehueuh nicuicatlamatquetl ic niquimonixitia ic +niquimitlehua in tocnihuan in atle in yollo quimati in aic tlathui +ipan inin yollo yaocochmictoque in inpan motimaloa in +mixtecomatlayohualli anen niquito huay motolinia y, maquicaqui qui y +xochitlathuicacuicatl occeh tzetzeuhtimania huehuetitlana, ohuaya, +ohuai.</blockquote> + </td> + <td> + <blockquote>1. I strike on my drum, I the skillful singer, that I may arouse, +that I may fire our friends, who think of nothing, to whose minds +plunged in sleep the dawn has not appeared, over whom are yet spread +the dark clouds of night; may I not call in vain and poorly, may they +hear this song of the rosy dawn, poured abroad widely by the drum, +ohe! ohe!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Tlahuizcalteochitla oncuepontimani in ixochiquiyaopan in tloque in +nahuaque, onahuachtotonameyotimani in teyolquima; ma xiqualitacan in +atle ipan ontlatao, zannen cuepontimanio ayac mahaca quelehuiao in +antocnihuan amo zannen ya xochitl yoliliztlapalneucxochitla e.</blockquote> + </td> + <td> + <blockquote>2. The divine flowers of dawn blossom forth, the war flowers of the +Cause of All; glittering with dew they scatter abroad their +fragrance; bring them hither that they be not hidden nor bloom in +vain, that they may rejoice you our friends, and not in vain shall be +the flowers, the living, colored, brilliant flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Quiyolcaihuintiaya in teyolia, zan oncan ye omania, zan oncan ye +oncuepontimania quauhtepetitlan in ya hualiuhcancopa y +ixtlahuatlitica oncan inemaya oc teoatl tlachinolli a. Oncan in +epoyahuayan in teoquauhtli oncan iquiquinacayan, in ocelotl, +ipixauhyan in nepapan tlazomaquiztetl, in emomolotzayan in nepapan +tlazopilihuitl, oncan teintoque oncan xamantoque in tepilhuan.</blockquote> + </td> + <td> + <blockquote>3. They intoxicate the soul, but they are only found, they blossom +only on the lofty mountains, on the broad plains where glorious war +finds its home. There is where the eagles gather in bands of sixties, +there the tigers roar, there the various beloved stones rain down, +there the various dear children are cut to pieces; there the youths +are split into shards and ground into fragments.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Tlacuah yehuantin in tepilhuani conelehuiao, in +tlahuizcalxochitlan ya nemamallihuao ic tetlanĕnectiao, in +ilhuicac onocon iceolitzin yn iotepiltzina quitzetzelotimanio a in +tepilhuan in quauhtliya ocelotl, in quimemactiao in +xochicueponalotlon in quimihuintia yeyolxochiahuechtlia.</blockquote> + </td> + <td> + <blockquote>4. Stoutly do those youths rejoice, laboring for the rose of the dawn +that they may win it; and in heaven, He, the only one, the noble one, +pours down upon the youths strength and courage, that they may pluck +the budding flowers of the pathway, that they may be intoxicated with +the dew-damp flowers of the spirit.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. In ic timomatia in tinocniuh zan ne yan xochitlon in tiquelehuiaon +in tlalticpac, quen toconcuizon quen ticyachihuazon, timotolinia in +tiquimiztlacoa a in tepilhuan xochitica cuicatica; ma xihuallachican +in atle y ica mitl, ehuaon zan moch yehuantin in tepilhuan +zacuanmeteoquecholtitzinitzcatlatlauhquecholtin moyeh yectitinemio in +onmatio in ixtlahuatlitican.</blockquote> + </td> + <td> + <blockquote>5. Know, my friend, that these are the only flowers which will give +thee pleasure on earth; mayest thou take them and make them; O poor +one, search out for thy children these flowers and songs. Look not +hither without arrows, let all the youths lift up their voices, like +zacuan birds, divine quechols, tzinitzcans, and red quechols, who +live joyous lives, and know the fields.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Chimalxochitl, quauhpilolxochitl ic oquichtlamatimani in y +antepilhuan xochicozcaocoxochitl ic mapantimanian, quitimaloao +yectliya cuicatl, yectliya xochitl, imezo imelchiquiuh patiuh +mochihuaya in quicelia on in teoatl tlachinolli; y iantocnihuan +tliliuhquitepeca in tiyaotehua huey otlipana, ma huel xoconmanao y ye +mochimalo, huel xonicaon in ti quauhtliya ocelotla.</blockquote> + </td> + <td> + <blockquote>6. O youths, here there are skilled men in the flowers of shields, in +the flowers of the pendant eagle plumes, the yellow flowers which +they grasp; they pour forth noble songs, noble flowers; they make +payment with their blood, with their bare breasts; they seek the +bloody field of war. And you, O friends, put on your black paint, for +war, for the path of victory; let us lay hands on our shields, and +raise aloft our strength and courage.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XII">Notes for Song XII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XIII"></a><h3>XIII. <i>HUEXOTZINCAYOTL.</i></h3></td> + <td> <h3>XIII. <i>A SONG OF HUEXÔTZINCO.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Zan tlaocolxochitl, tlaocolcuicatl on mania Mexico nican ha in +Tlatilolco, in yece ye oncan on neiximachoyan, ohuaya.</blockquote> + </td> + <td> + <blockquote>1. Only sad flowers, sad songs, are here in Mexico, in Tlatilolco, in +this place these alone are known, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ixamayo yectli in zan ca otitech icneli ipalnemohuani, in za can +tipopolihuizque in timacehualta, ohuaya.</blockquote> + </td> + <td> + <blockquote>2. It is well to know these, if only we may please the Giver of Life, +lest we be destroyed, we his subjects, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Ototlahueliltic, zan titotolinia timacehualtinquezo huel +tehuantin, otiquittaque in cococ ye machoyan, ohuaya.</blockquote> + </td> + <td> + <blockquote>3. We have angered Him, we are only wretched beings, slaves by blood; +we have seen and known affliction, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Ticmomoyahua, ticxoxocoyan in momacehualy in Tlatilolco cococ +moteca cococ ye machoyan ye ic ticiahuia ipalnemoani, ohuaya.</blockquote> + </td> + <td> + <blockquote>4. We are disturbed, we are embittered, thy servants here in +Tlatilolco, deprived of food, made acquainted with affliction, we are +fatigued with labor, O Giver of Life, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Choquiztli moteca ixayotl pixahui oncan a in Tlatilolco; in atlan +yahqueon o in Mexica ye cihua nelihui ica yehuilo a oncan ontihui in +tocnihuan a, ohuaya.</blockquote> + </td> + <td> + <blockquote>5. Weeping is with us, tears fall like rain, here in Tlatilolco; as +the Mexican women go down to the water, we beg of them for ourselves +and our friends, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. In ic neltic o ya cahua Atloyantepetl o in Mexico in poctli +ehuatoc ayahuitl onmantoc, in tocon ya chihuaya ipalnemoani, ohuaya.</blockquote> + </td> + <td> + <blockquote>6. Even as the smoke, rising, lies in a cloud over Mount Atloyan, in +Mexico, so does it happen unto us, O Giver of Life, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. In anMexica ma xiquilnamiquican o yan zan topan quitemohuia y +ellelon i mahuizo yehuan zan yehuan Dios, yehua anquin ye oncan in +coyonacazco, ohuaya.</blockquote> + </td> + <td> + <blockquote>7. And you Mexicans, may you remember concerning us when you descend +and suffer before the majesty of God, when there you shall howl like +wolves.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Za can ye oncan zan quinchoquiz tlapaloa o anquihuitzmanatl incan +yeŭch motelchiuh on ya o anquin ye mochin, ha in tlayotlaqui, ah +in tlacotzin, ah in tlacateuctli in oquichtzin y huihui ica ça ye con +yacauhqui in Tenochtitlan, ohuaya.</blockquote> + </td> + <td> + <blockquote>8. There, there will be only weeping as your greeting when you come, +there you will be accursed, all of you, workers in filth, slaves, +rulers or warriors, and thus Tenochtitlan will be deserted.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>9. In antocnihuan ma xachocacan aya ma xăconmatican ica ye +ticcauhque Mexicayotl huiya, zan ye yatl chichixhuiya no zan ye +tlaqualli chichixaya zan con aya chiuhqui in ipalnemoani ha in +Tlatilolco y, ohuaya.</blockquote> + </td> + <td> + <blockquote>9. Oh friends, do not weep, but know that sometime we shall have left +behind us the things of Mexico, and then their water shall be made +bitter and their food shall be made bitter, here in Tlatilolco, as +never before, by the Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>10. Tel ah zan yhuian huicoque hon in motelchiuhtzin ha in tlacotzin +zan mocuica ellaquauhque ac achinanco in ahiquac in tlepan quixtiloto +in coyohuacan, ohuaya.</blockquote> + </td> + <td> + <blockquote>10. The disdained and the slaves shall go forth with song; but in a +little while their oppressors shall be seen in the fire, amid the +howling of wolves.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XIII">Notes for Song XIII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XIV"></a><h3>XIV.</h3></td> + <td> <h3>XIV.</h3></td> + </tr> + <tr> + <td> + <blockquote>1. Zan tzinitzcan impetlatl ipan, ohuaya; on tzinitzcan iceliztoca +oncan izan in ninentlamatia, in zan icnoxochicuicatica inocon ya +temohua ya ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>1. Only the tzinitzcan is in power, the tzinitzcan arouses me in my +affliction, letting fall its songs like sad flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. In canin nemiya icanon in nemitoconchia ye nican huehuetitlan a +ayiahue, ye onnentlamacho, ye mocatlaocoyalo ay xopancaliteca, +ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>2. Wherever it wanders, wherever it lives, one awaits it here with +the drum, in affliction, in distress, here in the house of spring.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Ac ipiltzin? Achanca ipiltzin yehuayan Dios Jesu Christo can +quicuilo antlacuiloa quicuilo ancuicatl a ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>3. Who is the royal son? Is not the royal son, the son of God, Jesus +Christ, as was written in your writings, as was written in your +songs?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. O achan canel ompa huiz canin ilhuicac y xochintlacuilol +xochincalitec a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>4. Is not the flowery writing within the house of flowers that he +shall come there from heaven?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. In ma ontlachialoya in ma ontlătlamahuicolo in +tlapapalcalimanican y ipalnemoa y tlayocol yehuan Dios, ohuaya.</blockquote> + </td> + <td> + <blockquote>5. Look around and wonder at this scene of many colored houses which +God has created and endowed with life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Techtolinian techtlătlanectia y icuicaxochiamilpan, +intechontlătlachialtian ipalnemohua itlayocol yehuan Dios a +ohuaya.</blockquote> + </td> + <td> + <blockquote>6. They make us who are miserable to see the light among the flowers +and songs of the fertile fields, they cause us to see those things +which God has created and endowed with life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Ya ixopantla ixopantlatinenemi ye nican ixtlahuatl yteey, za +xiuhquechol quiahuitl zan topan xaxamacay in atlixco ya ohuaya, +ohuaya.</blockquote> + </td> + <td> + <blockquote>7. They dwell in the place of spring, in the place of spring, here +within the broad fields, and only for our sakes does the +turquoise-water fall in broken drops on the surface of the lake.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Zan ye nauhcampay ontlapepetlantoc, oncan onceliztoc in +cozahuizxochitl, oncan nemi in Mexica in tepilhuan a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>8. Where it gleams forth in fourfold rays, where the fragrant yellow +flowers bud, there live the Mexicans, the youths.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XIV">Notes for Song XIV</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XV"></a><h3>XV. <i>TEZOZOMOCTLI IC MOTECPAC.</i></h3></td> + <td> <h3>XV. <i>THE REIGN OF TEZOZOMOCTLI.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Zan ca tzihuactitlan, mizquititlan, aiyahue Chicomoztocpa, mochi +ompa yahuitze antlătohuan ye nican, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>1. From the land of the tzihuac bushes, from the land of the mezquite +bushes, where was ancient Chicomoztoc, thence came all your rulers +hither.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Nican momalinaco in colcahuahtecpillotl huiya nican milacatzoa in +Colhuaca Chichimecayotl in toteuchuahuia.</blockquote> + </td> + <td> + <blockquote>2. Here unrolled itself the royal line of Colhuacan, here our nobles +of Colhuacan, united with the Chichimecs.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Ma oc achitzinca xomotlanecuican antepilhuan huiya tlacateuhtzin +Huitzilihuitl a ya cihuacoatl y Quauhxilotl huia totomihuacan +Tlalnahuacatl aya zan ca xiuhtototl Ixtlilxochitl y quenman +tlatzihuiz quimohmoyahuaquiuh yauh y tepeuh yehuan Dios ica ye choca +Tezozomoctli ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>3. Sing for a little while concerning these, O children, the +sovereign Huitzilihuitl, the judge Quauhxilotl, of our bold leader +Tlalnahuacatl, of the proud bird Ixtlilxochitl, those who went forth, +and conquered and ruled before God, and bewail Tezozomoctli.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Yenoceppa mizquitl yacahuantimani Hueytlalpani, anquican itlatol +yehuan Dios a ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>4. A second time they left the mezquite bushes in Hue Tlalpan, +obeying the order of God.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Can onyeyauh xochitl, can oyeyauh yeh intoca quauhtli ocelotl huia +ya moyahuaya xelihuia Atloyantepetl Hueytlalpan y anquizan itlatol +ipalnemohua ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>5. They go where are the flowers, where they may gain grandeur and +power, dividing asunder they leave the mountain Atloyan and Hue +Tlalpan, obeying the order of the Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Oncuiltonoloc, onechtlachtiloc, in teteuctin cemanahuac y huel +zotoca huipantoca y tlătol ipalnemohuani, huel quimothuitico, huel +quiximatico y yollo yehuan Dios huiya chalchihuitl maquiztliya +tlamatelolliya tizatla ihuitla za xochitl quimatico yaoyotla ohuaya +ohuaya.</blockquote> + </td> + <td> + <blockquote>6. It is cause of rejoicing, that I am enabled to see our rulers from +all parts gathering together, arranging in order the words of the +Giver of Life, and that their souls are caused to see and to know +that God is precious, wonderful, a sweet ointment, and that they are +known as flowers of wise counsel in the affairs of war.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Oya in Tochin y miec acalcatli, Acolmiztlan teuctli zan Catocih +teuctli Yohuallatonoc y yehuan Cuetzpaltzin Iztaccoyotl totomihuacan +Tlaxcallan ohuaye Coatziteuctli Huitlalotzin za xochitl quimatico +yaoyotla ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>7. There were Tochin, with many boats, the noble Acolmiztlan, the +noble Catocih, Yohuallatonoc, and Cuetzpaltzin, and Iztaccoyotl, bold +leaders from Tlaxcalla, and Coatziteuctli, and Huitlalotzin, famed as +flowers on the field of battle.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Tley an quiyocoya anteteuctin y Huexotzinca? ma xontlachiacan +Acolihuăcan in quatlapanca oncan ye Huexotla itztapallocan huia +yeyahuatimani Atloyantepetl a ohuaya.</blockquote> + </td> + <td> + <blockquote>8. For what purpose do you make your rulers, men of Huexotzinco? Look +at Acolhuacan where the men of Huexotzinco are broken with toil, are +trod upon like paving stones, and wander around the mountain Atloyan.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>9. Oncan in pochotl ahuehuetl oncan icaca mizquitl ye oztotlhuiă +tetlaquahuac quimatia ipalnemohuani oyao ai ya hue ohuaya.</blockquote> + </td> + <td> + <blockquote>9. There is a ceiba tree, a cypress tree, there stands a mezquite +bush, strong as a cavern of stone, known as the Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>10. Tlacateotl nopiltzin Chichimecatl y tleonmach itla techcocolia +Tezozomoctli tech in micitlani ye ehuaya atayahuili quinequia yaoyotl +necaliztlon quima Acolhuacan ohuaya.</blockquote> + </td> + <td> + <blockquote>10. Ruler of men, Nopiltzin, Chicimec, O Tezozomoctli, why hast thou +made us sick, why brought us to death, through not desiring to offer +war and battle to Acolhuacan?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>11. Tel ca tonehua ticahuiltia ipalnemohuani Colihua o o Mexicatl y +tlahcateotl huiaya atayahuili quinequia yaoyotl necaliztl qui mana +Acolhuacan a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>11. But we lift up our voice and rejoice in the Giver of life; the +men of Colhuacan and the Mexican leader have ruined us, through not +desiring to offer war and battle to Acolhuacan.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>12. Zan ye on necuiltonolo in tlalticpac ay oppan titlano chimalli +xochitl ay oppan ahuiltilon ipalnemohua; ye ic anauia in tlailotlaqui +xayacamacha huia ho ay ya yi ee ohuaya ha ohuaya.</blockquote> + </td> + <td> + <blockquote>12. The only joy on earth will be again to send the shield-flower, +again to rejoice the Giver of Life; already are discontented the +faces of the workers in filth.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>13. Inacon anquelehuia chimalli xochitl y yohual xochitli +tlăchinol xochitl; ye ic neyahpanalo antepilhuan huiya +Quetzalmamatzin Huitznahuacatl ohuaye ho ha yia yi ee oua yi aha +ohuaya.</blockquote> + </td> + <td> + <blockquote>13. Therefore you rejoice in the shield-flowers, the flowers of +night, the flowers of battle; already are ye clothed, ye children of +Quetzalmamatzin and Huitznahuacatl.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>14. Chimal tenamitl oncan in nemohua yehua necalia huilotl oyahualla +icahuaca yehuaya on canin ye nemi in tecpipiltin Xiuhtzin +xayacamachani amehuano o anconahuiltia ipalnemohua ohuaya.</blockquote> + </td> + <td> + <blockquote>14. Your shield and your wall of safety are where dwells the sweet +joy of war, where it comes, and sings and lifts its voice, where +dwell the nobles, the precious stones, making known their faces; thus +you give joy to the Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>15. In ma huel netotilo mannemamanaloya yaonahuac a on +netlamachtiloyan ipan nechihuallano ohuaye in tepiltzin can ye +mocuetlaca ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>15. Let your dancing, and banqueting be in the battle, there be your +place of gain, your scene of action, where the noble youths perish.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>16. Quetzalipantica oyo huiloa ahuiltiloni ipalnemohuan yectlahuacan +in tapalcayocan a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>16. Dressed in their feathers they go rejoicing the Giver of Life to +the excellent place, the place of shards.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>17. Oyo hualehuaya ye tocalipan oyohua yehua Huexotzincatl y +tototihua o o Iztaccoyotla ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>17. He lifted up his voice in our houses like a bird, that man of +Huexotzinco, Iztaccoyotl.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>18. Ace melle ica tonăcoquiza y nican topantilemonti Tlaxcaltecatl +itocoya cacalia in altepetl y Huexochinco ya ohuaya.</blockquote> + </td> + <td> + <blockquote>18. Whoever is aggrieved let him come forth with us against the men +of Tlaxcallan, let him follow where the city of Huexotzinco lets +drive its arrows.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>19. Cauhtimanizo polihuiz tlalli yan totomihuacan huia cehuiz yiollo +o antepilhuan a Huexotzinca y ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>19. Our leaders will lay waste, they will destroy the land, and your +children, O Huexotzincos, will have peace of mind.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>20. Mizquitl y mancan tzihuactli y mancan ahuehuetl onicacahuia +ipalnemohua, xonicnotlamati mochi elimanca Huexotzinco ya zanio oncan +in huel on mani tlalla ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>20. The mezquite was there, the tzihuac was there, the Giver of Life +has set up the cypress; be sad that evil has befallen Huexotzinco, +that it stands alone in the land.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>21. Zan nohuian tlaxixinia tlamomoyahua y ayoc anmocehuia +momăcehual y hualcaco mocuic in icelteotl oc xoconyocoyacan +antepilhuan a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>21. In all parts there are destruction and desolation, no longer are +there protection and safety, nor has the one only God heard the song; +therefore speak it again, you children;</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>22. Zan mocuepa itlatol conahuiloa ipalnemohua Tepeyacac ohuaye +antepilhuan ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>22. That the words may be repeated, you children, and give joy to the +Giver of Life at Tepeyacan.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>23. Canel amonyazque xoconmolhuican an Tlaxcalteca y Tlacomihuatzin +hui oc oyauh itlachinol ya yehuan Dios a ohuaya.</blockquote> + </td> + <td> + <blockquote>23. And since you are going, you Tlaxcallans, call upon +Tlacomihuatzin that he may yet go to this divine war.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>24. Cozcatl ihuihui quetzal nĕhuihuia oc zo conhuipanque zan +Chichimeca y Totomihua a Iztaccoyotl a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>24. The Chichimecs and the leaders and Iztaccoyotl have with +difficulty and vain labor arranged and set in order their jewels and +feathers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>25. Huexotzinco ya zan quiauhtzinteuctli techcocolia Mexicatl +itechcocolia Acolihuiao ach quennelotihua tonyazque quenonamican a +ohuaye ohuaye.</blockquote> + </td> + <td> + <blockquote>25. At Huexotzinco the ruler Quiauhtzin hates the Mexicans, hates the +Acolhuacans; when shall we go to mix with them, to meet them?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>26. Ay antlayocoya anquimitoa in amotahuan an teteuctin ayoquantzin +ihuan a in tlepetztic in cacha ohuaya tzihuacpopoca yo huaya.</blockquote> + </td> + <td> + <blockquote>26. Set to work and speak, you fathers, to your rulers, to your +lords, that they may make a blazing fire of the smoking tzihuac wood.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>27. Ca zan catcan Chalco Acolihuaca huia totomihuacan y amilpan in +Quauhquecholla quixixinia in ipetl icpal yehuan Dios ohoaya ohuaya.</blockquote> + </td> + <td> + <blockquote>27. The Acolhuacans were at Chalco, the Otomies were in your +cornfields at Quauhquechollan, they laid them waste by the permission +of God.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>28. Tlazoco a ye nican tlalli tepetl yecocoliloya cemanahuac a +ohuaya.</blockquote> + </td> + <td> + <blockquote>28. The fields and hills are ravaged, the whole land has been laid +waste.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>29. Quennel conchihuazque atl popoca itlacoh in teuctli tlalli +mocuepaya Mictlan onmatia Cacamatl onteuctli, quennel conchihuazque, +ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>29. What remedy can they turn to? Water and smoke have spoiled the +land of the rulers; they have gone back to Mictlan attaching +themselves to the ruler Cacamatl. What remedy can they turn to?</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XV">Notes for Song XV</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XVI"></a><h3>XVI.</h3></td> + <td> <h3>XVI.</h3></td> + </tr> + <tr> + <td> + <blockquote>1. On onellelacic quexquich nic ya ittoa antocnihuan ayiaue +noconnenemititica noyollon tlalticpac y noconycuilotica, ay niyuh can +tinemi ahuian yeccan, ay cemellecan in tenahuac y, ah nonnohuicallan +in quenon amican ohuaya.</blockquote> + </td> + <td> + <blockquote>1. It is a bitter grief to see so many of you, dear friends not +walking with me in spirit on the earth, and written down with me; +that no more do I walk in company to the joyful and pleasant spots; +that nevermore in union with you do I journey to the same place.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Zan nellin quimati ye noyollo za nelli nicittoa antocnihuan, +ayiahue aquin quitlatlauhtia icelteotl yiollo itlacoca con aya macan. +Machamo oncan? In tlalticpac machamo oppan piltihua. Ye nelli nemoa +in quenon amican ilhuicatl y itec icanyio oncan in netlamachtilo y +ohuaya.</blockquote> + </td> + <td> + <blockquote>2. Truly I doubt in my heart if I really see you, dear friends; Is +there no one who will pray to the one only God that he take this +error from your hearts? Is no one there? No one can live a second +time on earth. Truly they live there within the heavens, there in a +place of delight only.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. O yohualli icahuacan teuctlin popoca ahuiltilon Dios +ipalnemohuani: chimalli xochitl in cuecuepontimani in mahuiztli +moteca molinian tlalticpac, ye nican ic xochimicohuayan in ixtlahuac +itec a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>3. At night rises up the smoke of the warriors, a delight to the Lord +the Giver of Life; the shield-flower spreads abroad its leaves, +marvelous deeds agitate the earth; here is the place of the fatal +flowers of death which cover the fields.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Yaonauac ye oncan yaopeuhca in ixtlahuac itec iteuhtlinpopoca ya +milacatzoa y momalacachoa yaoxochimiquiztica antepilhuan in +anteteuctin zan Chichimeca y ohuaya.</blockquote> + </td> + <td> + <blockquote>4. The battle is there, the beginning of the battle is in the open +fields, the smoke of the warriors winds around and curls upward from +the slaughter of the flowery war, ye friends and warriors of the +Chichimecs.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Maca mahui noyollo ye oncan ixtlahuatl itic, noconele hua in +itzimiquiliztli zan quinequin toyollo yaomiquiztla ohuaya.</blockquote> + </td> + <td> + <blockquote>5. Let not my soul dread that open field; I earnestly desire the +beginning of the slaughter, may thy soul long for the murderous +strife.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. O anquin ye oncan yaonahuac, noconelehuia in itzi miquiliztli can +quinequin toyollo yaomiquiztla ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>6. O you who are there in the battle, I earnestly desire the +beginning of the slaughter, may thy soul long for the murderous +strife.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Mixtli ye ehuatimani yehuaya moxoxopan ipalnemohuani ye oncan +celiztimani a in quauhtlin ocelotl, ye oncan cueponio o in tepilhuan +huiya in tlachinol, ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>7. The cloud rises upward, rising into the blue sky of the Giver of +Life; there blossom forth prowess and daring, there, in the battle +field, come the children to maturity.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. In ma oc tonahuican antocnihuan ayiahuc, ma oc xonahuiacan +antepilhuan in ixtlahuatl itec, y nemoaquihuic zan tictotlanehuia o a +in chimalli xochitl in tlachinoll, ohuaya, ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>8. Let us rejoice, dear friends, and may ye rejoice, O children, +within the open field, and going forth to it, let us revel amid the +shield-flowers of the battle.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XVI">Notes for Song XVI</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XVII"></a><h3>XVII. <i>XOCHICUICATL.</i></h3></td> + <td> <h3>XVII. <i>A FLOWER SONG.</i></h3></td> + </tr> + <tr> + <td> + <blockquote>1. Can ti ya nemia ticuicanitl ma ya hualmoquetza xochihuehuetl +quetzaltica huiconticac teocuitlaxochinenepaniuhticac y ayamo aye +iliamo aye huiy ohuaya, ohuaya.</blockquote> + </td> + <td> + <blockquote>1. Where thou walkest, O singer, bring forth thy flowery drum, let it +stand amid beauteous feathers, let it be placed in the midst of +golden flowers;</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Tiquimonahuiltiz in tepilhuan teteucto in quauhtlo ocelotl ayamo, +etc.</blockquote> + </td> + <td> + <blockquote>2. That thou mayest rejoice the youths and the nobles in their +grandeur.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. In tlacăce otemoc aya huehuetitlan ya nemi in cuicanitlhuia zan +qui quetzal in tomaya quexexeloa aya icuic ipalnemoa qui ya nanquilia +in coyolyantototl oncuicatinemi xochimanamanaya taxocha ohuaya, +ohuaya.</blockquote> + </td> + <td> + <blockquote>3. Wonderful indeed is it how the living song descended upon the +drum, how it loosened its feathers and spread abroad the songs of the +Giver of Life, and the coyol bird answered, spreading wide its notes, +offering up its flowery songs of flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. In canon in noconcaqui in tlatol aya tlacazo yehuatl ipalnemoa +quiyananquilia quiyananquilia in coyolyantototl on cuicatinemi +xochimanamanaya, etc.</blockquote> + </td> + <td> + <blockquote>4. Wherever I hear those words, perhaps the Giver of Life is +answering, as answers the coyol bird, spreading wide its notes, +offering up its flowery song of flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. In chalchihuitl ohuayee on quetzal pipixauhtimania in amo +tlatolhuia, noyuh ye quittoa yayoquan yehuayan cuetzpal ohuaye +anquinelin ye quimatin ipalnemoa ohuaya.</blockquote> + </td> + <td> + <blockquote>5. It rains down precious stones and beauteous feathers rather than +words; it seems to be as one reveling in food, as one who truly knows +the Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Noyuh quichihua con teuctlon timaloa yecan quetzalmaquiztla +matilolticoya conahuiltia icelteotlhuia achcanon azo a yan ipalnemoa +achcanon azo tle nel in tlalticpac ohuaya.</blockquote> + </td> + <td> + <blockquote>6. Thus do the nobles glorify themselves with things of beauty, honor +and delight, that they may please the one only god, though one knows +not the dwelling of the Giver of Life, one knows not whether he is on +earth.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Macuelachic aya maoc ixquich cahuitl niquin notlanehui in +chalchiuhtini in maquiztini in tepilhuan aya; zan nicxochimalina in +tecpillotl huia: zan ca nican nocuic ica ya nocon ilacatzohua a in +huehuetitlan a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>7. May I yet for a little while have time to revel in those precious +and honorable youths; may I wreathe flowers for their nobility; may I +here yet for a while wind the songs around the drum.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Oc noncoati nican Huexotzinco y nitlătohuani ni teca ehuatzin +huiya chalchiuhti zan quetzalitztin y, niquincenquixtia in tepilhuan +aya zan nicxochimalina in tecpillotl huia ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>8. I am a guest here among the rulers of Huexotzinco; I lift up my +voice and sing of precious stones and emeralds; I select from among +the youths those for whom I shall wreathe the flowers of nobility.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>9. A in ilhuicac itic ompa yeya huitz in yectliyan xochitl yectliyan +cuicatl y, conpolo antellel conpolo antotlayocol y in tlacazo yehuatl +in Chichimecatl teuctli in teca yehuatzin ica xonahuiacan a ohuaya +ohuaya.</blockquote> + </td> + <td> + <blockquote>9. There comes from within the heavens a good flower, a good song, +which will destroy your grief, destroy your sorrow; therefore, Chief +of the Chichimecs, be glad and rejoice.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>10. Moquetzal izqui xochintzetzeloa in icniuhyotl +aztlacaxtlatlapantica ye onmalinticac in quetzalxiloxochitl imapan +onnĕnemi conchichichintinemi in teteuctin in tepilhuan.</blockquote> + </td> + <td> + <blockquote>10. Here, delightful friendship, turning about with scarlet dyed +wings, rains down its flowers, and the warriors and youths, holding +in their hands the fragrant xilo flowers, walk about inhaling the +sweet odor.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>11. Zan teocuitlacoyoltototl o huel yectli namocuic huel yectli in +anq'ehua anquin ye oncan y xochitl y ya hualyuhcan y xochitl imapan +amoncate in amontlatlătoa ye ohuaya ohui ohui ilili y yao ayya hue +ho ama ha ilili ohua y yaohuia.</blockquote> + </td> + <td> + <blockquote>11. The golden coyol bird sings sweetly to you, sweetly lifts its +voice like a flower, like sweet flowers in your hand, as you converse +and lift your voice in singing, etc.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>12. O ach ancati quechol in ipalnemoa o ach ancati tlatocauh yehuan +Dios huiya achto tiamehuan anquitztoque tlahuizcalli amoncuicatinemi +ohui, ohui, ilili, etc.</blockquote> + </td> + <td> + <blockquote>12. Even like the quechol bird to the Giver of Life, even as the +herald of God, you have waited for the dawn, and gone forth singing +ohui, etc.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>13. Maciuhtiao o in quinequi noyollo, zan chimalli xochitl mixochiuh +ipalnemoani, quen conchihuaz noyollo yehua onentacico tonquizaco in +tlalticpac a ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>13. Although I wish that the Giver of Life shall give for flowers the +shield-flower, how shall I grieve that your efforts have been in +vain, that you have gone forth from the world.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>14. Zan ca yuhqui noyaz in o ompopoliuh xochitla antlenotleyoye in +quemmanian, antlenitacihcayez in tlalticpac. Manel xochitl manel +cuicatl, quen conchihuaz noyollo yehua onentacico tonquizaco in +tlalticpac ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>14. Even as I shall go forth into the place of decayed flowers, so +sometime will it be with your fame and deeds on earth. Although they +are flowers, although they are songs, how shall I grieve that your +efforts have been in vain, that you have gone forth from the world.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>15. Manton ahuiacan antocnihuan aya ma on nequech nahualo nican huiya +a xochintlaticpac ontiyanemi yenican ayac quitlamitehuaz in xochitl +in cuicatl in mani a ichan ipalnemohuani yi ao ailili yi ao aya hue +aye ohuaya.</blockquote> + </td> + <td> + <blockquote>15. Let us be glad, dear friends, let us rejoice while we walk here +on this flowery earth; may the end never come of our flowers and +songs, but may they continue in the mansion of the Giver of Life.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>16. In zancuelachitzincan tlalticpac aya ayaoc noiuhcan +quennonamicani cuixocpacohua icniuhtihuay auh in amo zanio nican +totiximatizo in tlalticpac y yiao ha ilili yiao.</blockquote> + </td> + <td> + <blockquote>16. Yet a little while and your friends must pass from earth. What +does friendship offer of enjoyment, when soon we shall no longer be +known on earth?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>17. Noconca con cuicatl noconca o quin tlapitzaya xochimecatl ayoquan +teuctliya ahuayie, ohuayiao ayio yo ohua.</blockquote> + </td> + <td> + <blockquote>17. This is the burden of my song, of the garland of flowers played +on the flute, without equal in the place of the nobles.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>18. Zan mitzyananquili omitzyananquili xochincalaitec y in +aquiauhatzin in tlacateuhtli ayapancatl yahuayia.</blockquote> + </td> + <td> + <blockquote>18. Within the house of flowers the Lord of the Waters, of the Gate +of the Waters, answers thee, has answered thee.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>19. Can tinemi noteouh ipalnemohuani mitztemohua in quemmanian y +mocanitlaocoyan, nicuicanitlhuia, zan ni mitzahuiltiaya ohuiyan +tililiyanco huia ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>19. Where thou livest, my beloved, the Giver of Life sends down upon +thee sometimes things of sadness; but I, the singer, shall make thee +glad in the place of difficulty, in the place of cumber.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>20. In zan ca izqui xochitl in quetzalizqui xochitl pixahui ye nican +xopancalaitec i tlacuilolcalitec, zan nimitzahahuiltiaya ohui.</blockquote> + </td> + <td> + <blockquote>20. Here are the many flowers, the beauteous flowers, rained down +within the house of spring, within its painted house, and I with them +shall make thee glad.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>21. O anqui ye oncan Tlaxcala, ayahue, chalchiuhtetzilacuicatoque in +huehuetitlan ohuaye, xochin poyon ayiahue Xicontencatl teuctli in +Tizatlacatzin in camaxochitzin cuicatica y melelquiza xochiticaya on +chielo itlatol ohuay icelteotl ohuaya.</blockquote> + </td> + <td> + <blockquote>21. O, you there in Tlaxcala, you have played like sweet bells upon +your drums, even like brilliantly colored flowers. There was +Xicontecatl, lord of Tizatlan, the rosy-mouthed, whose songs gave joy +like flowers, who listened to the words of the one only God.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>22. O, anqui nohuia y, ye mochan ipalnemohua xochipetlatl ye noca +xochitica on tzauhticac oncan mitztlatlauhtia in tepilhua ohuaya.</blockquote> + </td> + <td> + <blockquote>22. Thy house, O Giver of Life is in all places; its mats are of +flowers, finely spun with flowers, where thy children pray to thee.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>23. In nepapan xochiquahuitl onicac, aya, huehuetitlan a a yiahue, +can canticaya quetzaltica malintimani, ya, yecxochitl motzetzeloaya +ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>23. A rain of various flowers falls where stands the drum, beauteous +wreaths entwine it, sweet flowers are poured down around it.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>24. Can quetzatzal petlacoatl yepac o, ye nemi coyoltototl +cuicatinemiya, can quinanquili teuctli ya, +conahuiltianquauhtloocelotl ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>24. Where the brilliant scolopender basks, the coyol bird scatters +abroad its songs, answering back the nobles, rejoicing in their +prowess and might.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>25. Xochitzetzeliuhtoc y, niconnetolilo antocnihuan huehuetitlan ai +on chielo can nontlamati toyollo yehua ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>25. Scattering flowers I rejoice you, dear friends, with my drum, +awaiting what comes to our minds.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>26. In zan ca yehuan Dios tlaxic, ya, caquican yehual temoya o +ilhuicatl itic, y, cuicatihuitz, y, quinanquilia o, angelotin +ontlapitztihuitzteaya oyiahue yaia o o ohuaya ohuaya.</blockquote> + </td> + <td> + <blockquote>26. It reaches even to God, he hears it seeking him within the +heavens, the song comes and the angels answer, playing on their +flutes.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>27. Zan ninentlamatia can niquauhtenco ayahue can. * * *</blockquote> + </td> + <td> + <blockquote>27. But I am sad within this wood.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XVII">Notes for Song XVII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XVIII"></a><h3>XVIII. <i>NICAN OMPEHUA TEPONAZCUICATL.</i></h3></td> + <td> <h3>XVIII. <i>HERE BEGIN SONGS FOR THE TEPONAZTLI.</i></h3></td> + </tr> + <tr> + <td> + <blockquote><i>Tico, tico, toco, toto, auh ic ontlantiuh cuicatl, tiqui, ti ti, +tito, titi.</i></blockquote> + </td> + <td> + <blockquote><i>Tico, tico, toco, toto, and as the song approaches the end, tiqui, +titi, tito, titi.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Tollan aya huapalcalli manca, nozan in mamani coatlaquetzalli +yaqui yacauhtehuac Nacxitl Topiltzin, onquiquiztica ye choquililo in +topilhuan ahuay yeyauh in polihuitiuh nechcan Tlapallan ho ay.</blockquote> + </td> + <td> + <blockquote>1. At Tollan there stood the house of beams, there yet stands the +house of plumed serpents left by Nacxitl Topiltzin; going forth +weeping, our nobles went to where he was to perish, down there at +Tlapallan.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Nechcayan Cholollan oncan tonquizaya Poyauhtecatitlan, in +quiyapanhuiya y Acallan anquiquiztica ye choquililon ye.</blockquote> + </td> + <td> + <blockquote>2. We went forth from Cholula by way of Poyauhtecatl, and ye went +forth weeping down by the water toward Acallan.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Nonohualco ye nihuitz ye nihui quecholi nimamaliteuctla, +nicnotlamatia oyah quin noteuc ye ihuitimali, nechya icnocauhya +nimatlac xochitl, ayao ayao o ayya y yao ay.</blockquote> + </td> + <td> + <blockquote>3. I come from Nonohualco as if I carried quechol birds to the place +of the nobles; I grieve that my lord has gone, garlanded with +feathers; I am wretched like the last flower.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. In tepetl huitomica niyaychocaya, axaliqueuhca nicnotlamatiya o +yaquin noteuc (etc. as v. 3).</blockquote> + </td> + <td> + <blockquote>4. With the falling down of mountains I wept, with the lifting up of +sands I was wretched, that my lord had gone.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. In Tlapallan aya mochieloca monahuatiloca ye cochiztla o anca ca +zanio ayao, ayao, ayao.</blockquote> + </td> + <td> + <blockquote>5. At Tlapallan he was waited for, it was commanded that there he +should sleep, thus being alone.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Zan tiyaolinca ye noteuc ic ihuitimali, tinahuatiloya ye Xicalanco +o anca zacanco.</blockquote> + </td> + <td> + <blockquote>6. In our battles my lord was garlanded with feathers; we were +commanded to go alone to Xicalanco.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Ay yanco ay yanco ayamo aya ayhuiya ayanco ayyanco ayamo aye +ahuiya que ye mamaniz mocha moquiapana, oquen ye mamaniz +moteuccallatic ya icnocauhqui nican Tollan Nonohualco ya y ya y ya o +ay.</blockquote> + </td> + <td> + <blockquote>7. Alas! and alas! who will be in thy house to attire thee? Who will +be the ruler in thy house, left desolate here in Tollan, in +Nonohualco?</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. In ye quinti chocaya teuctlon, timalon que ye mamaniz mochan (etc. +as v. 7).</blockquote> + </td> + <td> + <blockquote>8. After he was drunk, the ruler wept; we glorified ourselves to be +in thy dwelling.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>9. In tetl, in quahuitl o on timicuilotehuac nachcan Tollan y inon +can in otontlatoco Naxitl Topiltzin y aye polihuiz ye motoca ye ic ye +chocaz in momacehual ay yo.</blockquote> + </td> + <td> + <blockquote>9. Misfortune and misery were written against us there in Tollan, +that our leader Nacxitl Topiltzin was to be destroyed and thy +subjects made to weep.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>10. Zan can xiuhcalliya cohuacallaya in oticmatehuac nachcan Tollan y +inon can yn otontlatoco Naxitl Topiltzin (etc. as in v. 9).</blockquote> + </td> + <td> + <blockquote>10. We have left the turquoise houses, the serpent houses there in +Tollan, where ruled our leader Nacxitl Topiltzin.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XVIII">Notes for Song XVIII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XIX"></a><h3>XIX.</h3></td> + <td> <h3>XIX.</h3></td> + </tr> + <tr> + <td> + <blockquote><i>Tico toco toco ti quiti quiti quiti quito; can ic mocneptiuh.</i></blockquote> + </td> + <td> + <blockquote><i>Tico, toco, toco, tiquiti, quiti, quiti, quito; where it is to turn +back again.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Tlapapal xochiceutli niyolaya nepapan tonacan xochitl moyahuaya +oncueponti moquetzaco ya naya aya ye teo ya ixpan tonaa Santa Maria +ayyo.</blockquote> + </td> + <td> + <blockquote>1. Resting amid parti-colored flowers I rejoiced; the many shining +flowers came forth, blossomed, burst forth in honor of our mother +Holy Mary.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. An ya ya cuicaya zan quetzala xihuitl tomolihui yan aya ye +nitlachihual icelteotl y ye Dios aya ni itlayocolaoya yecoc ya.</blockquote> + </td> + <td> + <blockquote>2. They sang as the beauteous season grew, that I am but a creature +of the one only God, a work of his hands that he has made.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Zan ca tlaauilolpan nemia moyollo amoxpetlatl ipan toncuicaya +tiquimonyaitotia teteuctin aya in obispo ya zan ca totatzin aya oncan +titlatoa atlitempan ay yo.</blockquote> + </td> + <td> + <blockquote>3. Mayst thy soul walk in the light, mayst thou sing in the great +book, mayst thou join the dance of the rulers as our father the +bishop speaks in the great temple.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Yehuan Dios mitzyocox aya xochitla ya mitztlacatilo yancuicatl +mitzicuiloa Santa Maria in obispo ya.</blockquote> + </td> + <td> + <blockquote>4. God created thee, he caused thee to be born in a flowery place, +and this new song to Holy Mary the bishop wrote for thee.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XIX">Notes for Song XIX</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XX"></a><h3>XX.</h3></td> + <td> <h3>XX.</h3></td> + </tr> + <tr> + <td> + <blockquote>1. Tolteca icuilihuia ahaa ya ha on tlantoc amoxtli ya moyollo ya on +aya mochonaciticac o o Toltecayootl aic aya ninemiz ye nican ay yo.</blockquote> + </td> + <td> + <blockquote>1. The Toltecs have been taken, alas, the book of their souls has +come to an end, alas, everything of the Toltecs has reached its +conclusion, no longer do I care to live here.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ac ya nechcuiliz, ac ye nohuan oyaz o, nicaz a anni icuihuan aya y +yancuicanitl y yehetl y noxochiuh non cuica ihuitequi onteixpan ayyo.</blockquote> + </td> + <td> + <blockquote>2. Who will take me? Who will go with me? I am ready to be taken, +alas. All that was fresh, the perfume, my flowers, my songs, have +gone along with them.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Huey in tetl nictequintomahuac quahuitl, nicicuiloa yancuicatl +itech aya oncan nomitoz in quemmanian in can niyaz nocuica machio +nicyacauhtiaz in tlalticpac, y onnemiz noyol zan ca ye nican ya +hualla y yancoya nolnamicoca nemiz ye noteyo ay yo.</blockquote> + </td> + <td> + <blockquote>3. Great is my affliction, weighty is my burden; I write out a new +song concerning it, that some time I may speak it there where I shall +go, a song to be known when I shall leave the earth, that my soul +shall live after I have gone from here, that my fame shall live fresh +in memory.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Nichocaya niquittoaya nicnotza noyollo ma niquitta cuicanelhuayotl +ayama nicyatlalaquiya ma ya ica tlalticpac quimman mochihua onnenemiz +noyol y. Zan ca teucxochitl ahuiaca ipotocaticac mocepanoayan +toxochiuh ay ye ayao ohuiy on can quiya itzmolini ye nocuic celia +notlatollaquillo ohua in toxochiuh icac iquiapani ayao.</blockquote> + </td> + <td> + <blockquote>4. I cried aloud, I looked about, I reflected how I might see the +root of song, that I might plant it here on the earth, and that then +it should make my soul to live. The sweet exhalations of the lovely +flowers rose up uniting with our flowers; one hears them growing as +my song buds forth, filled with my words our flowers stand upright in +the waters.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Tel ca cahua xochitl ahuiac xeliuhtihuitz a ipotocaya in ahuiyac +poyomatlin pixahua oncan ninenenemi nicuicanitl y ye aya o ohui y on +ca quiya itzmolinï ye nocuic celia, etc.</blockquote> + </td> + <td> + <blockquote>5. But the flowers depart, their sweetness is divided and exhales, +the fragrant poyomatl rains down its leaves where I the poet walk in +sadness; one hears them growing, etc.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XX">Notes for Song XX</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXI"></a><h3>XXI. <i>HUEXOTZINCAYOTL.</i></h3></td> + <td> <h3>XXI. <i>A SONG OF THE HUEXOTZINCOS.</i></h3></td> + </tr> + <tr> + <td> + <blockquote><i>Viniendo los de Huexotzinco à pedir socorro à Moteuczoma Tlaxcalla.</i></blockquote> + </td> + <td> + <blockquote><i>Coming to Ask Aid of Montezuma Against Tlaxcalla.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Tlacuiloltzetzeliuhticac moyoliol tiMoteuczomātzi +nichuicatihuitz nictzetzelotihuitz y o huetzcani +xochinquetzalpapalotl moquetzalizouhtihuitz noconitotia +chalchiuhatlaquiquizcopa niyahueloncuica chalchiuhhuilacapitzli +nicteocuitlapitza ya ho ay la ya o haye ohuichile amiyacale.</blockquote> + </td> + <td> + <blockquote>1. Raining down writings for thy mind, O Montezuma, I come hither, I +come raining them down, a very jester, a painted butterfly; stringing +together pretty objects, I seem to be as one cementing together +precious stones, as I chant my song on my emerald flute, as I blow on +my golden flute, ya ho, ay la, etc.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ohuaya ye onniceelehuia moxochiuh aya ipalnemoani yehuayā Dios +aya ilihuāca nahuiche nictzetzeloaya noncuicatilo yaha y.</blockquote> + </td> + <td> + <blockquote>2. Yes, I shall cause thy flowers to rejoice the Giver of Life, the +God in heaven, as hither I come raining down my songs, ya ho.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Tozmilini xochitl in noyolyol ay yahue tozmilini xochitl noteponaz +ayanco ayancayome oncana y yahue nicxochiamoxtozimmanaya itlatol +ayanco ayanca yomeho.</blockquote> + </td> + <td> + <blockquote>3. A sweet voiced flower is my mind, a sweet voiced flower is my +drum, and I sing the words of this flowery book.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Xompaqui xonahuia annochipanicantiyazque ye ichano +nohueyetzinteuctli Moteuczomatzi, totlaneuh tlpc totlaneuh uelic +xochitl o ayanco.</blockquote> + </td> + <td> + <blockquote>4. Rejoice and be glad ye who live amid the flowers in the house of +my great lord Montezuma, we must finish with this earth, we must +finish with the sweet flowers, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Tlachinoltepec yn ahuicacopa tixochitonameyo timoquetzaco y yehuan +Dios a ocelozacatl ypan quauhtli choca ymopopoyauhtoc y yanco y liyan +cay yahue ayli y yacalco y ya y ycho zaca y yahue.</blockquote> + </td> + <td> + <blockquote>5. At the Mount of Battle we bring forth our sweet and glittering +flowers before God, plants having the lustre of the tiger, like the +cry of the eagle, leaving glorious memory, such are the plants in +this house.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Ohuaya yehe nipa tlantinemia ixpan Dios a +ninozozohuayatlauhquechol, zaquan quetzal in tlayahualol papalotl +mopilihuitzetzeloa teixpana xochiatlaquiquizcopa oh tlatoca ye nocuic +y yanco ili, etc.</blockquote> + </td> + <td> + <blockquote>6. Alas! in a little while there is an end before God to all living; +let me therefore string together beauteous and yellow feathers, and +mingling them with the dancing butterflies rain them down before you, +scattering the words of my song like water dashed from flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Nehcoya ompa ye nihuithuiya xoxouhqui hueyatla ymancan zanniman +olini pozoni tetecuica ic nipa tlania, zan iquetzal in tototl +xiuhquechol tototl no chiuhtihuitz'y ni yahuinac ya Huexotzinco +Atzalan ayome.</blockquote> + </td> + <td> + <blockquote>7. I would that I could go there where lies the great blue water +surging, and smoking and thundering, till after a time it retires +again: I shall sing as the quetzal, the blue quechol, when I go back +to Huexotzinco among the waters (<i>or</i>, and Atzalan).</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Zan niquintocaz aya niquimiximatitiuh nohueyotzitzinhuan +chalchiuhquechol y canca xiuhquechol in teocuitlapapalotl in +cozcatototl ontlapia ye onca Huexotzinco Atzalan ayame;</blockquote> + </td> + <td> + <blockquote>8. I shall follow them, I shall know them, my beloved Huexotzincos; +the emerald quechol birds, the green quechol, the golden butterflies, +and yellow birds, guard Huexotzinco among the waters (<i>or</i>, and +Atzalan).</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>9. Xochi Atzalaan teocuitlaatl chalchiuhatl y nepaniuhyan itlatoaya +in quetzalcanauhtli quetzalnocuitlapilli cuecueyahuaya yliya yliya +yaho ayli yaho aye huichile anicale.</blockquote> + </td> + <td> + <blockquote>9. Among the flowery waters, the golden waters, the emerald waters, +at the junction of the waters which the blue duck rules moving her +spangled tail.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>10. Huecapan nicac nicuicanitl huiya zaquan petlatolini, ma nica +yeninemia nicyeyectian cuicatla in nic xochiotia yayaho yahii.</blockquote> + </td> + <td> + <blockquote>10. I the singer stand on high on the yellow rushes; let me go forth +with noble songs and laden with flowers.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXI">Notes for Song XXI</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXII"></a><h3>XXII.</h3></td> + <td> <h3>XXII.</h3></td> + </tr> + <tr> + <td> + <blockquote><i>Tico tico ticoti tico tico ticoti auh ic ontlantiuk in cuicatl +totoco totoco.</i></blockquote> + </td> + <td> + <blockquote><i>Tico, tico, ticoti, tico, tico, ticoti, and then the song ends with +totoco, totoco.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Xichocayan nicuicanitl nicitta noxochiuh zan nomac ommania zan +quihuintia ye noyollo ni cuicatl aya nohuian nemia, zan ca ye noyollo +notlayocola in cayo.</blockquote> + </td> + <td> + <blockquote>1. In the place of tears I the singer watch my flowers; they are in +my hand; they intoxicate my soul and my song, as I walk alone with +them, with my sad soul among them.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Xiuhtlamatelolla quetzalchalchiuhtla ipan ye nicmatia nocuic aya +ma yectlaxochitl y, zan nomac ton mania, etc.</blockquote> + </td> + <td> + <blockquote>2. In this spot, where the herbage is like sweet ointment and green +as the turquoise and emerald, I think upon my song, holding the +beauteous flowers in my hand, etc. (as in v. 1).</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. In quetzalin chalchiuhtla ipan ye nicmatia yectli ye nocuic yectli +noxochiuh annicuihuan tepilhuan aya xonahuiacan a ayac onnemiz o in +tlalticpac ayo.</blockquote> + </td> + <td> + <blockquote>3. In this spot of turquoise and emerald, I think upon beauteous +songs, beauteous flowers; let us rejoice now, dear friends and +children, for life is not long upon earth.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. O an niquitquiz ye niaz yectli nocuic yectli noxochiuhui +annicuihuan tepilhuan aya.</blockquote> + </td> + <td> + <blockquote>4. I shall hasten forth, I shall go to the sweet songs, the sweet +flowers, dear friends and children.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. O huayanco o nichocaya a huayanco o cahua y yahue nictzetzelo +xochitl ay yo.</blockquote> + </td> + <td> + <blockquote>5. O he! I cried aloud; O he! I rained down flowers as I left.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Mach nohuan tonyaz quennonamica o ah nicitquiz xochitl zan +nicuicanitl huiya ma yo a xonahuiyacan to ya nemia ticaqui ye nocuic +ahuaya.</blockquote> + </td> + <td> + <blockquote>6. Let us go forth anywhere; I the singer shall find and bring forth +the flowers; let us be glad while we live; listen to my song.