Popol Vuh: The Mayan Book of the Dawn of Life

«Mayan fire¬ places have three hearthstones arranged in a triangle, and we know that the contemporary Quiche have a hearthstone constellation consisting of a triangle of three stars in Orion» — Tedlock describe el fogón maya de tres piedras y dice que los quichés de hoy tienen una constelación del fogón, un triángulo de tres estrellas en Orión; el troceo parte *fireplaces* con el guion ¬

«The Mam, like the writers of the Popol Vuh, say that com originated from the split in that mountain» — Tedlock pone en el mismo renglón a los mam de hoy y a los escritores del Popol Vuh: unos y otros dicen que el maíz salió de la hendidura de ese monte; el escaneo imprime *com* por *corn*

«I remain grateful to Andres Xiloj Peruch of Momostenango, who not only traveled with me through the Quiche text of the Popol Vuh but taught Barbara Tedlock and myself how to read dreams, omens, and the rhythms of the Mayan calendar» — Tedlock nombra a Andres Xiloj Peruch de Momostenango como quien recorrió con él el texto quiché y enseñó a Barbara Tedlock y a él mismo a leer sueños, presagios y los ritmos del calendario maya

«Today he continues as the mother-father or spiritual head of his lineage, and recently he accepted a new burden, becoming the mother-father for all the people of his district of Mo¬ mostenango» — Tedlock dice el cargo vivo de Xiloj: madre-padre o cabeza espiritual de su linaje, y desde hace poco madre-padre de todo su distrito de Momostenango; el troceo parte *Momostenango* con el guion ¬

«As a diviner he is, by profession, an interpreter of dif¬ ficult texts. From the moment he first saw the Quiche text of the Popol Vuh, he was intrigued by its patterns of darkness and light» — Tedlock describe el oficio de Xiloj como adivino, intérprete de textos difíciles por profesión, y dice qué le atrajo del texto quiché: sus patrones de oscuridad y luz; el troceo parte *difficult* con el guion ¬

«From the beginning of our work on the Popol Vuh, Xiloj felt certain that if one only knew how to read it perfectly, borrowing the knowledge of the lords of the days, the moist breezes, and the distant lightning, it should reveal everything under the sky and on the earth, all the way out to the four comers» — Tedlock consigna la certeza de Xiloj: que leído a la perfección, con el saber prestado de los señores de los días, las brisas húmedas y el relámpago lejano, el libro revelaría todo bajo el cielo y sobre la tierra; el escaneo imprime *comers* por *corners*

«As a help to my own reading and pondering of the book, he suggested an addition to the prayer that daykeepers recite when they go to public shrines. It goes like this» — Tedlock dice de dónde sale la oración que sigue: un añadido que Xiloj le propuso a la plegaria que los daykeepers rezan al ir a los santuarios públicos

«Make my guilt vanish, Heart of Sky, Heart of Earth; do me a favor, give me strength, give me courage in my heart, in my head, since you are my mountain and my plain; may there be no falsehood and no stain, and may this reading of the Popol Vuh come out clear as dawn, and may the sifting of ancient times be complete in my heart, in my head; and make my guilt vanish, my grandmothers, grandfathers» — la oración que Xiloj propuso, dirigida al Corazón del Cielo y al Corazón de la Tierra y a las abuelas y abuelos, pide que la lectura del Popol Vuh salga clara como el amanecer y que el cribado de los tiempos antiguos se complete en corazón y cabeza

«and however many souls of the dead there may be, you who speak with the Heart of Sky and Earth, may all of you together give strength to the reading I have undertaken» — el cierre de la misma oración de Xiloj llama a cuantas almas de los muertos haya, las que hablan con el Corazón del Cielo y de la Tierra, a dar fuerza a la lectura emprendida

«The contemporary Quiches of Momostenango reckon this as the lake of the south, one of four sacred lakes that mark the four sides of their world» — el pie de foto de Tedlock dice que los quichés de Momostenango de hoy cuentan el lago Atitlan como el lago del sur, uno de cuatro lagos sagrados que marcan los cuatro lados de su mundo

«Like contemporary Quiche matchmakers and midwives, both of them are ajq’ij or “daykeepers,” diviners who know how to interpret the auguries given by thirteen day numbers and twenty day names that combine to form a calendrical cycle lasting 260 days» — Tedlock equipara a Xpiyacoc y Xmucane con los casamenteros y parteras quichés de hoy: unos y otros son *ajq’ij* o daykeepers, adivinos que leen los augurios de trece números y veinte nombres de día combinados en un ciclo de 260 días

«Following divinatory methods that are still in use among Quiche daykeepers, they give their approval» — Tedlock dice que la aprobación que dan Xpiyacoc y Xmucane a los humanos de madera sigue métodos adivinatorios todavía en uso entre los daykeepers quichés

