I’ve noticed a boom in people dropping by my post about the Codex Badianus, an Aztec book of medicine. Sadly, I’ve never found a full-text copy of that one online as all the translations so far seem to be still under copyright. However, I did find an entire academic exploration of sickness and medicine in Mexico during the colonial period, Pestilence and Headcolds: Encountering Illness in Colonial Mexico! Written in 2008 by Sherry Fields, it covers how the colonized peoples of Mexico understood and dealt with illness and health, including viewpoints spanning from persistent pre-Conquest traditions to Colonial syncretisms to the new European concepts. Of particular interest are sections drawn from native-generated primary sources and contemporary colonial medical records. The author’s kindly made the whole text available to read online for free. To check it out, look below.
In honor of the springtime finally rolling around after this seemingly-endless winter, I’d like to introduce you to a mysterious creature which the Aztecs said dies and rises with the seasons.
“In the winter, it hibernates. It inserts its bill in a tree; [hanging] there it shrinks, shrivels, molts. And when [the tree] rejuvenates, when the sun warms, when the tree sprouts, when it leafs out, at this time [it] also grows feathers once again. And when it thunders for rain, at that time it awakens, moves, comes to life.”
What is this mysterious creature that defies death?
It’s the hummingbird (huitzitzili in Nahuatl).
Incidentally, remember that the hummingbird is Huitzilopochtli’s symbol, and note that many hummingbirds, including several species in Mexico, have the brilliant blue-green color of divinity for their plumage, just like another sacred bird, the resplendent quetzal. These feathers, believed to have been shed like dead leaves in the fall, are linked to fresh, living plants by Sahagun’s informant, called into existence after the warmth of the sun, power of the sky gods, works in tandem with the watery might of Tlaloc and the other earth and vegetation gods, spiraling together to burst forth in life and movement. Thus, a bird that’s possibly the perfect representation of the sky with its ability to hover and move at will in the air, shows its other face as a facet of the earth/water/plant divinity complex, a deity web that also extends into the realm of the dead. Thus, this tiny little winged jewel is a microcosm of the vast world around it and the deities interwoven in the system.
“Canto del Colibri,” courtesy of jjeess11
Sahagún, Bernardino , Arthur J. O. Anderson, and Charles E. Dibble. General History of the Things of New Spain: Florentine Codex. Santa Fe, N.M: School of American Research, 1950-1982, Book XI, pp.24.
Sharp-eyed reader M.P. spotted some changes on the University of Texas websites for the Ballads of the Lords of New Spain and the Cantares Mexicanos. Thanks to their timely alert, I’ve updated my links to the full texts and bonus materials for the two foundational collections of Aztec poetry and song. As an extra stroke of good fortune, since my original post they’ve added the Nahuatl-English Dictionary & Concordance volume that originally accompanied the print edition of the Cantares Mexicanos. Just like the main volume, it is also freely available as a downloadable PDF.
Among the populace of the Aztec empire, the line between religion and magic often blurred in day to day life. While the priestly class held a great amount of power in mediating between the people and the gods, and by extension had a powerful influence on directing orthodoxy, folk practices flourished within the family household. One of these was the practice of offering prayers and desirable substances (often copal incense, tobacco, and sometimes blood) to the lesser spiritual beings inhabiting everything from the trees to the crops to the tools by which people lived. While these animistic entities were less grand than the mighty cosmic lords like Huitzilopochtli and Quetzalcoatl, with their broad power over the universe and the state, these local spirits had their own gifts. This influence carried extra weight for the humble individual due to its intimate proximity — while Tezcatlipoca’s wrath could lay waste to the entire kingdom, the fury of a small farmer’s sole cornfield could prove just as deadly for that individual as his livelihood dried up.
In this post, I’ll share with you a set of three of these short folk prayer-spells, collected by the inquisitor Hernando Ruiz de Alarcón in his “Treatise on Heathen Superstitions” in the early 17th century. These incantations were intended to guard a sleeper against evildoers invading his or her home in the night, and to express gratitude in the morning for a safe rest. Note that the supplicant in these prayers is actually praying to the spirits of their bed and their pillow, rather than a more familiar high god like Tlaloc. Incantations are quoted from the excellent English translation of Alarcón by J. Richard Andrews and Ross Hassig. Incidentally, if you can read Spanish, I found a full text copy of the Paso y Tronsco fascimile online at the Biblioteca Virtual Miguel de Cervantes, viewable by clicking HERE. Commentary about each prayer is my own material.
Let it be soon, O my jaguar mat, you who lie opening your mouth toward the four directions. You are very thirsty and also hungry. And already the villain who makes fun of people, the one who is a madman, is coming. What is it that he will do to me? Am I not a pauper? I am a worthless person. Do I not go around suffering poverty in the world?
The supplicant here calls upon his bed (“jaguar mat”), a mat made of reeds and palm fronds to protect him from the nocturnal sorcerer, the nahual. This particular flavor of witch was greatly feared throughout the region due to his ability to control minds, paralyze, and shapeshift. He was believed to often indulge in robbery like a cat burglar, breaking into homes in the dead of night to bewitch and rob his prey. Sometimes, he would violate and kill his victims. Interestingly, Quetzalcoatl was noted by Sahagún in the Florentine Codex to be the patron of this supernatural lawbreaker.
The structure of this prayer is double-layered — the supplicant begins with calling on the spirit of his bed to protect him, but then shifts to make a declaration of his extreme poverty and worthlessness as a robbery target. Perhaps he had in mind a subtle defense here — rather than asking the spirit to try to destroy or disempower the witch, which might be unlikely to work as they were considered to be quite strong, he’s asking it to trick the burglar by convincing him that there’s nothing of value in this house, better go somewhere else.
The bed itself is described in an interesting way. It reaches out towards the four directions, thus anchoring it very firmly in physical space, but also possibly linking it to the greater spiritual ecosystem, as a common verbal formula of invoking the whole community of the divine is to call to all the directions and present them with offerings. It also reminds me of the surface of the earth (tlalticpac) which similarly fans out as a flat plane towards the cardinal directions, making the bed a tiny replica of the earthly world. The reference to gaping mouths, hunger, and thirst acknowledges that the spirit of the bed has its own needs and implies that the speaker will attend to them. In the Aztec world, nothing’s free, and a favor requested is a favor that will have to be paid for. Alarcón doesn’t note what offering is given to the mat here, but in other invocations of household objects recorded in the book, tobacco and copal smoke come up repeatedly.
Let it be soon, O my jaguar seat, O you who are wide-mouthed towards the four directions. Already you are very thirsty and also hungry.