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Ay ca nichocaya nicuicanitl ya icha ahuicaloyan cuicatl ha Mictlan +temohuiloya yectliya xochitl onca ya oncaa y yao ohuayan ca ya ilaca +tziuhan ca na y yo.</blockquote> + </td> + <td> + <blockquote>7. I the poet cry out a song for a place of joy, a glorious song +which descends to Mictlan, and there turns about and comes forth +again.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Amo nequimilool amo neccuiltonol antepilhuan aychaa ohuicaloyan +cuicatl.</blockquote> + </td> + <td> + <blockquote>8. I seek neither vestment nor riches, O children, but a song for a +place of joy.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXII">Notes for Song XXII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXIII"></a><h3>XXIII. <i>YCUIC NEZAHUALCOYOTZIN.</i></h3></td> + <td> <h3>XXIII. <i>SONGS OF THE PRINCE NEZAHUALCOYOTL.</i></h3></td> + </tr> + <tr> + <td> + <blockquote><i>Totoco totoco tico, totoco totoco ic ontlantiuh tico titico ti tico +tico.</i></blockquote> + </td> + <td> + <blockquote><i>Totoco, totoco, tico, totoco totoco, then it ends with tico titico, +titico, tico.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Nicaya quetza con tohuehueuh aoniquimitotia quauhtlocelo yn ca +tiyayhcac in cuicaxochitl, nictemoan cuicatl ye tonequimilol ayyo.</blockquote> + </td> + <td> + <blockquote>1. I bring forth our drum that I may show the power and the grandeur +in which thou standest, decked with flowers of song: I seek a song +wherewith to drape thee, ah! oh!</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ti Nopiltzi o ti Nezahualcoyotl o tiya Mictl a quenonamica y yece +miyoncan ay yo.</blockquote> + </td> + <td> + <blockquote>2. Thou, my Lord, O thou Nezahualcoyotl, thou goest to Mictlan in +some manner and at a fixed time, ere long.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Quiyon quiyon caya nichocaya ya ni Nezahualcoyotl huiya queni yeno +yaz o ya nipolihuiz oya miquitla ye nimitzcahua noteouh ypalnemo o +tinechnahuatia ye niaz nipolihuiz aya, yo.</blockquote> + </td> + <td> + <blockquote>3. For this, for this, I weep, I Nezahualcoyotl, inasmuch as I am to +go, I am to be lost in death, I must leave thee; my God, the Giver of +Life, thou commandest me, that I go forth, that I be lost, alas.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Quenon maniz tlallin Acolihuacan huiya cuixoca quen mano o +ticmomoyahuaz in momacehuali ye nimitzcahua noteouh, etc.</blockquote> + </td> + <td> + <blockquote>4. How shall the land of Acolhuacan remain, alas? How shall we, thy +servants, spread abroad its fame? I must leave thee; my God, etc.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Can yio cuicatli tonequimilol quipoloaya a in totlacuiloli +tepilhuan oo maya o huitihua nican aya ayac ichan tlalticpac oo +ticyacencahuazque huelic ye xochitl ayio.</blockquote> + </td> + <td> + <blockquote>5. Even this song for thy draping may perish, which we have written +for our children, it will no longer have a home here on earth when we +shall wholly leave these fragrant flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. O ayac quitlamitaz monecuiltonol ypalnemoa a noyolquimati +cuelachic otictlanehuico Nezahualcoyotzin ay oppatihua nican anaya y +chan tlpc. Oon yn ay oppatihua in tlalticpacqui, zan nicuicanitl +ayaho onnichocaya niquelnamiqui Nezahualcoyotl aya ho.</blockquote> + </td> + <td> + <blockquote>6. Alas! thy riches shall end; the Giver of Life teaches me that but +for a little while do we enjoy the prince Nezahualcoyotl, nor a +second time will he come to his house on earth; no second time will +he rejoice on earth; but I the singer grieve, recalling to memory +Nezahualcoyotl.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Xo acico ye nican in teotl aya ypalnemoa, ayaho on nichocaya a +niquelnamiqui Nezalhuacoyotl ayio.</blockquote> + </td> + <td> + <blockquote>7. Let us seek while here the god, the Giver of Life; I grieve, +recalling to memory Nezahualcoyotl.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXIII">Notes for Song XXIII</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXIV"></a><h3>XXIV.</h3></td> + <td> <h3>XXIV.</h3></td> + </tr> + <tr> + <td> + <blockquote><i>Quititi, quititi, quiti tocoto, tocoti tocoto tocoti zan ic +mocueptiuh.</i></blockquote> + </td> + <td> + <blockquote><i>Quititi, quititi, quiti tocoto, tocoti, tocoto, tocoti, then it is +to turn back again.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Ma xochicuicoya ma ichtoa nichuana ayyahue teyhuinti xochitl ao ya +noyehcoc ye nica poyoma xahuallan timaliuhtihuitz ay yo.</blockquote> + </td> + <td> + <blockquote>1. Let me pluck flowers, let me see them, let me gather the really +intoxicating flowers; the flowers are ready, many colored, varied in +hue, for our enjoyment.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ma xochitl oyecoc ye nican ayyahuc can tlaahuixochitla moyahuaya +motzetzeloa ancazo yehuatl in nepapaxochitl ayyo. Zan commoni +huchuetl ma ya netotilo.</blockquote> + </td> + <td> + <blockquote>2. The flowers are ready here in this retired spot, this spot of +fragrant flowers, many sorts of flowers are poured down and scattered +about; let the drum be ready for the dance.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Yn quetzal poyomatl ayc ihcuilihuic noyol nicuicanitl in xochitl +ayan tzetzelihui ya ancuel ni cuiya ma xonahuacan ayio zan noyolitic +ontlapanion cuicaxochitl nicyamoyahuaya yxoochitla.</blockquote> + </td> + <td> + <blockquote>3. I the singer take and pour down before you from my soul the +beautiful poyomatl, not to be painted, and other flowers; let us +rejoice, while I alone within my soul disclose the songs of flowers, +and scatter them abroad in the place of flowers.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Cuicatl ya ninoquinilotehuaz in quemmanian xochineneliuhtiaz +noyollo yehuan tepilhuan oonteteuctin in ca yio.</blockquote> + </td> + <td> + <blockquote>4. I shall leave my songs in order that sometime I may mingle the +flowers of my heart with the children and the nobles.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Zan ye ic nichoca in quemanian zan nicaya ihtoa noxochiteyo +nocuicatoca nictlalitehuaz in quemanian xochineneliuhtiaz, etc.</blockquote> + </td> + <td> + <blockquote>5. I weep sometimes as I see that I must leave the earth and my +flowers and songs, that sometime these flowers will be vain and +useless.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXIV">Notes for Song XXIV</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXV"></a><h3>XXV.</h3></td> + <td> <h3>XXV.</h3></td> + </tr> + <tr> + <td> + <blockquote><i>Tico toco tocoto ic ontlantiuh ticoto ticoto.</i></blockquote> + </td> + <td> + <blockquote><i>Tico, toco, tocoto, and then it ends, ticoto, ticoto.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Toztliyan quechol nipa tlantinemia in tlallaicpac oquihuinti ye +noyol ahua y ya i.</blockquote> + </td> + <td> + <blockquote>1. The sweet voiced quechol there, ruling the earth, has intoxicated +my soul.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Ni quetzaltototl niyecoya ye iquiapan ycelteotl yxochiticpac +nihueloncuica oo nicuicaihtoa paqui ye noyol ahuay.</blockquote> + </td> + <td> + <blockquote>2. I am like the quetzal bird, I am created in the house of the one +only God; I sing sweet songs among the flowers; I chant songs and +rejoice in my heart.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Xochiatl in pozontimania in tlallaicpac oquihuinti ye noyol ahua.</blockquote> + </td> + <td> + <blockquote>3. The fuming dew-drops from the flowers in the field intoxicate my +soul.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Ninochoquilia niquinotlamati ayac in chan oo tlallicpac ahua.</blockquote> + </td> + <td> + <blockquote>4. I grieve to myself that ever this dwelling on earth should end.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Zan niquittoaya ye ni Mexicatl mani ya huiya nohtlatoca +tequantepec ni yahui polihuin chittepehua a ya ye choca in +tequantepehua o huaye.</blockquote> + </td> + <td> + <blockquote>5. I foresaw, being a Mexican, that our rule began to be destroyed, I +went forth weeping that it was to bow down and be destroyed.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. Ma ca qualania nohueyotehua Mexicatli polihui chile.</blockquote> + </td> + <td> + <blockquote>6. Let me not be angry that the grandeur of Mexico is to be +destroyed.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>7. Citlalin in popocaya ipan ye moteca y za ye polihui a zan ye +xochitecatl ohuaye.</blockquote> + </td> + <td> + <blockquote>7. The smoking stars gather together against it; the one who cares +for flowers is about to be destroyed.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>8. Zan ye chocaya amaxtecatl aya caye chocaya tequantepehua.</blockquote> + </td> + <td> + <blockquote>8. He who cared for books wept, he wept for the beginning of the +destruction.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXV">Notes for Song XXV</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXVI"></a><h3>XXVI.</h3></td> + <td> <h3>XXVI.</h3></td> + </tr> + <tr> + <td> + <blockquote><i>Toto tiquiti tiquiti ic ontlantiuh tocotico tocoti toto titiqui toto +titiquiti.</i></blockquote> + </td> + <td> + <blockquote><i>Toto tiquiti tiquiti, then it ends tocotico, tocoti toto titiqui +toto titiquiti.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Oya moquetz huel oon ma on netotilo teteuctin aya ma +onnetlanehuihuilo chalchihuitl on quetzali patlahuac, ayac ichan +tlalticpac, ayio zan nomac onmania ooo y xochiuh aya ipalnemoa ma +onnetlanehuilo chalchihuitl.</blockquote> + </td> + <td> + <blockquote>1. Come forth to the dance, ye lords, let there be abundance of +turquoise and feathers; our dwelling on earth is not for long; only +let the gods give me flowers to my hand, give me abundance of +turquoises.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. Oyohual in colinia o on in icelteotl ipalnemaa Anahuac o onnemia +noyol ayio.</blockquote> + </td> + <td> + <blockquote>2. Come let us move in the dance in honor of the one only god, the +Giver of Life, while my soul lives by the waters (<i>or</i>, in Anahuac).</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. In yancuica oncan quixima ipalnemoani ca ye Nonoalco ahuilizapan i +in teuctli yehua Nezahualpilli y yece ye oncan aya in tlacoch +tenanpan Atlixco ayio.</blockquote> + </td> + <td> + <blockquote>3. The Giver of Life made known a new song after the lord +Nezahualpilli entered the strongholds of Nonoalco and sped his arrows +within the walls of Atlixco.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Zan momac otitemic motlahuan zomal a ica ticahuiltia icelteotl in +teuctli yehua.</blockquote> + </td> + <td> + <blockquote>4. Thou hast filled thy plate and thy cup in thy hands and hast +rejoiced in the one only God, the Lord.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>5. Y yeho aye icnotlamati noyollo, zan niNonoalcatl, zan can +nicolintototl o nocamapan aya Mexicatl in ca yio.</blockquote> + </td> + <td> + <blockquote>5. Alas, how I am afflicted in my soul, I, a resident of Nonoalco; I +am like a wild bird, my face is that of a Mexican.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>6. On quetzal pipixauhtoc motlachinolxochiuh in ipalnemoa zan ca +nicolintototl, etc.</blockquote> + </td> + <td> + <blockquote>6. The beauteous flowers of thy battles lie abundantly snowed down, O +Giver of Life; I am like a wild bird, etc.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXVI">Notes for Song XXVI</a></td> + <td><br></td> + </tr> + <tr> + <td><a name="XXVII"></a><h3>XXVII.</h3></td> + <td> <h3>XXVII.</h3></td> + </tr> + <tr> + <td> + <blockquote><i>Toco toco tiqui tiqui ic ontlantiuh toco tico tocoti.</i></blockquote> + </td> + <td> + <blockquote><i>Toco, toco, tiqui, tiqui, and then it ends toco, tico, tocoli.</i></blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>1. Ma ya pehualo ya nicuihua in ma ya on acico ye nicaan aya oya +yĕcoc yehuan Dios in cayio in ma ya ca ya onahuilihuan tepilhuan a +ayamo acico ya yehuan Dios oncan titemoc yehuan Dios a oncan huel in +oncan tlacat y ye Yesu Cristo in ca yio.</blockquote> + </td> + <td> + <blockquote>1. Let my song be begun, let it spread abroad from here as far as God +has created; may the children be glad, may it reach to God, there to +God whom we seek, there where is Jesus Christ who was born.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>2. In oncan tlahuizcalli milintimani mochan aya moxochiuhaya Dios aya +chalchiuhcueponi maquiztzetzelihui onnetlamachtiloya in ca yio in +oncan ya o nepapan izhuayo moxochiuh aya Dios a.</blockquote> + </td> + <td> + <blockquote>2. There the dawn spreads widely over the fields, over thy house, and +thy flowers, O God, blossom beauteous as emeralds; they rain down in +wondrous showers, in that place of happiness; there alone may my +flowers, of various leaves, be found, O God.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>3. Zan ye xochitl moyahua oo zan ca itlatol in ipalnemoani o ontepan +ye moteca anahuac ooica tichuelmana atl on yan tepetl ayio.</blockquote> + </td> + <td> + <blockquote>3. There the flowers are the words of the Giver of Life; they are +upon the mountains and by the waters; we find them alike by the water +and the mountain.</blockquote> + </td> + </tr> + <tr> + <td> + <blockquote>4. Zan temomac mania cemilhuitl in niman ye tehuatl toconyaittoaya +ipalnemoani.</blockquote> + </td> + <td> + <blockquote>4. Our day is in thy hand, and soon we shall see thee, thou Giver of +Life.</blockquote> + </td> + </tr> + <tr> + <td><a href="#NOTES_XXVII">Notes for Song XXVII</a></td> + <td><br></td> + </tr> + </tbody> +</table> +</center> + +<a name="NOTES"></a><h2>NOTES.</h2> + +<a name="NOTES_I"></a><h3>NOTES FOR SONG I.</h3> + +<p>The song is an allegory, portraying the soul-life of the poet. By the +flowers which he sets forth to seek, we are to understand the songs +which he desires to compose. He asks himself where the poetic +inspiration is to be sought, and the answer is the same as was given +by Wordsworth, that it is to the grand and beautiful scenes of Nature +that the poet must turn for the elevation of soul which will lift him +to the sublimest heights of his art. But this exaltation bears with +it the heavy penalty that it disqualifies for ordinary joys. As in +medieval tales, he who had once been admitted to fairyland, could +nevermore conquer his longing to return thither, so the poet longs +for some other condition of existence where the divine spirit of song +may forever lift him above the trials and the littleness of this +earthly life.</p> + +<p>There is no sign of Christian influence in the poem, and it is +probably one handed down from a generation anterior to the Conquest.</p> + +<p>1. The word <i>peuhcayotl</i> from <i>peua</i>, to begin, intimates that this +was a song chanted at the beginning of a musical entertainment. The +verses are longer, and the phraseology plainer than in many of those +following. There is also an absence of interjections and lengthened +vowels, all of which indicate that the time was slow, and the actions +of the singer temperate, as was the custom at the beginning of a +<i>baile</i>. (See Introd., p. 20.)</p> + +<p>1. <i>Ninoyolnonotza</i>, a reflexive, frequentative form from <i>notza</i>, to +think, to reflect, itself from the primitive radicle <i>no</i>, mind, +common to both the Nahuatl and Maya languages. The syllable <i>yol</i> is +for <i>yollotl</i>, heart, in its figurative sense of soul or mind. The +combination of <i>yolnonotza</i> is not found in any of the dictionaries. +The full sense is, "I am thinking by myself, in my heart."</p> + +<p><i>ahuiaca</i>, an adverbial form, usually means "pleasant-smelling," +though in derivation it is from the verb <i>ahuia</i>, to be satisfied +with.</p> + +<p><i>quetzal</i>, for <i>quetzalli</i>, a long, handsome blue feather from the +quetzal bird, often used figuratively for anything beautiful or +precious.</p> + +<p><i>chalchiuh</i> for <i>chalchiuitl</i>, the famous green-stone, jade or +emerald, so highly prized by the Mexicans; often used figuratively +for anything noble, beautiful and esteemed.</p> + +<p><i>huitzitzicatin</i>, a word not found in the dictionaries, appears to be +from <i>tzitzilca</i>, to tremble, usually from cold, but here applied to +the tremulous motion of the humming bird as it hovers over a flower.</p> + +<p><i>zacuan</i>, the yellow plumage of the zacuan bird, and from similarity +of color here applied to the butterfly. The zacuan is known to +ornithologists as the <i>Oriolus dominicensis</i>. These birds are +remarkably gregarious, sometimes as many as a hundred nests being +found in one tree (see Eduard Mühlenpfort, <i>Versuch einer getreuen +Schilderung der Republik Mexiko</i>, Bd. I, p. 183).</p> + +<p><i>acxoyatzinitzcanquauhtla</i>; composed of <i>acxoyatl</i>, the wild laurel; +<i>tzinitzcan</i>, the native name of the <i>Trogon mexicanus</i>, renowned for +its beautiful plumage; <i>quauhtli</i>, a tree; and the place-ending +<i>tla</i>, meaning abundance.</p> + +<p><i>tlauquecholxochiquauhtla</i>; composed of <i>tlauquechol</i>, the native +name of the red, spoon-billed heron, <i>Platalea ajaja; xochitl</i>, +flower; <i>quauhtli</i>, tree; and the place-ending <i>tla</i>.</p> + +<p><i>tonameyotoc</i>, the root is the verb <i>tona</i>, to shine, to be warm; +<i>tonatiuh</i>, the sun; <i>tonameyotl</i>, a ray of the sun, etc. As warmth +and sunlight are the conditions of growth and fertility, many +derivatives from this root signify abundance, riches, etc.</p> + +<p><i>mocehcemelquixtia</i>; <i>mo</i> is the reflexive pronoun, 3d sing., often +used impersonally; <i>cehcemel</i>, is a reduplicated form of the numeral +<i>ce</i>, one; it conveys the sense of entire, whole, perfect, and is +thus an interesting illustration of the tendency of the untutored +mind to associate the idea of unity with the notion of perfection; +<i>quixtia</i> is the compulsive form of <i>quiza</i>, to go forth.</p> + +<p><i>onechittitique</i>; 3d person plural, preterit, of the causative form +of <i>itta</i>, to see; <i>ittitia</i>, to cause to see, to show; <i>nech</i>, me, +accusative form of the pronoun.</p> + +<p><i>nocuexanco</i>; from <i>cuexantli</i>, the loose gown worn by the natives, +extending from the waist to the knees. Articles were carried in it as +in an apron; <i>no-cuexan-co</i>, my-gown-in, the terminal <i>tli</i> being +dropped on suffixing the postposition.</p> + +<p><i>tepilhuan</i>; from <i>pilli</i>, boy, girl, child, young person, with the +relative, indefinite, pronominal prefix <i>te</i>, and the pronominal +plural termination <i>huan</i>, to take which, <i>pilli</i> drops its last +syllable, <i>li</i>; hence, <i>te-pil-huan</i>, somebody's children, or in +general, the young people. This word is of constant occurrence in the +songs.</p> + +<p><i>teteuctin</i>, plural with reduplication of <i>teuctli</i>, a noble, a +ruler, a lord. The singer addresses his audience by this respectful +title.</p> + +<p>2. <i>ixochicuicatzini</i>; <i>i</i>, poss. pron. 3d sing.; <i>xochitl</i>, flower; +<i>cuicatl</i>, song; <i>tzin</i>, termination signifying reverence or +affection; "their dear flower-songs."</p> + +<p><i>yuhqui tepetl</i>, etc. The echo in the Nahuatl tongue is called +<i>tepeyolotl</i>, the heart or soul of the mountain (not in Simeon's +<i>Dictionnaire</i>, but given by Tezozomoc, <i>Cronica Mexicana</i>, p. 202).</p> + +<p><i>meyaquetzalatl</i>; from <i>meya</i>, to flow slowly, to trickle; +<i>quetzalli</i>, beautiful; <i>atl</i>, water.</p> + +<p><i>xiuhtotoameyalli</i>; the root <i>xiuh</i> meant originally green (or blue, +as they were not distinguished apart); hence <i>xiuitl</i>, a leaf or +plant, the green herbage; as where the Nahuas then were this was +renewed annually, <i>xiuitl</i> came to mean a year; as a comet seems to +have a bunch of fiery flames growing from it, this too was <i>xiuitl</i>, +and a turquoise was called by the same term; in the present compound, +it is employed adjectively; <i>xiuh-totol</i>, turquoise-bird, is the +<i>Guiaca cerulea</i>, Linn.; <i>ameyalli</i>, from <i>atl</i>, water, <i>meya</i>, to +trickle, and the noun ending.</p> + +<p><i>mo-motla</i>; to throw one's self, to dash one's self against +something, etc.</p> + +<p><i>centzontlatolli</i>; literally," four hundred speeches." The numeral +four hundred was employed, like the Greek "myriad," to express +vaguely any extraordinary number. The term may be rendered "the +myriad-voiced," and was the common name of the mocking-bird, called +by ornithologists <i>Turdus polyglottus</i>, <i>Calandria polyglotta</i>, and +<i>Mimus polyglotta</i>.</p> + +<p><i>coyoltototl</i>, literally, "the rattle-bird," so called from its +peculiar notes (<i>coyolli</i> = a rattle), is one of the <i>Tanegridae</i>, +probably the <i>Piranga hepatica</i>.</p> + +<p><i>ayacachicahuactimani</i>; composed of <i>ayacachtli</i>, the rattle (see +<i>ante</i>, page 24); and <i>icahuaca</i>, to sing (of birds); to the theme of +this verb is added the connective syllable <i>ti</i>, and the verb <i>mani</i>, +which, in such connection, indicates that the action of the former +verb is expended over a large surface, broadly and widely (see Olmos, +<i>Gram. de la Langue Nahuatl</i>, p. 155, where, however, the connective +<i>ti</i> is erroneously taken for the pronoun <i>ti</i>).</p> + +<p><i>hueltetozcatemique</i>; composed of <i>huel</i>, good or well; <i>tetozca</i>, +from <i>tozquitl</i>, the singing voice; and <i>temo</i>, to let fall, to drop; +<i>que</i> is the plural verbal termination.</p> + +<p>3. <i>ma n-amech-ellelti</i>, vetative causative from <i>elleloa</i>, to cause +pain.</p> + +<p><i>cactimotlalique</i>, appears to be a compound of <i>caqui</i>, to listen, to +hear, and <i>tlalia</i>, to seat, to place.</p> + +<p><i>amohuampotzitzinhuan</i>, a compound based on the pronoun of the second +person plural, <i>amo</i>, the particle <i>po</i>, which means similarity or +likeness, and the reduplicated reverential plural termination. The +same particle <i>po</i>, appears a few lines later in <i>toquichpohuan</i>; +<i>potli</i> = comrade, compeer.</p> + +<p>4. <i>Tepeitic</i>, from <i>tepetl</i>, mountain, <i>ititl</i>, belly, from which is +derived the proposition <i>itic</i>, within, among. The term is applied to +a ravine or sequestered valley.</p> + +<p>5. <i>quauhtliya ocelotl</i>, the expression <i>quauhtli, ocelotl</i>, is of +frequent occurrence in the ancient Nahuatl writers. The words mean +literally "eagle, tiger." These were military titles applied to +officers commanding small bodies of troops; figuratively, the words +mean control, power, and dignity; also, bravery and virtue. Comp. +Agustin de Vetancurt, <i>Teatro Mexicano</i>, Tratado II, cap. 3.</p> + +<p>6. <i>in tloque in nahuaque</i>; this expression, applied by the ancient +Nahuas to the highest divinity, is attributed by some to +Nezahualcoyotl (see above, p. 36). It is composed of two +postpositions <i>tloc</i> and <i>nahaac</i>, and in the form given conveys the +meaning "to whom are present and in whom are immanent all things +having life." See Agustin de la Rosa, <i>Analisis de la Platica +Mexicana sobre el Mislerio de la Santisima Trinidad</i>, p. 11 +(Guadalajara, 1871). The epithet was applied in heathen times to the +supreme divinity Tonacateotl; see the <i>Codex Telleriano-Remensis</i>, in +Kingsborough's <i>Mexico</i>, Vol. VI, p. 107.</p> + +<p>8. <i>ximoayan</i>; this word does not appear in the dictionaries of +Molina or Simeon, and is a proof, as is the sentiment of the whole +verse, that the present poem belongs to a period previous to the +Conquest. The term means "where all go to stay," and was the name of +the principal realm of departed souls in the mythology of the ancient +Nahuas. See Bartholome de Alva, <i>Confessionario en Lengua Mexicana</i>, +fol. 13 (Mexico, 1634); Tezozomoc, <i>Cronica Mexicana</i>, cap. 55; D.G. +Brinton; <i>The Journey of the Soul</i> (in Aztec and Aryan Myths), +Philadelphia, 1883.</p> + +<p><i>yhuintia</i>, causative form of <i>ihuinti</i>, to make drunk. The Nirvana +of the Nahuas was for the soul to lie in dense smoke and darkness, +filled with utter content, and free from all impressions ("en lo +profundo de contento y obscuridad," Tezozomoc, <i>Cronica Mexicana</i>, +cap. 55).</p> + +<a name="NOTES_II"></a><h3>NOTES FOR SONG II.</h3> + +<p>On the signification of the titles given to this poem see the +Introduction, § 3.</p> + +<p>1. <i>yehnan Dios</i>; literally "who are God;" the introduction of the +Spanish <i>Dios</i>, God, is in explanation of <i>in tloque in nahuaque</i>; so +far from proving that this song is of late date, this vouches for its +genuine ancient character, through the necessity for such +explanation.</p> + +<p>2. <i>nelhuayotl</i>, the essence or source of something, its true nature; +probably from <i>nelli</i>, true.</p> + +<p><i>teoquecholme</i>; the prefix <i>teotl</i>, divine, is often added as an +expression of admiration. Sahagun mentions the <i>teoquechol</i> as a bird +of brilliant plumage.</p> + +<a name="NOTES_III"></a><h3>NOTES FOR SONG III.</h3> + +<p>The poet recalls a recent attendance on the obsequies of an +acquaintance, and seeks to divert his mind from the gloomy +contemplation of death and the ephemeral character of mortal joys by +urging his friend to join in the pleasure of the hour, and by +suggesting the probability of an after life.</p> + +<p>1. <i>xochicalco</i>; compounded of <i>xochitl</i>, flower; <i>calli</i>, house; and +the postposition, <i>co</i>. The term was applied to any room decorated +with flowers; here, to the mortuary chamber, which Tezozomoc tells us +was decked with roses and brilliant feathers.</p> + +<p><i>ipalnemohuani</i>, literally "the one by whom life exists." The +composition is <i>i</i>, possessive pronoun, third person, singular; +<i>pal</i>, postposition, by; <i>nemoani</i>, singular of the present in <i>ni</i> +of the impersonal form of the verb <i>nemi</i>, to live, with the meaning +to do habitually that which the verb expresses. It is an ancient +epithet applied to the highest divinity, and is found in the <i>Codex +Telleriano-Remensis</i>, Kingsborough's <i>Mexico</i>, Vol. VI, p. 128, note.</p> + +<p><i>tolquatectitlan</i>, from <i>toloa</i>, to lower, to bow; <i>quatequia</i>, to +immerse the head; <i>tlan</i>, place ending. In the ancient funeral +ceremonies the faces of the assistants were laved with holy water. On +this rite see the note of Orozco y Berra to his edition of the +<i>Cronica Mexicana</i> of Tezozomoc, p. 435 (Mexico, 1878).</p> + +<p><i>xoyacaltitlan</i>; from <i>xoyaui</i>, to spoil, to decay, whence +<i>xoyauhqui</i>, rank, unpleasant, like the odor of decaying substances.</p> + +<p><i>xochicopal tlenamactli</i>, "the incense of sweet copal," which was +burned in the funeral chamber (see Tezozomoc's description of the +obsequies of Axayaca, <i>Cron. Mex.</i>, cap. 55).</p> + +<p>2. The translation of this verse offers some special difficulties.</p> + +<a name="NOTES_IV"></a><h3>NOTES FOR SONG IV.</h3> + +<p>A poem of unusually rich metaphors is presented, with the title "A +Song of the Mexicans, after the manner of the Otomis." It is a +rhapsody, in which the bard sings his "faculty divine," and describes +the intoxication of the poetic inspiration. It has every inherent +mark of antiquity, and its thought is free from any tincture of +European influence.</p> + +<p>2. <i>miahuatototl</i>, literally, "the corn-silk bird," <i>miahua</i> being +the term applied to the silk or tassel of the maize ear when in the +milk. I have not found its scientific designation.</p> + +<p>6. <i>poyomatl</i>; the poyomatli is described by Sahagun (<i>Hist. de la +Nueva España</i>, Lib. X, cap. 24) as a species of rose, portions of +which were used to fill the cane tubes or pipes used for smoking. He +names it along with certain fungi employed for the same purpose, and +it probably produced a narcotic effect.</p> + +<a name="NOTES_V"></a><h3>NOTES FOR SONG V.</h3> + +<p>From the wording, this appears to be one of the lost songs of +Nezahualcoyotl, either composed by him or sung before him. (See the +Introduction, p. 35.) It is a funeral dirge, dwelling on the fact of +universal and inevitable death, and the transitoriness of life. There +is in it no hint of Christian consolation, no comfortable hope of +happiness beyond the grave. Hence it dates, in all likelihood, from a +period anterior to the arrival of the missionaries.</p> + +<p>1. <i>tonequimilol</i>; I take this to be a derivative from <i>quimiloa</i>, to +wrap up, especially, to shroud the dead, to wrap the corpse in its +winding sheets, as was the custom of the ancient Mexicans. The word, +however, seems an archaic form, as it does not lend itself readily to +analysis.</p> + +<p>The expression <i>in Dios</i>, I explain as in the note to II, 1, and do +not consider that it detracts from the authentic antiquity of the +poem.</p> + +<p>2. <i>yoyontzin</i>; on the significance of this appellation of +Nezahualcoyotl, see Introduction, p. 35.</p> + +<p>3. <i>ti Nezahualcoyotl</i>; "thou Nezahualcoyotl." The princely poet may +have addressed himself in this expression, or we may suppose the song +was chanted before him.</p> + +<p>5. <i>Nopiltzin</i>; the reference is to Quetzalcoatl, the famous "fair +God" of the Nahuas, and in myth, the last ruler of the Toltecs. See +D.G. Brinton, <i>American Hero Myths</i> (Philadelphia, 1882). The term +means "my beloved Lord." On Tezozomoc, see Introduction, p. 35.</p> + +<p>6. The text of the latter part or refrain of verses 5 and 6 is +corrupt, and my translation is doubtful.</p> + +<a name="NOTES_VI"></a><h3>NOTES FOR SONG VI.</h3> + +<p>Most of the poems in this collection are not assigned to any author, +but this, and apparently the one following, are recorded as the +compositions of Tetlapan Quetzanitzin. He is evidently the personage +spoken of by Sahagun as "King of Tlacopan," as present with Montezuma +on the occasion of his first interview with Cortez. Later in the +struggle Tetlapan appears as the associate of Quauhtemoctzin, the +"King of Mexico." (See Sahagun, <i>Hist. de la Nueva España</i>, Lib. XII, +cap. 16 and 40.) M. Rémi Simeon explains the name to mean "he who +deceives the people by magic;" deriving it from <i>quetza</i>, he places; +<i>te</i>, the people, <i>tlepan</i>, on the fire. A simpler derivation seems +to me possible from <i>tetlapanqui</i>, miner, or quarryman (literally, +stone-breaker), and <i>quetzalli</i>, red; <i>quetzatzin</i>, the lord or +master of the miners.</p> + +<p>Both this and the following are war songs, and have marked similarity +in thought and wording. The introduction of the Spanish <i>Dios</i> was +doubtless substituted by the scribe, for the name of some native god +of war, perhaps Huitzilopochtli.</p> + +<p>1. <i>Aua</i>; this word I take to be a form of the interjection <i>yahue</i>, +or, as Olmos gives it in his <i>Grammar, aa</i>.</p> + +<p>2. <i>nepohualoyan</i>; "the place of counting or reckoning," from +<i>pohua</i>, to count. The reference is not clear, and the translation +uncertain. In some parts of ancient Mexico they used in their +accounting knotted cords of various colors, like the Peruvian +<i>quipus</i>. These were called <i>nepohualtzitzin</i>.</p> + +<p>4. This verse is remarkable for its sonorous phrases and the archaic +forms of the words. Its translation offers considerable difficulty.</p> + +<p><i>xontlachayan</i>, I take to be an imperative form from <i>tlachia</i>, to +look, with the euphonic <i>on</i>.</p> + +<p><i>teoatl tlachinolli</i>, literally "the divine water (i.e. blood), the +burning," and the expression means war, battle. In one of his sermons +Fray Juan Bautista describes the fall of Jericho in the words, +<i>otlaltitechya in altepetl teuatl tlachinolli ye opoliuh</i>, and +explains it, "the town was destroyed with fire and blood" (<i>Sermones +en Lengua Mexicana</i>, p. 122). The word <i>tlachinolli</i> is from +<i>chinoa</i>, to burn.</p> + +<p><i>quetzalalpilo</i>; a compound of <i>quetzalli</i>, a beautiful feather, and +<i>tlalpiloni</i>, the band which passed around the head to keep the hair +in place.</p> + +<p>5. <i>melchiquiuhticaya</i>; "he who presented his breast," an imperfect, +reflexive form. Molina gives <i>melchiquiuh petlauhqui</i>, with the +translation <i>despechugado</i>. <i>Vocabulario Mexicana, s.v.</i></p> + +<a name="NOTES_VII"></a><h3>NOTES FOR SONG VII.</h3> + +<p>The second specimen from the muse of Tetlapan Quetzanitzin is the +noblest war song in the collection. It is an appeal to his friends to +join in a foray to Chiapas. The intoxication of the battle field is +compared to that produced by the strong white wine prepared from +maguey, which was drunk only on solemn occasions. The bard likens the +exhaustion of his fellow warriors from previous conflicts, to the +stupor which follows a debauch, and he exhorts them to throw it +aside.</p> + +<p>1. <i>oamaxque</i>, <i>o</i>, pret. <i>am</i>, you, <i>axque</i>, 2d pl. pret. from <i>ay</i>, +to do.</p> + +<p><i>octicatl</i>, apparently an old form from <i>octli</i>, the intoxicating +beverage prepared from the maguey.</p> + +<p><i>oanquique</i>, 2d pl. pret. from <i>cui</i>, to take.</p> + +<p><i>ohuican</i>, a place of difficulty and danger. The frequent addition of +the terminal <i>o</i> in this and the succeeding verses is merely +euphonic.</p> + +<p>2. <i>teoatl tlachinolli</i>; see note VI, 4.</p> + +<p><i>in maquiztli tlazotetl</i>, the beloved jewels, a phrase which +indicates that the broken stones and splintered emeralds referred to +are the young warriors who fall in battle, the pride of their +parents' hearts, who are destroyed in the fight.</p> + +<p>The <i>tizaoctli</i>, white wine (<i>tizatl</i>, chalk, hence white, and +<i>octli</i>, wine), referred to in this passage, is said by Sahagun to +have been drunk especially at the feast of the god Papaztac, one of +the many gods of the wine cup. <i>Hist. de Nueva España</i>. Lib. II, App. +Tezozomoc mentions it as handed to the mourners at funeral +ceremonies. <i>Cronica Mexicana</i>, cap. 55.</p> + +<p>3. <i>xochitlalticpacilhtuicacpao</i>; in this long compound of <i>xochitl</i>, +flower, <i>tlalti</i>, earth, and <i>ilhuicatl</i>, sky, with various +postpositions and the euphonic terminal <i>o</i>, the final <i>pa</i> gives the +sense of location, towards, in the direction of.</p> + +<p><i>chimalxochiti</i>; "the shield flower," the shield or buckler of the +ancient warriors, ornamented with tassels and feathers, is not +unaptly called the flower of war.</p> + +<a name="NOTES_VIII"></a><h3>NOTES FOR SONG VIII.</h3> + +<p>The entire absence in this lament for the dead of any consolation +drawn from Christian doctrines, points clearly to a date for its +composition earlier than the teachings of the missionaries. Its cry +of woe is hopeless, and the title attributes its authorship to one of +the old chieftains, <i>tlatoani</i>, who held the power before the +Spaniard arrived.</p> + +<p>1. <i>quetzalhuahuaciuhtoque</i>, from <i>quetzalli, huaqui</i>; <i>in +teintoque</i>, the splinters; the same simile is employed in VII, 2.</p> + +<p>2. <i>ximoayan</i>, see note to I, 8. The occurrence of this term here and +in verse 3 testifies to the fact of a composition outside of +Christian influences.</p> + +<a name="NOTES_IX"></a><h3>NOTES FOR SONG IX.</h3> + +<p>The title does not necessarily mean that this song is a translation +from the Otomi language, but merely that the time to which it was +chanted was in the Otomi style; or, the term <i>Otomi</i> may have +reference to the military officer so called. The word is perhaps a +compound of <i>otli</i>, path, and <i>mitl</i>, arrow.</p> + +<p>The bard sings the vanity of earthly pleasures, and the reality of +earthly pains; he exhorts himself and his hearers not to neglect the +duties of religion, and lauds his own skill in song, which he +compares to the sweet voices of melodious birds. There is nothing in +the poem which reflects European influence.</p> + +<p>1. <i>xotlacueponi</i>; the meaning of this compound is obscure. It is not +found in the dictionaries.</p> + +<p>2. The terminal <i>o</i> is inserted several times in the passage to +express emotion and fill the metre.</p> + +<p><i>mixitl tlapatl</i>. A phrase signifying the stupor or drunkenness that +comes from swallowing or smoking narcotic plants. See Olmos, +<i>Grammaire de la Langue Nahuatl</i>, pp. 223, 228; <i>oquiqueo</i> is from +<i>i</i>, to drink, or <i>cui</i>, to take, the <i>o</i> terminal being euphonic.</p> + +<a name="NOTES_X"></a><h3>NOTES FOR SONG X.</h3> + +<p>The poet expresses his grief that his songs all dwell on painful +topics; he exhorts his hearers of the vanity of fame and skill in +handicrafts, and of the uncertainty of life; closing, he appeals +especially to those of Tezcuco and Atecpan to listen and believe his +warnings.</p> + +<p>In spite of the introduction of the Spanish word <i>Dios</i>, and the +exhortation to "believe," in the last line, it is possible that the +substance of this song was due to purely native inspiration; yet it +may have been, like Song XIX, one of those written at an early period +for the converts by the missionaries.</p> + +<a name="NOTES_XI"></a><h3>NOTES FOR SONG XI.</h3> + +<p>In a similar strain as in the last poem, the bard bewails the +briefness of human life and friendships. He closes with an appeal to +the Master of Life, of whom no mortal tongue can speak in worthy and +appropriate terms.</p> + +<p>6. <i>ihuiti</i>, apparently a form of <i>ihuintia</i>.</p> + +<p><i>tonan</i>; the reference appears to be to <i>Tonantzin</i>, Our Mother, +otherwise known as Cihuacoatl, the Serpent Woman. She was the +mythical mother of the human race, and dispensed afflictions and +adverse fortune. See Sahagun, <i>Hist. de la Nueva España</i>, Lib. I, +cap. 6. The name is a proof of the antiquity of the poem, which is +throughout in the spirit of the ancient religion.</p> + +<a name="NOTES_XII"></a><h3>NOTES FOR SONG XII.</h3> + +<p>As stated in the Introduction (§ 10), a note prefixed to this song +introduces it as a translation from the Otomi into the Nahuatl +tongue. It admirably illustrates the poetic flexibility of the +Nahuatl.</p> + +<p>3. <i>epoyhuayan</i>, from <i>epoalli</i>, sixty; <i>teoquauhtli ocelott</i>, +"divine eagles, tigers." These terms refer to the warriors bearing +these titles.</p> + +<p><i>tlazomaquiztetl</i>, "beloved, precious stones," a figure of speech +referring to the youths who go to war. The same or similar metaphors +are used in previous songs.</p> + +<p>5. The fifth and sixth verses present serious difficulties of +construction which I do not flatter myself I have overcome.</p> + +<a name="NOTES_XIII"></a><h3>NOTES FOR SONG XIII.</h3> + +<p>The inhabitants of Huexotzinco were in frequent strife with those of +Mexico-Tenochtitlan, and on various occasions the latter captured +many prisoners. The present poem is represented to be a composition +of one of these prisoners when he and his companions were confined in +Tlatilolco, one of the suburbs of Tenochtitlan. It breathes hatred +against his captors and an ardent thirst for vengeance. The latest +date at which I find captives from Huexotzinco detained in Mexico is +1511, and it is to this year, therefore, that I assign the +composition of the poem.</p> + +<p>5. <i>Atloyantepetl</i>; this name possibly means "the mountain of the +place of the water-falcons" (<i>atl</i>, water; <i>tlatli</i>, falcon; <i>yan</i>, +place-ending; <i>tepetl</i>, mountain). I have not found it in other +writers. (See Index.)</p> + +<p>8. <i>tlaylotlaqui</i>; Siméon, on the authority of Aubin, explains this +term as the name of a tribe living near Tezcuco. In derivation it +appears to be a term of contempt, "workers in filth or refuse," scum, +offscourings. It also appears in Song XV.</p> + +<p>10. The construction of this verse is so obscure, or the text so +imperfect, that the translation is doubtful.</p> + +<a name="NOTES_XIV"></a><h3>NOTES FOR SONG XIV.</h3> + +<p>This poem, chanted in 1551 before the Governor of Azcapotzalco, by +Francisco Placido, a native of Huexotzinco, is a Christian song in +the style and metre of the ancient poetry. See the Introduction, p. +51.</p> + +<p>1. <i>impetlatl</i>; the ordinary meaning of <i>petlatl</i> is a mat or rug; it +is here to be taken in its figurative sense of power or authority, +chiefs and other prominent persons being provided with mats at the +councils, etc.</p> + +<a name="NOTES_XV"></a><h3>NOTES FOR SONG XV.</h3> + +<p>This extremely difficult composition seems to be a war song, in which +the bard refers to the traditional history of the Nahuas, names some +of their most prominent warriors, and incites his hearers to deeds of +prowess on the battle field. I do not claim for my version more than +a general correspondence to the thought of the original. In several +parts, especially verse 18, the text is obviously defective.</p> + +<p>1. <i>tzihuactitlan</i>; "the land of the tzihuac bushes." The tzihuactli +is a small kind of maguey which grows in rocky localities. The tenth +edifice of the great temple at Tenochtitlan was a wall surrounding an +artificial rockery planted with these bushes. Sahagun, who mentions +this fact, adds that the name of this edifice was <i>Teotlalpan</i>, which +literally means "on holy ground." (<i>Hist. de la Nueva España</i>, Lib. +II, App.) The <i>mizquitl</i> is the common <i>Mimosa circinalis</i>.</p> + +<p><i>Chicomoztoc</i>; "at the Seven Caves," a famous locality in Mexican +legend, and the supposed birthplace of their race.</p> + +<p>2. <i>Colhuacan</i> is probably for Acolhuacan; the early rulers of the +latter were of the blood of the Chichimec chiefs of the Tepanecas.</p> + +<p>4. <i>Hueytlalpan</i>, "at the ancient land," perhaps for Huetlapallan, a +1ocality often referred to in the migration myths of the Nahuas.</p> + +<p>5. <i>Atloyan</i>; see note to XIII, 6.</p> + +<p>9. The ceiba and cypress trees were employed figuratively to indicate +protection and safeguard. See Olmos, <i>Gram. de la Langue Nahuatl</i>, p. +211.</p> + +<p>12. On <i>tlailotlaqui</i>, see note to XIII, 8. The interjectional +appendages to this and the following verse are increased.</p> + +<p>15. Tepeyacan was the name of a mountain on which before the Conquest +was a temple dedicated to the "Mother of our Life," Tonantzin.</p> + +<p>16. <i>tlapalcayocan</i>, "the place of shards," of broken pieces, i.e., +the field of battle.</p> + +<p>19. The word <i>totomihuacan</i>, which has already occurred in vv. 3 and +7, I have translated as referring to the war captains of the Mexican +armies, called <i>otomi</i> (see Bandelier, <i>On the Art of War of the +Ancient Mexicans</i>, p. 117). I am quite open for correction however.</p> + +<p>27. <i>in ipetl icpal</i>; in a translation of an ancient song, +Ixtlilxochitl renders the expression <i>in ipetl icpal in teotl</i>, "en +el trono y tribunal de Dios," <i>Historia Chichimeca</i>, cap. 32.</p> + +<p>29. <i>Mictlan</i>; the place of departed souls in Aztec mythology.</p> + +<a name="NOTES_XVI"></a><h3>NOTES FOR SONG XVI.</h3> + +<p>In this stirring war-song, the poet reproaches his friends for their +lukewarmness in the love of battle. He reminds them that life is +transitory, and the dead rise not again, and that the greatest joy of +the brave is on the ringing field of fray where warriors win renown. +It is in the spirit of the Scotch harper:—</p> + +<p>"'Twere worth ten years of peaceful life,</p> + +<p>One hour of such a day."</p> + +<p>1. Each verse terminates with an interjectional refrain. The frequent +introduction of the particle <i>on</i> is intended to add strength and +gravity to the oration.</p> + +<p>2. <i>oppan piltihua</i>. Compare this expression with that in v. 22, p. +44.</p> + +<p>3. <i>xochimicohuayan</i>, should perhaps be translated, "where the +captives to be immolated to the Gods are taken." The <i>xochimique</i>, +"those destined to a flowery death" were the captives who were +reserved for sacrifice to the gods. See Joan Bautista, <i>Sermonario en +Lengua Mexicana</i>, p. 180.</p> + +<p>4. <i>yaoxochimiquiztica</i>, "pertaining to the slaughter of the flowery +war." This adjective refers to the peculiar institution of the +"flowery war," <i>guerra florida</i>, which obtained among the ancient +Mexicans. It appears to have been a contest without provocation, and +merely for the display of prowess and to take captives to supply the +demand for human sacrifices in the religious rites. On this see +Tezozomoc, <i>Cronica Mexicana</i>, cap. 96.</p> + +<a name="NOTES_XVII"></a><h3>NOTES FOR SONG XVII.</h3> + +<p>In this long fragment—the closing strophes are missing in my +MS.—the bard represents himself as a stranger appearing before the +nobles of Huexotzinco at some festival. The first two verses appear +to be addressed to him by the nobles. They ask him to bring forth his +drum and sing. He begins with a laudation of the power of music, +proceeds to praise the noble company present, and touches those +regretful chords, so common in the Nahuatl poetry, which hint at the +ephemeral nature of all joy and the certainty of death and oblivion. +An appeal is made to the Master of Life who inspires the soul of the +poet, and whose praises should be ever in mind.</p> + +<p>The words <i>Dios</i> and <i>angelotin</i>, in verse 26th, indicate that the +poem has received some "recension" by the Spanish copyist; but the +general tone impresses me as quite aboriginal in character.</p> + +<p>2. <i>quauhtlocelotl</i>, see note to I, 5.</p> + +<p>3. In this verse, as frequently elsewhere, the syllable ya is +introduced merely to complete the metre. Ordinarily it is the sign of +the imperfect tense, and has other meanings (see the Vocabulary), but +in many instances does not admit of translation.</p> + +<p>8. <i>noncoati</i>, for <i>ni-on-coatl</i>, I am a guest.</p> + +<p>18. The references in this verse are obscure, and I doubt if I have +solved them.</p> + +<p>20. "The house of spring;" compare the expression in v. 1, of +Nezahualcoyotl's song, p. 42.</p> + +<p>21. A long oration of Xicontecatl, lord of Tizatlan, may be found in +Clavigero, <i>Hist. Antica di Messico</i>, Tom. III, p. 40. The expression +in <i>camaxochitzin</i>, from <i>camatl</i>, mouth, <i>xochitl</i>, rose, flower, +and the reverential <i>tzin</i>, is noteworthy.</p> + +<p>24. <i>petlacoatl</i>, the centipede or scolopender; from <i>petlatl</i>, mat, +and <i>coatl</i>, serpent, as they are said to intertwine with each other, +like the threads of a mat (Sahagun, Lib. XII, cap. 4).</p> + +<a name="NOTES_XVIII"></a><h3>NOTES FOR SONG XVIII.</h3> + +<p>At this portion of the MS. several poems are preceded by a line of +syllables indicating their accompaniment on the teponaztli (see +Introduction, p. 32).</p> + +<p>The present number is one of the most noteworthy songs of the +collection. It belongs to the ancient cyclus of Quetzalcoatl myths, +and gives a brief relation of the destruction of Tollan and the +departure and disappearance of the Light God, Quetzalcoatl Ce Acatl. +As I have elsewhere collated this typical myth at length, and +interpreted it according to the tenets of modern mythologic science, +I shall not dwell upon it here (see D.G. Brinton, <i>American Hero +Myths</i>, Phila., 1882).</p> + +<p>The text of the poem is quite archaic, and presents many +difficulties. But my translation, I think, gives the general sense +correctly.</p> + +<p>1. <i>huapalcalli</i>; literally, "the house constructed of beams." This +name was applied to the chief temple of the Toltecs; the ruins of an +ancient structure at Tollantzinco were pointed out at the time of the +Conquest as those of this building (see Sahagun, <i>Hist. de la Nueva +España</i>, Lib. X, cap. 29).</p> + +<p><i>coatlaquetzalli</i>; this edifice, said to have been left incomplete by +Quetzalcoatl, when he forsook Tollan, had pillars in the form of a +serpent, the head at the base, the tail at the top of the pillar. +(See Orozco y Berra, <i>Hist. Antigua de Mexico</i>, Tom. III, pp. 30 and +46.) The structure is mentioned as follows in the <i>Anales de +Cuauhtitlan</i>:—</p> + +<p><i>Auh iniquac nemia Quetzalcoatl quitzintica, quipeuahtica iteocal +quimaman coatlaquetzali ihuan amo quitzonquixti, amo quipantlaz."</i></p> + +<p>"And when Quetzalcoatl was living, he began and commenced the temple +of his which is the Coatlaquetzali (Serpent Plumes), and he did not +finish it, he did not fully erect it."</p> + +<p><i>Nacxitl Topiltzin</i>, "Our Lord the four-footed." <i>Nacxitl</i> appears to +have been the name of Quetzalcoatl, in his position as lord of the +merchants. Compare Sahagun, ubi supra, Lib. I, cap. 19.</p> + +<p>2. <i>Poyauhtecatl</i>, a volcano near Orizaba, mentioned by Sahagun. +<i>Acallan</i>, a province bordering on the Laguna de los Terminos. The +myth reported that Quetzalcoatl journeyed to the shores of the Gulf +about the isthmus of Tehuantepec and there disappeared.</p> + +<p>3. <i>Nonohualco</i>; the reference is to the <i>cerro de Nonoalco</i>, which +plays a part in the Quetzalcoatl myth. The words of the song are +almost those of Tezcatlipoca when he is introduced to Quetzalcoatl. +Asked whence he came, he replied, "Nihuitz in Nonohualcatepetl +itzintla, etc." (<i>Anales de Cuauhtitlan</i>).</p> + +<p>4. The occurrences alluded to are the marvels performed by +Quetzalcoatl on his journey from Tulan. See my American Hero Myths, +p. 115.</p> + +<p>5. The departure of Quetzalcoatl was because he was ordered to repair +to Tlapallan, supposed to be beyond Xicalanco.</p> + +<p>8. <i>quinti</i>, for <i>iquintia</i>; the reference is to the magic draught +given Quetzalcoatl by Tezcatlipoca.</p> + +<p>9. <i>In tetl, in quahuitl</i>; literally, "stone and stick;" a very +common phrase in Nahautl, to signify misfortunes.</p> + +<a name="NOTES_XIX"></a><h3>NOTES FOR SONG XIX.</h3> + +<p>In this song we have avowedly a specimen of an early chant prepared +probably by Bishop Zummarraga for the native converts. The +accompaniment on the teponaztli is marked at the beginning. The +language is noticeably different from the hymn to Quetzalcoatl just +given (XVIII).</p> + +<a name="NOTES_XX"></a><h3>NOTES FOR SONG XX.</h3> + +<p>Another song of the antique Quetzalcoatl cyclus. It bewails the loss +of Tulan, and the bard seeks in vain for any joyous theme to inspire +his melody, reflecting on all that has bloomed in glory and now is +gone forever.</p> + +<p>3. <i>Tetl-quahitl</i>; see note to XVIII, 9.</p> + +<a name="NOTES_XXI"></a><h3>NOTES FOR SONG XXI.</h3> + +<p>The occurrence to which this poem alludes took place about the year +1507. The chroniclers state that it was in the early period of the +reign of Montezuma II, that the natives of Huexotzinco, at that time +allies of the Mexicans, were severely harassed by the Tlascallans, +and applied, not in vain, to their powerful suzerain to aid them. +(See Tezozomoc, <i>Cronica Mexicana</i>, cap. 97.)</p> + +<p>The poet does not appear to make a direct petition, but indirectly +praises the grandeur of Montezuma and expresses his own ardent love +for his native Huexotzinco. The song would appear to be used as a +delicate prelude to the more serious negotiations. It is one of the +few historical songs in the collection. From the references in verses +1 and 3 we infer that this singer held in his hand the painted book +from which he recited the couplets. This may explain the presentation +of the piece.</p> + +<p>1. <i>huetzcani</i>; one who laughs, a jester, perhaps the designation of +one who sang cheerful songs.</p> + +<p><i>chalchiuhatlaquiquizcopa</i>; a. word of difficult analysis. I suspect +an omission of an <i>l</i>, and that the compound includes <i>tlaquilqui</i>, +one who fastens and puts together, a mason, etc.</p> + +<p>5. The sense is that the warriors of Montezuma when on the field of +battle, shine in their deeds like beautiful flowers in a field, and +win lasting fame by their exploits.</p> + +<p><i>mopopoyauhtoc</i>. The grammarian Olmos explains the reflexive verb +<i>mopopoyauhtiuh</i> to signify "he leaves an honored memory of his +exploits." See Siméon, <i>Dictionaire de la Langue Nahuatl</i>, sub voce.</p> + +<p>7. <i>Huexotzinco atzalan</i>; "Huexotzinco amid the waters." This +expression, repeated in verse 8, appears inappropriate to the town of +Huexotzinco, which lies inland. In fact, the description in verse 7 +applies to Tenochtitlan rather than the singer's own town. But the +text does not admit this translation. Perhaps we should read +"Huexotzinco and Atzalan," as there are yet two villages of that name +in the state of Puebla (which embraced part of ancient Huexotzinco).</p> + +<p>10. <i>petiatolini</i>, I have derived from <i>petlatl</i>, suspecting an error +in transcription. The reference is to the rushes in the mat on which +the singer stood.</p> + +<a name="NOTES_XXII"></a><h3>NOTES FOR SONG XXII.</h3> + +<p>The ordinary sad burden of the Nahuatl poets is repeated with +emphasis in this plaint. It is a variation of the Epicurean advice, +"Eat, drink, and be merry, for to-morrow we die." Both the sentiment +and the reference to Mictlan in verse 7, point it out as a production +uninfluenced by Christian teaching.</p> + +<p>7. The word <i>ahuicaloyan</i>, place of sweetness, would seem to be +identical with <i>ohuicaloyan</i>, place of difficulty, in v. 8; I have +regarded the latter as an error of transcription.</p> + +<a name="NOTES_XXIII"></a><h3>NOTES FOR SONG XXIII.</h3> + +<p>Although No. V. is probably one of the lost songs of Nezahualcoyotl, +the present is the only one of the collection which is definitely +attributed to him. The language is very archaic, and in the sentiment +there is every mark of antiquity.</p> + +<p>The text is apparently a dialogue, which was chanted as strophe and +antistrophe, the one singer speaking for the King, the other for the +bard himself.</p> + +<p>The word <i>teotl</i> is used for divinity, and it is doubtless this word +for which the copyists of some of the other songs have substituted +the Spanish <i>Dios</i>, thus conveying an impression that the chants +themselves were of late date.</p> + +<p>The last verse, however, seems to be by one who lives after the time +of the great poet-prince, and is calling him to memory.</p> + +<a name="NOTES_XXIV"></a><h3>NOTES FOR SONG XXIV.</h3> + +<p>It will be seen that there is a wearisome sameness in the theme of +most of the short poems. Probably the bards followed conventional +models, and feared for the popularity of their products, did they +seek originality. Here again are the same delight in flowers and +songs, and the same grief at the thought that all such joys are +evanescent and that soon "death closes all."</p> + +<p>I consider the poem one of undoubted antiquity and purely native in +thought and language.</p> + +<a name="NOTES_XXV"></a><h3>NOTES FOR SONG XXV.</h3> + +<p>The destruction of the Mexican state was heralded by a series of +omens and prodigies which took place at various times during the ten +years preceding the arrival of Cortes. They are carefully recorded by +Sahagun, in the first chapter of the 12th book of his history. They +included a comet, or "smoking star," as these were called in Nahuatl, +and a bright flame in the East and Southeast, over the mountains, +visible from midnight to daylight, for a year. This latter occurred +in 1509. The song before us is a boding chant, referring to such +prognostics, and drawing from them the inference that the existence +of Mexico was doomed. It was probably from just such songs that +Sahagun derived his information.