«Divinatory methods that are still in USE: A divination in progress on top of the mountain called Tohil’s Place. At left is the client, Lucas Pacheco Benitez, himself a daykeeper. Spread out on the stone at lower right is the paraphernalia of the daykeeper who is divining for him, set up for a counting of days» — el pie de foto de Tedlock describe una adivinación en curso en el monte llamado Lugar de Tohil, con el cliente Lucas Pacheco Benitez —él mismo daykeeper— y los enseres del adivino dispuestos para una cuenta de días; el escaneo imprime *USE* en versalitas

«Burning in the background are offerings of candles and copal incense» — el mismo pie de foto consigna las ofrendas que arden al fondo de esa adivinación: velas e incienso de copal

«At the earthly level, among contemporary Quiches, the Pleiades symbolize a handful of seeds, and their disappearance in the west marks the proper time for the sowing of crops» — Tedlock dice la lectura terrestre de las Pléyades entre los quichés de hoy: simbolizan un puñado de semillas y su desaparición por el poniente marca el tiempo de la siembra

«Having been summoned to the underworld, Hunahpu and Xbalanque go to take leave of their grandmother, and in the process they demon¬ strate a harvest ritual that Quiches follow to this day» — Tedlock dice que al despedirse de su abuela los gemelos ejecutan a la vista un ritual de cosecha que los quichés siguen hasta hoy; el troceo parte *demonstrate* con el guion ¬

«The play between Aj and ja is familiar to contemporary Quiche daykeepers, who use it when they explain to clients that the day Aj is portentous in matters affecting households» — Tedlock consigna que el juego entre *Aj* y *ja* les es familiar a los daykeepers quichés de hoy, que lo usan para explicar a sus clientes que el día Aj es portentoso en asuntos de casa

«Contemporary Quiche daykeepers: All the adults in this picture are daykeepers; in addition, the woman is a midwife, the man wearing a hat is a matchmaker, and the man at right is a singer and prayer maker. The man bending over toward the child is Andres Xiloj» — el pie de foto de Tedlock identifica a los adultos de la imagen como daykeepers y da el oficio de cada uno —partera, casamentero, cantor y rezador— y nombra a Andres Xiloj entre ellos

«Contemporary Quiche daykeepers continue to reckon the solar dimension of the Mayan calen¬ dar; in the year 2000, for example, they will expect the old man to arrive on February 25, which will fall on One Thought» — Tedlock dice que los daykeepers quichés de hoy siguen contando la dimensión solar del calendario maya y da el ejemplo del año 2000, con la llegada del viejo el 25 de febrero, día Uno Pensamiento; el troceo parte *calendar* con el guion ¬

«To this day, Hunahpu days are set aside for the veneration of the dead, and graveyards are called by the same word (jom) as the ball courts of the Popol Vuh» — Tedlock consigna dos continuidades: los días Hunahpu apartados hasta hoy para venerar a los muertos, y los cementerios llamados con la misma palabra, *jom*, que las canchas de pelota del Popol Vuh

«Contemporary Quiches regard the full moon as a nocturnal equivalent of the sun, pointing out that it has a full disk, is bright enough to travel by, and goes clear across the sky in the same time it takes the sun to do the same thing» — Tedlock dice cómo ven los quichés de hoy la luna llena: equivalente nocturno del sol, por el disco completo, por bastar su luz para caminar y por cruzar el cielo en el mismo tiempo

«They are called “mother-fathers”: Andres Xiloj (at left), who read through the Popol Vuh text with the present translator and provided numerous comments, is himself a mother-father, or patrilineage head. He is shown here at his house in Momostenango, with his son Anselmo and his daughter-in-law Manuela» — el pie de foto de Tedlock presenta a Andres Xiloj como quien leyó con él el texto del Popol Vuh y aportó numerosos comentarios, y lo nombra madre-padre o cabeza de patrilinaje, fotografiado en su casa de Momostenango

«as in the case of the men who occupy such positions today, they are called “mother-fathers,” since in ritual matters they serve as symbolic androgy¬ nous parents to everyone in their respective lineages» — Tedlock equipara a los cuatro primeros hombres con las cabezas de patrilinaje quichés de hoy: unos y otros se llaman madre-padre porque en lo ritual hacen de padres andróginos simbólicos de todo su linaje; el troceo parte *androgynous* con el guion ¬

«He may be encountered in forests and caves, or on dark nights and in dreams; he appears in contemporary masked dramas dressed entirely in red, the color of dawn» — Tedlock dice dónde se le encuentra —bosques, cuevas, noches oscuras y sueños— y que aparece en las danzas de máscaras de hoy vestido todo de rojo, color del amanecer

