tres raíces y su cepa, y aquello iba hacia arriba, y punta hacia abaxo. A esta manera de bailar decían "recula".
\nLa diosa Ilamatecuhtli llevaba también una máscara de dos caras, una atrás y otra delante, las bocas muy grandes y los ojos salidos. Llevaba una corona de papel almenada.
\nEn yéndose los dioses para los calpules, descendía luego un sátrapa de lo alto del cu. Venía ataviado como mancebo. Traía una manta cubierta, hecha como red, que llamaban cuechintli. Llevaba en la cabeza unos penachos blancos, y atados los pies, como cascabeles, como pescuños de ciervos. Y llevaba una penca de maguey en la mano, en lo alto della una banderilla de papel. Y llegando abaxo íbase derecho para el pilón, que llaman cuahxicalco. Allí estaba una casilla como jaula, hecha de teas, y lo alto tenía enpapelado como tlapanco. A éste llamababan [sic] la troxe de la diosa Ilamatecuhtli.
\nAquel sátrapa ponía la penca de maguey cabe la troxe, y pegaba huego a la troxe. Y otros sátrapas que allí estaban luego arrancaban a huir por el cu arriba, a porfía. A esta cerimonia llamaban xochipaina.
\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":"d21dc141-c9e3-424b-b6d0-f2e509ee1dcd","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":"three roots and its stalk, and these would be pointing upward, while the top would be pointing downward. They called this type of dancing, “She is backing away.”[^176]\n\nThe goddess Ilamateuctli would also wear a mask that had two faces—one on the back and the other on the front—with very large mouths and bulging eyes. She would wear a crenellated paper crown. \n\nAs the gods departed for the _calpules_,[^177] a satrap would then come down from the top of the _cu_. He would come dressed like a young man. He would be covered in a cape that was made like a net, which they called _cuechintli_. He would wear on his head some white tufts of feather and have some deer hooves tied to his feet, like bells. And he would be carrying in his hand a maguey leaf that had a little paper flag on its tip. And once he reached the bottom [of the steps], he would go straight to the large font that they call _cuauhxicalco_, where there would be a small house—like a cage made out of wooden torches, with its top part papered over, like a _tlapanco_.[^178] They called this [structure] “the grain bin of the goddess Ilamateuctli.”\n\nThat same satrap would place the maguey leaf near the grain bin and then set the grain bin on fire. At that point, the other satraps standing nearby would start running away, racing each other[^179] to the top of the _cu_. They called this ceremony _xochipaina_. \n\n\n[^176]: “She is backing away”: _recula_. The Nahuatl text specifies the goddess as the subject of the verb “to back away” (_motzineoa in Ylamatecutli_), hence the inclusion of the feminine pronoun _she_ in the English translation.\n\n[^177]: That is, to the temples of each _calpolli_ (ward). \n\n[^178]: _tlapanco_: Sahagún uses here the Nahuatl term _tlapanco_. The Nahuatl text clarifies that this structure was built like a grain bin (Nahuatl _cuezcomatl_), which is made like a giant ceramic jar with a thatched roof. The word _tlapanco_ survives today in Mexican Spanish to signify “a cellar.”\n\n[^179]: “Racing each other”: _a porfía_; that is, competitively.","html":"three roots and its stalk, and these would be pointing upward, while the top would be pointing downward. They called this type of dancing, “She is backing away.”1
\nThe goddess Ilamateuctli would also wear a mask that had two faces—one on the back and the other on the front—with very large mouths and bulging eyes. She would wear a crenellated paper crown.
\nAs the gods departed for the calpules,2 a satrap would then come down from the top of the cu. He would come dressed like a young man. He would be covered in a cape that was made like a net, which they called cuechintli. He would wear on his head some white tufts of feather and have some deer hooves tied to his feet, like bells. And he would be carrying in his hand a maguey leaf that had a little paper flag on its tip. And once he reached the bottom [of the steps], he would go straight to the large font that they call cuauhxicalco, where there would be a small house—like a cage made out of wooden torches, with its top part papered over, like a tlapanco.3 They called this [structure] “the grain bin of the goddess Ilamateuctli.”
\nThat same satrap would place the maguey leaf near the grain bin and then set the grain bin on fire. At that point, the other satraps standing nearby would start running away, racing each other4 to the top of the cu. They called this ceremony xochipaina.
