Rig Veda Americanus by Various
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Various >> Rig Veda Americanus
LIBRARY
OF
ABORIGINAL AMERICAN
LITERATURE.
No. VIII.
EDITED BY
D.G. BRINTON
[Illustration: XIPPE TOTEC, GOD OF SILVERSMITHS, IN FULL COSTUME. HYMN
XV.]
BRINTON'S LIBRARY OF
ABORIGINAL AMERICAN LITERATURE.
NUMBER VIII.
RIG VEDA AMERICANUS.
SACRED SONGS OF THE ANCIENT MEXICANS,
WITH A GLOSS IN NAHUATL.
EDITED, WITH A PARAPHRASE, NOTES AND
VOCABULARY,
BY
DANIEL G. BRINTON
1890
PREFACE.
In accordance with the general object of this series of volumes--which
is to furnish materials for study rather than to offer completed
studies--I have prepared for this number the text of the most ancient
authentic record of American religious lore. From its antiquity and
character, I have ventured to call this little collection the RIG VEDA
AMERICANUS, after the similar cyclus of sacred hymns, which are the most
venerable product of the Aryan mind.
As for my attempted translation of these mystic chants I offer it with
the utmost reserve. It would be the height of temerity in me to pretend
to have overcome difficulties which one so familiar with the ancient
Nahuatl as Father Sahagun intimated were beyond his powers. All that I
hope to have achieved is, by the aid of the Gloss--and not always in
conformity to its suggestions--to give a general idea of the sense and
purport of the originals.
The desirability of preserving and publishing these texts seems to me to
be manifest. They reveal to us the undoubtedly authentic spirit of the
ancient religion; they show us the language in its most archaic form;
they preserve references to various mythical cycli of importance to the
historian; and they illustrate the alterations in the spoken tongue
adopted in the esoteric dialect of the priesthood. Such considerations
will, I trust, attract the attention of scholars to these fragments of a
lost literature.
In the appended Vocabulary I have inserted only those words and
expressions for which I can suggest correct--or, at least,
probable--renderings. Others will have to be left to future
investigators.
CONTENTS.
Preface
Introduction
I. Hymn of Huitzilopochtli
II. War Song of the Huitznahuac
III. Hymn of Tlaloc
IV. Hymn to the All-Mother
V. Hymn to the Virgin Mother
VI. Hymn to the God of Fire
VII. Hymn of Mixcoatl
VIII. Hymn to the God of Flowers
IX. Hymn to the Goddess of Artists
X. Hymn to the God of Fishing
XI. Hymn of the Otomi Leader
XII. Hymn to the Goddess of Childbirth
XIII. Hymn to the Mother of Mortals
XIV. Hymn Sung at a Fast every Eight Years
XV. Hymn to a Night God
XVI. Hymn to the Goddess of Food
XVII. Hymn to the Gods of Wine
XVIII. Hymn to the Master of Waters
XIX. Hymn to the God of Flowers
XX. Hymn to the God of Merchants
Glossary
Index
LIST OF ILLUSTRATIONS.
Xippe Totec, God of Silversmiths, in Full Costume, Frontispiece
Priest of Xippe Totec, Drinking and Playing on a Drum, Hymn XV
Chicomecoatl, Goddess of Food and Drink, Hymn XVI
Totochtin, the Rabbits, Gods of the Drunkards, Hymn XVII
Atlaua, Singing and Dancing, Hymn XVIII
INTRODUCTION.
As in a previous number of the Library of Aboriginal American Literature
I have discussed in detail the character of the ancient Mexican poetry,
I shall confine myself at present to the history of the present
collection. We owe its preservation to the untiring industry of Father
Bernardino de Sahagun, one of the earliest missionaries to Mexico, and
the author of by far the most important work on the religion, manners
and customs of the ancient Mexicans.
