Aztec Blood a-3

by Gary Jennings

  Catalina left Concepción, with horse and weapons, and went onto Valdivia and Tucumán.

  She set out along the coast, suffering greatly, first from thirst and second from a lack of food. She fell in with two other soldados, deserters both. As the leagues unfolded beneath them, they went over mountains and across deserts, driven by hunger and desperation, never seeing another human except an occasional indio who fled before them. They killed one of the horses for food, but found it to be nothing more than hide and bones. But they continued to press on, league after league, over three hundred in all, until they ate the other horses and her two companions fell and never got up. When her last amigo had dropped to the ground, sobbing that he could not get up, she left him, taking eight pesos from his pocket.

  She was overcome by fatigue and hunger when two indio riders found her. Taking mercy upon her, they carried her to the cattle estancia of their mistress. The woman was a mestizo, the daughter of a Spaniard and an india woman. She restored Catalina to health and began to rely upon her in running her ranch. There were few Spaniards in the region, and she soon proposed that Catalina marry her daughter.

  She had played a bit with the daughter, no more than touching her in private places and kissing her, but in truth, she was as ugly as the devil himself, quite the opposite to Catalina's own preference for pretty faces. She had to agree to the marriage, but she managed to delay it for two months. She was finally forced to flee in the night, taking the proposed dowry with her.

  Catalina was again arrested for murder after other adventures, and this time her reputation as a swordsman, gambler, and rogue had spread to the point that she knew she would soon be dispatched to her Maker.

  Seeking the protection of the Church a final time with a constable wanting to drag her to the gallows, Catalina confessed to him that she was, in fact, a woman and had spent her early life in a convent.

  After much thought, he had Catalina examined by two old women, who confirmed not only her sex, but the fact that she was still a virgin.

  Rather than the recriminations she had expected from her confession, the news that the notorious Sancho de Erauso was actually a woman soon made its way across the sea to Europe.

  Catalina found herself on a ship again, this time taking her back to Spain—not to a prison, but for an audience with the king. And after that to Rome to see the pope.

  SIXTY-ONE

  The story of Catalina de Erauso, of how she went to Madrid to meet the king and to Rome to be entertained by the pope, was told to me after I myself had made a trip across the great sea to Europe. I will finish the tale, but that meeting between us will come later. At this time we must rejoin the search for the naualli and the Knights of the Jaguar.

  With Mateo, I rejoined the Healer at Oaxaca. We set out immediately toward Puebla because Don Julio said there was a festival soon to begin in Puebla that might attract the attention of the naualli. If we did not make contact with him there, we were to travel south toward Cuicatlán, keeping our eyes and ears open for signs of the naualli or his followers.

  Jose, an indio vaquero, a trusted herder of cattle on the don's hacienda, joined us in the role of Mateo's servant. Jose would ride to carry any news we had of the naualli to Don Julio.

  Mateo was mounted on a horse, Jose on a mule. There was talk of putting me on a mule, but I refused. The Healer would not travel in any other manner but to walk with his donkey's reins in his hand and his yellow dog beside him. I would not ride when he walked.

  Mateo saw no detriment for us to travel together. "It will not create suspicion. It is common practice to travel together for safety."

  In fact, we joined two mule trains that were heading for Puebla.

  The Healer sought no explanation in why we were suddenly heading to Puebla. "I seek my mother," I told him. I weaved a tale that someone from Monte Alban had told me of seeing my mother in the Puebla area.

  Little story was necessary for the Healer. He moved in whatever direction his feet were pointed; one road was the same as another to him.

  "The roads are dangerous, and we will be joining others for protection." I gestured at Mateo and Jose.

  Once again he said nothing. He had been traveling these dangerous roads for many times my lifetime, and he knew my reason was contrived. I suspected that the old man could read minds and knew my every lie.

  We left the next day, walking behind Mateo, a mule piled high with guitars, a mule loaded with supplies, and Jose on another.

