by neetha Napew
"It can only be one last gift, master, from the Lord Nezahualpili himself."
"That may be," I conceded. "He trained me up to be a palace courtier and then had to cast me adrift, as it were. And he is a man of conscience. So he has now, perhaps, supplied me with the means to engage in some other occupation."
"Occupation!" Cozcatl squeaked. "Do you mean work, master? Why should you work? There is enough here to keep you in fair comfort all your days. You, a wife, a family, a devoted slave." He added mischievously, "You once said you would build a nobleman's mansion and make me the Master of the Keys."
"Hold your tongue," I told him. "If all I wanted was idleness, I could have let Armed Scorpion send me to the after-world. I now have the means to do many things. I have only to decide what I prefer to do."
When I completed the battle report, the day before the pyramid's dedication, I took it downstairs, seeking Ahuítzotl's trophy-hung den where I had first met him. But the palace steward, looking flustered, intercepted me to accept it in his stead.
"The Revered Speaker is entertaining many notables who have come from far lands for the ceremony," said the man distractedly. "Every palace around the plaza is crammed with foreign rulers and their retinues. I do not know how or where we can accommodate many more. But I will see that Ahuítzotl gets this account of yours, when he can read it in tranquility. He will summon you for another interview after things quiet down again." And he bustled off.
As long as I was on the ground floor, I wandered through those rooms accessible to the public, just to admire the architecture and decor. Eventually I found myself in the great hall of statues, through the middle of which the canal flowed. The walls and ceiling were spangled with light reflections from the water. Several freight boats came through while I was there, their rowers admiring—as I was doing—the several sculptures of Ahuítzotl and his wives, of the patron god Huitzilopóchtli, of numerous other gods and goddesses. They were all most excellent works, most skillfully done, as they should have been: every one of them bore the incised falcon symbol of the late sculptor Tlatli.
But, as he had boasted many years before, Tlatli's work scarcely needed a signature; his god statues were indeed very different from those which had been imitated and replicated through generations of less imaginative sculptors. His distinctive vision was perhaps most evident in his depiction of Coatlicue, the goddess mother of the god Huitzilopóchtli. The massive stone object stood nearly a third again as tall as I did, and, looking up at it, I felt my back hair prickle at the eeriness of it.
Since Coatlicue was, after all, the mother of the god of war, most earlier artists had portrayed her as grim of visage, but in form she had always been recognizable as a woman. Not so in Tlatli's conception. His Coatlicue had no head. Instead, above her shoulders, two great serpents' heads met, as if kissing, to compose her face: their single visible eye apiece gave Coatlicue two glaring eyes, their meeting mouths gave Coatlicue one wide mouth full of fangs and horribly grinning. She wore a necklace hung with a skull, with severed hands and torn-out human hearts. Her nether garment was entirely of writhing snakes, and her feet were the taloned paws of some immense beast. It was a unique and original image of a female deity, but a gruesome one, and I believe that only a cuilóntli man who could not love women could have carved a goddess so egregiously monstrous.
I followed the canal out of that chamber, under the weeping willows that overhung it in the courtyard garden, and into the chamber on the other side of the palace, where the walls were covered with murals. They mostly depicted the military and civic deeds done by Ahuítzotl before and since his accession to the throne: himself the most prominent participant in various battles, himself supervising the finishing touches on the Great Pyramid. But the pictures were alive, not stiff; they teemed with detail; they were artfully colored. As I had expected, the murals were finer than any other modern paintings I had seen. Because, as I had expected, each of them was signed in its lowermost right corner with the blood-red print of Chimali's hand.
I wondered if he was yet back in Tenochtítlan, and if we would meet, and how he would go about killing me if we did. I went in search of my little slave Cozcatl, and gave him instructions:
"You know the artist Chimali by sight, and you know that he has reason to wish me dead. I shall have duties to perform tomorrow, so I cannot keep looking over my shoulder for an assassin. I want you to circulate among the throng and then come to warn me if you see Chimali. In tomorrow's crowd and confusion, he may hope to knife me unobserved and slip away unsuspected."