By long residence and close application Sahagun acquired a complete
mastery of the Nahuatl tongue. He composed his celebrated _Historia de
las Cosas de la Nueva Espana_ primarily in the native language, and from
this original wrote out a Spanish translation, in some parts
considerably abbreviated. This incomplete reproduction is that which was
published in Spanish by Lord Kingsborough and Bustamente, and in a
French rendering with useful notes by Dr. Jourdanet and M. Remi Simeon.
So far as I know, the only complete copy of the Nahuatl original now in
existence is that preserved in the Bibliotheca Laurentio-Mediceana in
Florence, where I examined it in April, 1889. It is a most elaborate and
beautiful MS., in three large volumes, containing thirteen hundred and
seventy-eight illustrations, carefully drawn by hand, mostly colored,
illustrative of the native mythology, history, arts and usages, besides
many elaborate head and tail pieces to the chapters.
There is another Nahuatl MS. of Sahagun's history in the private
library of the King of Spain at Madrid, which I examined in May, 1888,
and of which I published a collation in the _Memoires de la Societe
Internationale des Americanistes_, for that year. It is incomplete,
embracing only the first six books of the _Historia_, and should be
considered merely as a _borrador_ or preliminary sketch for the
Florentine copy. It contains, however, a certain amount of material not
included in the latter, and has been peculiarly useful to me in the
preparation of the present volume, as not only affording another reading
of the text, valuable for comparison, but as furnishing a gloss or
Nahuatl paraphrase of most of the hymns, which does not appear in the
Florentine MS. As evidently the older of the two, I have adopted the
readings of the Madrid MS. as my text, and given the variants of the
Florentine MS. at the end of each hymn.
Neither MS. attempts any translation of the hymns. That at Madrid has no
Spanish comment whatever, while that at Florence places opposite the
hymns the following remarks, which are also found in the printed copies,
near the close of the Appendix of the Second Book of the _Historia_:--
"It is an old trick of our enemy the Devil to try to conceal himself in
order the better to compass his ends, in accordance with the words of
the Gospel, 'He whose deeds are evil, shuns the light.' Also on earth
this enemy of ours has provided himself with a dense wood and a ground,
rough and filled with abysses, there to prepare his wiles and to escape
pursuit, as do wild beasts and venomous serpents. This wood and these
abysses are the songs which he has inspired for his service to be sung
in his honor within the temples and outside of them; for they are so
artfully composed that they say what they will, but disclose only what
the Devil commands, not being rightly understood except by those to whom
they are addressed. It is, in fact, well recognized that the cave, wood
or abysses in which this cursed enemy hides himself, are these songs or
chants which he himself composed, and which are sung to him without
being understood except by those who are acquainted with this sort of
language. The consequence is that they sing what they please, war or
peace, praise to the Devil or contempt for Christ, and they cannot in
the least be understood by other men."
Lord Kingsborough says in a note in his voluminous work on the
_Antiquities of Mexico_ that this portion of Sahagun's text was
destroyed by order of the Inquisition, and that there was a memorandum
to that effect in the Spanish original in the noble writer's possession.
This could scarcely have referred to a translation of the hymns, for
none such exists in any MS. I have consulted, or heard of; and Sahagun
intimates in the passage quoted above that he had made none, on account
of the obscurity of the diction. Neither does any appear in the
Florentine MS., where the text of the hymns is given in full, although
the explanatory Gloss is omitted. This last-mentioned fact has prevented
me from correcting the text of the Gloss, which in some passages is
manifestly erroneous; but I have confined myself to reproducing it
strictly according to the original MS., leaving its correction to those
who will make use of it.
The Florentine MS. has five colored illustrations of the divinities, or
their symbols, which are spoken of in the chants. These are probably
copied from the native hieroglyphic books in which, as we learn from
Sahagun, such ancient songs were preserved and transmitted. These
illustrations I had copied with scrupulous fidelity and reproduced by
one of the photographic processes, for the present work.
Such is the history of this curious document, and with this brief
introduction I submit it to those who will have the patience and skill
to unravel its manifold difficulties.
