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 axólotl 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 tiezquiáya in ahuéhuetl, in pochotl, TLÁLOCTZIN!”—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 Tzitzitlíni 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.
Next came the dance of the auyaníme, those women whose bodies were reserved to the service of soldiers and knights. The dance they did was called the quequezcuícatl, “the ticklish dance,” because it roused such sensations among its watchers, male and female, young and old, that they often had to be restrained from rushing in among the dancers and doing something really outrageously irreverent. The dance was so explicit in its movements that—though only the auyaníme danced, and apart even from each other—you would swear they had invisible, naked male companions with whom …
Yes, well, after the auyaníme had left the plaza—panting, perspiring, their hair tousled, their legs weak and wobbly—there came, to the hungry rumble of the god drum, a boy and a girl, each about four years old, in an ornate litter chair carried by priests. Because the late and unlamented Revered Speaker Tixoc had been lax in his waging of war, there had been no captive children from some other nation available for that night’s sacrifice, so the priests had had to buy the youngsters from two local slave families. The four parents sat well down front on the plaza and watched proudly as their babies were paraded several times past them in their several circuits of the square.
The parents and the children had reason to be proud and pleased, for the little boy and girl had been purchased long enough beforehand to have been well cared for and well fed. They were now plump and perky, waving merrily to their parents and to everyone else in the crowd who waved at them. They were better dressed than they could ever have hoped to be, for they were costumed to represent the tlalóque spirits which attend upon the rain god. Their little ma
ntles were of the finest cotton, a blue-green color patterned with silver raindrops, and they wore on their shoulder blades cloud-white wings of paper.
As had happened at every previous ceremony in honor of Tlaloc, the children were unaware of the behavior expected of them. They were so delighted by the excitement, the colors, the lights and music that they bounced with laughter and beamed about them as radiantly as the sun. That, of course, was just the opposite of what they were meant to do. So, as usual, the priests carrying their chair had to reach up surreptitiously and pinch their bottoms. The children were at first puzzled, then pained. The boy and girl began to complain, then to weep, then to wail, as was proper. The more bawling, the more thunderstorms to come. The more tears, the more rain.
The crowd joined in the crying, as was expected and encouraged, even for grown men and crusty warriors, until the hills roundabout echoed with the groaning and sobbing and beating of breasts. Every other drum and musical instrument now augmented the throbbing of the god drum and the ululation of the crowd, as the priests set down the litter chair on the far side of that stone tub of water by the pyramid. So unbelievably loud was the combined noise that probably not even the chief priest could hear the words he chanted over the two children when he lifted them and held them up one at a time to the sky, that Tlaloc might see and approve of them.
Then two assistant priests approached, one with a small pot, the other with a brush. The chief priest bent over the boy and girl and, though no one could hear, we all knew he was telling the children that they were now to don masks so the water would not get into their eyes while they swam in the sacred tank. They were still sniffling, not smiling, their cheeks wet with tears, but they did not protest when the priest brushed liquid óli liberally over their faces, leaving only their flower-bud lips uncoated. We could not see their expression when the priest turned from them again to chant, still unheard, the final appeal that Tlaloc accept their sacrifice, that in exchange he send a substantial rainy season, and so on.
The assistants lifted the boy and girl one last time, and the chief priest swiftly daubed the sticky liquid across their lower faces, covering mouths and nostrils, and the assistants dropped the children into the tank, where the cool water instantly congealed the gum. You see, the ceremony required that the sacrifices die in the water, but not of it. So they did not drown, they suffocated slowly behind the thick, unremovable, untearable óli masks, while they flailed desperately in the tank, and sank and rose and sank again, and the crowd wailed in mourning, and the drums and instruments continued their god-shouting cacophony. The children splashed and struggled ever more feebly, until first the girl, then the boy, ceased to move and hung only dimly visible just under the water, and on the surface their white wings floated, widespread, unmoving.
Cold-blooded murder, Your Excellency? But they were slave children. The boy and girl would otherwise have led brute lives, perhaps mated when they were grown, and begotten more brutes. When they came to die, they would have died to no purpose whatever, and they would have languished for a dreary eternity in the darkness and nothingness of Míctlan. Instead, they died to the honor of Tlaloc, and to the benefit of us who went on living, and their death earned them a happy life ever after in the lush green afterworld of Tlálocan.
Barbaric superstition, Your Excellency? But that next rainy season was as bountiful as even a Christian could have implored, and it gave us a handsome harvest.
Cruel? Heartrending? Well, yes … Yes, I at least remember it so, for that was the last happy holy day that Tzitzitlíni and I were ever to enjoy together.
When Prince Willow’s acáli came to fetch me again, it did not reach Xaltócan until well after midday, because it was then the season of high winds, and the oarsmen had had a turbulent crossing. It was just as rough going back—the lake was roiled into choppy waves from which the wind tore and flung a stinging spray—so we did not dock at Texcóco until the sun was halfway to bed.
