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  “There was a splendor of spears, a splendor of spears!”

  An old man of our island of Xaltócan used always to begin his battle tales that way. We listeners were captivated on the instant, and we remained engrossed, though it might have been a most minor battle he described and, once he had told the foregoing events and the outcome of it all, perhaps a very trivial tale hardly worth the telling. But he had the knack for blurting at once the most compelling highlight of a narrative, and then weaving backward and forward from it. Unlike him, I can but begin at the beginning and move onward through time just as I lived it.

  What I now state and affirm did all occur. I only narrate what happened, without invention and without falsehood. I kiss the earth. That is to say: I swear to this.

  Oc ye nechca—as you would say, “Once upon a time”—ours was a land where nothing moved more rapidly than our swift-messengers could run, except when the gods moved, and there was no noise louder than our far-callers could shout, except when the gods spoke. On the day we called Seven Flower, in the month of God Ascending, in the year Thirteen Rabbit, the rain god Tlaloc was speaking his loudest, in a resounding thunderstorm. That was somewhat unusual, since the rainy season should have been then at its end. The tlalóque spirits which attend upon the god Tlaloc were striking blows with their forked sticks of lightning, cracking open the great casks of the clouds, so that they shattered with roars and rumblings and spilt their violent downpour of rain.

  In the afternoon of that day, in the tumult of that storm, in a little house on the island of Xaltócan, I came forth from my mother and began my dying.

  To make your chronicle clearer—you see, I took pains to learn your calendar too—I have calculated that my day of birth would have been the twentieth day of your month called September, in your year numbered one thousand four hundred sixty and six. That was during the reign of Motecuzóma Iluicamína, meaning The Wrathful Lord, He Who Shoots Arrows into the Sky. He was our Uey-Tlatoáni or Revered Speaker, our title for what you would call your king or emperor. But the name of Motecuzóma or of anybody else did not mean much to me at the time.

  At the time, warm from the womb, I was doubtless more impressed by being immediately plunged into a jar of breathtaking cold water. No midwife has ever bothered to explain to me the reason for that practice, but I assume it is done on the theory that if the newborn can survive that appalling shock it can survive all the ailments which may beset it during its infancy. Anyway, I probably complained most vociferously while the midwife was swaddling me, while my mother was disentangling her hands from the knotted, roof-hung rope she had clutched as she knelt to extrude me onto the floor, and while my father was carefully wrapping my severed navel string around a little wooden war shield he had carved.

  That token my father would give to the first Mexícatl warrior he chanced to encounter, and the soldier would be entrusted to plant the object somewhere on the next battlefield to which he was ordered. Thereafter, my tonáli—fate, fortune, destiny, whatever you care to call it—should have been forever urging me to go for a soldier, that most honorable of occupations for our class of people, and to fall in battle, that most honorable of deaths for such as we were. I say “should have been” because, although my tonáli has frequently beckoned or prodded me in some odd directions, even into combat, I have never really yearned either to fight or to die by violence before my time.

  I might mention that, according to the custom for female babies, the navel string of my sister Nine Reed had been planted, not quite two years earlier, beneath the hearth in that room where we both were born. Her buried string was wrapped around a tiny clay spindle wheel; thus she would grow up to be a good, hard-working, and humdrum house-wife. She did not. Nine Reed’s tonáli was as wayward as my own.

  After my immersion and swaddling, the midwife spoke most solemnly and directly to me—if I was letting her be heard at all. I scarcely need remark that I do not repeat from memory any of those doings at my birth time. But I know all the procedures. What the midwife said to me that afternoon I have since heard spoken to many a new boy baby, as it always was to all our male children. It was one of many rituals remembered and never neglected since time before time: the long-dead ancestors handing on, through the living, their wisdom to the newborn.

  The midwife addressed me as Seven Flower. That day-of-birth name I would bear until I had outlived the hazards of infancy, until I was seven years old, by which age I could be presumed likely to live to grow up, and so would be given a more distinctive adult name.