RIG VEDA AMERICANA
I. _Vitzilopochtli icuic._
1. Vitzilopuchi, yaquetlaya, yyaconay, ynohuihuihuia: anenicuic,
tociquemitla, yya, ayya, yya y ya uia, queyanoca, oya tonaqui, yyaya,
yya, yya.
2. Tetzauiztli ya mixtecatl, ce ymocxi pichauaztecatla pomaya,
ouayyeo, ayyayya.
3. Ay tlaxotla tenamitl yuitli macoc mupupuxotiuh, yautlatoa ya,
ayyayyo, noteuh aya tepanquizqui mitoaya.
4. Oya yeua uel mamauia, in tlaxotecatl teuhtla milacatzoaya,
itlaxotecatl teuhtla milacatzoaya.
5. Amanteca toyauan xinechoncentlalizquiuia ycalipan yauhtiua,
xinechoncentlalizqui.
6. Pipiteca toyauan xinechoncentlalizquiuia: ycalipan, yautiua,
xinechoncentlalizqui.
_Var._ 6. This verse is omitted in the Medicean MS.
_Gloss._
1. In ivitzilopochtli ayac nouiui, _id est_, ayac nechneneuilia, ayac
iuhqui, in iuhqui. Anenicuic, _id est_, amo ca nen nonicuic, in
quetzali, in chalchihuitl in ixquich ynotlatqui, tociquemitl. Queyanoca
oya tonaqui, _id est_, onocatonat, onocatlatuit.
2. _Q.n._, tetzauiztli, _id est_, oquintetzauito, in mixteca inic
oquiyaochiuhqui: oquimanilito in imicxi in pichauazteca, ioan in
mixteca.
3. Ay tlaxotla tenamitl, _q.n._, quitepeua inin tena in aquique
yauchiuallo. Iuitli macoc, _q.n._, oncan quitema in ticatl in ihuitl.
Mopopuxotiuh yauhtlatuaya, _q.n._, inic mopopuxoticalaqui yauc, ioan,
_q.n._, yeuatl quitemaca y yauyutl quitemaceualtia, tepanquizqui,
mitoayaqui yehuatl quichioa yauyutl.
4. Oya yeua huel mamauia, _q.n._, can oc momamauhtiaya in aya
momochiua yauyutl. Teuhtla milacatzoaya _q.n._, in noteuh in opeuh
yauyutl, aocac momauhtica iniquac ynoteuhtli moquetza ynoteuhtica
tlayoa(lli).
5. Amanteca toyauan, _q.n._, yn iyaoan yn aquique in cani
omocentlalique ca in calipan in yautioa ca tlatlaz ynin cal.
6. Pipiteca, toyaoan, xinechoncentlalizque, _q.n._, in pipiteca y
yaoan mochiuhque. Yn calla in mochiua yauyutl in i calipan.
_Translation._
_The Hymn of Huitzilopochtli._
1. Huitzilopochtli is first in rank, no one, no one is like unto him:
not vainly do I sing (his praises) coming forth in the garb of our
ancestors; I shine; I glitter.
2. He is a terror to the Mixteca; he alone destroyed the
Picha-Huasteca, he conquered them.
3. The Dart-Hurler is an example to the city, as he sets to work. He
who commands in battle is called the representative of my God.
4. When he shouts aloud he inspires great terror, the divine hurler,
the god turning himself in the combat, the divine hurler, the god
turning himself in the combat.
5. Amanteca, gather yourselves together with me in the house of war
against your enemies, gather yourselves together with me.
6. Pipiteca, gather yourselves together with me in the house of war
against your enemies, gather yourselves together with me.
_Notes._
Huitzilopochtli was the well-known war-god of the Azteca, whose
functions are described by Sahagun (_Historia_, Lib. I., cap. 1) and
many other writers. The hymn here given is probably the _tlaxotecuyotl_,
which was chanted at the celebration of his feast in the fifteenth month
of the Mexican calendar (see Sahagun, _Historia_, Lib. II., cap. 34).