This prayer is the companion of the one discussed above, except directed to the sleeper’s pillow (the “jaguar seat”). Incidentally, you might be wondering why these two objects are named “jaguar.” Andrews and Hassig speculate in their commentary that it may have been inspired by the mottled appearance of the reeds making up the bedding. I think it may be a way of acknowledging that these simple, seemingly-mundane objects house a deeper, supernatural power. The jaguar is a creature of the earth, of the night, and sorcery in Mesoamerican thinking, and in particular is a symbol of Tezcatlipoca. It doesn’t seem like a coincidence to me that a nocturnal symbol is linked to things so intimately tied to sleep and being interacted with in the context of their magical power. The adjective “jaguar” also appears elsewhere in Aztec furniture as the “jaguar seat” of the kings and nobles, which is often used as a symbol of lordly authority. The gods themselves are sometimes drawn sitting on these jaguar thrones, including in the Codex Borbonicus (click to view). Once again, another possible link to ideas of supernatural power and rulership — authority invoked to control another supernatural actor, the dangerous witch.
O my jaguar mat, did the villain perhaps come or not? Was he perhaps able to arrive? Was he perhaps able to arrive right up to my blanket? Did he perhaps raise it, lift it up?
This final incantation was to be recited when the sleeper awoke safely. He muses about what might have happened while he slumbered. Maybe nothing happened… or maybe a robber tried to attack, coming so close as to peek under the blanket at the defenseless sleeper, but was turned away successfully by the guardian spirits invoked the previous night. Either way, the speaker is safe and sound in the rosy light of dawn, alive to begin another day.
Ruiz, . A. H., Andrews, J. R., & Hassig, R. (1984). Treatise on the heathen superstitions that today live among the Indians native to this New Spain, 1629. Norman: University of Oklahoma Press. pp.81-82
Today I’d like to introduce you to an important little book commonly referred to as the Huehuetlatolli – Discursos en Mexicano, or by its English nickname “the Bancroft Dialogues.” It’s a collection of early post-Conquest speech from the Aztec nobility, probably collected sometime in the late 16th century. It’s valuable both to linguists for its preservation of numerous samples of elite, upper-class speech , and to anthropologists for its social content. Frances Karttunen and James Lockhart produced the only English translation of the book in 1987 (out of print and difficult to find these days, I’d scan and post my copy for all to read if I could). If you can read Spanish, you may be able to acquire Angel Garibay’s edition, published in volume 1 and 2 of the journal Tlalocan in 1943.
The extract I’ve chosen to share is a short speech given by an older nobleman to some youths under his care about how to behave well, both in public and private. As the text identifies the listeners as “boys,” it’s possible this advice was given by a teacher at the calmecac or telpochcalli schools discussed in one of my earlier posts. Without further delay, here it is!
Advice on good breeding from an old man to some boys
Let us go to the house of our Lord to pray and hear His holy offices. Go along spread out in front of me, don’t go shoving each other, go along properly, don’t go looking sideways and making faces. People will say the devil has gotten into you. And if you meet someone somewhere, greet the person and speak to him. If it is one of the nobles, or one of the lords your progenitors who rule the city, or an old man or an old woman, you are to stand to one side until they pass by and bow down to them. Don’t shove people or knock them down.
Listen, my youngest ones, much sleeping is bad, for it makes people fall ill and grow idle. Get up early in the morning, and that way you will live in health and not be heavy with sickness. Were not the rulers who left you behind brought up in the same way? How was it that it was said that I really spied and saw them? (I.e. I know what I am talking about?)
Immediately the elder begins with an exhortation to attend to worship. At the time this speech was collected, he would have been referring to the Christian god, but the original pre-Conquest form of the dialogue would have referred to the traditional Aztec gods. This inclusion of an emphasis on good relation with the divine is pretty typical of many of the huehuetlatolli I’ve read, even for ones that aren’t specifically about religious practice. It descends from that lofty subject to more mundane instructions on what not to do so they won’t be scolded as little brats. As the Aztec community was a heavily class-conscious society, much of the deference the children are told to display is directed at the aristocracy — you’ll note that all nobles are to be bowed to without any requirements of age, but only the elderly receive special honor without concern for their class. Men and women alike are to be honored.
The elder leaves behind the instructions in etiquette and the external benefits from good manners to advise the kids on habits that will benefit them as individuals. However, he reinforces the personal benefits of moderation in sleep by citing tradition, as their ancestral role models supposedly followed these habits. In other speeches recorded in the Bancroft Dialogues, we see a recurring emphasis on health — many of the different greetings revolve around formalized questions as to how someone’s health is, and concern with avoiding illness and physical discomfort. Linking this concern with vitality to the need for moderation hints at the key virtue of temperance in Mexica culture, something I’ve explored in more depth in an older post if you’re interested.
Lockhart, James. & Karttunen, Frances E. & Bancroft Library. (1987). The Art of Nahuatl speech : the Bancroft Dialogues. Los Angeles : UCLA Latin American Center Publications, University of California, p.137
Watching the Hobbit in theatres last weekend got me thinking about riddles. Not only are they amusing, but the figurative language and ideas contained within them can point to interesting tidbits of culture. I’ve pulled a few of my favorites from the Florentine Codex and included them below, in slightly more informal language. After each riddle and its answer I’ve added some of my own notes and interpretations of the concepts they nod to (the commentary is my own work, not that of Anderson and Dibble).
Q: What’s a small blue gourd bowl filled with popcorn?
A: It’s the sky.
Mesoamerican cosmology divides the universe into sky and heavens (topan) above, the earth’s surface like a pancake or tortilla in the middle (tlalticpac), and the underworld (mictlan) below. Though all three have their own distinct and separate characteristics, they interpenetrate to a certain degree, and this riddle hints at that in a playful manner. The gourd itself is a product of the earth and its underworld powers, doubly so as it’s a water-filled plant (and is often likened to the human head), as is popcorn. In fact, first eating corn is the moment where an infant becomes bound to the earth deities as it takes of their bounty and starts to accumulate cold, heavy “earthy-ness” within its being. It’s also the start of a debt to the earth and vegetation gods — as They feed the child, one day that child will die and return to the earth to feed Them. I covered some aspects of this idea in my Human Corn post, if you’re curious to read more.
Q: What’s the little water jar that’s both carried on the head and also knows the land of the dead?
A: The pitcher for drawing water.
The land of the dead is traditionally conceived of as a place dominated by the elements of earth and water, filled with cool, oozy dampness. Rivers, wells, springs, and caves were places where the underworld power was considered to leak through to the mortal realm. Not only did this power seep through to us, but we could sometimes cross through them to reach the underworld as well (the legendary Cincalco cave being one of the most famous of these doors). Thus, thrusting the jar down into a watering hole or a spring, breaking through the fragile watery membrane, was sending it into Tlaloc and Chalchiuhtlicue’s world in a way.
