también en todas las casas de los dueños dellas incensaban a todas las estatuas de los dioses que en sus casas tenían. Acabado de incensar, echaban las brasas en un hogar redondo, dos palmos o casi alto, de tierra, que estaba en medio del patio, al cual llamaban tlexictli.
\nEn esta fiesta todas las doncellas se afeitaban las caras y componían con pluma colorada los brazos y las piernas, y llevaban todas unos papeles puestos en unas cañas hendidas, que llamaban tetéhuitl. El papel era pintado con tinta. Otras, que eran hijas de señores o de personas ricas, no llevaban papel, sino unas mantas delgadas que llamaban canáhuac. También las mantas iban pintadas de negro a manera de vírgulas, de alto a baxo.
\nLlevando en las manos estas cañas con sus papeles o mantas altas, andaban la procesión con la otra gente, a honra deste dios, y también bailaban estas doncellas con sus cañas y papeles asidas con ambas manos, en derredor del fogón sobre el cual estaban dos escuderos, teñidas las caras con tinta, y traían a cuestas unas como jaulas hechas de tea, en las orillas de las cuales iban hincadas unas banderitas de papel. Y llevábanlas a cuestas, no asidas de la frente como las cargas de los hombres, sino atadas de los pechos como suelen llevar las cargas las mujeres. Éstos, alrededor del fogón, en lo alto, guiaban la danza de las mujeres bailando al modo que ellas bailan.
\nTambién los sátrapas del templo danzaban también con las mujeres. Ellos y ellas bailando saltaban, y llamaban a este baile toxcachocholoa. Quiere decir "saltar" o "bailar de la fiesta de tóxcatl". Llevaban los sátrapas unas rodaxas de
\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":"fb60515f-49bf-4d35-87fd-08a329e57db4","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":"also in all the houses. And the homeowners would incense all the statues of the gods that they kept in their homes. After the incensing was finished, they would throw the embers into a round hearth made of dirt, called _tlexictli_, which was almost two hand spans wide and located in the middle of the patio. \n\nDuring this festival, all the maidens would apply makeup to their faces and adorn their arms and legs with red feathers. They would all carry some paper [banners] called _tetehuitl_, which were fastened to some split reeds. This paper would be painted with ink. Other women who were the daughters of the lords or of wealthy people would carry not this paper [banner] but rather some thin blankets that they called _canahuac_. These blankets were also painted with some sort of black comma shapes, from top to bottom. \n\nCarrying these reeds with their papers in their hands or else holding their blankets up high, [these maidens] would walk in procession along with the rest of the people, in honor of this god. And as they held their reeds and papers with both hands, these maidens would also dance around the bonfire, above which two squires would be standing, whose faces had been stained with ink and who carried on their backs some crate-like objects made of pinewood, the edges of which had some small paper flags stuck in them. And they would carry these objects on their backs, not anchored to their foreheads as the men who carry loads do, but tied to the chest as women usually carry their loads. These [squires], standing around the bonfire on a level above it, would lead the women’s dance by dancing in the same way that [the women] did.\n\nThe temple satraps would also dance with the women. Since both the men and the women would jump as they danced, they called this dance _toxcachocholoa_, which means “to jump,” or “the Toxcatl festival dance.” \n\nThe satraps would wear on their foreheads some paper circles","html":"also in all the houses. And the homeowners would incense all the statues of the gods that they kept in their homes. After the incensing was finished, they would throw the embers into a round hearth made of dirt, called tlexictli, which was almost two hand spans wide and located in the middle of the patio.
\nDuring this festival, all the maidens would apply makeup to their faces and adorn their arms and legs with red feathers. They would all carry some paper [banners] called tetehuitl, which were fastened to some split reeds. This paper would be painted with ink. Other women who were the daughters of the lords or of wealthy people would carry not this paper [banner] but rather some thin blankets that they called canahuac. These blankets were also painted with some sort of black comma shapes, from top to bottom.
\nCarrying these reeds with their papers in their hands or else holding their blankets up high, [these maidens] would walk in procession along with the rest of the people, in honor of this god. And as they held their reeds and papers with both hands, these maidens would also dance around the bonfire, above which two squires would be standing, whose faces had been stained with ink and who carried on their backs some crate-like objects made of pinewood, the edges of which had some small paper flags stuck in them. And they would carry these objects on their backs, not anchored to their foreheads as the men who carry loads do, but tied to the chest as women usually carry their loads. These [squires], standing around the bonfire on a level above it, would lead the women’s dance by dancing in the same way that [the women] did.