«All Mesoamerican peoples shared the 260-day calendar whose auguries were first read by Xpiyacoc and Xmucane, and they used its rhythms to mea¬ sure off those of the sun, and moon, and planets» — Tedlock adjudica a todos los pueblos mesoamericanos el calendario de 260 días cuyos augurios leyeron primero Xpiyacoc y Xmucane, y dice para qué lo usaban: medir con sus ritmos los del sol, la luna y los planetas; el troceo parte *measure* con el guion ¬

«they become the first prostitutes, or what Quiches call “barkers of shins» — Tedlock traduce como *barkers of shins* el nombre quiché de las prostitutas y dice que Lust Woman y Wailing Woman fueron las primeras

«gamekeeper, with volcanic concretions, fulgurites, and meteorites that resemble animals in his personal care» — Tedlock dice que White Sparkstriker sigue hasta hoy de guardabosques, con concreciones volcánicas, fulguritas y meteoritos que parecen animales a su cuidado; la frase abre en la plana anterior, donde queda de guardián de los animales de piedra

«Today Quiches ideally list either nine or thirteen generations when they invoke their ancestors in prayer» — Tedlock dice cuántas generaciones enumeran hoy los quichés al invocar a sus antepasados en oración: idealmente nueve o trece

«If we look for masters of ceremonies among the contemporary Quiche we find the professional matchmakers, who preside over the feasts where marriage arrangements are completed» — Tedlock busca el equivalente vivo de los Maestros de Ceremonias y lo halla en los casamenteros profesionales, que presiden los banquetes donde se cierra el arreglo del matrimonio

«The combination of “Mother” and “Father” suggests the contemporary daykeepers called mother-fathers, who serve as the ritual heads of patrilineages; it is from their ranks that matchmak¬ ers are drawn» — Tedlock enlaza el par Madre y Padre del título con los daykeepers llamados madre-padre, cabezas rituales de patrilinaje, de cuyas filas salen los casamenteros; el troceo parte *matchmakers* con el guion ¬

«Moreover, matchmakers are admired above all other pub¬ lic performers for their eloquence» — Tedlock dice qué admira sobre todo en los casamenteros: su elocuencia por encima de cualquier otro ejecutante público; el troceo parte *public* con el guion ¬

«Today, even when Quiche daykeepers go to a remote mountaintop shrine, sending up great clouds of incense for multitudes of deities and ancestors, they sometimes begin and end by running through an “Our Father” and a “Hail Mary” and crossing themselves» — Tedlock describe lo que hacen hoy los daykeepers quichés en un santuario remoto de cumbre: entre nubes de incienso para multitudes de deidades y antepasados, a veces abren y cierran con un padrenuestro y un avemaría y se persignan

«Between these protective spells daykeepers are left to enter, in peace, a world whose obligations they know to be older than those of Christianity, obligations to the mountains and plains where they continue to live and to all those who have ever lived there before them» — Tedlock dice qué queda entre esos dos conjuros protectores: que los daykeepers entren en paz a un mundo cuyas obligaciones saben más viejas que las del cristianismo, con los montes y llanos donde viven y con cuantos vivieron antes allí

«To this day the Quiche Maya think of dualities in general as comple¬ mentary rather than opposed, interpenetrating rather than mutually ex» — Tedlock dice cómo piensan hasta hoy los quiché maya las dualidades: complementarias y no opuestas, interpenetrantes y no mutuamente excluyentes; el troceo parte *complementary* y *exclusive* con el guion ¬

«Mayans are always alert to the reassertion of the patterns of the past in present events, but they do not expect the past to repeat itself exactly» — Tedlock dice qué esperan y qué no los mayas del pasado: atentos a que sus patrones reaparezcan en lo presente, sin esperar repetición exacta

«On the holy day Eight Monkey in the year Eleven Thought, June 22, 1984, Menotomy, Massachusetts On the holy day One Hunahpu in the year Nine Tooth, July 24, 1995, East Aurora, New York» — Tedlock firma la Introduction con dos fechas dobles, cada una por su día sagrado y su año del calendario maya junto a la fecha del calendario común y el lugar

«i H IS is THE BEGINNING OF the Ancient Word, here in this place called Quiche. Here we shall inscribe, we shall implant the Ancient Word, the potential and source for everything done in the citadel of Quiche, in the nation of Quiche people» — Parte Uno, sección *This is the beginning of the Ancient Word*: el libro se abre declarando dónde se inscribe y qué inscribe, la Palabra Antigua como potencial y fuente de todo lo hecho en la ciudadela de Quiche; el troceo deja la capitular suelta y el renglón sale como *i H IS is*

