cruzadas o aspadas. Cuando bailaba en el areito, íbase arrimando al bastón y alzándole a compás del baile. Diez díaz continuados bailaba en el areito, con mujeres que también bailaban y cantaban por alegrarla. Eran todas las que hacían sal, viejas, mozas y muchachas. Iban todas estas mujeres trabadas las unas de las otras con unas pequeñas cuerdas. La una asía del un cabo de la cuerda; la otra del otro. Y ansí iban bailando: llevaban todas guirnaldas en las cabezas, hechas de aquella yerba que se llama iztáuhyatl, que es casi como axenxos de Castilla.
\nCantar que cantaban decíanle un tiple muy alto. Iban algunos viejos delante dellas, guiándolas y regiendo el cantar. La que iba compuesta con los atavíos de la diosa, y que había de morir, iba enmedio de todas ellas, y delante della iba un viejo que llevaba en las manos un plumaje muy hermoso hecho a manera de manga de cruz. Llamábase este plumaje huixtopetlácotl. Este cantar comenzaban de sobre tarde y llegaban hasta la media noche cantando.
\nTodos estos diez días andaba en el baile y cantaba aquella que había de morir con las otras. Pasado
\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":"eb634717-7104-456f-9d22-d9d5f75e0f16","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":"in the shape of a cross or an _X_. When she danced in the _areito_, she would keep leaning on the staff and raising it to the rhythm of the dance. She would dance for ten days straight in this _areito_, accompanied by other women who would also dance and sing in order to make her happy. These [women] were all salt makers: older women, maidens, and young girls. All of these women would go along holding each other with some small ropes. One of them would hold one end of the rope, while another would hold the other end. And that is how they would go about dancing: they would all wear garlands on their heads that had been made with that herb called _iztauhyatl_, which is almost like Castilian wormwood. \n\nThey would perform the song that they sang in a very high treble. Some older men would go in front of them, leading them and conducting the song. The one who was dressed in the garments of the goddess and who was appointed to die would dance in the middle of all her companions, while in front of her would dance an older man who carried in his hands a very beautiful feather ornament that was made like the cloth cover of the cross.[^109] This feather ornament was called _huixtopetlacotl_. They would begin this singing late in the evening and would keep singing until midnight. \n\nThe one who was appointed to die would spend all these ten days singing and dancing with the others. \n\n\n[^109]: “Cloth cover of the cross”: _manga de cruz_. This refers to a cylindrical cloth ornament used in some Spanish Catholic parishes to cover part of the stem of the cross and brought out in processions.","html":"in the shape of a cross or an X. When she danced in the areito, she would keep leaning on the staff and raising it to the rhythm of the dance. She would dance for ten days straight in this areito, accompanied by other women who would also dance and sing in order to make her happy. These [women] were all salt makers: older women, maidens, and young girls. All of these women would go along holding each other with some small ropes. One of them would hold one end of the rope, while another would hold the other end. And that is how they would go about dancing: they would all wear garlands on their heads that had been made with that herb called iztauhyatl, which is almost like Castilian wormwood.
\nThey would perform the song that they sang in a very high treble. Some older men would go in front of them, leading them and conducting the song. The one who was dressed in the garments of the goddess and who was appointed to die would dance in the middle of all her companions, while in front of her would dance an older man who carried in his hands a very beautiful feather ornament that was made like the cloth cover of the cross.1 This feather ornament was called huixtopetlacotl. They would begin this singing late in the evening and would keep singing until midnight.
\nThe one who was appointed to die would spend all these ten days singing and dancing with the others.
\n“Cloth cover of the cross”: manga de cruz. This refers to a cylindrical cloth ornament used in some Spanish Catholic parishes to cover part of the stem of the cross and brought out in processions.↩
yn potonquj:
\nyoan ichimal atlacueçonaio, tlaatlacueçonanjcujlolli, atlacueçonanjcujliuhquj, toztlapilollo:
\nAuh in toztlapilolli, yn jiacachapullo muchioa, quauhyujtl, quanmoloctli, yoan quetzalpoztectli, yoan çaquan, yoan xollotl, matlatlauhquj, motocaiotia teuxollotl, toztenoloio in chimalli.