  Along the way I casually questioned the Healer, asking him about his statement that someday the Aztec gods would rise up and drive out the Spanish. He told me it was something he had heard in his travels. He offered no more comments during the whole day, but that night after dinner, as he sat near the dying fire and smoked his pipe, he spoke of the naualli.

  "In times long past," he said, "before the Great Deluge that covered the earth, the jaguar was the earth god. He dwelled in the stomach of the world. When he came out, he swallowed the sun and brought night upon the earth. After the Great Deluge, he was no longer in the bowels of the earth, but lived upon the land after the sun escaped. He stayed in caves and high in trees while his enemy the sun was in the sky, but the night belonged to him."

  Mateo lay nearby with the sack of wine that seemed so often to be his bedmate, smoke curling up from tobacco he smoked without the use of a pipe. The tobacco had been twisted and rolled until it resembled a human turd. I had tasted one of the rolls, and it tasted much worse than I imagined mierda to taste. While he pretended to be half-asleep, gazing up at the night sky, I knew he was listening to the Healer.

  "The power of the jaguar comes from the Heart of the World, a flawless green jade the size of a man's head. Inside the gem is a green flame, a fire so bright that to look at it would burn the eyes from a man. It is the power of this gem, this heart-of-hearts, that gives the jaguar magic."

  I glanced over at Mateo. He continued to look up at the night sky, blowing rings of smoke. During the trip to Monte Alban he had told me a story about a priest into whose hands soon after the conquest came an incredibly bright jade that glowed green. The priest had been given the gem by indios. The superstitious priest, believing that the green fire was the power of Satan himself, smashed the stone despite an offer of thousands of ducats for the gem from another Spaniard. The point of the story to Mateo was that the priest's stupidity had destroyed a valuable gem.

  "The Heart of the Land came from the stars," the Healer said. "The Heart was cast and brought to earth by the Tzitzimine, demons thrown out of heaven because of the evil they spoke and caused. The Tzitzimine lost the Heart to the Nine Lords of the Night; but because it had been made by the Tzitzimine, the Heart not only had magic powers, but was imbued with dark wizardry."

  The Healer paused and looked at me in the waning light of the fire.

  "It is from this source, the gem that is the Heart of the Land, glowing with the dark powers of the Tzitzimine, that the naualli get their power. A naualli is a nanahualtin, one-who-knows how to use the power of the Heart."

  "How does he know?" I asked.

  "He has a book. It is like the Book of Fate, the Tonalamatl, but written in its pages are not the fates of men, but the incantations used by the Nine Lords of the Night to wield the power of the Heart of the Land."

  I tried to imagine such a book. Aztec books, using picture writing, were often long scrolls, a single rolled page perhaps only two hands high, but very long; unrolled, they could be the length of several men lying head to foot.

  "The naualli draws his power from the Book of the Nine Lords of the Night. To gather his magic, he takes the book in darkness to a place where he will not be disturbed. The second, fifth, and seventh hours of night are considered the most auspicious for calling upon the Lords. When he has used the book to draw power from the Heart, he is able to perform his magic. One-who-knows can turn a stick into a snake, a flower into a scorpion, or even call ice stones from the sky to destroy crops. He can turn himself
into a jaguar and rip the throat from any that oppose him."

  "What was the difference between the Jaguar Knights and the Eagle Knights?" I asked.

  "The Jaguar warriors and priests were identified with the night, with darkness. The jaguar ruled the night. The eagle hunted in the daytime. The Eagle Knights, like the Jaguar Knights, were fierce fighters, but the Eagle priests lacked the power of the elixir that made warriors feel no pain and the ability of the priests to shape-change."

  I enjoyed listening to the Healer explain indio history. I compared it to what I had learned from Fray Antonio and others. To the Spaniards, history was a series of events. Kings and queens, wars, conquest and defeat, doctors writing down their cures, sailors drawing their charts and espousing their adventures, all recorded in books. To the Healer, history was magic and soul. Magic came from spirits and gods, and even a rock could harbor a spirit. Soul was how people were affected by the acts of the gods.