Q: What lies on the ground but points its finger to the sky?
A: The agave plant.
The agave plant, called metl in Nahuatl and commonly referred to as a maguey in the old Spanish sources, is a plant loaded with interesting cultural associations. Its heart and sap is tapped to produce a variety of traditional and modern liquors like pulque, octli, and tequila, linking it to the earth-linked liquor gods like Nappatecuhtli, Mayahuel, and even Xipe Totec and Quetzalcoatl in their pulque god aspects. Additionally, each thick, meaty leaf is tipped with a long black spine that’s much like a natural awl. This spine was one of the piercing devices used by priests and the general public alike to perform autosacrifice and offer blood to the gods. Lastly, the beautiful greenish-blue color of the leaves of some species (like the blue agave), is the special color traditionally associated with beautiful, divine things. Take a look at a photo of the respendent quetzal’s tailfeathers — they’re just about the same color as the agave.
Q: What’s the small mirror in a house made of fir branches?
A: Our eye.
The Aztecs strongly associated mirrors with sight and understanding. Several gods, most notably Tezcatlipoca (the “Smoking Mirror”), possessed special mirrors that would allow them to see and know anything in the world by peering into them. Some of the records we have from before and during the Conquest record that some of the statues of the gods had eyes made of pyrite or obsidian mirrors, causing a worshipper standing before them to see themselves reflected in the god’s gaze. In the present day, some of the tigre (jaguar) boxers in Zitlala and Acatlan wear masks with mirrored eyes, discussed in this post and video. One last point on mirrors — in many of the huehuetlatolli (ancient word speeches), the speaker implores the gods to set their “light and mirror” before someone to guide them, symbolizing counsel, wisdom, and good example. The comparison of eyelashes to fir branches is rather interesting, as it reminds me of the common practice in many festivals of decorating altars with fresh-cut fir branches. The two elements combine to suggest a tiny shrine of enlightenment, the magic mirror nestled in its fragrant altar like a holy icon.
Q: What’s the scarlet macaw in the lead, but the raven following after?
A: The wildfire.
I included this one simply because I thought it was exceptionally creative and clever. I’m pretty sure it would stump even a master riddler like Gollum!
Sahagún, Bernardino , Arthur J. O. Anderson, and Charles E. Dibble. General History of the Things of New Spain: Florentine Codex. Santa Fe, N.M: School of American Research, 1950-1982, Book VI, pp.236-239.
Happy New Year’s! Instead of fireworks, let’s ring in the new year with a superb photostream from Flickriver user Ilhuicamina. This set is of exceptional quality and covers many significant artworks excavated from the Templo Mayor and safeguarded by INAH at the National Museum of Anthropology in Mexico City. Take a look!
It’s the ending of the old baktun and the dawning of a new one, and I’d like to greet both the new era and the return of the Sun on this Winter Solstice with the blowing of conch horns!
The Aztecs named the conch shell trumpet quiquiztli, and the musicians who played them “quiquizoani.” This is the instrument that Quetzalcoatl played to defeat the devious challenge of Mictlantecuhtli, the Lord of the Dead, and reclaim the ancestral bones of humanity at the start of the Fifth Sun. I have seen some speculation that the “mighty breath” blown by the Plumed Serpent to set that newborn Sun moving in the sky was actually a tremendous blast on a conch horn. It’s the trumpet the priests played to call their colleagues to offer blood four (or five) times a night in the ceremony of tlatlapitzaliztli, and also during the offering of incense, according to Sahagun in the Florentine Codex . Tecciztecatl, the male Moon God, is sometimes depicted emerging from the mouth of a quiquiztli. The sound of the instrument itself was considered by the Aztecs to be the musical analog to the roar of the jaguar. Like the twisting spiral within the shell, the associations are nearly endless, doubling back on each other in folds of life, death, night, dawn, and breath.
The quiquiztli appeared in two offerings at the Templo Mayor in Tenochtitlan (offering #88). One shell was found on Tlaloc the Rain Lord’s side (not at all surprising, given the overwhelming watery connotations of the instrument). A second one was found on Huitzilopochtli’s side of the manmade replica of Coatepetl. If you would like to actually hear one of these very trumpets being played, you can click HERE to visit the International Study Group on Music Archaeology’s page for these trumpets. You can directly download the MP3 recording by clicking HERE.
I also found a beautiful photograph of an Aztec or Mixtec conch trumpet (covered in intricate carvings) currently in the holdings of the Museum of Fine Arts here in Boston. If you’d like to view the photo and see their notes on the artifact, please click HERE. If you’d rather jump right to the full-size, more detailed image, click HERE instead.
Want to learn more about the trumpet and its uses in Mesoamerican cultures past and present? Head on over to Mixcoacalli and read Arnd Adje Both’s excellent 2004 journal article called “Shell Trumpets in Mesoamerica: Music-Archaeological Evidence and Living Tradition” (downloadable full text PDF). It gives a valuable introduction to the instrument in Teotihuacan, Aztec, and Mayan societies and includes numerous interesting photos and line sketches as a bonus. I couldn’t find a direct link to the article on his site, but I did find it on his server via Google. As a courtesy, the link to his homepage is here. There is some other interesting material relating to the study of ancient Mesoamerican music on there, so I recommend poking around.
What about South American cultures? I’m a step ahead of you — why not go here to read an interesting article on Wired about a cache of 3,000 year old pre-Incan shell trumpets found in Chavin, Peru? Includes recordings and photos.
Finally, if you’re curious for an idea of how the Aztecs and Maya actually played the quiquiztli, including how they changed the tone of the instrument without any finger-holes or other devices, you can view a demonstration by ethnomusicologist John Burkhalter below. If you noticed that the trumpeter in the codex image I embedded earlier has his hand slipped into the shell, you’ll get to see what that actually does when the horn is played in the video.
In honor of the approaching end of the 13th baktun on December 21, per the famous Mayan calendar, I’d like to write about a piece of ironclad historical evidence contradicting the “Mayan doomsday” nonsense. That particular piece of evidence lies in the ruins of Xultun.
Xultun was once a flourishing Mayan metropolis, and its importance continues to the present day as the site of a series of murals of great significance to clearing up an archaic misunderstanding of the great calendar. More specifically, painted on the walls in a house that appears to have been a workshop for scribes and astronomers, is a series of complex astronomical tables extending well past the end of 2012. In other words, the Mayan astronomers of the ninth century C.E. most certainly didn’t think the world would end when the thirteenth baktun did, but instead carried on with their work charting planetary and stellar activities well beyond the supposed end of the world. “So much for the supposed end of the world,” quips William Saturno, one of the present-day (re) discoverers of these scientific calculations.
