[garaba]to tocaba a cada una de las bolillas, y en tocando hacía un ademán como retrayendo la mano, y daba una vuelta, y luego iba a tocar a la otra, y hacía lo mismo. Así tocaba a todas cuatro, con sus voltezuelas. Hecho esto, sembraba encienso sobre las esteras, de aquello que llaman yiauhtli. Sembrado el encienso, dábanle luego la tabla de las sonajas, y comenzaba a hacer sonido con ella, meneándola para que sonasen los palillos que enmedio estaban encorporados o atados. Hecho esto, luego se comenzaban todos a ir a sus casas y monesterios, y a los castigados llevaban a sus casas. Luego se descomponían de los ornamentos con que iban compuestos y se sentaban, y luego a la noche comenzaban la fiesta. Tocaban sus teponaztles y sus caracoles, y los otros instrumentos musicales, sobre el cu de Tláloc. Y cantaban en los monasterios, y tocaban las sonajas que suelen traer en los areitos. De todos estos instrumentos se hacía una música muy festiva, y hacía velar toda aquella noche a los captivos que habían de matar al día siguiente, que los llaman imágines de los tlaloques.
\nLlegados a la medianoche, que ellos llamaban yoalli xelihui, comenzaban luego a matar a los captivos. Aquellos que primero mataban decían que eran el fundamento de los que eran imagen de los tlaloques, que iban aderezados con los ornamentos de los mismos tlaloques, que decían que eran sus imágines, y así ellos murían a la postre. Íbanse a sentar sobre los que primero habían muerto.
\nAcabado de matar
\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":"817eb72e-cb43-4e60-9b3d-60bb544c833a","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":"touch each of the little balls with this hook, and whenever he touched them, he would make a gesture, as if he were withdrawing his hand, and would turn around; and then he would go and touch the next one, and repeat the same thing. In this way, he would touch all four of them while performing his little turns. Having done this, he would sprinkle over the mats incense made of that [plant] called _iyauhtli_. Once the incense was sprinkled, they would then give him the board with the rattles, and he would begin to make sounds with it, shaking it in order to make the little wooden pieces that were incorporated or tied into it sound. Once he had done this, then they would all begin to make their way home and to their monasteries; and they would take the ones who had been punished to their homes. Then they would take off all the ornaments that they had been wearing and sit down; and then they would begin the feast later that night. They would play their _teponaztles_[^106] and their conch shells, as well as other musical instruments, on top of the _cu_ of Tlaloc. And they would sing in the monasteries and play those rattles that they usually bring to the _areitos_. A very festive music would be created with all of these instruments, and it would keep the captives whom they were to kill the next day—whom they call “images of the Tlaloques”—awake all night. \n\nAs soon as it was midnight, which they called _yoalli xelihui_, they would immediately begin to kill the captives. They said that those whom they killed first were “the foundation” of those who were the image of the Tlaloques, who would go adorned with the ornaments of the Tlaloques themselves; for they said that these ones were their images, so they would die at the very end. They would go and sit right on top of the ones whom they had killed first. \n\nOnce they finished killing \n\n\n[^106]: _teponaztles_: plural Hispanicized form of the Nahuatl word _teponaztli_.","html":"touch each of the little balls with this hook, and whenever he touched them, he would make a gesture, as if he were withdrawing his hand, and would turn around; and then he would go and touch the next one, and repeat the same thing. In this way, he would touch all four of them while performing his little turns. Having done this, he would sprinkle over the mats incense made of that [plant] called iyauhtli. Once the incense was sprinkled, they would then give him the board with the rattles, and he would begin to make sounds with it, shaking it in order to make the little wooden pieces that were incorporated or tied into it sound. Once he had done this, then they would all begin to make their way home and to their monasteries; and they would take the ones who had been punished to their homes. Then they would take off all the ornaments that they had been wearing and sit down; and then they would begin the feast later that night. They would play their teponaztles1 and their conch shells, as well as other musical instruments, on top of the cu of Tlaloc. And they would sing in the monasteries and play those rattles that they usually bring to the areitos. A very festive music would be created with all of these instruments, and it would keep the captives whom they were to kill the next day—whom they call “images of the Tlaloques”—awake all night.
\nAs soon as it was midnight, which they called yoalli xelihui, they would immediately begin to kill the captives. They said that those whom they killed first were “the foundation” of those who were the image of the Tlaloques, who would go adorned with the ornaments of the Tlaloques themselves; for they said that these ones were their images, so they would die at the very end. They would go and sit right on top of the ones whom they had killed first.
\nOnce they finished killing
\nteponaztles: plural Hispanicized form of the Nahuatl word teponaztli.↩
[concha]iaoa in aztapili, yoan in quequexqujc, yoan nopalli, yiauhtitlan tlaaqujlli, tlayiauhujlli:\nnjmã ic contlalia in chalchiuhtelolotli nauhtetl: auh yn ocontlali mec conmaca, quauhchicoltontli, tlatexoujlli, ic conujujtectiuh, cecentetl in chalchiuhtelolotli: yn jquac qujmonujujtectiuh, oalmocueptiuh.