  She said, “Seven Flower, my very loved and tenderly delivered child, here is the word that was long ago given us by the gods. You were merely born to this mother and this father to be a warrior and a servant of the gods. This place where you have just now been born is not your true home.”

  And she said, “Seven Flower, you are promised to the field of battle. Your foremost duty is to give to the sun the blood of your enemies to drink, and to feed the earth with the cadavers of your opponents. If your tonáli is strong, you will be with us and in this place only a brief while. Your real home will be in the land of our sun god Tonatíu.”

  And she said, “Seven Flower, if you grow up to die as a xochimíqui—one of those sufficiently fortunate to merit the Flowery Death, in war or by sacrifice—you will live again in the eternally happy Tonatíucan, the afterworld of the sun, and you will serve Tonatíu forever and forever, and you will rejoice in his service.”

  I see you wince, Your Excellency. So should I have done, had I then comprehended that woeful welcome to this world, or the words spoken by our neighbors and kinsmen who crowded in to view the newcomer, each of them leaning over me with the traditional greeting, “You have come to suffer. Suffer and endure.” If children were born able to understand such a salutation, they would all squirm back into the womb, dwindle back into the seed.

  No doubt we did come into this world to suffer, to endure; what human being ever did not? But the midwife’s words about soldiering and sacrifice were a mere mockingbird repetition. I have heard many other such edifying harangues, from my father, from my teachers, from our priests—and yours—all mindlessly echoing what they themselves had heard from generations long gone before. Myself, I have come to believe that the long-dead were no wiser than we, even when they were alive, and their being dead has added no luster to their wisdom. The pontifical words of the dead I have always taken—as we say, yca mapilxocóitl: with my little finger—“with a grain of salt,” as your saying goes.

  We grow up and look down, we grow old and look back. Ayyo, but what it was to be a child, to be a child! To have the roads and the days all stretching out forward and upward and away, not one of them yet missed or wasted or repented. Everything in the world a newness and a novelty, as it once was to Ometecútli and Omecíuatl, our Lord and Lady Pair, the first beings of all creation.

  Without effort I remember, I recall to memory, I hear again in my age-muffled ears the sounds of dawn on our island Xaltócan. Sometimes I awoke to the call of the Early Bird, Pápan, crying his four-note “papaquíqui, papaquíqui!”—bidding the world “arise, sing, dance, be happy!” Other times I awoke to the even earlier morning sound of my mother grinding maize on the métlatl stone, or slapping and shaping the maize dough she would bake into the big, thin disks of tláxcala bread—what you now call tortillas. There were even mornings when I awoke earlier than all but the priests of the sun Tonatíu. Lying in the darkness, I could hear them, at the temple atop our island’s modest pyramid, blowing the hoarse bleats of the conch trumpet, as they burned incense and ritually wrung the neck of a quail (because that bird is speckled like a starry night), and chanted to the god: “See, thus the night dies. Come now and perform your kindly labors, oh jeweled one, oh soaring eagle, come now to lighten and warm The One World….”

  Without effort, without striving, I remember the hot middays, when Tonatíu the sun, in all the vigor of his prime, fiercely brandished his flaming spears while he stood and st
amped upon the rooftop of the universe. In that shadowless blue and gold noontime, the mountains around Lake Xaltócan seemed close enough to touch. In fact, that may be my earliest memory—I could not have been much over two years old, and I had yet no conception of distance—for the day and the world were panting all about me, and I wanted the touch of something cool. I still recall my childish surprise when I stretched out my arm and could not feel the blue of the forested mountain that loomed so clear and close before me.

  Without effort I remember also the days’ endings, when Tonatíu drew about him his sleeping mantle of brilliant feathers, and let himself down on to his soft bed of many-colored flower petals, and sank to sleep in them. He was gone from our sight to The Dark Place, Míctlan. Of the four afterworlds in which our dead might dwell, Míctlan was the nethermost, the abode of the utterly and irredeemably dead, the place where nothing happens, or has ever happened, or ever will. It was compassionate of Tonatíu that for a time (a little time only, compared to what he lavished on us), he would lend his light (a little light only, dimmed by his sleeping) to The Dark Place of the hopelessly dead.