Another of Saturno’s comments sums up the contrast between Western pop culture’s misconceptions and Mayan thought nicely, in my opinion — “We keep looking for endings… the Maya were looking for a guarantee that nothing would change. It’s an entirely different mindset.” (National Geographic, 5/10/2012)
After the above excerpts, you might be interested in getting a look at Xultun and these murals for yourself. If so, you’re in luck!
If you click HERE, you can view National Geographic’s “Giga Pan” high resolution photographs of some of the murals.
If you’d like to explore the beautiful stone stelae (carvings) that dot the city, you can click HERE to visit the Peabody Museum of Archaeology and Ethnology at Harvard’s website cataloguing a bit of the site’s history, its carvings, and their locations around the town. (The diagrams of the carvings are in the list on the lefthand side of the page.)
Finally, National Geographic has also prepared a short video on the discoveries at Xultun for your viewing pleasure, which you can view HERE if you have trouble viewing the embedded version below.
A quick post today to follow up on my last one. I was digging through a disc of photos my father took while we were visiting Salem, and it turns out he also snagged a shot of the conquistador’s helmet. He had a proper DSLR camera with him and was able to get a larger, higher resolution photo of the helm, so I’m posting it too so you can get a more detailed look. As always, click to view the image in its full size.
Earlier this month I visited the Peabody Essex Museum in Salem, MA and spotted a surprising object in their collection. Amidst the lovely array of East Asian artwork (better than the MFA’s holdings in Boston proper, in my opinion), nautical paintings and artifacts, and other marvels, sitting unobtrusively on a shelf in their gallery devoted to curios collected by local sailors from around the world, sits a conquistador’s helmet. I snapped a couple of photos to share with you all (please excuse the quality, I wasn’t planning on doing any photography and flashes were forbidden in the museum to boot). Click to view the photos full size.
First, a shot of the whole helmet on its shelf.
Next, a close-up of the antique paper label pasted on the helm by a museum curator (presumably) a long time ago. Judging by the paper, ink, and handwriting style, I’m guessing it was attached to the artifact sometime in the 19th century. The label reads “An Ancient Spanish H[elmet] found in Mexico, and probably [worn?] by some of the followers of Cortez.”
Tonight I’ve decided to bring your attention to a major collection of photographs of Aztec and other Mesoamerican art, crafts, and architecture. It’s housed at the Werner Forman Archive in the United Kingdom. It’s a treasure trove of wonderful pictures of literally thousands of different objects and places around the world, including pictures relating to the Aztecs, Maya, Teotihuacanos, and other peoples of Central America.
You can browse their Precolumbian section for photos covering both North and South American peoples, or you can try searching for Aztec, Maya, or more specific keywords. To give you a hint at how much there is to explore, the full Precolumbian section has 763 photos available online!
As they don’t appear to look kindly on people rehosting their images, and hotlinking is rude, I’ll just drop a few direct links here to some particularly interesting photos to get you started…
I have quite the research treat for you tonight, dear reader! After quite some time patiently hunting and following threads (and guessing the correct URL behind a broken link when one last barrier tried to put an end to my quest), I successfully tracked down the only English, full-text translation of an important Conquest-era work… the Colloquios y doctrina christiania (“Dialogues and Christian Doctrine”), often known to English speakers by its nickname “The Colloquies of the Twelve.”
The bilingual Nahuatl/Spanish text dates to about 1564 and was penned by Fray Bernardino de Sahagún. The work concerns itself with recording a series of debates between Mexican religious and political authorities and a team of twelve friars sent by the Spanish crown to attempt to destroy the indigenous faith. These verbal battles took place in the early 1520’s, shortly after the fall of the Aztec empire. While Sahagún didn’t reach Mexico until 1529 and thus was a few years too late to have witnessed these discussions himself, he did consult ten out of twelve of the friars, as well as four Mexica informants and four eminent native scholars (Antonio Valeriano, Alonso Vegeriano, Martin Jacobita, and Andres Leonardo), in order to reconstruct the debates (albeit in a highly-poetic and dramatic form).
The lone surviving manuscript was lost for over three hundred years until it was rediscovered in the Vatican archives in the early twentieth century. Sadly, of the thirty chapters, only fourteen have endured the ravages of time. It received a German translation by Zelia Nuttall in the 1940’s, but remained untranslated into English until 1978, thanks to the effort of Jorge Klor de Alva (the first complete modern Spanish translation was executed by Miguel Leon-Portilla in 1977). Its first and only publication was in the final issue of Alcheringa: Ethnopoetics, Volume Four, Number Two, published by Boston University in 1980. This printing is the one I present you with today.
I also recommend poking around in other volumes in Alcheringa’s archives, as they have quite a bit of interesting stuff back there, including more Mesoamerican research and several recordings of indigenous poetry recitations. Thumbs up to Boston University for releasing these archives to the public, including the audio recordings that came with issues of this journal.
P.S. — As a bonus, this particular volume also includes several interesting Mayan legends I haven’t encountered anywhere else, and, related to my previous post, Thelma D. Sullivan’s full text translations of several birth/pregnancy huehuetlatolli speeches from Book 6 of the Florentine Codex.
Book of the Colloquies; The Aztec-Spanish Dialogues of 1524. English edition translated and edited by Jorge Klor de Alva. Alcheringa/Ethnopoetics vol 4, no. 2:52—193. 1980.
In honor of back to school season in my part of the world, I’d like to share some notes on Aztec education, as well as a link to an article on the rediscovery and initial excavation of the calmecac in modern-day Mexico City. In case you’re not familiar with the calmecac, it’s one of two schooling institutions created by the Aztecs to educate their children. Dibble and Anderson translate the name “Priests’ House” or “House of Penance,” for reasons that will become clear below. The telpochcalli, or “Young Men’s House,” could be described roughly as a cross between a military and trade school, in Western/European terms. It’s the school primarily populated by the non-aristocratic children, where they would be trained in combat and economic matters more typical of their station.
In contrast, the calmecac is more akin to a seminary, elite prep school, and college rolled together. Primarily attended by the offspring of the noble class, it’s reported that certain common-born children of especial talent were allowed to go as well, despite their lineage. Here the children would learn basic priestly training, military skills, the arts, etiquette, and leadership. While we have records of these two schools existing within the walls of Tenochtitlan, it wasn’t until 2007 that archaeologists had uncovered the remains of any part of these two educational complexes. If you would like to read an article in the Christian Science Monitor reporting on this discovery, please click HERE. (It includes a photograph of one of the ornaments that once decorated the roof of this indigenous American university — the cross section of a twisting shell, named the “wind jewel,” a symbol of Quetzalcoatl the Plumed Serpent, lord of learning.)