The word means "his glory be established." It was commenced at sunset
and repeated till sunrise.
1. "In the garb of our ancestors" (_to-citli-quemitl_). The high
priest appeared in the insignia of Quetzalcoatl, which, says Sahagun,
"were very gorgeous." (_Hist._, Lib. II., Appendix.)
2. Mixteca, plural of Mixtecatl, an inhabitant of Mixtecapan, near the
Pacific. The Huasteca, a nation of Maya lineage, lived on the Gulf
coast.
3. The god was called the Hurler, as he was believed to hurl the
lightning serpent (the _xiuhcoatl_).
5. Sahagun recites the legends about the Amanteca (_Historia_, Lib.
IX., cap. 18). Here the name refers to the inhabitants of the quarter
called Amantlan.
6. _Pipiteca_, a _nomen gentile_, referring doubtless to a certain
class of the hearers.
This hymn may be compared to another, descriptive of the same divinity,
preserved in Sahagun's MS. in Madrid. It is as follows, with my
translation by its side.
Vitzilopuchtli Huitzilopochtli,
Can maceualli Only a subject,
Can tlacatl catca. Only a mortal was.
Naualli A magician,
Tetzauitl A terror,
Atlacacemelle A stirrer of strife,
Teixcuepani A deceiver,
Quiyocoyani in yaoyotl A maker of war,
Yautecani An arranger of battles,
Yautlatoani; A lord of battles;
Ca itechpa mitoaya And of him it was said
Tepan quitlaza That he hurled
In xiuhcoatl His flaming serpent,
Immamalhuaztli His fire stick;
Quitoznequi yaoyotl Which means war,
Teoatl tlachinolli. Blood and burning;
Auh iniquac ilhuiq'xtililoya And when his festival was celebrated,
Malmicouaya Captives were slain,
Tlaaltilmicoaya Washed slaves were slain,
Tealtilaya impochteca. The merchants washed them.
Auh inic mochichiuaya: And thus he was arrayed:
Xiuhtotonacoche catca With head-dress of green feathers,
Xiuhcoanauale Holding his serpent torch,
Xiuhtlalpile Girded with a belt,
Matacaxe Bracelets upon his arms,
Tzitzile Wearing turquoises,
Oyuvale. As a master of messengers.
When in Florence, in 1889, I had an accurate copy made of the Nahuatl
text and all the figures of the first book of Sahagun's History. The
colored figure of Huitzilopochtli is in accordance with the above
description.
II. _Uitznaoac yautl icuic._
1. Ahuia tlacochcalco notequioa ayayui nocaquia tlacatl, ya
nechyapinauia, ayaca nomati, nitetzauiztli, auia, ayaca nomati niya,
yautla, aquitoloc tlacochcalco notequioa, iuexcatlatoa ay nopilchan.
2. Ihiya quetl tocuilechcatl quauiquemitl nepapan oc uitzetla.
3. Huia oholopa telipuchtla, yuiyoc yn nomalli, ye nimauia, ye
nimauia, yuiyoc yn nomalli.
4. Huia uitznauac telepochtla yuiyoc, yn nomalli, ye nimauia, ye
nimauia yuiyoc, ynomalli.
5. Huia ytzicotla telipochtla, yuiyoc, yn nomalli, ye nimauia, ye
nimauia, yuiyoc yn nomalli.
6. Uitznauac teuaqui, machiyotla tetemoya, ahuia oyatonac, yahuia
oyatonac, machiyotla tetemoya.
7. Tocuilitla teuaqui, machiyotla tetemoya, ahuia oyatonac, yahuia
oyatonac uia, machiyotla tetemoya.