</p> + +<p>1. <i>toztliyan</i>, I suppose from <i>tozquitl</i>, the singing voice, in the +locative; literally, "the quechol in the place of sweet-singing."</p> + +<p>2. <i>iquiapan</i>, from <i>i</i>, possessive prefix, <i>quiauatl</i>, door, +entrance, house, <i>pan</i>, in.</p> + +<p>5. An obscure verse; <i>tequantepec</i>, appears to be a textual error; +<i>tequani</i>, a ravenous beast, from <i>qua</i> to eat; <i>tepec</i>, a mountain; +but <i>tequantepehua</i> occurring twice later in the poem induces the +belief <i>tequani</i> should be taken in its figurative sense of +affliction, destruction, and that <i>tepec</i> is an old verbal form.</p> + +<p>7. <i>Xochitecatl</i>, "one who cares for flowers," is said by Sahagun to +have been the name applied to a woman doomed to sacrifice to the +divinities of the mountains (<i>Hist. Nueva España</i>, Lib. II, cap. 13).</p> + +<p>8. <i>amaxtecatl</i>, or <i>amoxtecatl</i>, as the MS. may read, from +<i>amoxtli</i>, a book.</p> + +<a name="NOTES_XXVI"></a><h3>NOTES FOR SONG XXVI.</h3> + +<p>This seems to be a song of victory to celebrate an attack upon +Atlixco by the ruler of Tezcuco, the famous Nezahualpilli. This +monarch died in 1516, and therefore the song must antedate this +period, if it is genuine. It has every intrinsic evidence of +antiquity, and I think may justly be classed among those preserved +from a time anterior to the Conquest. According to the chronologies +preserved, the attack of Nezahualpilli upon Atlixco was in the year +XI <i>tochtli</i>, which corresponds to 1490, two years before the +discovery by Columbus (see Orozco y Berra, <i>Hist. Antigua de Mexico</i>, +Tom. III, p. 399).</p> + +<a name="NOTES_XXVII"></a><h3>NOTES FOR SONG XXVII.</h3> + +<p>My MS. closes with a Christian song in the style of the ancient +poetry. It is valuable as indicating the linguistic differences +between these later productions of the sixteenth century and those +earlier ones, such as XXVI, which I have not hesitated to assign to +an epoch before the Spaniards landed upon the shores of New Spain.</p> + +<a name="VOCABULARY"></a><h2>VOCABULARY.</h2> + +<p>The Roman numerals refer to the songs, the Arabic to the verses, in +which the word occurs. Abbreviations: <i>lit</i>., literally; <i>ref</i>., +reflexive; <i>pret</i>., preterit; <i>rev</i>., reverential; <i>freq</i>., +frequentative; <i>post</i>., postposition; <i>Span</i>., a Spanish word.</p> + +<p>A, <i>adv</i>. No, not, in comp.</p> + +<p>A, <i>n</i>. For atl, water, in comp.; as <i>acalli</i>, water-house, <i>i.e.</i>, a + boat.</p> + +<p>A, <i>interj</i>. Oh! ah! placed after the word on which stress is laid.</p> + +<p>AC, <i>pron., interj</i>. Who?</p> + +<p>ACA, <i>pron</i>. Some, any; somebody.</p> + +<p>ACALLI, <i>n</i>. A boat, of any kind.</p> + +<p>ACH, <i>dubitative particle</i>. Indeed? is it not? etc.</p> + +<p>ACHITZINCA, <i>adv</i>. A little while, a short time.</p> + +<p>ACHQUEN, <i>adv</i>. At what time? When?</p> + +<p>ACI, <i>v</i>. To reach, to acquire.</p> + +<p>ACOHUETZI, <i>v</i>. To console, to make glad. I, 3.</p> + +<p>ACOQUIZA, <i>v</i>. To lift up, to raise, to increase in dignity or power.</p> + +<p>ACOTLAZA, <i>v</i>. To console.</p> + +<p>ACXOYATL, <i>n</i>. The wild laurel.</p> + +<p>AHAUIA, <i>v</i>. To rejoice, take pleasure in; freq. of <i>ahuia</i>.</p> + +<p>AHUACHIA, <i>v</i>. To wet one's self, to bathe. VII, 4.</p> + +<p>AHUACHTLI, <i>n</i>. Dew, moisture.</p> + +<p>AHUEHUETL, <i>n</i>. The cypress tree; <i>Cupressus disticha</i>.</p> + +<p>AHUIA, <i>v</i>. To rejoice, to be joyful.</p> + +<p>AHUIAC, <i>adj</i>. Agreeable, pleasant, sweet.</p> + +<p>AHUIAN, <i>adj</i>. Content, satisfied.</p> + +<p>AHUICPA, <i>adv</i>. From one place to another. III, 3.</p> + +<p>AIC, <i>adv</i>. Never.</p> + +<p>ALTEPETL, <i>n</i>. Town, city, citadel.</p> + +<p>AMECH, <i>pron. ret</i>. You, to you.</p> + +<p>AMEYALLI, <i>n</i>. A fountain, a stream; <i>lit</i>., flowing water.</p> + +<p>AMILLI, <i>n</i>. Watered and arable land. XIV, 6.</p> + +<p>AMO, <i>adv</i>. No, not; <i>amo ma</i>, no other; <i>amo zannen</i>, not in vain; + <i>pron</i>., you, yours.</p> + +<p>AMOXPETLATL, <i>n</i>. Book-mat. See XIX, 3.</p> + +<p>AMOXTECATL, <i>n</i>. See XXV, 8, note.</p> + +<p>AN, <i>pron</i>. You.</p> + +<p>ANA, <i>v</i>. To take, to grasp, to seize.</p> + +<p>ANAHUIA, <i>v</i>. To be dissatisfied.</p> + +<p>ANCA, <i>adv</i>. Of the kind that. XVII, 12.</p> + +<p>ANE, <i>adv</i>. Hollo! in calling.</p> + +<p>ANGELOTIN, <i>n</i>. Angels. Span. XVII, 26.</p> + +<p>ANO, <i>adv</i>. As little, neither.</p> + +<p>ANOZO, <i>conj</i>. Or, perhaps.</p> + +<p>AOC, <i>adv</i>. Not yet.</p> + +<p>APANA, <i>v</i>. To clothe.</p> + +<p>APANO, <i>v</i>. To ford, to cross water. XVIII, 2.</p> + +<p>AQUEN, <i>adv</i>. Nothing, in no manner.</p> + +<p>AQUIN, <i>pron</i>. Who? <i>in aquin</i>, he who.</p> + +<p>AT, <i>adv</i>. Perhaps, perchance.</p> + +<p>ATAYAHUILI, for <i>at aya ueli</i>. Not yet, not even.</p> + +<p>ATIHUELMATI, <i>v</i>. Not to be well. IX, 3.</p> + +<p>ATL, <i>v</i>. Water.</p> + +<p>ATLAMACHTIA, <i>v</i>. To praise one; <i>ref</i>., to be proud.</p> + +<p>ATLE, <i>pron</i>. Nothing.</p> + +<p>ATLEY, <i>in atley</i>. Without.</p> + +<p>ATONAUIA, <i>v</i>. To have a fever, to be sick.</p> + +<p>AUH, <i>conj</i>. And, even, also.</p> + +<p>AXALLI, <i>n</i>. Bar-sand, water-sand.</p> + +<p>AY, <i>v</i>. pret. <i>oax</i>. To do, to make.</p> + +<p>AYA, <i>adv</i>. Not yet, not now.</p> + +<p>AYACACHTLI, <i>n</i>. A musical instrument. See p. 24.</p> + +<p>AYAHUITL, <i>n</i>. Fog, mist, vapor.</p> + +<p>AYAUH COZAMALOTL, <i>n</i>. The rainbow; <i>lit</i>., "mist of water jewels."</p> + +<p>AYOC, <i>adv</i>. Already not. <i>Ayoctle</i>, nothing more.</p> + +<p>AYOQUAN, <i>adv</i>. Aoc-iuan. Nothing like it, unequaled. XVII, 17.</p> + +<p>AYOQUIC, <i>adv</i>. Nevermore. V, 6.</p> + +<p>AZAN, <i>adv</i>. Not a little, not a few.</p> + +<p>AZO, <i>conj</i>. Or, perhaps, perchance.</p> + +<p>AZTLACAPALLI, <i>n</i>. The tail feathers of a bird. XVII, 10.</p> + +<p>C, <i>pron. rel</i>. He, her, it, him; <i>postpos</i>., with, by, in, from, at.</p> + +<p>CA, <i>adv</i>. Already, yes, because, for, truly, only.</p> + +<p>CA, <i>v</i>. To be (in a place).</p> + +<p><i>CA</i>, <i>postpos</i>. With, by, by means of.</p> + +<p>CACALI, <i>v</i>. To discharge arrows.</p> + +<p>CACOPA, <i>post</i>. Toward, towards.</p> + +<p>CAHUA, <i>v</i>. To leave, to let, to desert, to stop, to lay down.</p> + +<p>CALAQUIA, <i>v</i>. To enter, to go in.</p> + +<p>CALLI, <i>n</i>. A house; in comp. <i>cal</i>, as <i>nocal</i>, my house.</p> + +<p>CALMECAC, <i>n</i>. A public school, p. 10.</p> + +<p>CAMAPANTLI, <i>n</i>. The cheeks, the face. XXVI, 5.</p> + +<p>CAMATL, <i>n</i>. The mouth.</p> + +<p>CAMPA, <i>adv</i>. Where, whither.</p> + +<p>CAN, <i>adv</i>. and <i>postpos</i>. Where.</p> + +<p>CANAUHTLI, <i>n</i>. A duck. XXI, 9.</p> + +<p>CANEL, <i>adv</i>. Since, as, because.</p> + +<p>CAQUI, <i>v</i>. To hear, to listen to.</p> + +<p>CATLEHUATL, <i>pron</i>. Who? which? whoever, whatever.</p> + +<p>CATQUI, <i>v. irreg</i>. From <i>ca</i>, to be (in a place).</p> + +<p>CAUHTEHUA, <i>v</i>. To leave a place.</p> + +<p>CAXTLAUITL, <i>n</i>. A kind of ochre. XVII, 10.</p> + +<p>CE, <i>adj</i>. and <i>art</i>. One, a, an.</p> + +<p>CECE, or Cecen, <i>adj</i>. Each, every.</p> + +<p>CECEMELQUIXTIA, <i>v</i>. To come forth wholly, perfectly. I, 1.</p> + +<p>CECEMELTIA, <i>v. ref</i>. To rejoice, to feel glad.</p> + +<p>CECEMELTIC, <i>adj</i>. Complete, whole, entire.</p> + +<p>CECEMMANA, <i>v</i>. To disperse, to scatter.</p> + +<p>CEHUIA, <i>v</i>. To rest, to repose.</p> + +<p>CEL, Sole only.</p> + +<p>CELIA, <i>v</i>. 1. To receive, to obtain. 2. To blossom, to bloom.</p> + +<p>CEMANAHUATL, <i>n</i>. The world, the universe.</p> + +<p>CEMELLE, <i>adv</i>. With peace or joy. Usually with a negative <i>aic + cemelle</i>, never peacefully. XV, 18; XVI, 1.</p> + +<p>CEMILHUILTILIA, <i>v</i>. To detain one for a day.</p> + +<p>CEMILHUITL, <i>n</i>. One day.</p> + +<p>CEN, <i>adv</i>. Forever, for always; <i>cen yauh</i>, to go forever, to die.</p> + +<p>CENCA, <i>adv</i>. Very much, exceedingly.</p> + +<p>CENCI, <i>adv</i>. Elsewhere.</p> + +<p>CENQUIXTIA, <i>v</i>. To select from, to pick from.</p> + +<p>CENTZONTLATOLLI, <i>n</i>. The mocking bird, <i>Turdus polyglottus</i>; <i>lit</i>., + "the myriad-voiced."</p> + +<p>CENTZONTLI, <i>adj. num</i>. Four hundred, used for any large number.</p> + +<p>CEPANOA, <i>v</i>. To unite, to join together.</p> + +<p>CHALCHIUHITL, <i>n</i>. The Mexican jade or green stone; emerald <i>fig</i>., + green; precious.</p> + +<p>CHANE, <i>n</i>. Inhabitant or resident of a place.</p> + +<p>CHANTLI, <i>n</i>. A dwelling, a residence; in comp., <i>chan</i>.</p> + +<p>CHIA, <i>v</i>. To wait, to expect.</p> + +<p>CHIALONI, <i>n</i>. That which is awaited or expected.</p> + +<p>CHICAHUAC, <i>adj</i>. Strong, powerful.</p> + +<p>CHICHIA, <i>v</i>. 1. To make bitter. 2. To obey. XIII, 9.</p> + +<p>CHICHINA, <i>v</i>. To snuff up, imbibe, or suck up, especially the odors + of burning incense, through a tube. VII, 4; XVII, 10.</p> + +<p>CHICHINAQUILIZTLI, <i>n</i>. Torment, pain, suffering.</p> + +<p>CHIHUA, <i>v</i>. To make, to do, to happen; <i>chihua in noyollo</i>, my heart + is troubled, I am pained.</p> + +<p>CHIMALLI, <i>n</i>. The native shield or buckler. VI, 4.</p> + +<p>CHITONI, <i>v</i>. To sparkle, to glitter.</p> + +<p>CHITONIA, <i>v</i>. To gain, to realize a profit. V, 4.</p> + +<p>CHITTOLINI, <i>v</i>. To bow down, to sink.</p> + +<p>CHOCA, <i>v</i>. To cry (of animals and man).</p> + +<p>CIAHUI, <i>v</i>. To fatigue one's self, to tire.</p> + +<p>CIHUACOATL, <i>n</i>. A magistrate of high rank; <i>lit</i>.,"woman serpent."</p> + +<p>CIHUATL, <i>n</i>. A woman.</p> + +<p>CITLALIN, <i>n</i>. A star.</p> + +<p>CO, <i>postpos</i>. In, from.</p> + +<p>COA, or COHUA, <i>v</i>. To buy, to purchase.</p> + +<p>COCHITIA, <i>v</i>. To sleep.</p> + +<p>COCOA, <i>v</i>. To pain, to give pain.</p> + +<p>COCOLIA, <i>v</i>. To hate.</p> + +<p>COCOYA, <i>v</i>. To be sick.</p> + +<p>COHUATL, or COATL, <i>n</i>. A serpent; a guest; a twin; the navel; a + spade.</p> + +<p>COHUAYOTL, <i>n</i>. Buying, purchasing. V, 2.</p> + +<p>COLLI, <i>n</i>. Ancestor, forefather.</p> + +<p>COLOA, <i>v</i>. To twist, to turn, to bend.</p> + +<p>COMONI, <i>v</i>. To crackle (of a fire); to be turbulent (of people). + XXIV.</p> + +<p>CON, <i>pron</i>. Some one; comp. of <i>c</i> and <i>on</i>.</p> + +<p>COPA, <i>postpos</i>. By, toward.</p> + +<p>COPALLI, <i>n</i>. Resin, gum copal.</p> + +<p>COYOUA, <i>v</i>. To cry, to yell. XIII, 7.</p> + +<p>COYOHUACAN, <i>n</i>. The place of wolves. XIII, 10.</p> + +<p>COYOLTOTOTL, <i>n</i>. The coyol bird, <i>Piranga hepatica</i>.</p> + +<p>COYOTL, <i>n</i>. The coyote, the Mexican wolf.</p> + +<p>COZCATIA, <i>v</i>. To deck with golden chains. IV, 4.</p> + +<p>COZCATL, <i>n</i>. Jewel, precious stone; a string of such; a chain or + collar.</p> + +<p>CUECUEXANTIA, <i>v</i>. To gather in the folds of the robe.</p> + +<p>CUECUEYA, <i>v</i>. To move to and fro. XXI, 9.</p> + +<p>CUEPA, <i>v</i>. To turn, to return, to bring back.</p> + +<p>CUEPONI, <i>v</i>. To blossom, to bud, to bloom.</p> + +<p>CUETLANI, <i>v</i>. To wilt, to perish. XV, 15.</p> + +<p>CUETZPALTI, <i>v</i>. To act as a glutton, to revel in. XVII, 5.</p> + +<p>CUEXANTLI, <i>n</i>. Gown, robe, petticoat.</p> + +<p>CUI, <i>v</i>. To take, to gather, to collect.</p> + +<p>CUICA, <i>n</i>. A song, a poem.</p> + +<p>CUICANI, <i>n</i>. A singer, a poet.</p> + +<p>CUICOYAN, <i>n</i>. A place for singing. See note to p. 10.</p> + +<p>CUIHUA, <i>v</i>. Pass. of <i>cui</i>, q. v.</p> + +<p>CUILIA, <i>v</i>. Rev. of <i>cui</i>, q. v.</p> + +<p>CUILOA, <i>v</i>. To paint, to write.</p> + +<p>CUILTONOA, <i>v</i>. To be rich; to rejoice greatly; to enrich or cause + joy. XV, 6.</p> + +<p>CUITLATL, <i>n</i>. Excrement, dung.</p> + +<p>CUIX, <i>adv</i>. An interrogative particle.</p> + +<p>ECACEHUAZTLI, <i>n</i>. A fan.</p> + +<p>EHECATL, <i>n</i>. Wind, air.</p> + +<p>EHECAYO, <i>adj</i>. Full of wind, stormy.</p> + +<p>EHUA, <i>v</i>. To lift up, especially to raise the voice in singing.</p> + +<p>ELCHIQUIHUITL, <i>n</i>. The breast, the stomach.</p> + +<p>ELCHIQUIUHEUA, <i>v</i>. To fatigue, to tire. VI, 5.</p> + +<p>ELCICIHUILIZTLI, <i>n</i>. A sigh, a groan.</p> + +<p>ELEHUIA, <i>v</i>. To desire ardently, to covet.</p> + +<p>ELLAQUAHUA, <i>v</i>. To animate, to inspire.</p> + +<p>ELLELACI, <i>v</i>. To suffer great pain.</p> + +<p>ELLELLI, <i>n</i>. Suffering, pain.</p> + +<p>ELLELQUIXTIA, <i>v</i>. To cause joy, to make glad.</p> + +<p>ELLELTIA, <i>v. Ref</i>., to regret, to repent, to abstain; <i>act</i>., to + prevent, to hinder, to impede, to cause pain.</p> + +<p>EPOALLI, <i>adj. num</i>. Sixty.</p> + +<p>EZTLI, <i>n</i>. Blood.</p> + +<p>HUAHUAQUI, <i>u</i>. To dry up, to wither wholly. VIII, 1.</p> + +<p>HUAL, <i>adv</i>. Hither, toward this place.</p> + +<p>HUALLAUH, <i>v. irreg</i>. To come hither.</p> + +<p>HUAN, <i>postpos</i>. In company with; also, a plural termination.</p> + +<p>HUAPALCALLI, <i>n</i>. Houses of planks. See XVIII, 1.</p> + +<p>HUAQUI, <i>v</i>. To dry up, to wither.</p> + +<p>HUECAPAN, <i>adj</i>. Lofty.</p> + +<p>HUECATLAN, <i>adj</i>. Deep, profound.</p> + +<p>HUEHUETL, <i>n</i>. A drum. See page 22.</p> + +<p>HUEHUETZI, <i>v. freq</i>. To fall often.</p> + +<p>HUEIYOTL, <i>n</i>. Greatness, grandeur.</p> + +<p>HUEL, <i>adv</i>. Well, good, pleasant.</p> + +<p>HUELIC, <i>adj</i>. Sweet, pleasant, fragrant.</p> + +<p>HUELMANA, <i>v</i>. To make smooth, or even; to polish, to burnish.</p> + +<p>HUETZCANI, <i>n</i>. A jester, a laugher. XXI, 1.</p> + +<p>HUETZI, <i>v</i>. To fall.</p> + +<p>HUETZTOC, <i>v</i>. To be stretched out, to be in bed.</p> + +<p>HUEY, <i>adj</i>. Great, large.</p> + +<p>HUEYATLAN, <i>n</i>. Place of increase, from <i>hueya</i>, to grow greater.</p> + +<p>HUIC, <i>postpos</i>. Toward, against.</p> + +<p>HUICA <i>v</i>. To accompany; to carry off; to govern, to rule, to direct.</p> + +<p>HUIHUICA, <i>v</i>. To follow in crowds, or often.</p> + +<p>HUIHUITEQUI, <i>v</i>. To gather, to pluck.</p> + +<p>HUILOHUAYAN, <i>n</i>. Bourne, goal, terminus; from <i>huiloa</i>, all go.</p> + +<p>HUIPANA, <i>v</i>. To put in order, to arrange.</p> + +<p>HUITOMI, <i>v</i>. To split, to fall. XVIII, 4.</p> + +<p>HUITZ, <i>v</i>. To come.</p> + +<p>HUITZITZICATIN, <i>n</i>. The humming bird. I, 1.</p> + +<p>HUITZITZILIN, <i>n</i>. The humming bird, <i>Trochilus</i>.</p> + +<p>HUITZLI, <i>n</i>. A thorn, especially of the maguey.</p> + +<p>HUITZTLAN, <i>n</i>. The south; <i>huitztlampa</i>, from or to the south.</p> + +<p>I, <i>v</i>. Pret. <i>oic</i>. To drink.</p> + +<p>I, <i>pron</i>. His, her, its, their.</p> + +<p>IC, <i>conj</i>. For, since, because; <i>prep</i>. With, towards, by, in; + <i>adv</i>. Where? when? <i>zan ic</i>, as soon as, often, only, on + purpose.</p> + +<p>ICA, <i>post</i>. With him, her, it, etc.</p> + +<p>ICÂ, <i>adv</i>. Sometimes, occasionally.</p> + +<p>ICAC, <i>v</i>. To stand upright.</p> + +<p>ICAHUACA, <i>v</i>. To sing (of birds).</p> + +<p>ICALI, <i>v</i>. To war, to fight. VI, 5.</p> + +<p>ICAUHTLI, <i>n</i>. Younger brother. VII, 2.</p> + +<p>ICELIA, <i>v</i>. To incite another, to devote one's self to.</p> + +<p>ICNELIA, <i>v</i>. To do good, to benefit.</p> + +<p>ICNIUHTLI, <i>n</i>. A friend, a companion; <i>tocnihuan</i>, our friends.</p> + +<p>ICNOPILLAHUELILOCATI, <i>v</i>. To be ungrateful.</p> + +<p>ICNOTLAMACHTIA, <i>v</i>. To excite compassion.</p> + +<p>ICPAC, <i>postpos</i>. Upon, over.</p> + +<p>IHUAN, <i>conj</i>. And, also.</p> + +<p>IHUI, <i>adv</i>. Of this kind, in this way.</p> + +<p>IHUINTI, <i>v</i>. To intoxicate, to make drunk.</p> + +<p>IHUITL, <i>n</i>. Feather, plumage.</p> + +<p>ILACATZIUI, <i>v</i>. To twist, to twine.</p> + +<p>ILACATZOA, <i>v</i>. To twine around, to wind about. XV, 2.</p> + +<p>ILCAHUA, <i>v</i>. To forget.</p> + +<p>ILHUIA, <i>v</i>. To speak, to say, to tell.</p> + +<p>ILHUICATL, <i>n</i>. Heaven, the sky.</p> + +<p>ILNAMIQUILIA, <i>v</i>. To remember, to call to mind.</p> + +<p>ILPIA, <i>v</i>. To bind, to fasten.</p> + +<p>IM, See <i>in</i>.</p> + +<p>IMATI, <i>v</i>. To be skillful or wise; to prepare or arrange something + skillfully.</p> + +<p>IN, <i>art. and pron</i>. He, they, the, which, etc.; <i>in ma oc</i>, + meanwhile; <i>in ic</i>, so that, in order that.</p> + +<p>INAYA, <i>v</i>. To confer, to hide. X, 2.</p> + +<p>INECUI, <i>v</i>. To smell something, to perceive an odor. IV, 6.</p> + +<p>INIC, <i>adv</i>. For, in order that, after that.</p> + +<p>ININ, <i>pron</i>. These, they.</p> + +<p>INIQUAC, <i>conj</i>. When.</p> + +<p>INNE, <i>conj</i>. But.</p> + +<p>INOC, <i>adv</i>. While, during.</p> + +<p>INON, <i>pron</i>. Those.</p> + +<p>INTLA, <i>conj</i>. If.</p> + +<p>INTLACAMO, <i>adv</i>. Unless, if not.</p> + +<p>IPALNEMOANI, <i>n</i>. A name of God. See III, 1, note.</p> + +<p>IPAMPA, <i>adv</i>. Because.</p> + +<p>IPOTOCTLI, <i>n</i>. Smoke, vapor, exhalation.</p> + +<p>ITAUHCAYOTL, <i>n</i>. Fame, honor. XVII, 14.</p> + +<p>ITHUA, <i>v</i>. To see, for <i>itla</i>. XV, 6.</p> + +<p>ITIA, <i>v</i>. 1. To drink; to cause to drink. 2. To suit, to fit.</p> + +<p>ITIC, <i>postpos</i>. Within, inside of.</p> + +<p>ITLANI, <i>v</i>. To ask, to solicit, to demand.</p> + +<p>ITOA, <i>v</i>. To say, to speak, to tell.</p> + +<p>ITONALIZTLI, <i>n</i>. Sweat; <i>fig</i>., hard work. VI, 5.</p> + +<p>ITOTIA, <i>n</i>. To dance in the native fashion.</p> + +<p>ITOTILIZTLI, <i>n</i>. Dance.</p> + +<p>ITTA, <i>v</i>. To see, to behold.</p> + +<p>ITTITIA, <i>v</i>. To show, to make evident.</p> + +<p>ITZMOLINI, <i>v</i>. To be born, to sprout, to grow. XX, 4.</p> + +<p>ITZTAPALLI, <i>n</i>. Paving stone. XV, 8.</p> + +<p>ITZTOC, <i>v</i>. To watch, to keep awake, to wait for. XVII, 12.</p> + +<p>IXAMAYO, <i>adj</i>. Known, recognized. XIII, 2.</p> + +<p>IXAYOTL, <i>n</i>. A tear (from the eyes).</p> + +<p>IXCUITIA, <i>v</i>. To take example.</p> + +<p>IXIMACHOCA, <i>n</i>. The knowledge of a person.</p> + +<p>IXIMATI, <i>v</i>. To know personally.</p> + +<p>IXITIA, <i>v</i>. To awake, to arouse.</p> + +<p>IXPAN, <i>postpos</i>. Before the face of, in presence of.</p> + +<p>IXQUICH, <i>adv</i>. As many as.</p> + +<p>IXTIA, <i>v</i>. To face a person, especially the enemy; to watch.</p> + +<p>IXTLAHUATL, <i>n</i>. Open field, savanna, desert.</p> + +<p>IXTLAN, <i>postpos</i>. Before the face of.</p> + +<p>IXTLI, <i>n</i>. Face, visage; eye.</p> + +<p>IZA, <i>v</i>. To awaken, to arouse.</p> + +<p>IZCALI, <i>v</i>. To arise, to rise up.</p> + +<p>IZHUATL, <i>n</i>. A leaf of a tree, etc.</p> + +<p>IZHUAYO, <i>adj</i>. Leafy, with leaves.</p> + +<p>IZQUI, <i>adj., pl</i>. izquintin. As many, so many, all; <i>izqui in + quezqui</i>, as many as.</p> + +<p>IZTAC, <i>adj</i>. White.</p> + +<p>IZTLACAHUIA, <i>v</i>. To deceive, to cheat.</p> + +<p>IZTLACOA, <i>v</i>. To search for; <i>ref</i>., to take counsel.</p> + +<p>MA, <i>adv</i>. Sign of optative, subjunctive and vetative; <i>ma oc</i>, yet a + while.</p> + +<p>MACA, <i>v</i>. To give, to present.</p> + +<p>MA CA, <i>neg</i>. Do not.</p> + +<p>MACAIC, <i>adv</i>. Never.</p> + +<p>MACAZO TLEIN, <i>neg</i>. No matter, for all that. VI, 2.</p> + +<p>MACEHUALLOTL, <i>n</i>. Servitude, slavery.</p> + +<p>MACEUALTI, <i>v. defect</i>. To merit; to be happy.</p> + +<p>MACEHUALTIA, <i>v</i>. 1. <i>nino</i>, to make another a vassal, to reduce to + vassalage; <i>nite</i>, to give vassals to one; <i>nita</i>, to impose a + penance on one.</p> + +<p>MACH, <i>adv</i>. An intensive particle.</p> + +<p>MACHTIA, <i>v</i>. To cause to know, to teach, to learn.</p> + +<p>MACIUI, <i>adv</i>. Although, granted that. XVII, 13.</p> + +<p>MACQUAITL, <i>n</i>. The native sword. VI, 4.</p> + +<p>MACUELE, <i>adv</i>. Would that—sign of the optative.</p> + +<p>MAHACA, <i>adv</i>. Not, no.</p> + +<p>MAHUI, <i>v</i>. To fear, to have fear.</p> + +<p>MAHUIZTI, <i>v</i>. To be esteemed, to be honored.</p> + +<p>MAITL, <i>n</i>. The hand, the arm. In comp. <i>ma</i>, as <i>noma</i>, my hand.</p> + +<p>MALACACHOA, <i>v</i>. To twine, to fold. XVI, 4.</p> + +<p>MALHUIA, <i>v</i>. To regale, to treat well, to take care of.</p> + +<p>MALINA, <i>v</i>. To twine, to wreathe.</p> + +<p>MALINTIUH, <i>v</i>. To twine, to twist, to enwreathe.</p> + +<p>MAMALIA, <i>v</i>. To carry.</p> + +<p>MAMALLI, <i>v</i>. To enter, to penetrate. XII, 4.</p> + +<p>MAMANA, <i>v</i>. To arrange a feast, to set in order. XV, 15.</p> + +<p>MAMANI, <i>v</i>. See Mani.</p> + +<p>MANA, <i>v</i>. To offer offerings. XVII, 3.</p> + +<p>MANCA, <i>v</i>. Imp. of <i>Mani</i>.</p> + +<p>MANEN, <i>neg</i>. That not, that it does not happen, etc.</p> + +<p>MANI, <i>v</i>. To be (of broad or wide things); to be stretched out.</p> + +<p>MANOZO, <i>adv</i>. Or, if.</p> + +<p>MAQUIZTLI, <i>n</i>. A bracelet or other ornament of the arm. III, 5.</p> + +<p>MATI, <i>v</i>. To know. <i>Ref</i>., to think, to reflect; <i>qui-mati noyollo</i>, + I presume, I doubt; <i>nonno-mati</i>, I attach myself to a person + or thing.</p> + +<p>MATILOA, <i>v</i>. To anoint, to rub.</p> + +<p>MAZO, <i>adv</i>. Although.</p> + +<p>MEYA, <i>v</i>. To flow, to trickle.</p> + +<p>MIAHUATOTOTL, <i>n</i>. A bird. IV, 2.</p> + +<p>MICOHUANI, <i>adj</i>. Mortal, deadly.</p> + +<p>MIEC, <i>adv</i>. Much, many.</p> + +<p>MILLI, <i>n</i>. Cultivated field.</p> + +<p>MIQUI, <i>v</i>. To die, to kill.</p> + +<p>MIQUITLANI, <i>v</i>. To desire death. X, 1.</p> + +<p>MITZ, <i>pron</i>. Thee, to thee.</p> + +<p>MIXITL, <i>n</i>. A narcotic plant. See <i>tlapatl</i>. IX, 2.</p> + +<p>MIXTECOMATL, <i>n</i>. A dark night, a dark place. III, 4.</p> + +<p>MIZQUITL, <i>n</i>. The mesquite. XV, 1.</p> + +<p>MO, <i>pron</i>. 1. Thy, thine; 2. <i>Pron. ref</i>. 3 sing., he, him, they, + them.</p> + +<p>MOCHI, <i>adj</i>. All.</p> + +<p>MOCHIPA, <i>adv</i>. Always.</p> + +<p>MOLINIANI, <i>n</i>. One who moves, or agitates. XVI, 3.</p> + +<p>MOMOLOTZA, <i>v</i>. To cause to foam, to cut to pieces. XII, 3.</p> + +<p>MOTELCHIUH, <i>n</i>. The governor of Tenochtitlan. XIII, 8.—See + <i>telchihua</i>.</p> + +<p>MOTLA, <i>v</i>. To throw, to fall. I, 1.</p> + +<p>MOTLALI, <i>adj</i>. Seated, placed, in repose.</p> + +<p>MOYAUA, <i>v</i>. To conquer; to become cloudy or troubled (of water); to + talk about; to boast.</p> + +<p>MOZTLA, <i>adv</i>. To-morrow.</p> + +<p>NAHUAC, <i>postpos</i>. Toward, by, along, near to.</p> + +<p>NAHUI, <i>adj. num</i>. Four.</p> + +<p>NALQUIXTIA, <i>v</i>. To cause to penetrate, causative of <i>nalquiza</i>, to + penetrate.</p> + +<p>NANANQUILIA, <i>v</i>. To answer, to reply to.</p> + +<p>NANTLI, <i>n</i>. Mother, <i>tonan</i>, our mother, etc.</p> + +<p>NAUHCAMPA, <i>adv</i>. In four directions, to four places.</p> + +<p>NE, <i>pron</i>. Reflexive pronoun 3d person in verbal substantives and + impersonal verbs.</p> + +<p>NE, <i>pron</i>. for <i>nehuatl</i>. I, me.</p> + +<p>NECALIZTLI, <i>n</i>. Battle, combat.</p> + +<p>NECH, <i>pron</i>. Me, to me.</p> + +<p>NECHCA, <i>adv</i>. There, down there; like the French <i>là-bas; ocye + nechca</i>, formerly, once.</p> + +<p>NECI, <i>v</i>. To appear, to show one's self or others.</p> + +<p>NECO, <i>v</i>. Pass, of <i>nequi</i>, q. v.</p> + +<p>NECTIA, <i>v</i>. To desire, to wish for.</p> + +<p>NECUILTONOLLI, <i>n</i>. Riches, possessions.</p> + +<p>NEICALOLOYAN, <i>n</i>. The field of battle.</p> + +<p>NEIXIMACHOYAN, <i>n</i>. A place where one is taught. XIII, 1.</p> + +<p>NEL, <i>adv</i>. But.</p> + +<p>NELHUAYOTL, <i>n</i>. A root; <i>fig</i>., principle, foundation, essence.</p> + +<p>NELIHUI, <i>adv</i>. It is thus, even thus; <i>mazo nelihui</i>, though it be + thus.</p> + +<p>NELLI, <i>adv</i>. Truly, verily.</p> + +<p>NELOA, <i>v</i>. To mingle, to shake, to beat.</p> + +<p>NELTIA, <i>v</i>. To verify, to make true.</p> + +<p>NEMACTIA, <i>v</i>. 1. To receive, to obtain. 2. To give, to grant.</p> + +<p>NEMAYAN, <i>adv</i>. In the course of the year. XII, 3.</p> + +<p>NEMI, <i>v</i>. To live, to dwell, to walk.</p> + +<p>NEMOA, <i>v. impers</i>. To live, to dwell.</p> + +<p>NEN, <i>adv</i>. Vainly, in vain.</p> + +<p>NENCHIUA, <i>v</i>. To do in vain.</p> + +<p>NENECTIA, <i>v</i>. To obtain by effort. XII, 4.</p> + +<p>NENELIUHTICA, <i>adj</i>. Mixed up, mingled together.</p> + +<p>NENELOA, <i>v</i>. To mix, to mingle.</p> + +<p>NENEPANOA, <i>v. freq</i>. To mix, to mingle. XVII, 1.</p> + +<p>NENEQUI, <i>v</i>. To act tyrannically; to feign; to covet. XI, 7.</p> + +<p>NENNEMI, <i>v</i>. To wander about.</p> + +<p>NENONOTZALCUICATL, <i>n</i>. A song of exhortation.</p> + +<p>NENTACI, <i>v</i>. To fail, to come to naught. XVII, 13, 14.</p> + +<p>NENTLAMACHTIA, <i>v. ref</i>. To afflict one's self, to torment one's + self.</p> + +<p>NENTLAMATI, <i>v</i>. To be afflicted, disconsolate.</p> + +<p>NEPA, <i>adv</i>. Here, there. <i>Ye nepa</i>, a little further, beyond. XXI, + 6. <i>Oc nepa</i>, further on.</p> + +<p>NEPANIUI, <i>v</i>. To join, to unite.</p> + +<p>NEPANTLA, <i>postpos</i>. In the midst of.</p> + +<p>NEPAPAN, <i>adj</i>. Various, diverse, different.</p> + +<p>NEPOHUALOYAN, <i>n</i>. The place where one is reckoned, read, or counted. + VI, 2.</p> + +<p>NEQUI, <i>v</i>. To wish, to desire.</p> + +<p>NETLAMACHTILIZTLI, <i>n</i>. Riches, property.</p> + +<p>NETLAMACHTILOYAN, <i>n</i>. A prosperous place. IV, 6; VII, 4.</p> + +<p>NETLANEHUIHUIA, <i>v</i>. To have an abundance of all things. XXVI, 1.</p> + +<p>NETOTILIZTLI, <i>n</i>. Dance, dancing.</p> + +<p>NETOTILOYAN, <i>n</i>. Place of dancing.</p> + +<p>NI, <i>pron. pers</i>. I. Before a vowel, <i>n</i>.</p> + +<p>NICAN, <i>adj</i>. Here, hither.</p> + +<p>NIHUI, <i>adv</i>. From <i>no-ihui</i>, thus, of the same manner. XVIII, 3.</p> + +<p>NIMAN, <i>adv</i>. Soon, promptly.</p> + +<p>NINO, <i>pron. ref</i>. I myself.</p> + +<p>NIPA, <i>adv</i>. Here, in this part, there.</p> + +<p>NO, <i>adv</i>. Also, like, <i>no yuh</i>, in the same way, thus. <i>Pron</i>. My, + mine.</p> + +<p>NOCA, <i>pron</i>. For me, for my sake, by me.</p> + +<p>NOHUAN, <i>pron</i>. With me.</p> + +<p>NOHUIAMPA, <i>adv</i>. In all directions, on all sides.</p> + +<p>NOHUIAN, <i>adv</i>. Everywhere, on all sides.</p> + +<p>NONOYAN, <i>n</i>. Place of residence. V, 2.</p> + +<p>NONOTZA, <i>v</i>. To consult, to take counsel, to reflect.</p> + +<p>NOTZA, <i>v</i>. To call some one.</p> + +<p>NOZAN, <i>adv</i>. Even yet, and yet, to this day.</p> + +<p>OBISPO, <i>n</i>. Bishop. <i>Span</i>. XIX, 4.</p> + +<p>OC, <i>adv</i>. Yet, again; <i>oc achi</i>, yet a little; <i>oc achi ic</i>, yet + more, comparative; <i>oc pe</i>, first, foremost.</p> + +<p>OCELOTL, <i>n</i>. The tiger; a warrior so called. See note to I, 5.</p> + +<p>OCOXOCHITL, <i>n</i>. A fragrant mountain flower. III, 2.</p> + +<p>OCTICATL, <i>n</i>. See note to VII, 1.</p> + +<p>OCTLI, <i>n</i>. The native wine from the maguey. In comp., <i>oc</i>.</p> + +<p>OHUAGA, <i>interj</i>. Oh! alas!</p> + +<p>OHUI, <i>adj</i>. Difficult, dangerous.</p> + +<p>OHUICALOYAN, <i>n</i>. A difficult or dangerous place. XXII, 7.</p> + +<p>OHUICAN, <i>n</i>. A difficult or dangerous place.</p> + +<p>OME, <i>adj</i>. Two.</p> + +<p>OMITL, <i>n</i>. A bone.</p> + +<p>OMPA, <i>adv</i>. Where.</p> + +<p>ON, <i>adv</i>. A euphonic particle, sometimes indicating action at a + distance, at other times generalizing the action of the verb.</p> + +<p>ONCAN, <i>adv</i>. There, thither.</p> + +<p>ONOC, <i>v</i>. To be lying down.</p> + +<p>OPPA, <i>adv</i>. A second time, twice.</p> + +<p>OQUICHTLI, <i>n</i>. A male, a man.</p> + +<p>OTLI, <i>n</i>. Path, road, way.</p> + +<p>OTOMITL, <i>n</i>. An Otomi; a military officer so called.</p> + +<p>OTONCUICATL, <i>n</i>. An Otomi song. II, 1.</p> + +<p>PACHIUI NOYOLLO, <i>v</i>. I am content, satisfied. IX, 2.</p> + +<p>PACQUI, <i>v</i>. To please, to delight.</p> + +<p>PACTLI, <i>n</i>. Pleasure, joy.</p> + +<p>PAL, <i>postpos</i>. By, by means of.</p> + +<p>PAMPA, <i>postpos</i>. For, because.</p> + +<p>PAN, <i>postpos</i>. Upon; <i>apan</i>, upon the water.</p> + +<p>PAPALOTL, <i>n</i>. The butterfly.</p> + +<p>PAPAQUI, <i>v</i>. To cause great joy.</p> + +<p>PATIUHTLI, <i>n</i>. Price, wages, reward.</p> + +<p>PATLAHUAC, <i>adj</i>. Large, spacious.</p> + +<p>PATLANI, <i>v</i>. To fly.</p> + +<p>PEHUA, <i>v. Pret., opeuh</i>, to begin, to commence.</p> + +<p>PEPETLACA, <i>v</i>. To shine, to glitter.</p> + +<p>PEPETLAQUILTIA, <i>v</i>. To cause to shine.</p> + +<p>PETLACOATL, <i>n</i>. The scolopender, the centipede. XVII, 24.</p> + +<p>PETLATL, <i>n</i>. A mat, a rug (of reeds or flags); <i>fig</i>., power, + authority.</p> + +<p>PETLATOTLIN, <i>n</i>. A rush suitable to make mats. XXI, 10.</p> + +<p>PETLAUA, <i>v</i>. To polish, to rub to brightness.</p> + +<p>PEUHCAYOTL, <i>n</i>. Beginning, commencement.</p> + +<p>PILIHUI, <i>v</i>. To fasten to, to mingle with. XXI, 6.</p> + +<p>PILIHUITL, <i>n</i>. Beloved child. XII, 3.</p> + +<p>PILLI, <i>n</i>. Son, daughter, child. A noble, a chief, a ruler, a lord. + <i>Tepilhuan</i>, the children, the young people. <i>Nopiltzin</i>, my + lord.</p> + +<p>PILOA, <i>v</i>. To hang down, to suspend.</p> + +<p>PILTIHUA, <i>v</i>. To be a boy, to be young.</p> + +<p>PIPIXAUI, <i>v</i>. To snow, to rain heavily.</p> + +<p>PIXAUI, <i>v</i>. To snow, to rain.</p> + +<p>POCHOTL, <i>n</i>. The ceiba tree; <i>fig</i>., protector, chief.</p> + +<p>POCTLI, <i>n</i>. Smoke, vapor, fog, mist.</p> + +<p>POLOA, <i>v</i>. To destroy; to perish.</p> + +<p>POPOLOA, <i>v</i>. Freq. of <i>poloa</i>.</p> + +<p>POPOYAUHTIUH, <i>v</i>. To leave a glorious memory. XXI, 5.</p> + +<p>POXAHUA, <i>v</i>. To work the soil, to labor.</p> + +<p>POYAUA, <i>v</i>. To color, to dye. XVII, 21.</p> + +<p>POYAUI, <i>v</i>. To become clear, to clear off.</p> + +<p>POYOMATL, <i>n</i>. A flower like the rose. IV, 6.</p> + +<p>POZONI, <i>v</i>. To boil, to seethe; fig., to be angry.</p> + +<p>QUA, <i>v</i>. To eat.</p> + +<p>QUAHTLA, <i>n</i>. Forest, woods.</p> + +<p>QUAHUITL, <i>n</i>. A tree; a stick; <i>fig</i>., chastisement.</p> + +<p>QUAITL, <i>n</i>. Head, top, summit.</p> + +<p>QUALANI, <i>v</i>. To anger, to irritate.</p> + +<p>QUALLI, <i>adj</i>. Good, pleasant.</p> + +<p>QUATLAPANA, <i>v</i>. To break one's head; to suffer much.</p> + +<p>QUAUHTLI, <i>n</i>. The eagle; a warrior so called; bravery, distinction. + I, 5.</p> + +<p>QUEMACH, <i>adv</i>. Is it possible!</p> + +<p>QUEMMACH AMIQUE, <i>rel</i>. Those who are happy, the happy ones. IX, 2.</p> + +<p>QUENAMI, <i>adv</i>. As, the same as.</p> + +<p>QUENAMI CAN, <i>adv</i>. As there, the same as there, sometimes with <i>on</i> + euphonic inserted, <i>quenonami</i>.</p> + +<p>QUENIN, <i>adj</i>. How, how much.</p> + +<p>QUENNEL, <i>adv</i>. What is to be done? What remedy?</p> + +<p>QUENNONAMICAN, See under <i>quenami</i>.</p> + +<p>QUEQUENTIA, <i>v</i>. To clothe, to attire.</p> + +<p>QUETZA, <i>v. Nino</i>, to rise up; to unite with; to aid; <i>nite</i>, to lift + up.</p> + +<p>QUETZALLI, <i>n</i>. A beautiful feather; <i>fig</i>., something precious or + beautiful.</p> + +<p>QUETZALTOTOTL, <i>n</i>. A bird; <i>Trogon pavoninus</i>.</p> + +<p>QUEXQUICH, <i>pron</i>. So many as, how much.</p> + +<p>QUI, <i>pron. rel</i>. He, her, it, they, them.</p> + +<p>QUIAUATL, <i>n</i>. Entrance, door. XVII, 18.</p> + +<p>QUIAUITL, <i>n</i>. Rain, a shower.</p> + +<p>QUIMILOA, <i>v</i>. To wrap up, to clothe, to shroud the dead. XI, 6.</p> + +<p>QUIN, <i>pron. rel</i>. They, then.</p> + +<p>QUIQUINACA, <i>v</i>. To groan, to buzz, etc.</p> + +<p>QUIQUIZOA, <i>v</i>. To ring bells. IV, 3.</p> + +<p>QUIZA, <i>v</i>. To go forth, to emerge.</p> + +<p>QUIZQUI, <i>adj</i>. Separated, divided.</p> + +<p>QUIZTIQUIZA, <i>v</i>. To go forth hastily. XXII.</p> + +<p>TAPALCAYOA, <i>v</i>. To be full of potsherds and broken bits. XV, 16.</p> + +<p>TATLI, <i>n. and v</i>. See p. 19.</p> + +<p>TE, <i>pron. pers</i>. 1. Thou. 2. <i>Pron. rel. indef</i>. Somebody.</p> + +<p>TEAHUIACA, <i>adj</i>. Pleasing, agreeable.</p> + +<p>TECA, <i>pron</i>. Of some one; <i>te</i> and <i>ca</i>.</p> + +<p>TECA, <i>v</i>. To stretch out, to sleep; to concern one's self with. + <i>Moteca</i>, they unite together. +TECH, <i>postpos</i>. In, upon, from. <i>Pron</i>. Us.</p> + +<p>TECOCOLIA, <i>n</i>. A hated person, an enemy.</p> + +<p>TECOMAPILOA, <i>n</i>. A musical instrument. See p. 23.</p> + +<p>TECPILLI, <i>n</i>. Nobleman, lord.</p> + +<p>TECPILLOTL, <i>n</i>. The nobility; noble bearing, courtesy.</p> + +<p>TEHUAN, <i>pron</i>. 1. We. 2. With some one.</p> + +<p>TEHUATL, <i>pron</i>. Thou.</p> + +<p>TEINI, <i>v</i>. To break, to fracture.</p> + +<p>TEL, <i>conj</i>. But, though.</p> + +<p>TELCHIHUA, <i>v</i>. To detest, to hate, to curse.</p> + +<p>TEMA, <i>v</i>. To place something somewhere.</p> + +<p>TEMACHIA, <i>v</i>. To have confidence in, to expect, to hope for.</p> + +<p>TEMI, <i>v</i>. To be filled, replete; to be stretched out. XXVI, 4.</p> + +<p>TEMIQUI, <i>v</i>. To dream.</p> + +<p>TEMO, <i>v</i>. To descend, to let fall.</p> + +<p>TEMOA, <i>v</i>. To search, to seek.</p> + +<p>TENAMITL, <i>n</i>. A town; the wall of a town.</p> + +<p>TENAUAC, <i>post</i>. With some one, near some one.</p> + +<p>TENMATI, <i>v</i>. To be idle, negligent, unfortunate.</p> + +<p>TENQUIXTIA, <i>v</i>. To speak forth, to pronounce, to declare.</p> + +<p>TENYOTL, <i>n</i>. Fame, honor.</p> + +<p>TEOATL, <i>n</i>. Divine water. See VI, 4, note.</p> + +<p>TEOCUITLA, <i>n</i>. Gold, of gold.</p> + +<p>TEOHUA, <i>n</i>. A priest. XVII, 19.</p> + +<p>TEOQUECHOL, <i>n</i>. A bird of beautiful plumage.</p> + +<p>TEOTL, <i>n</i>. God, divinity.</p> + +<p>TEOXIHUITL, <i>n</i>. Turquoise; <i>fig</i>., relation, ruler, parent.</p> + +<p>TEPACCA, <i>adj</i>. Causing joy, pleasurable.</p> + +<p>TEPEITIC, <i>n</i>. Narrow valley, glade, glen.</p> + +<p>TEPETL, <i>n</i>. A mountain, a hill.</p> + +<p>TEPEUA, <i>v</i>. To spread abroad, to scatter, to conquer. XV, 3.</p> + +<p>TEPONAZTLI, <i>n</i>. A drum. See p. 22.</p> + +<p>TEPOPOLOANI, <i>v</i>. To slay, to slaughter.</p> + +<p>TEQUANI, <i>n</i>. A wild beast, a savage person.</p> + +<p>TEQUI, <i>v</i>. To cut.</p> + +<p>TETECUICA, <i>v</i>. To make a loud noise, to thunder. XXI, 7.</p> + +<p>TETL, <i>n</i>. A stone, a rock. In comp., <i>te</i>.</p> + +<p>TETLAMACHTI, <i>n</i>. That which enriches, glorifies, or pleases.</p> + +<p>TETLAQUAUAC, <i>adj</i>. Hard or strong as stone. Comp. of <i>tetl</i> and + <i>tlaquauac</i>.</p> + +<p>TETOZCATEMO, <i>v</i>. To let fall or throw forth notes of singing. I, 2.</p> + +<p>TETZILACATL, <i>n</i>. A copper gong. XVII, 21. See p. 24.</p> + +<p>TEUCTLI, <i>n</i>., pl. <i>teteuctin</i>. A noble, a ruler, a lord; <i>in + teteuctin</i>, the lords, the great ones.</p> + +<p>TEUCYOTL, <i>n</i>. Nobility, lordship.</p> + +<p>TEUH, <i>postpos</i>. Like, similar to.</p> + +<p>TEUHYOTL, <i>n</i>. Divinity, divineness.</p> + +<p>TEYOLQUIMA, <i>adj</i>. Pleasing, odorous, sweet.</p> + +<p>TEYOTL, <i>n</i>. Fame, honor.</p> + +<p>TI, <i>pron</i>. 1. thou; <i>timo</i>, ref.; <i>tic</i>, act. 2. we; <i>tito</i>, ref.; + <i>tic</i>, act.</p> + +<p>TILANI, <i>v</i>. To draw out.</p> + +<p>TILINI, <i>v</i>. To crowd, to press. XVII, 19.</p> + +<p>TIMALOA, <i>v</i>. To glorify, to exalt, to praise.</p> + +<p>TIMO, <i>pron. ref</i>. Thou thyself.</p> + +<p>TITO, <i>pron. ref</i>. We ourselves.</p> + +<p>TIZAITL, <i>n</i>. Chalk; anything white; an example or model.</p> + +<p>TIZAOCTLI, <i>n</i>. White wine. See VII, 2.</p> + +<p>TLA, <i>adv</i>., for <i>intla</i>, if; <i>pron. indef</i>., something, anything; + <i>postpos</i>. in abundance.</p> + +<p>TLACACE, <i>interj</i>. Expressing astonishment or admiration. XVII, 3.</p> + +<p>TLACAQUI, <i>v</i>. To hear, to understand.</p> + +<p>TLACATEUCTLI, <i>n</i>. A sovereign, a ruler.</p> + +<p>TLACATI, <i>v</i>. To be born.</p> + +<p>TLACATL, <i>n</i>. Creature, person.</p> + +<p>TLACAZO, <i>adv</i>. Truly, certainly.</p> + +<p>TLACHIA, <i>v</i>. To see, to look upon.</p> + +<p>TLACHIHUAL, <i>n</i>. Creature, invention.</p> + +<p>TLACHINOLLI, <i>n</i>. Battle, war; from <i>chinoa</i>, to burn.</p> + +<p>TLACOA, <i>v</i>. To injure, to do evil, to sin.</p> + +<p>TLACOCHTLI, <i>n</i>. The arrow.</p> + +<p>TLACOCOA, <i>v</i>. To buy, to purchase. X, 1.</p> + +<p>TLACOHUA, <i>v</i>. To buy, to purchase.</p> + +<p>TLACOHUA, <i>v</i>. To beat, to chastise.</p> + +<p>TLACOTLI, <i>n</i>. A servant, slave.</p> + +<p>TLACOUIA, <i>v</i>. To split, to splinter.</p> + +<p>TLACUILOA, <i>v</i>. To inscribe, to paint in, to write down.</p> + +<p>TLAELEHUIANI, <i>adj</i>. Desirous of, anxious for.</p> + +<p>TLAHUELLI, <i>n</i>. Anger, ire.</p> + +<p>TLAHUICA, <i>n</i>. Servant, page; also, a native of the province of + Tlahuican. (See <i>Index</i>.}</p> + +<p>TLAILOTLAQUI, <i>n</i>. "Workers in filth;" scum; a term applied in + contempt. XIII, 8; XV, 12, 14. Also a proper name. + (See <i>Index</i>.)</p> + +<p>TLALAQUIA, <i>v</i>. To bury, to inter.</p> + +<p>TLALLI, <i>n</i>. Earth, ground; <i>tlalticpac</i>, on the earth.</p> + +<p>TLALNAMIQUI, <i>v</i>. To think of, to remember.</p> + +<p>TLALPILONI, <i>n</i>. An ornament for the head. VI, 4, from <i>ilpia</i>.</p> + +<p>TLAMACHTI, <i>v. ref</i>. To be rich, happy, prosperous.</p> + +<p>TLAMAHUIZOLLI, <i>n</i>. Miracle, wonder.</p> + +<p>TLAMATILLOLLI, <i>n</i>. Ointment; anything rubbed in the hands. XI, 9.</p> + +<p>TLAMATQUI, <i>adj</i>. Skillful, adroit.</p> + +<p>TLAMATTICA, <i>adj</i>. Calm, tranquil.</p> + +<p>TLAMELAUHCAYOTL, <i>n</i>. A plain or direct song. II, 1.</p> + +<p>TLAMI, <i>v</i>. To end, to finish, to come to an end.</p> + +<p>TLAMOMOYAUA, <i>v</i>. To scatter, to destroy. XV, 21.</p> + +<p>TLAN, <i>postpos</i>. Near to, among, at.</p> + +<p>TLANECI, <i>v</i>. To dawn, to become day. <i>Ye tlaneci</i>, the day breaks.</p> + +<p>TLANEHUIA, <i>v. Nicno</i>. To revel, to indulge one's self in. XXI, 8.</p> + +<p>TLANELTOCA, <i>v</i>. To believe in, to have faith in.</p> + +<p>TLANIA, <i>v</i>. To recover one's self, to return within one's self.</p> + +<p>TLANIICZA, <i>v</i>. To abase, to humble. IX, 3.</p> + +<p>TLANTIA, <i>v</i>. To terminate, to end.</p> + +<p>TLAOCOL, <i>adj</i>. Sad, melancholy, pitiful, merciful.</p> + +<p>TLAOCOLIA, <i>v</i>. To be sad, etc.</p> + +<p>TLAOCOLTZATZIA, <i>v</i>. To cry aloud with grief. I, 3.</p> + +<p>TLAPALHUIA, <i>v., rel</i>. To be brilliant or happy; <i>act</i>., to salute a + person; to paint something.</p> + +<p>TLAPALLI, <i>n</i>. and <i>adj</i>. Colored; dyed; red.</p> + +<p>TLAPALOA, <i>v</i>. To salute, to greet.</p> + +<p>TLAPANAHUIA, <i>adj</i>. Surpassing, superior, excellent; used to form + superlatives.</p> + +<p>TLAPANI, <i>v</i>. To dye, to color. XVII, 10.</p> + +<p>TLAPAPALLI, <i>adj</i>. Striped, in stripes.</p> + +<p>TLAPATL, <i>n</i>. The castor-oil plant; the phrase <i>mixitl tlapatl</i> means + stupor, intoxication. IX, 2.</p> + +<p>TLAPEPETLANI, <i>v</i>. To sparkle, to shine forth.</p> + +<p>TLAPITZA, <i>v</i>. Fr. <i>pitza</i>, to play the flute. XVII, 26.</p> + +<p>TLAQUALLI, <i>n</i>. Food, eatables.</p> + +<p>TLAQUAUAC, <i>adj</i>. Strong, hard.</p> + +<p>TLAQUAUH, <i>adj</i>. Strongly, forcibly.</p> + +<p>TLAQUILLA, <i>adj</i>. Stopped up, filled. XX, 4.</p> + +<p>TLAQUILQUI, <i>n</i>. One who plasters, a mason. XXI, 1.</p> + +<p>TLATEMMATI, <i>v</i>. To suffer afflictions.</p> + +<p>TLATENEHUA, <i>v</i>. To promise.</p> + +<p>TLATHUI, <i>v</i>. To dawn, to become light.</p> + +<p>TLATIA, <i>v</i>. 1. To hide, to conceal; 2. to burn, to set on fire.</p> + +<p>TLATLAMANTITICA, <i>adj</i>. Divided, separated.</p> + +<p>TLATLATOA, <i>v</i>. To speak much or frequently. XVII, 11.</p> + +<p>TLATLAUHTIA, <i>v</i>. To pray. XVI, 3.</p> + +<p>TLATOANI, <i>n</i>. Ruler, lord.</p> + +<p>TLATOCAYOTL, <i>n</i>. The quality of governing or ruling.</p> + +<p>TLATOLLI, <i>n</i>. Word, speech, order.</p> + +<p>TLATZIHUI, <i>v</i>. To neglect, to be negligent; to be abandoned, to lie + fallow; to leave, to withdraw.</p> + +<p>TLAUANTLI, <i>n</i>. Vase, cup. XXVI, 4.</p> + +<p>TLAUHQUECHOL, <i>n</i>. A bird, the red heron, <i>Platalea ajaja</i>.</p> + +<p>TLAUILLOTL, <i>n</i>. Clearness, light. X, 1.</p> + +<p>TLAXILLOTIA, <i>v</i>. To arrange, sustain, support. IX, 4.</p> + +<p>TLAXIXINIA, <i>v</i>. To disperse, to destroy.</p> + +<p>TLAYAUA, <i>v</i>. To make an encircling figure in dancing.</p> + +<p>TLAYAUALOLLI, <i>adj</i>. Encircled, surrounded. XXI, 6.</p> + +<p>TLAYLOTLAQUI, <i>n</i>. See XIII, 8.</p> + +<p>TLAYOCOLIA, <i>v</i>. To make, to form, to invent. XIV.</p> + +<p>TLAYOCOYALLI, <i>n</i>. Creature, invention.</p> + +<p>TLAZA, <i>v</i>. To throw away; <i>fig</i>., to reject, to despise.</p> + +<p>TLAZOTLA, <i>v</i>. To love, to like.</p> + +<p>TLE, <i>pron. int</i>. and <i>rel</i>. What? That.</p> + +<p>TLEAHUA, <i>v</i>. To set on fire, to fire.</p> + +<p>TLEIN, <i>pron., int</i>. and <i>rel</i>. What? That.</p> + +<p>TLEINMACH, <i>adv</i>. Why? For what reason?</p> + +<p>TLENAMACTLI, <i>n</i>. Incense burned to the gods. III, 1.</p> + +<p>TLEPETZTIC, <i>adj</i>. Shining like fire, <i>tletl</i>, <i>petzlic</i>. XV, 26.</p> + +<p>TLETL, <i>n</i>. Fire.</p> + +<p>TLEYMACH, <i>adv</i>. Why? Wherefore?</p> + +<p>TLEYOTL, <i>n</i>. Fame, honor.</p> + +<p>TLEZANNEN, <i>adv</i>. To what good? Cui bono?</p> + +<p>TLILIUHQUI, <i>adj</i>. Black, brown.</p> + +<p>TLILIUI, <i>v</i>. To blacken, to paint black. XII, 6.</p> + +<p>TLOC, <i>postpos</i>. With, near to.</p> + +<p>TLOQUE NAHUAQUE, <i>n</i>. A name of divinity. See I, 6, note.</p> + +<p>TO, <i>pron. posses</i>. Our, ours.</p> + +<p>TOCA, <i>v</i>. To follow.</p> + +<p>TOCI, <i>n</i>. "Our ancestress," a divinity so called.</p> + +<p>TOCO, <i>v</i>. Impers. of <i>toca</i>.</p> + +<p>TOHUAN, <i>pron</i>. With us.</p> + +<p>TOLINIA, <i>v</i>. To be poor, to be unfortunate.</p> + +<p>TOLQUATECTITLAN, <i>n</i>. The place where the head is bowed for + lustration. III, 1.</p> + +<p>TOMA, <i>v</i>. To loosen, to untie, to open. XVII, 3.</p> + +<p>TOMAHUAC, <i>adj</i>. Great, heavy, large.</p> + +<p>TONACATI, <i>v</i>. To be prosperous or fertile.</p> + +<p>TONACATLALLI, <i>n</i>. Rich or fertile land.</p> + +<p>TONAMEYO, <i>adj</i>. Shining like the sun, glittering.</p> + +<p>TONAMEYOTL, <i>n</i>. Ray of the sun, light, brilliancy.</p> + +<p>TONATIUH, <i>n</i>. The sun.</p> + +<p>TONEUA, <i>v</i>. To suffer pain; <i>nite</i>, to inflict pain.</p> + +<p>TOQUICHPOHUAN, <i>n</i>. Our equals. I, 3.</p> + +<p>TOTOTL, <i>n</i>. A bird, generic term.</p> + +<p>TOZMILINI, <i>adj</i>. Sweet voiced. XXI, 3.</p> + +<p>TOZNENETL, <i>n</i>. A parrot, <i>Psittacus signatus</i>.</p> + +<p>TOZQUITL, <i>n</i>. The singing voice, p. 21.</p> + +<p>TZALAN, <i>postpos</i>. Among, amid.</p> + +<p>TZATZIA, <i>v</i>. To shout, to cry aloud.</p> + +<p>TZAUHQUI, <i>v</i>. To spin. XVII, 22.</p> + +<p>TZETZELIUI, <i>v</i>. To rain, to snow; <i>fig</i>., to pour down.</p> + +<p>TZIHUAC, <i>n</i>. A species of bush. XV, 1.</p> + +<p>TZIMIQUILIZTLI, <i>n</i>. Slaughter, death. XVI, 5.</p> + +<p>TZINITZCAN, <i>n</i>. A bird, <i>Trogon Mexicanus</i>.</p> + +<p>TZITZILINI, <i>n</i>. A bell.</p> + +<p>TZOTZONA, <i>v</i>. To strike the drum.</p> + +<p>UALLAUH, <i>v</i>. To come. See <i>huallauh</i>.</p> + +<p>UITZ, <i>v</i>. To come.</p> + +<p>ULLI, <i>n</i>. Caoutchouc. See p. 22.</p> + +<p>XAHUA, <i>v</i>. To paint one's self, to array one's self in the ancient + manner. XXIV, 1.</p> + +<p>XAMANI, <i>v</i>. To break, to crack.</p> + +<p>XAXAMATZA, <i>v</i>. To cut in pieces, to break into bits.</p> + +<p>XAYACATL, <i>n</i>. Face, mask.</p> + +<p>XELIHUI, <i>v</i>. To divide, to distribute.</p> + +<p>XEXELOA, <i>v</i>. To divide, to distribute.</p> + +<p>XILOTL, <i>n</i>. Ear of green corn.</p> + +<p>XILOXOCHITL, <i>n</i>. The flower of maize. XVII, 10.</p> + +<p>XIMOAYAN, <i>n</i>. A place of departed souls. See I, 8.</p> + +<p>XIMOHUAYAN, <i>n</i>. Place of departed spirits. VIII, 1.</p> + +<p>XIUHTOTOTL, <i>n</i>. A bird, <i>Guiaca cerulea</i>.</p> + +<p>XIUITL, <i>n</i>. A leaf, plant; year; anything green.</p> + +<p>XOCHICALLI, <i>n</i>. A house for flowers, or adorned with them.</p> + +<p>XOCHIMECATL, <i>n</i>. A rope or garland of flowers.</p> + +<p>XOCHIMICOHUAYAN, <i>n</i>. See XVI, 3, note.</p> + +<p>XOCHITECATL, <i>n</i>. See XXV, 7, note.</p> + +<p>XOCHITL, <i>n</i>. A flower, a rose.</p> + +<p>XOCHIYAOTL, <i>n</i>. Flower-war. See XVI, 4, note.</p> + +<p>XOCOMIQUI, <i>v</i>. To intoxicate, to become drunk.</p> + +<p>XOCOYA, <i>v</i>. To grow sour. XIII, 4.</p> + +<p>XOPALEUAC, <i>n</i>. Something very green.</p> + +<p>XOPAN, <i>n</i>. The springtime.</p> + +<p>XOTLA, <i>v</i>. To blossom, to flower; to warm, to inflame; to cut, to + scratch, to saw.</p> + +<p>XOXOCTIC, <i>adj</i>. Green; blue. XVI, 6.</p> + +<p>XOYACALTITLAN, <i>n</i>. The house or place of decay. III, 1.</p> + +<p>Y., Abbrev. for <i>ihuan</i>, and <i>in</i>, q. v.</p> + +<p>YA, <i>adv</i>. Already, thus; same as <i>ye</i>; <i>v</i>., to suit, to fit. Part. + euphonic or expletive. See note to XVII, 3.</p> + +<p>YAN, <i>postpos</i>. Suffix signifying place.</p> + +<p>YANCUIC, <i>adj</i>. New, fresh, recent.</p> + +<p>YANCUICAN, <i>adv</i>. Newly, recently.</p> + +<p>YAOTL, <i>n</i>. War, battle.</p> + +<p>YAOYOTL, <i>n</i>. Warfare.</p> + +<p>YAQUI, <i>adj</i>. Departed, gone, left for a place.</p> + +<p>YAUH, <i>v., irreg</i>. To go.</p> + +<p>YE, <i>adv</i>. Already, thus; <i>ye no ceppa</i>, a second time; <i>ye ic</i>, + already, it is already.</p> + +<p>YE, <i>pron</i>. He, those, etc.</p> + +<p>YE, <i>adj. num</i>. Three.</p> + +<p>YECE, <i>adv</i>. But.</p> + +<p>YECEN, <i>adv</i>. Finally, at last.</p> + +<p>YECNEMI, <i>v</i>. To live righteously.</p> + +<p>YECOA, <i>v</i>. To do, to finish, to conclude.</p> + +<p>YECTENEHUA, <i>v</i>. To bless, to speak well of.</p> + +<p>YECTLI, <i>adj</i>. Good, worthy, noble.</p> + +<p>YEHUATL, <i>pron</i>. He, she, it. Pl. <i>yehuan, yehuantin</i>.</p> + +<p>YEHUIA, <i>v</i>. To beg, to ask charity.</p> + +<p>YEPPA YUHQUI. Formerly, it was there. VII, 2.</p> + +<p>YHUINTIA. See <i>ihuinti</i>.</p> + +<p>YOCATL, <i>n</i>. Goods, possessions; <i>noyocauh</i>, my property. XV, 26.</p> + +<p>YOCAUA, <i>n</i>. Master, possessor, owner.</p> + +<p>YOCOLIA, <i>v</i>. To form, to make.</p> + +<p>YOCOYA, <i>v</i>. To make, to invent, to create.</p> + +<p>YOHUATLI, <i>n</i>. Night, darkness.</p> + +<p>YOLAHUIA, <i>v</i>. To rejoice greatly.</p> + +<p>YOLCIAHUIA, <i>v</i>. To please one's self, to make glad.</p> + +<p>YOLCUECUECHOA, <i>v</i>. To make the heart tremble. IV, 6.</p> + +<p>YOLEHUA, <i>v</i>. To excite, to animate.</p> + +<p>YOLIHUAYAN, <i>n</i>. A place of living III, 5.</p> + +<p>YOLLO, <i>adj</i>. Adroit, skillful; also for <i>iyollo</i>, his heart.</p> + +<p>YOLLOTL, <i>v</i>. Heart, mind, soul.</p> + +<p>YOLNONOTZA, <i>v</i>. See note to I, 1.</p> + +<p>YOLPOXAHUA, <i>v</i>. To toil mentally.</p> + +<p>YUHQUI, <i>adv</i>. As, like.</p> + +<p>YUHQUIMATI, <i>v</i>. To understand, to realize.</p> + +<p> +ZACATL, <i>n</i>. Herbage, straw, hay. XXI, 5.</p> + +<p>ZACUAN, <i>n</i>. Feather of the zacuan bird; <i>fig</i>., yellow; prized.</p> + +<p>ZACUAN TOTOTL, <i>n</i>. The zacuan bird, <i>Oriolus dominicensis</i>.</p> + +<p>ZAN, <i>adv</i>. Only, but; <i>zan cuel</i>, in a short time; <i>zanen</i>, perhaps; + <i>Zan nen</i>, in vain.</p> + +<p>ZANCUEL ACHIC, <i>adv</i>. A moment, an instant; often; <i>zan ye</i>, but + again, but quickly.</p> + +<p>ZANIO, <i>pron</i>. I alone, he or it alone.</p> + +<p>ZOA, <i>v</i>. To pierce; to spread out; to open; to sew; to string + together; to put in order.</p> + +<p>ZOLIN TOTOTL, <i>n</i>. The quail.</p> + +<p>ZOMA, <i>v</i>. To become angry.</p> + +<p>ZOMALE, <i>adj</i>. For <i>comalli</i>, vase, cup. XXVI, 4.</p> + +<a name="INDEX"></a><h2>INDEX OF NAHUATL PROPER NAMES, WITH EXPLANATIONS.</h2> +<p> +ACALLAN, 105. "The place of boats," from <i>acalli</i>, boat. An ancient +province at the mouth of the Usumacinta river; but the name was +probably applied to other localities also. +</p> +<p> +ACATLAPAN, 41. A village southeast of Chalco. From <i>acatla</i>, a place +of reeds, and <i>pan</i>, in or at. +</p> +<p> +ACHALCHIUHTLANEXTIN, 46. The first chief of the Toltecs; another form +of <i>chalchiuhtonac</i>. Both names mean "the gleam of the precious +jade." Compare Torquemada, <i>Monarquia Indiana</i>. Lib. III., cap. 7; +Orozco y Berra, <i>Hist. Antigua de Mexico</i>, Tom. III., p. 42. The date +of the beginning of his reign is put at A.D. 667 or 700. +</p> +<p> +ACOLHUACAN, 40, 91, 119. A compound of <i>atl</i>, water, and <i>colhuacan</i>, +(q. v.) = "Colhuacan by the water," the name of the state of which +Tetzcuco was the capital, in the valley of Mexico. +</p> +<p> +ACOLMIZTLAN, 89, from +</p> +<p> +ACOLMIZTLI, 35. A name of Nezahualcoyotl (see p. 35), also of other +warriors. +</p> +<p> +ANAHUAC, 125. From <i>atl</i>, water, <i>nahuac</i>, by, = the land by the +water. The term was applied first to the land by the lakes in the +Valley of Mexico, and later to that along both the Gulf of Mexico and +the Pacific Ocean. +</p> +<p> +ATECPAN, 77. "The royal residence by the water" (<i>atl, tecpan</i>). I do +not find this locality mentioned elsewhere. +</p> +<p> +ATLIXCO, 125. "Where the water shows its face" (<i>atl, ixtli, co</i>). A +locality southeast of Tezcuco, near the lake, so called from a large +spring. See Motolinia, <i>Historia de los Indios</i>, Trat. III, cap. 18. +</p> +<p> +ATLOYANTEPETL, 85, 89, 91. Perhaps for <i>atlauantepetl</i>, "the mountain +that rules the waters." But see note to XIII, v. 6. +</p> +<p> +ATZALAN, 114. "Amid the waters" (<i>atl, tzalan</i>). Perhaps not a proper +name; but two villages in the present State of Puebla are called +Atzala (see Orozco y Berra, <i>Geografia de las Lenguas de Mexico</i>, pp. +212, 213). +</p> +<p> +AXAXACATZIN, 43. Probably for <i>axayacatzin</i>, reverential of +<i>axayacatl</i>, the name of a species of marsh fly. It was also the name +of the sixth ruler of Mexico (flor. about 1500), and doubtless of +other distinguished persons. See Ixtlilxochitl, <i>Historia +Chichimeca</i>, cap. 51. +</p> +<p> +AZCAPOTZALCO, 50, 51. An ancient town in the valley of Mexico, once +the capital city of the Tepanecas (q. v.). The word means "place of +the ant-hills," from <i>azcaputzalli</i>. +</p> +<p> +AZTECS, 25. A Nahuatl tribe who derived their name from their +mythical ancient home, Aztlan. The derivation is obscure, but +probably is from the same radical as <i>iztac</i>, white, and, therefore, +Father Duran was right in translating Aztlan, "place of whiteness," +the reference being to the East, whence the Aztecs claim to have +come. See Duran, <i>Historia de las Indias</i>, cap. II. +</p> +<p> +CACAMATL, 94, 95. The reference appears to be to Cacamatzin (the +<i>Noble Sad One</i>, from <i>cacamaua</i>, fig. to be sad), last ruler of +Tezcuco, son and successor, in 1516, of Nezahualpilli. He was put to +death by Cortes. +</p> +<p> +CATOCIH, 89. A doubtful word, which may not be a proper name. +</p> +<p> +CHALCO, 16, 69, 95. A town and lake in the valley of Mexico. The +people were Nahuas and subject to Mexico. The word is probably +derived from <i>Challi</i>, with the postpos. <i>co</i>, meaning "at the mouth" +(of a river). See Buschmann, <i>Ueber die Aztekischen Ortsnamen</i>, s. +689, and comp. <i>Codex Ramirez</i>, p. 18. +</p> +<p> +CHIAPA, CHIAPANECA, 70, 71. The province and inhabitants of Chiapas, +in Southern Mexico. There were colonies of Nahuas in Chiapas, though +most of the natives spoke other tongues. The derivation is probably +from <i>chia</i>, a mucilaginous seed highly esteemed in Mexico. +</p> +<p> +CHICHIMECATL or CHICHIMECS, 88, 89, 91, 101. A rude hunting tribe, +speaking Nahuatl, who settled, in early times, in the valley of +Mexico. The name was said to be derived from <i>chichi</i>, a dog, on +account of their devotion to hunting (<i>Cod. Ramirez</i>). Others say it +was that of their first chieftain. +</p> +<p> +CHICOMOZTOC, 88, 89. "At the seven caves," the name of the mythical +locality from which the seven Nahuatl tribes derived their origin. +The <i>Codex Ramirez</i> explains the seven caves to mean the seven houses +or lineages (totems) of which the nation consisted. +</p> +<p> +CHILILITLI, 36. Name of a tower of sacred import. It is apparently a +compound of <i>chia</i> or <i>chielia</i>, to watch, and <i>tlilli</i>, blackness, +obscurity, hence "a night watch-tower." It was probably used for the +study of the sky at night. +</p> +<p> +CHIMALPOPOCA, 43. "The smoking shield," from <i>chimalli</i>, shield, and +<i>popoca</i>. The name of several distinguished warriors and rulers in +ancient Mexico. +</p> +<p> +CHOLULA or CHOLOLLAN, 105. Name of a celebrated ancient state and +city. From <i>choloa</i>, with the probable meaning, "place of refuge," +"place of the fugitives." +</p> +<p> +CIHUAPAN, 41. Name of a warrior, otherwise unknown. From <i>cihuatl</i>, +woman, <i>pan</i>, among, with. +</p> +<p> +COATZITEUCTLI, 89. A name compound of <i>coatzin</i>, reverential form of +<i>coatl</i>, serpent, and <i>teuctli</i>, lord. +</p> +<p> +COLHUA, A people of Nahuatl affinity, who dwelt in ancient times in +the valley of Mexico. See <i>Colhuacan</i>. +</p> +<p> +COLHUACAN, 88, 89, 91. A town in the valley of Mexico. In spite of +the arguments to the contrary, I believe the Colhua were of Nahuatl +lineage, and that the name is derived from <i>colli</i>, ancestor; +<i>colhuacan</i>, the residence of the ancestors; with this signification, +it was applied to many localities. It must be distinguished from +<i>Acolhuacan</i>. Its ikonomatic symbol was a hill bent over at the top, +from <i>coloa</i>, to bend. +</p> +<p> +COLZAZTLI, 39. Probably for Coltzatztli, one who cries out or calls +to the ancestors (<i>colli, tzatzia</i>). A chief whom I have not found +elsewhere mentioned. +</p> +<p> +CONAHUATZIN, 41. A warrior not elsewhere mentioned. By derivation it +means "noble son of the lord of the water" (<i>conetl, ahua, tzin</i>). +</p> +<p> +CUETZPALTZIN, 89. A proper name, from <i>cuetzpalli</i>, the 4th day of +the month. +</p> +<p> +CUEXTLA, 33. A province of ancient Mexico. See Torquemada, <i>Monarquia +Indiana</i>. Lib. II, caps. 53, 56. +</p> +<p> +CULTEPEC, 42. A village five leagues from Tezcuco, at the foot of the +mountains. Deriv., <i>colli</i>, ancestor, <i>tepetl</i>, mountain or town, +with post-pos. <i>c</i>; "at the town of the ancestors." +</p> +<p> +HUETLALPAN or HUETLAPALLAN, 89. The original seat of the mythical +Toltecs. The name is a compound of <i>hue</i>, old, and <i>Tlapallan</i>, q. v. +</p> +<p> +HUEXOTZINCO, 50, 83, 91, 99, 113. An independent State of ancient +Anahuac, south of Tlascala and west of Cholula. The name means "at +the little willow woods," being a diminutive from <i>huexatla</i>, place +of willows. +</p> +<p> +HUITLALOTZIN, 89. From <i>huitlallotl</i>, a species of bird, with the +reverential termination. Name of a warrior. +</p> +<p> +HUITZILAPOCHTLI, 16. Tribal god of the Mexicans of Tenochtitlan. The +name is usually derived from <i>huitzitzilin</i>, humming bird, and +<i>opochtli</i>, left (<i>Cod. Ramirez</i>, p. 22), but more correctly from +<i>huitztli</i>, the south, <i>iloa</i>, to turn, <i>opochtli</i>, the left hand, +"the left hand turned toward the south," as this god directed the +wanderings of the Mexicans southward. The humming bird was used as +the "ikonomatic" symbol of the name. +</p> +<p> +HUITZILIHUITL, 89. "Humming-bird feather." Name of an ancient ruler +of Mexico, and of other warriors. +</p> +<p> +HUITZNAHUACATL, 91. A ruler of Huexotlan (Clavigero); a member of the +Huitznahua, residents of the quarters so called in Tezcuco and +Tenochtitlan (Ixtlilxochitl, <i>Hist. Chichimeca</i>, cap. 38). +</p> +<p> +IXTLILXOCHITL, 35, 46, 89. A ruler of Acolhuacan, father of +Nezahualcoyotl. Comp. <i>ixtli</i>, face, <i>tlilxochitl</i>, the vanilla +(literally, the black flower). +</p> +<p> +IZTACCOYOTL, 89, 93. "The white wolf." Name of a warrior otherwise +unknown. +</p> +<p> +MEXICANS, 67, 83, 85, 87, 123, 125. See +</p> +<p> +MEXICO, 83, 123. Name of the town and state otherwise called +Tenochtitlan. <i>Mexitl</i> was one of the names of the national god +Huitzilopochtli, and Mexico means "the place of Mexitl," indicating +that the city was originally called from a fane of the god. +</p> +<p> +MICTLAN, 95, 117, 119. The Mexican Hades, literally, "the place of +the dead." +</p> +<p> +MONTEZUMA, 14, 41, 113. The name of the ruler of Mexico on the +arrival of Cortes. The proper form is <i>Moteuhzomatzin</i> or +<i>Motecuhzomatzin</i>, and the meaning, "he who is angry in a noble +manner." ("señor sañudo," <i>Cod. Ramirez</i>, p. 72; "qui se fache en +seigneur," Siméon, <i>Dict. de la Langue Nahuatl</i>, s. v.). +</p> +<p> +MOQUIHUIX, 33. The fourth ruler of Tlatilolco. He assumed the power +in 1441, according to some writers (Bustamente, <i>Tezcoco, en los +Ultimas Tiempos de sus Antiguos Reyes</i>, p. 269). The name probably +means "He who comes forth a freeman." See Ixtlilxochitl, <i>Historia +Chichimeca</i>, caps. 36, 51. +</p> +<p> +NACXITL TOPILTZIN, 105, 107. Nacxitl, "the four footed" (<i>nahui, +ixitl</i>), was the name of one of the gods of the merchants (Sahagun, +<i>Hist, de Nueva España</i>, Lib. I, c. 19). In the song it is applied to +Quetzalcoatl, who was also regarded as a guardian of merchants. +</p> +<p> +NAHUATL, (9, etc.). A term applied to the language otherwise known as +Aztec or Mexican. As an adjective it means "well-sounding," or, +pleasant to the ear. From this, the term <i>Nahua</i> is used collectively +for all tribes who spoke the Nahuatl tongue. <i>Nahuatl</i> also means +clever, skillful, and the derivation is probably from the root <i>na</i>, +to know. +</p> +<p> +NECAXECMITL, 46. Name of uncertain meaning of a person otherwise +unknown. +</p> +<p> +NEZAHUALCOYOTL, 35, 67, 119. Chief of the Acolhuas, and ruler in +Tezcuco from 1427 to 1472, or thereabouts. He was a distinguished +patron of the arts and a celebrated poet. See p. 35, et seq. +</p> +<p> +NEZAHUALPILLI, or NEZAHUALPIZINTLI, 14, 125. Ruler of Acolhuacan, son +of Nezahualcoyotl. His accession is dated in 1470 or 1472. +</p> +<p> +NONOHUALCO, 105, 125. Name of one of the quarters of the ancient city +of Mexico; also of a mountain west of the valley of Mexico. The +derivation is probably from <i>onoc</i>, to lie down; <i>onohua</i>, to sleep; +<i>onohuayan</i>, a settled spot, an inhabited place. The <i>co</i> is a +postposition. +</p> +<p> +NOPAL or NOPALTZIN, 46. Ruler of Acolhuacan, A. D. 1260-1263, +according to some chronologies. The name is from <i>nopalli</i>, the +cactus or opuntia. +</p> +<p> +NOPILTZIN, 67, 91. "My son," or "my lord," a term of deference +applied to superiors, from <i>pilli</i>, which means son and also lord, +like the old English <i>child</i>. Cf. <i>Topiltzin</i>. +</p> +<p> +OTOMIS, 16, 49, 58, 64, 71, 95. A nation which inhabited a portion of +the valley of Mexico and region adjacent, entirely dissimilar in +language and appearance from the Nahuas. The etymologies suggested +are unsatisfactory. +</p> +<p> +POPOCATEPETL, 46. "The smoking mountain," the name of a famous +volcano rising from the valley of Mexico. +</p> +<p> +POYAUHTECATL, 105. A volcano near Orizaba (Sahagun. <i>Hist. de Nueva +España</i>, Lib. I, cap. 21). Derived from <i>poyaua</i>, to color, to +brighten. +</p> +<p> +QUANTZINTECOMATZIN, 41. A warrior not otherwise known. The name is a +double reverential, from <i>quani</i>, eater, and <i>tecomatl</i>, vase, "The +noble eater from the royal dish." +</p> +<p> +QUAUHQUECHOLLAN, 95. A village and plain near the southern base of +Popocatepetl. It means "the place of the quechol woods," or the trees +among which quechol birds are found. See Motolinia, <i>Historia de los +Indios</i>, Trat. III, cap. 18. +</p> +<p> +QUAUHXILOTL, 89. Name of a large tree, and applied to a warrior, +ruler of Iztapallocan, whom Ixtlilxochitl, King of Tezcuco, placed at +the head of his troops in his war with Tezozomoc. See Clavigero, +<i>Storia Antica di Messico</i>, Tom. I, p. 185. +</p> +<p> +QUETZALCOATL, 32, 143, 144. See note on p. 143. +</p> +<p> +QUETZALMAMATZIN, 91. Name of a warrior, "the noble one of the +beautiful hands" (<i>quetzalli, mama</i>, pl. of <i>maitl</i>, and rev. term, +<i>tzin</i>). Perhaps the same as Quetzalmemalitzin, ruler of Teotihuacan, +mentioned by Ixtlilxochitl, <i>Historia Chichimeca</i>, cap. 35. +</p> +<p> +QUIAUHTZIN, 93. Name of a warrior, "The noble rain" (<i>quiauitl, +tziri</i>). +</p> +<p> +TENOCHTITLAN, 85. The current name for the City of Mexico; literally, +"at the stone-nopal," from <i>tetl</i>, stone, <i>nochtli</i>, nopal, and +postpos., <i>tlan</i>. The term refers to an ancient tradition. +</p> +<p> +TEPANECAS or TECPANECAS, 35. A powerful nation of Nahuatl lineage, +who dwelt in the valley of Mexico. They were destroyed in 1425 by the +Acolhuas and Mexicans, and later the state of Tlacopan was formed +from their remnants. Comp. probably from <i>tecpan</i>, a royal residence, +with the gentile termination. +</p> +<p> +TEPEYACAC, TEPEYACAN, 93. From <i>tepetl</i>, mountain, <i>yacatl</i>, nose, +point, and postpos, <i>c</i>. 