Aztec

by neetha Napew

  So, during the five hollow days, all worked stopped. All activities ceased, barring the most essential and unavoidable tasks. All house fires and lights were extinguished. No cooking was done and only meager cold meals were served. People did not travel or visit or mingle into crowds. Husbands and wives refrained from sexual connection. (They also refrained, or took precautions, at the proper time previous to the nemontemtin, for a child born during the lifeless days was seldom let survive them.) Throughout all our lands, then, most people stayed indoors and occupied themselves with trivial timepassers like flaking tools or mending nets, or they simply sat about and moped.

  Since the hollow days themselves were so ill-omened, I suppose it was only natural that the company remaining in our house that evening conversed on the subject of omens and portents. Chimali, Tlatli, and I sat apart and continued our comparison of our schools, but I overheard snatches of the talk of our elders:

  "It was a year ago that Xopan stepped over her baby daughter who was crawling underfoot in the kitchen. I could have told Xopan what she was doing to the girl's tonáli. That child has not grown a fingerspan in the whole year since she was stepped over. She will be a dwarf, you wait and see."

  "I used to scoff, but now I know that the old tales about dreams are true. One night I dreamt of a water jar being broken, and it was the very next day that my brother Xicama died. Killed in the quarry, you recall."

  "Sometimes the dire results do not happen for so long that one might forget what thoughtless action provoked them. Like the time, years ago, that I warned Teoxihuitl to be careful with her broom, when I saw her sweep across the foot of her son playing on the floor. And sure enough, that boy grew up to marry a widow woman nearly as old as his mother Teoxihuitl. Made himself the laughingstock of the village."

  "A butterfly flew in circles about my head. It was not until a month later that I got the word. My only sister Cueponi had died at her home in Tlácopan on that same day. But of course I should already have known, from the butterfly, for she was my nearest and dearest relation."

  I could not help reflecting on two things. One was that everybody on Xaltócan really did speak a most unrefined tongue, compared with the Náhuatl of Texcóco to which I had recently become accustomed. The other was that, of all the omens of which the company spoke, not a single one ever seemed to presage anything but misfortune, deprivation, misery, or woe. Then I was diverted by Tlatli's telling me something he had learned from his Lord Teacher of Sculpture:

  "Humans are the only creatures that have a nose. No, do not laugh, Mole. Of all the living creatures of which we make carvings, only men and women have a nose which is not just part of a muzzle or a beak, but sticks out from the face. So, since we elaborate our statues with so many decorative details, my master has taught me always to sculpture a human with a somewhat exaggerated nose. Thus anyone looking at the most complicated statue, even if he is ignorant of art, can tell at a glance that it represents a human and not a jaguar or a serpent or, for that matter, the frog-faced water goddess Chalchihuitlioió."

  I nodded, and tucked the idea away in my memory. Thereafter I did likewise in my picture writing, and many other scribes later imitated my practice of always limning men and women with distinctive noses. If all our people are doomed to vanish from the earth like the Toltéca—I trust that our books at least will survive. Any future readers of our picture writing may get the mistaken notion that every inhabitant of these lands had a hooked hawk beak like the Maya, but they should at least have no trouble distinguishing the human characters from the animals and the gods of animal aspect.

  "Thanks to you, Mole, I have devised a unique signature for my paintings," said Chimali, with a shy grin. "Other artists sign their works with their name symbols, but I use this." He showed me a board about the size of his sandal, embedded all over its surface with countless tiny chips of sharp obsidian. I was startled and horrified when he slapped his open left hand hard against the board, then, still grinning, held it open for me to see the blood oozing from its palm and every finger. "There may be other artists named Chimali, but it was you, Mole, who showed me that no two hands are alike." His was now entirely covered with his blood. "Hence I have a signature which can never be imitated."

  He slapped the massive household water jar nearby. On its dull brown clay surface there was now a gleaming red handprint. Travel these lands, Your Excellency, and you will see that same signature on many a temple mural and palace painting. Chimali did a prodigious amount of work before he stopped working.