\nJn iquac mjtotiaia, qujmamalacachoa yn jchimal, ic momamana:\nyoan yoztopil tlaamaiotilli, haamaio, yoan tlaulhujlli, vllo: excan in tecomaio, tetecomaio: auh yn vncan tetecomaio, vncan mamanj yiauhtli, tziuhtli yn ipan mamantiuh, tzitziuhio:
\nin iquac mjtotia, ic motlaquechitinemj, qujtitilquetztinemj, ic ontlayiauhtiuh.
\nAuh matlaqujlhujtl, in qujcioapancujcatiaia, ixqujchtin cenqujça, qujcecencaoa yn iztatlaca, yn iztachiuhque: yn jlamatlaca, yoan yn jniolloco cioa, yoan ichpupuchti, yoan in ie ichpupuchchicacti:
\noc vnca in tonatiuh, oc tona in peoa mjtotia, tecpantiuj, tetecpantiuj, motecpana, motetecpana mecatica, motocaiotia xochimecatl
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"d3495bbd-e90e-4440-a2b4-ba80b5dc9d46","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":"loose [cotton]. \n\nAnd her shield had water lily leaves [and flowers];[^5] it was painted with a waterlily leaf [and flower] design; it was as if painted with a water lily leaf [and flower] design. It was hung with yellow parrot feather pendants.[^6] \n\nAnd the yellow parrot feather pendants were made [into tassels] like the forepart of a locust.[^7] They were [also] made of eagle feathers, of eagle down, and of cut [pieces of] quetzal feathers, and of troupial feathers,[^8] and of the yellow belly and breast feathers and the ruddy tail feathers of parrots called *teoxollotl*.[^9] The shield was rimmed with a circle of yellow parrot feathers. \n\nWhen she danced, she kept swinging the shield around in a circle; with it she crouched around. \n\nAnd her reed staff[^10] was hung with papers; it had papers. And they were spattered with liquid rubber; they had rubber. In three places [the staff] had cup-like flowers; it had various cup-like flowers. And where there were the various cup-like flowers, there in each one there was *yauhtli*. On each of them were [crossed] motmot feathers; they were provided with [crossed] motmot feathers. \n\nWhen she danced, she walked leaning on it, she walked thrusting it into the ground. She went marking the dance rhythm with it.[^11] \n\nAnd for ten days there sang [and danced] for her in the manner of women[^12] all who came together, who gathered together of the salt people, the salt makers—the old women, and the mature women, and the maidens, and those who were maidens recently matured. \n\nWhile yet there was sun, while it yet shone, then they began to dance. They went arranged, they went arranged each one in order; they were arranged, they were arranged each one in order. It was with cords called “flower cords” \n\n\n\n\n[^5]: Corresponding Spanish text: “*Tenja vna rodela pintada, con vnas ojas anchas, de la yerua que se llama atlacueçona.*” For *atlacuetzonan*, Garibay, in Sahagún, Garibay ed., Vol. IV, p. 322, gives “*’Madre de las olas’… Prob.* Priaropus crassipes.” According to Dibble and Anderson, *Book XI*, p. 126, the broad round leaves of the *atzatzamolli*, probably *Castalia gracilis*, are called *atlacueçonan*. \n\n\n[^6]: *toztli* is identified as adult yellow-headed parrot, *Amazona ochrocephala* (Gmelin) in Dibble and Anderson, *Book XI*, p. 23. \n\n\n[^7]: “*con flores en los cabos, hechos de pluma de agujla*” in corresponding Spanish text. *Chapulin*, however, may be an element in *jiacachapullo*. \n\n\n[^8]: Identified as *Gymnostinops montezuma* (Lesson) in Dibble and Anderson, *Book XI*, p. 20. \n\n\n[^9]: Cf. *ibid*., p. 22. \n\n\n[^10]: *yyoztopiltopil* in the *Real Palacio MS*. \n\n\n[^11]: Cf. *tlayaua* in Siméon, *Dictionnaire*: “*faire certains gestes en dansant.*” The corresponding Spanish text reads: “*quando baylaua en el areyto, yuase arrimando al baston, y alcandole* [sic] *a compas del bayle.*” \n\n\n[^12]: Seler, in *Einige Kapitel*, p. 133, translates: “*Und zehn Tage lang sang (und tanzte) man für sie nach Weiberart.*” Garibay in “Relación breve,” p. 300, translates *civapan cuicaya* as “*se cantaba como mujer.*” Jiménez Moreno (*”Primeros memoriales”* p. 36) translates the same phrase as “*en el* Ciuapan *se cantaba.*”","html":"loose [cotton].