«And here we shall take up the demonstration, revelation, and account of how things were put in shadow and brought to light by the Maker, Modeler, named Bearer, Begetter, Hunahpu Possum, Hunahpu Coyote, Great White Peccary, Coati, Sovereign Plumed Serpent, Heart of the Lake, Heart of the Sea, plate shaper, bowl shaper, as they are called, also named, also described as the midwife, matchmaker named Xpiyacoc, Xmucane, defender, protector, twice a midwife, twice a matchmaker, as is said in the words of Quiche» — la misma sección enumera los nombres de quienes pusieron las cosas en sombra y las trajeron a la luz, del Maker, Modeler a Xpiyacoc y Xmucane, partera y casamentero dos veces

«They accounted for everything—and did it, too—as enlightened beings, in enlightened words. We shall write about this now amid the preaching of God, in Christendom now» — la voz del libro dice que sus dioses dieron cuenta de todo como seres iluminados, y a renglón seguido que se escribe ahora en medio de la prédica de Dios, en la cristiandad

«We shall bring it out because there is no longer a place to see it, a Council Book, a place to see “The Light That Came from Beside the Sea,” the account of “Our Place in the Shadows.” a place to see “The Dawn of Life,” as it is called» — la misma apertura da la razón de escribir: que ya no hay dónde ver el Council Book, ni La Luz que Vino de Junto al Mar, ni el relato de Nuestro Lugar en las Sombras, ni El Amanecer de la Vida

«mother-father of life, of humankind, giver of breath, giver of heart, bearer, upbringer in the light that lasts of those born in the light, begotten in the light; worrier, knower of everything, whatever there is: sky-earth, lake-sea» — la letanía de títulos del Maker, Modeler lo llama madre-padre de la vida, dador de aliento y de corazón, y conocedor de todo cuanto hay

«There is not yet one person, one animal, bird, fish, crab, tree, rock, hollow, canyon, meadow, forest. Only the sky alone is there; the face of the earth is not clear. Only the sea alone is pooled under all the sky; there is nothing whatever gathered together. It is at rest; not a single thing stirs. It is held back, kept at rest under the sky» — la misma sección enumera lo que todavía no hay —ni persona ni animal ni árbol ni roca ni cañada— y deja solo el cielo y el mar remansado, sin que nada se mueva

«Whatever might be is simply not there: only murmurs, ripples, in the dark, in the night» — la voz del libro repite la fórmula de lo que no hay y deja solo murmullos y rizos en la oscuridad, en la noche

«Only the Maker, Modeler alone. Sovereign Plumed Serpent, the Bearers, Begetters are in the water, a glittering light. They are there, they are enclosed in quetzal feathers, in blue-green» — la misma sección coloca al Maker, Modeler y a la Sovereign Plumed Serpent en el agua, luz reluciente, envueltos en plumas de quetzal y en verdiazul

«Thus the name, “Plumed Serpent.” They are great knowers, great thinkers in their very being» — la voz del libro deriva de ahí el nombre Plumed Serpent y los declara grandes conocedores y grandes pensadores en su ser mismo

«Sovereign Plumed Serpent: Here he is seated, holding a snake in his hand. On his back he wears a quetzal bird, with its head behind his, its wings at the level of his shoulders, and its tail hanging down to the ground» — el pie de lámina de Tedlock describe la figura de la Sovereign Plumed Serpent tomada del Códice de Dresde, con la serpiente en la mano y el quetzal a la espalda

«And of course there is the sky, and there is also the Heart of Sky. This is the name of the god, as it is spoken» — la sección nombra al Heart of Sky como nombre del dios, tal como se pronuncia

«And then came his word, he came here to the Sovereign Plumed Serpent, here in the blackness, in the early dawn. He spoke with the Sovereign Plumed Serpent, and they talked, then they thought, then they worried. They agreed with each other, they joined their words, their thoughts. Then it was clear, then they reached accord in the light, and then humanity was clear, when they conceived the growth, the genera¬ tion of trees, of bushes, and the growth of life, of humankind, in the blackness, in the early dawn, all because of the Heart of Sky, named Hurricane» — el libro cuenta el encuentro y el acuerdo de las palabras y los pensamientos de los dos, y que de ahí quedó clara la humanidad, todo por obra del Heart of Sky llamado Hurricane; el troceo parte *generation* con el guion ¬

«Let it be this way, think about it: this water should be removed, emptied out for the formation of the earth’s own plate and platform, then should come the sowing, the dawning of the sky-earth. But there will be no high days and no bright praise for our work, our design, until the rise of the human work, the human design,” they said» — respuesta en el mismo diálogo: quitar el agua para formar el plato y la plataforma de la tierra, y la advertencia de que no habrá días altos ni alabanza clara hasta que se alce la obra y el diseño humanos