Though the city’s buildings and streets began there at the docks, that district was really only a fringe of lakeside industries and dwellings—boatyards; shops making nets, ropes, hooks, and the like; the houses of boatmen, fishermen, and fowlers. The city’s center was perhaps half of one-long-run farther inland. Since no one from the palace had come to meet me, Willow’s oarsmen volunteered to walk part of the way with me and help to carry the bundles I had brought: some additional clothes, another set of paints given me by Chimáli, a basket of sweets cooked by Tzitzi.
My companions dropped off, one by one, as we came to the neighborhoods in which they lived. But the last one told me that if I simply walked straight on, I could not fail to recognize the palace on the great central square. It was full dark by then, and there were not many other people abroad on that blustery night, but the streets were lighted. Every house seemed supplied with lamps of coconut oil or ahuácatl oil or fish oil or whatever fuel the householders could afford. Their light spilled out through the houses’ window openings, even those closed by lattice shutters or cloth curtains or oiled-paper shades. In addition, there was a torchlight set at most of the street corners: high poles with copperwork baskets of blazing pine splinters on top, from which the wind blew sparks and occasional gobbets of burning pitch. Those poles were set in sockets drilled through the fists of standing or squatting stone statues of various gods.
I had not walked far before I began to tire; I was carrying so many bundles, and I was being so buffeted by the wind. It was with relief that I saw a streetside stone bench set in the darkness under a red-flowering tapachíni tree. I sank down on it gratefully, and sat for a while, enjoying being showered by the tree’s scarlet petals blown loose by the wind. Then I became aware that the bench seat under me was ridged with a carved design. I had only to begin tracing it with my fingers—not even to peer at it in the dark—to know that it was picture writing, and to know what it said.
“A resting place for the Lord Night Wind,” I quoted aloud, smiling to myself.
“You were reading exactly the same thing,” said a voice from the darkness, “when we met at another bench some years ago.”
I gave a start of surprise, then squinted to make out the figure at the other end of the seat. Again he was wearing a mantle and sandals of good quality, though travel-worn. Again he was so covered with the dust of the road that his coppery features were indistinct. But now I was probably just as dusty, and I had grown considerably, and I marveled that he could have recognized me. When I had recovered my voice, I said:
“Yes, Yanquícatzin, it is a surpassing coincidence.”
“You should not address me as Lord Stranger,” he growled, as surly as I remembered him. “Here you are the stranger.”
“True, my lord,” I said. “And here I have learned to read more than the simple symbols on roadside benches.”
“I should hope so,” he said drily.
“It is thanks to the Uey-Tlatoáni Nezahualpíli,” I explained. “At his generous invitation, I have enjoyed many months of higher schooling in his court classrooms.”
“And what do you do to earn such favors?”
“Well, I would do anything, for I am grateful to my benefactor, and eager to repay him. But I have yet to meet the Revered Speaker, and nobody else gives me anything but schoolwork to do. It makes me uncomfortable, to feel that I am only a parasite.”
“Perhaps Nezahualpíli has merely been waiting. To see you prove yourself trustworthy. To hear you say you would do anything.”
“I would. Anything he might ask.”
“I daresay he will ask something of you eventually.”
“I hope so, my lord.”
We sat for some time in silence, except for the sound of the wind moaning between the buildings, like Chocacíuatl the Weeping Woman forever wandering. Finally the dusty man said sarcastically:
“You are eager to be of use at the court, but here you sit and the palace is yonder.” He waved down the street. I was being dismissed as curtly as the other time.
“Ximopanólti,” he drawled indifferently.
I stopped under the torch pole at the next corner and looked back, but the light did not reach far enough to illuminate the bench. If the travel-stained stranger still sat there, I could not make out his form. All I could see was a little red whirl of tapachíni petals being danced along the street by the night wind.
I finally found the palace, and found the slave boy Cozcatl waiting to show me to my quarters. That palace at Texcóco was far larger than the one at Texcotzínco—it must have contained a thousand rooms—since there was not so much space in the central city for its necessary annexes to sprawl and spread around it. Still, the Texcóco palace grounds were extensive and, even in the middle of his capital city, Nezahualpíli evidently would not be denied his gardens and arbors and fountains and the like.
There was even a living maze, which occupied land enough for ten families to have farmed. It had been planted by some long-ago royal ancestor, and had been growing ever since, though kept neatly clipped. It was now an avenue of parallel, impenetrable thorn hedges, twice man-high, which twisted and forked and doubled upon itself. There was only a single opening in the hedge’s green outer wall, and it was said that anyone entering there would, after long meandering, find his way to a little grassy glade in the center of the maze, but that the return route was impossible to retrace. Only the aged chief gardener of the palace knew the way out, a secret handed down in his family and traditionally kept secret even from the Uey-Tlatoáni. So no one was allowed to enter there without the old gardener for a guide—except as a punishment. The occasional convicted lawbreaker was sentenced to be delivered alone and naked into the maze, at spearpoint if necessary. After a month or so, the gardener would go in and bring out whatever remained of the starved and thorn-torn and bird-pecked and worm-eaten body.
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