  He and Tlatli were the last of the guests to leave our house that night. Those two stayed, on purpose, until we actually heard the drums and conch trumpets from the temple pyramid, announcing the start of the nemontemtin. While my mother dashed about the house to douse the lights, my friends scampered to get to their own homes before the beating and the bleating stopped. It was reckless of them—if the hollow days were bad, their lightless nights were far worse—but the two friends' staying saved me from chastisement for my insult to the Lord Joy. Neither my father nor mother could undertake something as serious as punishment during the ensuing days, and by the time the nemontemtin ended, the matter had been pretty well forgotten.

  However, those days were not entirely uneventful for me. On one of them Tzitzi got me aside to whisper urgently, "Must I go and steal another sacred mushroom?"

  "Godless sister," I hissed at her, though not angrily. "Lying together is forbidden even to husbands and wives at this time."

  "Only to husbands and wives. To you and me, it is forbidden always, so we run no exceptional risk."

  Before I could say anything else, she moved from me to the waist-high clay jar that held our household water supply, the one that now bore Chimali's blood-red handprint. She shoved it with all her strength; it overturned and broke, and water cascaded across the limestone floor. Our mother stormed into the room and let loose one of her tirades at Tzitzitlini. Clumsy wench... jar took a whole day to fill... supposed to last through the nemontemtin... not another drop in the house and not another container that size....

  Unruffled, my sister said, "Mixtli and I can go to the spring with the largest other jars, and between us bring back as much in one trip."

  Our mother did not think highly of that suggestion, and so she did a good deal more of her shrilling, but she really had no alternative, and finally let us go. Each of us left the house carrying a handled, big-bellied jug in either hand, but at the first opportunity we set them down.

  I last described Tzitzi as she looked in early adolescence. She was now full grown and, of course, her hips and buttocks had filled out to graceful, womanly curves. Each of her breasts overflowed my cupped hand. Their nipples were more erectile, their areolas were of larger diameter and a darker russet brown against the fawn skin around them. Tzitzi was also, if possible, more quickly aroused each time than the time before, and more wanton in her responses and movements. In just the brief interval we allowed ourselves between the house and the spring, she came to culmination at least thrice. Her increased capacity for passion, and one noticeable maturation of her body, gave me the first hint of a premise, and my experiences with other women in later years served always to confirm it. So I consider it not a premise, but a proven theory, and it is this:

  A woman's sexuality is in direct proportion to the diameter and darkness of her breast's areola. Never mind how beautiful her face, how shapely her form; never mind how approachable or how aloof she may seem. Those aspects can be misleading, even deliberately so on her part. But there is that one reliable indicator of the sensuality of her nature, and, to the knowing eye, no cosmetic art can hide it or counterfeit it. A woman with a large and dark area surrounding her nipple is invariably hot-blooded, even if she might wish to be otherwise. A woman with a nipple only—like the vestigial nipple of a man—is inevitably cold, although she might honestly believe herself to be otherwise, or even behave shamelessly in order to appear otherwise. And of course there are gradations of areo
la size and color, the gauging of which can be learned only by experience. Thus a man need contrive to get but a single glance at a woman's bare breast and, with no waste of time or chance of disappointment, he can judge how passionately she will—

  Your Excellency wishes me to have done with this subject. Ah, well, no doubt I dwell on it only because it is my theory. I have always been fond of it, and of testing it, and I never once encountered disproof. I still think the correlation of a woman's sexuality and her areola ought to have some useful application outside the bedchamber.

  Yyo ayyo! Do you know, Your Excellency, it suddenly occurs to me that your Church might be interested. It could use my theory as a quick and simple test for choosing those girls best suited by nature to be nuns in your—

  I desist, yes, my lord.

  I will just mention that, when Tzitzi and I at last returned to the house, fairly staggering with the four heavy jugs of water, we were berated by our mother for having been so long out in the open on such a day. My sister, who only a short while before had been a young wild animal—thrashing, panting, and clawing me in her ecstasy—now lied as casually and smoothly as any priest:

  "You cannot scold us for loitering or dallying. There were others wanting water from the spring. Since the day forbids any congregating, Mixtli and I had to wait our turn at a distance and move nearer bit by bit. We did not waste any time."