  I knew that Spaniards had the force of reason on their side. But even when the Healer talked of magic books that turned men into jaguars and elixirs made a man invincible, I was inclined to see his tales as espousing another form of wisdom rather than being without reason.

  Nor was I inclined to accept the Spanish version of the history of the indios over the Healer's knowledge. Fanatical priests had burned most of the Aztec books, so both the Spaniards and the Healer drew information from the stories passed down from generation to generation. The Spanish had an advantage in that they recorded the stories in books that were passed to generations of scholars, but the Healer had an even greater advantage: From one end of the old indio empires to the other were thousands of inscriptions on walls, temples, and other monuments. Some were disappearing every day, destroyed by ignorance or, even more common, broken up to use as building stone for new construction. But the Healer had spent a long lifetime walking from one end of the land to the other, reading the inscriptions. He had knowledge that was not known to the Spanish, and which never would be discovered because the inscriptions were crumbling to dust or smashed into pieces.

  The Spanish had recorded vast amounts of facts into books. The Healer had lived history, not just that of his own days, but that of time immemorial. He slept, ate, spoke, and thought with little difference from what his ancestors had done for thousands of years. He was a walking, breathing temple of knowledge.

  SIXTY-TWO

  Puebla de los Angeles, the Town of the Angels, was the largest city I had ever been in. To Mateo it was a small place compared to the City of Mexico.

  "Mexico is a true city, not an overgrown provincial village like Puebla, Veracruz, and Oaxaca. It is a grand place. Someday, Bastardo, I will take you there. We will sup on the finest food and the most beautiful women. One whorehouse in that city has not only brown and white girls, but a yellow one."

  I was awed that a whorehouse could actually have a chino. I had seen a woman with yellow skin at the fair for the Manila galleon, and I'd wondered what she was like without her clothes.

  "Are they—the chino women—are they built like other women?"

  He looked at me out of the corner of his eye. "No, of course not. Everything is reversed."

  What does that mean? I wondered. Was everything that was usually on the front of a person, on the backside of a chino? I did not ask the question because I did not want to expose my ignorance further.

  We camped outside Puebla in the same area where traders and indio magicians had converged. We did not see the naualli among them.

  I accompanied the Healer and the others to the square at the city center where a harvest festival was to be held. Even though Mateo did not consider Puebla a grande city, it was enormous to me. As I had been told about the City of Mexico, Puebla was also high above the coastline, in a broad plain shouldered by distant mountains. Mateo said that the architecture was similar to that of the great city of Toledo in Spain.

  "One of the finest voices of poetry died on the streets of Puebla," Mateo had told me earlier, when the city was in sight. "Gutierre de Cetina was a poet and a swordsman who fought in Italy and the German lands for the king. He came to Mexico after the conquest at the behest of his brother. Unfortunately, his poetry was better than his sword play. He was killed in a duel by a rival for the same woman. They say he was struck down after standing outside the woman's window praising her eyes with his poem, 'Ojos claros serenos.'

  Eyes of clear serenity,

  If your tender gaze endear,

  Why for me is your gaze severe?

  If the gazer be more to. delight

  When you gently stare,

  Let your gaze be tender,

  O torment wild!

  Eyes of clear serenity,

  Having gazed upon me thus,

  at least now gaze at me.

  I helped the Healer set up in the main square. He immediately attracted a crowd of indios, so there was no need for me to fake a miraculous recovery. I wandered about the square, unable to conceive that there could be a town enormously bigger than Puebla. What must the City of Mexico and the great cities of Spain be like?

  Mateo hailed me. "Bastardo, the goddess Fortune smiles upon you. There is a comedia company in town. We are going to see their play. How many pesos do you have, compadre?"