1. A small mountain on which the celebrated +church of the Virgin of Guadalupe now stands. 2. A large town and +state subject to ancient Mexico, now Tepeaca in the province of +Puebla. +</p> +<p> +TETLAPAN QUETZANITZIN, 68, 69. A ruler of Tlatilolco, contemporary of +the conquest. See Note to Song VI. +</p> +<p> +TETZCOCO, now TEZCUCO, 14, 35, 36, 77. Capital city of Acolhuacan, +and residence of Nezahualcoyotl. It has been called "the Athens of +Anahuac." The derivation of the name is from a plant called +<i>tetzculli</i> (<i>Cod. Ramirez</i>). +</p> +<p> +TEZOZOMOC, TEZOZOMOCTLI, 35, 39, 67, 88, 89. A ruler of the +Tepanecas, celebrated for his warlike skill and severity. His death +is placed in the year 1427. The name, like Montezuma, is derived from +<i>zoma</i>, to be angry, in this case from the reduplicated frequentative +form, <i>zozoma</i>. +</p> +<p> +TIZATLAN, 103. "The place of white varnish" (<i>tizatl</i>), the name of +one of the four quarters of the city of Tlascala. +</p> +<p> +TLACOMIHUATZIN, 93. "The noble cousin of the lynx" (<i>tlacomiztli</i>, +lynx, huan, postpos., denoting affinity, <i>tzin</i>, reverential). The +name of a warrior. +</p> +<p> +TLACOPAN, now TACUBA, 135. A small state west of Mexico and subject +to it, built up on the ruins of the ancient Tepanecas. Comp. from +<i>tlacotli</i>, a slave. +</p> +<p> +TLAHUICAN, 118. A Nahuatl province south of the valley of Mexico, so +called from the cinnabar, <i>tlahuitl</i>, there obtained (Buschmann; but +the <i>Cod. Ramirez</i> gives the meaning "toward the earth," from +<i>tlalli</i> and <i>huic</i>). [*Transcriber's note: TLAHUICAN not found in +text. See Tlahuica in Vocabulary.] +</p> +<p> +TLAILOTLACAN, 140. One of the seven divisions of the city of Tezcuco +(<i>Ixtlilxochitl</i>, <i>Hist. Chichimeca</i>, cap. 38). +[*Transcriber's note: TLAILOTLACAN not found in text.] +</p> +<p> +TLAILOTLAQUI, 84. Literally, "workers in refuse," or "scavengers." +Said by M. Aubin to have been a tribe who settled in Tezcuco in the +reign of Quinantzin. The term is apparently one of contempt. +[*Transcriber's note: TLAILOTLAQUI not found on page 84 in text. See +Tlailotlaqui in Vocabulary.] +</p> +<p> +TLALMANALCO, 42. A village near the foot of the volcano Popocatepetl. +Derived from <i>tlalmanalli</i>, level ground, with postpos. <i>co</i>. +</p> +<p> +TLALNAHUACATL, 89. "Dweller on the land;" name of a warrior. +</p> +<p> +TLALOC, 45. God of rain and the waters; a famous divinity among the +ancient Mexicans. The word means "stretched on the earth," and the +idol of the god represented a man extended on his back holding a +vase. +</p> +<p> +TLAPALLAN, 105. A mythical land from which the Toltecs were fabled to +have come and to which Quetzalcoatl returned. The derivation is from +<i>tlapalli</i>, color, especially red. +</p> +<p> +TLATETOLCO, TLATILULCO, 33, 83, 85. A suburb of the ancient city of +Mexico, founded in 1338; from <i>tlatelli</i>, a mound, <i>ololoa</i>, to make +round, the sense being "an island." See Motolinia, <i>Historia de los +Indios</i>, Trat. III, cap. 7. +</p> +<p> +TLAXCALLAN, now TLASCALA, 89, 93, 103. "The place of bread," from +<i>tlaxcalli</i>, bread. Site of a warlike tribe of Nahuatl descent, east +of the valley of Mexico. +</p> +<p> +TLATZIN, 46. Chief of a town of the Chichimecs, situated on Lake +Chalco. He flourished toward the close of the 14th century. From +<i>tlatli</i>, a falcon. +</p> +<p> +TOCHIN, 89. From <i>tochtli</i>, rabbit; name of the brother of the +Tezcucan ruler Quinantzin, and of many other personages. +</p> +<p> +TOLLAN, or TULAN, 46, 105, 107. The ancient mythical capital of the +Toltecs. The common derivation from <i>tolin</i>, a rush, is erroneous. +The name is a syncopated form of <i>tonatlan</i>, "the place of the sun." +</p> +<p> +TOLTEC, properly TOLTECATL, 46, 111. An inhabitant of Tollan. The +Toltecs were a mythical people, whose civilization was supposed to +have preceded that of the Aztecs. +</p> +<p> +TOPILTZIN, 46, 105. "Our son" or "Our lord" (see Nopiltzin). The term +was especially applied to Quetzalcoatl, q. v. See Orozco y Berra, +<i>Hist. Antig. de Mexico</i>, Tom. III, p. 54. +</p> +<p> +TOTOQUILHUATLI, 41. From <i>totoquilia</i>, to act as agent or lieutenant. +Ruler of Tlacopan. The verse of the song in which this name occurs is +given in the original Nahuatl by Ixtlilxochitl, who says it was very +popular throughout New Spain. See his <i>Historia Chichimeca</i>, cap. 32. +</p> +<p> +XICALANCO, 107. A locality on the borders of the province Tabasco. +The people spoke Nahuatl. Deriv. <i>xicalli</i>, gourd or jar, and +postpos. <i>co</i>. +</p> +<p> +XICOMATZINTLAMATA, 43. Name of a warrior not otherwise known. The +compound seems to mean "skillful with angry hand" (<i>xicoa, maitl, +tlamati</i>). +</p> +<p> +XICONTECATL, 103. Name of several distinguished Tlascalan warriors, +lords of Tizatlan. See Clavigero, <i>Hist. Antica di Messico</i>, Tom. +III, pp. 38 and 40, One was a favorite of Nezahualcoyotl. See +Ixtlilxochitl, <i>Historia Chichimeca</i>, cap. 40. +</p> +<p> +XIUHTEUCTLI, 15. The god of fire, literally, "the lord of the year," +or "of the foliage." +</p> +<p> +XIUHTZAL, 46. A queen of ancient Tollan, said by Clavigero to have +ruled from A. D. 979 to 984. Other writers give the name more +correctly Xiuhtlaltzin, "Lady of the Green Fields," and place her +death in 987. (Orozco y Berra, <i>Hist. Antig. de Mexico</i>, Tom. III, p. +45.) +</p> +<p> +XOLOTL, 46. An early if not the first king of the Chichimecs. His +death occurred in 1232. +</p> +<p> +YOHUALLATONOC, 89. "Shining at night." Name of a warrior. +</p> +<p> +YOPICO, 22. A division of the ancient city of Mexico, containing a +temple of this name. The word means "the place of the tearing out of +hearts" (<i>yolltol, pi, co</i>), from the form of sacrifice there carried +out. +</p> +<p> +YOYONTZIN, 35, 40, 66, 67. A name of Nezahualcoyotl. See p. 35.</p> + +<a name="FOOTNOTES"></a><h2>FOOTNOTES.</h2> + +<p> +<a name="fn01"></a><a href="#fn01_r">[1]</a> + Diego Duran, <i>Historia de las Indias de Nueva España</i>, +Tom. I, p. 233; and compare Geronimo de Mendieta, <i>Historia +Eclesiastica Indiana</i>, Lib. II, cap. 31. +</p> + +<p> +<a name="fn02"></a><a href="#fn02_r">[2]</a> + Sahagun, <i>Historia de Nueva España</i>, Lib. VIII, cap. +26. +</p> + +<p> +<a name="fn03"></a><a href="#fn03_r">[3]</a> + Sahagun, <i>Historia de Nueva España</i>, Lib. III, cap. 8. +</p> + +<p> +<a name="fn04"></a><a href="#fn04_r">[4]</a> + <i>Cuicoyan</i>, from <i>cuica</i>, song, and the place-ending +<i>yan</i>, which is added to the impersonal form of the verb, in this +instance, <i>cuicoa</i>. Mr. Bancroft entirely misapprehends Tezozomoc's +words about these establishments, and gives an erroneous rendering of +the term. See his <i>Native Races of the Pacific Coast</i>, Vol. II, p. +290, and Tezozomoc, <i>Cronica Mexicana</i>, cap. 18. +</p> + +<p> +<a name="fn05"></a><a href="#fn05_r">[5]</a> + Juan de Torquemada, <i>Monarquia Indiana</i>, Lib. VI, cap. +43. +</p> + +<p> +<a name="fn06"></a><a href="#fn06_r">[6]</a> + Torquemada, <i>Monarquia Indiana</i>, Lib. XVII, cap. 3. +Didacus Valades, who was in Mexico about 1550, writes of the natives: +"Habent instrumenta musica permulta in quibus semulatione quadam se +exercent." <i>Rhetorica Christiana</i>, Pars. IV, cap. 24. +</p> + +<p> +<a name="fn07"></a><a href="#fn07_r">[7]</a> + Descriptions are given by Edward Mühlenpfordt, <i>Die +Republik Mexico</i>, Bd. I, pp. 250-52 (Hannover, 1844). +</p> + +<p> +<a name="fn08"></a><a href="#fn08_r">[8]</a> + Molina translates <i>piqui</i>, "crear ô plasmar Dios alguna +cosa de nuevo." <i>Vocabulario de la Lengua Mexicana</i>, s.v. +</p> + +<p> +<a name="fn09"></a><a href="#fn09_r">[9]</a> + Sahagun, <i>Historia de Nueva España</i>, Lib. X, cap. 8. +</p> + +<p> +<a name="fn10"></a> +<a href="#fn10_r">[10]</a> + Boturini, <i>Idea de una Nueva Historia General</i>, p. 97. +</p> + +<p> +<a name="fn11"></a><a href="#fn11_r">[11]</a> + Clavigero, <i>Storia antica di Messico</i>, Lib. VII, p. +175. +</p> + +<p> +<a name="fn12"></a><a href="#fn12_r">[12]</a> + Torquemada, <i>Monarquia Indiana</i>, Lib. X, cap. 34. +</p> + +<p> +<a name="fn13"></a><a href="#fn13_r">[13]</a> + Duran, <i>Hist. de la Indias de Nueva España</i>, Tom. I, p. +233. +</p> + +<p> +<a name="fn14"></a><a href="#fn14_r">[14]</a> + Tezozomoc, <i>Cronica Mexicana</i>, cap. 64. +</p> + +<p> +<a name="fn15"></a><a href="#fn15_r">[15]</a> + Ixtlilxochitl, <i>Historia Chichimeca</i>, cap. 47. +</p> + +<p> +<a name="fn16"></a><a href="#fn16_r">[16]</a> + Boturini, <i>Idea de una Nueva Historia General</i>, p. 90. +</p> + +<p> +<a name="fn17"></a><a href="#fn17_r">[17]</a> + Tezozomoc, <i>Cronica Mexicana</i>, cap. 53. +</p> + +<p> +<a name="fn18"></a><a href="#fn18_r">[18]</a> + See Sahagun, <i>Historia de Neuva España</i>, Lib. IV, chap. +17, and Tezozomoc, <i>Cronica Mexicana</i>, cap. 64. +</p> + +<p> +<a name="fn19"></a><a href="#fn19_r">[19]</a> + <i>Cuitlaxoteyotl</i>, from <i>cuitatl</i>, mierda; +<i>tecuilhuicuicatl</i>, from <i>tecuilhuaztli</i>, sello, <i>tecuilonti</i>, el que +lo haze a otro, pecando contra natura. Molina, <i>Vocabulario</i>. +</p> + +<p> +<a name="fn20"></a><a href="#fn20_r">[20]</a> + William A. Hammond, <i>The Disease of the Scythians +(morbus feminarum) and Certain Analogous Conditions</i>, in the +<i>American Journal of Neurology and Psychiatry</i>, 1882. +</p> + +<p> +<a name="fn21"></a><a href="#fn21_r">[21]</a> + <i>Cronica Mexicana</i>, cap. 2. +</p> + +<p> +<a name="fn22"></a><a href="#fn22_r">[22]</a> + On this subject the reader may consult Parades, +<i>Compendio del Arte de la Lengua Mexicana</i>, pp. 5, 6, and Sandoval, +<i>Arte de la Lengua Mexicana</i>, pp. 60, 61. Tapia Zenteno whose <i>Arte +Novissima de la Lengua Mexicana</i> was published in 1753, rejects +altogether the saltillo, and says its invention is of no use except +to make students work harder! (pp. 3, 4.) The vowels with saltillo, +he maintains, are simply to be pronounced with a slight aspiration. +Nevertheless, the late writers continue to employ and describe the +saltillo, as Chimalpopoca, <i>Epitome á Modo Facil de aprender el +Idioma Nahuatl</i>, p. 6. (Mexico, 1869.) +</p> + +<p> +<a name="fn23"></a><a href="#fn23_r">[23]</a> + <i>Arte Novissima de la Lengua Mexicana</i>, pp. 3, 4. +</p> + +<p> +<a name="fn24"></a><a href="#fn24_r">[24]</a> + Duran, <i>Historia de Nueva España</i>, Tom. I, p. 230. +</p> + +<p> +<a name="fn25"></a><a href="#fn25_r">[25]</a> + The singer who began the song was called <i>cuicaito</i>, +"the speaker of the song." +</p> + +<p> +<a name="fn26"></a><a href="#fn26_r">[26]</a> + The most satisfactory description of these concerts is +that given by Geronimo de Mendieta, <i>Historia Eclesiastica Indiana</i>, +Lib. II, cap. 31. I have taken some particulars from Boturini and +Sahagun. +</p> + +<p> +<a name="fn27"></a><a href="#fn27_r">[27]</a> + Literally, "the broken drum," from <i>tlapana</i>, to break, +as they say <i>tlapanhuimetzli</i>, half moon. It is described by +Tezozomoc as "un atambor bajo." <i>Cronica Mexicana</i>, cap. 53. +</p> + +<p> +<a name="fn28"></a><a href="#fn28_r">[28]</a> + From <i>yollotl</i>, heart, and <i>pi</i>, to tear out. The +instrument is mentioned by Tezozomoc, <i>Cronica Mexicana</i>, cap. 48. On +the Yopico, and its ceremonies, see Sahagun, <i>Historia de Nueva +España</i>, Lib. II, cap. 1, and Appendix. +</p> + +<p> +<a name="fn29"></a><a href="#fn29_r">[29]</a> + Simeon, however, thinks the name arose from the growing +and swelling of the sound of the instrument (notes to Jourdanet's +translation of Sahagun, p. 28). Mr. H.H. Bancroft gives the +astonishing translation of teponaztli, "wing of stone vapor!" +(<i>Native Races of the Pacific States</i>, Vol. II, p. 293.) Brasseur +traced the word to a Maya-Quiche root, <i>tep</i>. In both Nahuatl and +Maya this syllable is the radicle of various words meaning to +increase, enlarge, to grow strong or great, etc. +</p> + +<p> +<a name="fn30"></a> +<a href="#fn30_r">[30]</a> + +Sahagun, <i>Hist. de Nueva España</i>, Lib. II, cap. 27. +</p> + +<p> +<a name="fn31"></a><a href="#fn31_r">[31]</a> + See <i>The Güegüence, a Comedy ballet in the Nahuatl +Spanish dialect of Nicaragua</i>, Introd., p. 29. (Philadelphia, 1883.) +</p> + +<p> +<a name="fn32"></a><a href="#fn32_r">[32]</a> + Theodor Baker, <i>Ueber die Musik der Nord-Amerikanischen +Wilden.</i>, pp. 51-53. (Leipzig, 1882.) +</p> + +<p> +<a name="fn33"></a><a href="#fn33_r">[33]</a> + <i>Omitl</i>, bone, <i>chicahuac</i>, strong. A specimen made of +the bone of a fossil elephant is possessed by Señor A. Chavero, of +Mexico. See Tezozomoc, <i>Cronica Mexicana</i>, cap. 55, and the note of +Orozco y Berra to that passage in the Mexican edition. Also Sahagun, +<i>Hist. de Nueva España</i>, Lib. VIII, cap. 20, who likewise describes +most of the instruments referred to in this section. +</p> + +<p> +<a name="fn34"></a><a href="#fn34_r">[34]</a> + H.T. Cresson, <i>On Aztec Music</i>, in the <i>Proceedings of +the Academy of Natural Sciences, Philadelphia</i>, 1883. +</p> + +<p> +<a name="fn35"></a><a href="#fn35_r">[35]</a> + Sahagun, <i>Historia de Nueva España</i>, Lib. II, +Appendice. +</p> + +<p> +<a name="fn36"></a><a href="#fn36_r">[36]</a> + Duran, <i>Historia de las Indias de Nueva España</i>, Tom. +I, p. 233. +</p> + +<p> +<a name="fn37"></a><a href="#fn37_r">[37]</a> + Boturini, <i>Idea de una Nueva Historia General</i>, +Appendice, p. 95. +</p> + +<p> +<a name="fn38"></a><a href="#fn38_r">[38]</a> + Echevarria, <i>Historia del Origen de las Gentes de Nueva +España</i>, Discurso Preliminar. +</p> + +<p> +<a name="fn39"></a><a href="#fn39_r">[39]</a> + Clavigero, <i>Storia Antica di Messico</i>, Lib. VII, p. +175. +</p> + +<p> +<a name="fn40"></a><a href="#fn40_r">[40]</a> + "Ihre Sprachen sind überreich an doppelsinnigen +Ausdrücken die sie absichtlich anwenden um ihre Gedanken zu +verbergen. Geistliche haben mir versichert, dass sie obgleich der +Aztekischen Sprache vollständig mächtig, oft den wahren Sinn einer +Beichte nicht zu verstehen vermochten, weil die Beichtende sich in +räthselhafter und metaphorreicher Weise auszudrücken pflegten." +Carlos von Gagern, <i>Charakteristik der Indianischen Bevölkerung +Mexico's</i>, p. 17 (in the <i>Mit. der Geog. Gesell.</i>, Wien. 1837). +</p> + +<p> +<a name="fn41"></a><a href="#fn41_r">[41]</a> + Carochi's translations are not quite literal. The +following notes will explain the compounds:—</p> +<p>1. <i>Tlauitl</i>, red ochre, <i>quecholli</i>, a bird so called, <i>aztatl</i>, a +heron, <i>ehualtia</i>, reverential of <i>ehua</i>, to rise up; hence, "It (or +he) shone like a noble red-winged heron rising in flight."</p> +<p>2. <i>Ayauitl</i>, mist; <i>coçamalotl</i>, rainbow; <i>tonameyotl</i>, shining, +brightness; <i>ti</i>, connective; <i>mani</i>, substantive verb. "The +brightness of the rain bow is there." There is no conjunction "and"; +Father Carochi seems to have carelessly taken <i>ayauh</i>, which is the +form of <i>ayauitl</i> in composition, for the conjunction <i>auh</i>, and. +Each of the lines given is a detached fragment, without connection +with the others.</p> +<p>3. <i>xiuitl</i>, something blue or green; <i>coyolli</i>, bells; +<i>tzitzilicaliztli</i>, tinkling. "The golden drum's +turquoise-bell-tinkling."</p> +<p>4. <i>xiuhtic</i>, blue or green; <i>tlapalli</i>, red; <i>cuiloa</i>, to paint or +write; <i>amoxtli</i>, book; <i>manca</i>, imperf. of <i>mani</i>. "There was a book +painted in red and green." 5. <i>chalchiuhuitl</i>, the jade; <i>cozcatl</i>, +a jewel; <i>mecatl</i>, a string; <i>totoma</i>, frequentative of <i>toma</i>, to +unfold, unwind. "I unwind my song like a string of precious jewels." +</p> + +<p> +<a name="fn42"></a><a href="#fn42_r">[42]</a> + See above, page 10 +</p> + +<p> +<a name="fn43"></a><a href="#fn43_r">[43]</a> + <i>On the Ikonomatic Method of Phonetic Writing, with +special reference to American Archeology</i>. By D. G. Brinton, in +Proceedings of the American Philosophical Society, for October, +1886. +</p> + +<p> +<a name="fn44"></a><a href="#fn44_r">[44]</a> + This fact is mentioned by Lord Kingsborough in his +great work on Mexico, Vol. VI, p. 533. +</p> + +<p> +<a name="fn45"></a><a href="#fn45_r">[45]</a> + It is described in the <i>Anales del Museo Nacional</i>, +Tom. III, p. 262. +</p> + +<p> +<a name="fn46"></a><a href="#fn46_r">[46]</a> + Echevarria's words are "los pongo en su idioma." <i>Hist. +del Origen de las Gentes que poblaron la Nueva España, Discurso +Preliminar</i>, in Kingsborough's <i>Mexico</i>, Vol. VIII. +</p> + +<p> +<a name="fn47"></a><a href="#fn47_r">[47]</a> + See his <i>Tezcuco en los Ultimas Tiempos de sus Antiguos +Reyes</i>. Parte IV (Mexico, 1826). +</p> + +<p> +<a name="fn48"></a><a href="#fn48_r">[48]</a> + See the description of this fragment of Boturini by +Señor Alfredo Chavero in the <i>Anales del Museo Nacional</i>, Tom. III, +p. 242. +</p> + +<p> +<a name="fn49"></a><a href="#fn49_r">[49]</a> + M. Aubin, <i>Notice sur une Collection d'Antiquités +Mexicaines</i>, pp. 8, 9. (Paris, 1851.) +</p> + +<p> +<a name="fn50"></a><a href="#fn50_r">[50]</a> + Printed very incorrectly in Lord Kingsborough's edition +of Ixtlilxochitl's <i>Relaciones Historicas</i> (Rel. X, Kingsborough, +<i>Antiquities of Mexico</i>, Vol. IX, p. 454). +</p> + +<p> +<a name="fn51"></a><a href="#fn51_r">[51]</a> + See Sahagun, <i>Historia de Nueva España</i>, Lib. II, +Appendix. +</p> + +<p> +<a name="fn52"></a><a href="#fn52_r">[52]</a> + Bustamente puts the number of the songs of +Nezahualcoyotl at eighty, of which he could find only one extant, and +this, as I understand his words, in Spanish only. See his <i>Tezcuco en +los Tiempos de sus Antiguous Reyes</i>, p. 253 (Mexico, 1826). When +Alexander von Humboldt visited Mexico he sought in vain for any +fragment of the songs of the royal bard. <i>Vues lies Cordillères</i>, +etc., Tom. II, p. 391. +</p> + +<p> +<a name="fn53"></a><a href="#fn53_r">[53]</a> + <i>Tardes Americanas</i>, pp. 90-94. (Mexico, 1778.) +</p> + +<p> +<a name="fn54"></a><a href="#fn54_r">[54]</a> + Torquemada, <i>Monarquia Indiana</i>, Lib. II, cap. 45. The +word <i>huehuetitlan</i>, seems to be a misprint for <i>ahuehuetitlan</i>, from +<i>ahuehuetl</i>, with the ligature <i>ti</i>, and the postposition <i>tlan</i>, +literally "among the cypresses." +</p> + +<p> +<a name="fn55"></a><a href="#fn55_r">[55]</a> + <i>Op. cit.</i>Tom. I, p. 795. +</p> + +<p> +<a name="fn56"></a><a href="#fn56_r">[56]</a> + <i>Grammatica del Idioma Mexicano</i>, p. 180. (Mexico, +1880.) +</p> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's Ancient Nahuatl Poetry, by Daniel G. 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For +example an eBook of filename 10234 would be found at: + + https://www.gutenberg.org/1/0/2/3/10234 + +or filename 24689 would be found at: + https://www.gutenberg.org/2/4/6/8/24689 + +An alternative method of locating eBooks: + https://www.gutenberg.org/GUTINDEX.ALL + + + + +</pre> + +</body> +</html> + diff --git a/old/12219.txt b/old/12219.txt new file mode 100644 index 0000000..067293c --- /dev/null +++ b/old/12219.txt @@ -0,0 +1,6254 @@ +The Project Gutenberg EBook of Ancient Nahuatl Poetry, by Daniel G. Brinton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Ancient Nahuatl Poetry + Brinton's Library of Aboriginal American Literature Number VII. + +Author: Daniel G. Brinton + +Release Date: April 30, 2004 [EBook #12219] + +Language: (English and Nahuatl) + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK ANCIENT NAHUATL POETRY *** + + + + +Produced by David Starner, GF Untermeyer and the Online Distributed +Proofreading Team + + + + + +[* Transcriber's note: The following substitutions have been made for +diacritical marks in the original text which are not available at DP: + +For vowels with a breve: [)a], [)e], [)i], [)o], [)u]. + +For vowels with a macron: [=a], [=e], [=i], [=o], [=u]. *] + + + + +ANCIENT NAHUATL POETRY, + +CONTAINING THE NAHUATL TEXT OF XXVII ANCIENT MEXICAN POEMS. + + + +BRITON'S LIBRARY OF ABORIGINAL AMERICAN LITERATURE, + +NUMBER VII. + + + +WITH A TRANSLATION, INTRODUCTION, NOTES AND VOCABULARY. + + + +BY + +DANIEL G. BRINTON + + + +1890 + + + + +PREFACE. + + +It is with some hesitation that I offer this volume to the scientific +public. The text of the ancient songs which it contains offers +extreme and peculiar difficulties to the translator, and I have been +obliged to pursue the task without assistance of any kind. Not a line +of them has ever before been rendered into an European tongue, and my +endeavors to obtain aid from some of the Nahuatl scholars of Mexico +have, for various reasons, proved ineffectual. I am therefore alone +responsible for errors and misunderstandings. + +Nevertheless, I have felt that these monuments of ancient native +literature are so interesting in themselves, and so worthy of +publication, that they should be placed at the disposition of +scholars in their original form with the best rendering that I could +give them at present, rather than to await the uncertain event of +years for a better. + +The text itself may be improved by comparison with the original MS. +and with the copy previously made by the Licentiate Chimalpopoca, +referred to on page 48. My own efforts in this direction have been +confined to a faithful reproduction in print of the MS. copy of the +Abbe Brasseur de Bourbourg. + +The Notes, which might easily have been extended, I have confined +within moderate compass, so as not to enlarge unduly the bulk of the +volume. + +To some, the Vocabulary may seem inadequate. I assume that those +persons who wish to make a critical study of the original text will +provide themselves with the Nahuatl Dictionaries of Molina or Simeon, +both of which are now easily obtainable, thanks to Mr. Julius +Platzmann for the reprint of Molina. I also assume that such students +will acquaint themselves with the rules of grammar and laws of +word-building of the tongue, and that they will use the vocabulary +merely as a labor-saving means of reaching the themes of compounds +and unusual forms of words. Employed in this manner, it will, I hope, +be found adequate. + +In conclusion, I would mention that there is a large body of Nahuatl +literature yet unpublished, both prose and poetry, modern and +ancient, and as the Nahuatl tongue is one of the most highly +developed on the American continent, it is greatly to be desired that +all this material should be at the command of students. The Nahuatl, +moreover, is not a difficult tongue; for an Englishman or a +Frenchman, I should say it is easier to acquire than German, its +grammar being simple and regular, and its sounds soft and sonorous. +It has special recommendations, therefore, to one who would acquaint +himself with an American language. + + + + +CONTENTS. + + + + PREFACE + + INTRODUCTION + + Sec. 1. THE NATIONAL LOVE OF POETRY + Sec. 2. THE POET AND HIS WORK + Sec. 3. THE THEMES AND CLASSES OF THE SONGS + Sec. 4. PROSODY OF THE SONGS + Sec. 5. THE VOCAL DELIVERY OF THE SONGS + Sec. 6. THE INSTRUMENTAL ACCOMPANIMENT + Sec. 7. THE POETIC DIALECT + Sec. 8. THE PRESERVATION OF THE ANCIENT SONGS + Sec. 9. THE LX SONGS OF THE KING NEZAHUALCOYOTL + Sec. 10. THE HISTORY OF THE PRESENT COLLECTION + + ANCIENT NAHUATL POEMS: + + I. SONG AT THE BEGINNING + II. A SPRING SONG, AN OTOMI SONG, A PLAIN SONG + III. ANOTHER PLAIN SONG + IV. AN OTOMI SONG OF THE MEXICANS + V. ANOTHER PLAIN SONG OF THE MEXICANS + VI. ANOTHER CHALCO-SONG, A POEM OF TETLAPAN QUETZANITZIN + VII. ANOTHER + VIII. COMPOSED BY A CERTAIN RULER IN MEMORY OF FORMER RULERS + IX. AN OTOMI SONG OF SADNESS + X. A SPRING SONG OF THE MEXICANS + XI. ANOTHER + XII. A SPRING SONG, A SONG OF EXHORTATION, + BECAUSE CERTAIN ONES DID NOT GO TO WAR + XIII. A SONG OF HUEXOTZINCO + XIV. A CHRISTIAN SONG + XV. THE REIGN OF TEZOZOMOCTLI + XVI. A SONG URGING TO WAR + XVII. A FLOWER SONG +XVIII. A SONG OF TOLLAN + XIX. A CHRISTIAN SONG + XX. A SONG LAMENTING THE TOLTECS + XXI. A SONG OF THE HUEXOTZINCOS, + COMING TO ASK AID OF MONTEZUMA AGAINST TLAXCALLA + XXII. A FLOWER SONG +XXIII. A SONG OF THE PRINCE NEZAHUALCOYOTL + XXIV. ANOTHER + XXV. A SONG OF LAMENTATION + XXVI. A SONG RELATING TO THE LORD NEZAHUALPILLI +XXVII. A CHRISTIAN SONG + + NOTES + + VOCABULARY + + INDEX OF NAHUATL PROPER NAMES, WITH EXPLANATIONS + + FOOTNOTES + + + + +ANCIENT NAHUATL POETRY. + + + + +INTRODUCTION. + + +Sec. 1. _THE NATIONAL LOVE OF POETRY._ + +The passionate love with which the Nahuas cultivated song, music and +the dance is a subject of frequent comment by the historians of +Mexico. These arts are invariably mentioned as prominent features of +the aboriginal civilization; no public ceremony was complete without +them; they were indispensable in the religious services held in the +temples; through their assistance the sacred and historical +traditions were preserved; and the entertainments of individuals +received their chief lustre and charm from their association with +these arts. + +The profession of the poet stood in highest honor. It was the custom +before the Conquest for every town, every ruler and every person of +importance to maintain a company of singers and dancers, paying them +fixed salaries, and the early writer, Duran, tells us that this +custom continued in his own time, long after the Conquest. He +sensibly adds, that he can see nothing improper in it, although it +was condemned by some of the Spaniards.[1] In the training of these +artists their patrons took a deep personal interest, and were not at +all tolerant of neglected duties. We are told that the chief selected +the song which was to be sung, and the tune by which it was to be +accompanied; and did any one of the choir sing falsely, a drummer +beat out of time, or a dancer strike an incorrect attitude, the +unfortunate artist was instantly called forth, placed in bonds and +summarily executed the next morning![2] + +With critics of such severity to please, no wonder that it was +necessary to begin the training early, and to set apart for it +definite places and regular teachers. Therefore it was one of the +established duties of the teachers in the calmecac or public school, +"to teach the pupils all the verses of the sacred songs which were +written in characters in their books."[3] There were also special +schools, called _cuicoyan_, singing places, where both sexes were +taught to sing the popular songs and to dance to the sound of the +drums.[4] In the public ceremonies it was no uncommon occurrence for +the audience to join in the song and dance until sometimes many +thousands would thus be seized with the contagion of the rhythmical +motion, and pass hours intoxicated (to use a favorite expression of +the Nahuatl poets) with the cadence and the movement. + +After the Conquest the Church set its face firmly against the +continuance of these amusements. Few of the priests had the liberal +views of Father Duran, already quoted; most of them were of the +opinion of Torquemada, who urges the clergy "to forbid the singing of +the ancient songs, because all of them are full of idolatrous +memories, or of diabolical and suspicious allusions of the same +character."[5] + +To take the place of the older melodies, the natives were taught the +use of the musical instruments introduced by the Spaniards, and very +soon acquired no little proficiency, so that they could perform upon +them, compose original pieces, and manufacture most of the +instruments themselves.[6] + +To this day the old love of the song and dance continues in the +Indian villages; and though the themes are changed, the forms remain +with little alteration. Travelers describe the movements as slow, and +consisting more in bending and swaying the body than in motions of +the feet; while the songs chanted either refer to some saint or +biblical character, or are erotic and pave the way to orgies.[7] + + +Sec. 2. _THE POET AND HIS WORK._ + +The Nahuatl word for a song or poem is _cuicatl_. It is derived from +the verb _cuica_, to sing, a term probably imitative or +onomatopoietic in origin, as it is also a general expression for the +twittering of birds. The singer was called _cuicani_, and is +distinguished from the composer of the song, the poet, to whom was +applied the term _cuicapicqui_, in which compound the last member, +_picqui_, corresponds strictly to the Greek _poiaetaes_, +being a derivative of _piqui_, to make, to create.[8] Sometimes he +was also called _cuicatlamantini_, "skilled in song." + +It is evident from these words, all of which belong to the ancient +language, that the distinction between the one who composed the poems +and those who sang them was well established, and that the Nahuatl +poetry was, therefore, something much above mere improvisation, as +some have thought. This does not alter the fact that a professed bard +usually sang songs of his own composition, as well as those obtained +from other sources. This is obvious from the songs in this +collection, many of which contain the expression _ni cuicani_, I, the +singer, which also refers to the maker of the song. + +In the classical work of Sahagun, the author describes the ancient +poet: "The worthy singer has a clear mind and a strong memory. He +composes songs himself and learns those of others, and is always +ready to impart either to the fellows of his craft. He sings with a +well-trained voice, and is careful to practice in private before he +appears before the public. The unworthy singer, on the other hand, is +ignorant and indolent. What he learns he will not communicate to +others. His voice is hoarse and untrained, and he is at once envious +and boastful."[9] + + +Sec. 3. _THE THEMES AND CLASSES OF THE SONGS._ + +From what he could learn about them some two centuries or more after +the Conquest, the antiquary Boturini classified all the ancient songs +under two general heads, the one treating mainly of historical +themes, while the other was devoted to purely fictitious, emotional +or imaginative subjects.[10] His terse classification is expanded by +the Abbe Clavigero, who states that the themes of the ancient poets +were various, some chanting the praises of the gods or petitioning +them for favors, others recalled the history of former generations, +others were didactic and inculcated correct habits of life, while +others, finally, were in lighter vein, treating of hunting, games and +love.[11] + +His remarks were probably a generalization from a chapter in +Torquemada's _Monarquia Indiana_, in which that writer states that +the songs at the sacred festivals differed in subject with the +different months and seasons. Thus, in the second month of their +calendar, at its stated festival, the people sang the greatness of +their rulers; in the seventh month all the songs were of love, of +women, or of hunting; in the eighth the chants recalled the noble +deeds of their ancestors and their divine origin; while in the ninth +month nothing was heard but verses fraught with lamentation for the +dead.[12] With less minuteness, Father Duran gives almost the same +information. He himself had often heard the songs which Montezuma of +Tenochtitlan, and Nezahualpizintli of Tezcuco, had ordered to be +composed in their own honor, describing their noble lineage, their +riches, their grandeur and their victories. These songs were in his +day still sung at the public dances of the natives, and he adds, +"although they were filled with laudation of their ancient rulers, it +gave me much pleasure to hear the praises of such grandeur." There +were other poets, he observes, who lived in the temples and composed +songs exclusively in honor of the gods.[13] + +These general expressions may be supplemented by a list of terms, +specifying particular classes of songs, preserved by various writers. +These are as follows:-- + +_melahuacuicatl_: this is translated by Tezozomoc, "a straight and +true song."[14] It is a compound of _melahuac_, straight, direct, +true; and _cuicatl_, song. It was a beginning or opening song at the +festivals, and apparently derived its name from its greater +intelligibility and directness of expression. A synonym, derived from +the same root, is _tlamelauhcayotl_, which appears in the title to +some of the songs in the present collection. + +_xopancuicatl_: this term is spelled by Ixtlilxochitl, +_xompacuicatl_, and explained to mean "a song of the spring" (from +_xopan_, springtime, _cuicatl_, song). The expression seems to be +figurative, referring to the beginning or early life of things. Thus, +the prophetic songs of Nezahualcoyotl, those which he sang when he +laid the foundation of his great palace, bore this name.[15] + +_teuccuicatl_: songs of the nobles (_teuctli_, _cuicatl_). These were +also called _quauhcuicatl_, "eagle songs," the term _quauhtli_, +eagle, being applied to distinguished persons. + +_xochicuicatl_: flower-song, one singing the praises of flowers. + +_icnocuicatl_: song of destitution or compassion. + +_noteuhcuicaliztli_: "the song of my lords." This appears to be a +synonymous expression for _teuccuicatl_; it is mentioned by Boturini, +who adds that on the day sacred to the god Xiuhteuctli the king began +the song so called.[16] + +_miccacuicatl_: the song for the dead (_miqui_, to die, _cuicatl_). +In this solemn chant the singers were seated on the ground, and their +hair was twisted in plaits around their heads.[17] + +In addition to the above terms drawn from the subject or character of +the songs, there were others, of geographical origin, apparently +indicating that the song, or its tune, or its treatment was borrowed +from another locality or people. These are:-- + +_Huexotzincayotl_: a song of Huexotzinco, a Nahuatl town, situated +east of the Lake of Tezcuco. This song was sung by the king and +superior nobles at certain festivals, and, in the prescribed order of +the chants, followed a _melahuaccuicatl_.[18] + +_Chalcayotl_: a song of Chalco, on the lake of the same name. This +followed the last mentioned in order of time at the festivals. + +_Otoncuicatl_: a song of the Otomis. These were the immediate +neighbors of the Nahuas, but spoke a language radically diverse. The +songs so-called were sung fourth on the list. + +_Cuextecayotl_: a song of the country of the Cuexteca, or Cuextlan, a +northern province of Mexico. + +_Tlauancacuextecayotl_: a song of the country of the +Tlauancacuexteca. + +_Anahuacayotl_: a song of Anahuac, that is, of a country near the +water, either the valley of Mexico, or the shores of the ocean. + +Some very ancient sacred songs were referred to by Tezozomoc as +peculiar to the worship of Huitzilopochtli, and, indeed, introduced +by this potent divinity. From their names, _cuitlaxoteyotl_, and +_tecuilhuicuicatl_,[19] I judge that they referred to some of those +pederastic rites which still prevail extensively among the natives of +the pueblos of New Mexico, and which have been described by Dr. +William A. Hammond and other observers.[20] One of these songs began, + + Cuicoyan nohuan mitotia; + + In-the-place-of-song with-me they-dance. + +But the old chronicler, who doubtless knew it all by heart, gives us +no more of it.[21] + + +Sec. 4. _PROSODY OF THE SONGS._ + +The assertion is advanced by Boturini that the genuine ancient +Nahuatl poetry which has been preserved is in iambic metre, and he +refers to a song of Nezahualcoyotl in his collection to prove his +opinion. What study I have given to the prosody of the Nahuatl tongue +leads me to doubt the correctness of so sweeping a statement. The +vocalic elements of the language have certain peculiarities which +prevent its poetry from entering unencumbered into the domain of +classical prosody. + +The quantity of Nahuatl syllables is a very important element in the +pronunciation of the tongue, but their quantity is not confined, as +in Latin, to long, short, and common. The Nahuatl vowels are long, +short, intermediate, and "with stress," or as the Spanish grammarians +say, "with a jump," _con saltillo_. The last mentioned is peculiar to +this tongue. The vowel so designated is pronounced with a momentary +suspension or catching of the breath, rendering it emphatic. + +These quantities are prominent features in the formal portions of the +language, characterizing inflections and declinations. No common +means of designating them have been adopted by the grammarians, and +for my present purpose, I shall make use of the following signs:-- + + [)a] , short. + + a , intermediate. + + [=a] , long. + + a , with stress. + +The general prosodic rules are:-- + +1. In polysyllabic words in which there are no long vowels, all the +vowels are intermediate. + +2. The vowels are long in the penultimate of the plurals of the +imperatives when the preterit of the verb ends in a vowel; the _[=a]_ +of the _c[=a]n_ of the imperatives; the _[=i]_ of the _t[=i]_; of the +gerundives; the last vowel of the futures when the verb loses a vowel +to form them; the penultimates of passives in _lo_, of impersonals, +of verbals in _oni_, _illi_, _olli_ and _oca_, of verbal nouns with +the terminations _yan_ and _can_; the _[=o]_ of abstract nouns in +_otl_ in composition; and those derived from long syllables. + +3. Vowels are "with stress" when they are the finals in the plurals +of nouns and verbs, also in the perfect preterite, in possessives +ending in a, e, o, and in the penultimate of nouns ending in _tli_, +_tla_ and _tle_ when these syllables are immediately preceded by the +vowel.[22] + +The practical importance of these distinctions may be illustrated by +the following examples:-- + + _tatli_, = father. + + _t[=a]tl[)i]_, = thou drinkest. + + _t[=a]tli_, = we drink. + +It is, however, evident from this example that the quantity of +Nahuatl syllables enters too much into the strictly formal part of +the language for rules of position, such as some of those above +given, to be binding; and doubtless for this reason the eminent +grammarian Carlos de Tapia Zenteno, who was professor of the tongue +in the University of Mexico, denies that it can be reduced to +definite rules of prosody like those of the Latin.[23] + +Substituting accent for quantity, there would seem to be an iambic +character to the songs. Thus the first words of Song I, were probably +chanted:-- + +_Nino' yolno' notza' campa' nic[)u] iz' yec tli' ahui aca' xochitl'_: +etc. + +But the directions given for the drums at the beginning of Songs +XVIII, XIX, etc., do not indicate a continuance of these feet, but of +others, as in XIX:-- + +u--, u--, u--, uu--, u--, u--, u--, etc. + +Indeed, we may suppose that the metre varied with the subject and the +skill of the poet. This, in fact, is the precise statement of Father +Duran,[24] who speaks of the native poets as "giving to each song a +different tune (_sonada_), as we are accustomed in our poetry to have +the sonnet, the octava rima and the terceto." + + +Sec. 5. _THE VOCAL DELIVERY OF THE SONG._ + +Descriptions of the concerts so popular among the Nahuas have been +preserved by the older writers, and it is of the highest importance +to understand their methods in order to appreciate the songs +presented in this volume. + +These concerts were held on ceremonial occasions in the open air, in +the village squares or in the courtyards of the houses. They began in +the morning and usually continued until nightfall, occasionally far +into the night. The musicians occupied the centre of the square and +the trained singers stood or sat around them. When the sign was given +to begin, the two most skillful singers, sometimes a man and a woman, +pronounced the first syllables of the song slowly but with a sharp +emphasis;[25] then the drums began in a low tone, and gradually increased in +strength as the song proceeded; the other singers united their voices +until the whole chorus was in action, and often the bystanders, to +the numbers of thousands, would ultimately join in the words of some +familiar song, keeping time by concerted movements of the hands and +feet. + +Each verse or couplet of the song was repeated three or four times +before proceeding to the next, and those songs which were of the +slowest measure and least emotional in character were selected for +the earlier hours of the festivals. None of the songs was lengthy, +even the longest, in spite of the repetitions, rarely lasting over an +hour.[26] + +The tone in which the words were chanted is described by Clavigero, +Muehlenpfordt and other comparatively recent travelers as harsh, +strident and disagreeable to the European ear. Mendieta calls it a +"contra-bass," and states that persons gifted with such a voice +cultivated it assiduously and were in great demand. The Nahuas call +it _tozquitl_, the singing voice, and likened it to the notes of +sweet singing birds. + + +Sec. 6. _THE INSTRUMENTAL ACCOMPANIMENT._ + +The Nahuas were not acquainted with any stringed instrument. They +manufactured, however, a variety of objects from which they could +extract what seemed to them melodious sounds. The most important were +two forms of drums, the _huehuetl_ and the _teponaztli_. + +The word _huehuetl_ means something old, something ancient, and +therefore important and great. The drum so-called was a hollow +cylinder of wood, thicker than a man's body, and usually about five +palms in height. The end was covered with tanned deerskin, firmly +stretched. The sides were often elaborately carved and tastefully +painted. This drum was placed upright on a stand in front of the +player and the notes were produced by striking the parchment with the +tips of the fingers. + +A smaller variety of this instrument was called _tlapanhuehuetl_, or +the half drum, which was of the same diameter but only half the +height.[27] Still another variety was the _yopihuehuetl_, "the drum +which tears out the heart,"[28] so called either by reason of its +penetrating and powerful sound, or because it was employed at the +_Yopico_, where that form of human sacrifice was conducted. + +The _teponaztli_ was a cylindrical block of wood hollowed out below, +and on its upper surface with two longitudinal parallel grooves +running nearly from end to end, and a third in the centre at right +angles to these, something in the shape of the letter I. The two +tongues left between the grooves were struck with balls of rubber, +_ulli_, on the ends of handles or drum sticks. These instruments +varied greatly in size, some being five feet in length, and others so +small that they could conveniently be carried suspended to the neck. +The _teponaztli_ was the house instrument of the Nahuas. It was +played in the women's apartments to amuse the noble ladies, and the +war captains carried one at the side to call the attention of their +cohorts on the field of battle (Sahagun). The word is derived from +the name of the tree whose wood was selected to make the drum, and +this in turn from the verb _tepunazoa_, to swell, probably from some +peculiarity of its growth.[29] + +A much superior instrument to the teponaztli, and doubtless a +development from it, was the _tecomapiloa_, "the suspended vase" +(_tecomatl_, gourd or vase, _piloa_, to hang or suspend). It was a +solid block of wood, with a projecting ridge on its upper surface and +another opposite, on its lower aspect; to the latter one or more +gourds or vases were suspended, which increased and softened the +sound when the upper ridge was struck with the _ulli_.[30] This was +undoubtedly the origin of the _marimba_, which I have described +elsewhere.[31] + +The musical properties of these drums have been discussed by Theodor +Baker. The teponaztli, he states, could yield but two notes, and +could not have been played in accord with the huehuetl. It served as +an imperfect contra-bass.[32] + +The _omichicahuaz_, "strong bone," was constructed somewhat on the +principle of a _teponaztli_. A large and long bone was selected, as +the femur of a man or deer, and it was channeled by deep longitudinal +incisions. The projections left between the fissures were rasped with +another bone or a shell, and thus a harsh but varied sound could be +produced.[33] + +The _tetzilacatl_, the "vibrator" or "resounder," was a sheet of +copper suspended by a cord, which was struck with sticks or with the +hand. It appears to have been principally confined to the sacred +music in the temples. + +The _ayacachtli_ was a rattle formed of a jar of earthenware or a +dried gourd containing pebbles which was fastened to a handle, and +served to mark time in the songs and dances. An extension of this +simple instrument was the _ayacachicahualiztli_, "the arrangement of +rattles," which was a thin board about six feet long and a span wide, +to which were attached bells, rattles and cylindrical pieces of hard +wood. Shaking this produced a jingle-jangle, agreeable to the native +ear. The Aztec bells of copper, _tzilinilli_, are really metallic +rattles, like our sleigh bells. They are often seen in collections of +Mexican antiquities. Other names for them were _coyolliyoyotli_. and + +Various forms of flutes and fifes, made of reeds, of bone or of +pottery, were called by names derived from the word _pitzaua_, to +blow (e.g., _tlapitzalli_, _uilacapitzli_), and sometimes, as being +punctured with holes, _zozoloctli_, from _zotl_, the awl or +instrument used in perforating skins, etc. Many of those made of +earthenware have been preserved, and they appear to have been a +highly-esteemed instrument, as Sahagun mentions that the leader of +the choir of singers in the temple bore the title _tlapitzcatzin_, +"the noble flute player." + +Large conches were obtained on the seashore and framed into wind +instruments called _quiquiztli_ and _tecciztli_, whose hoarse notes +could be heard for long distances, and whistles of wood, bone and +earthenware added their shrill notes to the noise of the chanting of +the singers. The shell of the tortoise, _ayotl_, dried and suspended, +was beaten in unison with such instruments. + +Recent researches by competent musical experts conducted upon +authentic specimens of the ancient Mexican instruments have tended to +elevate our opinion of their skill in this art. Mr. H.T. Cresson, of +the Academy of Natural Sciences, Philadelphia, has critically +examined the various Aztec clay flutes, whistles, etc., which are +there preserved, and has reached the following conclusions:-- + +"I. That upon the four-holed clay flageolets the chromatic and +diatonic scales can be produced with a full octave. + +"II. That the clay whistles or pitch pipes, which may be manipulated +in quartette, will produce an octave and a fourth. + +"III. From the facts above shown, the Aztecs must have possessed a +knowledge of the scales as known to us, which has been fully tested +by comparison with the flute and organ."[34] + +This result indicates for the instrumental accompaniment a much +higher position in musical notation than has hitherto been accepted. + + +Sec. 7. _THE POETIC DIALECT._ + +All the old writers who were familiar with the native songs speak of +their extreme obscurity, and the difficulty of translating them. No +one will question the intimate acquaintance with the Nahuatl language +possessed by Father Sahagun; yet no one has expressed more strongly +than he the vagueness of the Nahuatl poetic dialect. "Our enemy on +earth," he writes, "has prepared a thick woods and a dangerous ground +full of pitfalls, wherein to devise his evil deeds and to hide +himself from attack, as do wild beasts and venomous serpents. This +woods and these pitfalls are the songs which he has inspired to be +used in his service, as praises to his honor, in the temples and +elsewhere; because they are composed with such a trick that they +proclaim only what the devil commands, and are understood only by +those to whom they are addressed. It is well known that the cavern, +woods or depths in which the devil hides himself were these chants or +psalms which he himself has composed, and which cannot be understood +in their true significance except by those who are accustomed to the +peculiar style of their language."[35] + +Not less positive are the expressions of Father Diego Duran, +contemporary of Sahagun, and himself well versed in the native +tongue. "All their songs," he observes, "were composed in such +obscure metaphors that scarcely any one can understand them unless he +give especial attention to their construction."[36] The worthy +Boturini was puzzled by those which he had collected, and writes, +"the songs are difficult to explain, because they mystify historical +facts with constant allegorizing,"[37] and Boturini's literary +executor, Don Mariano Echevarria y Veitia, who paid especial +attention to the poetic fragments he had received, says frankly: "The +fact is, that as to the songs I have not found a person who can fully +translate them, because there are many words in them whose +signification is absolutely unknown to-day, and moreover which do not +appear in the vocabularies of Molina or others."[38] + +The Abbe Clavigero speaks in somewhat more definite terms of the +poetic forms and licenses of the language. He notes that in the +fragments of the ancient verses which had been preserved until his +day there were inserted between the significant words certain +interjections and meaningless syllables, apparently to fill out the +metre. Nevertheless, he considered the language of the chants, "pure, +pleasant, brilliant, figurative and replete with allusions to the +more pleasing objects in nature, as flowers, trees, brooks, etc."[39] +It is quite evident from the above extracts that in the translation +of the ancient songs in the present volume we must be prepared for +serious difficulties, the more so as the Nahuatl language, in the +opinion of some who are the best acquainted with it, lends itself +with peculiar facility to ambiguities of expression and obscure +figures of speech.