Unlike many other cultures past (and present, sadly), the Mexica-Tenochca were quite progressive with regards to education. They sought to put most children though one of the two schools described above, making them among the earliest proponents of universal education. Even more exemplary was the fact that that this education extended to girls as well as boys! No child left behind? The Aztecs had it covered.
While there were differences in which form of education a child would receive, heavily influenced by social standing as noted above, it appears there was some flexibility according to the parent’s wishes, according to Sahagun’s informants in the Florentine Codex (Book 6, Chapter 39, p. 209, Dibble & Anderson trans.). When the parents had chosen which educational path their child would take, a celebration was hosted. If the child would go to the telpochcalli, the schoolmasters would be invited over for food and drink, the exchange of gifts, and to meet their future pupil. Then they would cradle the child in their arms and swear to guide the child until he or she was ready to leave their school, take a spouse, and establish their own household. (Dibble & Anderson, Book 6, p.209). Tezcatlipoca was invoked as the patron of this child’s educational career. (Dibble & Anderson, Book 6, p.210)
If the parents chose to send the child to the calmecac, a celebration was still held, but instead the class of priests called quaquacuiltin were invited to the house. Once again, they were feasted and presented with gifts, and the priests held the child and dedicated her or him to Quetzalcoatl, and promise that the child will carry out his/her responsibilities as a religious novitiate and seek the god’s knowledge. They closed their oration with a plea for the Feathered Serpent’s blessing and consent for these educational gifts. (Dibble & Anderson, Book 6, p.210)
Sahagun records that a girl dedicated to the calmecac received a distinctive scarification mark on her hips and chest at this time, and was also given a special necklace marking her as destined for a religious education, the yaqualli pendant. (Dibble & Anderson, Book 6, p.210) He doesn’t note what marks and accoutrements the boys were given.
After this initial encounter with their future educators, whether the martial headmasters of the telpochcalli or the religious experts of the calmecac, the child stayed with their parents for another few years until they were deemed old enough to attend the school they had been promised to. After that, they were sent to live at the schools until they completed their education and struck out on their own adult lives.
Sahagún, Bernardino , Arthur J. O. Anderson, and Charles E. Dibble. General History of the Things of New Spain: Florentine Codex. Santa Fe, N.M: School of American Research, 1950-1982, Book VI, pp.209-211.
Today I want to share something interesting I noted about a couple of important dates in the tonalpohualli, the 260 day sacred calendar of traditional Mesoamerica (as opposed to the 360 day + 5 “dead days” civil calendar, used by the authorities much like the modern 12 month European calendar). According to the Aztec Calendar website, today is the day Nahui Ollin, or Four Movement. It’s a particularly special day because its the name day of Tonatiuh, the Sun of the Fifth Era — i.e., the present cosmic age.
A quick aside if you’re not familiar with the classical Mesoamerican “name day” concept — Aztec parents didn’t name their children purely at their own pleasure, like is the common practice in the USA today. Instead, they would name their baby after a tonalpohualli date within four days of the child’s birth, which would be a number/noun pair, like One Reed or Ten Death. As different dates have different positive and negative qualities under the pre-Conquest system of prognostication, the parents would consult with a priestly calendar specialist to choose the most promising day within that four day window to name the child. (Dibble & Anderson, Florentine Codex, Book VI, pp.197-199, 201-207)
Now, back to Tonatiuh and His date name, Four Movement. According to myth, the Fifth Era began in the darkness at Teotihuacan when all the gods came together to re-create the world and birth a new sun. The day the new age and the new sun came to be is Mahtlactli Omei Acatl, or Thirteen Reed. Thirteen Reed is the last day of the first trecena of the new 260 day calendar round, which started with Ce Cipactli (One Crocodile). (Side note — the name Cipactli should be familiar, as it’s also the name of the primordial earth goddess who was dismembered to form the universe by Tecatlipoca and Quetzalcoatl before the First Era/Sun. Another link to the process of creation!) Exactly four days after Thirteen Reed is… Four Movement. So, this creation story captures the fascinating detail that even the gods followed the practice of naming new beings after a date within the four day window after birth. (This makes perfect sense when you recall that the common belief in Mesoamerica, continuing to the present day, is that the calendar and date-keeping is a divine gift.)
Now, this little detail is interesting enough in its own right, but I’d like to call your attention to one last thread of the story that makes it even more fascinating. The date Nahui Ollin isn’t only the birth name of Tonatiuh, the present Sun, but it is also the prophecied date that He and the earthly realm will collapse into chaos and darkness again. Thus, this single date and phrase is both His birth and His death, packed into one incredibly concise little packet bursting with meaning. Life and death, creation and uncreation, Mictlan and Topan, separated only by time. The Aztec alpha and omega.
Sahagún, Bernardino , Arthur J. O. Anderson, and Charles E. Dibble. General History of the Things of New Spain: Florentine Codex. Santa Fe, N.M: School of American Research, 1950-1982, Book VI, pp.197-199, 201-207.
Today I’d like to share a video clip I came across that shows a portion of a Discovery Channel special. In it, they explore effectiveness of several traditional Aztec weapons and compare them to their closest Spanish analogues. Most interesting are the sequences where they demonstrate the obsidian-bladed sword-club, the maquahuitl (also spelled macuahuitl) and the sling. A particularly nice little surprise about this episode is that Dr. Frances Berdan speaks a bit about the maquahuitl. If you’re wondering why I’m highlighting that, it’s because she’s a significant scholar of Mesoamerican studies. What has she done for you lately, you ask? Well, you might want to thank her and Dr. Anawalt for the current definitive edition of the Codex Mendoza, for starters.
That aside, enjoy the video!
My dear grandfather passed away this month at 90 years of age, so in his honor I am going to post the entry about the grandfather from the Florentine Codex, as well as the related entry about the old man, as it expands on concepts discussed in the first one. Xolotl guide you, Grandpa.
One’s Grandfather — Grandfather (Tecol, Colli)
One’s grandfather is hardened, lean, white-haired, white-headed. He becomes impotent, childish.
The good grandfather is an adviser, an indoctrinator. He reprimands one, beats one with nettles, teaches one prudence, discretion.
The bad grandfather is negligent, of misspent days and nights; of no fame, of no renown. A luxurious old man, he is decrepit, senile.
Bernardino de Sahagún, Florentine Codex: General History of the Things of New Spain (Translation of and Introduction to Historia General De Las Cosas De La Nueva España; 12 Volumes in 13 Books ), trans. Charles E. Dibble and Arthur J. O Anderson (Salt Lake City: University of Utah Press, 1950-1982). Book 10 – The People, Chapter 1, pp. 4-5
The Old Man
The revered old man, the aged man is white-haired, white-headed, hardened with age, aged, ancient, experienced, a successful worker.