\nAnd her shield had water lily leaves [and flowers];1 it was painted with a waterlily leaf [and flower] design; it was as if painted with a water lily leaf [and flower] design. It was hung with yellow parrot feather pendants.2
\nAnd the yellow parrot feather pendants were made [into tassels] like the forepart of a locust.3 They were [also] made of eagle feathers, of eagle down, and of cut [pieces of] quetzal feathers, and of troupial feathers,4 and of the yellow belly and breast feathers and the ruddy tail feathers of parrots called teoxollotl.5 The shield was rimmed with a circle of yellow parrot feathers.
\nWhen she danced, she kept swinging the shield around in a circle; with it she crouched around.
\nAnd her reed staff6 was hung with papers; it had papers. And they were spattered with liquid rubber; they had rubber. In three places [the staff] had cup-like flowers; it had various cup-like flowers. And where there were the various cup-like flowers, there in each one there was yauhtli. On each of them were [crossed] motmot feathers; they were provided with [crossed] motmot feathers.
\nWhen she danced, she walked leaning on it, she walked thrusting it into the ground. She went marking the dance rhythm with it.7
\nAnd for ten days there sang [and danced] for her in the manner of women8 all who came together, who gathered together of the salt people, the salt makers—the old women, and the mature women, and the maidens, and those who were maidens recently matured.
\nWhile yet there was sun, while it yet shone, then they began to dance. They went arranged, they went arranged each one in order; they were arranged, they were arranged each one in order. It was with cords called “flower cords”
\nCorresponding Spanish text: “Tenja vna rodela pintada, con vnas ojas anchas, de la yerua que se llama atlacueçona.” For atlacuetzonan, Garibay, in Sahagún, Garibay ed., Vol. IV, p. 322, gives “’Madre de las olas’… Prob. Priaropus crassipes.” According to Dibble and Anderson, Book XI, p. 126, the broad round leaves of the atzatzamolli, probably Castalia gracilis, are called atlacueçonan.↩
toztli is identified as adult yellow-headed parrot, Amazona ochrocephala (Gmelin) in Dibble and Anderson, Book XI, p. 23.↩
“con flores en los cabos, hechos de pluma de agujla” in corresponding Spanish text. Chapulin, however, may be an element in jiacachapullo.↩
Identified as Gymnostinops montezuma (Lesson) in Dibble and Anderson, Book XI, p. 20.↩
Cf. ibid., p. 22.↩
yyoztopiltopil in the Real Palacio MS.↩
Cf. tlayaua in Siméon, Dictionnaire: “faire certains gestes en dansant.” The corresponding Spanish text reads: “quando baylaua en el areyto, yuase arrimando al baston, y alcandole [sic] a compas del bayle.”↩
Seler, in Einige Kapitel, p. 133, translates: “Und zehn Tage lang sang (und tanzte) man für sie nach Weiberart.” Garibay in “Relación breve,” p. 300, translates civapan cuicaya as “se cantaba como mujer.” Jiménez Moreno (”Primeros memoriales” p. 36) translates the same phrase as “en el Ciuapan se cantaba.”↩