«And then the earth arose because of them, it was simply their word that brought it forth. For the forming of the earth they said “Earth.” It arose suddenly, just like a cloud, like a mist, now forming, unfolding» — la voz del libro dice cómo surge la tierra: por sola palabra de ellos, que dijeron Tierra, y de golpe, como nube y como neblina

«The Heart of Sky, named Hurricane: Here he peers out from among swirls of smoke and flame (or clouds and lightning) that come from the obsidian mirror on his own forehead» — el pie de lámina de Tedlock describe al Heart of Sky llamado Hurricane asomando entre volutas de humo y llama que salen del espejo de obsidiana de su frente

«It takes a long perfor¬ mance and account to complete the lighting of all the sky-earth: the fourfold siding, fourfold cornering, measuring, fourfold staking» — la misma apertura dice qué hace falta para completar el encenderse del cielo-tierra entero y enumera las operaciones de medida: los cuatro lados, las cuatro esquinas, la cuerda partida y tendida; el troceo parte *performance* con el guion ¬ y el pasaje se repite en las notas

«Now it still ripples, now it still murmurs, ripples, it still sighs, still hums, and it is empty under the sky» — Parte Uno, sección *This is the account*: el relato del origen empieza en presente, con el mar que aún se riza y murmura bajo un cielo vacío; el pasaje vuelve citado en las notas y el ancla va en la primera aparición

«Thunderbolt Hurricane comes first, the second is Newborn Thunderbolt, and the third is Sudden Thunderbolt» — el libro ordena los tres que son el Heart of Sky: Thunderbolt Hurricane, Newborn Thunderbolt y Sudden Thunderbolt; el pasaje vuelve citado en las notas

«How should the sowing be, and the dawning? Who is to be the provider, nurturer» — pregunta del Heart of Sky a la Sovereign Plumed Serpent al concebirse el amanecer de la vida: cómo será la siembra y el amanecer y quién será el proveedor y sustentador; el pasaje vuelve citado en las notas

«Thunderbolt: A lowland Maya Chak or Thunderbolt god, holding a lightning-striking axe in his left hand and a representation of the sound of thunder in his right» — el pie de lámina de Tedlock describe al dios Chak o Thunderbolt de las tierras bajas, con hacha de rayo en la izquierda y la representación del sonido del trueno en la derecha

«It was good that you came, Heart of Sky, Hurricane, and Newborn Thunderbolt, Sudden Thunderbolt. Our work, our design will turn out well,” they said» — la Plumed Serpent da por buena la llegada del Heart of Sky, Hurricane y los dos Thunderbolt y anuncia que la obra y el diseño saldrán bien

«Such was the formation of the earth when it was brought forth by the Heart of Sky, Heart of Earth, as they are called, since they were the first to think of it» — la voz del libro adjudica la formación de la tierra al Heart of Sky y al Heart of Earth por haber sido los primeros en pensarla

«The sky was set apart, and the earth was set apart in the midst of the waters» — la misma sección cierra la formación con el cielo y la tierra puestos aparte en medio de las aguas

«Now THEY PLANNED THE ANIMALS OF THE MOUNTAINS, all the guardians of the forests, creatures of the mountains: the deer, birds, pumas, jaguars, serpents, rattlesnakes, fer-de-lances, guardians of the bushes» — Parte Uno, sección *Now they planned the animals of the mountains*: el libro enumera los guardianes de bosques y matorrales que los dioses planean, del venado y las aves a las serpientes de cascabel y las nauyacas

«Why this pointless humming? Why should there merely be rustling beneath the trees and bushes» — queja de un Bearer, Begetter que abre esa sección: por qué ese zumbido sin sentido y ese mero susurro bajo árboles y matorrales

«as it is called. There is the original book and ancient writing, but the one who reads and assesses it has a hidden identity» — la voz del libro dice a la vez que el libro original y la escritura antigua existen y que quien los lee y evalúa tiene identidad oculta; la frase vuelve casi igual al cerrar el libro y la cita Tedlock en su Introduction

«Then the mountains were separated from the water, all at once the great mountains came forth. By their genius alone, by their cutting edge alone they carried out the conception of the mountain-plain, whose face grew instant groves of cypress and pine» — la sección cuenta la separación de los montes y el agua y dice por qué medio: por genio solo y filo solo, con bosques instantáneos de ciprés y pino sobre la faz del monte-llano; el pasaje vuelve citado en las notas

«You, the deer: sleep along the rivers, in the canyons. Be here in the meadows, in the thickets, in the forests, multiply yourselves. You will stand and walk on all fours,” they were told» — orden de los dioses al venado en la sección *Now they planned the animals of the mountains*: dormir junto a ríos y cañadas, multiplicarse y andar en cuatro patas