[40] Students of American ethnology are familiar +with the fact that in nearly all tribes the language of the sacred +songs differs materially from that in daily life. + +Of the older grammarians, Father Carochi alone has left us actual +specimens of the ancient poetic dialect, and his observations are +regretably brief. They occur in his chapter on the composition of +nouns and read as follows:[41]-- + +"The ancient Indians were chary in forming compounds of more than two +words, while those of to-day exceed this number, especially if they +speak of sacred things; although in their poetic dialect the ancients +were also extravagant in this respect, as the following examples +show:-- + +1. Tl[=a]uhquech[=o]llaztal[=e]hualto t[=o]natoc. + +1. It is gleaming red like the tlauhquechol bird. + +2. Ayauhcocam[=a]l[=o]t[=o]nam[=e]yotimani. + +2. And it glows like the rainbow. + +3. Xiuhcoyolizitzilica in te[=o]cuitlahu[=e]hu[=e]tl. + +3. The silver drum sounds like bells of turquoise. + +4. Xiuhtlapallacuil[=o]l[=a]moxtli manca. + +4. There was a book of annals written and painted in colors. + +5. Nic ch[=a]lchiuhcozcameca quenmach totoma in nocuic. + +5. I see my song unfolding in a thousand directions, like a string of +precious stones." + +From the specimens presented in this volume and from the above +extracts, I would assign the following peculiarities to the poetic +dialect of the Nahuatl:-- + +I. Extreme frequency and richness of metaphor. Birds, flowers, +precious stones and brilliant objects are constantly introduced in a +figurative sense, often to the point of obscuring the meaning of the +sentence. + +II. Words are compounded to a much greater extent than in ordinary +prose writing. + +III. Both words and grammatical forms unknown to the tongue of daily +life occur. These may be archaic, or manufactured capriciously by the +poet. + +IV. Vowels are inordinately lengthened and syllables reduplicated, +either for the purpose of emphasis or of meter. + +V. Meaningless interjections are inserted for metrical effect, while +others are thrown in and repeated in order to express emotion. + +VI. The rhetorical figure known as aposiopesis, where a sentence is +left unfinished and in an interjectional condition, in consequence of +some emotion of the mind, is not rare and adds to the obscurity of +the wording. + + +Sec. 8. _THE PRESERVATION OF THE ANCIENT SONGS._ + +In a passage already quoted,[42] Sahagun imparts the interesting +information that the more important songs were written down by the +Nahuas in their books, and from these taught to the youth in the +schools. A certain branch of the Mexican hieroglyphic writing was +largely phonetic, constructed on that method to which I have applied +the adjective _ikonomatic_, and by which it was quite possible to +preserve the sound as well as the sense of sentences and verses.[43] +Such attention could have been bestowed only on the sacred, royal, or +legendary chants, while the compositions of ordinary poets would only +be disseminated by oral teaching. + +By one or both of these methods there was a large body of poetic +chants the property of the Nahuatl-speaking tribes, when they were +subjugated by the Europeans. Among the intelligent missionaries who +devoted their lives to mastering the language and translating into it +the doctrines of Christianity, there were a few who felt sufficient +interest in these chants to write some of them down in the original +tongue. Conspicuous among these was the laborious Bernardino de +Sahagun, whose works are our most valued sources of information on +all that concerns the life of the ancient Nahuas. He collected a +number of their sacred hymns, translated them into Spanish, and +inserted them into the Appendix to the Second Book of his _History of +New Spain_; but this portion of his work was destroyed by order of +the Inquisition, as a note in the original MS. expressly states.[44] + +A certain number, however, were preserved in the original tongue, +and, as already noted, we find the able grammarian Horatio Carochi, +who published his Grammar of the Nahuatl in 1645, quoting lines from +some as furnishing examples of the genuine ancient forms of +word-building. He could not, therefore, have doubted their antiquity +and authenticity. + +A number of these must have come to the knowledge and were probably +in the possession of the eminent mathematician and antiquary Don +Carlos de Siguenza y Gongora, who lived in the latter half of the +same century (died 1700). It was avowedly upon the information which +he thought he gleaned from these ancient chants that he constructed +his historical theory of the missionary labors of St. Thomas in +Mexico in the first century of our era. The title of the work he +wrote upon this notion was as follows:-- + +_Fenix del Occidente San Thomas Apostol, hallado con el nombre de +Quetzalcoatl entre las cenizas de antiguas tradiciones, conservadas +en piedras, en Teoamoxtles Tultecas, y en cantares Teochichimecas y +Mexicanos."_ + +For many years this curious work, which was never printed, was +supposed to be lost; but the original MS. is extant, in the +possession of the distinguished antiquary Don Alfredo Chavero, of the +City of Mexico.[45] Unfortunately, however, the author did not insert +in his work any song in the native language nor a literal translation +of any, as I am informed by Senor Chavero, who has kindly examined +the work carefully at my request, with this inquiry in view. + +Half a century later, when Boturini was collecting his material, he +found but very few of the old poems. In the catalogue of his MSS. he +mentions (XIX, 1) some fragments of ancient songs, badly written, on +European paper, but he does not say whether in the original or +translated. The same doubt might rest on the two songs of +Nezahualcoyotl named in his Catalogue (V, 2). He does not +specifically state that they are in the original. The song of +Moquihuix, King of Tlatilulco, in which he celebrated his victory +over the Cuextla, which Boturini states in his text (p. 91) as in his +possession, is not mentioned at all in his Catalogue, and it is +uncertain whether his copy was in Nahuatl. + +His literary friend, however, Don Mariano Echevarria y Veitia, +removes the uncertainty about the two songs of Nezahualcoyotl, as he +informs us that they were in the original tongue, and adds that he +had inserted them in his History without translation.[46] I have +examined the manuscript of his work, now in the Lenox Library, New +York City, but it does not contain these texts, and evidently the +copy used by Bustamente did not.[47] + +Boturini included the translations of the two odes of Nezahualcoyotl +in a work on the Virgin of Guadelupe, only a fragment of which has +been preserved. One of the chapters in this Latin Essay is entitled +_De Indorum Poetarum Canticis sive Prosodiis_, in which he introduces +Ixtlilxochitl's translation and also a song in the original Nahuatl, +but the latter is doubtless of late date and unimportant as a really +native production.[48] + +The fragments of Boturini's library collected by M. Aubin, of Paris, +contain a number of the original ancient songs of the highest +importance, which make us regret the more that this collection has +been up to the present inaccessible to students. In his description +of these relics published in 1851, M. Aubin refers to the _Historical +Annals of the Mexican Nation_ (Sec. VIII, 10, of Boturini's Catalogue) +as containing "historical songs in a dialect so difficult that I have +not been able to translate them entirely," and adds that similar +songs are preserved in others of the ancient annals in his hands.[49] + + +Sec. 9. _THE LX SONGS OF THE KING NEZAHUALCOYOTL._ + +The most distinguished figure among the Nahuatl poets was +Nezahualcoyotl, ruler of Tezcuco. His death took place in 1472, at +the age of eighty years. His father, Ixtlilxochitl, had been deprived +of his possessions and put to death by Tezozomoc, King of the +Tepanecas, and until the death of the latter at an advanced age in +1427, Nezahualcoyotl could make but vain efforts to restore the power +of his family. Much of the time he was in extreme want, and for this +reason, and for his savage persistence in the struggle, he acquired +the name "the fasting or hungry wolf"-- _nezahualcoyotl_. Another of +his names was _Acolmiztli_, usually translated "arm of the lion," +from _aculli_, shoulder, and _miztli_, lion. + +A third was _Yoyontzin_, which is equivalent to _cevetor nobilis_, +from _yoyoma_ (_cevere_, i.e., _femora movere in re venered_); it is +to be understood figuratively as indicating the height of the +masculine forces. + +When his power became assured, he proved himself a liberal and +enlightened patron of the arts and industries. The poetry and music +of his native land attracted him the more as he felt within himself +the moving god, firing his imagination with poetic vision, the _Deus +in nobis, calescimus, agitant'illo_. Not only did he diligently seek +out and royally entertain skilled bards, but he himself had the +credit of composing sixty chants, and it appears that after the +Conquest there were that many written down in Roman characters and +attributed to him. We need not inquire too closely whether they were +strictly his own composition. Perhaps they were framed on themes +which he furnished, or were selected by him from those sung at his +court by various bards. The history of the works by royal authors +everywhere must not be too minutely scanned if we wish to leave them +their reputation for originality. + +He was of a philosophic as well as a poetic temperament, and +reflected deeply on the problems of life and nature. Following the +inherent tendency of the enlightened intellect to seek unity in +diversity, the One in the Many, he reached the conclusion to which so +many thinkers in all ages and of all races have been driven, that +underlying all phenomena is one primal and adequate Cause, the +Essence of all Existence. This conclusion he expressed in a +philosophic apothegm which was preserved by his disciples, in these +words:-- + +_Ipan in chicunauitlamanpan meztica in tloque nahuaque palne nohuani +teyocoyani icel teotl oquiyocox in ixquex quexquex in ittoni ihuan +amo ittoni._ + +"In the ninth series is the Cause of All, of us and of all created +things, the one only God who created all things both visible and +invisible."[50] + +To perpetuate the memory of this philosophic deduction he caused to +be constructed at Tezcuco a stone tower nine stories in height, the +ruins of which were visible long after the Spanish occupation. To +this tower he gave the name Chililitli, a term of uncertain meaning, +but which we find was applied in Tenochtitlan to a building sacred to +the Nine Winds.[51] To explain the introduction of this number, I +should add that a certain school of Nahuatl priests taught that the +heaven above and the earth below were each divided into nine +concentric arcs, each leading farther and farther away from the +conditions of the present life. Hence, there were nine heavens, +abodes of the gods, and nine lower regions, abodes of the souls of +the dead. Another school taught that there were not nine but thirteen +of these stages. + +The sixty poems by Nezahualcoyotl are mentioned by various writers as +in existence after the Conquest, reduced to writing in the original +tongue, and of several of them we have translations or abstracts.[52] +Of four the translations claim to be complete, and were published +entire for the first time in the original Spanish by Lord +Kingsborough in the ninth volume of his great work on the +_Antiquities of Mexico_. Since then they have received various +renderings in prose and verse into different languages at the hands +of modern writers. + +I shall give a literal prose translation from the Spanish, numbering +the poems and their verses, for convenience of reference, in the +order in which they appear in the pages of Lord Kingsborough. + + * * * * * + +The first is one referred to, and partly translated by Ixtlilxochitl, +in his _Historia Chichimeca_ (cap. 47). He calls it a _xopancuicatl_ +(see ante, p. 15), and states that it was composed and sung on the +occasion of the banquet when the king laid the foundations of his +great palace. He gives the first words in the original as follows:-- + +_Tlaxoconcaguican ani Nezahualcoyotzin;_ + +And the translation:-- + +"Hear that which says the King Nezahualcoyotl." + +Restoring the much mutilated original to what I should think was its +proper form, the translation should read:-- + +"Listen attentively to what I, the singer, the noble Nezahualcoyotl, +say:"-- + +I. + +1. Listen with attention to the lamentations which I, the King +Nezahualcoyotl, make upon my power, speaking with myself, and +offering an example to others. + +2. O restless and striving king, when the time of thy death shall +come, thy subjects shall be destroyed and driven forth; they shall +sink into dark oblivion. Then in thy hand shall no longer be the +power and the rule, but with the Creator, the All-powerful. + +3. He who saw the palaces and court of the old King Tezozomoc, how +flourishing and powerful was his sway, may see them now dry and +withered; it seemed as if they should last forever, but all that the +world offers is illusion and deception, as everything must end and +die. + +4. Sad and strange it is to see and reflect on the prosperity and +power of the old and dying King Tezozomoc; watered with ambition and +avarice, he grew like a willow tree rising above the grass and +flowers of spring, rejoicing for a long time, until at length, +withered and decayed, the storm wind of death tore him from his +roots, and dashed him in fragments to the ground. The same fate +befell the ancient King Colzatzli, so that no memory was left of him, +nor of his lineage. + +5. In these lamentations and in this sad song, I now call to memory +and offer as an example that which takes place in the spring, and the +end which overtook King Tezozomoc; and who, seeing this, can refrain +from tears and wailing, that these various flowers and rich delights +are bouquets that pass from hand to hand and all wither and end even +in the present life! + +6. Ye sons of kings and mighty lords, ponder well and think upon that +which I tell you in these my lamentations, of what takes place in +spring and of the end which overtook King Tezozomoc; and who, seeing +this, can refrain from tears and wailing that these various flowers +and rich delights are bouquets that pass from hand to hand and all +wither and end even in the present life! + +7. Let the birds now enjoy, with melodious voices, the abundance of +the house of the flowery spring, and the butterflies sip the nectar +of its flowers. + + * * * * * + +The second song is preserved in a Spanish metrical translation only, +but which from internal evidence I should judge to be quite literal. +The words of the poem do not represent it as a composition by the +royal poet, but one which was sung before him, and addressed to him. +It admonishes him to rejoice in the present moment, as the +uncertainties of life and fate must at some time, perhaps very soon, +deprive him of their enjoyment. + +II. + +1. I wish to sing for a moment, since time and occasion are +propitious; I hope to be permitted, as my intention merits it, and I +begin my song, though it were better called a lamentation. + +2. And thou, beloved companion, enjoy the beauty of these flowers, +rejoice with me, cast out fears, for if pleasure ends with life, so +also does pain. + +3. I, singing, will touch the sonorous instrument, and thou, +rejoicing in the flowers, dance and give pleasure to God the +powerful. Let us be happy in the present, for life is transitory. + +4. Thou hast placed thy noble court in Acolhuacan, thine are its +lintels, thou hast decked them, and one may well believe that with +such grandeur thy state shall increase and grow. + +5. O prudent Yoyontzin, famous king and peerless monarch, rejoice in +the present, be happy in the springtime, for a day shall come in +which thou shall vainly seek these joys. + +6. Then thy destiny shall snatch the sceptre from thy hand, thy moon +shall wane, no longer wilt thou be strong and proud, then thy +servants shall be destitute of all things. + +7. In this sad event, the nobles of thy line, the provinces of might, +children of noble parents, lacking thee as their lord, shall taste +the bitterness of poverty. + +8. They shall call to mind how great was thy pomp, thy triumphs and +victories, and bewailing the glory and majesty of the past, their +tears will flow like seas. + +9. These thy descendants who serve thy plume and crown, when thou art +gone, will forsake Culhuacan, and as exiles will increase their woes. + +10. Little will fame have to tell of this wondrous majesty, worthy of +a thousand heralds; the nations will only remember how wisely +governed the three chieftains who held the power, + +11. At Mexico, Montezuma the famous and valorous, at Culhuacan the +fortunate Nezahualcoyotl, and at the stronghold of Acatlapan, +Totoquilhuatli. + +12. I fear no oblivion for thy just deeds, standing as thou dost in +thy place appointed by the Supreme Lord of All, who governs all +things. + +13. Therefore, O Nezahualcoyotl, rejoice in what the present offers, +crown thyself with flowers from thy gardens, hear my song and music +which aim to please thee. + +14. The pleasures and riches of this life are but loaned, their +substance is vain, their appearance illusory; and so true is this +that I ask thee for an answer to these questions: + +15. What has become of Cihuapan? Of the brave Quantzintecomatzin? Of +Conahuatzin? What of all these people? Perhaps these very words have +already passed into another life. + +16. Would that we who are now united by the ties of love and +friendship could foresee the sharp edge of death, for nothing is +certain, and the future ever brings changes. + + * * * * * + +The third is a "spring song" in which the distinguished warriors of +the king are compared to precious stones. Such jewels were believed +by the Nahuas to possess certain mysterious powers as charms and +amulets, a belief, it is needless to say, found among almost all +nations. In verse 18 there is a reference to the superstition that at +dawn, when these jewels are exposed to the first rays of the sun, +they emit a fine vapor which wafts abroad their subtle potency. The +poem is in Spanish verse, and the original is said to have been +written down by Don Fernando de Avila, governor of Tlalmanalco, from +the mouth of Don Juan de Aguilar, governor of Cultepec, a direct +descendant of Nezahualcoyotl. + +III. + +1. The flowery spring has its house, its court, its palace, adorned +with riches, with goods in abundance. + +2. With discreet art they are arranged and placed, rich feathers, +precious stones, surpassing in luster the sun. + +3. There is the valued carbuncle, which from its beauteous center +darts forth rays which are the lights of knowledge. + +4. There is the prized diamond, sign of strength, shooting forth its +brilliant gleams. + +5. Here one sees the translucent emerald suggesting the hope of the +rewards of merit. + +6. Next follows the topaz, equaling the emerald, for the reward it +promises is a heavenly dwelling. + +7. The amethyst, signifying the cares which a king has for his +subjects, and moderation in desires. + +8. These are what kings, princes and monarchs delight to place upon +their breasts and crowns. + +9. All these stones with their varied and singular virtues, adorn Thy +house and court, O Father, O Infinite God! + +10. These stones which I the King Nezahualcoyotl have succeeded in +uniting in loving liens, + +11. Are the famous princes, the one called Axaxacatzin, the other +Chimalpopoca, and Xicomatzintlamata. + +12. To-day, somewhat rejoiced by the joy and words of these, and of +the other lords who were with them, + +13. I feel, when alone, that my soul is pleased but for a brief time, +and that all pleasure soon passes. + +14. The presence of these daring eagles pleases me, of these lions +and tigers who affright the world, + +15. These who by their valor win everlasting renown, whose name and +whose deeds fame will perpetuate. + +16. Only to-day am I glad and look upon these rich and varied stones, +the glory of my bloody battles. + +17. To-day, noble princes, protectors of the realm, my will is to +entertain you and to praise you. + +18. It seems to me that ye answer from your souls, like the fine +vapor arising from precious stones,-- + +19. "O King Nezahualcoyotl, O royal Montezuma, your subjects sustain +themselves with your soft dews. + +20. "But at last a day shall come which will cut away this power, and +all these will be left wretched orphans. + +21. "Rejoice, mighty King, in this lofty power which the King of +Heaven has granted you, rejoice and be glad. + +22. "In the life of this world there is no beginning anew, therefore +rejoice, for all good ends. + +23. "The future promises endless changes, griefs that your subjects +will have to undergo. + +24. "Ye see before you the instruments decked with wreaths of odorous +flowers; rejoice in their fragrance. + +25. "To-day there are peace, and goodfellowship; therefore let all +join hands and rejoice in the dances, + +26. "So that for a little while princes and kings and the nobles may +have pleasure in these precious stones, + +27. "Which through his goodness the will of the King Nezahualcoyotl +has set forth for you, inviting you to-day to his house." + + * * * * * + +The fourth song has been preserved in an Otomi translation by the +Mexican antiquary Granados y Galvez[53] and in an abstract by +Torquemada.[54] The latter gives the first words as follows:-- + +_Xochitl mamani in huehuetitlan:_ + +Which he translates:-- + +"There are fresh and fragrant flowers among the groves." + +It is said to have been composed at the time the king dedicated his +palace. + +IV. + +1. The fleeting pomps of the world are like the green willow trees, +which, aspiring to permanence, are consumed by a fire, fall before +the axe, are upturned by the wind, or are scarred and saddened by +age. + +2. The grandeurs of life are like the flowers in color and in fate; +the beauty of these remains so long as their chaste buds gather and +store the rich pearls of the dawn and saving it, drop it in liquid +dew; but scarcely has the Cause of All directed upon them the full +rays of the sun, when their beauty and glory fail, and the brilliant +gay colors which decked forth their pride wither and fade. + +3. The delicious realms of flowers count their dynasties by short +periods; those which in the morning revel proudly in beauty and +strength, by evening weep for the sad destruction of their thrones, +and for the mishaps which drive them to loss, to poverty, to death +and to the grave. All things of earth have an end, and in the midst +of the most joyous lives, the breath falters, they fall, they sink +into the ground. + +4. All the earth is a grave, and nought escapes it; nothing is so +perfect that it does not fall and disappear. The rivers, brooks, +fountains and waters flow on, and never return to their joyous +beginnings; they hasten on to the vast realms of Tlaloc, and the +wider they spread between their marges the more rapidly do they mould +their own sepulchral urns. That which was yesterday is not to-day; +and let not that which is to-day trust to live to-morrow. + +5. The caverns of earth are filled with pestilential dust which once +was the bones, the flesh, the bodies of great ones who sate upon +thrones, deciding causes, ruling assemblies, governing armies, +conquering provinces, possessing treasures, tearing down temples, +flattering themselves with pride, majesty, fortune, praise and +dominion. These glories have passed like the dark smoke thrown out by +the fires of Popocatepetl, leaving no monuments but the rude skins on +which they are written. + +6. Ha! ha! Were I to introduce you into the obscure bowels of this +temple, and were to ask you which of these bones were those of the +powerful Achalchiuhtlanextin, first chief of the ancient Toltecs; of +Necaxecmitl, devout worshiper of the gods; if I inquire where is the +peerless beauty of the glorious empress Xiuhtzal, where the peaceable +Topiltzin, last monarch of the hapless land of Tulan; if I ask you +where are the sacred ashes of our first father Xolotl; those of the +bounteous Nopal; those of the generous Tlotzin; or even the still +warm cinders of my glorious and immortal, though unhappy and luckless +father Ixtlilxochitl; if I continued thus questioning about all our +august ancestors, what would you reply? The same that I reply--I know +not, I know not; for first and last are confounded in the common +clay. What was their fate shall be ours, and of all who follow us. + +7. Unconquered princes, warlike chieftains, let us seek, let us sigh +for the heaven, for there all is eternal, and nothing is corruptible. +The darkness of the sepulchre is but the strengthening couch for the +glorious sun, and the obscurity of the night but serves to reveal the +brilliancy of the stars. No one has power to alter these heavenly +lights, for they serve to display the greatness of their Creator, and +as our eyes see them now, so saw them our earliest ancestors, and so +shall see them our latest posterity. + + * * * * * + +It will be seen that the philosophy of these songs is mostly of the +Epicurean and _carpe diem_ order. The certainty of death and the +mutability of fortune, observations which press themselves upon the +mind of man everywhere, are their principal staples, and cast over +them a hue of melancholy, relieved by exhortations to enjoy to the +utmost what the present moment offers of pleasure and sensual +gratification. Here and there a gleam of a higher philosophy lights +the sombre reflections of the bard; his thoughts turn toward the +infinite Creator of this universe, and he dimly apprehends that by +making Him the subject of his contemplation, there is boundless +consolation even in this mortal life. + +Both these leading _motifs_ recur over and over again in the songs +printed in the original in the present volume, and this similarity is +a common token of the authenticity of the book. + + +Sec. 10. _THE HISTORY OF THE PRESENT COLLECTION._ + +The most recent Mexican writers formally deny that any ancient +Mexican poetry is now extant. Thus the eminent antiquary, Don Alfredo +Chavero, in his elaborate work, _Mexico a traves de los Siglos_, +says, "the truth is, we know no specimens of the ancient poetry, and +those, whether manuscript or printed, which claim to be such, date +from after the Conquest."[55] In a similar strain the grammarian +Diario Julio Caballero, writes: "There has never come into our hands +a single poetic composition in this language. It is said that the +great King Nezahualcoyotl was a poet and composed various songs; +however that may be, the fact is that we have never seen any such +compositions, nor met any person who has seen them."[56] + +It is important, therefore, to state the exact provenance of the +specimens printed in this volume, many of which I consider to have +been composed previous to the Conquest, and written down shortly +after the Nahuatl language had been reduced to the Spanish alphabet. + +All of them are from a MS. volume in the library of the University of +Mexico, entitled _Cantares de los Mexicanos y otros opusculos_, +composed of various pieces in different handwritings, which, from +their appearance and the character of the letter, were attributed by +the eminent antiquary Don Jose F. Ramirez, to the sixteenth and +seventeenth centuries. + +The copy I have used is that made by the late Abbe Brasseur (de +Bourbourg). It does not appear to be complete, but my efforts to have +it collated with the original have not been successful. Another copy +was taken by the late well-known Mexican scholar Faustino +Chimalpopoca, which was in the possession of Senor Ramirez and sold +at the vendue of his books in 1880. It is No. 511 of the catalogue. + +The final decision of the age of the poems must come from a careful +scrutiny of the internal evidence, especially the thoughts they +contain and the language in which they are expressed. In applying +these tests, it should be remembered that a song may be almost wholly +ancient, that is, composed anterior to the Conquest, and yet display +a few later allusions introduced by the person who preserved it in +writing, so as to remove from it the flavor of heathenism. Some +probable instances of this kind will be pointed out in the Notes. + +The songs are evidently from different sources and of different +epochs. There are two notes inserted in the MS. which throw some +light on the origin of a few of the poems. The first is in connection +with No. XII. In my copy of the MS, the title of this song is written +twice, and between the two the following memorandum appears in +Spanish: + +"Ancient songs of the native Otomis, which they were accustomed to +sing at their festivals and marriages, translated into the Mexican +language, the play and the spirit of the song and its figures of +speech being always retained; as Your Reverence will understand, they +displayed considerable style and beauty, better than I can express +with my slight talent; and may Your Reverence at your convenience +approve and be entertained by them, as a skilled master of the +tongue, as Your Reverence is." + +From its position and from the titles following, this note appears to +apply only to No. XII. + +The second note is prefixed to No. XIV, which has no title. It is in +Nahuatl, and reads as follows:-- + + * * * * * + + | + -+- + | + | + + I H S + +Nican ompehua in cuicatl motenehua melahuac Huexotzincayotl ic +moquichitoya in tlatoque Huexotzinca mani mecatca; yexcan inic +tlatlamantitica, teuccuicatl ahnoco quauhcuicatl, xochicuicatl, +icnocuicatl. Auh inic motzotzona huehuetl cencamatl mocauhtiuh, auh +in occencamatl ipan huetzi yetetl ti; auh in huel ic ompehua centetl +ti; auh inic mocuepa quiniquac iticpa huehuetzi y huehuetl, zan +mocemana in maitl; auh quiniquac iyeinepantla occeppa itenco +hualcholoa in huehuetl; tel yehuatl itech mottaz, ynima ynaquin +cuicani quimati iniuh motzotzona; auh yancuican yenoceppa inin +cuicatl ychan D. Diego de Leon, Governador Azcapotzalco; yehuatl +oquitzotzon in D. Frco Placido ypan xihuitl 1551, ypan in +ezcalilitzin tl Jesu Christo. + + * * * * * + +This may be freely translated as follows:-- + + * * * * * + +"Here begins a song called a plain song of Huexotzinco as it was +recited by the lords of Huexotzinco. These songs are divided into +three classes, the songs of the nobles or of the eagles, the flower +songs, and the songs of destitution. (Directions follow for beating +the drum in unison with the voices.) This song was sung at the house +of Don Diego de Leon, Governor of Azcapotzalco; he who beat the drum +was Don Francisco Placido; in the year of the resurrection of our +Lord Jesus Christ 1551." + + * * * * * + +This assigns beyond doubt the song in question to the first half of +the sixteenth century, and we may therefore take its phraseology as a +type of the Nahuatl poetry shortly after the Conquest. It is also +stated to be a native composition, and from its contents, it was +clearly composed by one of the converts to the Christian faith. + + + + +ANCIENT NAHUATL POEMS. + + +I. + +_CUICAPEUHCAYOTL._ + +I. + +_SONG AT THE BEGINNING._ + +1. Ninoyolnonotza, campa nicuiz yectli, ahuiaca xochitl:--Ac +nitlatlaniz? Manozo yehuatl nictlatlani in quetzal huitzitziltin, in +chalchiuh huitzitzicatzin; manozo ye nictlatlani in zaquan papalotl; +ca yehuantin in machiz, ommati, campa cueponi in yectli ahuiac +xochitl, tla nitlahuihuiltequi in nican acxoyatzinitzcanquauhtla, +manoze nitlahuihuiltequi in tlauhquecholxochiquauhtla; oncan +huihuitolihui ahuach tonameyotoc in oncan mocehcemelquixtia; azo +oncan niquimittaz intla onechittitique; nocuexanco nictemaz ic +niquintlapaloz in tepilhuan, ic niquimellelquixtiz in teteuctin. + +1. I am wondering where I may gather some pretty, sweet flowers. Whom +shall I ask? Suppose that I ask the brilliant humming-bird, the +emerald trembler; suppose that I ask the yellow butterfly; they will +tell me, they know, where bloom the pretty, sweet flowers, whether I +may gather them here in the laurel woods where dwell the tzinitzcan +birds, or whether I may gather them in the flowery forests where the +tlauquechol lives. There they may be plucked sparkling with dew, +there they come forth in perfection. Perhaps there I shall see them +if they have appeared; I shall place them in the folds of my garment, +and with them I shall greet the children, I shall make glad the +nobles. + +2. Tlacazo nican nemi, ye nicaqui in ixochicuicatzin yuhqui tepetl +quinnananquilia; tlacazo itlan in meyaquetzalatl, xiuhtotoameyalli, +oncan mocuica, momotla, mocuica; nananquilia in centzontlatolli; azo +quinnananquilia in coyoltototl, ayacachicahuacatimani, in nepapan +tlazocuicani totome. Oncan quiyectenehua in tlalticpaque +hueltetozcatemique. + +2. Truly as I walk along I hear the rocks as it were replying to the +sweet songs of the flowers; truly the glittering, chattering water +answers, the bird-green fountain, there it sings, it dashes forth, it +sings again; the mockingbird answers; perhaps the coyol bird answers, +and many sweet singing birds scatter their songs around like music. +They bless the earth pouring out their sweet voices. + +3. Nic itoaya, nitlaocoltzatzia; ma namechellelti y tlazohuane, niman +cactimotlalique, niman hualtato in quetzal huitzitziltin. Aquin +tictemohua, cuicanitzine? Niman niquinnanquilia niquimilhuia: Campa +catqui in yectli, ahuiac xochitl ic niquimellelquixtiz in +amohuampotzitzinhuan? Niman onechicacahuatzque ca nican +tlatimitzittitili ticuicani azo nelli ic tiquimellelquixtiz in +toquichpohuan in teteuctin. + +3. I said, I cried aloud, may I not cause you pain ye beloved ones, +who are seated to listen; may the brilliant humming-birds come soon. +Whom do we seek, O noble poet? I ask, I say: Where are the pretty, +fragrant flowers with which I may make glad you my noble compeers? +Soon they will sing to me, "Here we will make thee to see, thou +singer, truly wherewith thou shalt make glad the nobles, thy +companions." + +4. Tepeitic tonacatlalpa, xochitlalpa nechcalaquiqueo oncan on +ahuachtotonameyotimani, oncan niquittacaya in nepapan tlazoahuiac +xochitl, tlazohuelic xochitl ahuach quequentoc, +ayauhcozamalotonameyotimani, oncan nechilhuia, xixochitetequi, in +catlehuatl toconnequiz, ma mellelquiza in ticuicani, tiquinmacataciz +in tocnihuan in teteuctin in quellelquixtizque in tlalticpaque. + +4. They led me within a valley to a fertile spot, a flowery spot, +where the dew spread out in glittering splendor, where I saw various +lovely fragrant flowers, lovely odorous flowers, clothed with the +dew, scattered around in rainbow glory, there they said to me, "Pluck +the flowers, whichever thou wishest, mayest thou the singer be glad, +and give them to thy friends, to the nobles, that they may rejoice on +the earth." + +5. Auh nicnocuecuexantia in nepapan ahuiacxochitl, in huel +teyolquima, in huel tetlamachti, nic itoaya manozo aca tohuanti hual +calaquini, ma cenca miec in ticmamani; auh ca tel ye onimatico +nitlanonotztahciz imixpan in tocnihuan nican mochipa +tiqualtetequizque in tlazo nepapan ahuiac xochitl ihuan ticuiquihui +in nepapan yectliyancuicatl ic tiquimellelquixtizque in tocnihuan in +tlalticpactlaca in tepilhuan quauhtliya ocelotl. + +5. So I gathered in the folds of my garment the various fragrant +flowers, delicate scented, delicious, and I said, may some of our +people enter here, may very many of us be here; and I thought I +should go forth to announce to our friends that here all of us should +rejoice in the different lovely, odorous flowers, and that we should +cull the various sweet songs with which we might rejoice our friends +here on earth, and the nobles in their grandeur and dignity. + +6. Ca moch nicuitoya in nicuicani ic niquimicpac xochiti in tepilhuan +inic niquimapan in can in mac niquinten; niman niquehuaya yectli +yacuicatl ic netimalolo in tepilhuan ixpan in tloque in nahuaque, auh +in atley y maceuallo. + +6. So I the singer gathered all the flowers to place them upon the +nobles, to clothe them and put them in their hands; and soon I lifted +my voice in a worthy song glorifying the nobles before the face of +the Cause of All, where there is no servitude. + +7. Can quicuiz? Can quitlaz in huelic xochitl? Auh cuix nohuan aciz +aya in xochitlalpan, in tonacatlalpan, in atley y macehuallo in +nentlamati? Intla y tlacohua in tlalticpac ca can quitemacehualtica +in tloque in nahuaque, in tlalticpac; ye nican ic chocan noyollo +noconilnamiquia in ompa onitlachiato y xochitlalpana nicuicani. + +7. Where shall one pluck them? Where gather the sweet flowers? And +how shall I attain that flowery land, that fertile land, where there +is no servitude, nor affliction? If one purchases it here on earth, +it is only through submission to the Cause of All; here on earth +grief fills my soul as I recall where I the singer saw the flowery +spot. + +8. Auh nic itoaya tlacazo amo qualcan in tlalticpac ye nican, tlacazo +occecni in huilohuayan, in oncan ca in netlamachtilli; tlezannen in +tlalticpac? tlacazo occecni yoliliz ximoayan, ma ompa niauh, ma ompa +inhuan noncuicati in nepapan tlazototome, ma ompa nicnotlamachti +yectliya xochitl ahuiaca xochitl, in teyolquima, in zan tepacca, +teahuiaca yhuintia, in zan tepacca, ahuiaca yhuintia. + +8. And I said, truly there is no good spot here on earth, truly in +some other bourne there is gladness; For what good is this earth? +Truly there is another life in the hereafter. There may I go, there +the sweet birds sing, there may I learn to know those good flowers, +those sweet flowers, those delicious ones, which alone pleasurably, +sweetly intoxicate, which alone pleasurably, sweetly intoxicate. + + +II. + +_XOPANCUICATL, OTONCUICATL, TLAMELAUHCAYOTL._ + +_A SPRING SONG, AN OTOMI SONG, A PLAIN SONG._ + +1. Onihualcalac nicuicani nepapan xochitlalpan, huel +teellelquixtican, tetlamachtican, oncan ahuach tonameyoquiauhtimani, +oncan cuicuica in nepapan tlazototome, on cuicatlaza in coyoltototl +cahuantimani inin tozquitzin in quellelquixtia in tloque in nahuaque +yehuan Dios, ohuaya, ohuaya. + +1. I, the singer, have entered many flower gardens, places of +pleasaunce, favored spots, where the dew spread out its glittering +surface, where sang various lovely birds, where the coyol birds let +fall their song, and spreading far around, their voices rejoiced the +Cause of All, He who is God, ohuaya! ohuaya! + +2. Oncan nicaqui in cuicanelhuayotl in nicuicani, tlacazo amo +tlalticpac in peuh yectli yancuicatl, tlacazo ompa in ilhuicatl itic +hual caquizti in conehua in tlazocoyoltototl in quimehuilia in +nepapan teoquecholme zacuantototl, oncan tlacazo quiyectenehua in +tloque in nahuaque, ohuaya, ohuaya. + +2. It is there that I the singer hear the very essence of song; +certainly not on earth has true poesy its birth; certainly it is +within the heavens that one hears the lovely coyol bird lift its +voice, that the various quechol and zacuan birds speak together, +there they certainly praise the Cause of All, ohuaya! ohuaya! + +3. Niyolpoxahua in nicaquia ni cuicani, acoquiza in notlalnamiquilizo +quin pepetlatiquiza in ilhuicame, nelcicihuiliz ehecayotiuh in +iquinalquixtia in ompa ontlatenehua in zacuanhuitzitzil in ilhuicatl +itic, ohuaya, ohuaya. + +3. I, the singer, labor in spirit with what I heard, that it may lift +up my memory, that it may go forth to those shining heavens, that my +sighs may be borne on the wind and be permitted to enter where the +yellow humming bird chants its praises in the heavens, ohuaya! +ohuaya! + +4. Auh nohuiampa nictlachialtia in noyollo auh tlacazo nelli in amo +ixquich quehua in tlazotototl, tlacazo ye oc tlapanahuia in ilhuicatl +itic y yollo in tloque in nahuaque mochiuhtica, ca intlacamo +teuhyotiuh in notlalnamiquiliz azo huelquinalquixtica ittazo in +tlamahuizolli in ilhuicac ic papaqui in ilhuicac tlazototome ixpan in +tloque nahuaque, ohuaya, ohuaya. + +4. And as in my thoughts I gaze around, truly no such sweet bird +lifts its voice, truly the things made for the heavens by the Cause +of All surpass all others, and unless my memory tends to things +divine scarcely will it be possible to penetrate these and witness +the wondrous sights in heaven, which rejoice the sweet heavenly birds +before the face of the Cause of All. + +5. Quenin ah nichocaz in tlalticpac? ye nican onca nemoaya +ninoztlacahuia, nicitoa aco zan ye ixquich in nican in tlalticpac +ontlamian toyolia, macuele ehuatl in tloque in nahuaque, ma ompa +inhuan nimitznocuicatili in ilhuicac mochanecahuan ca noyollo ehua +ompa nontlachia in monahuac in motloc tipalnemohua, ohuaya, ohuaya. + +5. How much, alas, shall I weep on earth? Truly I have lived here in +vain illusion; I say that whatever is here on earth must end with our +lives. May I be permitted to sing to thee, the Cause of All, there in +the heaven, a dweller in thy mansion, there may my soul lift its +voice and be seen with Thee and near Thee, Thou by whom we live, +ohuaya! ohuaya! + +6. Ma xicaquin nocuic in tinocniuh xochihuehuetl inic tzotzonaya +ilhuicacuicatl in nicchuaya, ic niquimellelquixtia in teteucti, +xochicueponi in noyollo izqui xochitl nictzetzelohuaya ic malitiuh in +no cuicatzin ixpan in tloque in nahuaque, ohuaya, ohuaya. + +6. List to my song, thou my friend, and to the flower-decked drum +which kept time to the heavenly song which I sang, that I might make +glad the nobles, raining down before them the flowery thoughts of my +heart as though they were flowers, that my noble song might grow in +glory before the face of the Cause of All, ohuaya! ohuaya! + + +III. + +_OCCE AL MISMO TONO TLAMELAUHCAYOTL._ + +_ANOTHER PLAIN SONG, TO THE SAME TUNE._ + +1. Xochicalco nihualcalaquia in nicuicani, oncan icac in +chalchiuhuehuetl, oncan chialon ipalnemohuani in teteuctin xochitl +tzetzeliuhtimani, tolquatectitla, xoyacaltitlan, onahuiaxtimani in +xochicopal tlenamactli huel teyolquima, cahuia ca ihuintia in toyollo +ixpan in tloque in nahuaque. + +1. I, the singer, entered into the house strewn with flowers, where +stood upright the emerald drum, where awaiting the Giver of Life the +nobles strewed flowers around, the place where the head is bowed for +lustration, the house of corrupt odors, where the burning fragrant +incense spreads and penetrates, intoxicating our souls in the +presence of the Cause of All. + +2. Ic motoma tocuic xochiahuia ca ihuinti in toyollo? Aoc ticmati +inic nepapan xochicuicatl ic ticcecemeltia in tloque nahuaque quen +ahtontlaelehuian; tinocniuh ma nohuehuetitlan ximoquetzaya nepapan +xochitl ic ximopanaya chalchiuh ocoxochitl mocpac xicmanaya +xicehuayan yectli yancuicatl ic melelquixtia in tloque in nahuaque. + +2. Where shall we obtain the fragrance which intoxicates our souls? +We do not yet know the various flower-songs with which we may rejoice +the Cause of All, however desirous we are; thou my friend, would that +thou bring to my instrument various flowers, that thou shouldst +clothe it in brilliant oco flowers, that thou shouldst offer them, +and lift thy voice in a new and worthy song to rejoice the Cause of +All. + +3. Tleymach tiquilnamiquia can mach in nemian moyollo ic timoyol +cecenmanaya ahuicpa tichuica timoyol popoloaya in tlalticpac? Ca mach +titlatiuh xihualmocuepaya xiccaquin yectli yancuicatl ximoyolciahuaya +xochiaticaya onahuiaxtimani oncan nicehuaya in yectli yancuicatl +nicuicani ic nicellelquixtia in tloque in nahuaque. + +3. Wherefore should we recall while the soul is in life that our +souls must be scattered hither and thither, and that wherever we go +we are to be destroyed on earth? Rather let us hide it, turn from it, +and listen to some worthy new song; delight thy soul with the +pervading fragrance of flowers, as I the singer lift my voice in a +new song that I may rejoice the Cause of All. + +4. Xihuallachian tinocniuh in oncan icayan xochihuehuetl tonameyo +ontotonauhtimani quetzal ecacehuazticaya on xopaleuhtimani in oncan +ic chialo ic malhuilo inipetl in icpal in tloque in nahuaque; xic +cahuaya in mixtecomatla xihualmocuepaya tohuan, xic ehua in +yancuicatl nicuicani ic niquellelquixtia in tloque in tlaneciz inic +moyollo caltitlan. + +4. Come hither, thou my friend, to where stands the drum, decked with +flowers, gleaming with brightness, green with the outspread plumes of +the quetzal bird, where are looked for and cared for the seats near +the Cause of All; leave the place of night and clouds, turn hither +with us, lift thy voice in the new song I sing so that I may rejoice +the Cause of All, as the dawn approaches in the house of thy heart. + +5. Tlecannen in nicyocoya in nitlaocolcuica inic niquimilnamiqui in +tepilhuan, in tlazomaquiztin, in tlazoteoxiuhme, in quetzaltotome, in +moteyotico, in motleyotico in tlalticpac? in ocnoma caquizti inin +tenyo, inin cahuanca, campa neltiazque? Ca zan titlacatico ca ompa +huel tochan in canin ximoayan inocapa in yolihuayan aic tlamian. + +5. Of what use is it that I frame my sad songs, that I recall to mind +the youths, the beloved children, the precious relatives, the dear +friends, famous and celebrated as they were on earth? Who now hears +their fame, their deeds? Where can they find them? All of us are but +mortal, and our home is there in the Hereafter, where there is life +without end. + + +IV. + +_MEXICA OTONCUICATL._ + +_AN OTOMI SONG OF THE MEXICANS._ + +1. Nicchalchiuhtonameyopetlahuaya, nictzinitzcanihuicaloaya, +niquilnamiquia nelhuayocuicatla, nic zacuanhuipanaya yectli +yancuicatl nicuicani, nicchalchiuhtlazonenelo ic nichualnextia in +xochicueponallotl ic nicellelquixtia in tloque in nahuaque. + +1. I, the singer, polished my noble new song like a shining emerald, +I arranged it like the voice of the tzinitzcan bird, I called to mind +the essence of poetry, I set it in order like the chant of the zacuan +bird, I mingled it with the beauty of the emerald, that I might make +it appear like a rose bursting its bud, so that I might rejoice the +Cause of All. + +2. Zacuantlazoihuiticaya tzinitzcan tlauquechol ic nicyaimatia, +nocuicatzin teocuitlatzitzilini nocuic nitoz; miahuatototl nocuica +cahuantimania, nicehuaya xochitzetzelolpa ixpan in tloque nahuaque. + +2. I skillfully arranged my song like the lovely feathers of the +zacuan bird, the tzinitzcan and the quechol; I shall speak forth my +song like the tinkling of golden bells; my song is that which the +miaua bird pours forth around him; I lifted my voice and rained down +flowers of speech before the face of the Cause of All. + +3. Qualli cuicanelhuayotlo, teocuitlaquiquizcopa nicehuaya, ilhuicac +cuicatlo nictenquixtia, nitoz miahuatototl, chalciuhtonameyotica, +niccueponaltia yectli yancuicatlo, nicehuaya xochitlenamaquilizticaya +ic nitlaahuialia nicuicani ixpan in tloque nahuaque. + +3. In the true spirit of song I lifted my voice through a trumpet of +gold, I let fall from my lips a celestial song, I shall speak notes +precious and brilliant as those of the miaua bird, I shall cause to +blossom out a noble new song, I lifted my voice like the burning +incense of flowers, so that I the singer might cause joy before the +face of the Cause of All. + +4. Teoquecholme nechnananquilia in nicuicani coyolicahuacaya yectli +yacuicatlan, cozcapetlaticaya chachalchiuhquetzalitztonameyo +xopaleuhtimania xopan xochicuiatl onilhuica ahuiaxtimanio, +xochiahuachtitlan nihualcuicaya nicuicani. + +4. The divine quechol bird answers me as I, the singer, sing, like +the coyol bird, a noble new song, polished like a jewel, a turquoise, +a shining emerald, darting green rays, a flower song of spring, +spreading celestial fragrance, fresh with the dews of roses, thus +have I the poet sung. + +5. Nictlapalimatia nicxoxochineloaya yectli yancuicatlan +cozcapetlaticaya, etc. + +5. I colored with skill, I mingled choice roses in a noble new song, +polished like a jewel, etc. (as in v. 4). + +6. Nocontimaloaya nocontlamachtiao xochiteyolquima cuicatlan +poyomapoctli ic ye ahuian ye noyollo, nihualyolcuecuechahuaya, +nicinecuia ahuiaca, xocomiqui in noyolia, nicinecuia yectliya +xochitla netlamachtiloyan, xochi ye ihuinti noyolia. + +6. I was glorified, I was enriched, by the flower-sweet song as by +the smoke of the poyomatl, my soul was contented, I trembled in +spirit, I inhaled the sweetness, my soul was intoxicated, I inhaled +the fragrance of delicious flowers in the place of riches, my soul +was drunken with the flowers. + + +V. + +_OTRO MEXICA TLAMELAUHCACUICAYOTL._ + +_ANOTHER PLAIN SONG OF THE MEXICANS._ + +1. Zanio in xochitl tonequimilol, zanio in cuicatl ic huehuetzi in +tellel in Dios ye mochan. + +1. I alone will clothe thee with flowers, mine alone is the song +which casts down our grief before God in thy house. + +2. In mach noca ompolihuiz in cohuayotl mach noca in icniuhyotl in +ononoya in ye ichan; ye nio Yoyontzin on cuicatillano ye +ipalnemohuani. + +2. True it is that my possessions shall perish, my friendships, their +home and their house; thus I, O Yoyontzin, pour forth songs to the +Giver of Life. + +3. Ma xiuhquechol xochi, zan in tzinitzcan malintoca zan miqui huaqui +xochitl zan ic tonmoquimiloa can titlatoani ya ti Nezahualcoyotl. + +3. Let the green quechol birds, let the tzinitzcan twine flowers for +us, only dying and withered flowers, that we may clothe thee with +flowers, thou ruler, thou Nezahualcoyotl. + +4. Ma yan moyoliuh quimati in antepilhuan in anquauhtin amo celo ca +mochipan titocnihuan, zancuel achic nican timochitonyazque o ye +ichano. + +4. Ye youths and ye braves, skilled in wisdom, may you alone be our +friends, while for a moment here we shall enjoy this house. + +5. Ca ye ompolihuiz in moteyo Nopiltzin, ti Tezozomoctli aca ca ye in +mocuica? aye a nihualchocao ca nihualicnotlamatica notia ye ichan. + +5. For thy fame shall perish, Nopiltzin, and thou, Tezozomoc, where +are thy songs? No more do I cry aloud, but rest tranquil that ye have +gone to your homes. + +6. An ca nihuallaocoya onicnotlamati ayo quico, ayoc quemanian, +namech aitlaquiuh in tlalticpac y icanontia ye ichan. + +6. Ye whom I bewailed, I know nevermore, never again; I am sad here +on earth that ye have gone to your homes. + + +VI. + +_OTRO CHALCAYOTL, CANTO DE TETLEPAN QUETZANITZIN._ + +_ANOTHER CHALCO-SONG, A POEM OF TETLEPAN QUETZANITZIN._ + +1. Aua nocnihue ninentlamatia zan ninochoquilia in monahuac aya +yehuan Dios, quexquich onmitzicnotlamachtia momacehual cemamanahuac +ontonitlanililo in ic tontlahuica tontecemilhuitiltia in tlalticpac. + +1. Alas, my friend, I was afflicted, I cried aloud on thy account to +God. How much compassion hast thou for thy servant in this world sent +here by thee to be thy subject for the space of a day on this earth! + +2. Macazo tleon xoconyoyocoya ti noyollo, yehua cuix ic nepohualoyan +in oncan nemohua yehua, in atle tlahuelli in antecocolia huel on +yecnemiz in tlalticpac. + +2. However that may be, mayst thou so dispose my heart, that it may +pass through this place of reckoning, without anger, without injury, +and live a good life on earth. + +3. In quimati noyollo nichoca yehua huel eza ye nelli in titicnihuan, +huellenelli nemoa in tlalticpac in tonicniuh tlatzihuiz yehuan Dios. + +3. My heart knows how truly I weep for my friend, how truly as it +lives on earth it cries aloud for thee, my friend, to God. + +4. Xontlachayan huitztlampayan, iquizayan in tonatiuh, +ximoyollehuayan oncan manian teoatl tlachinolli, oncan mocuica in +teucyotl in tlatocayotl yectliya xochitl in amo zannen mocuia, in +quetzallalpilo niaya macquauhtica, chimaltica neicaloloyan in +tlalticpac ic momacehuaya in yectliya xochitl in tiquelehuia in +ticnequia in tinocniuh in quitemacehualtia in quitenemactia in tloque +in nahuaque. + +4. Let thy soul awake and turn toward the south, toward the rising of +the sun, rouse thy heart that it turn toward the field of battle, +there let it win power and fame, the noble flowers which it will not +grasp in vain; adorned with a frontlet of quetzal feathers I went +forth armed with sword and shield to the battlefield on earth, that I +might merit these noble flowers with which we may rejoice as we wish +our friends, as the Cause of All may reward and grant to us. + +5. Nentiquelehuia in tictemoaya in tinocniuh yectliya xochitl can +ticuiz intlacamo ximicaliya, melchiquiuhticaya, mitonalticaya +ticmacehuaya in yectliyaxochitla, yaochoquiztli ixayoticaya in +quitemacehualtica in tloque in nahuaque. + +5. Vainly, O friends, do we desire and seek where we may cull those +noble flowers unless we fight with bared breasts, with the sweat of +the brow, meriting these noble flowers, in bitter and painful war, +for which the Cause of All will give reward. + + +VII. + +_OTRO._ + +_ANOTHER._ + +1. Tleinmach oamaxque on in antocnihuan in an Chiapaneca Otomi, +omachamelelacic: in ic oamihuintiqueo octicatl in oanquique ic +oamihuintique, xicualcuican, in amo ma in anhuehuetztoqueo, +ximozcalicano in antocnihuan nipatiazque in tochano, xopantlalpan ye +nican, ma quiza in amihuintiliz, on xitlachiacano ohuican ye +anmaquia, O! + +1. What have you done, O you our friends, you Chiapanecs and Otomis, +why have you grieved, that you were drunken with the wine which you +took, that you were drunken? Come hither and sing: do not lie +stretched out; arise, O friends, let us go to our houses here in this +land of spring; come forth from your drunkenness, see in what a +difficult place you must take it. + +2. Ca yeppa yuhqui in tizaoctli in tlalticpac, quitemacao ohuican ic +tecalaquiao teoatl tlachinolli quitoao texaxamatzao teopopoloao on +canin xaxamanio in tlazochalchihiuitl, in teoxihuitl, in maquiztli +tlazotetl in tepilhuan in coninio in xochitizaoctlio cuel can in +antocnihuan in tonicahuacao. + +2. For formerly it was so on earth that the white wine was taken in +difficult places, as on entering the battlefield, or, as it was said, +where the stones were broken and destroyed, where were broken into +fragments the lovely emeralds, the turquoises, the honored precious +stones, the youths, the children; therefore take the flowery white +wine, O friends and brothers. + +3. Ma ye ticiti in xochitlalpan in tochan xochitlalticpacilhuicacpaco +in huel ic xochiamemeyallotl on ahuiaxtimani, teyolquima yoliliz +ahuach xochitl in tochan in Chiappan, oncan timalolo in teucyotl in +tlatocayotl in chimalxochitl oncuepontimani tonacatlalpan. + +3. Let us drink it in the flowery land, in our dwelling surrounded by +the flowery earth and sky, where the fountains of the flowers send +their sweetness abroad; the delicious breath of the dewy flowers is +in our homes in Chiapas; there nobility and power make them glorious, +and the war-flowers bloom over a fertile land. + +4. Quemach in amo antlacaquio in antocnihuan tohuian tohuiano +xicahuacano, in tizaoctlio teoatlachinoloctli; ma ye ticiti in ompa +tinectilo in tochan xochiahuachoctli, zan ic ahuiaca ihuinti in +toyollo, tetlamachtio teyolquimao tixochiachichinatihui +netlamachtiloyan in toquizayan xochitlalpan tonacatlalpan: tlemach +oamaxqueo? xichualcaquican in tocuic in tamocnihuan, etc. + +4. Is it possible, oh friends, that you do not hear us? Let us go, +let us go, let us pour forth the white wine, the wine of battle; let +us