\n“She is backing away”: recula. The Nahuatl text specifies the goddess as the subject of the verb “to back away” (motzineoa in Ylamatecutli), hence the inclusion of the feminine pronoun she in the English translation.↩
That is, to the temples of each calpolli (ward).↩
tlapanco: Sahagún uses here the Nahuatl term tlapanco. The Nahuatl text clarifies that this structure was built like a grain bin (Nahuatl cuezcomatl), which is made like a giant ceramic jar with a thatched roof. The word tlapanco survives today in Mexican Spanish to signify “a cellar.”↩
“Racing each other”: a porfía; that is, competitively.↩
[motzi]neoa in Jlama tecutli: yoã xaiacatl cõmaquja, occampa tlachia, texxaxacaltic, tenxaxacalpul, yoan ixtotolonpol, auh in jcpac pantotonti tecpantoc, vipantoc: iuhqujn icpacsuchiuh muchioa:
\nyoan in jquac y, no moteneoa icuezcõ tlatla: in jcuezcon qujchichioaia ocoquavitl in qujnenepanoaia, iuhqujn colotli, ic qujtlaliaia camaqujmjloaia, camapepechoa, vncan qujquetza in quauhxicalco:
\nauh ce tlenamacac in muchichioaia, motelpuchchichioaia, telpuchtli ipan qujça icuechin, yiaztaxel, ichochol itenpilol: vmpa oaleoa in teucalticpac, metl qujvicatz, pãtontli itech icativitz. In oacico tlalchi: njmã ie ic vmpa iauh in quauhxicalco, in vmpa icac cuezcomatl, vmpa contlalia in metl.
\nAuh in ocõtlali, njmã ie ic eoa in tlamacazque, cenca motlaloa, iuhqujn mopapanavitivi: moteneoa, motocaiotia. Suchipaina, quj[tlecavia]
\n","citation_key":"citation_anderson_nahuatl_transcription","citation":{"en":["Nahuatl by Anderson & Dibble 1953–1982"],"es":["Náhuatl por Anderson & Dibble 1953–1982"]}},{"id":"1d7dafd1-4878-4f18-86da-2b3a41334b51","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":"“Ilama tecutli backeth away.” And they put on him a mask; it looked in two directions. It had large lips, it had huge lips; and it had big, round, protruding eyes. And upon his head stood a row of small banners; they stood in line. They seemed like a wreath of flowers upon his head. \n\nAnd when this [took place], it also was said: “Her grain bin burneth.” Her grain bin was fashioned[^5] of pine branches which they joined together; like a framework did they arrange it.[^6] They wrapped paper about it; they caulked it with paper. They placed it there upon the eagle vessel. \n\nAnd a fire priest arrayed himself; he was bedight as a young [warrior]; he imitated a youth [with] his netting cape, his forked heron feather device, his deer hoof [rattles], his lip pendant. He departed from the summit of the temple; he came bringing a maguey leaf; a small banner came standing on it. \n\nWhen he came to arrive on the ground, he thereupon went to the eagle vessel, where stood the grain bin. There he placed the maguey leaf. \n\nAnd when he had placed it there, the offering priests thereupon appeared. They ran fast; it was as if each strove to be first. It was known as, it was called “They run for flowers”; \n\n\n\n\n[^5]: *chichiua* may be rendered in two ways. We have been guided largely by the context. \n\n\n[^6]: In the next chapter (Izcalli) Sahagún notes that “*hazian la estatua del dios, de fuego de arqujtos, y palos atados, vnos con otros, que ellos llaman colotli, que qujere dezir zimbria, o modelo.*”","html":"“Ilama tecutli backeth away.” And they put on him a mask; it looked in two directions. It had large lips, it had huge lips; and it had big, round, protruding eyes. And upon his head stood a row of small banners; they stood in line. They seemed like a wreath of flowers upon his head.
\nAnd when this [took place], it also was said: “Her grain bin burneth.” Her grain bin was fashioned1 of pine branches which they joined together; like a framework did they arrange it.2 They wrapped paper about it; they caulked it with paper. They placed it there upon the eagle vessel.
\nAnd a fire priest arrayed himself; he was bedight as a young [warrior]; he imitated a youth [with] his netting cape, his forked heron feather device, his deer hoof [rattles], his lip pendant. He departed from the summit of the temple; he came bringing a maguey leaf; a small banner came standing on it.
\nWhen he came to arrive on the ground, he thereupon went to the eagle vessel, where stood the grain bin. There he placed the maguey leaf.
\nAnd when he had placed it there, the offering priests thereupon appeared. They ran fast; it was as if each strove to be first. It was known as, it was called “They run for flowers”;
\n