"He cannot, if I see him first," Cozcatl said staunchly. "And I promise, if he is present, I will see him. Have I not been useful before, master, at being your eyes?"
I said, "You have indeed, young one. And your vigilance and loyalty will not go unrewarded."
* * *
Yes, Your Excellency, I know that you are most particularly interested in our former religious observances, hence your attendance here today. Although I was never a priest, nor much of a friend to priests, I will explain the dedication of the Great Pyramid—the manner of it and the significance of it—as well as I can.
If that was not the most resplendent, populous, and awesome celebration ever held in the history of the Mexíca, it certainly outdid all others I beheld in my time. The Heart of the One World was a solid mass of people, of colorful fabrics, of perfumes, of feather plumes, of flesh, of gold, of body heat, of jewels, of sweat. One reason for the crowding was that lanes had to be kept open—by cordons of guards, their arms linked, struggling to contain the jostling mob—so the lines of prisoners could march to the pyramid and ascend to the sacrificial altar. But the spectator crush was also due to the fact that the standing room in the plaza had been reduced by the building of numerous new temples over the years, not to mention the gradually spreading bulk of the Great Pyramid itself.
Since Your Excellency never saw it, perhaps I had better describe that icpac tlamanacali. Its base was square, one hundred and fifty paces from one corner to the next, the four sides sloping inward as they rose, until the pyramid's flat summit measured seventy paces to a side. The staircase ascending its front or western incline was actually two stairways, one each for those persons climbing and descending, separated by an ornamental gutter for blood to flow down. Fifty and two stairs of steep risers and narrow treads led to a terrace that encircled the pyramid a third of the way up. Then another flight of one hundred and four steps culminated in the platform on top, with its temples and their appurtenances. At either side of every thirteenth step of the staircase stood the stone image of some god, major or minor, its stone fists holding aloft a tall pole from which floated a white feather banner.
To a man standing at the very bottom of the Great Pyramid, the structures on top were invisible. From the bottom he could see only the broad dual staircase ascending, appearing to narrow, and seeming to lead even higher than it did—into the blue sky or, on other occasions, into the sunrise. A xochimíqui trudging up the stairs toward his Flowery Death must have felt that he was truly climbing toward the very heavens of the high gods.
But when he reached the top, he would find first the small, pyramidal sacrificial stone and behind that the two temples. In a sense, those teocaltin represented war and peace, for the one on the right was the abode of Huitzilopóchtli, responsible for our military prowess, and in the one on the left dwelt Tlaloc, responsible for our harvests and peacetime prosperity. Perhaps there should rightly have been a third teocali for the sun Tonatíu, but he already had a separate sanctuary on a more modest pyramid elsewhere in the plaza, as did several other important gods. There was also in the plaza the temple in which were ranked the images of numerous gods of subordinate nations.
The new temples of Tlaloc and Huitzilopóchtli, atop the new Great Pyramid, were but square stone rooms, each containing a hollow stone statue of the god, his mouth wide open to receive nourishment. But each temple was made much taller and more impressive by a towering stone facade o
r roof comb: Huitzilopóchtli's indented with angular and red-painted designs, Tlaloc's indented with rounded and blue-painted designs. The body of the pyramid was predominantly a gleaming almost-silver gesso white, but the two serpentine banisters, one along each flank of the dual staircase, were painted with reptilian scales of red, blue, and green, and their big snake heads, stretching out at the ground level, were entirely covered with beaten gold.
When the ceremony began, at the first full light of day, the chief priests of Tlaloc and Huitzilopóchtli, with all their assistants, were fussing around the temples at the top of the pyramid, doing whatever it is that priests do at the last moment. On the terrace encircling the pyramid stood the more distinguished guests: Tenochtítlan's Revered Speaker Ahuítzotl, naturally, with Texcóco's Revered Speaker Nezahualpili and Tlácopan's Revered Speaker Chimalpopoca. There were also the rulers of other cities, provinces, and nations—from far-flung Mexíca domains, from the Tzapoteca lands, from the Mixteca, from the Totonaca, from the Huaxteca, from nations whose names I did not then even know. Not present, of course, was that implacably inimical ruler, old Xicotenca of Texcala, but Yquingare of Michihuácan was there.