drink where the wine sweet as the dew of roses is set forth in our +houses, let our souls be intoxicated with its sweetness; enriched, +steeped in delight, we shall soak up the water of the flowers in the +place of riches, going forth to a land of flowers, a fertile spot. +What have you done? Come hither and listen to our songs, O friends. + + +VIII. + +_OTRO, QUEUH CE TLATOHUANI IN QUIMILNAMIQUI IN TLATOQUE._ + +_COMPOSED BY A CERTAIN RULER IN MEMORY OF FORMER RULERS._ + +1. Tlaocolxochi ixayoticaya ic nichuipana in nocuic nicuicani, +niquimilnamiqui in tepilhuan, in teintoque, in tlacotitoque in campa +in ximohuaya, in oteuctico, in otlatocatico in tlallia icpac, in +quetzalhuahuaciuhtoque in chalchiuhteintoque in tepilhuan, in maoc +imixpan in maoc oquitlani; in ye itto in tlalticpac iximachoca in +tloque in nahuaque. + +1. Weeping, I, the singer, weave my song of flowers of sadness; I +call to memory the youths, the shards, the fragments, gone to the +land of the dead; once noble and powerful here on earth, the youths +were dried up like feathers, were split into fragments like an +emerald, before the face and in the sight of those who saw them on +earth, and with the knowledge of the Cause of All. + +2. Y yo ya hue nitlaocolcuicaya in niquimilnamiqui in tepilhuan, ma +zan itla ninocuepa, ma niquimonana, ma niquinhualquixti in ompa in +ximoayan, ma oc oppa tihua in tlalticpac, ma oc quimahuizoqui in +tepilhuan in ticmahuizoa, azo huel yehuantin tlatlazomahuizozquia in +ipalnemohualoni, quemmach tomazehual in tlazaniuh ticmatican in +ticnopillahueliloque ic choca in noyollo nino tlalnamiquiliz huipana +in nicuicani choquiztica tlaocoltica nitlalnamiquia. + +2. Alas! alas! I sing in grief as I recall the children. Would that I +could turn back again; would that I could grasp their hands once +more; would that I could call them forth from the land of the dead; +would that we could bring them again on earth, that they might +rejoice and we rejoice, and that they might rejoice and delight the +Giver of Life; is it possible that we His servants should reject him +or should be ungrateful? Thus I weep in my heart as I, the singer, +review my memories, recalling things sad and grievous. + +3. Manozo zan nicmati in nechcaquizque intla itla yectli cuicatl +niquimehuili in ompa ximohuayan, ma ic niquipapacti, ma ic +niquimacotlaza inin tonez inin chichinaquiliz in tepilhuan. Cuix on +machiaz? Quennel nihualnellaquahua? Aquen manian ompa niquimontocaz? +Ano niquin nonotztaciz in ye yuh quin in tlalticpac. + +3. Would only that I knew they could hear me, there in the land of +the dead, were I to sing some worthy song. Would that I could gladden +them, that I could console the suffering and the torment of the +children. How can it be learned? Whence can I draw the inspiration? +They are not where I may follow them; neither can I reach them with +my calling as one here on earth. + + +IX. + +_OTRO TLAOCOLCUICA OTOMITL._ + +_AN OTOMI SONG OF SADNESS._ + +1. In titloque in tinahuaque nimitzontlaocolnonotzaya, nelcicihuiliz +mixpantzinco noconiyahuaya, ninentlamati in tlalticpac ye nican +nitlatematia, ninotolinia, in ayc onotechacic in pactli, in +necuiltonolli ye nican; tlezannen naicoyc amo y mochiuhyan, tlacazo +atle nican xotlacueponi in nentlamachtillia, tlacazo zan ihuian in +motloc in monahuac; Macuelehuatl ma xicmonequilti ma monahuactzinco +oc ehuiti in noyolia, ninixayohuatzaz in motloc monahuac +tipalnemohuani. + +1. To thee, the Cause of All, to thee I cried out in sadness, my +sighs rose up before thy face; I am afflicted here on earth, I +suffer, I am wretched, never has joy been my lot, never good fortune; +my labor has been of no avail, certainly nothing here lessens one's +suffering; truly only to be with thee, near thee; may it be thy will +that my soul shall rise to thee, may I pour out my tears to thee, +before thee, O thou Giver of Life. + +2. Quemachamiqueo in motimalotinemi co y in tlalticpac in ayac +contenmatio in atlamachilizneque o tlacazo can moztla cahuia on in +[)a]mitztenmati in titloque in tinahuaque inic momatio ca mochipa +tlalticpac, nemizqueo ninotlamatli motlaliao niquimittao, tlacazo +mixitl tlapatl oquiqueo ic nihualnelaquahua in ninotolinia o tlacazo +ompa in ximohuayan neittotiuh o, cazo tiquenamiqueo quiniquac ye +pachihuiz ye teyolloa. + +2. Happy are those who walk in thy favor here on earth, who never +neglect to offer up praise, nor, leaving till to-morrow, neglect +thee, thou Cause of All, that thou mayest be known in all the earth; +I know that they shall live, I see that they are established, +certainly they have drunk to forgetfulness while I am miserable, +certainly I shall go to see the land of the dead, certainly we shall +meet where all souls are contented. + +3. Ma cayac quen quichihuaya in iyollo in tlalticpac ye nican in +titlaocaxtinemi in tichocatinemia, ca zacuel achic ontlaniizoo, +tlacazo zan tontlatocatihuio in yuho otlatocatque tepilhuan, ma ic +ximixcuiti in tinocniuh in atonahuia in atihuelamati in tlalticpac o; +ma oc ye xim[)a]pana in tlaocolxochitl, choquizxochitl, xoyocatimalo +o xochielcicihuiliztlio in ihuicpa toconiyahuazon in tloque in +nahuaque. + +3. Never were any troubled in spirit on the earth who appealed to +thee, who cried to thee, only for an instant were they cast down, +truly thou caused them to rule as they ruled before: Take as an +example on earth, O friend, the fever-stricken patient; clothe +thyself in the flowers of sadness, in the flowers of weeping, give +praises in flowers of sighs that may carry you toward the Cause of +All. + +4. Ica ye ninapanao tlaocolxochicozcatlon, nomac ommanian +elcicihuilizchimalxochitlon, nic ehuaya in tlaocolcuicatloo, +nicchalchiuhcocahuicomana yectli yancuicatl, nic ahuachxochilacatzoa, +yn o chalchiuhuehueuhilhuitl, itech nictlaxilotia in nocuicatzin in +nicuicani ye niquincuilia in ilhuicac chanequeo zacuantototl, +quetzaltzinitzcantototl teoquechol inon tl[)a]toa quechol in qui +cecemeltia in tloque, etc. + +4. I array myself with the jewels of saddest flowers; in my hands are +the weeping flowers of war; I lift my voice in sad songs; I offer a +new and worthy song which is beautiful and melodious; I weave songs +fresh as the dew of flowers; on my drum decked with precious stones +and plumes I, the singer, keep time to my song, as I take it from +those dwellers in the heavens, the zacuan bird, the beautiful +tzinitzcan, the divine quechol, those melodious birds who give joy to +the Cause of All. + + +X. + +_MEXICA XOPANCUICATL TLAMELAUHCAYOTL._ + +_A SPRING SONG OF THE MEXICANS, A PLAIN SONG._ + +1. Tlaocoya in noyollo nicuicanitl nicnotlamatia, yehua za yey +xochitl y zan ye in cuicatlin, ica nitlacocoa in tlalticpac ye nican, +ma nequitocan intech cocolia intech miquitlani moch ompa onyazque +cano y ichan, ohuaya. + +1. My heart grieved, I, the singer, was afflicted, that these are the +only flowers, the only songs which I can procure here on earth; see +how they speak of sickness and of death, how all go there to their +homes, alas. + +2. I inquemanian in otonciahuic, in otontlatzihuic tocon ynayaz in +momahuizco in motenyo in tlalticpac, ma nenquitocane, ohuaya, etc. + +2. Sometimes thou hast toiled and acquired skill, thou takest refuge +in thy fame and renown on earth; but see how vain they speak, alas. + +3. Inin azan oc huelnemohuan in tlalticpac mazano ihuian yehuan Dios +quiniquac onnetemoloa in tiaque in canin ye ichan, ohuaya. + +3. As many as live on earth, truly they go to God when they descend +to the place where are their homes, alas. + +4. Hu inin titotolinia ma yuhquitimiquican ma omochiuh in mantech +onittocan in tocnihuan in matech onahuacan in quauhtin y a ocelotl. + +4. Alas, we miserable ones, may it happen when we die that we may see +our friends, that we may be with them in grandeur and strength. + +5. Mazo quiyocoli macaoc xictemachican, can antlahuicaya y caya +amechmotlatili in ipalnemohuani, ohuaya. + +5. Although He is the Creator, do not hope that the Giver of Life has +sent you and has established you. + +6. Ay ya yo xicnotlamatican Tezcacoacatl, Atecpanecatl mach nel +amihuihuinti in cozcatl in chalchihuitli, ma ye anmonecti, ma ye +antlaneltocati. + +6. Be ye grieved, ye of Tezcuco and Atecpan, that ye are intoxicated +with gems and precious stones; come forth to the light, come and +believe. + + +XI. + +_OTRO._ + +_ANOTHER._ + +1. Nicchocaehua, nicnotlamati, nicelnamiqui ticauhtehuazque yectliya +xochitl yectli yancuicatl; ma octonahuiacan, ma oc toncuicacan cen +tiyahui tipolihui ye ichan, etc. + +1. I lift my voice in wailing, I am afflicted, as I remember that we +must leave the beautiful flowers, the noble songs; let us enjoy +ourselves for a while, let us sing, for we must depart forever, we +are to be destroyed in our dwelling place. + +2. Achtleon ah yuhquimati in tocnihuan cocoya in noyollo qualani +yehua ay oppan in tlacatihua ye ay oppa piltihuaye yece yequi +xoantlalticpac. + +2. Is it indeed known to our friends how it pains and angers me that +never again can they be born, never again be young on this earth? + +3. Oc achintzinca y tetloc ye nican tenahuacan aic yezco on aic +nahuiaz aic nihuelamatiz. + +3. Yet a little while with them here, then nevermore shall I be with +them, nevermore enjoy them, nevermore know them. + +4. In can on nemian noyollo yehua? Can huel ye nochan? Can huel +nocallamanian? Ninotolinia tlalticpac. + +4. Where shall my soul dwell? Where is my home? Where shall be my +house? I am miserable on earth. + +5. Zan ye tocontemaca ye tocontotoma in mochalchiuh, ye on +quetzalmalintoc, zacuan icpac xochitl, za yan tiquinmacayan tepilhuan +O. + +5. We take, we unwind the jewels, the blue flowers are woven over the +yellow ones, that we may give them to the children. + +6. In nepapan xochitl conquimilo, conihuiti ye noyollo niman +nichocaya ixpan niauh in tonan. + +6. Let my soul be draped in various flowers; let it be intoxicated by +them, for soon must I weeping go before the face of our mother. + +7. Zan nocolhuia: ipalnemohua ma ca ximozoma, ma ca ximonenequin +tlalticpac, mazo tehuantin motloc tinemican y, zan ca ye moch ana +ilhuicatlitica. + +7. This only do I ask:--Thou Giver of Life, be not angry, be not +severe on earth, let us live with thee on earth, take us to the +Heavens. + +8. Azo tle nello nicyaitohua nican ipalnemohua, zan tontemiqui y, zan +toncochitlehuaco, nicitoa in tlalticpac ye ayac huel tontiquilhuia ye +nicana. + +8. But what can I speak truly here of the Giver of Life? We only +dream, we are plunged in sleep; I speak here on earth; but never can +we speak in worthy terms here. + +9. In manel ye chalchihuitl, mantlamatilolli, on aya mazo ya +ipalnemohuani ayac hueltic ilhuia nicana. + +9. Although it may be jewels and precious ointments (of speech), yet +of the Giver of Life, one can never here speak in worthy terms. + + +XII. + +_XOPANCUICATL NENONOTZALCUICATL IPAMPA IN AQUIQUE AMO ON MIXTILIA IN +YAOC._ + +_A SPRING SONG, A SONG OF EXHORTATION, BECAUSE CERTAIN ONES DID NOT +GO TO THE WAR._ + +1. Nictzotzonan nohuehueuh nicuicatlamatquetl ic niquimonixitia ic +niquimitlehua in tocnihuan in atle in yollo quimati in aic tlathui +ipan inin yollo yaocochmictoque in inpan motimaloa in +mixtecomatlayohualli anen niquito huay motolinia y, maquicaqui qui y +xochitlathuicacuicatl occeh tzetzeuhtimania huehuetitlana, ohuaya, +ohuai. + +1. I strike on my drum, I the skillful singer, that I may arouse, +that I may fire our friends, who think of nothing, to whose minds +plunged in sleep the dawn has not appeared, over whom are yet spread +the dark clouds of night; may I not call in vain and poorly, may they +hear this song of the rosy dawn, poured abroad widely by the drum, +ohe! ohe! + +2. Tlahuizcalteochitla oncuepontimani in ixochiquiyaopan in tloque in +nahuaque, onahuachtotonameyotimani in teyolquima; ma xiqualitacan in +atle ipan ontlatao, zannen cuepontimanio ayac mahaca quelehuiao in +antocnihuan amo zannen ya xochitl yoliliztlapalneucxochitla e. + +2. The divine flowers of dawn blossom forth, the war flowers of the +Cause of All; glittering with dew they scatter abroad their +fragrance; bring them hither that they be not hidden nor bloom in +vain, that they may rejoice you our friends, and not in vain shall be +the flowers, the living, colored, brilliant flowers. + +3. Quiyolcaihuintiaya in teyolia, zan oncan ye omania, zan oncan ye +oncuepontimania quauhtepetitlan in ya hualiuhcancopa y +ixtlahuatlitica oncan inemaya oc teoatl tlachinolli a. Oncan in +epoyahuayan in teoquauhtli oncan iquiquinacayan, in ocelotl, +ipixauhyan in nepapan tlazomaquiztetl, in emomolotzayan in nepapan +tlazopilihuitl, oncan teintoque oncan xamantoque in tepilhuan. + +3. They intoxicate the soul, but they are only found, they blossom +only on the lofty mountains, on the broad plains where glorious war +finds its home. There is where the eagles gather in bands of sixties, +there the tigers roar, there the various beloved stones rain down, +there the various dear children are cut to pieces; there the youths +are split into shards and ground into fragments. + +4. Tlacuah yehuantin in tepilhuani conelehuiao, in +tlahuizcalxochitlan ya nemamallihuao ic tetlan[)e]nectiao, in +ilhuicac onocon iceolitzin yn iotepiltzina quitzetzelotimanio a in +tepilhuan in quauhtliya ocelotl, in quimemactiao in +xochicueponalotlon in quimihuintia yeyolxochiahuechtlia. + +4. Stoutly do those youths rejoice, laboring for the rose of the dawn +that they may win it; and in heaven, He, the only one, the noble one, +pours down upon the youths strength and courage, that they may pluck +the budding flowers of the pathway, that they may be intoxicated with +the dew-damp flowers of the spirit. + +5. In ic timomatia in tinocniuh zan ne yan xochitlon in tiquelehuiaon +in tlalticpac, quen toconcuizon quen ticyachihuazon, timotolinia in +tiquimiztlacoa a in tepilhuan xochitica cuicatica; ma xihuallachican +in atle y ica mitl, ehuaon zan moch yehuantin in tepilhuan +zacuanmeteoquecholtitzinitzcatlatlauhquecholtin moyeh yectitinemio in +onmatio in ixtlahuatlitican. + +5. Know, my friend, that these are the only flowers which will give +thee pleasure on earth; mayest thou take them and make them; O poor +one, search out for thy children these flowers and songs. Look not +hither without arrows, let all the youths lift up their voices, like +zacuan birds, divine quechols, tzinitzcans, and red quechols, who +live joyous lives, and know the fields. + +6. Chimalxochitl, quauhpilolxochitl ic oquichtlamatimani in y +antepilhuan xochicozcaocoxochitl ic mapantimanian, quitimaloao +yectliya cuicatl, yectliya xochitl, imezo imelchiquiuh patiuh +mochihuaya in quicelia on in teoatl tlachinolli; y iantocnihuan +tliliuhquitepeca in tiyaotehua huey otlipana, ma huel xoconmanao y ye +mochimalo, huel xonicaon in ti quauhtliya ocelotla. + +6. O youths, here there are skilled men in the flowers of shields, in +the flowers of the pendant eagle plumes, the yellow flowers which +they grasp; they pour forth noble songs, noble flowers; they make +payment with their blood, with their bare breasts; they seek the +bloody field of war. And you, O friends, put on your black paint, for +war, for the path of victory; let us lay hands on our shields, and +raise aloft our strength and courage. + + +XIII. + +_HUEXOTZINCAYOTL._ + +_A SONG OF HUEXOTZINCO._ + +1. Zan tlaocolxochitl, tlaocolcuicatl on mania Mexico nican ha in +Tlatilolco, in yece ye oncan on neiximachoyan, ohuaya. + +1. Only sad flowers, sad songs, are here in Mexico, in Tlatilolco, in +this place these alone are known, alas. + +2. Ixamayo yectli in zan ca otitech icneli ipalnemohuani, in za can +tipopolihuizque in timacehualta, ohuaya. + +2. It is well to know these, if only we may please the Giver of Life, +lest we be destroyed, we his subjects, alas. + +3. Ototlahueliltic, zan titotolinia timacehualtinquezo huel +tehuantin, otiquittaque in cococ ye machoyan, ohuaya. + +3. We have angered Him, we are only wretched beings, slaves by blood; +we have seen and known affliction, alas. + +4. Ticmomoyahua, ticxoxocoyan in momacehualy in Tlatilolco cococ +moteca cococ ye machoyan ye ic ticiahuia ipalnemoani, ohuaya. + +4. We are disturbed, we are embittered, thy servants here in +Tlatilolco, deprived of food, made acquainted with affliction, we are +fatigued with labor, O Giver of Life, alas. + +5. Choquiztli moteca ixayotl pixahui oncan a in Tlatilolco; in atlan +yahqueon o in Mexica ye cihua nelihui ica yehuilo a oncan ontihui in +tocnihuan a, ohuaya. + +5. Weeping is with us, tears fall like rain, here in Tlatilolco; as +the Mexican women go down to the water, we beg of them for ourselves +and our friends, alas. + +6. In ic neltic o ya cahua Atloyantepetl o in Mexico in poctli +ehuatoc ayahuitl onmantoc, in tocon ya chihuaya ipalnemoani, ohuaya. + +6. Even as the smoke, rising, lies in a cloud over Mount Atloyan, in +Mexico, so does it happen unto us, O Giver of Life, alas. + +7. In anMexica ma xiquilnamiquican o yan zan topan quitemohuia y +ellelon i mahuizo yehuan zan yehuan Dios, yehua anquin ye oncan in +coyonacazco, ohuaya. + +7. And you Mexicans, may you remember concerning us when you descend +and suffer before the majesty of God, when there you shall howl like +wolves. + +8. Za can ye oncan zan quinchoquiz tlapaloa o anquihuitzmanatl incan +ye[)u]ch motelchiuh on ya o anquin ye mochin, ha in tlayotlaqui, ah +in tlacotzin, ah in tlacateuctli in oquichtzin y huihui ica ca ye con +yacauhqui in Tenochtitlan, ohuaya. + +8. There, there will be only weeping as your greeting when you come, +there you will be accursed, all of you, workers in filth, slaves, +rulers or warriors, and thus Tenochtitlan will be deserted. + +9. In antocnihuan ma xachocacan aya ma x[)a]conmatican ica ye +ticcauhque Mexicayotl huiya, zan ye yatl chichixhuiya no zan ye +tlaqualli chichixaya zan con aya chiuhqui in ipalnemoani ha in +Tlatilolco y, ohuaya. + +9. Oh friends, do not weep, but know that sometime we shall have left +behind us the things of Mexico, and then their water shall be made +bitter and their food shall be made bitter, here in Tlatilolco, as +never before, by the Giver of Life. + +10. Tel ah zan yhuian huicoque hon in motelchiuhtzin ha in tlacotzin +zan mocuica ellaquauhque ac achinanco in ahiquac in tlepan quixtiloto +in coyohuacan, ohuaya. + +10. The disdained and the slaves shall go forth with song; but in a +little while their oppressors shall be seen in the fire, amid the +howling of wolves. + + +XIV. + +1. Zan tzinitzcan impetlatl ipan, ohuaya; on tzinitzcan iceliztoca +oncan izan in ninentlamatia, in zan icnoxochicuicatica inocon ya +temohua ya ohuaya, ohuaya. + +1. Only the tzinitzcan is in power, the tzinitzcan arouses me in my +affliction, letting fall its songs like sad flowers. + +2. In canin nemiya icanon in nemitoconchia ye nican huehuetitlan a +ayiahue, ye onnentlamacho, ye mocatlaocoyalo ay xopancaliteca, +ohuaya, ohuaya. + +2. Wherever it wanders, wherever it lives, one awaits it here with +the drum, in affliction, in distress, here in the house of spring. + +3. Ac ipiltzin? Achanca ipiltzin yehuayan Dios Jesu Christo can +quicuilo antlacuiloa quicuilo ancuicatl a ohuaya, ohuaya. + +3. Who is the royal son? Is not the royal son, the son of God, Jesus +Christ, as was written in your writings, as was written in your +songs? + +4. O achan canel ompa huiz canin ilhuicac y xochintlacuilol +xochincalitec a ohuaya ohuaya. + +4. Is not the flowery writing within the house of flowers that he +shall come there from heaven? + +5. In ma ontlachialoya in ma ontl[)a]tlamahuicolo in +tlapapalcalimanican y ipalnemoa y tlayocol yehuan Dios, ohuaya. + +5. Look around and wonder at this scene of many colored houses which +God has created and endowed with life. + +6. Techtolinian techtl[)a]tlanectia y icuicaxochiamilpan, +intechontl[)a]tlachialtian ipalnemohua itlayocol yehuan Dios a +ohuaya. + +6. They make us who are miserable to see the light among the flowers +and songs of the fertile fields, they cause us to see those things +which God has created and endowed with life. + +7. Ya ixopantla ixopantlatinenemi ye nican ixtlahuatl yteey, za +xiuhquechol quiahuitl zan topan xaxamacay in atlixco ya ohuaya, +ohuaya. + +7. They dwell in the place of spring, in the place of spring, here +within the broad fields, and only for our sakes does the +turquoise-water fall in broken drops on the surface of the lake. + +8. Zan ye nauhcampay ontlapepetlantoc, oncan onceliztoc in +cozahuizxochitl, oncan nemi in Mexica in tepilhuan a ohuaya ohuaya. + +8. Where it gleams forth in fourfold rays, where the fragrant yellow +flowers bud, there live the Mexicans, the youths. + + +XV. + +_TEZOZOMOCTLI IC MOTECPAC._ + +_THE REIGN OF TEZOZOMOCTLI._ + +1. Zan ca tzihuactitlan, mizquititlan, aiyahue Chicomoztocpa, mochi +ompa yahuitze antl[)a]tohuan ye nican, ohuaya, ohuaya. + +1. From the land of the tzihuac bushes, from the land of the mezquite +bushes, where was ancient Chicomoztoc, thence came all your rulers +hither. + +2. Nican momalinaco in colcahuahtecpillotl huiya nican milacatzoa in +Colhuaca Chichimecayotl in toteuchuahuia. + +2. Here unrolled itself the royal line of Colhuacan, here our nobles +of Colhuacan, united with the Chichimecs. + +3. Ma oc achitzinca xomotlanecuican antepilhuan huiya tlacateuhtzin +Huitzilihuitl a ya cihuacoatl y Quauhxilotl huia totomihuacan +Tlalnahuacatl aya zan ca xiuhtototl Ixtlilxochitl y quenman +tlatzihuiz quimohmoyahuaquiuh yauh y tepeuh yehuan Dios ica ye choca +Tezozomoctli ohuaya ohuaya. + +3. Sing for a little while concerning these, O children, the +sovereign Huitzilihuitl, the judge Quauhxilotl, of our bold leader +Tlalnahuacatl, of the proud bird Ixtlilxochitl, those who went forth, +and conquered and ruled before God, and bewail Tezozomoctli. + +4. Yenoceppa mizquitl yacahuantimani Hueytlalpani, anquican itlatol +yehuan Dios a ohuaya, ohuaya. + +4. A second time they left the mezquite bushes in Hue Tlalpan, +obeying the order of God. + +5. Can onyeyauh xochitl, can oyeyauh yeh intoca quauhtli ocelotl huia +ya moyahuaya xelihuia Atloyantepetl Hueytlalpan y anquizan itlatol +ipalnemohua ohuaya ohuaya. + +5. They go where are the flowers, where they may gain grandeur and +power, dividing asunder they leave the mountain Atloyan and Hue +Tlalpan, obeying the order of the Giver of Life. + +6. Oncuiltonoloc, onechtlachtiloc, in teteuctin cemanahuac y huel +zotoca huipantoca y tl[)a]tol ipalnemohuani, huel quimothuitico, huel +quiximatico y yollo yehuan Dios huiya chalchihuitl maquiztliya +tlamatelolliya tizatla ihuitla za xochitl quimatico yaoyotla ohuaya +ohuaya. + +6. It is cause of rejoicing, that I am enabled to see our rulers from +all parts gathering together, arranging in order the words of the +Giver of Life, and that their souls are caused to see and to know +that God is precious, wonderful, a sweet ointment, and that they are +known as flowers of wise counsel in the affairs of war. + +7. Oya in Tochin y miec acalcatli, Acolmiztlan teuctli zan Catocih +teuctli Yohuallatonoc y yehuan Cuetzpaltzin Iztaccoyotl totomihuacan +Tlaxcallan ohuaye Coatziteuctli Huitlalotzin za xochitl quimatico +yaoyotla ohuaya ohuaya. + +7. There were Tochin, with many boats, the noble Acolmiztlan, the +noble Catocih, Yohuallatonoc, and Cuetzpaltzin, and Iztaccoyotl, bold +leaders from Tlaxcalla, and Coatziteuctli, and Huitlalotzin, famed as +flowers on the field of battle. + +8. Tley an quiyocoya anteteuctin y Huexotzinca? ma xontlachiacan +Acolihu[)a]can in quatlapanca oncan ye Huexotla itztapallocan huia +yeyahuatimani Atloyantepetl a ohuaya. + +8. For what purpose do you make your rulers, men of Huexotzinco? Look +at Acolhuacan where the men of Huexotzinco are broken with toil, are +trod upon like paving stones, and wander around the mountain Atloyan. + +9. Oncan in pochotl ahuehuetl oncan icaca mizquitl ye oztotlhui[)a] +tetlaquahuac quimatia ipalnemohuani oyao ai ya hue ohuaya. + +9. There is a ceiba tree, a cypress tree, there stands a mezquite +bush, strong as a cavern of stone, known as the Giver of Life. + +10. Tlacateotl nopiltzin Chichimecatl y tleonmach itla techcocolia +Tezozomoctli tech in micitlani ye ehuaya atayahuili quinequia yaoyotl +necaliztlon quima Acolhuacan ohuaya. + +10. Ruler of men, Nopiltzin, Chicimec, O Tezozomoctli, why hast thou +made us sick, why brought us to death, through not desiring to offer +war and battle to Acolhuacan? + +11. Tel ca tonehua ticahuiltia ipalnemohuani Colihua o o Mexicatl y +tlahcateotl huiaya atayahuili quinequia yaoyotl necaliztl qui mana +Acolhuacan a ohuaya ohuaya. + +11. But we lift up our voice and rejoice in the Giver of life; the +men of Colhuacan and the Mexican leader have ruined us, through not +desiring to offer war and battle to Acolhuacan. + +12. Zan ye on necuiltonolo in tlalticpac ay oppan titlano chimalli +xochitl ay oppan ahuiltilon ipalnemohua; ye ic anauia in tlailotlaqui +xayacamacha huia ho ay ya yi ee ohuaya ha ohuaya. + +12. The only joy on earth will be again to send the shield-flower, +again to rejoice the Giver of Life; already are discontented the +faces of the workers in filth. + +13. Inacon anquelehuia chimalli xochitl y yohual xochitli +tl[)a]chinol xochitl; ye ic neyahpanalo antepilhuan huiya +Quetzalmamatzin Huitznahuacatl ohuaye ho ha yia yi ee oua yi aha +ohuaya. + +13. Therefore you rejoice in the shield-flowers, the flowers of +night, the flowers of battle; already are ye clothed, ye children of +Quetzalmamatzin and Huitznahuacatl. + +14. Chimal tenamitl oncan in nemohua yehua necalia huilotl oyahualla +icahuaca yehuaya on canin ye nemi in tecpipiltin Xiuhtzin +xayacamachani amehuano o anconahuiltia ipalnemohua ohuaya. + +14. Your shield and your wall of safety are where dwells the sweet +joy of war, where it comes, and sings and lifts its voice, where +dwell the nobles, the precious stones, making known their faces; thus +you give joy to the Giver of Life. + +15. In ma huel netotilo mannemamanaloya yaonahuac a on +netlamachtiloyan ipan nechihuallano ohuaye in tepiltzin can ye +mocuetlaca ohuaya, ohuaya. + +15. Let your dancing, and banqueting be in the battle, there be your +place of gain, your scene of action, where the noble youths perish. + +16. Quetzalipantica oyo huiloa ahuiltiloni ipalnemohuan yectlahuacan +in tapalcayocan a ohuaya ohuaya. + +16. Dressed in their feathers they go rejoicing the Giver of Life to +the excellent place, the place of shards. + +17. Oyo hualehuaya ye tocalipan oyohua yehua Huexotzincatl y +tototihua o o Iztaccoyotla ohuaya ohuaya. + +17. He lifted up his voice in our houses like a bird, that man of +Huexotzinco, Iztaccoyotl. + +18. Ace melle ica ton[)a]coquiza y nican topantilemonti Tlaxcaltecatl +itocoya cacalia in altepetl y Huexochinco ya ohuaya. + +18. Whoever is aggrieved let him come forth with us against the men +of Tlaxcallan, let him follow where the city of Huexotzinco lets +drive its arrows. + +19. Cauhtimanizo polihuiz tlalli yan totomihuacan huia cehuiz yiollo +o antepilhuan a Huexotzinca y ohuaya ohuaya. + +19. Our leaders will lay waste, they will destroy the land, and your +children, O Huexotzincos, will have peace of mind. + +20. Mizquitl y mancan tzihuactli y mancan ahuehuetl onicacahuia +ipalnemohua, xonicnotlamati mochi elimanca Huexotzinco ya zanio oncan +in huel on mani tlalla ohuaya ohuaya. + +20. The mezquite was there, the tzihuac was there, the Giver of Life +has set up the cypress; be sad that evil has befallen Huexotzinco, +that it stands alone in the land. + +21. Zan nohuian tlaxixinia tlamomoyahua y ayoc anmocehuia +mom[)a]cehual y hualcaco mocuic in icelteotl oc xoconyocoyacan +antepilhuan a ohuaya ohuaya. + +21. In all parts there are destruction and desolation, no longer are +there protection and safety, nor has the one only God heard the song; +therefore speak it again, you children; + +22. Zan mocuepa itlatol conahuiloa ipalnemohua Tepeyacac ohuaye +antepilhuan ohuaya ohuaya. + +22. That the words may be repeated, you children, and give joy to the +Giver of Life at Tepeyacan. + +23. Canel amonyazque xoconmolhuican an Tlaxcalteca y Tlacomihuatzin +hui oc oyauh itlachinol ya yehuan Dios a ohuaya. + +23. And since you are going, you Tlaxcallans, call upon +Tlacomihuatzin that he may yet go to this divine war. + +24. Cozcatl ihuihui quetzal n[)e]huihuia oc zo conhuipanque zan +Chichimeca y Totomihua a Iztaccoyotl a ohuaya ohuaya. + +24. The Chichimecs and the leaders and Iztaccoyotl have with +difficulty and vain labor arranged and set in order their jewels and +feathers. + +25. Huexotzinco ya zan quiauhtzinteuctli techcocolia Mexicatl +itechcocolia Acolihuiao ach quennelotihua tonyazque quenonamican a +ohuaye ohuaye. + +25. At Huexotzinco the ruler Quiauhtzin hates the Mexicans, hates the +Acolhuacans; when shall we go to mix with them, to meet them? + +26. Ay antlayocoya anquimitoa in amotahuan an teteuctin ayoquantzin +ihuan a in tlepetztic in cacha ohuaya tzihuacpopoca yo huaya. + +26. Set to work and speak, you fathers, to your rulers, to your +lords, that they may make a blazing fire of the smoking tzihuac wood. + +27. Ca zan catcan Chalco Acolihuaca huia totomihuacan y amilpan in +Quauhquecholla quixixinia in ipetl icpal yehuan Dios ohoaya ohuaya. + +27. The Acolhuacans were at Chalco, the Otomies were in your +cornfields at Quauhquechollan, they laid them waste by the permission +of God. + +28. Tlazoco a ye nican tlalli tepetl yecocoliloya cemanahuac a +ohuaya. + +28. The fields and hills are ravaged, the whole land has been laid +waste. + +29. Quennel conchihuazque atl popoca itlacoh in teuctli tlalli +mocuepaya Mictlan onmatia Cacamatl onteuctli, quennel conchihuazque, +ohuaya ohuaya. + +29. What remedy can they turn to? Water and smoke have spoiled the +land of the rulers; they have gone back to Mictlan attaching +themselves to the ruler Cacamatl. What remedy can they turn to? + + +XVI. + +1. On onellelacic quexquich nic ya ittoa antocnihuan ayiaue +noconnenemititica noyollon tlalticpac y noconycuilotica, ay niyuh can +tinemi ahuian yeccan, ay cemellecan in tenahuac y, ah nonnohuicallan +in quenon amican ohuaya. + +1. It is a bitter grief to see so many of you, dear friends not +walking with me in spirit on the earth, and written down with me; +that no more do I walk in company to the joyful and pleasant spots; +that nevermore in union with you do I journey to the same place. + +2. Zan nellin quimati ye noyollo za nelli nicittoa antocnihuan, +ayiahue aquin quitlatlauhtia icelteotl yiollo itlacoca con aya macan. +Machamo oncan? In tlalticpac machamo oppan piltihua. Ye nelli nemoa +in quenon amican ilhuicatl y itec icanyio oncan in netlamachtilo y +ohuaya. + +2. Truly I doubt in my heart if I really see you, dear friends; Is +there no one who will pray to the one only God that he take this +error from your hearts? Is no one there? No one can live a second +time on earth. Truly they live there within the heavens, there in a +place of delight only. + +3. O yohualli icahuacan teuctlin popoca ahuiltilon Dios +ipalnemohuani: chimalli xochitl in cuecuepontimani in mahuiztli +moteca molinian tlalticpac, ye nican ic xochimicohuayan in ixtlahuac +itec a ohuaya ohuaya. + +3. At night rises up the smoke of the warriors, a delight to the Lord +the Giver of Life; the shield-flower spreads abroad its leaves, +marvelous deeds agitate the earth; here is the place of the fatal +flowers of death which cover the fields. + +4. Yaonauac ye oncan yaopeuhca in ixtlahuac itec iteuhtlinpopoca ya +milacatzoa y momalacachoa yaoxochimiquiztica antepilhuan in +anteteuctin zan Chichimeca y ohuaya. + +4. The battle is there, the beginning of the battle is in the open +fields, the smoke of the warriors winds around and curls upward from +the slaughter of the flowery war, ye friends and warriors of the +Chichimecs. + +5. Maca mahui noyollo ye oncan ixtlahuatl itic, noconele hua in +itzimiquiliztli zan quinequin toyollo yaomiquiztla ohuaya. + +5. Let not my soul dread that open field; I earnestly desire the +beginning of the slaughter, may thy soul long for the murderous +strife. + +6. O anquin ye oncan yaonahuac, noconelehuia in itzi miquiliztli can +quinequin toyollo yaomiquiztla ohuaya ohuaya. + +6. O you who are there in the battle, I earnestly desire the +beginning of the slaughter, may thy soul long for the murderous +strife. + +7. Mixtli ye ehuatimani yehuaya moxoxopan ipalnemohuani ye oncan +celiztimani a in quauhtlin ocelotl, ye oncan cueponio o in tepilhuan +huiya in tlachinol, ohuaya ohuaya. + +7. The cloud rises upward, rising into the blue sky of the Giver of +Life; there blossom forth prowess and daring, there, in the battle +field, come the children to maturity. + +8. In ma oc tonahuican antocnihuan ayiahuc, ma oc xonahuiacan +antepilhuan in ixtlahuatl itec, y nemoaquihuic zan tictotlanehuia o a +in chimalli xochitl in tlachinoll, ohuaya, ohuaya, ohuaya. + +8. Let us rejoice, dear friends, and may ye rejoice, O children, +within the open field, and going forth to it, let us revel amid the +shield-flowers of the battle. + +XVII. + +_XOCHICUICATL._ + +_A FLOWER SONG._ + +1. Can ti ya nemia ticuicanitl ma ya hualmoquetza xochihuehuetl +quetzaltica huiconticac teocuitlaxochinenepaniuhticac y ayamo aye +iliamo aye huiy ohuaya, ohuaya. + +1. Where thou walkest, O singer, bring forth thy flowery drum, let it +stand amid beauteous feathers, let it be placed in the midst of +golden flowers; + +2. Tiquimonahuiltiz in tepilhuan teteucto in quauhtlo ocelotl ayamo, +etc. + +2. That thou mayest rejoice the youths and the nobles in their +grandeur. + +3. In tlac[)a]ce otemoc aya huehuetitlan ya nemi in cuicanitlhuia zan +qui quetzal in tomaya quexexeloa aya icuic ipalnemoa qui ya nanquilia +in coyolyantototl oncuicatinemi xochimanamanaya taxocha ohuaya, +ohuaya. + +3. Wonderful indeed is it how the living song descended upon the +drum, how it loosened its feathers and spread abroad the songs of the +Giver of Life, and the coyol bird answered, spreading wide its notes, +offering up its flowery songs of flowers. + +4. In canon in noconcaqui in tlatol aya tlacazo yehuatl ipalnemoa +quiyananquilia quiyananquilia in coyolyantototl on cuicatinemi +xochimanamanaya, etc. + +4. Wherever I hear those words, perhaps the Giver of Life is +answering, as answers the coyol bird, spreading wide its notes, +offering up its flowery song of flowers. + +5. In chalchihuitl ohuayee on quetzal pipixauhtimania in amo +tlatolhuia, noyuh ye quittoa yayoquan yehuayan cuetzpal ohuaye +anquinelin ye quimatin ipalnemoa ohuaya. + +5. It rains down precious stones and beauteous feathers rather than +words; it seems to be as one reveling in food, as one who truly knows +the Giver of Life. + +6. Noyuh quichihua con teuctlon timaloa yecan quetzalmaquiztla +matilolticoya conahuiltia icelteotlhuia achcanon azo a yan ipalnemoa +achcanon azo tle nel in tlalticpac ohuaya. + +6. Thus do the nobles glorify themselves with things of beauty, honor +and delight, that they may please the one only god, though one knows +not the dwelling of the Giver of Life, one knows not whether he is on +earth. + +7. Macuelachic aya maoc ixquich cahuitl niquin notlanehui in +chalchiuhtini in maquiztini in tepilhuan aya; zan nicxochimalina in +tecpillotl huia: zan ca nican nocuic ica ya nocon ilacatzohua a in +huehuetitlan a ohuaya ohuaya. + +7. May I yet for a little while have time to revel in those precious +and honorable youths; may I wreathe flowers for their nobility; may I +here yet for a while wind the songs around the drum. + +8. Oc noncoati nican Huexotzinco y nitl[)a]tohuani ni teca ehuatzin +huiya chalchiuhti zan quetzalitztin y, niquincenquixtia in tepilhuan +aya zan nicxochimalina in tecpillotl huia ohuaya ohuaya. + +8. I am a guest here among the rulers of Huexotzinco; I lift up my +voice and sing of precious stones and emeralds; I select from among +the youths those for whom I shall wreathe the flowers of nobility. + +9. A in ilhuicac itic ompa yeya huitz in yectliyan xochitl yectliyan +cuicatl y, conpolo antellel conpolo antotlayocol y in tlacazo yehuatl +in Chichimecatl teuctli in teca yehuatzin ica xonahuiacan a ohuaya +ohuaya. + +9. There comes from within the heavens a good flower, a good song, +which will destroy your grief, destroy your sorrow; therefore, Chief +of the Chichimecs, be glad and rejoice. + +10. Moquetzal izqui xochintzetzeloa in icniuhyotl +aztlacaxtlatlapantica ye onmalinticac in quetzalxiloxochitl imapan +onn[)e]nemi conchichichintinemi in teteuctin in tepilhuan. + +10. Here, delightful friendship, turning about with scarlet dyed +wings, rains down its flowers, and the warriors and youths, holding +in their hands the fragrant xilo flowers, walk about inhaling the +sweet odor. + +11. Zan teocuitlacoyoltototl o huel yectli namocuic huel yectli in +anq'ehua anquin ye oncan y xochitl y ya hualyuhcan y xochitl imapan +amoncate in amontlatl[)a]toa ye ohuaya ohui ohui ilili y yao ayya hue +ho ama ha ilili ohua y yaohuia. + +11. The golden coyol bird sings sweetly to you, sweetly lifts its +voice like a flower, like sweet flowers in your hand, as you converse +and lift your voice in singing, etc. + +12. O ach ancati quechol in ipalnemoa o ach ancati tlatocauh yehuan +Dios huiya achto tiamehuan anquitztoque tlahuizcalli amoncuicatinemi +ohui, ohui, ilili, etc. + +12. Even like the quechol bird to the Giver of Life, even as the +herald of God, you have waited for the dawn, and gone forth singing +ohui, etc. + +13. Maciuhtiao o in quinequi noyollo, zan chimalli xochitl mixochiuh +ipalnemoani, quen conchihuaz noyollo yehua onentacico tonquizaco in +tlalticpac a ohuaya ohuaya. + +13. Although I wish that the Giver of Life shall give for flowers the +shield-flower, how shall I grieve that your efforts have been in +vain, that you have gone forth from the world. + +14. Zan ca yuhqui noyaz in o ompopoliuh xochitla antlenotleyoye in +quemmanian, antlenitacihcayez in tlalticpac. Manel xochitl manel +cuicatl, quen conchihuaz noyollo yehua onentacico tonquizaco in +tlalticpac ohuaya ohuaya. + +14. Even as I shall go forth into the place of decayed flowers, so +sometime will it be with your fame and deeds on earth. Although they +are flowers, although they are songs, how shall I grieve that your +efforts have been in vain, that you have gone forth from the world. + +15. Manton ahuiacan antocnihuan aya ma on nequech nahualo nican huiya +a xochintlaticpac ontiyanemi yenican ayac quitlamitehuaz in xochitl +in cuicatl in mani a ichan ipalnemohuani yi ao ailili yi ao aya hue +aye ohuaya. + +15. Let us be glad, dear friends, let us rejoice while we walk here +on this flowery earth; may the end never come of our flowers and +songs, but may they continue in the mansion of the Giver of Life. + +16. In zancuelachitzincan tlalticpac aya ayaoc noiuhcan +quennonamicani cuixocpacohua icniuhtihuay auh in amo zanio nican +totiximatizo in tlalticpac y yiao ha ilili yiao. + +16. Yet a little while and your friends must pass from earth. What +does friendship offer of enjoyment, when soon we shall no longer be +known on earth? + +17. Noconca con cuicatl noconca o quin tlapitzaya xochimecatl ayoquan +teuctliya ahuayie, ohuayiao ayio yo ohua. + +17. This is the burden of my song, of the garland of flowers played +on the flute, without equal in the place of the nobles. + +18. Zan mitzyananquili omitzyananquili xochincalaitec y in +aquiauhatzin in tlacateuhtli ayapancatl yahuayia. + +18. Within the house of flowers the Lord of the Waters, of the Gate +of the Waters, answers thee, has answered thee. + +19. Can tinemi noteouh ipalnemohuani mitztemohua in quemmanian y +mocanitlaocoyan, nicuicanitlhuia, zan ni mitzahuiltiaya ohuiyan +tililiyanco huia ohuaya ohuaya. + +19. Where thou livest, my beloved, the Giver of Life sends down upon +thee sometimes things of sadness; but I, the singer, shall make thee +glad in the place of difficulty, in the place of cumber. + +20. In zan ca izqui xochitl in quetzalizqui xochitl pixahui ye nican +xopancalaitec i tlacuilolcalitec, zan nimitzahahuiltiaya ohui. + +20. Here are the many flowers, the beauteous flowers, rained down +within the house of spring, within its painted house, and I with them +shall make thee glad. + +21. O anqui ye oncan Tlaxcala, ayahue, chalchiuhtetzilacuicatoque in +huehuetitlan ohuaye, xochin poyon ayiahue Xicontencatl teuctli in +Tizatlacatzin in camaxochitzin cuicatica y melelquiza xochiticaya on +chielo itlatol ohuay icelteotl ohuaya. + +21. O, you there in Tlaxcala, you have played like sweet bells upon +your drums, even like brilliantly colored flowers. There was +Xicontecatl, lord of Tizatlan, the rosy-mouthed, whose songs gave joy +like flowers, who listened to the words of the one only God. + +22. O, anqui nohuia y, ye mochan ipalnemohua xochipetlatl ye noca +xochitica on tzauhticac oncan mitztlatlauhtia in tepilhua ohuaya. + +22. Thy house, O Giver of Life is in all places; its mats are of +flowers, finely spun with flowers, where thy children pray to thee. + +23. In nepapan xochiquahuitl onicac, aya, huehuetitlan a a yiahue, +can canticaya quetzaltica malintimani, ya, yecxochitl motzetzeloaya +ohuaya ohuaya. + +23. A rain of various flowers falls where stands the drum, beauteous +wreaths entwine it, sweet flowers are poured down around it. + +24. Can quetzatzal petlacoatl yepac o, ye nemi coyoltototl +cuicatinemiya, can quinanquili teuctli ya, +conahuiltianquauhtloocelotl ohuaya ohuaya. + +24. Where the brilliant scolopender basks, the coyol bird scatters +abroad its songs, answering back the nobles, rejoicing in their +prowess and might. + +25. Xochitzetzeliuhtoc y, niconnetolilo antocnihuan huehuetitlan ai +on chielo can nontlamati toyollo yehua ohuaya ohuaya. + +25. Scattering flowers I rejoice you, dear friends, with my drum, +awaiting what comes to our minds. + +26. In zan ca yehuan Dios tlaxic, ya, caquican yehual temoya o +ilhuicatl itic, y, cuicatihuitz, y, quinanquilia o, angelotin +ontlapitztihuitzteaya oyiahue yaia o o ohuaya ohuaya. + +26. It reaches even to God, he hears it seeking him within the +heavens, the song comes and the angels answer, playing on their +flutes. + +27. Zan ninentlamatia can niquauhtenco ayahue can. * * * + +27. But I am sad within this wood. + + +XVIII. + +_NICAN OMPEHUA TEPONAZCUICATL._ + +_HERE BEGIN SONGS FOR THE TEPONAZTLI._ + +_Tico, tico, toco, toto, auh ic ontlantiuh cuicatl, tiqui, ti ti, +tito, titi._ + +_Tico, tico, toco, toto, and as the song approaches the end, tiqui, +titi, tito, titi._ + +1. Tollan aya huapalcalli manca, nozan in mamani coatlaquetzalli +yaqui yacauhtehuac Nacxitl Topiltzin, onquiquiztica ye choquililo in +topilhuan ahuay yeyauh in polihuitiuh nechcan Tlapallan ho ay. + +1. At Tollan there stood the house of beams, there yet stands the +house of plumed serpents left by Nacxitl Topiltzin; going forth +weeping, our nobles went to where he was to perish, down there at +Tlapallan. + +2. Nechcayan Cholollan oncan tonquizaya Poyauhtecatitlan, in +quiyapanhuiya y Acallan anquiquiztica ye choquililon ye. + +2. We went forth from Cholula by way of Poyauhtecatl, and ye went +forth weeping down by the water toward Acallan. + +3. Nonohualco ye nihuitz ye nihui quecholi nimamaliteuctla, +nicnotlamatia oyah quin noteuc ye ihuitimali, nechya icnocauhya +nimatlac xochitl, ayao ayao o ayya y yao ay. + +3. I come from Nonohualco as if I carried quechol birds to the place +of the nobles; I grieve that my lord has gone, garlanded with +feathers; I am wretched like the last flower. + +4. In tepetl huitomica niyaychocaya, axaliqueuhca nicnotlamatiya o +yaquin noteuc (etc. as v. 3). + +4. With the falling down of mountains I wept, with the lifting up of +sands I was wretched, that my lord had gone. + +5. In Tlapallan aya mochieloca monahuatiloca ye cochiztla o anca ca +zanio ayao, ayao, ayao. + +5. At Tlapallan he was waited for, it was commanded that there he +should sleep, thus being alone. + +6. Zan tiyaolinca ye noteuc ic ihuitimali, tinahuatiloya ye Xicalanco +o anca zacanco. + +6. In our battles my lord was garlanded with feathers; we were +commanded to go alone to Xicalanco. + +7. Ay yanco ay yanco ayamo aya ayhuiya ayanco ayyanco ayamo aye +ahuiya que ye mamaniz mocha moquiapana, oquen ye mamaniz +moteuccallatic ya icnocauhqui nican Tollan Nonohualco ya y ya y ya o +ay. + +7. Alas! and alas! who will be in thy house to attire thee? Who will +be the ruler in thy house, left desolate here in Tollan, in +Nonohualco? + +8. In ye quinti chocaya teuctlon, timalon que ye mamaniz mochan (etc. +as v. 7). + +8. After he was drunk, the ruler wept; we glorified ourselves to be +in thy dwelling. + +9. In tetl, in quahuitl o on timicuilotehuac nachcan Tollan y inon +can in otontlatoco Naxitl Topiltzin y aye polihuiz ye motoca ye ic ye +chocaz in momacehual ay yo. + +9. Misfortune and misery were written against us there in Tollan, +that our leader Nacxitl Topiltzin was to be destroyed and thy +subjects made to weep. + +10. Zan can xiuhcalliya cohuacallaya in oticmatehuac nachcan Tollan y +inon can yn otontlatoco Naxitl Topiltzin (etc. as in v. 9). + +10. We have left the turquoise houses, the serpent houses there in +Tollan, where ruled our leader Nacxitl Topiltzin. + + +XIX. + +_Tico toco toco ti quiti quiti quiti quito; can ic mocneptiuh._ + +_Tico, toco, toco, tiquiti, quiti, quiti, quito; where it is to turn +back again._ + +1. Tlapapal xochiceutli niyolaya nepapan tonacan xochitl moyahuaya +oncueponti moquetzaco ya naya aya ye teo ya ixpan tonaa Santa Maria +ayyo. + +1. Resting amid parti-colored flowers I rejoiced; the many shining +flowers came forth, blossomed, burst forth in honor of our mother +Holy Mary. + +2. An ya ya cuicaya zan quetzala xihuitl tomolihui yan aya ye +nitlachihual icelteotl y ye Dios aya ni itlayocolaoya yecoc ya. + +2. They sang as the beauteous season grew, that I am but a creature +of the one only God, a work of his hands that he has made. + +3. Zan ca tlaauilolpan nemia moyollo amoxpetlatl ipan toncuicaya +tiquimonyaitotia teteuctin aya in obispo ya zan ca totatzin aya oncan +titlatoa atlitempan ay yo. + +3. Mayst thy soul walk in the light, mayst thou sing in the great +book, mayst thou join the dance of the rulers as our father the +bishop speaks in the great temple. + +4. Yehuan Dios mitzyocox aya xochitla ya mitztlacatilo yancuicatl +mitzicuiloa Santa Maria in obispo ya. + +4. God created thee, he caused thee to be born in a flowery place, +and this new song to Holy Mary the bishop wrote for thee. + + +XX. + +1. Tolteca icuilihuia ahaa ya ha on tlantoc amoxtli ya moyollo ya on +aya mochonaciticac o o Toltecayootl aic aya ninemiz ye nican ay yo. + +1. The Toltecs have been taken, alas, the book of their souls has +come to an end, alas, everything of the Toltecs has reached its +conclusion, no longer do I care to live here. + +2. Ac ya nechcuiliz, ac ye nohuan oyaz o, nicaz a anni icuihuan aya y +yancuicanitl y yehetl y noxochiuh non cuica ihuitequi onteixpan ayyo. + +2. Who will take me? Who will go with me? I am ready to be taken, +alas. All that was fresh, the perfume, my flowers, my songs, have +gone along with them. + +3. Huey in tetl nictequintomahuac quahuitl, nicicuiloa yancuicatl +itech aya oncan nomitoz in quemmanian in can niyaz nocuica machio +nicyacauhtiaz in tlalticpac, y onnemiz noyol zan ca ye nican ya +hualla y yancoya nolnamicoca nemiz ye noteyo ay yo. + +3. Great is my affliction, weighty is my burden; I write out a new +song concerning it, that some time I may speak it there where I shall +go, a song to be known when I shall leave the earth, that my soul +shall live after I have gone from here, that my fame shall live fresh +in memory. + +4. Nichocaya niquittoaya nicnotza noyollo ma niquitta cuicanelhuayotl +ayama nicyatlalaquiya ma ya ica tlalticpac quimman mochihua onnenemiz +noyol y. Zan ca teucxochitl ahuiaca ipotocaticac mocepanoayan +toxochiuh ay ye ayao ohuiy on can quiya itzmolini ye nocuic celia +notlatollaquillo ohua in toxochiuh icac iquiapani ayao. + +4. I cried aloud, I looked about, I reflected how I might see the +root of song, that I might plant it here on the earth, and that then +it should make my soul to live. The sweet exhalations of the lovely +flowers rose up uniting with our flowers; one hears them growing as +my song buds forth, filled with my words our flowers stand upright in +the waters. + +5. Tel ca cahua xochitl ahuiac xeliuhtihuitz a ipotocaya in ahuiyac +poyomatlin pixahua oncan ninenenemi nicuicanitl y ye aya o ohui y on +ca quiya itzmolini ye nocuic celia, etc. + +5. But the flowers depart, their sweetness is divided and exhales, +the fragrant poyomatl rains down its leaves where I the poet walk in +sadness; one hears them growing, etc. + + +XXI. + +_HUEXOTZINCAYOTL._ + +_A SONG OF THE HUEXOTZINCOS,_ + +_Viniendo los de Huexotzinco a pedir socorro a Moteuczoma Tlaxcalla._ + +_Coming to Ask Aid of Montezuma Against Tlaxcalla._ + +1. Tlacuiloltzetzeliuhticac moyoliol tiMoteuczom[=a]tzi +nichuicatihuitz nictzetzelotihuitz y o huetzcani +xochinquetzalpapalotl moquetzalizouhtihuitz noconitotia +chalchiuhatlaquiquizcopa niyahueloncuica chalchiuhhuilacapitzli +nicteocuitlapitza ya ho ay la ya o haye ohuichile amiyacale. + +1. Raining down writings for thy mind, O Montezuma, I come hither, I +come raining them down, a very jester, a painted butterfly; stringing +together pretty objects, I seem to be as one cementing together +precious stones, as I chant my song on my emerald flute, as I blow on +my golden flute, ya ho, ay la, etc. + +2. Ohuaya ye onniceelehuia moxochiuh aya ipalnemoani yehuay[=a] Dios +aya ilihu[=a]ca nahuiche nictzetzeloaya noncuicatilo yaha y. + +2. Yes, I shall cause thy flowers to rejoice the Giver of Life, the +God in heaven, as hither I come raining down my songs, ya ho. + +3. Tozmilini xochitl in noyolyol ay yahue tozmilini xochitl noteponaz +ayanco ayancayome oncana y yahue nicxochiamoxtozimmanaya itlatol +ayanco ayanca yomeho. + +3. A sweet voiced flower is my mind, a sweet voiced flower is my +drum, and I sing the words of this flowery book. + +4. Xompaqui xonahuia annochipanicantiyazque ye ichano +nohueyetzinteuctli Moteuczomatzi, totlaneuh tlpc totlaneuh uelic +xochitl o ayanco. + +4. Rejoice and be glad ye who live amid the flowers in the house of +my great lord Montezuma, we must finish with this earth, we must +finish with the sweet flowers, alas. + +5. Tlachinoltepec yn ahuicacopa tixochitonameyo timoquetzaco y yehuan +Dios a ocelozacatl ypan quauhtli choca ymopopoyauhtoc y yanco y liyan +cay yahue ayli y yacalco y ya y ycho zaca y yahue. + +5. At the Mount of Battle we bring forth our sweet and glittering +flowers before God, plants having the lustre of the tiger, like the +cry of the eagle, leaving glorious memory, such are the plants in +this house. + +6. Ohuaya yehe nipa tlantinemia ixpan Dios a +ninozozohuayatlauhquechol, zaquan quetzal in tlayahualol papalotl +mopilihuitzetzeloa teixpana xochiatlaquiquizcopa oh tlatoca ye nocuic +y yanco ili, etc. + +6. Alas! in a little while there is an end before God to all living; +let me therefore string together beauteous and yellow feathers, and +mingling them with the dancing butterflies rain them down before you, +scattering the words of my song like water dashed from flowers. + +7. Nehcoya ompa ye nihuithuiya xoxouhqui hueyatla ymancan zanniman +olini pozoni tetecuica ic nipa tlania, zan iquetzal in tototl +xiuhquechol tototl no chiuhtihuitz'y ni yahuinac ya Huexotzinco +Atzalan ayome. + +7. I would that I could go there where lies the great blue water +surging, and smoking and thundering, till after a time it retires +again: I shall sing as the quetzal, the blue quechol, when I go back +to Huexotzinco among the waters (_or_, and Atzalan). + +8. Zan niquintocaz aya niquimiximatitiuh nohueyotzitzinhuan +chalchiuhquechol y canca xiuhquechol in teocuitlapapalotl in +cozcatototl ontlapia ye onca Huexotzinco Atzalan ayame; + +8. I shall follow them, I shall know them, my beloved Huexotzincos; +the emerald quechol birds, the green quechol, the golden butterflies, +and yellow birds, guard Huexotzinco among the waters (_or_, and +Atzalan). + +9. Xochi Atzalaan teocuitlaatl chalchiuhatl y nepaniuhyan itlatoaya +in quetzalcanauhtli quetzalnocuitlapilli cuecueyahuaya yliya yliya +yaho ayli yaho aye huichile anicale. + +9. Among the flowery waters, the golden waters, the emerald waters, +at the junction of the waters which the blue duck rules moving her +spangled tail. + +10. Huecapan nicac nicuicanitl huiya zaquan petlatolini, ma nica +yeninemia nicyeyectian cuicatla in nic xochiotia yayaho yahii. + +10. I the singer stand on high on the yellow rushes; let me go forth +with noble songs and laden with flowers. + + +XXII. + +_Tico tico ticoti tico tico ticoti auh ic ontlantiuk in cuicatl +totoco totoco._ + +_Tico, tico, ticoti, tico, tico, ticoti, and then the song ends with +totoco, totoco._ + +1. Xichocayan nicuicanitl nicitta noxochiuh zan nomac ommania zan +quihuintia ye noyollo ni cuicatl aya nohuian nemia, zan ca ye noyollo +notlayocola in cayo. + +1. In the place of tears I the singer watch my flowers; they are in +my hand; they intoxicate my soul and my song, as I walk alone with +them, with my sad soul among them. + +2. Xiuhtlamatelolla quetzalchalchiuhtla ipan ye nicmatia nocuic aya +ma yectlaxochitl y, zan nomac ton mania, etc. + +2. In this spot, where the herbage is like sweet ointment and green +as the turquoise and emerald, I think upon my song, holding the +beauteous flowers in my hand, etc. (as in v. 1). + +3. In quetzalin chalchiuhtla ipan ye nicmatia yectli ye nocuic yectli +noxochiuh annicuihuan tepilhuan aya xonahuiacan a ayac onnemiz o in +tlalticpac ayo. + +3. In this spot of turquoise and emerald, I think upon beauteous +songs, beauteous flowers; let us rejoice now, dear friends and +children, for life is not long upon earth. + +4. O an niquitquiz ye niaz yectli nocuic yectli noxochiuhui +annicuihuan tepilhuan aya. + +4. I shall hasten forth, I shall go to the sweet songs, the sweet +flowers, dear friends and children. + +5. O huayanco o nichocaya a huayanco o cahua y yahue nictzetzelo +xochitl ay yo. + +5. O he! I cried aloud; O he! I rained down flowers as I left. + +6. Mach nohuan tonyaz quennonamica o ah nicitquiz xochitl zan +nicuicanitl huiya ma yo a xonahuiyacan to ya nemia ticaqui ye nocuic +ahuaya. + +6. Let us go forth anywhere; I the singer shall find and bring forth +the flowers; let us be glad while we live; listen to my song. + +7. Ay ca nichocaya nicuicanitl ya icha ahuicaloyan cuicatl ha Mictlan +temohuiloya yectliya xochitl onca ya oncaa y yao ohuayan ca ya ilaca +tziuhan ca na y yo. + +7. I the poet cry out a song for a place of joy, a glorious song +which descends to Mictlan, and there turns about and comes forth +again. + +8. Amo nequimilool amo neccuiltonol antepilhuan aychaa ohuicaloyan +cuicatl. + +8. I seek neither vestment nor riches, O children, but a song for a +place of joy. + + +XXIII. + +_YCUIC NEZAHUALCOYOTZIN._ + +_SONGS OF THE PRINCE NEZAHUALCOYOTL._ + +_Totoco totoco tico, totoco totoco ic ontlantiuh tico titico ti tico +tico._ + +_Totoco, totoco, tico, totoco totoco, then it ends with tico titico, +titico, tico._ + +1. Nicaya quetza con tohuehueuh aoniquimitotia quauhtlocelo yn ca +tiyayhcac in cuicaxochitl, nictemoan cuicatl ye tonequimilol ayyo. + +1. I bring forth our drum that I may show the power and the grandeur +in which thou standest, decked with flowers of song: I seek a song +wherewith to drape thee, ah! oh! + +2. Ti Nopiltzi o ti Nezahualcoyotl o tiya Mictl a quenonamica y yece +miyoncan ay yo. + +2. Thou, my Lord, O thou Nezahualcoyotl, thou goest to Mictlan in +some manner and at a fixed time, ere long. + +3. Quiyon quiyon caya nichocaya