  At the end of the dreary hollow days, all The One World breathed a great sigh of relief. I do not know exactly what you mean, Your Excellency, when you mutter about "a parody of Lent," but on the first day of the month The Tree Is Raised there commenced a round of general gaiety. Throughout the following days, there were private celebrations in the bigger homes of nobles and well-to-do commoners, and in the local temples of the various villages, during which the hosts and guests, the priests and worshipers indulged in excesses of which they had been deprived during the nemontemtin.

  Those preliminary festivities might have been a trifle dampened that year, for we got word of the death of our Uey-Tlatoani Tixoc. But his reign had been the shortest in the history of Mexíca rulers, and the least noteworthy. Indeed, it was rumored that he had been quietly poisoned—either by the elders of his Speaking Council, impatient with Tixoc's uninterest in mounting new war campaigns, or by his brother Ahuítzotl, Water Monster, next in line to the throne and ambitious to show how much more brilliantly he could rule. At any rate, Tixoc had been such a colorless figure that he was not much missed or mourned. So our grand ceremony in praise and supplication of the rain god Tlaloc, held in Xaltócan's central pyramid plaza, was also dedicated to celebrating the accession of the new Revered Speaker Ahuítzotl.

  The rites did not begin until Tonatíu had sunk to sleep in his western bed, lest that god of warmth should see and be jealous of the honors paid to his brother god of wetness. Then there began to gather—about the edges of the open plaza and on the slopes rising around it—every single inhabitant of the island, save those too old, too young, too ill or disabled, and those who had to remain at home to tend them. As soon as the sun set, the square and the pyramid and the temple on top were aflutter with the black-robed priests, busy at their last preparations of lighting the multitude of torches, the artificially colored urn fires, and the sweetly smoking incense burners. The sacrificial stone atop the pyramid would not be used that night. Instead, there had been brought—to the foot of the pyramid, where every spectator could see into it—an immense, hollowed-out stone tub, full of water previously sanctified by special incantations.

  As the darkness deepened, the grove of trees beside and behind the pyramid also came alight: innumerable little wick lamps flickering as if the trees were nesting all the fireflies in the world. The trees' branches began to sway, swarming with children: very young and small but agile boys and girls wearing costumes lovingly fashioned by their mothers. Some of the little girls were enveloped by stiff paper globes painted to represent various fruits; others wore ruffs or skirts of paper cut and painted to represent various flowers. The boys were even more gaudily dressed, some covered in glued-on feathers to act the role of birds, others wearing translucent oiled-paper wings to play the part of bees and butterflies. All during the night's events, the boy birds and boy insects flitted acrobatically from branch to branch, pretending to "sip the nectar" of the girl fruits and girl flowers.

  When the night was entirely upon us, and the island's population was assembled, the chief priest of Tlaloc appeared on the pyramid summit. He blew a blast on his conch trumpet, then raised his arms commandingly, and the hubbub of crowd noise began to subside. He held his arms aloft until the plaza hushed to absolute silence. Then he dropped his arms and, on the instant, Tlaloc himself spoke in a deafening crash of thunder—ba-ra-ROOM!—that kept on resounding and reverberating. The noise veritably shook the leaves on the trees, the smoke of the incense, the flames of the fires, the breath we had gasped into our lungs. It was not really Tlaloc, of course, but the mighty "thunder drum," also called "the drum that tears out the heart." Its taut and heavy snakeskin drumhead was being frenziedly hammered with óli mallets. The sound of the thunder drum can be heard two one-long-runs distant, so you can imagine its effect on us people clustered close around it.