«You, precious birds: your nests, your houses are in the trees, in the bushes. Multiply there, scatter there, in the branches of trees, the branches of bushes,” the deer and birds were told» — orden de los dioses a las aves en la misma sección: nidos y casas en árboles y matorrales, y multiplicarse y desparramarse allí

«So it is that the nests of the animals are on the earth, given by the Bearer, Begetter» — la voz del libro deriva del reparto de moradas que los nidos de los animales estén en la tierra por don del Bearer, Begetter

«And then the deer and birds were told by the Maker, Mod¬ eler, Bearer, Begetter: “Talk, speak out. Don’t moan, don’t cry out. Please talk, each to each, within each kind, within each group,” they were told—the deer, birds, puma, jaguar, serpent» — Parte Uno, sección *And then the deer and birds were told*: el mandato de hablar, cada cual dentro de su especie y su grupo, dirigido a venado, aves, puma, jaguar y serpiente; el troceo parte *Modeler* con el guion ¬

«Name now our names, praise us. We are your mother, we are your father. Speak now: ‘Hurricane, Newborn Thunderbolt, Sudden Thunderbolt, Heart of Sky, Heart of Earth, Maker, Modeler, Bearer, Begetter,’ speak, pray to us, keep our days,” they were told» — el mandato de los dioses a los animales: nombrar sus nombres, alabarlos, rezarles y guardar sus días; la letanía va de Hurricane al Bearer, Begetter

«But it didn’t turn out that they spoke like people: they just squawked, they just chattered, they just howled. It wasn’t apparent what language they spoke; each one gave a different cry» — resultado del mandato: los animales graznan, parlotean y aúllan, sin que se vea qué lengua hablan

«It hasn’t turned out that our names have been named. Since we are their mason and sculptor, this will not do,” the Bearers and Begetters said among themselves» — los dioses se dicen entre sí que sus nombres no fueron nombrados y que, siendo ellos albañil y escultor, eso no puede quedar así

«What you feed on, what you eat, the places where you sleep, the places where you stay, whatever is yours will remain in the canyons, the forests. Although it turned out that our days were not kept, nor did you pray to us, there may yet be strength in the keeper of days, the giver of praise whom we have yet to make. Just accept your service, just let your flesh be eaten» — la sentencia de los dioses sobre los animales: quedarse en cañadas y bosques y servir de alimento, mientras quede esperanza en el guardador de días que aún han de hacer

«Just let your flesh be EATEN: A turkey (left) and deer (right) caught in bent-tree snares» — el pie de lámina de Tedlock identifica el guajolote y el venado atrapados en trampas de árbol doblado, del Códice de Madrid

«And so their flesh was brought low: they served, they were eaten, they were killed—the animals on the face of the earth» — cierre de la sección: la carne de los animales queda abajada, sirven, son comidos y muertos

«It must simply be tried again. The time for the planting and dawning is nearing. For this we must make a provider and nurturer. How else can we be invoked and remembered on the face of the earth? We have already made our first try at our work and design, but it turned out that they didn’t keep our days, nor did they glorify us» — Parte Uno, sección *Again there comes an experiment with the human work*: los dioses declaran que hay que intentarlo otra vez y por qué, para tener quien los invoque y recuerde sobre la faz de la tierra

«So then comes the building and working with earth and mud. They made a body, but it didn’t look good to them. It was just separating, just crumbling, just loosening, just softening, just disintegrating, and just dissolving» — la misma sección describe el cuerpo hecho de tierra y lodo, que se separa, desmorona, afloja, ablanda, desintegra y disuelve

«It seems to be dwindling away, so let it just dwindle. It can’t walk and it can’t multiply, so let it be merely a thought,” they said» — sentencia del albañil y el escultor sobre el hombre de lodo: que mengüe, que quede como mero pensamiento, porque ni anda ni se multiplica

«We’ll just tell Xpiyacoc, Xmucane, Hunahpu Possum, Hunahpu Coy¬ ote, to try a counting of days, a counting of lots,” the mason and sculptor said to themselves» — los dioses deciden encargar a Xpiyacoc y Xmucane una cuenta de días y una cuenta de suertes; el troceo parte *Coyote* con el guion ¬

«When Hurricane had spoken with the Sovereign Plumed Serpent, they invoked the daykeepers, diviners, the midmost seers» — la misma sección dice a quiénes invocan Hurricane y la Sovereign Plumed Serpent: a los daykeepers, adivinos, videntes del medio

«There is yet to find, yet to discover how we are to model a person, construct a person again, a provider, nurturer, so that we are called upon and we are recognized: our recompense is in words» — petición de los dioses a los adivinos: falta hallar cómo modelar a la persona proveedora y sustentadora, porque su paga está en palabras

