A este dios hacíanle un oratorio de tablas pintadas, como tabernáculo, donde estaba su imagen. En este oratorio o templo había muchos lebrillos y tinajas de agua. Todas estaban atapadas con tablas o comales. Llamaban a esta agua tlílatl, que quiere decir "agua negra". Y cuando algún niño enfermaba, llevábanle al templo o tabernáculo deste dios Ixtlilton, y abrían una de aquellas tinajas, y daban a beber al niño de aquel agua, y con ella sanaba. Y cuando alguno quería hacer la fiesta deste dios por su devoción, llevaba a su imagen a su casa. Esta imagen no era de bulto ni pintada, sino era uno de los sátrapas, que se vestía los ornamentos deste dios, y cuando le llevaban íbanle encensando delante con humo de copal. Como llegaba esta imagen a la casa del que había de hacerle fiesta con danzas y cantares, como ellos usaban, porque esta manera de danzar o bailar es muy diferente de nuestros bailes y danzas, pongo aquí la manera que tienen en estas danzas o bailes, que por otro nombre se llaman areitos, y en su lengua se llaman macehualiztli, juntabánse muchos de dos en dos, o de tres en tres, en un gran corro, según la cantidad de los que eran, llevando flores en las manos, y ataviados con plumajes. Hacían todos a una un mesmo meneo con el cuerpo y con los pies y con las manos, cosa bien de ver y bien artificiosa. Todos los meneos iban según el son que tañían los tañedores del atambor y del teponaztli. Con esto iban cantando con gran concierto todos, y con voces muy sonoras los loores de aquel dios a quien festejaban, y lo mismo usan agora, aunque enderezado de otra manera. Enderezan los meneos contenencias y ata[víos]
\n","citation_key":"citation_lopez_spanish_transcription","citation":{"en":["Spanish by López Austin & García Quintana 2000"],"es":["Español por López Austin & García Quintana 2000"]}},{"id":"2c93e489-cc46-483c-8adb-990b2c6ca2d2","choice":{"en":["Spanish-to-English by García Garagarza 2023"],"es":["Español-al-inglés por García Garagarza 2023"]},"type":"translation","type_label":{"en":["spanish translation"],"es":["traducción al español"]},"column":"spanish","language":{"en":["English"],"es":["Inglés"]},"language_code":"eng","subtitle":"(García Garagarza 2023)","markdown":"For this god they made an altar with painted wooden boards, like a tabernacle, where his image was placed. In this altar, or temple, there were many vessels and water bowls. They were all covered with wooden boards or with _comales_, They called this water _tlilatl_, which means “black water.” And when some child fell ill, they would take him to the temple, or tabernacle, of this god Ixtlilton, and they would open one of those vessels and give him some of this water to drink, and he would heal with it. And when somebody wanted, out of devotion, to celebrate a feast for this god, he would take his image home. This image was not formed into a shape, nor was it depicted [pictorially], but rather it was one of the satraps who dressed himself with the ornaments of this god. And while they were carrying him, they went burning copal incense before him. When this image [of the god] arrived at the house of the one who was to celebrate his festival through songs and dances, as was their custom (and since this manner of swaying or dancing is quite different from our own swaying and dances, I am describing here their manner in these dances, otherwise known as _areitos_, which in their language are called _macehualiztli_[^34]), many of them would get together two by two, others three by three, forming a great circle, depending on the number of [dancers], holding flowers in their hands and adorned with bird feathers. All together they would do the same swaying movement with their bodies, feet, and hands—a thing that is worth seeing and that is very artful. All of their movements followed the sounds that were being played by the drummers and the _teponaztli_ players. And all of them went singing along with this in great concert and with very sonorous voices the songs of praise for that god whom they were celebrating. And they are still practicing this same thing, although now it is arranged in another manner. They arrange the dance movements, poses, and garments \n\n\n[^34]: _macehualiztli_: literally, “the act of deserving.” The noun referred to the act of dancing, which was—and still is, among the Nahuas—an important offering or petitioning to the deities.","html":"For this god they made an altar with painted wooden boards, like a tabernacle, where his image was placed. In this altar, or temple, there were many vessels and water bowls. They were all covered with wooden boards or with comales, They called this water tlilatl, which means “black water.” And when some child fell ill, they would take him to the temple, or tabernacle, of this god Ixtlilton, and they would open one of those vessels and give him some of this water to drink, and he would heal with it. And when somebody wanted, out of devotion, to celebrate a feast for this god, he would take his image home. This image was not formed into a shape, nor was it depicted [pictorially], but rather it was one of the satraps who dressed himself with the ornaments of this god. And while they were carrying him, they went burning copal incense before him. When this image [of the god] arrived at the house of the one who was to celebrate his festival through songs and dances, as was their custom (and since this manner of swaying or dancing is quite different from our own swaying and dances, I am describing here their manner in these dances, otherwise known as areitos, which in their language are called macehualiztli1), many of them would get together two by two, others three by three, forming a great circle, depending on the number of [dancers], holding flowers in their hands and adorned with bird feathers. All together they would do the same swaying movement with their bodies, feet, and hands—a thing that is worth seeing and that is very artful. All of their movements followed the sounds that were being played by the drummers and the teponaztli players. And all of them went singing along with this in great concert and with very sonorous voices the songs of praise for that god whom they were celebrating. And they are still practicing this same thing, although now it is arranged in another manner. They arrange the dance movements, poses, and garments
\nmacehualiztli: literally, “the act of deserving.” The noun referred to the act of dancing, which was—and still is, among the Nahuas—an important offering or petitioning to the deities.↩
Teutl catca, çan quavitl yn jteupan catca, ytocaiocan tlacujlocan: in vncan yteupan, mjec yn apaztli, tzatzacutimanca, motocaiotia itlilauh.