The good old man is famous, honored, an advisor, a reprehender, a castigator, a counselor, an indoctrinator. He tells, he relates ancient lore; he leads an exemplary life.
The bad old man is a fabricator, a liar, a drunkard, a thief; decrepit, feeble; a gaudy old man, a luxurious old man, an old fool, a liar. He invents falsehoods.
Bernardino de Sahagún, Florentine Codex: General History of the Things of New Spain (Translation of and Introduction to Historia General De Las Cosas De La Nueva España; 12 Volumes in 13 Books ), trans. Charles E. Dibble and Arthur J. O Anderson (Salt Lake City: University of Utah Press, 1950-1982). Book 10 – The People, Chapter 3, p.11
I’ve been keeping an eye on the alleged human sacrifices in honor of Santa Muerte (Saint Death) in Nacozari, Mexico, since the news first broke a bit over a week ago. Since the initial story hit, it’s been a rather vexing (if not surprising) slog through the misinformation and tedious sensationalism, with the usual suspects coming out of the woodwork to push a new version of the tired “Satanic Panic” trope. I’m pleased to inform however, that a friend of mine, Joseph Laycock, just posted a story regarding the killings on the Religion Dispatches. With his usual wit, Dr. Laycock deconstructs that bit of irritating nonsense, and provides a nice bit of work tracking how this meme is rapidly developing. I highly recommend popping by and giving it a read.
If you’re wondering why I’m taking a moment to post news relating to human sacrifices offered to a Catholic saint, you might want to swing by Dr. Laycock’s other article on Santa Muerte. Among other interesting data of note, he comments on the theory that Santa Muerte is a syncreticism of Catholicism with Mictlancihuatl (aka Mictecacihuatl), the pre-Columbian consort of Mictlantecuhtli and Queen of the Dead. (Her names translate literally as “Lady of the Land of the Dead” and “Lady of the Deadlands People,” respectively.) The first time I came across information relating to Santa Muerte, I had the exact same thought come to mind. Both entities appear as skeletal feminine figures draped in sacred garb. While Santa Muerte’s dress most obviously echoes a combination of Saint Mary (and by extension, the Virgin of Guadalupe, who is herself a syncretism of Tonantzin) and popular depictions of the Grim Reaper, her functions remind me far more of Mictlancihuatl. Both grim ladies have power over material blessings and fortunes, as well as life and death. This combination of dominion over material wealth and death is a signature of the Aztec earth/death deities (the powers of the earth and the force of death are inseparable in this cosmovision, when one gets to the root of it) such as Mictlancihuatl, Tonantzin, Cihuacoatl, and Tlaloc, among many, many others. The offering of blood and human life to Santa Muerte seems to hint that at least some others see this connection between the new saint and the ancient goddess, the tragic manifestation of this understanding in the case of the Nacozari murders aside.
With that said, I do encourage you to check out Dr. Laycock’s informative articles on Santa Muerte HERE and HERE, and give the ill-informed and sensationalistic tripe from non-experts floating around on the web a miss. Stay tuned for an upcoming post to stay with the subject of death while linking back to my prior post on the two major anthologies of Aztec poetry.
In honor of the spring equinox, I’d like to share an interesting article by Ivan Šprajc that explores some theories regarding possible astronomical associations of the architecture of the Grand Temple. Mr. Šprajc is a Slovenian archaeoastronomy specialist with an interest in the ancient astronomical practices of the Aztec, Maya, and Teotihuacan peoples. This paper, “Astronomical Alignments at the Templo Mayor of Tenochtitlan, Mexico” is the result of the studies he conducted at the excavation site of the Huey Teocalli in Mexico City.
In this paper, Šprajc agrees with his predecessors Aveni, Calnek, Tichy, and Ponce de Leon that the Templo Mayor was indeed constructed to align with certain astrological phenomena and dates. This initial concept is partially based on some clues recorded by Mendieta that the feast of Tlacaxipehualiztli “fell when the sun was in the middle of Uchilobos [archaic Spanish spelling of Huitzilopochtli].”
The more traditional position, held by Aveni et al and supported by Leonardo López Luján in “The Offerings of the Templo Mayor of Tenochtitlan” (2006) holds that the festival’s beginning was marked by the perfect alignment of the sunrise between the two sanctuaries atop the Temple on the first day of the veintena according to Sahagun. To wit, Sahagun recorded that the festival month began on March 4/5 (depending on how you correct from the Julian to Gregorian calendar) and ended shortly after the vernal equinox.
Unlike his peers, Šprajc concludes that the festival of Xipe Totec was marked by the sun setting along the axis of the Teocalli. At that time, the sun would seem to vanish as it dropped into the V-shaped notch between the two shrines of Tlaloc and Huitzilopochtli. His conclusion partially stems from a slightly different measurement of the orientation of the temple than the other archaeologists, and his preference for Mendieta’s dating of the start and end of Tlacaxipehualiztli, which would start right around the vernal equinox and then end on about April 4th.
Who do I think is correct? I think the jury is still out. Both the sunrises and sunsets were marked by the priests with copal offerings and music, and both were involved in the flow of various festivals, so we know for sure that the scholars and clergy of Tenochtitlan assigned significance to both. Given the issue of varying estimates of how much the Templo Mayor has settled into the soft soil of the remains of Lake Texcoco, and differing theories on how much the structure has warped due to intentional destruction and pressure from the layering of Mexico City on top, and it becomes hard to present a bulletproof argument for either side.
Šprajc presents some additional interesting possibilities for alignments with Mount Tlamacas and Mount Tlaloc nearby, and a potential method of tracking the movement of the sun that possesses regular intervals of 20 days (matching an Aztec month) and 26 days (two Aztec weeks) that are intriguing. However, I generally consider Sahagun more reliable than Mendieta, as his research methods were among the best at the time, and modern study has tended to vindicate his records over those of historians working at a greater remove in time after the Conquest. There’s also the issue that Šprajc seems to be quite outnumbered when it comes to support for his alignment, and some of those who disagree with him, like Leonardo López Luján, have devoted decades of their lives to studying the Templo Mayor specifically. I’d also like to close with the possibility that everyone could be wrong — the tendency to see astronomical alignments under every rock and bush that were never intended by the people they’re studying has plagued archaeology for a very long time, and in the end, it could be the case here as well. Regardless, the debate is interesting and well worth reading, and the journal article contains a number of useful photographs and diagrams of deep within the layers of the Templo Mayor that are rewarding in and of themselves.
To download a full-text PDF copy of the journal article for free from the Inštitut za antropološke in prostorske študije (Institute of Anthropological and Spatial Studies), please click HERE. Alternatively, you can read it on-line at Issuu in simulated book format straight from your web browser by clicking HERE.