  After Mateo emptied my pockets, I followed eagerly beside him. He had never explained what happened that caused him and the troupe of players to find themselves on the wrong side of the king's justice. I picked up clues that they had been caught selling smuggled deshonesto and profano libros. From his attempt to sell Fray Juan a romantic adventure book that was on the prohibition list of the Holy Office, I knew that Mateo did these things. But for the others to be shipped off to Manila and him to be under the threat of the gallows, eh, it must have been more than a romance they were selling.

  We went a few blocks off of the main street to the place of the comedia. I had expected to find a "wall" of blankets enclosing a small area, but it was much more elaborate. A vacant lot shouldered on three sides by two-story homes had been turned into a corral, a playhouse.

  Against the wall of one house a wooden stage was elevated several feet above the ground. At ground level to the left and right were areas blanketed off. "Dressing rooms for the actors and actresses," Mateo said. Logs had been laid in many places for people to sit while others brought benches from home. The windows, balconies, and roofs of the adjoining houses served as theater boxes where people of quality watched the play. The stage was not protected from wind or rain. "If it rains too hard, they simply stop," Mateo said.

  "So this is a theater for comedias," I said to Mateo, very impressed by the size. Several hundred people could view the performance.

  "This is a temporary theater," he said, "but it is similar to corrales all over Spain. The difference is that there is often a canopy over the stage to protect from sun and rain and even canopies or roofs over some of the spectator areas. The stage would be a bit higher off the ground and wider, the dressing rooms more permanent. Empty space next to buildings are the best for creating a theater because the walls are already up on three sides. In some of the great cities, like Madrid and Seville, permanent buildings with wood walls and roofs have been constructed. Naturally, they cannot be completely enclosed as much as a house because some light is needed."

  "Do you know these actors?" I asked Mateo.

  "No, but I am sure they have heard of Mateo de Rosas Oquendo."

  If they had not already, they would before long.

  "The troupe pretends to be Spanish, but I can tell from their accents that they are not. I suspect they are Italians. Everyone wants to come to the Spanish stage. It is known everywhere that our plays and actors are the best in the world. This play is written by my amigo, Tirso de Molina. The Trickster of Seville is a comedia in three acts."

  "Like what you put on—on," I stammered, "in Seville?" I almost said, 'at the fair.' I had already resolved in my mind that Mateo knew I was the boy from the Jalapa fair, but the mat
ter remained a secret unspoken between us.

  "Yes, like Seville, though a Puebla production will not be so grand."

  The temporary theater was grand to my eyes. The only play I had ever seen other than ones put on by the churches during religious holidays was the one at the Jalapa fair, where a grassy knoll and some blankets served as a theater. The audience there had been rough muleteers and traveling merchants, but I could see from the balconies and rooftops that much more genteel people had come to see this play.

  Mateo wanted seats on a balcony or roof, but none were left. We went to the far wall opposite the stage. Benches were available there for a few coppers more, and we stood on them to get a good look at the stage.

  Close to the stage were what Mateo called the vulgos, the vulgar people.

  "The mosqueteros are the lice of the theater," Mateo said. "When they step into a corral, suddenly a butcher and baker who sign their names with an X are experts on comedias. Men whose only acting has been to lie to their wives suddenly believe themselves as much a fault finder with an actor's performance as an Inquisitor with a blasphemer's denials."

  The play began in a room in the palace of the king of Naples. We were told that we were in the Italian palace by an actor who indicated a hanging cloth that had an elaborate door painted on it. It was nighttime, the actor says, and Isabel, a duchess, was awaiting the arrival of her lover, Duke Octavio, in a dark room.

  "Pretty wench," Mateo said, of the actress who played Isabel.

  The main character in the play arrived. His name was Don Juan. He entered the room with his face concealed by his cloak and pretended to be Duke Octavio. When palace guards catch the two, Don Juan boasted that he had fooled Isabel into thinking he was Duke Octavio and made love to her.