\nAuh yn aqujn mococoaia, piltontli, vmpa qujujcaia yn jteupan ixtlilton: centetl, qujtlapoaia yn apaztli, conjtiaia yn jtlilauh; ic patia in piltontli.
\nAuh yn aqujn qujtotiz, copaltica in conanaia, ynjc qujvicaia ychan yn jxiptla: çan tlacatl in muchichioaia.
\nJn oacic ychan, tlatotiz, teytotiz: njman tlatlaqualo, atlioa: yn otlaqualoc, njman mjtotia, yn jxtlilton: yn omjtoti, yn onmaceuh, calitic oncalaquj: iehoatl qujtlapoa in vctli, navilhujtica tzacutimãca: ic mjtoaia, tlaiacaxapotla, vitzmana.
\nNiman yc vmpeoa, yn ie tlaoano: oc cepa oalqujça itoalco, qujtlapoa yn jtlilauh, no tzacutimanca navilhujtica: ic macujlilhujtl in qujtlapoa: ic mjtoaia, ic moteneoaia, intla tlaçolli, yntla tocatzaoalli, yntla
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"d2ba3c89-74c1-4ffb-a870-44bba5557919","choice":{"en":["Nahuatl-to-English by Anderson & Dibble 1953–1982"],"es":["Náhuatl-al-inglés por Anderson & Dibble 1953–1982"]},"type":"translation","type_label":{"en":["nahuatl translation"],"es":["traducción al náhuatl"]},"column":"nahuatl","language":{"en":["English"],"es":["Inglés"]},"language_code":"eng","subtitle":"(Anderson & Dibble 1953–1982)","markdown":"He was a god whose temple was made entirely of wood, at a place named Tlacuilocan. Here in his temple were many earthen tubs, covered over. These were called “his black water.” \n\nAnd whenever a child sickened, they brought him to the temple of Ixtlilton. They uncovered one of the tubs and had him drink “his black water.” Thereupon the child became whole. \n\nAnd when one would arrange a dance, amid incense he went and brought the image of the god to his house—only a man so arrayed. \n\nAnd when he arrived at his house, there would be dancing. Then all ate; there was drinking. After the eating, then Ixtlilton danced. After he had danced, he entered into the house; he uncovered the wine, which for four days had been covered. This was called the first opening or tapping of the new wine.[^106] \n\nThen they began to drink. Again they went out into the court; they uncovered “his black water,” which also had been covered for four days. On the fifth day they uncovered it. It was said, it was affirmed, that if dirt, cobwebs, \n\n\n\n\n[^106]: *Ibid.,* Vol. I, p. 326: *”… los que nuevamente horadaban los magueyes y hacían vino nuevo, que se llamaba* uitztli.” The Spanish text of the Florentine Codex explains that *”a este abrimjento, llamavan tlaiacaxapotla, qujere dezir, esto: abrimjento primero, o vino nueuo.”* On the meaning of *onmaceuh,* see Sahagún, *op. cit.,* p. 62 (definition of *maceualiztli*).","html":"He was a god whose temple was made entirely of wood, at a place named Tlacuilocan. Here in his temple were many earthen tubs, covered over. These were called “his black water.”
\nAnd whenever a child sickened, they brought him to the temple of Ixtlilton. They uncovered one of the tubs and had him drink “his black water.” Thereupon the child became whole.
\nAnd when one would arrange a dance, amid incense he went and brought the image of the god to his house—only a man so arrayed.
\nAnd when he arrived at his house, there would be dancing. Then all ate; there was drinking. After the eating, then Ixtlilton danced. After he had danced, he entered into the house; he uncovered the wine, which for four days had been covered. This was called the first opening or tapping of the new wine.1
\nThen they began to drink. Again they went out into the court; they uncovered “his black water,” which also had been covered for four days. On the fifth day they uncovered it. It was said, it was affirmed, that if dirt, cobwebs,
\nIbid., Vol. I, p. 326: ”… los que nuevamente horadaban los magueyes y hacían vino nuevo, que se llamaba uitztli.” The Spanish text of the Florentine Codex explains that ”a este abrimjento, llamavan tlaiacaxapotla, qujere dezir, esto: abrimjento primero, o vino nueuo.” On the meaning of onmaceuh, see Sahagún, op. cit., p. 62 (definition of maceualiztli).↩