\nThe temple satraps would also dance with the women. Since both the men and the women would jump as they danced, they called this dance toxcachocholoa, which means “to jump,” or “the Toxcatl festival dance.”
\nThe satraps would wear on their foreheads some paper circles
\n","citation_key":"citation_garagarza","citation":{"en":["Spanish-to-English by García Garagarza 2023"],"es":["Español-al-inglés por García Garagarza 2023"]}}],"nahuatl_col":[{"id":"111269aa-e73b-4315-83ff-a13adab686e7","choice":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]},"type":"transcription","type_label":{"en":["nahuatl transcription"],"es":["transcripción al náhuatl"]},"column":"nahuatl","language":{"en":["Nahuatl"],"es":["Náhuatl"]},"language_code":"nci","subtitle":"(Anderson & Dibble 1953–1982)","markdown":"çan no yoan intechachan, intecacalpulco, popochujlo in ixqujchtin inteteuoan inpan qujnmatia. \n\nAuh yn oconiauhque tletl njmã ie ic contema tlexicco: \n\nauh in cioa ichpopuchti, moxaoaia, mopotonjaia tlapaliujtica:\nyoan intêteuh acatica qujquappachoa, tliltica tlacujlolli, motocaiotia acaxilquj: \n\nauh in motlacamati, canaoac ynjc qujquappachoa: çan no acaxilquj ynjc tlacujlolli: \n\nAuh vmentin in tiachcaoã mixtlilpopotzque, haco manj, tlexictli ixpan, qujiacatitimanj ococalli in qujmama, amapapaiocatotonti, çan quelpanmama. \n\nqujnpeoaltilia yn cioa in netotiliztli, ynic mjtotia chocholoa, çan mocioaittotia: auh in cioa çan tlattic in manj, yn jnteteuh coomemauja, qujtotitimanj, chocholotimanj: auh in tlamacazque no mjhtotia, mitoa toxcachocholoa: \n\namaixquatechimaletimanj, amaixquatechimaleque, moquaquapotonja iztac totolivitica: yoan motetennecuvia tetentzotlantiuj, ymamamaxtli, yoan intzatzanatopil, tzanaivitl, in iuhquj ytecomaio, auh yn itzinteloloio, çan no tzanaivitl: no motocaiotia ycujtlacuchcho, in tzanatopilli. \n\nAuh","html":"çan no yoan intechachan, intecacalpulco, popochujlo in ixqujchtin inteteuoan inpan qujnmatia.
\nAuh yn oconiauhque tletl njmã ie ic contema tlexicco:
\nauh in cioa ichpopuchti, moxaoaia, mopotonjaia tlapaliujtica:\nyoan intêteuh acatica qujquappachoa, tliltica tlacujlolli, motocaiotia acaxilquj:
\nauh in motlacamati, canaoac ynjc qujquappachoa: çan no acaxilquj ynjc tlacujlolli:
\nAuh vmentin in tiachcaoã mixtlilpopotzque, haco manj, tlexictli ixpan, qujiacatitimanj ococalli in qujmama, amapapaiocatotonti, çan quelpanmama.
\nqujnpeoaltilia yn cioa in netotiliztli, ynic mjtotia chocholoa, çan mocioaittotia: auh in cioa çan tlattic in manj, yn jnteteuh coomemauja, qujtotitimanj, chocholotimanj: auh in tlamacazque no mjhtotia, mitoa toxcachocholoa:
\namaixquatechimaletimanj, amaixquatechimaleque, moquaquapotonja iztac totolivitica: yoan motetennecuvia tetentzotlantiuj, ymamamaxtli, yoan intzatzanatopil, tzanaivitl, in iuhquj ytecomaio, auh yn itzinteloloio, çan no tzanaivitl: no motocaiotia ycujtlacuchcho, in tzanatopilli.