As a bonus, I’ve embedded a beautiful video recorded by Psydarketo below. It’s footage of the sun rising and aligning in the central doorway of the sanctuary atop the Mayan temple at Dzibilchaltun on March 20th, 2011 — last year’s spring equinox. It’s a similar technique to what I discussed above at the Templo Mayor, except that the sun is framed in the doorway rather than in the V-shaped space between twin sanctuaries. Close enough to help give a picture of how things would have looked in Tenochtitlan, and wonderful to watch in its own right.
While browsing links and foraging for data, I came across an excellent pair of photos on Flickr that tie in nicely with yesterday’s post on pre-Conquest Aztec censers. Both photographs were taken by Lin Mei in 2006 at the Museo del Templo Mayor (Museum of the Grand Temple) and adjacent excavation site of the Huey Teocalli itself in Mexico City. They are hosted on Rightstream’s Flickr photostream as a part of his Templo Mayor set of images. I recommend taking a look at the full set in addition to the two I’m highlighting here, as the photos are very good quality and provide a good look at many of the fascinating examples of Mexica art and architecture uncovered by the Templo Mayor archaeology team. My thanks to Leo and Lin Mei for generously allowing their work to be shared under a Creative Commons 2.0 license.
The first photo is a beautiful example of a ladle-type censer, intended to be carried in the hand and used to incense places, people, sacred images, etc. It’s the design Walter Hough described as being derived from a basic tripod incense burner design, where one leg is elongated into a handle, producing a ladle form.
The second image is a picture of the large, stationary stone brazier Hough described as being used for burning incense, offerings, ritual implements and paraphernalia, and as vessels for sacred temple fires that were never allowed to go out. The popochcomitl in the photo below is beautifully preserved, and a great amount of sharp, clear detail is apparent. Look closely at the narrow waist of the hourglass shape, and you’ll see the belt-like knotted bow I discussed yesterday. It’s a much better example than the grainy turn of the century photograph available in the linked article. You’ll also notice a beautiful monolithic serpent head nestled between the two braziers. The alternating brazier – serpent – brazier pattern continues over large sections of the stepped pyramid. It’s a logical motif when one remembers that the Grand Temple, at least on the southern side where Huitzilopochtli’s sanctuary was, is a man-made replica of the Coatepetl (Snake Mountain) where Huitzilopochtli was born and defeated the jealous Southern Stars. If you’d like to read that story, you can click HERE for my retelling of that exciting narrative.
While doing some research on different types of censers (incense burners) used in Mesoamerica, I came across a useful article on the subject by Walter Hough, entitled (creatively) “Censers and Incense of Mexico and Central America.” The article dates from 1912 and doesn’t have the benefit of recent excavations at the Huey Teocalli in Mexico City, but I still found it valuable as a solid overview of the major types of incense burners (popochcomitl in Nahuatl) used in precolumbian Mexico and neighboring regions. It’s a well-organized and reasonably-concise article, and contains a good number of photographs of examples for each of the major shapes and style variations by broad ethnic groupings. To read “Censers and Incense of Mexico and Central America” by Walter Hough via GoogleBooks, please click HERE. A full-text PDF of the article can also be downloaded, as the article is in the public domain. (A warning note — unsurprisingly, given its age, Hough’s article is marred by some obnoxious ethnocentric language common to writing from the period. Fortunately, it’s less pervasive than what I’ve seen from some of his contemporaries, so hopefully you can look past it to benefit from the real meat of the essay.)
I’d like to comment briefly on some of the most interesting parts of the article. I’ll start with some thoughts about the large, stationary “hourglass” type censer he mentions, which were permanent installations at the temples (depicted on page 9 of the PDF, page 112 in the original numbering). Called tlexictli, or “fire navels,” they instantly bring to mind Xiuhtecuhtli (also called Huehueteotl), the ancient Lord of Fire, who is said to dwell in the “navel” of the universe, as recorded throughout the Florentine Codex by Sahagun. Also according to Sahagun, these large braziers provided not only continual light, warmth, and a place to burn copal, but were used in the disposal of some offerings and ritual implements. The objects to be cremated were burned in a tlexictli, and then the ashes were buried at certain holy sites on the edge of bodies of water (Hough, PDF p.11). It’s a fascinating variation on the theme of water meets fire that pervades traditional Aztec thought, here manifesting in a team effort of the two opposing forces in destroying sanctified objects that are due to leave the physical world for the spiritual realm.
Staying on the subject of the tlexictli a moment longer, I’d like to call your attention to the photo on page 44 of the PDF, which shows one of the “fire navel” braziers. Around the narrow waist of the censer is a knotted bow. These bows frequently show up in Aztec art, either tied around objects that are being offered or tied around people, animals, or gods. Quetzalcoatl is often shown in the codices with these bows tied around his knees and elbows, such as in plate 56 of the Codex Borgia. Mictlantecuhtli is wearing the pleated paper bows around his joints as well. To my knowledge, we don’t yet fully understand the complex meaning behind these bows, but they’re definitely associated with priestly activity and sacrifice. In that light, it seems appropriate to see these bows appear on the tlexictli.
Moving on to more familiar territory, Hough’s paper covers the ladle-type censer commonly depicted in the hands of priests offering incense in the codices, as discussed in my earlier post on the subject of daily copal offerings by the clergy. In his scheme of classification, it is labeled as a type of “gesture”popochcomitl, so called because it’s intended to be held in the hand and used in various motions during ceremony to direct the sweet smoke towards its intended recipient(s). According to the author, this ladle-like shape is a signature of gesture censers among the Nahua peoples, and isn’t as prevalent among groups to the north and south of Central Mexico. This seems to be reflected in the surviving codices, as the majority of the examples I can recall offhand are that shape. I’ve seen a few examples of a bowl-shaped vessel with copal in it as well in the ancient books, which may match the small bowl-type censers he notes as being universal across Mesoamerica.
Gesture censers in varying shapes were used outside of temple activities, as Sahagun notes that the duty to offer copal was shared by everyone in the Aztec empire, which Hough comments on in the household context a bit. Sahagun also recorded that copal was offered before performances of song and dance at the houses of the nobles, which presumably involved small censers that could be manipulated with a hand in at least some cases. I mention that possibility because it’s a custom still widely in use today, as seen among the danza Azteca groups around the world, and one that I can show you as I wrap up today’s post.
The video below is a recording of a dance for Tonatiuh, the Sun, and the dancers have several goblet-shaped censers that they use to offer copal smoke to the four directions. Once the offering is finished, they place the censers back among the other objects of the dance altar spread out on the ground, letting the copal continue to burn and smoke as they dance. Thanks go to Omeyocanze for posting this lovely video.