  That fearsome throbbing continued until we felt that our flesh must be about to shiver off our bones. Then it gradually diminished, quieter and quieter yet, until it merged into the pulsing of the smaller "god drum," which merely muttered while the chief priest chanted the standard greeting and invocation to Tlaloc. At intervals he paused for the crowd of us to respond in chorus—as your churchgoers say "Amen"—with a long-drawn owl cry of "Hoo-oo-ooo...." At other intervals he paused while his lesser priests stepped forward, reached into their robes, plucked out small water creatures—a frog, an axolotl salamander, a snake—held them up wriggling and then swallowed them whole and alive.

  The chief priest concluded his opening chant with the age-old words, as loudly as he could shout them: "Tehuan tiezquiaya in ahuehuetl, in pochotl, TLALOCTZIN!"—which means, "We would that we be beneath the cypress, beneath the ceiba tree, Lord Tlaloc!"—which is to say, "We would ask your protection, your dominion over us." And at that bellow, priests in every part of the plaza threw onto the urn fires clouds of finely powdered maize flour, which exploded with a sharp crack and a dazzling flash, as if a fork of lightning had stabbed down among us. Then ba-ra-ROOM! the thunder drum smote us again, and kept on pounding until our teeth seemed to be rattling loose in our jaws.

  But again it slowly quieted, and, when our ears could hear, we were listening to music played on the clay flute shaped like a sweet potato; and on "the suspended gourds" of different sizes which give different noises when struck with sticks; and on the flute made of five reeds of different lengths fastened side by side; while, behind all of those, the rhythm was kept by "the strong bone," a deer's toothed jawbone rasped with a rod. With the music came the dancers, men and women in concentric circles doing the Reed Dance. At their ankles, knees, and elbows were fastened dried pods of seeds, which rattled, whispered, and rustled as they moved. The men, wearing costumes of water blue, each carried a length of reed about as thick as his wrist and as long as his arm. The women were dressed in blouses and skirts colored the pale green of young reeds, and Tzitzitlini was their leader.

  The male and female dancers glided through graceful interweavings in time to the happy music. The women waved their arms sinuously above their heads, and you could see the waving of reeds in a breeze. The men shook those thick canes they carried, and you could hear the dry rustling of reeds in a breeze. Then the music soared louder, and the women grouped in the center of the plaza, dancing in place, while the men formed a ring around them, and made a casting gesture with their thick reeds. At which, each of the things was revealed to be not just a single reed but a whole series of them, the thick one enclosing a less thick, which in turn enclosed a thinner, and so on.

  When a man made that throwing movement, all the inner reeds
slid out of the one held in his hand, to become a long, tapering, curving line whose tip met the tips of all the others thrown. The dancing women were embowered by a fragile dome of the reeds, and the watching crowd again went "Hoo-oo-ooo" in admiration. Then, with an adroit flick of their wrists, the men made all those reeds slide back inside each other and into their hands. The cunning trick was done again and again, in varying patterns, as when the men formed two lines and each threw his long reed to meet that of the man opposite, and the reeds made an arched tunnel through which the women danced....

  When the Reed Dance was done, there came a comic interlude. Into the firelit square crept and limped all those old folk who suffer from an ailment of the bones and joints. This affliction keeps them always more or less bent and crippled, but for some reason it is especially painful to them during the rainy months. So those old men and women struggled to that ceremony to dance before Tlaloc in hope that, come the wet season, he would this time take pity and ease their aching.

  They were understandably serious in their intent, but the dance was bound to be grotesque, and the spectators began to titter, then to laugh aloud, until the dancers themselves recognized their ridiculousness. One after another started to play the clown, exaggerating the absurdity of his or her limp or hobble. Eventually they were hopping on all fours like frogs, or lurching sideways like crabs, or hunching their scrawny old necks at each other like cranes in the mating season—and the watching crowd roared and rocked with laughter. The aged dancers got so carried away and so prolonged their hideous, hilarious capering that the priests had to clear them almost forcibly from the scene. It may interest Your Excellency to know that those suppliant exertions never influenced Tlaloc to benefit a single cripple—quite the contrary, many of them were permanently bedridden from that night on—but those old fools still capable would keep coming back to dance again year after year.