_Var._ 6. Vitzanaoac teuhoaqui machiotla. _MS. Med._
_The War Song of the Huitznahuac._
1. What ho! my work is in the hall of arms, I listen to no mortal, nor
can any put me to shame, I know none such, I am the Terror, I know none
other, I am where war is, my work is said to be in the hall of arms, let
no one curse my children.
2. Our adornment comes from out the south, it is varied in color as
the clothing of the eagle.
3. Ho! ho! abundance of youths doubly clothed, arrayed in feathers,
are my captives, I deliver them up, I deliver them up, my captives
arrayed in feathers.
4. Ho! youths for the Huitznahuac, arrayed in feathers, these are my
captives, I deliver them up, I deliver them up, arrayed in feathers, my
captives.
5. Youths from the south, arrayed in feathers, my captives, I deliver
them up, I deliver them up, arrayed in feathers, my captives.
6. The god enters, the Huitznahuac, he descends as an example, he
shines forth, he shines forth, descending as an example.
7. Adorned like us he enters as a god, he descends as an example, he
shines forth, he shines forth, descending as an example.
_Notes._
There is no Gloss to this hymn, but its signification seems clear.
_Huitznahuac_ was a name applied to several edifices in the great temple
at Tenochtitlan, as we are informed at length by Sahagun. The word is a
locative from _huitznahua_. This term means "magicians from the south"
or "diviners with thorns," and was applied in the Quetzalcoatl mythical
cyclus to the legendary enemies of Huitzilopochtli, whom he is said to
have destroyed as soon as he was born. (See my discussion of this myth
in _Proceedings of the American Philosophical Society_ for 1887.)
Apparently to perpetuate the memory of this exploit, the custom was, at
the festival of Huitzilopochtli, for the slaves who were to be
sacrificed to form two bands, one representing the Huitznahua and the
other the partisans of the god, and to slaughter each other until the
arrival of the god Paynal put an end to the combat (Sahagun,
_Historia_, Lib. II., cap. 34). The song here given belongs to this
portion of the ancient rite.
1. The _tlacochcalli_, "house of arrows" (_tlacochtli_, arrow,
_calli_, house), was a large hall in the temple of Huitzilopochtli where
arrows, spears and other arms were kept (Sahagun, Lib. VIII., cap. 32).
2. The "adornment from the south" refers to the meaning of the name
_Huitznahua_. (See Glossary.)
3. Sahagun (_ubi sup._) informs us that the slaves condemned to die
fought against free warriors, and when any of the latter were captured
they were promptly put to death by their captors.
III. _Tlalloc icuic._
1. Ahuia Mexico teutlaneuiloc amapanitla anauhcampa, ye moquetzquetl,
aoyequene y chocaya.
2. Ahuia anneuaya niyocoloc, annoteua eztlamiyaual, aylhuicolla nic
yauicaya teutiualcoya.
3. Ahuia annotequiua naualpilli aquitlanella motonacayouh tic yachiuh
quitla catlachtoquetl, can mitziyapinauia.
4. Ahuia cana catella nechyapinauia anechyaca uelmatia, anotata yn
oquacuillo ocelocoatl aya.
5. Ahuia tlallocana, xiuacalco aya quizqui aquamotla, acatonalaya.
6. Ahuia xiyanouia, nahuia xiyamotecaya ay poyauhtla, ayauh
chicauaztica, ayauicalo tlallocanaya.
7. Aua nacha tozcuecuexi niyayalizqui aya y chocaya.
8. Ahuia queyamica xinechiuaya, temoquetl aitlatol, aniquiya
ilhuiquetl, tetzauhpilla niyayalizqui aya y chocaya.
9. Ahuia nauhxiuhticaya itopanecauiloc ayoc ynomatia, ay motlapoalli,
aya ximocaya ye quetzalcalla nepanauia ay yaxcana teizcaltequetl.
10. Ahuia xiyanouia, ahuia xiyamotequaya ay poyauhtla, ayauh
chicauaztlica ayauicallo tlalloca.
_Var._ 1. Amopanitl.