  Meanwhile, in The One World—on Xaltócan, anyway, the only world I knew—the pale blue mists rose from the lake so that the blackening mountains roundabout appeared to float on them, between the red waters and the purple sky. Then, just above the horizon where Tonatíu had disappeared, there flared for a while Omexóchitl, the evening star After Blossom. That star came, After Blossom always came, she came to assure us that, though the night did darken, we need not fear this night’s darkening to the oblivion darkness of The Dark Place. The One World lived, and would live yet a while.

  Without effort I remember the nights, and one night in particular. Metztli the moon had finished his monthly meal of stars, and he was full fed, he was gorged to his roundest and brightest, so that the figure of the rabbit-in-the-moon was as clearly incised as any temple carving. That night—I suppose I was three or four years old—my father carried me on his shoulders, his hands holding tight to my ankles. His long strides bore me through cool brightness and cooler darkness: the dappled moonlight and moonshade beneath the spreading limbs and feathery leaves of the “oldest of old” trees, the ahuehuétque cypresses.

  I was old enough then to have heard of the terrible things that lurked in the nighttime, just beyond the edge of a person’s vision. There was Chocacíuatl, the Weeping Woman, the first of all mothers to die in childbirth, forever wandering, forever bewailing her lost baby and her own lost life. There were the nameless, headless, limbless torsos that somehow managed to moan as they writhed blind and helpless on the ground. There were the disembodied, fleshless skulls that drifted head-high through the air, chasing travelers overtaken by night upon their travels. If a mortal glimpsed any of those things, he knew it to be a sure omen of dire misfortune.

  Some other denizens of the dark were not so utterly to be feared. There was, for instance, the god Yoáli Ehécatl, Night Wind, who gusted along the night roads, seeking to seize any incautious human abroad in the dark. But Night Wind was as capricious as any wind. Sometimes he seized, then let a person go free, and if that happened, the person would also be granted his heart’s desire and a long life in which to enjoy it. So, in hope of keeping the god always in that indulgent mood, our people had long ago built stone benches at various of the island’s crossroads, whereon Night Wind might rest in his rushings about. As I say, I was old enough to know and dread the spirits of the darkness. But that night, set on my father’s broad shoulders, myself temporarily taller than a man, my hair brushed by the rustling cypress fronds, my face caressed by the dapples of moonlight, I felt not at all afraid.

  Without effort I remember that night because, for the first time, I was being allowed to observe a ceremony involving human sacrifice. It was but a minor rite, for it was in homage to a very minor deity: Atláua, the god of fowlers. (In those days, Lake Xaltócan teemed with ducks and geese which, in their seasons of wandering, paused there to rest and feed—and to feed us.) So, on that night of the well-fed moon, at the start of the season of the waterfowl, just one xochimíqui, one man only, would be ritually killed to the greater glory of the god Atláua. And the man was not, for a change, a war captive going to his Flowery Death with exhilaration or resignation, but a volunteer going rather ruefully.

  “I am already dead,” he had told the priests. “I gasp like a fish taken from the water. My chest strains for more and more air, but the air no longer nourishes me. My limbs weaken, my sight darkens, my head whirls, I faint and fall. I had rather die all at once than flop about fishlike until I strangle at last.”

  The man was a slave who had come from the Chinantéca nation, far to the south. Those people were and still are prey to a curious illness which seems to run in certain of their family bloodlines. We and they called it the Painted Disease, and you Spaniards now call the Chinantéca the Pinto People, because an afflicted one’s skin is blotched with livid blue. His body somehow gradually becomes unable to make use of the air it breathes, and so it dies of suffocation, exactly in the manner of a fish removed from its sustaining element.