Think of it, Your Excellency. If your Captain-General Cortés had arrived in the plaza on that day, he could have accomplished our overthrow with one swift and easy slaughter of almost all our rightful rulers. He could have proclaimed himself, there and then, the lord of practically all of what is now New Spain, and our leaderless peoples would have been hard put to dispute him. They would have been like a beheaded animal which can twitch and flail only futilely. We would have been spared, I now realize, much of the misery and suffering we later endured. But yyo ayyo! On that day we celebrated the might of the Mexíca, and we did not even suspect the existence of such things as white men, and we supposed that our roads and our days led ahead into a limitless future. Indeed, we did have some years of vigor and glory still before us, so I am glad—even knowing what I know—I am glad that no alien intruder spoiled that splendid day.
The morning was devoted to entertainments. There was much singing and dancing by the troupes from this very House of Song in which we now sit, Your Excellency, and they were far more professionally skilled than any performers I had seen or heard in Texcóco or Xaltócan—though to me none equaled the grace of my lost Tzitzitlini. There were the familiar instruments: the single thunder drum, the several god drums, the water drums, the suspended gourds, the reed flutes and shin-bone flutes and sweet-potato flutes. But the singers and dancers were also accompanied by other instruments of a complexity I had not seen elsewhere. One was called "the warbling waters," a flute which sent its notes bubbling through a water jug, with an echo effect. There was another flute, made of clay, shaped rather like a thick dish, and its player did not move his lips or fingers; he moved his head about while he blew into the mouthpiece, so that a small clay ball inside the flute rolled to stop one hole or another around its rim. And, of course, of every kind of instrument there were many. Their combined music must have been audible to any stay-at-homes in every community around all the five lakes.
The musicians, singers, and dancers performed on the lower steps of the pyramid and on a cleared space directly in front of it. Whenever they tired and required a rest, their place was taken by athletic performers. Strong men lifted prodigious weights of stone, or tossed nearly naked beautiful girls back and forth to each other as if the girls had been feathers. Acrobats outdid grasshoppers and rabbits with their leaping, tumbling antics. Or they stood upon each other's shoulders—ten, then twenty, then forty men at a time—to form human representations of the Great Pyramid itself. Comic dwarfs performed grotesque and indecent pantomimes. Jugglers kept incredible numbers of tlachtli balls spinning aloft, from hand to hand, in intricate looping patterns—
No, Your Excellency, I do not mean to imply that the morning's entertainments were a mere diversion (as you put it) to lighten the horror to come (as you put it), and I do not know what you mean when you mutter of "bread and circuses." Your Excellency must not infer that those merriments were in any wise irreverent. Every performer dedicated his particular trick or talent to the gods we honored that day. If the performances were not somber but frolicsome, it was to cajole the gods into a mood to receive with gratitude our later offerings.
Everything done that morning had some connection with our religious beliefs or customs or traditions, though the relation might not be immediately evident to a foreign observer like Your Excellency. For example, there were the tocotine, come on invitation from the Totonaca oceanside lands where their distinctive sport had been invented—or perhaps god-inspired. Their performance required the erection of an exceptionally tall tree trunk in a socket specially drilled in the plaza marble. A live bird was placed in that hole, and mashed by the insertion of the tree trunk, so that its blood would lend the tocotine the strength they would need for flying. Yes, flying.
The erected pole stood almost as tall as the Great Pyramid. At its top was a tiny wooden platform, no bigger than a man's circled arms. Twined all down the pole was a loose meshing of stout ropes. Five Totonaca men climbed the pole to its top, one carrying a flute and a small drum tied to his loincloth, the other four unencumbered except for a profusion of bright feathers. In fact, they were totally naked except for those feathers glued to their arms. Arriving at the platform, the four feathered men somehow sat around the edge of the wooden piece, while the fifth man slowly, precariously got to his feet and stood upon it.