_Gloss._
1. Auia Mexico teutlanauiloc, _q.n._, yn Mexico onetlanauiloc in
tlaloc. Amapanitl annauhcampa ye moquetzquetl, _q.n._, amapanitl
nauhcampa omoquequetz. Aoyeque naichocaya, _id est_, itlaocuyaya.
2. Auia anneuaya niyocoloc, _q.n._, ynehuatl ni tlalloc oniyocoloc.
Annoteua eztlamiyaual, _q.n._, noteu eztlamiyaualtitiuh. Aylhuicolla,
_q.n._, yn umpa ilhuicololo. Inic yauicaya teuitualcoya, _q.n._ in
teuitualoc.
3. Auia annotequiua naualpilli, _q.n._ in tinoteuh naualpilli, _i.e._,
tlalloc. Aquitlanella motonacayouh, _q.n._, ca nelli teuatl
ticmochiuilia in motonacayouh. Catlachtoquetl, _q.n._, teuatl
ticmochiuilia auh in aquin timitzpinauia.
4. Ahuia cana catella nechyapinauia, _q.n._, catel nechpinauia ca
monechuelmati. Annotata ynoquacuillo ocelocoatl aya, _q.n._, yn notaua
ioan yna quacuiloa yn oceloquacuili.
5. Ahuia tlallocana xiuacalco, _q.n._, in tlalocan xiuhcalco, _id
est_, acxoyacalco. Ayaquizqui, _q.n._, umpa ualquizque. Aquamotla
acatonalaya, _q.n._, y notauan yn oquacuiloan acatonal.
6. Ahuia xicanouia nauia xiyamotecaya, _q.n._, xiuian ximotecati. Ay
poyauhtlan, _q.n._, in umpa poyauhtlan tepeticpac. Ayauh chicauaztica
ayauicalo tlalocana, _q.n._, ayauh chicauaztica in auicalo tlalocan.
7. Aua nach tozcuecuexi niyayalizqui, _q.n._, y nach tozcuecuex y ye
niauh niman ye choca.
8. Ahuia queyamica xinechiuaya, _q.n._, quenamican y ya niauh aco
anechtemozque. Aniquiya ilhuiquetl tetzapilla niyayalizqui ayaichocaya,
_q.n._, onquilhui yn tetzapilli ye niyauh niman ye choca.
9. Ahuia nauhxiuhticaya nitopanecauiloc, _q.n._, nauhxiuhtica in
topanecauiloz, _id est_, in tepan mochiuaz. Ayoc inomatia ay
motlapoalli, _q.n._, aocmo nomatia iniquin motlapoalpan. Ca oximoac ye
quetzalcalla nepanauia, _q.n._, ye qualcan ye netlamachtiloyan ynemca.
Ay yaxcana teizcaltiquetl, _q.n._, iniaxca inic oteizcalli.
10. Ahuia xiyanouia, _q.n._, xiuia. Auia xiya motecaya ay poyauhtla,
_q.n._, ximotecati in umpa poyauhtla. Ayauh chicauaztica auicallo
tlalocan, _q.n._, ayauh chicauaztica in auicallo in umpa tlallocan.
_The Hymn of Tlaloc._
1. In Mexico the god appears; thy banner is unfolded in all
directions, and no one weeps.
2. I, the god, have returned again, I have turned again to the place
of abundance of blood-sacrifices; there when the day grows old, I am
beheld as a god.
3. Thy work is that of a noble magician; truly thou hast made thyself
to be of our flesh; thou hast made thyself, and who dare affront thee?
4. Truly he who affronts me does not find himself well with me; my
fathers took by the head the tigers and the serpents.
5. In Tlalocan, in the verdant house, they play at ball, they cast the
reeds.
6. Go forth, go forth to where the clouds are spread abundantly, where
the thick mist makes the cloudy house of Tlaloc.
7. There with strong voice I rise up and cry aloud.
8. Go ye forth to seek me, seek for the words which I have said, as I
rise, a terrible one, and cry aloud.