  My father and I arrived at the lakeshore, where two sturdy posts were embedded a little way apart. The surrounding night was lighted by urn fires and made smoky by burning incense. Through the haze danced the priests of Atláua: old men, black all over, their robes black, their faces blackened and their long hair matted with oxitl, which is the black pine tar our fowlers smear on their legs and lower body to shield them from the cold when they wade into the lake waters. Two of the priests tweedled the ritual music on flutes made from human shinbones, while another thumped a drum. That was a special sort of drum, specially suited to the occasion: a giant dried pumpkin, partly filled with water so it floated half submerged in the lake shallows. Beaten with thighbones, the water drum gave out a resonant rataplan which echoed from the mountains invisible across the lake.

  The xochimíqui was led into the circle of smoky light. He was naked, he wore not even the basic maxtlatl which customarily encircles a man’s loins and private parts. Even in the flickery firelight, I could see that his body was not of flesh color mottled with blue, but a dead blue touched only here and there with flesh color. He was spread-eagled between the lakeshore posts, one ankle and one wrist bound to each stake. A priest, waving an arrow as a Song Leader waves his stick, chanted an invocation:

  “This man’s life fluid we give to you, Atláua, mingled with the life water of our beloved Lake Xaltócan. We give it to you, Atláua, that you may in return deign to send your flocks of precious fowl to the nets of our fowlers.…” And so on.

  That continued long enough to bore me, if not Atláua. Then, without any warning or ritual flourish, the priest suddenly lowered the arrow and jabbed it with all his strength upward, twisting it, into the blue man’s genital organs. The victim, however much he might have thought he desired that release from life, gave a scream. He howled a scream, he ululated a scream that overrode the sound of flutes, drum, and chanting. He screamed, but he did not scream for long.

  The priest, with the bloody arrow, drew a cross on the man’s chest for a target, and all the priests pranced about him in a circle, each carrying a bow and many arrows. As each passed in front of the xochimíqui, he thrummed an arrow into the blue man’s heaving breast. When the prancing was done and the arrows used up, the dead man looked like an overgrown specimen of the animal we call the prickly little boar. There was not much else to the ceremony. The body was unloosed from the stakes and tied by a rope behind a fowler’s acáli pulled up on the sand. The fowler rowed his canoe out into the lake, out of our view, towing the corpse until it should sink of the water that seeped in through its natural orifices and the arrow punctures. Thus Atláua received his sacrifice.

  My father hoisted me to his shoulders again and started his long strides back across the island. As I bobbed along, high and safe and secure, I made a boyishly arrogant vow to myself. If ever it was my tonáli to be selected f
or the Flowery Death of sacrifice, even to some alien god, I would not scream, whatever was done to me, whatever pain I suffered.

  Foolish child. I thought death meant only dying, and doing it badly or bravely. At that moment in my snug and unthreatened young life, being borne on strong shoulders homeward to a sweet sleep from which I would awaken to a new morning at the Early Bird’s call, how could I know what death really is?

  As we believed in those days, a hero slain in the service of a mighty lord or sacrificed in homage to a high god was assured of a life everlasting in the most resplendent of afterworlds, where he would be rewarded and regaled with bliss throughout eternity. And now Christianity tells us that we all may hope for an afterlife in a similarly splendid Heaven. But consider. Even the most heroic of heroes dying in the most honorable cause, even the most devout Christian martyr dying in the certainty of reaching Heaven, he will never again know the caress of this world’s moonlight dappling his face as he walks beneath this world’s rustling cypress trees. A trifling pleasure—so small, so simple, so ordinary—but never to be known again.

  Your Excellency evinces impatience. Forgive me, Señor Bishop, that my old wits sometimes drift off the straight road onto meandering bypaths. I know that some things I have told, and some other things of which I shall tell, you may not regard as a strictly historical account. But I pray your forbearance, for I do not know whether I shall ever have another opportunity to say these things. And, for all I say, I do not say all that could be said….