There on that constricted space he stood, dizzyingly high, and then he stamped one foot and then the other, and then he began to dance, accompanying himself with flute and drum. The drum he patted and pounded with one hand while his other manipulated the holes of the flute on which he blew. Though everyone watching from the plaza below was breathlessly quiet, the music came down to us as only the thinnest tweedling and thumping. Meanwhile, the other four tocotine were cautiously knotting the pole's rope ends around their ankles, but we could not see it, so high up they were. When they were ready, the dancing man made some signal to the musicians in the plaza.
Ba-ra-ROOM! There was a thunderous concussion of music and drumming that made every spectator jump, and, at the same instant, the four men atop the pole also jumped—into empty air. They flung themselves outward and spread their arms, the full length of which were feathered. Each of the men was feathered like a different bird: a red macaw, a blue fisher bird, a green parrot, a yellow toucan—and his arms were his outstretched wings. That first leap carried the tocotine a distance outward from the platform, but then the ropes around their ankles jerked them up short. They would all have fallen back against the pole, except for the ingenious way the ropes were twined. The men's initial leap outward became a slow circling around the pole, each of the men equidistant from the others, and each still in the graceful posture of a spread-winged, hovering bird.
While the man on top went on dancing and the musicians below played a trilling, lilting, pulsing accompaniment, the four bird-men continued to circle and, as the ropes gradually unwound from the pole, they circled farther out and slowly came lower. But the men, like birds, could tilt their feathered arms so that they rose and dipped and soared up and down past each other as if they too danced—but in all the dimensions of the sky.
Each man's rope was wrapped thirteen times around and down the extent of the pole. On his final circuit, when his body was swinging in its widest and swiftest circle, almost touching the plaza pavement, he arched his body and backed his wings against the air—exactly in the manner of a bird alighting—so that he skimmed to the ground feet first, and the rope came loose, and he ran to a stop. All four did that at the same moment. Then one of them held his rope taut for the fifth man to slide down to the plaza.
If Your Excellency has read some of my previous explanations of our beliefs, you will have realized that the sport of the tocotine was not simply an acrobatic feat, but that each aspect of it had some significance. The four fliers were pa
rtly feathered, partly flesh, like Quetzalcoatl, the Feathered Serpent. The four circling men with the dancing man among them represented our five points of the compass: north, east, west, south, and center. The thirteen turns of each rope corresponded to the thirteen day and year numbers of our ritual calendar. And four times thirteen makes fifty and two, the number of years in a sheaf of years. There were more subtle relevances—the word tocotine means "the sowers"—but I will not expatiate on those things, for I perceive that Your Excellency is more eager to hear of the sacrificial part of the dedication ceremony.
The night before, after they had all confessed to Filth Eater's priests, our Texcalteca prisoners had been moved to the perimeter of the island and divided into three herds, so that they could move toward the Great Pyramid along the three broad avenues leading into the plaza. The first prisoner to approach, well forward of the rest, was my own: Armed Scorpion. He had haughtily declined to ride a liner chair to his Flowery Death, but came with his arms across the shoulders of two solicitous brother knights, though they were of course Mexíca. Armed Scorpion swung along between them, the remains of his legs dangling like gnawed roots. I was positioned at the base of the pyramid, where I fell in beside the three and accompanied them up the staircase to the terrace where all the nobles waited.
To my beloved son, the Revered Speaker Ahuítzotl said, "As our xochimíqui of highest rank and most distinction, Armed Scorpion, you have the honor of going first to the Flowery Death. However, as a Jaguar Knight of long and notable reputation, you may choose instead to fight for your life on the Battle Stone. What is your wish?"
The prisoner sighed. "I no longer have a life, my lord. But it would be good to fight one last time. If I may choose, then, I choose the Battle Stone."