«So be it, fulfill your names: Hunahpu Possum, Hunahpu Coyote, Bearer twice over. Begetter twice over, Great Peccary, Great Coati, lapidary, jeweler, sawyer, carpenter, plate shaper, bowl shaper, incense maker, master craftsman, Grandmother of Day, Grandmother of Light» — la letanía de oficios con que los dioses conjuran a Xpiyacoc y Xmucane a cumplir sus nombres: lapidario, joyero, aserrador, carpintero, hacedor de incienso, maestro artesano

«You have been called upon because of our work, our design. Run your hands over the kernels of corn, over the seeds of the coral tree, just get it done, just let it come out whether we should carve and gouge a mouth, a face in wood,” they told the daykeepers» — la instrucción concreta a los daykeepers: pasar las manos sobre los granos de maíz y las semillas del árbol de coral para sacar si conviene labrar boca y cara en madera

«And then comes the borrowing, the counting of days; the hand is moved over the corn kernels, over the coral seeds, the days, the lots» — descripción del acto adivinatorio: el préstamo, la cuenta de los días, la mano movida sobre los granos y las semillas

«This is the grandfather, this is the master of the coral seeds: Xpiyacoc is his name» — el libro reparte los oficios: Xpiyacoc es el abuelo y maestro de las semillas de coral

«And this is the grandmother, the daykeeper, diviner who stands behind others: Xmucane is her name» — el libro da a Xmucane el oficio de abuela, daykeeper y adivina que está detrás de los demás

«Just let it be found, just let it be discovered, say it, our ear is listening, may you talk, may you speak, just find the wood for the carving and sculpting by the builder, sculptor. Is this to be the provider, the nurturer when it comes to the planting, the dawning? You com kernels, you coral seeds, you days, you lots: may you succeed, may you be accurate» — la fórmula que Xpiyacoc y Xmucane dicen al tender los días, pidiendo a los granos de maíz, las semillas de coral, los días y las suertes que acierten; el escaneo imprime *com* por *corn* en un renglón

«Have shame, you up there, Heart of Sky: attempt no deception before the mouth and face of Sovereign Plumed Serpent» — advertencia de los adivinos al Heart of Sky dentro de la misma fórmula: que no intente engaño ante la boca y la cara de la Sovereign Plumed Serpent

«It is well that there be your manikins, woodcarvings, talking, speaking, there on the face of the earth» — veredicto de la adivinación: que haya maniquíes y tallas de madera que hablen sobre la faz de la tierra

«But there was nothing in their hearts and nothing in their minds, no memory of their mason and builder. They just went and walked wherever they wanted. Now they did not remember the Heart of Sky» — el libro dice el defecto de los maniquíes de madera: nada en corazones ni mentes, sin memoria de su albañil y constructor

«And so they fell, just an experiment and just a cutout for humankind. They were talking at first but their faces were dry» — cierre del episodio: los de madera caen como mero experimento y recorte de humanidad, hablando al principio pero con las caras secas

«Its head wouldn’t turn, either. Its face was just lopsided» — el libro sigue con los defectos del hombre de lodo: la cabeza que no gira y la cara ladeada; la frase sigue en la plana siguiente

«face was just twisted. It couldn’t look around. It talked at first, but senselessly. It was quickly dissolving in the water» — la continuación añade la cara torcida, la vista que no alcanza, el habla sin sentido y la disolución rápida en el agua

«HEN COMES THE NAMING OF THOSE WHO ARE THE MIDMOST SEERS: the “Grandmother of Day, Grandmother of Light,” as the Maker, Mod¬ eler called them. These are names of Xpiyacoc and Xmucane» — Parte Uno, sección *Then comes the naming of those who are the midmost seers*: el libro da como nombres de Xpiyacoc y Xmucane los de Abuela del Día y Abuela de la Luz; el troceo deja suelta la capitular y el renglón abre en *HEN COMES*

«They had no blood, no lymph. They had no sweat, no fat. Their complexions were dry, their faces were crusty. They flailed their legs and arms, their bodies were deformed» — el libro enumera lo que faltaba a los hombres de madera: sangre, linfa, sudor y grasa, con las tez seca y las caras costrosas

«There came a rain of resin from the sky. There came the one named Gouger of Faces: he gouged out their eyeballs. There came Sudden Bloodletter: he snapped off their heads. There came Crunching Jaguar: he a±e their flesh. There came Tearing Jaguar: he tore them open» — la letanía de los cuatro que vienen en el diluvio: lluvia de resina, Gouger of Faces, Sudden Bloodletter, Crunching Jaguar y Tearing Jaguar; el escaneo imprime *a±e* por *ate*

«He gouged out their eyeballs: A human eye in the beak of a king vulture, still attached by the o-ptic nerve. From the Madrid Codex» — el pie de lámina de Tedlock identifica el ojo humano en el pico de un zopilote rey, aún prendido del nervio óptico, del Códice de Madrid; el escaneo imprime *o-ptic* partido