\nAuh in ie iuhquj, njman contepeoa yn jiauhtli: auh yn ocontepeuh, njman conmaca yn aiochicaoaztli, concacalatza, conujujxoa, coniyiaoa.
\nAuh ȳ ontzonquiz, njman ic viujlooa, cecenmanoa, momoiaooa, xitinooa, viuj yn jncacalmecac: auh yn tlamaztoton, çan qujnujujca yn inchachan.
\nAuh yn onnetecoto calmecac, mec nexixitinjlo, netlatlalilo:
\nauh yn oniooac njman ie ic peoa, in tlalhujmamanj, in teucalticpac tlalocan:
\nteponaçolo, tlapitzalo, iehoatl in mopitza tecciztli, yoan acatecciztli: cujco, yn teponaztli, mjmjlcatoc, nanalcatoc, iuhqujn qujqujnacatoc, yoan aiacacholo:
\nqujntoçauja in miquizque yn imixiptlaoan tlaloque.\nAuh yn oacic ioalnepaotla yn iquac xeliuj ioalli: mec peoa in micoa,
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"aabd1136-e390-459a-96fa-ce7dea065f25","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 spread out white reeds and *quequexquic*[^36] and *nopal,* strewn with *yauhtli,* provided with *yauhtli*.\n \nThen he placed [on the mats] four round green stones. And when he had placed them there,[^37] then they gave him a small wooden hook, stained blue; with it he went striking each one of the round green stone balls. As he went striking each one, he went turning around. \n\nAnd when this was done, then he scattered *yauhtli*. And when he had scattered it, then they gave him the mist rattle board. He rattled, he shook it; he raised it in dedication [to the god]. \n\nAnd when it was ended, then there was the departing of each one, there was the dispersing of each one, there was the disappearing of each one, there was the scattering of each one; they each went to the various *calmecacs*. But the novice offering priests they only took, each one, to their several homes. \n\nAnd when there had been going to gather in the *calmecac*, then there was dispersing [of their ornaments]; there was the seating of each one.\n\nAnd at night, thereupon there began the celebration of the feast day on the top of the Temple of Tlaloc. \n\nThe horizontal drum was beaten, trumpets were played, conch shells and reed pipes were blown. There was song. The horizontal drums lay croaking; they lay growling; it was as if they lay droning; and gourd rattles were rattled. \n\nThey caused those who were to die, the likenesses of the rain gods, to spend the night in vigil. \n\nAnd when midnight came, when the night divided in half, then began the slaying. \n\n\n\n\n[^36]: In a description of the Huaxteca and their region, Sahagún writes: “*se dan muy bien todos los bastimentos y muchas frutas que por acá no se hallan, como es la que dicen* quequexquic” (Sahagún, Garibay ed., Vol. III, p. 203). In Vol IV, p. 351, it is identified as *Xanthosema violaceum.* Seler, in *Einige Kapitel,* p. 126 calls it *Pfeilkrautblätter,* and cites Hernández’s definition as *Sagittae plinionae*. \n\n\n[^37]: The *Real Palacio MS* reads *contlatlalia* and *ocontlatlali*.","html":"He spread out white reeds and quequexquic1 and nopal, strewn with yauhtli, provided with yauhtli.
\nThen he placed [on the mats] four round green stones. And when he had placed them there,2 then they gave him a small wooden hook, stained blue; with it he went striking each one of the round green stone balls. As he went striking each one, he went turning around.
\nAnd when this was done, then he scattered yauhtli. And when he had scattered it, then they gave him the mist rattle board. He rattled, he shook it; he raised it in dedication [to the god].
\nAnd when it was ended, then there was the departing of each one, there was the dispersing of each one, there was the disappearing of each one, there was the scattering of each one; they each went to the various calmecacs. But the novice offering priests they only took, each one, to their several homes.
\nAnd when there had been going to gather in the calmecac, then there was dispersing [of their ornaments]; there was the seating of each one.
\nAnd at night, thereupon there began the celebration of the feast day on the top of the Temple of Tlaloc.
\nThe horizontal drum was beaten, trumpets were played, conch shells and reed pipes were blown. There was song. The horizontal drums lay croaking; they lay growling; it was as if they lay droning; and gourd rattles were rattled.
\nThey caused those who were to die, the likenesses of the rain gods, to spend the night in vigil.
\nAnd when midnight came, when the night divided in half, then began the slaying.
\nIn a description of the Huaxteca and their region, Sahagún writes: “se dan muy bien todos los bastimentos y muchas frutas que por acá no se hallan, como es la que dicen quequexquic” (Sahagún, Garibay ed., Vol. III, p. 203). In Vol IV, p. 351, it is identified as Xanthosema violaceum. Seler, in Einige Kapitel, p. 126 calls it Pfeilkrautblätter, and cites Hernández’s definition as Sagittae plinionae.↩
The Real Palacio MS reads contlatlalia and ocontlatlali.↩