*Apologies for not having the citations for Sahagun’s Florentine Codex in just yet, but it’s quite late and I must call it a night before getting up for work later. I’ll add them in when I get the chance soon.
The judiciary grants the Wixarika people a suspension to detain mineral exploitation by the La Luz project in the Catorce municipality of San Luis Potosí
Feb. 26, 2012
The federal courts have definitively granted the suspension of the violations claimed by the Wixarika (Huichol) People in order that no exploitation permit be granted for the La Luz mining project, in the Municipality of Catorce in San Luis Potosí, so long as the core issue remains unresolved… Click HERE to continue the article on the Wirikuta Defense Front site.
This is an important step in resolving this problem for good, but the fight’s not over yet. The pressure to do the right thing here needs to stay on First Majestic and the Canadian and Mexican governments, whether it’s in the courts, on the streets in peaceful protest, online, or in your prayers. Keep it up!
Today I came across some interesting news articles documenting the ongoing struggle of the Huichole (Wixáritari) people to protect one of their holiest sites in the state of San Luis Potosí, Mexico. The site in question is a beautiful mountain region named Wirikuta in the Huichol tongue, which Spanish-speakers call Cerro del Quemado. In English, the name is roughly translated as “Burned Mountain,” a fitting name for the place where the sun ascended from the Earth’s surface to the skies in traditional belief.
Despite being considered an internationally-recognized protected site by UNESCO and the Mexican government, Wirikuta is currently under threat from foreign mining interests. In 2009, the Canadian mining company, First Majestic Silver Corp., bought mineral rights to the area, and plans extensive extraction of silver, a process which will consume a significant portion of the area’s limited water supply, as well as expose the countryside to dangerous chemicals used in silver mining, such as cyanide, which have a deadly tendency to seep into the groundwater and render it undrinkable. This threat to the mountain and the fragile aquifer rooted at it is all the more horrifying when one recalls that mountains were and still are considered to be hearts of earth and water, or “houses of mist” all across Mesoamerica, a belief uniting the imperial Mexica-Tenochca with their present-day Huichol cousins. Viewed through this lens, it’s not at all surprising that a threat to Wirikuta is a threat to the aquifer and all life in its nourishing influence.
In addition to the physical destruction that mining unavoidably brings, there will be spiritual destruction. Wirikuta is home to many sacred plants, such as peyote, animals, and divine beings, particularly deities associated with rain. Destroying the mountain will destroy these creatures and desecrate the site, which will sever the Huichol from their spiritual root. Drawing a Judeo-Christian-Islamic parallel, Dawn Paley likened digging up Wirikuta to “bulldozing Eden for a golf course” in her detailed coverage of this issue in This Magazine. Furthermore, this mountain is not only a place to gather vital religious supplies, but it is also a natural temple, a place to conduct ceremony. Cerro del Quemado, the sacred center of Wirikuta, is the destination of a traditional 800 kilometer yearly pilgrimage conducted by the Huichol people to renew bonds of community and deity.
This February, the journey had an additional goal of seeking guidance in protecting the holy ground from destruction, and by extension, themselves — the Huichol view themselves as inseparable from the sacred site so intimately intertwined with their culture and ancestry, and have stated they view First Majestic’s plans to dig as a “war of extermination” against them. The Esperanza Project has a beautiful account of the ceremony held on February 6-7th, 2012, complete with numerous photographs and interviews with several Huichol community leaders and observers about the meeting and the ideas and hope flowing from it. They were kind enough to allow journalists to record some footage of song and ceremony from this holy gathering, which you may watch below.
To view video statements by the Huichol against this impending desecration and in support of their traditional spirituality and lifeways, please click HERE. The linked site, www.nierika.info, also contains many interesting articles on this matter if you would like to read more, both in English and in Spanish.
Below, for those who wish to learn more, I’ve included a short video discussing this crisis and calling for action. I can’t seem to get it to embed properly, so please click the link below to check it out.
You may be wondering where you can go to read and watch more, and learn how you can get involved in putting pressure on First Majestic to abort their plans for this site. I would like to highlight the Wirikuta Defense Front’s excellent site (click for English or Spanish). They are an action group composed of people from the Huichol community, as well as local and international allies, and are seeking volunteers to help.
Fantastic news! I recently picked up a copy of John Bierhorst’s English translation of the Ballads of the Lords of New Spain (better known as the codex Romances de los Señores de la Nueva España), and discovered a note in the prefatory material of great interest. The University of Texas and Stanford University have completed an incredibly generous project, something that I’ve been hoping someone would do for years. Enough suspense, I’ll tell you what it is now.
Complete, full-text copies of both the Romances and the Cantares online, complete with commentary and material for comparative study of the two song texts, a Nahuatl-English concordance dictionary, relevant photos and scans from various codices relating to poetry and music, and even audio of performances of some of the actual sixteenth-century drum rhythms intended for the teponaztli, or wooden slit drum, based on the only piece of sheet music preserved recording actual Aztec music.
Folks, this is a huge deal, I can’t state it strongly enough. This is the vast majority of pre-Conquest and early Colonial Aztec poetry and song that has been preserved, in English and Nahuatl, searchable and complete, available for absolutely free, for the first time ever. Most of this material has previously been extremely difficult to get a hold of or flat-out unavailable (no complete English edition of the Romances existed before 2009), not to mention expensive. I own a near-mint paper copy of Bierhorst’s translation of the Cantares Mexicanos, which was produced in a limited run by Stanford University and has been out of print since 1985. It took me almost two years of scanning numerous international book selling services online to eventually secure a copy for under $250. You will never have to go through this difficulty and expense to study this collection of breathtakingly-beautiful poetry, as Stanford University has generously put a full copy of the Cantares Mexicanos on this same website in PDF format, that you can download for free.
Go HERE to the home page of the Ballads of the Lords of New Spain!
And go HERE to download a full PDF copy of the Cantares Mexicanos!
Also HERE for a full PDF copy of the Nahuatl-English Concordance & Dictionary volume for the Cantares Mexicanos!
Finally, go HERE for a list of post-publishing corrections to the Cantares!
In short, many thanks to the University of Texas, Stanford University, and Mr. Bierhorst for making this amazing resource available to all, it’s a move reminiscent of the great wave of public library and museum foundings in the USA in the 19th and early 20th centuries that have been such a force for learning and research. To my readers, I highly encourage you to pick up a print copy of the Ballads in order to support more projects like these in the future, and to give back to those involved in this one. Besides, it’s just nice to have a physical copy of a good book to curl up with.
I’ll be back to discuss these two works of Aztec poetry and song later on, but I just couldn’t wait to share these books with you now. Happy reading!
All links updated & more materials uploaded by U.Texas linked on 2/24/2013, courtesy of an alert reader. Thanks M.P.!