ya ni Nezahualcoyotl huiya queni yeno +yaz o ya nipolihuiz oya miquitla ye nimitzcahua noteouh ypalnemo o +tinechnahuatia ye niaz nipolihuiz aya, yo. + +3. For this, for this, I weep, I Nezahualcoyotl, inasmuch as I am to +go, I am to be lost in death, I must leave thee; my God, the Giver of +Life, thou commandest me, that I go forth, that I be lost, alas. + +4. Quenon maniz tlallin Acolihuacan huiya cuixoca quen mano o +ticmomoyahuaz in momacehuali ye nimitzcahua noteouh, etc. + +4. How shall the land of Acolhuacan remain, alas? How shall we, thy +servants, spread abroad its fame? I must leave thee; my God, etc. + +5. Can yio cuicatli tonequimilol quipoloaya a in totlacuiloli +tepilhuan oo maya o huitihua nican aya ayac ichan tlalticpac oo +ticyacencahuazque huelic ye xochitl ayio. + +5. Even this song for thy draping may perish, which we have written +for our children, it will no longer have a home here on earth when we +shall wholly leave these fragrant flowers. + +6. O ayac quitlamitaz monecuiltonol ypalnemoa a noyolquimati +cuelachic otictlanehuico Nezahualcoyotzin ay oppatihua nican anaya y +chan tlpc. Oon yn ay oppatihua in tlalticpacqui, zan nicuicanitl +ayaho onnichocaya niquelnamiqui Nezahualcoyotl aya ho. + +6. Alas! thy riches shall end; the Giver of Life teaches me that but +for a little while do we enjoy the prince Nezahualcoyotl, nor a +second time will he come to his house on earth; no second time will +he rejoice on earth; but I the singer grieve, recalling to memory +Nezahualcoyotl. + +7. Xo acico ye nican in teotl aya ypalnemoa, ayaho on nichocaya a +niquelnamiqui Nezalhuacoyotl ayio. + +7. Let us seek while here the god, the Giver of Life; I grieve, +recalling to memory Nezahualcoyotl. + + +XXIV. + +_Quititi, quititi, quiti tocoto, tocoti tocoto tocoti zan ic +mocueptiuh._ + +_Quititi, quititi, quiti tocoto, tocoti, tocoto, tocoti, then it is +to turn back again._ + +1. Ma xochicuicoya ma ichtoa nichuana ayyahue teyhuinti xochitl ao ya +noyehcoc ye nica poyoma xahuallan timaliuhtihuitz ay yo. + +1. Let me pluck flowers, let me see them, let me gather the really +intoxicating flowers; the flowers are ready, many colored, varied in +hue, for our enjoyment. + +2. Ma xochitl oyecoc ye nican ayyahuc can tlaahuixochitla moyahuaya +motzetzeloa ancazo yehuatl in nepapaxochitl ayyo. Zan commoni +huchuetl ma ya netotilo. + +2. The flowers are ready here in this retired spot, this spot of +fragrant flowers, many sorts of flowers are poured down and scattered +about; let the drum be ready for the dance. + +3. Yn quetzal poyomatl ayc ihcuilihuic noyol nicuicanitl in xochitl +ayan tzetzelihui ya ancuel ni cuiya ma xonahuacan ayio zan noyolitic +ontlapanion cuicaxochitl nicyamoyahuaya yxoochitla. + +3. I the singer take and pour down before you from my soul the +beautiful poyomatl, not to be painted, and other flowers; let us +rejoice, while I alone within my soul disclose the songs of flowers, +and scatter them abroad in the place of flowers. + +4. Cuicatl ya ninoquinilotehuaz in quemmanian xochineneliuhtiaz +noyollo yehuan tepilhuan oonteteuctin in ca yio. + +4. I shall leave my songs in order that sometime I may mingle the +flowers of my heart with the children and the nobles. + +5. Zan ye ic nichoca in quemanian zan nicaya ihtoa noxochiteyo +nocuicatoca nictlalitehuaz in quemanian xochineneliuhtiaz, etc. + +5. I weep sometimes as I see that I must leave the earth and my +flowers and songs, that sometime these flowers will be vain and +useless. + + +XXV. + +_Tico toco tocoto ic ontlantiuh ticoto ticoto._ + +_Tico, toco, tocoto, and then it ends, ticoto, ticoto._ + +1. Toztliyan quechol nipa tlantinemia in tlallaicpac oquihuinti ye +noyol ahua y ya i. + +1. The sweet voiced quechol there, ruling the earth, has intoxicated +my soul. + +2. Ni quetzaltototl niyecoya ye iquiapan ycelteotl yxochiticpac +nihueloncuica oo nicuicaihtoa paqui ye noyol ahuay. + +2. I am like the quetzal bird, I am created in the house of the one +only God; I sing sweet songs among the flowers; I chant songs and +rejoice in my heart. + +3. Xochiatl in pozontimania in tlallaicpac oquihuinti ye noyol ahua. + +3. The fuming dew-drops from the flowers in the field intoxicate my +soul. + +4. Ninochoquilia niquinotlamati ayac in chan oo tlallicpac ahua. + +4. I grieve to myself that ever this dwelling on earth should end. + +5. Zan niquittoaya ye ni Mexicatl mani ya huiya nohtlatoca +tequantepec ni yahui polihuin chittepehua a ya ye choca in +tequantepehua o huaye. + +5. I foresaw, being a Mexican, that our rule began to be destroyed, I +went forth weeping that it was to bow down and be destroyed. + +6. Ma ca qualania nohueyotehua Mexicatli polihui chile. + +6. Let me not be angry that the grandeur of Mexico is to be +destroyed. + +7. Citlalin in popocaya ipan ye moteca y za ye polihui a zan ye +xochitecatl ohuaye. + +7. The smoking stars gather together against it; the one who cares +for flowers is about to be destroyed. + +8. Zan ye chocaya amaxtecatl aya caye chocaya tequantepehua. + +8. He who cared for books wept, he wept for the beginning of the +destruction. + + +XXVI. + +_Toto tiquiti tiquiti ic ontlantiuh tocotico tocoti toto titiqui toto +titiquiti._ + +_Toto tiquiti tiquiti, then it ends tocotico, tocoti toto titiqui +toto titiquiti._ + +1. Oya moquetz huel oon ma on netotilo teteuctin aya ma +onnetlanehuihuilo chalchihuitl on quetzali patlahuac, ayac ichan +tlalticpac, ayio zan nomac onmania ooo y xochiuh aya ipalnemoa ma +onnetlanehuilo chalchihuitl. + +1. Come forth to the dance, ye lords, let there be abundance of +turquoise and feathers; our dwelling on earth is not for long; only +let the gods give me flowers to my hand, give me abundance of +turquoises. + +2. Oyohual in colinia o on in icelteotl ipalnemaa Anahuac o onnemia +noyol ayio. + +2. Come let us move in the dance in honor of the one only god, the +Giver of Life, while my soul lives by the waters (_or_, in Anahuac). + +3. In yancuica oncan quixima ipalnemoani ca ye Nonoalco ahuilizapan i +in teuctli yehua Nezahualpilli y yece ye oncan aya in tlacoch +tenanpan Atlixco ayio. + +3. The Giver of Life made known a new song after the lord +Nezahualpilli entered the strongholds of Nonoalco and sped his arrows +within the walls of Atlixco. + +4. Zan momac otitemic motlahuan zomal a ica ticahuiltia icelteotl in +teuctli yehua. + +4. Thou hast filled thy plate and thy cup in thy hands and hast +rejoiced in the one only God, the Lord. + +5. Y yeho aye icnotlamati +noyollo, zan niNonoalcatl, zan can nicolintototl o nocamapan aya +Mexicatl in ca yio. + +5. Alas, how I am afflicted in my soul, I, a resident of Nonoalco; I +am like a wild bird, my face is that of a Mexican. + +6. On quetzal pipixauhtoc motlachinolxochiuh in ipalnemoa zan ca +nicolintototl, etc. + +6. The beauteous flowers of thy battles lie abundantly snowed down, O +Giver of Life; I am like a wild bird, etc. + + +XXVII. + +_Toco toco tiqui tiqui ic ontlantiuh toco tico tocoti._ + +_Toco, toco, tiqui, tiqui, and then it ends toco, tico, tocoli._ + +1. Ma ya pehualo ya nicuihua in ma ya on acico ye nicaan aya oya +y[)e]coc yehuan Dios in cayio in ma ya ca ya onahuilihuan tepilhuan a +ayamo acico ya yehuan Dios oncan titemoc yehuan Dios a oncan huel in +oncan tlacat y ye Yesu Cristo in ca yio. + +1. Let my song be begun, let it spread abroad from here as far as God +has created; may the children be glad, may it reach to God, there to +God whom we seek, there where is Jesus Christ who was born. + +2. In oncan tlahuizcalli milintimani mochan aya moxochiuhaya Dios aya +chalchiuhcueponi maquiztzetzelihui onnetlamachtiloya in ca yio in +oncan ya o nepapan izhuayo moxochiuh aya Dios a. + +2. There the dawn spreads widely over the fields, over thy house, and +thy flowers, O God, blossom beauteous as emeralds; they rain down in +wondrous showers, in that place of happiness; there alone may my +flowers, of various leaves, be found, O God. + +3. Zan ye xochitl moyahua oo zan ca itlatol in ipalnemoani o ontepan +ye moteca anahuac ooica tichuelmana atl on yan tepetl ayio. + +3. There the flowers are the words of the Giver of Life; they are +upon the mountains and by the waters; we find them alike by the water +and the mountain. + +4. Zan temomac mania cemilhuitl in niman ye tehuatl toconyaittoaya +ipalnemoani. + +4. Our day is in thy hand, and soon we shall see thee, thou Giver of +Life. + + + + +NOTES. + + +NOTES FOR SONG I. + +The song is an allegory, portraying the soul-life of the poet. By the +flowers which he sets forth to seek, we are to understand the songs +which he desires to compose. He asks himself where the poetic +inspiration is to be sought, and the answer is the same as was given +by Wordsworth, that it is to the grand and beautiful scenes of Nature +that the poet must turn for the elevation of soul which will lift him +to the sublimest heights of his art. But this exaltation bears with +it the heavy penalty that it disqualifies for ordinary joys. As in +medieval tales, he who had once been admitted to fairyland, could +nevermore conquer his longing to return thither, so the poet longs +for some other condition of existence where the divine spirit of song +may forever lift him above the trials and the littleness of this +earthly life. + +There is no sign of Christian influence in the poem, and it is +probably one handed down from a generation anterior to the Conquest. + +1. The word _peuhcayotl_ from _peua_, to begin, intimates that this +was a song chanted at the beginning of a musical entertainment. The +verses are longer, and the phraseology plainer than in many of those +following. There is also an absence of interjections and lengthened +vowels, all of which indicate that the time was slow, and the actions +of the singer temperate, as was the custom at the beginning of a +_baile_. (See Introd., p. 20.) + +1. _Ninoyolnonotza_, a reflexive, frequentative form from _notza_, to +think, to reflect, itself from the primitive radicle _no_, mind, +common to both the Nahuatl and Maya languages. The syllable _yol_ is +for _yollotl_, heart, in its figurative sense of soul or mind. The +combination of _yolnonotza_ is not found in any of the dictionaries. +The full sense is, "I am thinking by myself, in my heart." + +_ahuiaca_, an adverbial form, usually means "pleasant-smelling," +though in derivation it is from the verb _ahuia_, to be satisfied +with. + +_quetzal_, for _quetzalli_, a long, handsome blue feather from the +quetzal bird, often used figuratively for anything beautiful or +precious. + +_chalchiuh_ for _chalchiuitl_, the famous green-stone, jade or +emerald, so highly prized by the Mexicans; often used figuratively +for anything noble, beautiful and esteemed. + +_huitzitzicatin_, a word not found in the dictionaries, appears to be +from _tzitzilca_, to tremble, usually from cold, but here applied to +the tremulous motion of the humming bird as it hovers over a flower. + +_zacuan_, the yellow plumage of the zacuan bird, and from similarity +of color here applied to the butterfly. The zacuan is known to +ornithologists as the _Oriolus dominicensis_. These birds are +remarkably gregarious, sometimes as many as a hundred nests being +found in one tree (see Eduard Muehlenpfort, _Versuch einer getreuen +Schilderung der Republik Mexiko_, Bd. I, p. 183). + +_acxoyatzinitzcanquauhtla_; composed of _acxoyatl_, the wild laurel; +_tzinitzcan_, the native name of the _Trogon mexicanus_, renowned for +its beautiful plumage; _quauhtli_, a tree; and the place-ending +_tla_, meaning abundance. + +_tlauquecholxochiquauhtla_; composed of _tlauquechol_, the native +name of the red, spoon-billed heron, _Platalea ajaja; xochitl_, +flower; _quauhtli_, tree; and the place-ending _tla_. + +_tonameyotoc_, the root is the verb _tona_, to shine, to be warm; +_tonatiuh_, the sun; _tonameyotl_, a ray of the sun, etc. As warmth +and sunlight are the conditions of growth and fertility, many +derivatives from this root signify abundance, riches, etc. + +_mocehcemelquixtia_; _mo_ is the reflexive pronoun, 3d sing., often +used impersonally; _cehcemel_, is a reduplicated form of the numeral +_ce_, one; it conveys the sense of entire, whole, perfect, and is +thus an interesting illustration of the tendency of the untutored +mind to associate the idea of unity with the notion of perfection; +_quixtia_ is the compulsive form of _quiza_, to go forth. + +_onechittitique_; 3d person plural, preterit, of the causative form +of _itta_, to see; _ittitia_, to cause to see, to show; _nech_, me, +accusative form of the pronoun. + +_nocuexanco_; from _cuexantli_, the loose gown worn by the natives, +extending from the waist to the knees. Articles were carried in it as +in an apron; _no-cuexan-co_, my-gown-in, the terminal _tli_ being +dropped on suffixing the postposition. + +_tepilhuan_; from _pilli_, boy, girl, child, young person, with the +relative, indefinite, pronominal prefix _te_, and the pronominal +plural termination _huan_, to take which, _pilli_ drops its last +syllable, _li_; hence, _te-pil-huan_, somebody's children, or in +general, the young people. This word is of constant occurrence in the +songs. + +_teteuctin_, plural with reduplication of _teuctli_, a noble, a +ruler, a lord. The singer addresses his audience by this respectful +title. + +2. _ixochicuicatzini_; _i_, poss. pron. 3d sing.; _xochitl_, flower; +_cuicatl_, song; _tzin_, termination signifying reverence or +affection; "their dear flower-songs." + +_yuhqui tepetl_, etc. The echo in the Nahuatl tongue is called +_tepeyolotl_, the heart or soul of the mountain (not in Simeon's +_Dictionnaire_, but given by Tezozomoc, _Cronica Mexicana_, p. 202). + +_meyaquetzalatl_; from _meya_, to flow slowly, to trickle; +_quetzalli_, beautiful; _atl_, water. + +_xiuhtotoameyalli_; the root _xiuh_ meant originally green (or blue, +as they were not distinguished apart); hence _xiuitl_, a leaf or +plant, the green herbage; as where the Nahuas then were this was +renewed annually, _xiuitl_ came to mean a year; as a comet seems to +have a bunch of fiery flames growing from it, this too was _xiuitl_, +and a turquoise was called by the same term; in the present compound, +it is employed adjectively; _xiuh-totol_, turquoise-bird, is the +_Guiaca cerulea_, Linn.; _ameyalli_, from _atl_, water, _meya_, to +trickle, and the noun ending. + +_mo-motla_; to throw one's self, to dash one's self against +something, etc. + +_centzontlatolli_; literally," four hundred speeches." The numeral +four hundred was employed, like the Greek "myriad," to express +vaguely any extraordinary number. The term may be rendered "the +myriad-voiced," and was the common name of the mocking-bird, called +by ornithologists _Turdus polyglottus_, _Calandria polyglotta_, and +_Mimus polyglotta_. + +_coyoltototl_, literally, "the rattle-bird," so called from its +peculiar notes (_coyolli_ = a rattle), is one of the _Tanegridae_, +probably the _Piranga hepatica_. + +_ayacachicahuactimani_; composed of _ayacachtli_, the rattle (see +_ante_, page 24); and _icahuaca_, to sing (of birds); to the theme of +this verb is added the connective syllable _ti_, and the verb _mani_, +which, in such connection, indicates that the action of the former +verb is expended over a large surface, broadly and widely (see Olmos, +_Gram. de la Langue Nahuatl_, p. 155, where, however, the connective +_ti_ is erroneously taken for the pronoun _ti_). + +_hueltetozcatemique_; composed of _huel_, good or well; _tetozca_, +from _tozquitl_, the singing voice; and _temo_, to let fall, to drop; +_que_ is the plural verbal termination. + +3. _ma n-amech-ellelti_, vetative causative from _elleloa_, to cause +pain. + +_cactimotlalique_, appears to be a compound of _caqui_, to listen, to +hear, and _tlalia_, to seat, to place. + +_amohuampotzitzinhuan_, a compound based on the pronoun of the second +person plural, _amo_, the particle _po_, which means similarity or +likeness, and the reduplicated reverential plural termination. The +same particle _po_, appears a few lines later in _toquichpohuan_; +_potli_ = comrade, compeer. + +4. _Tepeitic_, from _tepetl_, mountain, _ititl_, belly, from which is +derived the proposition _itic_, within, among. The term is applied to +a ravine or sequestered valley. + +5. _quauhtliya ocelotl_, the expression _quauhtli, ocelotl_, is of +frequent occurrence in the ancient Nahuatl writers. The words mean +literally "eagle, tiger." These were military titles applied to +officers commanding small bodies of troops; figuratively, the words +mean control, power, and dignity; also, bravery and virtue. Comp. +Agustin de Vetancurt, _Teatro Mexicano_, Tratado II, cap. 3. + +6. _in tloque in nahuaque_; this expression, applied by the ancient +Nahuas to the highest divinity, is attributed by some to +Nezahualcoyotl (see above, p. 36). It is composed of two +postpositions _tloc_ and _nahaac_, and in the form given conveys the +meaning "to whom are present and in whom are immanent all things +having life." See Agustin de la Rosa, _Analisis de la Platica +Mexicana sobre el Mislerio de la Santisima Trinidad_, p. 11 +(Guadalajara, 1871). The epithet was applied in heathen times to the +supreme divinity Tonacateotl; see the _Codex Telleriano-Remensis_, in +Kingsborough's _Mexico_, Vol. VI, p. 107. + +8. _ximoayan_; this word does not appear in the dictionaries of +Molina or Simeon, and is a proof, as is the sentiment of the whole +verse, that the present poem belongs to a period previous to the +Conquest. The term means "where all go to stay," and was the name of +the principal realm of departed souls in the mythology of the ancient +Nahuas. See Bartholome de Alva, _Confessionario en Lengua Mexicana_, +fol. 13 (Mexico, 1634); Tezozomoc, _Cronica Mexicana_, cap. 55; D.G. +Brinton; _The Journey of the Soul_ (in Aztec and Aryan Myths), +Philadelphia, 1883. + +_yhuintia_, causative form of _ihuinti_, to make drunk. The Nirvana +of the Nahuas was for the soul to lie in dense smoke and darkness, +filled with utter content, and free from all impressions ("en lo +profundo de contento y obscuridad," Tezozomoc, _Cronica Mexicana_, +cap. 55). + + +NOTES FOR SONG II. + +On the signification of the titles given to this poem see the +Introduction, Sec. 3. + +1. _yehnan Dios_; literally "who are God;" the introduction of the +Spanish _Dios_, God, is in explanation of _in tloque in nahuaque_; so +far from proving that this song is of late date, this vouches for its +genuine ancient character, through the necessity for such +explanation. + +2. _nelhuayotl_, the essence or source of something, its true nature; +probably from _nelli_, true. + +_teoquecholme_; the prefix _teotl_, divine, is often added as an +expression of admiration. Sahagun mentions the _teoquechol_ as a bird +of brilliant plumage. + + +NOTES FOR SONG III. + +The poet recalls a recent attendance on the obsequies of an +acquaintance, and seeks to divert his mind from the gloomy +contemplation of death and the ephemeral character of mortal joys by +urging his friend to join in the pleasure of the hour, and by +suggesting the probability of an after life. + +1. _xochicalco_; compounded of _xochitl_, flower; _calli_, house; and +the postposition, _co_. The term was applied to any room decorated +with flowers; here, to the mortuary chamber, which Tezozomoc tells us +was decked with roses and brilliant feathers. + +_ipalnemohuani_, literally "the one by whom life exists." The +composition is _i_, possessive pronoun, third person, singular; +_pal_, postposition, by; _nemoani_, singular of the present in _ni_ +of the impersonal form of the verb _nemi_, to live, with the meaning +to do habitually that which the verb expresses. It is an ancient +epithet applied to the highest divinity, and is found in the _Codex +Telleriano-Remensis_, Kingsborough's _Mexico_, Vol. VI, p. 128, note. + +_tolquatectitlan_, from _toloa_, to lower, to bow; _quatequia_, to +immerse the head; _tlan_, place ending. In the ancient funeral +ceremonies the faces of the assistants were laved with holy water. On +this rite see the note of Orozco y Berra to his edition of the +_Cronica Mexicana_ of Tezozomoc, p. 435 (Mexico, 1878). + +_xoyacaltitlan_; from _xoyaui_, to spoil, to decay, whence +_xoyauhqui_, rank, unpleasant, like the odor of decaying substances. + +_xochicopal tlenamactli_, "the incense of sweet copal," which was +burned in the funeral chamber (see Tezozomoc's description of the +obsequies of Axayaca, _Cron. Mex._, cap. 55). + +2. The translation of this verse offers some special difficulties. + + +NOTES FOR SONG IV. + +A poem of unusually rich metaphors is presented, with the title "A +Song of the Mexicans, after the manner of the Otomis." It is a +rhapsody, in which the bard sings his "faculty divine," and describes +the intoxication of the poetic inspiration. It has every inherent +mark of antiquity, and its thought is free from any tincture of +European influence. + +2. _miahuatototl_, literally, "the corn-silk bird," _miahua_ being +the term applied to the silk or tassel of the maize ear when in the +milk. I have not found its scientific designation. + +6. _poyomatl_; the poyomatli is described by Sahagun (_Hist. de la +Nueva Espana_, Lib. X, cap. 24) as a species of rose, portions of +which were used to fill the cane tubes or pipes used for smoking. He +names it along with certain fungi employed for the same purpose, and +it probably produced a narcotic effect. + + +NOTES FOR SONG V. + +From the wording, this appears to be one of the lost songs of +Nezahualcoyotl, either composed by him or sung before him. (See the +Introduction, p. 35.) It is a funeral dirge, dwelling on the fact of +universal and inevitable death, and the transitoriness of life. There +is in it no hint of Christian consolation, no comfortable hope of +happiness beyond the grave. Hence it dates, in all likelihood, from a +period anterior to the arrival of the missionaries. + +1. _tonequimilol_; I take this to be a derivative from _quimiloa_, to +wrap up, especially, to shroud the dead, to wrap the corpse in its +winding sheets, as was the custom of the ancient Mexicans. The word, +however, seems an archaic form, as it does not lend itself readily to +analysis. + +The expression _in Dios_, I explain as in the note to II, 1, and do +not consider that it detracts from the authentic antiquity of the +poem. + +2. _yoyontzin_; on the significance of this appellation of +Nezahualcoyotl, see Introduction, p. 35. + +3. _ti Nezahualcoyotl_; "thou Nezahualcoyotl." The princely poet may +have addressed himself in this expression, or we may suppose the song +was chanted before him. + +5. _Nopiltzin_; the reference is to Quetzalcoatl, the famous "fair +God" of the Nahuas, and in myth, the last ruler of the Toltecs. See +D.G. Brinton, _American Hero Myths_ (Philadelphia, 1882). The term +means "my beloved Lord." On Tezozomoc, see Introduction, p. 35. + +6. The text of the latter part or refrain of verses 5 and 6 is +corrupt, and my translation is doubtful. + + +NOTES FOR SONG VI. + +Most of the poems in this collection are not assigned to any author, +but this, and apparently the one following, are recorded as the +compositions of Tetlapan Quetzanitzin. He is evidently the personage +spoken of by Sahagun as "King of Tlacopan," as present with Montezuma +on the occasion of his first interview with Cortez. Later in the +struggle Tetlapan appears as the associate of Quauhtemoctzin, the +"King of Mexico." (See Sahagun, _Hist. de la Nueva Espana_, Lib. XII, +cap. 16 and 40.) M. Remi Simeon explains the name to mean "he who +deceives the people by magic;" deriving it from _quetza_, he places; +_te_, the people, _tlepan_, on the fire. A simpler derivation seems +to me possible from _tetlapanqui_, miner, or quarryman (literally, +stone-breaker), and _quetzalli_, red; _quetzatzin_, the lord or +master of the miners. + +Both this and the following are war songs, and have marked similarity +in thought and wording. The introduction of the Spanish _Dios_ was +doubtless substituted by the scribe, for the name of some native god +of war, perhaps Huitzilopochtli. + +1. _Aua_; this word I take to be a form of the interjection _yahue_, +or, as Olmos gives it in his _Grammar, aa_. + +2. _nepohualoyan_; "the place of counting or reckoning," from +_pohua_, to count. The reference is not clear, and the translation +uncertain. In some parts of ancient Mexico they used in their +accounting knotted cords of various colors, like the Peruvian +_quipus_. These were called _nepohualtzitzin_. + +4. This verse is remarkable for its sonorous phrases and the archaic +forms of the words. Its translation offers considerable difficulty. + +_xontlachayan_, I take to be an imperative form from _tlachia_, to +look, with the euphonic _on_. + +_teoatl tlachinolli_, literally "the divine water (i.e. blood), the +burning," and the expression means war, battle. In one of his sermons +Fray Juan Bautista describes the fall of Jericho in the words, +_otlaltitechya in altepetl teuatl tlachinolli ye opoliuh_, and +explains it, "the town was destroyed with fire and blood" (_Sermones +en Lengua Mexicana_, p. 122). The word _tlachinolli_ is from +_chinoa_, to burn. + +_quetzalalpilo_; a compound of _quetzalli_, a beautiful feather, and +_tlalpiloni_, the band which passed around the head to keep the hair +in place. + +5. _melchiquiuhticaya_; "he who presented his breast," an imperfect, +reflexive form. Molina gives _melchiquiuh petlauhqui_, with the +translation _despechugado_. _Vocabulario Mexicana, s.v._ + + +NOTES FOR SONG VII. + +The second specimen from the muse of Tetlapan Quetzanitzin is the +noblest war song in the collection. It is an appeal to his friends to +join in a foray to Chiapas. The intoxication of the battle field is +compared to that produced by the strong white wine prepared from +maguey, which was drunk only on solemn occasions. The bard likens the +exhaustion of his fellow warriors from previous conflicts, to the +stupor which follows a debauch, and he exhorts them to throw it +aside. + +1. _oamaxque_, _o_, pret. _am_, you, _axque_, 2d pl. pret. from _ay_, +to do. + +_octicatl_, apparently an old form from _octli_, the intoxicating +beverage prepared from the maguey. + +_oanquique_, 2d pl. pret. from _cui_, to take. + +_ohuican_, a place of difficulty and danger. The frequent addition of +the terminal _o_ in this and the succeeding verses is merely +euphonic. + +2. _teoatl tlachinolli_; see note VI, 4. + +_in maquiztli tlazotetl_, the beloved jewels, a phrase which +indicates that the broken stones and splintered emeralds referred to +are the young warriors who fall in battle, the pride of their +parents' hearts, who are destroyed in the fight. + +The _tizaoctli_, white wine (_tizatl_, chalk, hence white, and +_octli_, wine), referred to in this passage, is said by Sahagun to +have been drunk especially at the feast of the god Papaztac, one of +the many gods of the wine cup. _Hist. de Nueva Espana_. Lib. II, App. +Tezozomoc mentions it as handed to the mourners at funeral +ceremonies. _Cronica Mexicana_, cap. 55. + +3. _xochitlalticpacilhtuicacpao_; in this long compound of _xochitl_, +flower, _tlalti_, earth, and _ilhuicatl_, sky, with various +postpositions and the euphonic terminal _o_, the final _pa_ gives the +sense of location, towards, in the direction of. + +_chimalxochiti_; "the shield flower," the shield or buckler of the +ancient warriors, ornamented with tassels and feathers, is not +unaptly called the flower of war. + + +NOTES FOR SONG VIII. + +The entire absence in this lament for the dead of any consolation +drawn from Christian doctrines, points clearly to a date for its +composition earlier than the teachings of the missionaries. Its cry +of woe is hopeless, and the title attributes its authorship to one of +the old chieftains, _tlatoani_, who held the power before the +Spaniard arrived. + +1. _quetzalhuahuaciuhtoque_, from _quetzalli, huaqui_; _in +teintoque_, the splinters; the same simile is employed in VII, 2. + +2. _ximoayan_, see note to I, 8. The occurrence of this term here and +in verse 3 testifies to the fact of a composition outside of +Christian influences. + + +NOTES FOR SONG IX. + +The title does not necessarily mean that this song is a translation +from the Otomi language, but merely that the time to which it was +chanted was in the Otomi style; or, the term _Otomi_ may have +reference to the military officer so called. The word is perhaps a +compound of _otli_, path, and _mitl_, arrow. + +The bard sings the vanity of earthly pleasures, and the reality of +earthly pains; he exhorts himself and his hearers not to neglect the +duties of religion, and lauds his own skill in song, which he +compares to the sweet voices of melodious birds. There is nothing in +the poem which reflects European influence. + +1. _xotlacueponi_; the meaning of this compound is obscure. It is not +found in the dictionaries. + +2. The terminal _o_ is inserted several times in the passage to +express emotion and fill the metre. + +_mixitl tlapatl_. A phrase signifying the stupor or drunkenness that +comes from swallowing or smoking narcotic plants. See Olmos, +_Grammaire de la Langue Nahuatl_, pp. 223, 228; _oquiqueo_ is from +_i_, to drink, or _cui_, to take, the _o_ terminal being euphonic. + + +NOTES FOR SONG X. + +The poet expresses his grief that his songs all dwell on painful +topics; he exhorts his hearers of the vanity of fame and skill in +handicrafts, and of the uncertainty of life; closing, he appeals +especially to those of Tezcuco and Atecpan to listen and believe his +warnings. + +In spite of the introduction of the Spanish word _Dios_, and the +exhortation to "believe," in the last line, it is possible that the +substance of this song was due to purely native inspiration; yet it +may have been, like Song XIX, one of those written at an early period +for the converts by the missionaries. + + +NOTES FOR SONG XI. + +In a similar strain as in the last poem, the bard bewails the +briefness of human life and friendships. He closes with an appeal to +the Master of Life, of whom no mortal tongue can speak in worthy and +appropriate terms. + +6. _ihuiti_, apparently a form of _ihuintia_. + +_tonan_; the reference appears to be to _Tonantzin_, Our Mother, +otherwise known as Cihuacoatl, the Serpent Woman. She was the +mythical mother of the human race, and dispensed afflictions and +adverse fortune. See Sahagun, _Hist. de la Nueva Espana_, Lib. I, +cap. 6. The name is a proof of the antiquity of the poem, which is +throughout in the spirit of the ancient religion. + + +NOTES FOR SONG XII. + +As stated in the Introduction (Sec. 10), a note prefixed to this song +introduces it as a translation from the Otomi into the Nahuatl +tongue. It admirably illustrates the poetic flexibility of the +Nahuatl. + +3. _epoyhuayan_, from _epoalli_, sixty; _teoquauhtli ocelott_, +"divine eagles, tigers." These terms refer to the warriors bearing +these titles. + +_tlazomaquiztetl_, "beloved, precious stones," a figure of speech +referring to the youths who go to war. The same or similar metaphors +are used in previous songs. + +5. The fifth and sixth verses present serious difficulties of +construction which I do not flatter myself I have overcome. + + +NOTES FOR SONG XIII. + +The inhabitants of Huexotzinco were in frequent strife with those of +Mexico-Tenochtitlan, and on various occasions the latter captured +many prisoners. The present poem is represented to be a composition +of one of these prisoners when he and his companions were confined in +Tlatilolco, one of the suburbs of Tenochtitlan. It breathes hatred +against his captors and an ardent thirst for vengeance. The latest +date at which I find captives from Huexotzinco detained in Mexico is +1511, and it is to this year, therefore, that I assign the +composition of the poem. + +5. _Atloyantepetl_; this name possibly means "the mountain of the +place of the water-falcons" (_atl_, water; _tlatli_, falcon; _yan_, +place-ending; _tepetl_, mountain). I have not found it in other +writers. (See Index.) + +8. _tlaylotlaqui_; Simeon, on the authority of Aubin, explains this +term as the name of a tribe living near Tezcuco. In derivation it +appears to be a term of contempt, "workers in filth or refuse," scum, +offscourings. It also appears in Song XV. + +10. The construction of this verse is so obscure, or the text so +imperfect, that the translation is doubtful. + + +NOTES FOR SONG XIV. + +This poem, chanted in 1551 before the Governor of Azcapotzalco, by +Francisco Placido, a native of Huexotzinco, is a Christian song in +the style and metre of the ancient poetry. See the Introduction, p. +51. + +1. _impetlatl_; the ordinary meaning of _petlatl_ is a mat or rug; it +is here to be taken in its figurative sense of power or authority, +chiefs and other prominent persons being provided with mats at the +councils, etc. + + +NOTES FOR SONG XV. + +This extremely difficult composition seems to be a war song, in which +the bard refers to the traditional history of the Nahuas, names some +of their most prominent warriors, and incites his hearers to deeds of +prowess on the battle field. I do not claim for my version more than +a general correspondence to the thought of the original. In several +parts, especially verse 18, the text is obviously defective. + +1. _tzihuactitlan_; "the land of the tzihuac bushes." The tzihuactli +is a small kind of maguey which grows in rocky localities. The tenth +edifice of the great temple at Tenochtitlan was a wall surrounding an +artificial rockery planted with these bushes. Sahagun, who mentions +this fact, adds that the name of this edifice was _Teotlalpan_, which +literally means "on holy ground." (_Hist. de la Nueva Espana_, Lib. +II, App.) The _mizquitl_ is the common _Mimosa circinalis_. + +_Chicomoztoc_; "at the Seven Caves," a famous locality in Mexican +legend, and the supposed birthplace of their race. + +2. _Colhuacan_ is probably for Acolhuacan; the early rulers of the +latter were of the blood of the Chichimec chiefs of the Tepanecas. + +4. _Hueytlalpan_, "at the ancient land," perhaps for Huetlapallan, a +1ocality often referred to in the migration myths of the Nahuas. + +5. _Atloyan_; see note to XIII, 6. + +9. The ceiba and cypress trees were employed figuratively to indicate +protection and safeguard. See Olmos, _Gram. de la Langue Nahuatl_, p. +211. + +12. On _tlailotlaqui_, see note to XIII, 8. The interjectional +appendages to this and the following verse are increased. + +15. Tepeyacan was the name of a mountain on which before the Conquest +was a temple dedicated to the "Mother of our Life," Tonantzin. + +16. _tlapalcayocan_, "the place of shards," of broken pieces, i.e., +the field of battle. + +19. The word _totomihuacan_, which has already occurred in vv. 3 and +7, I have translated as referring to the war captains of the Mexican +armies, called _otomi_ (see Bandelier, _On the Art of War of the +Ancient Mexicans_, p. 117). I am quite open for correction however. + +27. _in ipetl icpal_; in a translation of an ancient song, +Ixtlilxochitl renders the expression _in ipetl icpal in teotl_, "en +el trono y tribunal de Dios," _Historia Chichimeca_, cap. 32. + +29. _Mictlan_; the place of departed souls in Aztec mythology. + + +NOTES FOR SONG XVI. + +In this stirring war-song, the poet reproaches his friends for their +lukewarmness in the love of battle. He reminds them that life is +transitory, and the dead rise not again, and that the greatest joy of +the brave is on the ringing field of fray where warriors win renown. +It is in the spirit of the Scotch harper:-- + +"'Twere worth ten years of peaceful life, + +One hour of such a day." + +1. Each verse terminates with an interjectional refrain. The frequent +introduction of the particle _on_ is intended to add strength and +gravity to the oration. + +2. _oppan piltihua_. Compare this expression with that in v. 22, p. +44. + +3. _xochimicohuayan_, should perhaps be translated, "where the +captives to be immolated to the Gods are taken." The _xochimique_, +"those destined to a flowery death" were the captives who were +reserved for sacrifice to the gods. See Joan Bautista, _Sermonario en +Lengua Mexicana_, p. 180. + +4. _yaoxochimiquiztica_, "pertaining to the slaughter of the flowery +war." This adjective refers to the peculiar institution of the +"flowery war," _guerra florida_, which obtained among the ancient +Mexicans. It appears to have been a contest without provocation, and +merely for the display of prowess and to take captives to supply the +demand for human sacrifices in the religious rites. On this see +Tezozomoc, _Cronica Mexicana_, cap. 96. + + +NOTES FOR SONG XVII. + +In this long fragment--the closing strophes are missing in my +MS.--the bard represents himself as a stranger appearing before the +nobles of Huexotzinco at some festival. The first two verses appear +to be addressed to him by the nobles. They ask him to bring forth his +drum and sing. He begins with a laudation of the power of music, +proceeds to praise the noble company present, and touches those +regretful chords, so common in the Nahuatl poetry, which hint at the +ephemeral nature of all joy and the certainty of death and oblivion. +An appeal is made to the Master of Life who inspires the soul of the +poet, and whose praises should be ever in mind. + +The words _Dios_ and _angelotin_, in verse 26th, indicate that the +poem has received some "recension" by the Spanish copyist; but the +general tone impresses me as quite aboriginal in character. + +2. _quauhtlocelotl_, see note to I, 5. + +3. In this verse, as frequently elsewhere, the syllable ya is +introduced merely to complete the metre. Ordinarily it is the sign of +the imperfect tense, and has other meanings (see the Vocabulary), but +in many instances does not admit of translation. + +8. _noncoati_, for _ni-on-coatl_, I am a guest. + +18. The references in this verse are obscure, and I doubt if I have +solved them. + +20. "The house of spring;" compare the expression in v. 1, of +Nezahualcoyotl's song, p. 42. + +21. A long oration of Xicontecatl, lord of Tizatlan, may be found in +Clavigero, _Hist. Antica di Messico_, Tom. III, p. 40. The expression +in _camaxochitzin_, from _camatl_, mouth, _xochitl_, rose, flower, +and the reverential _tzin_, is noteworthy. + +24. _petlacoatl_, the centipede or scolopender; from _petlatl_, mat, +and _coatl_, serpent, as they are said to intertwine with each other, +like the threads of a mat (Sahagun, Lib. XII, cap. 4). + + +NOTES FOR SONG XVIII. + +At this portion of the MS. several poems are preceded by a line of +syllables indicating their accompaniment on the teponaztli (see +Introduction, p. 32). + +The present number is one of the most noteworthy songs of the +collection. It belongs to the ancient cyclus of Quetzalcoatl myths, +and gives a brief relation of the destruction of Tollan and the +departure and disappearance of the Light God, Quetzalcoatl Ce Acatl. +As I have elsewhere collated this typical myth at length, and +interpreted it according to the tenets of modern mythologic science, +I shall not dwell upon it here (see D.G. Brinton, _American Hero +Myths_, Phila., 1882). + +The text of the poem is quite archaic, and presents many +difficulties. But my translation, I think, gives the general sense +correctly. + +1. _huapalcalli_; literally, "the house constructed of beams." This +name was applied to the chief temple of the Toltecs; the ruins of an +ancient structure at Tollantzinco were pointed out at the time of the +Conquest as those of this building (see Sahagun, _Hist. de la Nueva +Espana_, Lib. X, cap. 29). + +_coatlaquetzalli_; this edifice, said to have been left incomplete by +Quetzalcoatl, when he forsook Tollan, had pillars in the form of a +serpent, the head at the base, the tail at the top of the pillar. +(See Orozco y Berra, _Hist. Antigua de Mexico_, Tom. III, pp. 30 and +46.) The structure is mentioned as follows in the _Anales de +Cuauhtitlan_:-- + +_Auh iniquac nemia Quetzalcoatl quitzintica, quipeuahtica iteocal +quimaman coatlaquetzali ihuan amo quitzonquixti, amo quipantlaz."_ + +"And when Quetzalcoatl was living, he began and commenced the temple +of his which is the Coatlaquetzali (Serpent Plumes), and he did not +finish it, he did not fully erect it." + +_Nacxitl Topiltzin_, "Our Lord the four-footed." _Nacxitl_ appears to +have been the name of Quetzalcoatl, in his position as lord of the +merchants. Compare Sahagun, ubi supra, Lib. I, cap. 19. + +2. _Poyauhtecatl_, a volcano near Orizaba, mentioned by Sahagun. +_Acallan_, a province bordering on the Laguna de los Terminos. The +myth reported that Quetzalcoatl journeyed to the shores of the Gulf +about the isthmus of Tehuantepec and there disappeared. + +3. _Nonohualco_; the reference is to the _cerro de Nonoalco_, which +plays a part in the Quetzalcoatl myth. The words of the song are +almost those of Tezcatlipoca when he is introduced to Quetzalcoatl. +Asked whence he came, he replied, "Nihuitz in Nonohualcatepetl +itzintla, etc." (_Anales de Cuauhtitlan_). + +4. The occurrences alluded to are the marvels performed by +Quetzalcoatl on his journey from Tulan. See my American Hero Myths, +p. 115. + +5. The departure of Quetzalcoatl was because he was ordered to repair +to Tlapallan, supposed to be beyond Xicalanco. + +8. _quinti_, for _iquintia_; the reference is to the magic draught +given Quetzalcoatl by Tezcatlipoca. + +9. _In tetl, in quahuitl_; literally, "stone and stick;" a very +common phrase in Nahautl, to signify misfortunes. + + +NOTES FOR SONG XIX. + +In this song we have avowedly a specimen of an early chant prepared +probably by Bishop Zummarraga for the native converts. The +accompaniment on the teponaztli is marked at the beginning. The +language is noticeably different from the hymn to Quetzalcoatl just +given (XVIII). + + +NOTES FOR SONG XX. + +Another song of the antique Quetzalcoatl cyclus. It bewails the loss +of Tulan, and the bard seeks in vain for any joyous theme to inspire +his melody, reflecting on all that has bloomed in glory and now is +gone forever. + +3. _Tetl-quahitl_; see note to XVIII, 9. + + +NOTES FOR SONG XXI. + +The occurrence to which this poem alludes took place about the year +1507. The chroniclers state that it was in the early period of the +reign of Montezuma II, that the natives of Huexotzinco, at that time +allies of the Mexicans, were severely harassed by the Tlascallans, +and applied, not in vain, to their powerful suzerain to aid them. +(See Tezozomoc, _Cronica Mexicana_, cap. 97.) + +The poet does not appear to make a direct petition, but indirectly +praises the grandeur of Montezuma and expresses his own ardent love +for his native Huexotzinco. The song would appear to be used as a +delicate prelude to the more serious negotiations. It is one of the +few historical songs in the collection. From the references in verses +1 and 3 we infer that this singer held in his hand the painted book +from which he recited the couplets. This may explain the presentation +of the piece. + +1. _huetzcani_; one who laughs, a jester, perhaps the designation of +one who sang cheerful songs. + +_chalchiuhatlaquiquizcopa_; a. word of difficult analysis. I suspect +an omission of an _l_, and that the compound includes _tlaquilqui_, +one who fastens and puts together, a mason, etc. + +5. The sense is that the warriors of Montezuma when on the field of +battle, shine in their deeds like beautiful flowers in a field, and +win lasting fame by their exploits. + +_mopopoyauhtoc_. The grammarian Olmos explains the reflexive verb +_mopopoyauhtiuh_ to signify "he leaves an honored memory of his +exploits." See Simeon, _Dictionaire de la Langue Nahuatl_, sub voce. + +7. _Huexotzinco atzalan_; "Huexotzinco amid the waters." This +expression, repeated in verse 8, appears inappropriate to the town of +Huexotzinco, which lies inland. In fact, the description in verse 7 +applies to Tenochtitlan rather than the singer's own town. But the +text does not admit this translation. Perhaps we should read +"Huexotzinco and Atzalan," as there are yet two villages of that name +in the state of Puebla (which embraced part of ancient Huexotzinco). + +10. _petiatolini_, I have derived from _petlatl_, suspecting an error +in transcription. The reference is to the rushes in the mat on which +the singer stood. + + +NOTES FOR SONG XXII. + +The ordinary sad burden of the Nahuatl poets is repeated with +emphasis in this plaint. It is a variation of the Epicurean advice, +"Eat, drink, and be merry, for to-morrow we die." Both the sentiment +and the reference to Mictlan in verse 7, point it out as a production +uninfluenced by Christian teaching. + +7. The word _ahuicaloyan_, place of sweetness, would seem to be +identical with _ohuicaloyan_, place of difficulty, in v. 8; I have +regarded the latter as an error of transcription. + + +NOTES FOR SONG XXIII. + +Although No. V. is probably one of the lost songs of Nezahualcoyotl, +the present is the only one of the collection which is definitely +attributed to him. The language is very archaic, and in the sentiment +there is every mark of antiquity. + +The text is apparently a dialogue, which was chanted as strophe and +antistrophe, the one singer speaking for the King, the other for the +bard himself. + +The word _teotl_ is used for divinity, and it is doubtless this word +for which the copyists of some of the other songs have substituted +the Spanish _Dios_, thus conveying an impression that the chants +themselves were of late date. + +The last verse, however, seems to be by one who lives after the time +of the great poet-prince, and is calling him to memory. + + +NOTES FOR SONG XXIV. + +It will be seen that there is a wearisome sameness in the theme of +most of the short poems. Probably the bards followed conventional +models, and feared for the popularity of their products, did they +seek originality. Here again are the same delight in flowers and +songs, and the same grief at the thought that all such joys are +evanescent and that soon "death closes all." + +I consider the poem one of undoubted antiquity and purely native in +thought and language. + + +NOTES FOR SONG XXV. + +The destruction of the Mexican state was heralded by a series of +omens and prodigies which took place at various times during the ten +years preceding the arrival of Cortes. They are carefully recorded by +Sahagun, in the first chapter of the 12th book of his history. They +included a comet, or "smoking star," as these were called in Nahuatl, +and a bright flame in the East and Southeast, over the mountains, +visible from midnight to daylight, for a year. This latter occurred +in 1509. The song before us is a boding chant, referring to such +prognostics, and drawing from them the inference that the existence +of Mexico was doomed. It was probably from just such songs that +Sahagun derived his information. + +1. _toztliyan_, I suppose from _tozquitl_, the singing voice, in the +locative; literally, "the quechol in the place of sweet-singing." + +2. _iquiapan_, from _i_, possessive prefix, _quiauatl_, door, +entrance, house, _pan_, in. + +5. An obscure verse; _tequantepec_, appears to be a textual error; +_tequani_, a ravenous beast, from _qua_ to eat; _tepec_, a mountain; +but _tequantepehua_ occurring twice later in the poem induces the +belief _tequani_ should be taken in its figurative sense of +affliction, destruction, and that _tepec_ is an old verbal form. + +7. _Xochitecatl_, "one who cares for flowers," is said by Sahagun to +have been the name applied to a woman doomed to sacrifice to the +divinities of the mountains (_Hist. Nueva Espana_, Lib. II, cap. 13). + +8. _amaxtecatl_, or _amoxtecatl_, as the MS. may read, from +_amoxtli_, a book. + + +NOTES FOR SONG XXVI. + +This seems to be a song of victory to celebrate an attack upon +Atlixco by the ruler of Tezcuco, the famous Nezahualpilli. This +monarch died in 1516, and therefore the song must antedate this +period, if it is genuine. It has every intrinsic evidence of +antiquity, and I think may justly be classed among those preserved +from a time anterior to the Conquest. According to the chronologies +preserved, the attack of Nezahualpilli upon Atlixco was in the year +XI _tochtli_, which corresponds to 1490, two years before the +discovery by Columbus (see Orozco y Berra, _Hist. Antigua de Mexico_, +Tom. III, p. 399). + + +NOTES FOR SONG XXVII. + +My MS. closes with a Christian song in the style of the ancient +poetry. It is valuable as indicating the linguistic differences +between these later productions of the sixteenth century and those +earlier ones, such as XXVI, which I have not hesitated to assign to +an epoch before the Spaniards landed upon the shores of New Spain. + + + + +VOCABULARY. + + +The Roman numerals refer to the songs, the Arabic to the verses, in +which the word occurs. Abbreviations: _lit_., literally; _ref_., +reflexive; _pret_., preterit; _rev_., reverential; _freq_., +frequentative; _post_., postposition; _Span_., a Spanish word. + +A, _adv_. No, not, in comp. +A, _n_. For atl, water, in comp.; as _acalli_, water-house, _i.e._, a + boat. +A, _interj_. Oh! ah! placed after the word on which stress is laid. +AC, _pron., interj_. Who? +ACA, _pron_. Some, any; somebody. +ACALLI, _n_. A boat, of any kind. +ACH, _dubitative particle_. Indeed? is it not? etc. +ACHITZINCA, _adv_. A little while, a short time. +ACHQUEN, _adv_. At what time? When? +ACI, _v_. To reach, to acquire. +ACOHUETZI, _v_. To console, to make glad. I, 3. +ACOQUIZA, _v_. To lift up, to raise, to increase in dignity or power. +ACOTLAZA, _v_. To console. +ACXOYATL, _n_. The wild laurel. +AHAUIA, _v_. To rejoice, take pleasure in; freq. of _ahuia_. +AHUACHIA, _v_. To wet one's self, to bathe. VII, 4. +AHUACHTLI, _n_. Dew, moisture. +AHUEHUETL, _n_. The cypress tree; _Cupressus disticha_. +AHUIA, _v_. To rejoice, to be joyful. +AHUIAC, _adj_. Agreeable, pleasant, sweet. +AHUIAN, _adj_. Content, satisfied. +AHUICPA, _adv_. From one place to another. III, 3. +AIC, _adv_. Never. +ALTEPETL, _n_. Town, city, citadel. +AMECH, _pron. ret_. You, to you. +AMEYALLI, _n_. A fountain, a stream; _lit_., flowing water. +AMILLI, _n_. Watered and arable land. XIV, 6. +AMO, _adv_. No, not; _amo ma_, no other; _amo zannen_, not in vain; + _pron_., you, yours. +AMOXPETLATL, _n_. Book-mat. See XIX, 3. +AMOXTECATL, _n_. See XXV, 8, note. +AN, _pron_. You. +ANA, _v_. To take, to grasp, to seize. +ANAHUIA, _v_. To be dissatisfied. +ANCA, _adv_. Of the kind that. XVII, 12. +ANE, _adv_. Hollo! in calling. +ANGELOTIN, _n_. Angels. Span. XVII, 26. +ANO, _adv_. As little, neither. +ANOZO, _conj_. Or, perhaps. +AOC, _adv_. Not yet. +APANA, _v_. To clothe. +APANO, _v_. To ford, to cross water. XVIII, 2. +AQUEN, _adv_. Nothing, in no manner. +AQUIN, _pron_. Who? _in aquin_, he who. +AT, _adv_. Perhaps, perchance. +ATAYAHUILI, for _at aya ueli_. Not yet, not even. +ATIHUELMATI, _v_. Not to be well. IX, 3. +ATL, _v_. Water. +ATLAMACHTIA, _v_. To praise one; _ref_., to be proud. +ATLE, _pron_. Nothing. +ATLEY, _in atley_. Without. +ATONAUIA, _v_. To have a fever, to be sick. +AUH, _conj_. And, even, also. +AXALLI, _n_. Bar-sand, water-sand. +AY, _v_. pret. _oax_. To do, to make. +AYA, _adv_. Not yet, not now. +AYACACHTLI, _n_. A musical instrument. See p. 24. +AYAHUITL, _n_. Fog, mist, vapor. +AYAUH COZAMALOTL, _n_. The rainbow; _lit_., "mist of water jewels." +AYOC, _adv_. Already not. _Ayoctle_, nothing more. +AYOQUAN, _adv_. Aoc-iuan. Nothing like it, unequaled. XVII, 17. +AYOQUIC, _adv_. Nevermore. V, 6. +AZAN, _adv_. Not a little, not a few. +AZO, _conj_. Or, perhaps, perchance. +AZTLACAPALLI, _n_. The tail feathers of a bird. XVII, 10. + +C, _pron. rel_. He, her, it, him; _postpos_., with, by, in, from, at. +CA, _adv_. Already, yes, because, for, truly, only. +CA, _v_. To be (in a place). +_CA_, _postpos_. With, by, by means of. +CACALI, _v_. To discharge arrows. +CACOPA, _post_. Toward, towards. +CAHUA, _v_. To leave, to let, to desert, to stop, to lay down. +CALAQUIA, _v_. To enter, to go in. +CALLI, _n_. A house; in comp. _cal_, as _nocal_, my house. +CALMECAC, _n_. A public school, p. 10. +CAMAPANTLI, _n_. The cheeks, the face. XXVI, 5. +CAMATL, _n_. The mouth. +CAMPA, _adv_. Where, whither. +CAN, _adv_. and _postpos_. Where. +CANAUHTLI, _n_. A duck. XXI, 9. +CANEL, _adv_. Since, as, because. +CAQUI, _v_. To hear, to listen to. +CATLEHUATL, _pron_. Who? which? whoever, whatever. +CATQUI, _v. irreg_. From _ca_, to be (in a place). +CAUHTEHUA, _v_. To leave a place. +CAXTLAUITL, _n_. A kind of ochre. XVII, 10. +CE, _adj_. and _art_. One, a, an. +CECE, or Cecen, _adj_. Each, every. +CECEMELQUIXTIA, _v_. To come forth wholly, perfectly. I, 1. +CECEMELTIA, _v. ref_. To rejoice, to feel glad. +CECEMELTIC, _adj_. Complete, whole, entire. +CECEMMANA, _v_. To disperse, to scatter. +CEHUIA, _v_. To rest, to repose. +CEL, Sole only. +CELIA, _v_. 1. To receive, to obtain. 2. To blossom, to bloom. +CEMANAHUATL, _n_. The world, the universe. +CEMELLE, _adv_. With peace or joy. Usually with a negative _aic + cemelle_, never peacefully. XV, 18; XVI, 1. +CEMILHUILTILIA, _v_. To detain one for a day. +CEMILHUITL, _n_. One day. +CEN, _adv_. Forever, for always; _cen yauh_, to go forever, to die. +CENCA, _adv_. Very much, exceedingly. +CENCI, _adv_. Elsewhere. +CENQUIXTIA, _v_. To select from, to pick from. +CENTZONTLATOLLI, _n_. The mocking bird, _Turdus polyglottus_; _lit_., + "the myriad-voiced." +CENTZONTLI, _adj. num_. Four hundred, used for any large number. +CEPANOA, _v_. To unite, to join together. +CHALCHIUHITL, _n_. The Mexican jade or green stone; emerald _fig_., + green; precious. +CHANE, _n_. Inhabitant or resident of a place. +CHANTLI, _n_. A dwelling, a residence; in comp., _chan_. +CHIA, _v_. To wait, to expect. +CHIALONI, _n_. That which is awaited or expected. +CHICAHUAC, _adj_. Strong, powerful. +CHICHIA, _v_. 1. To make bitter. 