\nAuh
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"1223849b-be4e-456a-8b43-50b3dccd354c","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":"but also furthermore in each one’s home, in each one’s *calpulco*. Incense was offered to all of their gods in whom they believed. \n\nAnd after they had dedicated the fire [and incense to the gods], thereupon they cast [the coals] into the hearth [in the courtyard]. \n\nAnd the women, the maidens painted their faces; they pasted themselves with red feathers.\n\nAnd they fastened their sacrificial paper streamers firmly to canes. [The streamers] were painted in black in what was called a scroll design. \n\nAnd the rich [women and girls] thus fastened thin cotton blankets [to canes] likewise painted with a scroll design.\n\nAnd two masters of youths who had spread black paint on their faces stood above, before the hearth. They stood in the leading position. They carried on their backs pine wood cages with small paper banners, only they carried them [with tumplines which crossed] the chest.\n\nThey began the dancing for the women. In this manner was the dance: they danced leaping; they danced just in the fashion of women. And the women were in the middle; they held their sacrificial paper streamers in both hands. They were dancing; they were leaping about. And the offering priests also danced. It was said: “They make the Toxcatl-leap.”[^22] \n\nThere were conical paper rosettes fastened upon [the priests’] foreheads; they had conical paper rosettes fastened to their foreheads. They decked their heads with white turkey feathers. And they smeared honey on their lips; their lips went gleaming. They had paper breechclouts. And their various grackle-staves had grackle feathers;[^23] they were like their cups, and their round balls at the base were likewise of grackle feathers. The grackle-staves were also called their thrasher[-staves].[^24] \n\nAnd \n\n\n\n\n[^22]: Corresponding Spanish text: “*Tambien los satrapas del templo, dançauan tanbien con las mugeres, ellos y ellas baylãdo, saltauan: y llamauan a este bayle toxcachocholoa, qujere dezir, saltar, o baylar de la fiesta de toxcatl.”* Garibay (“Relación breve” p. 298) translates *toxcachochololoya* as “*se salta el salto de Toxcatl.*” \n\n\n[^23]: *tzanatl: Cassidix palustris* (Swainson) in Dibble and Anderson, *Book XI*, p. 50. \n\n\n[^24]: *cuitlacochin: Toxostoma curvirostre* (Swainson) in *ibid.,* p. 51","html":"but also furthermore in each one’s home, in each one’s calpulco. Incense was offered to all of their gods in whom they believed.
\nAnd after they had dedicated the fire [and incense to the gods], thereupon they cast [the coals] into the hearth [in the courtyard].
\nAnd the women, the maidens painted their faces; they pasted themselves with red feathers.
\nAnd they fastened their sacrificial paper streamers firmly to canes. [The streamers] were painted in black in what was called a scroll design.
\nAnd the rich [women and girls] thus fastened thin cotton blankets [to canes] likewise painted with a scroll design.
\nAnd two masters of youths who had spread black paint on their faces stood above, before the hearth. They stood in the leading position. They carried on their backs pine wood cages with small paper banners, only they carried them [with tumplines which crossed] the chest.
\nThey began the dancing for the women. In this manner was the dance: they danced leaping; they danced just in the fashion of women. And the women were in the middle; they held their sacrificial paper streamers in both hands. They were dancing; they were leaping about. And the offering priests also danced. It was said: “They make the Toxcatl-leap.”1
\nThere were conical paper rosettes fastened upon [the priests’] foreheads; they had conical paper rosettes fastened to their foreheads. They decked their heads with white turkey feathers. And they smeared honey on their lips; their lips went gleaming. They had paper breechclouts. And their various grackle-staves had grackle feathers;2 they were like their cups, and their round balls at the base were likewise of grackle feathers. The grackle-staves were also called their thrasher[-staves].3
\nAnd
\nCorresponding Spanish text: “Tambien los satrapas del templo, dançauan tanbien con las mugeres, ellos y ellas baylãdo, saltauan: y llamauan a este bayle toxcachocholoa, qujere dezir, saltar, o baylar de la fiesta de toxcatl.” Garibay (“Relación breve” p. 298) translates toxcachochololoya as “se salta el salto de Toxcatl.”↩
tzanatl: Cassidix palustris (Swainson) in Dibble and Anderson, Book XI, p. 50.↩
cuitlacochin: Toxostoma curvirostre (Swainson) in ibid., p. 51↩