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 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 ποιητὴς, 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:— ă , short. a , intermediate ā , 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 ā of the cān of the imperatives; the ī of the tī; 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 ō 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. tātlĭ , thou drinkest. tātlî , 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' nicŭ 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;25then 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 coyolli and yoyotli. 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. Tlāuhquéchōllaztalēhualtò tōnatoc. 1. It is gleaming red like the tlauhquechol bird. 2. Ayauhcoçamālōtōnamēyòtimani. 2. And it glows like the rainbow. 3. Xiuhcóyólizítzîlica in teōcuitlahuēhuētl. 3. The silver drum sounds like bells of turquoise. 4. Xiuhtlapallàcuilōlāmoxtli manca. 4. There was a book of annals written and painted in colors. 5. Nic chālchiuhcozcameca 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 themsel...