2. To obey. XIII, 9. +CHICHINA, _v_. To snuff up, imbibe, or suck up, especially the odors + of burning incense, through a tube. VII, 4; XVII, 10. +CHICHINAQUILIZTLI, _n_. Torment, pain, suffering. +CHIHUA, _v_. To make, to do, to happen; _chihua in noyollo_, my heart + is troubled, I am pained. +CHIMALLI, _n_. The native shield or buckler. VI, 4. +CHITONI, _v_. To sparkle, to glitter. +CHITONIA, _v_. To gain, to realize a profit. V, 4. +CHITTOLINI, _v_. To bow down, to sink. +CHOCA, _v_. To cry (of animals and man). +CIAHUI, _v_. To fatigue one's self, to tire. +CIHUACOATL, _n_. A magistrate of high rank; _lit_.,"woman serpent." +CIHUATL, _n_. A woman. +CITLALIN, _n_. A star. +CO, _postpos_. In, from. +COA, or COHUA, _v_. To buy, to purchase. +COCHITIA, _v_. To sleep. +COCOA, _v_. To pain, to give pain. +COCOLIA, _v_. To hate. +COCOYA, _v_. To be sick. +COHUATL, or COATL, _n_. A serpent; a guest; a twin; the navel; a + spade. +COHUAYOTL, _n_. Buying, purchasing. V, 2. +COLLI, _n_. Ancestor, forefather. +COLOA, _v_. To twist, to turn, to bend. +COMONI, _v_. To crackle (of a fire); to be turbulent (of people). + XXIV. +CON, _pron_. Some one; comp. of _c_ and _on_. +COPA, _postpos_. By, toward. +COPALLI, _n_. Resin, gum copal. +COYOUA, _v_. To cry, to yell. XIII, 7. +COYOHUACAN, _n_. The place of wolves. XIII, 10. +COYOLTOTOTL, _n_. The coyol bird, _Piranga hepatica_. +COYOTL, _n_. The coyote, the Mexican wolf. +COZCATIA, _v_. To deck with golden chains. IV, 4. +COZCATL, _n_. Jewel, precious stone; a string of such; a chain or + collar. +CUECUEXANTIA, _v_. To gather in the folds of the robe. +CUECUEYA, _v_. To move to and fro. XXI, 9. +CUEPA, _v_. To turn, to return, to bring back. +CUEPONI, _v_. To blossom, to bud, to bloom. +CUETLANI, _v_. To wilt, to perish. XV, 15. +CUETZPALTI, _v_. To act as a glutton, to revel in. XVII, 5. +CUEXANTLI, _n_. Gown, robe, petticoat. +CUI, _v_. To take, to gather, to collect. +CUICA, _n_. A song, a poem. +CUICANI, _n_. A singer, a poet. +CUICOYAN, _n_. A place for singing. See note to p. 10. +CUIHUA, _v_. Pass. of _cui_, q. v. +CUILIA, _v_. Rev. of _cui_, q. v. +CUILOA, _v_. To paint, to write. +CUILTONOA, _v_. To be rich; to rejoice greatly; to enrich or cause + joy. XV, 6. +CUITLATL, _n_. Excrement, dung. +CUIX, _adv_. An interrogative particle. + +ECACEHUAZTLI, _n_. A fan. +EHECATL, _n_. Wind, air. +EHECAYO, _adj_. Full of wind, stormy. +EHUA, _v_. To lift up, especially to raise the voice in singing. +ELCHIQUIHUITL, _n_. The breast, the stomach. +ELCHIQUIUHEUA, _v_. To fatigue, to tire. VI, 5. +ELCICIHUILIZTLI, _n_. A sigh, a groan. +ELEHUIA, _v_. To desire ardently, to covet. +ELLAQUAHUA, _v_. To animate, to inspire. +ELLELACI, _v_. To suffer great pain. +ELLELLI, _n_. Suffering, pain. +ELLELQUIXTIA, _v_. To cause joy, to make glad. +ELLELTIA, _v. Ref_., to regret, to repent, to abstain; _act_., to + prevent, to hinder, to impede, to cause pain. +EPOALLI, _adj. num_. Sixty. +EZTLI, _n_. Blood. + +HUAHUAQUI, _u_. To dry up, to wither wholly. VIII, 1. +HUAL, _adv_. Hither, toward this place. +HUALLAUH, _v. irreg_. To come hither. +HUAN, _postpos_. In company with; also, a plural termination. +HUAPALCALLI, _n_. Houses of planks. See XVIII, 1. +HUAQUI, _v_. To dry up, to wither. +HUECAPAN, _adj_. Lofty. +HUECATLAN, _adj_. Deep, profound. +HUEHUETL, _n_. A drum. See page 22. +HUEHUETZI, _v. freq_. To fall often. +HUEIYOTL, _n_. Greatness, grandeur. +HUEL, _adv_. Well, good, pleasant. +HUELIC, _adj_. Sweet, pleasant, fragrant. +HUELMANA, _v_. To make smooth, or even; to polish, to burnish. +HUETZCANI, _n_. A jester, a laugher. XXI, 1. +HUETZI, _v_. To fall. +HUETZTOC, _v_. To be stretched out, to be in bed. +HUEY, _adj_. Great, large. +HUEYATLAN, _n_. Place of increase, from _hueya_, to grow greater. +HUIC, _postpos_. Toward, against. +HUICA _v_. To accompany; to carry off; to govern, to rule, to direct. +HUIHUICA, _v_. To follow in crowds, or often. +HUIHUITEQUI, _v_. To gather, to pluck. +HUILOHUAYAN, _n_. Bourne, goal, terminus; from _huiloa_, all go. +HUIPANA, _v_. To put in order, to arrange. +HUITOMI, _v_. To split, to fall. XVIII, 4. +HUITZ, _v_. To come. +HUITZITZICATIN, _n_. The humming bird. I, 1. +HUITZITZILIN, _n_. The humming bird, _Trochilus_. +HUITZLI, _n_. A thorn, especially of the maguey. +HUITZTLAN, _n_. The south; _huitztlampa_, from or to the south. + +I, _v_. Pret. _oic_. To drink. +I, _pron_. His, her, its, their. +IC, _conj_. For, since, because; _prep_. With, towards, by, in; + _adv_. Where? when? _zan ic_, as soon as, often, only, on + purpose. +ICA, _post_. With him, her, it, etc. +ICA, _adv_. Sometimes, occasionally. +ICAC, _v_. To stand upright. +ICAHUACA, _v_. To sing (of birds). +ICALI, _v_. To war, to fight. VI, 5. +ICAUHTLI, _n_. Younger brother. VII, 2. +ICELIA, _v_. To incite another, to devote one's self to. +ICNELIA, _v_. To do good, to benefit. +ICNIUHTLI, _n_. A friend, a companion; _tocnihuan_, our friends. +ICNOPILLAHUELILOCATI, _v_. To be ungrateful. +ICNOTLAMACHTIA, _v_. To excite compassion. +ICPAC, _postpos_. Upon, over. +IHUAN, _conj_. And, also. +IHUI, _adv_. Of this kind, in this way. +IHUINTI, _v_. To intoxicate, to make drunk. +IHUITL, _n_. Feather, plumage. +ILACATZIUI, _v_. To twist, to twine. +ILACATZOA, _v_. To twine around, to wind about. XV, 2. +ILCAHUA, _v_. To forget. +ILHUIA, _v_. To speak, to say, to tell. +ILHUICATL, _n_. Heaven, the sky. +ILNAMIQUILIA, _v_. To remember, to call to mind. +ILPIA, _v_. To bind, to fasten. +IM, See _in_. +IMATI, _v_. To be skillful or wise; to prepare or arrange something + skillfully. +IN, _art. and pron_. He, they, the, which, etc.; _in ma oc_, + meanwhile; _in ic_, so that, in order that. +INAYA, _v_. To confer, to hide. X, 2. +INECUI, _v_. To smell something, to perceive an odor. IV, 6. +INIC, _adv_. For, in order that, after that. +ININ, _pron_. These, they. +INIQUAC, _conj_. When. +INNE, _conj_. But. +INOC, _adv_. While, during. +INON, _pron_. Those. +INTLA, _conj_. If. +INTLACAMO, _adv_. Unless, if not. +IPALNEMOANI, _n_. A name of God. See III, 1, note. +IPAMPA, _adv_. Because. +IPOTOCTLI, _n_. Smoke, vapor, exhalation. +ITAUHCAYOTL, _n_. Fame, honor. XVII, 14. +ITHUA, _v_. To see, for _itla_. XV, 6. +ITIA, _v_. 1. To drink; to cause to drink. 2. To suit, to fit. +ITIC, _postpos_. Within, inside of. +ITLANI, _v_. To ask, to solicit, to demand. +ITOA, _v_. To say, to speak, to tell. +ITONALIZTLI, _n_. Sweat; _fig_., hard work. VI, 5. +ITOTIA, _n_. To dance in the native fashion. +ITOTILIZTLI, _n_. Dance. +ITTA, _v_. To see, to behold. +ITTITIA, _v_. To show, to make evident. +ITZMOLINI, _v_. To be born, to sprout, to grow. XX, 4. +ITZTAPALLI, _n_. Paving stone. XV, 8. +ITZTOC, _v_. To watch, to keep awake, to wait for. XVII, 12. +IXAMAYO, _adj_. Known, recognized. XIII, 2. +IXAYOTL, _n_. A tear (from the eyes). +IXCUITIA, _v_. To take example. +IXIMACHOCA, _n_. The knowledge of a person. +IXIMATI, _v_. To know personally. +IXITIA, _v_. To awake, to arouse. +IXPAN, _postpos_. Before the face of, in presence of. +IXQUICH, _adv_. As many as. +IXTIA, _v_. To face a person, especially the enemy; to watch. +IXTLAHUATL, _n_. Open field, savanna, desert. +IXTLAN, _postpos_. Before the face of. +IXTLI, _n_. Face, visage; eye. +IZA, _v_. To awaken, to arouse. +IZCALI, _v_. To arise, to rise up. +IZHUATL, _n_. A leaf of a tree, etc. +IZHUAYO, _adj_. Leafy, with leaves. +IZQUI, _adj., pl_. izquintin. As many, so many, all; _izqui in + quezqui_, as many as. +IZTAC, _adj_. White. +IZTLACAHUIA, _v_. To deceive, to cheat. +IZTLACOA, _v_. To search for; _ref_., to take counsel. + +MA, _adv_. Sign of optative, subjunctive and vetative; _ma oc_, yet a + while. +MACA, _v_. To give, to present. +MA CA, _neg_. Do not. +MACAIC, _adv_. Never. +MACAZO TLEIN, _neg_. No matter, for all that. VI, 2. +MACEHUALLOTL, _n_. Servitude, slavery. +MACEUALTI, _v. defect_. To merit; to be happy. +MACEHUALTIA, _v_. 1. _nino_, to make another a vassal, to reduce to + vassalage; _nite_, to give vassals to one; _nita_, to impose a + penance on one. +MACH, _adv_. An intensive particle. +MACHTIA, _v_. To cause to know, to teach, to learn. +MACIUI, _adv_. Although, granted that. XVII, 13. +MACQUAITL, _n_. The native sword. VI, 4. +MACUELE, _adv_. Would that--sign of the optative. +MAHACA, _adv_. Not, no. +MAHUI, _v_. To fear, to have fear. +MAHUIZTI, _v_. To be esteemed, to be honored. +MAITL, _n_. The hand, the arm. In comp. _ma_, as _noma_, my hand. +MALACACHOA, _v_. To twine, to fold. XVI, 4. +MALHUIA, _v_. To regale, to treat well, to take care of. +MALINA, _v_. To twine, to wreathe. +MALINTIUH, _v_. To twine, to twist, to enwreathe. +MAMALIA, _v_. To carry. +MAMALLI, _v_. To enter, to penetrate. XII, 4. +MAMANA, _v_. To arrange a feast, to set in order. XV, 15. +MAMANI, _v_. See Mani. +MANA, _v_. To offer offerings. XVII, 3. +MANCA, _v_. Imp. of _Mani_. +MANEN, _neg_. That not, that it does not happen, etc. +MANI, _v_. To be (of broad or wide things); to be stretched out. +MANOZO, _adv_. Or, if. +MAQUIZTLI, _n_. A bracelet or other ornament of the arm. III, 5. +MATI, _v_. To know. _Ref_., to think, to reflect; _qui-mati noyollo_, + I presume, I doubt; _nonno-mati_, I attach myself to a person + or thing. +MATILOA, _v_. To anoint, to rub. +MAZO, _adv_. Although. +MEYA, _v_. To flow, to trickle. +MIAHUATOTOTL, _n_. A bird. IV, 2. +MICOHUANI, _adj_. Mortal, deadly. +MIEC, _adv_. Much, many. +MILLI, _n_. Cultivated field. +MIQUI, _v_. To die, to kill. +MIQUITLANI, _v_. To desire death. X, 1. +MITZ, _pron_. Thee, to thee. +MIXITL, _n_. A narcotic plant. See _tlapatl_. IX, 2. +MIXTECOMATL, _n_. A dark night, a dark place. III, 4. +MIZQUITL, _n_. The mesquite. XV, 1. +MO, _pron_. 1. Thy, thine; 2. _Pron. ref_. 3 sing., he, him, they, + them. +MOCHI, _adj_. All. +MOCHIPA, _adv_. Always. +MOLINIANI, _n_. One who moves, or agitates. XVI, 3. +MOMOLOTZA, _v_. To cause to foam, to cut to pieces. XII, 3. +MOTELCHIUH, _n_. The governor of Tenochtitlan. XIII, 8.--See + _telchihua_. +MOTLA, _v_. To throw, to fall. I, 1. +MOTLALI, _adj_. Seated, placed, in repose. +MOYAUA, _v_. To conquer; to become cloudy or troubled (of water); to + talk about; to boast. +MOZTLA, _adv_. To-morrow. + +NAHUAC, _postpos_. Toward, by, along, near to. +NAHUI, _adj. num_. Four. +NALQUIXTIA, _v_. To cause to penetrate, causative of _nalquiza_, to + penetrate. +NANANQUILIA, _v_. To answer, to reply to. +NANTLI, _n_. Mother, _tonan_, our mother, etc. +NAUHCAMPA, _adv_. In four directions, to four places. +NE, _pron_. Reflexive pronoun 3d person in verbal substantives and + impersonal verbs. +NE, _pron_. for _nehuatl_. I, me. +NECALIZTLI, _n_. Battle, combat. +NECH, _pron_. Me, to me. +NECHCA, _adv_. There, down there; like the French _la-bas; ocye + nechca_, formerly, once. +NECI, _v_. To appear, to show one's self or others. +NECO, _v_. Pass, of _nequi_, q. v. +NECTIA, _v_. To desire, to wish for. +NECUILTONOLLI, _n_. Riches, possessions. +NEICALOLOYAN, _n_. The field of battle. +NEIXIMACHOYAN, _n_. A place where one is taught. XIII, 1. +NEL, _adv_. But. +NELHUAYOTL, _n_. A root; _fig_., principle, foundation, essence. +NELIHUI, _adv_. It is thus, even thus; _mazo nelihui_, though it be + thus. +NELLI, _adv_. Truly, verily. +NELOA, _v_. To mingle, to shake, to beat. +NELTIA, _v_. To verify, to make true. +NEMACTIA, _v_. 1. To receive, to obtain. 2. To give, to grant. +NEMAYAN, _adv_. In the course of the year. XII, 3. +NEMI, _v_. To live, to dwell, to walk. +NEMOA, _v. impers_. To live, to dwell. +NEN, _adv_. Vainly, in vain. +NENCHIUA, _v_. To do in vain. +NENECTIA, _v_. To obtain by effort. XII, 4. +NENELIUHTICA, _adj_. Mixed up, mingled together. +NENELOA, _v_. To mix, to mingle. +NENEPANOA, _v. freq_. To mix, to mingle. XVII, 1. +NENEQUI, _v_. To act tyrannically; to feign; to covet. XI, 7. +NENNEMI, _v_. To wander about. +NENONOTZALCUICATL, _n_. A song of exhortation. +NENTACI, _v_. To fail, to come to naught. XVII, 13, 14. +NENTLAMACHTIA, _v. ref_. To afflict one's self, to torment one's + self. +NENTLAMATI, _v_. To be afflicted, disconsolate. +NEPA, _adv_. Here, there. _Ye nepa_, a little further, beyond. XXI, + 6. _Oc nepa_, further on. +NEPANIUI, _v_. To join, to unite. +NEPANTLA, _postpos_. In the midst of. +NEPAPAN, _adj_. Various, diverse, different. +NEPOHUALOYAN, _n_. The place where one is reckoned, read, or counted. + VI, 2. +NEQUI, _v_. To wish, to desire. +NETLAMACHTILIZTLI, _n_. Riches, property. +NETLAMACHTILOYAN, _n_. A prosperous place. IV, 6; VII, 4. +NETLANEHUIHUIA, _v_. To have an abundance of all things. XXVI, 1. +NETOTILIZTLI, _n_. Dance, dancing. +NETOTILOYAN, _n_. Place of dancing. +NI, _pron. pers_. I. Before a vowel, _n_. +NICAN, _adj_. Here, hither. +NIHUI, _adv_. From _no-ihui_, thus, of the same manner. XVIII, 3. +NIMAN, _adv_. Soon, promptly. +NINO, _pron. ref_. I myself. +NIPA, _adv_. Here, in this part, there. +NO, _adv_. Also, like, _no yuh_, in the same way, thus. _Pron_. My, + mine. +NOCA, _pron_. For me, for my sake, by me. +NOHUAN, _pron_. With me. +NOHUIAMPA, _adv_. In all directions, on all sides. +NOHUIAN, _adv_. Everywhere, on all sides. +NONOYAN, _n_. Place of residence. V, 2. +NONOTZA, _v_. To consult, to take counsel, to reflect. +NOTZA, _v_. To call some one. +NOZAN, _adv_. Even yet, and yet, to this day. + +OBISPO, _n_. Bishop. _Span_. XIX, 4. +OC, _adv_. Yet, again; _oc achi_, yet a little; _oc achi ic_, yet + more, comparative; _oc pe_, first, foremost. +OCELOTL, _n_. The tiger; a warrior so called. See note to I, 5. +OCOXOCHITL, _n_. A fragrant mountain flower. III, 2. +OCTICATL, _n_. See note to VII, 1. +OCTLI, _n_. The native wine from the maguey. In comp., _oc_. +OHUAGA, _interj_. Oh! alas! +OHUI, _adj_. Difficult, dangerous. +OHUICALOYAN, _n_. A difficult or dangerous place. XXII, 7. +OHUICAN, _n_. A difficult or dangerous place. +OME, _adj_. Two. +OMITL, _n_. A bone. +OMPA, _adv_. Where. +ON, _adv_. A euphonic particle, sometimes indicating action at a + distance, at other times generalizing the action of the verb. +ONCAN, _adv_. There, thither. +ONOC, _v_. To be lying down. +OPPA, _adv_. A second time, twice. +OQUICHTLI, _n_. A male, a man. +OTLI, _n_. Path, road, way. +OTOMITL, _n_. An Otomi; a military officer so called. +OTONCUICATL, _n_. An Otomi song. II, 1. + +PACHIUI NOYOLLO, _v_. I am content, satisfied. IX, 2. +PACQUI, _v_. To please, to delight. +PACTLI, _n_. Pleasure, joy. +PAL, _postpos_. By, by means of. +PAMPA, _postpos_. For, because. +PAN, _postpos_. Upon; _apan_, upon the water. +PAPALOTL, _n_. The butterfly. +PAPAQUI, _v_. To cause great joy. +PATIUHTLI, _n_. Price, wages, reward. +PATLAHUAC, _adj_. Large, spacious. +PATLANI, _v_. To fly. +PEHUA, _v. Pret., opeuh_, to begin, to commence. +PEPETLACA, _v_. To shine, to glitter. +PEPETLAQUILTIA, _v_. To cause to shine. +PETLACOATL, _n_. The scolopender, the centipede. XVII, 24. +PETLATL, _n_. A mat, a rug (of reeds or flags); _fig_., power, + authority. +PETLATOTLIN, _n_. A rush suitable to make mats. XXI, 10. +PETLAUA, _v_. To polish, to rub to brightness. +PEUHCAYOTL, _n_. Beginning, commencement. +PILIHUI, _v_. To fasten to, to mingle with. XXI, 6. +PILIHUITL, _n_. Beloved child. XII, 3. +PILLI, _n_. Son, daughter, child. A noble, a chief, a ruler, a lord. + _Tepilhuan_, the children, the young people. _Nopiltzin_, my + lord. +PILOA, _v_. To hang down, to suspend. +PILTIHUA, _v_. To be a boy, to be young. +PIPIXAUI, _v_. To snow, to rain heavily. +PIXAUI, _v_. To snow, to rain. +POCHOTL, _n_. The ceiba tree; _fig_., protector, chief. +POCTLI, _n_. Smoke, vapor, fog, mist. +POLOA, _v_. To destroy; to perish. +POPOLOA, _v_. Freq. of _poloa_. +POPOYAUHTIUH, _v_. To leave a glorious memory. XXI, 5. +POXAHUA, _v_. To work the soil, to labor. +POYAUA, _v_. To color, to dye. XVII, 21. +POYAUI, _v_. To become clear, to clear off. +POYOMATL, _n_. A flower like the rose. IV, 6. +POZONI, _v_. To boil, to seethe; fig., to be angry. + +QUA, _v_. To eat. +QUAHTLA, _n_. Forest, woods. +QUAHUITL, _n_. A tree; a stick; _fig_., chastisement. +QUAITL, _n_. Head, top, summit. +QUALANI, _v_. To anger, to irritate. +QUALLI, _adj_. Good, pleasant. +QUATLAPANA, _v_. To break one's head; to suffer much. +QUAUHTLI, _n_. The eagle; a warrior so called; bravery, distinction. + I, 5. +QUEMACH, _adv_. Is it possible! +QUEMMACH AMIQUE, _rel_. Those who are happy, the happy ones. IX, 2. +QUENAMI, _adv_. As, the same as. +QUENAMI CAN, _adv_. As there, the same as there, sometimes with _on_ + euphonic inserted, _quenonami_. +QUENIN, _adj_. How, how much. +QUENNEL, _adv_. What is to be done? What remedy? +QUENNONAMICAN, See under _quenami_. +QUEQUENTIA, _v_. To clothe, to attire. +QUETZA, _v. Nino_, to rise up; to unite with; to aid; _nite_, to lift + up. +QUETZALLI, _n_. A beautiful feather; _fig_., something precious or + beautiful. +QUETZALTOTOTL, _n_. A bird; _Trogon pavoninus_. +QUEXQUICH, _pron_. So many as, how much. +QUI, _pron. rel_. He, her, it, they, them. +QUIAUATL, _n_. Entrance, door. XVII, 18. +QUIAUITL, _n_. Rain, a shower. +QUIMILOA, _v_. To wrap up, to clothe, to shroud the dead. XI, 6. +QUIN, _pron. rel_. They, then. +QUIQUINACA, _v_. To groan, to buzz, etc. +QUIQUIZOA, _v_. To ring bells. IV, 3. +QUIZA, _v_. To go forth, to emerge. +QUIZQUI, _adj_. Separated, divided. +QUIZTIQUIZA, _v_. To go forth hastily. XXII. + +TAPALCAYOA, _v_. To be full of potsherds and broken bits. XV, 16. +TATLI, _n. and v_. See p. 19. +TE, _pron. pers_. 1. Thou. 2. _Pron. rel. indef_. Somebody. +TEAHUIACA, _adj_. Pleasing, agreeable. +TECA, _pron_. Of some one; _te_ and _ca_. +TECA, _v_. To stretch out, to sleep; to concern one's self with. + _Moteca_, they unite together. +TECH, _postpos_. In, upon, from. _Pron_. Us. +TECOCOLIA, _n_. A hated person, an enemy. +TECOMAPILOA, _n_. A musical instrument. See p. 23. +TECPILLI, _n_. Nobleman, lord. +TECPILLOTL, _n_. The nobility; noble bearing, courtesy. +TEHUAN, _pron_. 1. We. 2. With some one. +TEHUATL, _pron_. Thou. +TEINI, _v_. To break, to fracture. +TEL, _conj_. But, though. +TELCHIHUA, _v_. To detest, to hate, to curse. +TEMA, _v_. To place something somewhere. +TEMACHIA, _v_. To have confidence in, to expect, to hope for. +TEMI, _v_. To be filled, replete; to be stretched out. XXVI, 4. +TEMIQUI, _v_. To dream. +TEMO, _v_. To descend, to let fall. +TEMOA, _v_. To search, to seek. +TENAMITL, _n_. A town; the wall of a town. +TENAUAC, _post_. With some one, near some one. +TENMATI, _v_. To be idle, negligent, unfortunate. +TENQUIXTIA, _v_. To speak forth, to pronounce, to declare. +TENYOTL, _n_. Fame, honor. +TEOATL, _n_. Divine water. See VI, 4, note. +TEOCUITLA, _n_. Gold, of gold. +TEOHUA, _n_. A priest. XVII, 19. +TEOQUECHOL, _n_. A bird of beautiful plumage. +TEOTL, _n_. God, divinity. +TEOXIHUITL, _n_. Turquoise; _fig_., relation, ruler, parent. +TEPACCA, _adj_. Causing joy, pleasurable. +TEPEITIC, _n_. Narrow valley, glade, glen. +TEPETL, _n_. A mountain, a hill. +TEPEUA, _v_. To spread abroad, to scatter, to conquer. XV, 3. +TEPONAZTLI, _n_. A drum. See p. 22. +TEPOPOLOANI, _v_. To slay, to slaughter. +TEQUANI, _n_. A wild beast, a savage person. +TEQUI, _v_. To cut. +TETECUICA, _v_. To make a loud noise, to thunder. XXI, 7. +TETL, _n_. A stone, a rock. In comp., _te_. +TETLAMACHTI, _n_. That which enriches, glorifies, or pleases. +TETLAQUAUAC, _adj_. Hard or strong as stone. Comp. of _tetl_ and + _tlaquauac_. +TETOZCATEMO, _v_. To let fall or throw forth notes of singing. I, 2. +TETZILACATL, _n_. A copper gong. XVII, 21. See p. 24. +TEUCTLI, _n_., pl. _teteuctin_. A noble, a ruler, a lord; _in + teteuctin_, the lords, the great ones. +TEUCYOTL, _n_. Nobility, lordship. +TEUH, _postpos_. Like, similar to. +TEUHYOTL, _n_. Divinity, divineness. +TEYOLQUIMA, _adj_. Pleasing, odorous, sweet. +TEYOTL, _n_. Fame, honor. +TI, _pron_. 1. thou; _timo_, ref.; _tic_, act. 2. we; _tito_, ref.; + _tic_, act. +TILANI, _v_. To draw out. +TILINI, _v_. To crowd, to press. XVII, 19. +TIMALOA, _v_. To glorify, to exalt, to praise. +TIMO, _pron. ref_. Thou thyself. +TITO, _pron. ref_. We ourselves. +TIZAITL, _n_. Chalk; anything white; an example or model. +TIZAOCTLI, _n_. White wine. See VII, 2. +TLA, _adv_., for _intla_, if; _pron. indef_., something, anything; + _postpos_. in abundance. +TLACACE, _interj_. Expressing astonishment or admiration. XVII, 3. +TLACAQUI, _v_. To hear, to understand. +TLACATEUCTLI, _n_. A sovereign, a ruler. +TLACATI, _v_. To be born. +TLACATL, _n_. Creature, person. +TLACAZO, _adv_. Truly, certainly. +TLACHIA, _v_. To see, to look upon. +TLACHIHUAL, _n_. Creature, invention. +TLACHINOLLI, _n_. Battle, war; from _chinoa_, to burn. +TLACOA, _v_. To injure, to do evil, to sin. +TLACOCHTLI, _n_. The arrow. +TLACOCOA, _v_. To buy, to purchase. X, 1. +TLACOHUA, _v_. To buy, to purchase. +TLACOHUA, _v_. To beat, to chastise. +TLACOTLI, _n_. A servant, slave. +TLACOUIA, _v_. To split, to splinter. +TLACUILOA, _v_. To inscribe, to paint in, to write down. +TLAELEHUIANI, _adj_. Desirous of, anxious for. +TLAHUELLI, _n_. Anger, ire. +TLAHUICA, _n_. Servant, page; also, a native of the province of + Tlahuican. (See _Index_.} +TLAILOTLAQUI, _n_. "Workers in filth;" scum; a term applied in + contempt. XIII, 8; XV, 12, 14. Also a proper name. + (See _Index_.) +TLALAQUIA, _v_. To bury, to inter. +TLALLI, _n_. Earth, ground; _tlalticpac_, on the earth. +TLALNAMIQUI, _v_. To think of, to remember. +TLALPILONI, _n_. An ornament for the head. VI, 4, from _ilpia_. +TLAMACHTI, _v. ref_. To be rich, happy, prosperous. +TLAMAHUIZOLLI, _n_. Miracle, wonder. +TLAMATILLOLLI, _n_. Ointment; anything rubbed in the hands. XI, 9. +TLAMATQUI, _adj_. Skillful, adroit. +TLAMATTICA, _adj_. Calm, tranquil. +TLAMELAUHCAYOTL, _n_. A plain or direct song. II, 1. +TLAMI, _v_. To end, to finish, to come to an end. +TLAMOMOYAUA, _v_. To scatter, to destroy. XV, 21. +TLAN, _postpos_. Near to, among, at. +TLANECI, _v_. To dawn, to become day. _Ye tlaneci_, the day breaks. +TLANEHUIA, _v. Nicno_. To revel, to indulge one's self in. XXI, 8. +TLANELTOCA, _v_. To believe in, to have faith in. +TLANIA, _v_. To recover one's self, to return within one's self. +TLANIICZA, _v_. To abase, to humble. IX, 3. +TLANTIA, _v_. To terminate, to end. +TLAOCOL, _adj_. Sad, melancholy, pitiful, merciful. +TLAOCOLIA, _v_. To be sad, etc. +TLAOCOLTZATZIA, _v_. To cry aloud with grief. I, 3. +TLAPALHUIA, _v., rel_. To be brilliant or happy; act_., to salute a + person; to paint something. +TLAPALLI, _n_. and _adj_. Colored; dyed; red. +TLAPALOA, _v_. To salute, to greet. +TLAPANAHUIA, _adj_. Surpassing, superior, excellent; used to form + superlatives. +TLAPANI, _v_. To dye, to color. XVII, 10. +TLAPAPALLI, _adj_. Striped, in stripes. +TLAPATL, _n_. The castor-oil plant; the phrase _mixitl tlapatl_ means + stupor, intoxication. IX, 2. +TLAPEPETLANI, _v_. To sparkle, to shine forth. +TLAPITZA, _v_. Fr. _pitza_, to play the flute. XVII, 26. +TLAQUALLI, _n_. Food, eatables. +TLAQUAUAC, _adj_. Strong, hard. +TLAQUAUH, _adj_. Strongly, forcibly. +TLAQUILLA, _adj_. Stopped up, filled. XX, 4. +TLAQUILQUI, _n_. One who plasters, a mason. XXI, 1. +TLATEMMATI, _v_. To suffer afflictions. +TLATENEHUA, _v_. To promise. +TLATHUI, _v_. To dawn, to become light. +TLATIA, _v_. 1. To hide, to conceal; 2. to burn, to set on fire. +TLATLAMANTITICA, _adj_. Divided, separated. +TLATLATOA, _v_. To speak much or frequently. XVII, 11. +TLATLAUHTIA, _v_. To pray. XVI, 3. +TLATOANI, _n_. Ruler, lord. +TLATOCAYOTL, _n_. The quality of governing or ruling. +TLATOLLI, _n_. Word, speech, order. +TLATZIHUI, _v_. To neglect, to be negligent; to be abandoned, to lie + fallow; to leave, to withdraw. +TLAUANTLI, _n_. Vase, cup. XXVI, 4. +TLAUHQUECHOL, _n_. A bird, the red heron, _Platalea ajaja_. +TLAUILLOTL, _n_. Clearness, light. X, 1. +TLAXILLOTIA, _v_. To arrange, sustain, support. IX, 4. +TLAXIXINIA, _v_. To disperse, to destroy. +TLAYAUA, _v_. To make an encircling figure in dancing. +TLAYAUALOLLI, _adj_. Encircled, surrounded. XXI, 6. +TLAYLOTLAQUI, _n_. See XIII, 8. +TLAYOCOLIA, _v_. To make, to form, to invent. XIV. +TLAYOCOYALLI, _n_. Creature, invention. +TLAZA, _v_. To throw away; _fig_., to reject, to despise. +TLAZOTLA, _v_. To love, to like. +TLE, _pron. int_. and _rel_. What? That. +TLEAHUA, _v_. To set on fire, to fire. +TLEIN, _pron., int_. and _rel_. What? That. +TLEINMACH, _adv_. Why? For what reason? +TLENAMACTLI, _n_. Incense burned to the gods. III, 1. +TLEPETZTIC, _adj_. Shining like fire, _tletl_, _petzlic_. XV, 26. +TLETL, _n_. Fire. +TLEYMACH, _adv_. Why? Wherefore? +TLEYOTL, _n_. Fame, honor. +TLEZANNEN, _adv_. To what good? Cui bono? +TLILIUHQUI, _adj_. Black, brown. +TLILIUI, _v_. To blacken, to paint black. XII, 6. +TLOC, _postpos_. With, near to. +TLOQUE NAHUAQUE, _n_. A name of divinity. See I, 6, note. +TO, _pron. posses_. Our, ours. +TOCA, _v_. To follow. +TOCI, _n_. "Our ancestress," a divinity so called. +TOCO, _v_. Impers. of _toca_. +TOHUAN, _pron_. With us. +TOLINIA, _v_. To be poor, to be unfortunate. +TOLQUATECTITLAN, _n_. The place where the head is bowed for + lustration. III, 1. +TOMA, _v_. To loosen, to untie, to open. XVII, 3. +TOMAHUAC, _adj_. Great, heavy, large. +TONACATI, _v_. To be prosperous or fertile. +TONACATLALLI, _n_. Rich or fertile land. +TONAMEYO, _adj_. Shining like the sun, glittering. +TONAMEYOTL, _n_. Ray of the sun, light, brilliancy. +TONATIUH, _n_. The sun. +TONEUA, _v_. To suffer pain; _nite_, to inflict pain. +TOQUICHPOHUAN, _n_. Our equals. I, 3. +TOTOTL, _n_. A bird, generic term. +TOZMILINI, _adj_. Sweet voiced. XXI, 3. +TOZNENETL, _n_. A parrot, _Psittacus signatus_. +TOZQUITL, _n_. The singing voice, p. 21. +TZALAN, _postpos_. Among, amid. +TZATZIA, _v_. To shout, to cry aloud. +TZAUHQUI, _v_. To spin. XVII, 22. +TZETZELIUI, _v_. To rain, to snow; _fig_., to pour down. +TZIHUAC, _n_. A species of bush. XV, 1. +TZIMIQUILIZTLI, _n_. Slaughter, death. XVI, 5. +TZINITZCAN, _n_. A bird, _Trogon Mexicanus_. +TZITZILINI, _n_. A bell. +TZOTZONA, _v_. To strike the drum. + +UALLAUH, _v_. To come. See _huallauh_. +UITZ, _v_. To come. +ULLI, _n_. Caoutchouc. See p. 22. + +XAHUA, _v_. To paint one's self, to array one's self in the ancient + manner. XXIV, 1. +XAMANI, _v_. To break, to crack. +XAXAMATZA, _v_. To cut in pieces, to break into bits. +XAYACATL, _n_. Face, mask. +XELIHUI, _v_. To divide, to distribute. +XEXELOA, _v_. To divide, to distribute. +XILOTL, _n_. Ear of green corn. +XILOXOCHITL, _n_. The flower of maize. XVII, 10. +XIMOAYAN, _n_. A place of departed souls. See I, 8. +XIMOHUAYAN, _n_. Place of departed spirits. VIII, 1. +XIUHTOTOTL, _n_. A bird, _Guiaca cerulea_. +XIUITL, _n_. A leaf, plant; year; anything green. +XOCHICALLI, _n_. A house for flowers, or adorned with them. +XOCHIMECATL, _n_. A rope or garland of flowers. +XOCHIMICOHUAYAN, _n_. See XVI, 3, note. +XOCHITECATL, _n_. See XXV, 7, note. +XOCHITL, _n_. A flower, a rose. +XOCHIYAOTL, _n_. Flower-war. See XVI, 4, note. +XOCOMIQUI, _v_. To intoxicate, to become drunk. +XOCOYA, _v_. To grow sour. XIII, 4. +XOPALEUAC, _n_. Something very green. +XOPAN, _n_. The springtime. +XOTLA, _v_. To blossom, to flower; to warm, to inflame; to cut, to + scratch, to saw. +XOXOCTIC, _adj_. Green; blue. XVI, 6. +XOYACALTITLAN, _n_. The house or place of decay. III, 1. + +Y., Abbrev. for _ihuan_, and _in_, q. v. +YA, _adv_. Already, thus; same as _ye_; _v_., to suit, to fit. Part. + euphonic or expletive. See note to XVII, 3. +YAN, _postpos_. Suffix signifying place. +YANCUIC, _adj_. New, fresh, recent. +YANCUICAN, _adv_. Newly, recently. +YAOTL, _n_. War, battle. +YAOYOTL, _n_. Warfare. +YAQUI, _adj_. Departed, gone, left for a place. +YAUH, _v., irreg_. To go. +YE, _adv_. Already, thus; _ye no ceppa_, a second time; _ye ic_, + already, it is already. +YE, _pron_. He, those, etc. +YE, _adj. num_. Three. +YECE, _adv_. But. +YECEN, _adv_. Finally, at last. +YECNEMI, _v_. To live righteously. +YECOA, _v_. To do, to finish, to conclude. +YECTENEHUA, _v_. To bless, to speak well of. +YECTLI, _adj_. Good, worthy, noble. +YEHUATL, _pron_. He, she, it. Pl. _yehuan, yehuantin_. +YEHUIA, _v_. To beg, to ask charity. +YEPPA YUHQUI. Formerly, it was there. VII, 2. +YHUINTIA. See _ihuinti_. +YOCATL, _n_. Goods, possessions; _noyocauh_, my property. XV, 26. +YOCAUA, _n_. Master, possessor, owner. +YOCOLIA, _v_. To form, to make. +YOCOYA, _v_. To make, to invent, to create. +YOHUATLI, _n_. Night, darkness. +YOLAHUIA, _v_. To rejoice greatly. +YOLCIAHUIA, _v_. To please one's self, to make glad. +YOLCUECUECHOA, _v_. To make the heart tremble. IV, 6. +YOLEHUA, _v_. To excite, to animate. +YOLIHUAYAN, _n_. A place of living III, 5. +YOLLO, _adj_. Adroit, skillful; also for _iyollo_, his heart. +YOLLOTL, _v_. Heart, mind, soul. +YOLNONOTZA, _v_. See note to I, 1. +YOLPOXAHUA, _v_. To toil mentally. +YUHQUI, _adv_. As, like. +YUHQUIMATI, _v_. To understand, to realize. + +ZACATL, _n_. Herbage, straw, hay. XXI, 5. +ZACUAN, _n_. Feather of the zacuan bird; _fig_., yellow; prized. +ZACUAN TOTOTL, _n_. The zacuan bird, _Oriolus dominicensis_. +ZAN, _adv_. Only, but; _zan cuel_, in a short time; _zanen_, perhaps; + _Zan nen_, in vain. +ZANCUEL ACHIC, _adv_. A moment, an instant; often; _zan ye_, but + again, but quickly. +ZANIO, _pron_. I alone, he or it alone. +ZOA, _v_. To pierce; to spread out; to open; to sew; to string + together; to put in order. +ZOLIN TOTOTL, _n_. The quail. +ZOMA, _v_. To become angry. +ZOMALE, _adj_. For _comalli_, vase, cup. XXVI, 4. + + + + +INDEX OF NAHUATL PROPER NAMES, WITH EXPLANATIONS. + + +ACALLAN, 105. "The place of boats," from _acalli_, boat. An ancient +province at the mouth of the Usumacinta river; but the name was +probably applied to other localities also. + +ACATLAPAN, 41. A village southeast of Chalco. From _acatla_, a place +of reeds, and _pan_, in or at. + +ACHALCHIUHTLANEXTIN, 46. The first chief of the Toltecs; another form +of _chalchiuhtonac_. Both names mean "the gleam of the precious +jade." Compare Torquemada, _Monarquia Indiana_. Lib. III., cap. 7; +Orozco y Berra, _Hist. Antigua de Mexico_, Tom. III., p. 42. The date +of the beginning of his reign is put at A.D. 667 or 700. + +ACOLHUACAN, 40, 91, 119. A compound of _atl_, water, and _colhuacan_, +(q. v.) = "Colhuacan by the water," the name of the state of which +Tetzcuco was the capital, in the valley of Mexico. + +ACOLMIZTLAN, 89, from + +ACOLMIZTLI, 35. A name of Nezahualcoyotl (see p. 35), also of other +warriors. + +ANAHUAC, 125. From _atl_, water, _nahuac_, by, = the land by the +water. The term was applied first to the land by the lakes in the +Valley of Mexico, and later to that along both the Gulf of Mexico and +the Pacific Ocean. + +ATECPAN, 77. "The royal residence by the water" (_atl, tecpan_). I do +not find this locality mentioned elsewhere. + +ATLIXCO, 125. "Where the water shows its face" (_atl, ixtli, co_). A +locality southeast of Tezcuco, near the lake, so called from a large +spring. See Motolinia, _Historia de los Indios_, Trat. III, cap. 18. + +ATLOYANTEPETL, 85, 89, 91. Perhaps for _atlauantepetl_, "the mountain +that rules the waters." But see note to XIII, v. 6. + +ATZALAN, 114. "Amid the waters" (_atl, tzalan_). Perhaps not a proper +name; but two villages in the present State of Puebla are called +Atzala (see Orozco y Berra, _Geografia de las Lenguas de Mexico_, pp. +212, 213). + +AXAXACATZIN, 43. Probably for _axayacatzin_, reverential of +_axayacatl_, the name of a species of marsh fly. It was also the name +of the sixth ruler of Mexico (flor. about 1500), and doubtless of +other distinguished persons. See Ixtlilxochitl, _Historia +Chichimeca_, cap. 51. + +AZCAPOTZALCO, 50, 51. An ancient town in the valley of Mexico, once +the capital city of the Tepanecas (q. v.). The word means "place of +the ant-hills," from _azcaputzalli_. + +AZTECS, 25. A Nahuatl tribe who derived their name from their +mythical ancient home, Aztlan. The derivation is obscure, but +probably is from the same radical as _iztac_, white, and, therefore, +Father Duran was right in translating Aztlan, "place of whiteness," +the reference being to the East, whence the Aztecs claim to have +come. See Duran, _Historia de las Indias_, cap. II. + + +CACAMATL, 94, 95. The reference appears to be to Cacamatzin (the +_Noble Sad One_, from _cacamaua_, fig. to be sad), last ruler of +Tezcuco, son and successor, in 1516, of Nezahualpilli. He was put to +death by Cortes. + +CATOCIH, 89. A doubtful word, which may not be a proper name. + +CHALCO, 16, 69, 95. A town and lake in the valley of Mexico. The +people were Nahuas and subject to Mexico. The word is probably +derived from _Challi_, with the postpos. _co_, meaning "at the mouth" +(of a river). See Buschmann, _Ueber die Aztekischen Ortsnamen_, s. +689, and comp. _Codex Ramirez_, p. 18. + +CHIAPA, CHIAPANECA, 70, 71. The province and inhabitants of Chiapas, +in Southern Mexico. There were colonies of Nahuas in Chiapas, though +most of the natives spoke other tongues. The derivation is probably +from _chia_, a mucilaginous seed highly esteemed in Mexico. + +CHICHIMECATL or CHICHIMECS, 88, 89, 91, 101. A rude hunting tribe, +speaking Nahuatl, who settled, in early times, in the valley of +Mexico. The name was said to be derived from _chichi_, a dog, on +account of their devotion to hunting (_Cod. Ramirez_). Others say it +was that of their first chieftain. + +CHICOMOZTOC, 88, 89. "At the seven caves," the name of the mythical +locality from which the seven Nahuatl tribes derived their origin. +The _Codex Ramirez_ explains the seven caves to mean the seven houses +or lineages (totems) of which the nation consisted. + +CHILILITLI, 36. Name of a tower of sacred import. It is apparently a +compound of _chia_ or _chielia_, to watch, and _tlilli_, blackness, +obscurity, hence "a night watch-tower." It was probably used for the +study of the sky at night. + +CHIMALPOPOCA, 43. "The smoking shield," from _chimalli_, shield, and +_popoca_. The name of several distinguished warriors and rulers in +ancient Mexico. + +CHOLULA or CHOLOLLAN, 105. Name of a celebrated ancient state and +city. From _choloa_, with the probable meaning, "place of refuge," +"place of the fugitives." + +CIHUAPAN, 41. Name of a warrior, otherwise unknown. From _cihuatl_, +woman, _pan_, among, with. + +COATZITEUCTLI, 89. A name compound of _coatzin_, reverential form of +_coatl_, serpent, and _teuctli_, lord. + +COLHUA, A people of Nahuatl affinity, who dwelt in ancient times in +the valley of Mexico. See _Colhuacan_. + +COLHUACAN, 88, 89, 91. A town in the valley of Mexico. In spite of +the arguments to the contrary, I believe the Colhua were of Nahuatl +lineage, and that the name is derived from _colli_, ancestor; +_colhuacan_, the residence of the ancestors; with this signification, +it was applied to many localities. It must be distinguished from +_Acolhuacan_. Its ikonomatic symbol was a hill bent over at the top, +from _coloa_, to bend. + +COLZAZTLI, 39. Probably for Coltzatztli, one who cries out or calls +to the ancestors (_colli, tzatzia_). A chief whom I have not found +elsewhere mentioned. + +CONAHUATZIN, 41. A warrior not elsewhere mentioned. By derivation it +means "noble son of the lord of the water" (_conetl, ahua, tzin_). + +CUETZPALTZIN, 89. A proper name, from _cuetzpalli_, the 4th day of +the month. + +CUEXTLA, 33. A province of ancient Mexico. See Torquemada, _Monarquia +Indiana_. Lib. II, caps. 53, 56. + +CULTEPEC, 42. A village five leagues from Tezcuco, at the foot of the +mountains. Deriv., _colli_, ancestor, _tepetl_, mountain or town, +with post-pos. _c_; "at the town of the ancestors." + + +HUETLALPAN or HUETLAPALLAN, 89. The original seat of the mythical +Toltecs. The name is a compound of _hue_, old, and _Tlapallan_, q. v. + +HUEXOTZINCO, 50, 83, 91, 99, 113. An independent State of ancient +Anahuac, south of Tlascala and west of Cholula. The name means "at +the little willow woods," being a diminutive from _huexatla_, place +of willows. + +HUITLALOTZIN, 89. From _huitlallotl_, a species of bird, with the +reverential termination. Name of a warrior. + +HUITZILAPOCHTLI, 16. Tribal god of the Mexicans of Tenochtitlan. The +name is usually derived from _huitzitzilin_, humming bird, and +_opochtli_, left (_Cod. Ramirez_, p. 22), but more correctly from +_huitztli_, the south, _iloa_, to turn, _opochtli_, the left hand, +"the left hand turned toward the south," as this god directed the +wanderings of the Mexicans southward. The humming bird was used as +the "ikonomatic" symbol of the name. + +HUITZILIHUITL, 89. "Humming-bird feather." Name of an ancient ruler +of Mexico, and of other warriors. + +HUITZNAHUACATL, 91. A ruler of Huexotlan (Clavigero); a member of the +Huitznahua, residents of the quarters so called in Tezcuco and +Tenochtitlan (Ixtlilxochitl, _Hist. Chichimeca_, cap. 38). + + +IXTLILXOCHITL, 35, 46, 89. A ruler of Acolhuacan, father of +Nezahualcoyotl. Comp. _ixtli_, face, _tlilxochitl_, the vanilla +(literally, the black flower). + +IZTACCOYOTL, 89, 93. "The white wolf." Name of a warrior otherwise +unknown. + + +MEXICANS, 67, 83, 85, 87, 123, 125. See + +MEXICO, 83, 123. Name of the town and state otherwise called +Tenochtitlan. _Mexitl_ was one of the names of the national god +Huitzilopochtli, and Mexico means "the place of Mexitl," indicating +that the city was originally called from a fane of the god. + +MICTLAN, 95, 117, 119. The Mexican Hades, literally, "the place of +the dead." + +MONTEZUMA, 14, 41, 113. The name of the ruler of Mexico on the +arrival of Cortes. The proper form is _Moteuhzomatzin_ or +_Motecuhzomatzin_, and the meaning, "he who is angry in a noble +manner." ("senor sanudo," _Cod. Ramirez_, p. 72; "qui se fache en +seigneur," Simeon, _Dict. de la Langue Nahuatl_, s. v.). + +MOQUIHUIX, 33. The fourth ruler of Tlatilolco. He assumed the power +in 1441, according to some writers (Bustamente, _Tezcoco, en los +Ultimas Tiempos de sus Antiguos Reyes_, p. 269). The name probably +means "He who comes forth a freeman." See Ixtlilxochitl, _Historia +Chichimeca_, caps. 36, 51. + + +NACXITL TOPILTZIN, 105, 107. Nacxitl, "the four footed" (_nahui, +ixitl_), was the name of one of the gods of the merchants (Sahagun, +_Hist, de Nueva Espana_, Lib. I, c. 19). In the song it is applied to +Quetzalcoatl, who was also regarded as a guardian of merchants. + +NAHUATL, (9, etc.). A term applied to the language otherwise known as +Aztec or Mexican. As an adjective it means "well-sounding," or, +pleasant to the ear. From this, the term _Nahua_ is used collectively +for all tribes who spoke the Nahuatl tongue. _Nahuatl_ also means +clever, skillful, and the derivation is probably from the root _na_, +to know. + +NECAXECMITL, 46. Name of uncertain meaning of a person otherwise +unknown. + +NEZAHUALCOYOTL, 35, 67, 119. Chief of the Acolhuas, and ruler in +Tezcuco from 1427 to 1472, or thereabouts. He was a distinguished +patron of the arts and a celebrated poet. See p. 35, et seq. + +NEZAHUALPILLI, or NEZAHUALPIZINTLI, 14, 125. Ruler of Acolhuacan, son +of Nezahualcoyotl. His accession is dated in 1470 or 1472. + +NONOHUALCO, 105, 125. Name of one of the quarters of the ancient city +of Mexico; also of a mountain west of the valley of Mexico. The +derivation is probably from _onoc_, to lie down; _onohua_, to sleep; +_onohuayan_, a settled spot, an inhabited place. The _co_ is a +postposition. + +NOPAL or NOPALTZIN, 46. Ruler of Acolhuacan, A. D. 1260-1263, +according to some chronologies. The name is from _nopalli_, the +cactus or opuntia. + +NOPILTZIN, 67, 91. "My son," or "my lord," a term of deference +applied to superiors, from _pilli_, which means son and also lord, +like the old English _child_. Cf. _Topiltzin_. + + +OTOMIS, 16, 49, 58, 64, 71, 95. A nation which inhabited a portion of +the valley of Mexico and region adjacent, entirely dissimilar in +language and appearance from the Nahuas. The etymologies suggested +are unsatisfactory. + +POPOCATEPETL, 46. "The smoking mountain," the name of a famous +volcano rising from the valley of Mexico. + +POYAUHTECATL, 105. A volcano near Orizaba (Sahagun. _Hist. de Nueva +Espana_, Lib. I, cap. 21). Derived from _poyaua_, to color, to +brighten. + +QUANTZINTECOMATZIN, 41. A warrior not otherwise known. The name is a +double reverential, from _quani_, eater, and _tecomatl_, vase, "The +noble eater from the royal dish." + +QUAUHQUECHOLLAN, 95. A village and plain near the southern base of +Popocatepetl. It means "the place of the quechol woods," or the trees +among which quechol birds are found. See Motolinia, _Historia de los +Indios_, Trat. III, cap. 18. + +QUAUHXILOTL, 89. Name of a large tree, and applied to a warrior, +ruler of Iztapallocan, whom Ixtlilxochitl, King of Tezcuco, placed at +the head of his troops in his war with Tezozomoc. See Clavigero, +_Storia Antica di Messico_, Tom. I, p. 185. + +QUETZALCOATL, 32, 143, 144. See note on p. 143. + +QUETZALMAMATZIN, 91. Name of a warrior, "the noble one of the +beautiful hands" (_quetzalli, mama_, pl. of _maitl_, and rev. term, +_tzin_). Perhaps the same as Quetzalmemalitzin, ruler of Teotihuacan, +mentioned by Ixtlilxochitl, _Historia Chichimeca_, cap. 35. + +QUIAUHTZIN, 93. Name of a warrior, "The noble rain" (_quiauitl, +tziri_). + + +TENOCHTITLAN, 85. The current name for the City of Mexico; literally, +"at the stone-nopal," from _tetl_, stone, _nochtli_, nopal, and +postpos., _tlan_. The term refers to an ancient tradition. + +TEPANECAS or TECPANECAS, 35. A powerful nation of Nahuatl lineage, +who dwelt in the valley of Mexico. They were destroyed in 1425 by the +Acolhuas and Mexicans, and later the state of Tlacopan was formed +from their remnants. Comp. probably from _tecpan_, a royal residence, +with the gentile termination. + +TEPEYACAC, TEPEYACAN, 93. From _tepetl_, mountain, _yacatl_, nose, +point, and postpos, _c_. 1. A small mountain on which the celebrated +church of the Virgin of Guadalupe now stands. 2. A large town and +state subject to ancient Mexico, now Tepeaca in the province of +Puebla. + +TETLAPAN QUETZANITZIN, 68, 69. A ruler of Tlatilolco, contemporary of +the conquest. See Note to Song VI. + +TETZCOCO, now TEZCUCO, 14, 35, 36, 77. Capital city of Acolhuacan, +and residence of Nezahualcoyotl. It has been called "the Athens of +Anahuac." The derivation of the name is from a plant called +_tetzculli_ (_Cod. Ramirez_). + +TEZOZOMOC, TEZOZOMOCTLI, 35, 39, 67, 88, 89. A ruler of the +Tepanecas, celebrated for his warlike skill and severity. His death +is placed in the year 1427. The name, like Montezuma, is derived from +_zoma_, to be angry, in this case from the reduplicated frequentative +form, _zozoma_. + +TIZATLAN, 103. "The place of white varnish" (_tizatl_), the name of +one of the four quarters of the city of Tlascala. + +TLACOMIHUATZIN, 93. "The noble cousin of the lynx" (_tlacomiztli_, +lynx, huan, postpos., denoting affinity, _tzin_, reverential). The +name of a warrior. + +TLACOPAN, now TACUBA, 135. A small state west of Mexico and subject +to it, built up on the ruins of the ancient Tepanecas. Comp. from +_tlacotli_, a slave. + +TLAHUICAN, 118. A Nahuatl province south of the valley of Mexico, so +called from the cinnabar, _tlahuitl_, there obtained (Buschmann; but +the _Cod. Ramirez_ gives the meaning "toward the earth," from +_tlalli_ and _huic_). [*Transcriber's note: TLAHUICAN not found in +text. See Tlahuica in Vocabulary.] + +TLAILOTLACAN, 140. One of the seven divisions of the city of Tezcuco +(_Ixtlilxochitl_, _Hist. Chichimeca_, cap. 38). [*Transcriber's note: +TLAILOTLACAN not found in text.] + +TLAILOTLAQUI, 84. Literally, "workers in refuse," or "scavengers." +Said by M. Aubin to have been a tribe who settled in Tezcuco in the +reign of Quinantzin. The term is apparently one of contempt. +[*Transcriber's note: TLAILOTLAQUI not found on page 84 in text. See +Tlailotlaqui in Vocabulary.] + +TLALMANALCO, 42. A village near the foot of the volcano Popocatepetl. +Derived from _tlalmanalli_, level ground, with postpos. _co_. + +TLALNAHUACATL, 89. "Dweller on the land;" name of a warrior. + +TLALOC, 45. God of rain and the waters; a famous divinity among the +ancient Mexicans. The word means "stretched on the earth," and the +idol of the god represented a man extended on his back holding a +vase. + +TLAPALLAN, 105. A mythical land from which the Toltecs were fabled to +have come and to which Quetzalcoatl returned. The derivation is from +_tlapalli_, color, especially red. + +TLATETOLCO, TLATILULCO, 33, 83, 85. A suburb of the ancient city of +Mexico, founded in 1338; from _tlatelli_, a mound, _ololoa_, to make +round, the sense being "an island." See Motolinia, _Historia de los +Indios_, Trat. III, cap. 7. + +TLAXCALLAN, now TLASCALA, 89, 93, 103. "The place of bread," from +_tlaxcalli_, bread. Site of a warlike tribe of Nahuatl descent, east +of the valley of Mexico. + +TLATZIN, 46. Chief of a town of the Chichimecs, situated on Lake +Chalco. He flourished toward the close of the 14th century. From +_tlatli_, a falcon. + +TOCHIN, 89. From _tochtli_, rabbit; name of the brother of the +Tezcucan ruler Quinantzin, and of many other personages. + +TOLLAN, or TULAN, 46, 105, 107. The ancient mythical capital of the +Toltecs. The common derivation from _tolin_, a rush, is erroneous. +The name is a syncopated form of _tonatlan_, "the place of the sun." + +TOLTEC, properly TOLTECATL, 46, 111. An inhabitant of Tollan. The +Toltecs were a mythical people, whose civilization was supposed to +have preceded that of the Aztecs. + +TOPILTZIN, 46, 105. "Our son" or "Our lord" (see Nopiltzin). The term +was especially applied to Quetzalcoatl, q. v. See Orozco y Berra, +_Hist. Antig. de Mexico_, Tom. III, p. 54. + +TOTOQUILHUATLI, 41. From _totoquilia_, to act as agent or lieutenant. +Ruler of Tlacopan. The verse of the song in which this name occurs is +given in the original Nahuatl by Ixtlilxochitl, who says it was very +popular throughout New Spain. See his _Historia Chichimeca_, cap. 32. + + +XICALANCO, 107. A locality on the borders of the province Tabasco. +The people spoke Nahuatl. Deriv. _xicalli_, gourd or jar, and +postpos. _co_. + +XICOMATZINTLAMATA, 43. Name of a warrior not otherwise known. The +compound seems to mean "skillful with angry hand" (_xicoa, maitl, +tlamati_). + +XICONTECATL, 103. Name of several distinguished Tlascalan warriors, +lords of Tizatlan. See Clavigero, _Hist. Antica di Messico_, Tom. +III, pp. 38 and 40, One was a favorite of Nezahualcoyotl. See +Ixtlilxochitl, _Historia Chichimeca_, cap. 40. + +XIUHTEUCTLI, 15. The god of fire, literally, "the lord of the year," +or "of the foliage." + +XIUHTZAL, 46. A queen of ancient Tollan, said by Clavigero to have +ruled from A. D. 979 to 984. Other writers give the name more +correctly Xiuhtlaltzin, "Lady of the Green Fields," and place her +death in 987. (Orozco y Berra, _Hist. Antig. de Mexico_, Tom. III, p. +45.) + +XOLOTL, 46. An early if not the first king of the Chichimecs. His +death occurred in 1232. + + +YOHUALLATONOC, 89. "Shining at night." Name of a warrior. + +YOPICO, 22. A division of the ancient city of Mexico, containing a +temple of this name. The word means "the place of the tearing out of +hearts" (_yolltol, pi, co_), from the form of sacrifice there carried +out. + +YOYONTZIN, 35, 40, 66, 67. A name of Nezahualcoyotl. See p. 35. + + + + +FOOTNOTES. + + +[Footnote 1: Diego Duran, _Historia de las Indias de Nueva Espana_, +Tom. I, p. 233; and compare Geronimo de Mendieta, _Historia +Eclesiastica Indiana_, Lib. II, cap. 31.] + +[Footnote 2: Sahagun, _Historia de Nueva Espana_, Lib. VIII, cap. +26.] + +[Footnote 3: Sahagun, _Historia de Nueva Espana_, Lib. III, cap. 8.] + +[Footnote 4: _Cuicoyan_, from _cuica_, song, and the place-ending +_yan_, which is added to the impersonal form of the verb, in this +instance, _cuicoa_. Mr. Bancroft entirely misapprehends Tezozomoc's +words about these establishments, and gives an erroneous rendering of +the term. See his _Native Races of the Pacific Coast_, Vol. II, p. +290, and Tezozomoc, _Cronica Mexicana_, cap. 18.] + +[Footnote 5: Juan de Torquemada, _Monarquia Indiana_, Lib. VI, cap. +43.] + +[Footnote 6: Torquemada, _Monarquia Indiana_, Lib. XVII, cap. 3. +Didacus Valades, who was in Mexico about 1550, writes of the natives: +"Habent instrumenta musica permulta in quibus semulatione quadam se +exercent." _Rhetorica Christiana_, Pars. IV, cap. 24.] + +[Footnote 7: Descriptions are given by Edward Muehlenpfordt, _Die +Republik Mexico_, Bd. I, pp. 250-52 (Hannover, 1844).] + +[Footnote 8: Molina translates _piqui_, "crear o plasmar Dios alguna +cosa de nuevo." _Vocabulario de la Lengua Mexicana_, s.v.] + +[Footnote 9: Sahagun, _Historia de Nueva Espana_, Lib. X, cap. 8.] + +[Footnote 10: Boturini, _Idea de una Nueva Historia General_, p. 97.] + +[Footnote 11: Clavigero, _Storia antica di Messico_, Lib. VII, p. +175.] + +[Footnote 12: Torquemada, _Monarquia Indiana_, Lib. X, cap. 34.] + +[Footnote 13: Duran, _Hist. de la Indias de Nueva Espana_, Tom. I, p. +233.] + +[Footnote 14: Tezozomoc, _Cronica Mexicana_, cap. 64.] + +[Footnote 15: Ixtlilxochitl, _Historia Chichimeca_, cap. 47.] + +[Footnote 16: Boturini, _Idea de una Nueva Historia General_, p. 90.] + +[Footnote 17: Tezozomoc, _Cronica Mexicana_, cap. 53.] + +[Footnote 18: See Sahagun, _Historia de Neuva Espana_, Lib. IV, chap. +17, and Tezozomoc, _Cronica Mexicana_, cap. 64.] + +[Footnote 19: _Cuitlaxoteyotl_, from _cuitatl_, mierda; +_tecuilhuicuicatl_, from _tecuilhuaztli_, sello, _tecuilonti_, el que +lo haze a otro, pecando contra natura. Molina, _Vocabulario_.] + +[Footnote 20: William A. Hammond, _The Disease of the Scythians +(morbus feminarum) and Certain Analogous Conditions_, in the +_American Journal of Neurology and Psychiatry_, 1882.] + +[Footnote 21: _Cronica Mexicana_, cap. 2.] + +[Footnote 22: On this subject the reader may consult Parades, +_Compendio del Arte de la Lengua Mexicana_, pp. 5, 6, and Sandoval, +_Arte de la Lengua Mexicana_, pp. 60, 61. Tapia Zenteno whose _Arte +Novissima de la Lengua Mexicana_ was published in 1753, rejects +altogether the saltillo, and says its invention is of no use except +to make students work harder! (pp. 3, 4.) The vowels with saltillo, +he maintains, are simply to be pronounced with a slight aspiration. +Nevertheless, the late writers continue to employ and describe the +saltillo, as Chimalpopoca, _Epitome a Modo Facil de aprender el +Idioma Nahuatl_, p. 6. (Mexico, 1869.)] + +[Footnote 23: _Arte Novissima de la Lengua Mexicana_, pp. 3, 4.] + +[Footnote 24: Duran, _Historia de Nueva Espana_, Tom. I, p. 230.] + +[Footnote 25: The singer who began the song was called _cuicaito_, +"the speaker of the song."] + +[Footnote 26: The most satisfactory description of these concerts is +that given by Geronimo de Mendieta, _Historia Eclesiastica Indiana_, +Lib. II, cap. 31. I have taken some particulars from Boturini and +Sahagun.] + +[Footnote 27: Literally, "the broken drum," from _tlapana_, to break, +as they say _tlapanhuimetzli_, half moon. It is described by +Tezozomoc as "un atambor bajo." _Cronica Mexicana_, cap. 53.] + +[Footnote 28: From _yollotl_, heart, and _pi_, to tear out. The +instrument is mentioned by Tezozomoc, _Cronica Mexicana_, cap. 48. On +the Yopico, and its ceremonies, see Sahagun, _Historia de Nueva +Espana_, Lib. II, cap. 1, and Appendix.] + +[Footnote 29: Simeon, however, thinks the name arose from the growing +and swelling of the sound of the instrument (notes to Jourdanet's +translation of Sahagun, p. 28). Mr. H.H. Bancroft gives the +astonishing translation of teponaztli, "wing of stone vapor!" +(_Native Races of the Pacific States_, Vol. II, p. 293.) Brasseur +traced the word to a Maya-Quiche root, _tep_. In both Nahuatl and +Maya this syllable is the radicle of various words meaning to +increase, enlarge, to grow strong or great, etc.] + +[Footnote 30: Sahagun, _Hist. de Nueva Espana_, Lib. II, cap. 27.] + +[Footnote 31: See _The Gueegueence, a Comedy ballet in the Nahuatl +Spanish dialect of Nicaragua_, Introd., p. 29. (Philadelphia, 1883.)] + +[Footnote 32: Theodor Baker, _Ueber die Musik der Nord-Amerikanischen +Wilden._, pp. 51-53. (Leipzig, 1882.)] + +[Footnote 33: _Omitl_, bone, _chicahuac_, strong. A specimen made of +the bone of a fossil elephant is possessed by Senor A. Chavero, of +Mexico. See Tezozomoc, _Cronica Mexicana_, cap. 55, and the note of +Orozco y Berra to that passage in the Mexican edition. Also Sahagun, +_Hist. de Nueva Espana_, Lib. VIII, cap. 20, who likewise describes +most of the instruments referred to in this section.] + +[Footnote 34: H.T. Cresson, _On Aztec Music_, in the _Proceedings of +the Academy of Natural Sciences, Philadelphia_, 1883.] + +[Footnote 35: Sahagun, _Historia de Nueva Espana_, Lib. II, +Appendice.] + +[Footnote 36: Duran, _Historia de las Indias de Nueva Espana_, Tom. +I, p. 233.] + +[Footnote 37: Boturini, _Idea de una Nueva Historia General_, +Appendice, p. 95.] + +[Footnote 38: Echevarria, _Historia del Origen de las Gentes de Nueva +Espana_, Discurso Preliminar.] + +[Footnote 39: Clavigero, _Storia Antica di Messico_, Lib. VII, p. +175.] + +[Footnote 40: "Ihre Sprachen sind ueberreich an doppelsinnigen +Ausdruecken die sie absichtlich anwenden um ihre Gedanken zu +verbergen. Geistliche haben mir versichert, dass sie obgleich der +Aztekischen Sprache vollstaendig maechtig, oft den wahren Sinn einer +Beichte nicht zu verstehen vermochten, weil die Beichtende sich in +raethselhafter und metaphorreicher Weise auszudruecken pflegten." +Carlos von Gagern, _Charakteristik der Indianischen Bevoelkerung +Mexico's_, p. 17 (in the _Mit. der Geog. Gesell._, Wien. 1837).] + +[Footnote 41: Carochi's translations are not quite literal. The +following notes will explain the compounds:-- + +1. _Tlauitl_, red ochre, _quecholli_, a bird so called, _aztatl_, a +heron, _ehualtia_, reverential of _ehua_, to rise up; hence, "It (or +he) shone like a noble red-winged heron rising in flight." + +2. _Ayauitl_, mist; _cocamalotl_, rainbow; _tonameyotl_, shining, +brightness; _ti_, connective; _mani_, substantive verb. "The +brightness of the rain bow is there." There is no conjunction "and"; +Father Carochi seems to have carelessly taken _ayauh_, which is the +form of _ayauitl_ in composition, for the conjunction _auh_, and. +Each of the lines given is a detached fragment, without connection +with the others. + +3. _xiuitl_, something blue or green; _coyolli_, bells; +_tzitzilicaliztli_, tinkling. "The golden drum's +turquoise-bell-tinkling." + +4. _xiuhtic_, blue or green; _tlapalli_, red; _cuiloa_, to paint or +write; _amoxtli_, book; _manca_, imperf. of _mani_. "There was a book +painted in red and green." 5. _chalchiuhuitl_, the jade; _cozcatl_, +a jewel; _mecatl_, a string; _totoma_, frequentative of _toma_, to +unfold, unwind. "I unwind my song like a string of precious jewels."] + +[Footnote 42: See above, page 10] + +[Footnote 43: _On the Ikonomatic Method of Phonetic Writing, with +special reference to American Archeology_. By D. G. Brinton, in +Proceedings of the American Philosophical Society, for October, +1886.] + +[Footnote 44: This fact is mentioned by Lord Kingsborough in his +great work on Mexico, Vol. VI, p. 533.] + +[Footnote 45: It is described in the _Anales del Museo Nacional_, +Tom. III, p. 262.] + +[Footnote 46: Echevarria's words are "los pongo en su idioma." _Hist. +del Origen de las Gentes que poblaron la Nueva Espana, Discurso +Preliminar_, in Kingsborough's _Mexico_, Vol. VIII.] + +[Footnote 47: See his _Tezcuco en los Ultimas Tiempos de sus Antiguos +Reyes_. Parte IV (Mexico, 1826).] + +[Footnote 48: See the description of this fragment of Boturini by +Senor Alfredo Chavero in the _Anales del Museo Nacional_, Tom. III, +p. 242.] + +[Footnote 49: M. Aubin, _Notice sur une Collection d'Antiquites +Mexicaines_, pp. 8, 9. (Paris, 1851.)] + +[Footnote 50: Printed very incorrectly in Lord Kingsborough's edition +of Ixtlilxochitl's _Relaciones Historicas_ (Rel. X, Kingsborough, +_Antiquities of Mexico_, Vol. IX, p. 454).] + +[Footnote 51: See Sahagun, _Historia de Nueva Espana_, Lib. II, +Appendix.] + +[Footnote 52: Bustamente puts the number of the songs of +Nezahualcoyotl at eighty, of which he could find only one extant, and +this, as I understand his words, in Spanish only. See his _Tezcuco en +los Tiempos de sus Antiguous Reyes_, p. 253 (Mexico, 1826). When +Alexander von Humboldt visited Mexico he sought in vain for any +fragment of the songs of the royal bard. _Vues lies Cordilleres_, +etc., Tom. II, p. 391.] + +[Footnote 53: _Tardes Americanas_, pp. 90-94. (Mexico, 1778.)] + +[Footnote 54: Torquemada, _Monarquia Indiana_, Lib. II, cap. 45. The +word _huehuetitlan_, seems to be a misprint for _ahuehuetitlan_, from +_ahuehuetl_, with the ligature _ti_, and the postposition _tlan_, +literally "among the cypresses."] + +[Footnote 55: _Op. cit._ Tom. I, p. 795.] + +[Footnote 56: _Grammatica del Idioma Mexicano_, p. 180. (Mexico, +1880.) + + + + + +End of Project Gutenberg's Ancient Nahuatl Poetry, by Daniel G. Brinton + +*** END OF THIS PROJECT GUTENBERG EBOOK ANCIENT NAHUATL POETRY *** + +***** This file should be named 12219.txt or 12219.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/2/2/1/12219/ + +Produced by David Starner, GF Untermeyer and the Online Distributed +Proofreading Team + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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