9. After four years they shall go forth, not to be known, not to be
numbered, they shall descend to the beautiful house, to unite together
and know the doctrine.
10. Go forth, go forth to where the clouds are spread abundantly,
where the thick mist makes the cloudy house of Tlaloc.
_Notes._
The god Tlaloc shared with Huitzilopochtli the highest place in the
Mexican Pantheon. He was the deity who presided over the waters, the
rains, the thunder and the lightning. The annual festival in his honor
took place about the time of corn-planting, and was intended to secure
his favor for this all-important crop. Its details are described at
great length by Diego Duran, _Historia de Nueva Espana_, cap. 86, and
Sahagun, _Historia_, Lib. II., cap. 25, and elsewhere. His name is
derived from _tlalli_, earth. _Tlalocan_, referred to in v. 5, "the
place of Tlaloc," was the name of a mountain east of Tenochtitlan, where
the festival of the god was celebrated; but it had also a mythical
meaning, equivalent to "the earthly Paradise," the abode of happy souls.
It will be observed that v. 10 is a repetition of v. 6. The word
_ayauicalo_ refers to the _ayauhcalli_, "house of mist," the home of the
rain god, which Sahagun informs us was represented at the annual
festival by four small buildings near the water's edge, carefully
disposed to face the four cardinal points of the compass (Sahagun, _ubi
supra_).
In v. 8 the expression _tetzauhpilli_ (_tetzauhqui_, to frighten) may
be explained by the figure of Tlaloc, whose statue, says Duran, was that
of _un espantable monstruo, la cara muy fea_ (_ibid._).
The compound in v. 10, _nauhxiuhtica_, "after four years," appears to
refer to the souls of the departed brave ones, who, according to Aztec
mythology, passed to the heaven for four years and after that returned
to the terrestrial Paradise,--the palace of Tlaloc. (See my paper, _The
Journey of the Soul_, in _Proceedings of the Numismatic and Antiquarian
Society of Philadelphia, 1883_.)
IV. _Teteuynan ycuic._
1. Ahuiya cocauic xochitla oya cueponca yeua tonana teumechaue
moquicican tamoanchan, auayye, auayya, yyao, yya, yyeo, aye ayo, ayy
ayyaa.
2. Cocauic xochitla oya moxocha yeua tonana, teumechaue, moquicica
tamoanchan, ouayye, auayya, yyao, yya, yyeo, ayo aye, ayya, ayyaa.
3. Ahuia iztac xochitla, oya cueponca yeua tonana teumechaue moquicica
tamoanchan, ouayye, auayya, yyao yya, yyeo, ayeaye, ayya ayyaa.
4. Ahuiya iztac xochitla oya moxocha yeua tonana teumechaue moquicica
tamoanchan, ouayye, auayya, yyao, yya, yyeo, aye aye, ayya ayyaa.
5. Ahuia ohoya teutl ca teucontli paca tona aya, itzpapalotli, auayye,
yyao, yya, yyeo, ayyaa.
6. Ao, auatic ya itaca chicunauixtlauatla macatl yyollo, ica
mozcaltizqui tonan tlaltecutli, ayao, ayyao, ayyaa.
7. Aho, ye yancuic ticatla ye yancuic yuitla oya potoniloc yn
auicacopa acatl xamontoca.
8. Aho macatl mochiuhca teutlalipan mitziya noittaco, yeua xiuhnello,
yeua mimichan.
_Var._ 7. Xamantoca. 8. Yehoa.
_Gloss._
1. _Q.n._, in tonan ocueponya umpa oalquiz yn tamoanchan.
2. _Q.n._, in amona ca izcui yn xochiuh ca umpa oquiz yn tmoanchan.
3. _Q.n._ In tonan ocuepo in umpa oquiz tamoanchan.
4. _Q.n._, in amona iztac in oxochiuh yn umpa oniquiz tamoanchan.