que se llaman tequihuaque, y tras ellos otros que se llaman telpuchyaque, y tras ellos otros que se llaman tiachcahuan, y luego los mancebos que se llaman telpupuchti. También en esta danza entraban mujeres, mozas públicas. Y iban asidos de las manos, una mujer entre dos hombres, y un hombre entre dos mujeres, a manera de las danzas que hace en Castilla la Vieja la gente popular. Y danzaban culebreando y cantando, y los que hacían el son para la danza y regían el canto estaban juntos, arrimados a un altar redondo que llamaban mumuztli.
\nEn esta danza no hacían ademanes ningunos con los pies ni con las manos, ni con las cabezas, ni hacían vueltas ningunas, más de ir con pasos llanos al compás del son y del canto, muy aspacio. Nadie osaba hacer ningún bollicio, ni atravesar por el espatio donde danzaban. Todos los danzantes iban con
\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":"6bd14e3c-e51b-417d-b6f2-e70b5c67a83e","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":"called _tequihuahqueh_ would come after them, and behind them others called _telpochyahqueh_, and behind them others called _tiachcahuan_, and then the young men called _telpopochtin_. Women, public young women, would also participate in this dance. And they would dance holding hands: one woman in between two men and one man in between two women, like the dances that the common people perform in Old Castile. And they would dance while singing and doing a snaking motion. And those who performed the music for the dance and directed the singing would be grouped together, right next to a round altar that they called _momoztli_.\n\nDuring this dance, they would not perform any gestures with their feet, hands, or heads, nor would they do any turns: nothing except executing simple steps to the rhythm of the music and of the singing—and very slowly. No one would dare to create any hubbub or to cut across the space where they were dancing. All the dancers would move with","html":"called tequihuahqueh would come after them, and behind them others called telpochyahqueh, and behind them others called tiachcahuan, and then the young men called telpopochtin. Women, public young women, would also participate in this dance. And they would dance holding hands: one woman in between two men and one man in between two women, like the dances that the common people perform in Old Castile. And they would dance while singing and doing a snaking motion. And those who performed the music for the dance and directed the singing would be grouped together, right next to a round altar that they called momoztli.
\nDuring this dance, they would not perform any gestures with their feet, hands, or heads, nor would they do any turns: nothing except executing simple steps to the rhythm of the music and of the singing—and very slowly. No one would dare to create any hubbub or to cut across the space where they were dancing. All the dancers would move with
\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":"dc613ba0-6992-456e-98b4-2043b0666ef6","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":"nepantla tonatiuh mec cujcoianolo, vel ixqujch qujcencaoa, in telpuchtli, in teachcaoan, in telpuchiaque, in tequjoaque, in quaquachictin, in otomj: vncan in netotilo in teuitoalco, yn itoalco Vitzilopuchtli. \n\nAuh in teiacana, iehoantin in quaquachicti, in veuei tiacaoã yn iuhquj cecentecuti momatia, yn amo mitzacujlia iaoc, in tecuepanj, in temalacachoanj. \n\nNo iehoantin in cioa mjtotiaia, amo iehoan in teichpuchoan, iehoantin in mahaujltianj, yn avianjme intzatzalan mantiuj, inmatitech maantiuj, mocujtlanaoa, çan cenpanti, çan cenpantitiuj, mococolotiuj, acan cotonj, acan momacaoa vipantiuj. \n\nAuh in cujcanjme, in qujncujcatia, in qujntlatzotzonjlia, qujnueuetzotzonjlia, çan nonqua, çan chico, caltech in manj, emomoztitech: auh in momoztli, çan iaoaltic, teujlacachtic, malacachtic, yn j[tech,]","html":"nepantla tonatiuh mec cujcoianolo, vel ixqujch qujcencaoa, in telpuchtli, in teachcaoan, in telpuchiaque, in tequjoaque, in quaquachictin, in otomj: vncan in netotilo in teuitoalco, yn itoalco Vitzilopuchtli.
\nAuh in teiacana, iehoantin in quaquachicti, in veuei tiacaoã yn iuhquj cecentecuti momatia, yn amo mitzacujlia iaoc, in tecuepanj, in temalacachoanj.
\nNo iehoantin in cioa mjtotiaia, amo iehoan in teichpuchoan, iehoantin in mahaujltianj, yn avianjme intzatzalan mantiuj, inmatitech maantiuj, mocujtlanaoa, çan cenpanti, çan cenpantitiuj, mococolotiuj, acan cotonj, acan momacaoa vipantiuj.
\nAuh in cujcanjme, in qujncujcatia, in qujntlatzotzonjlia, qujnueuetzotzonjlia, çan nonqua, çan chico, caltech in manj, emomoztitech: auh in momoztli, çan iaoaltic, teujlacachtic, malacachtic, yn j[tech,]
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"f9ae2303-b83b-4a3e-b1de-62d48619a4e8","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":"midday came, then[^17] there were singing and dancing. Verily they ornamented all the youths, the masters of the youths, the leaders of the youths, the seasoned warriors, the shorn ones, the Otomí. There in the god’s courtyard, in the courtyard of [the Temple of] Uitzilopochtli, there was dancing. \n\nAnd those who led were the shorn ones, the great, brave warriors, each of whom was considered [equal to] a battle squadron, who did not hide themselves behind something in war; they who turned [the enemy] back, they who wheeled them around. \n\nAlso the women danced—not one’s daughters [but] the courtesans, the pleasure girls. They went, each one, between [pairs of the men]; they each went grasped in their hands; they were grasped about the waist. They were all in line; they went all in line; they went winding to and fro. Nowhere did the line break; nowhere were hands loosed. They went in order. \n\nAnd the singers, those who sang for them, those who beat the drums for them, who beat the ground drums for them, were quite apart, quite to one side. They were against a building, against a round altar [or pyramid]. And the altar was completely round, circular, like a spindle whorl. \n\n\n\n\n[^17]: For *mec* the *Real Palacio MS* has *nimã ye yc*.","html":"midday came, then1 there were singing and dancing. Verily they ornamented all the youths, the masters of the youths, the leaders of the youths, the seasoned warriors, the shorn ones, the Otomí. There in the god’s courtyard, in the courtyard of [the Temple of] Uitzilopochtli, there was dancing.
\nAnd those who led were the shorn ones, the great, brave warriors, each of whom was considered [equal to] a battle squadron, who did not hide themselves behind something in war; they who turned [the enemy] back, they who wheeled them around.
\nAlso the women danced—not one’s daughters [but] the courtesans, the pleasure girls. They went, each one, between [pairs of the men]; they each went grasped in their hands; they were grasped about the waist. They were all in line; they went all in line; they went winding to and fro. Nowhere did the line break; nowhere were hands loosed. They went in order.
\nAnd the singers, those who sang for them, those who beat the drums for them, who beat the ground drums for them, were quite apart, quite to one side. They were against a building, against a round altar [or pyramid]. And the altar was completely round, circular, like a spindle whorl.
\nFor mec the Real Palacio MS has nimã ye yc.↩