«Their faces were smashed because they were incompetent before their mother and their father, the Heart of Sky, named Hurricane» — el libro da la razón del destrozo: la incompetencia de los de madera ante su madre y su padre, el Heart of Sky llamado Hurricane

«Everything spoke: their water jars, their tortilla griddles, their plates, their cooking pots, their dogs, their grinding stones, each and every thing crushed their faces» — el libro enumera lo que habla y aplasta las caras de los de madera: jarras, comales, platos, ollas, perros y piedras de moler

«You caused us pain, you ate us, but now it is you whom we shall eat» — lo que dicen los perros y guajolotes a los hombres de madera al volverse contra ellos

«We were undone because of you» — el canto de las piedras de moler contra los hombres de madera, con el *r-r-rip* y el *r-r-rub* de cada día en la oscuridad y en el alba

«This was the service we gave you at first, when you were still people, but today you will learn of our power. We shall pound and we shall grind your flesh,” their grinding stones told them» — las piedras de moler anuncian que ahora molerán la carne de quienes antes las hacían servir

«Why is it you can’t seem to give us our food? We just watch and you just keep us down, and you throw us around. You keep a stick ready when you eat, just so you can hit us. We don’t talk, so we’ve received nothing from you. How could you not have known? You did know that we were wasting away there, behind you» — la queja de los perros: falta de comida, golpes con el palo a la hora de comer y el no haber recibido nada por no hablar

«So, this very day you will taste the teeth in our mouths. We shall eat you,” their dogs told them, and their faces were crushed» — los perros anuncian que ese mismo día los hombres de madera probarán sus dientes; el tramo cruza el corte de chunk

«Pain! That’s all you’ve done for us. Our mouths are sooty, our faces are sooty. By setting us on the fire all the time, you burn us. Since we felt no pain, you try it. We shall burn you,” all their cooking pots said, crushing their faces» — la queja de comales y ollas: bocas y caras tiznadas por el fuego, y el anuncio de que ahora quemarán ellos

«The stones, their hearthstones were shooting out, coming right out of the fire, going for their heads, causing them pain. Now they run for it, helter-skelter» — el episodio de las piedras del fogón que salen disparadas del fuego contra las cabezas de los hombres de madera

«Their hearthstones were shooting out: According to Classic Maya inscriptions, three hearthstones entered the sky and formed a new constellation at the end of the world that preceded the present one. The glyph at left (from a stele at Quirigua) reads yax ox tunal, “new three-stone place,” and repeats the sign for “stone” (tun) three times; the glyph at right (from a stele at Tonina) adds signs for smoke and flames to the stones» — el pie de lámina de Tedlock adjudica a las inscripciones mayas clásicas que tres piedras del fogón entraron al cielo y formaron una constelación nueva al fin del mundo anterior, y lee los dos glifos

«Such was the scattering of the human work, the human design. The people were ground down, overthrown. The mouths and faces of all of them were destroyed and crushed. And it used to be said that the mon¬ keys in the forests today are a sign of this. They were left as a sign because wood alone was used for their flesh by the builder and sculptor. So this is why monkeys look like people: they are a sign of a previous human work, human design—mere manikins, mere woodcarvings» — cierre del episodio: los monos de los bosques de hoy quedan como señal de aquella obra humana hecha solo de madera; el troceo parte *monkeys* con el guion ¬

«HIS WAS WHEN THERE WAS JUST A TRACE OF EARLY DAWN on the face of the earth, there was no sun. But there was one who magnified himself; Seven Macaw is his name» — Parte Uno, sección *This was when there was just a trace of early dawn*: no había sol y uno se engrandecía a sí mismo, Seven Macaw; el troceo deja suelta la capitular

«The sky-earth was already there, but the face of the sun-moon was clouded over. Even so, it is said that his light provided a sign for the people who were flooded. He was like a person of genius in his being» — el libro dice que el cielo-tierra ya estaba pero la cara del sol-luna estaba nublada, y que se dice que la luz de Seven Macaw sirvió de señal a los anegados

«I am great. My place is now higher than that of the human work, the human design. I am their sun and I am their light, and I am also their months» — Seven Macaw se proclama sol, luz y meses de la gente, y su lugar por encima de la obra y el diseño humanos

«So be it: my light is great. I am the walkway and I am the foothold of the people, because my eyes are of metal. My teeth just glitter with jewels, and turquoise as well; they stand out blue with stones like the face of the sky» — Seven Macaw funda su grandeza en el metal de sus ojos y en los dientes de joyas y turquesa, azules como la cara del cielo

«It is not true that he is the sun, this Seven Macaw, yet he magnifies himself, his wings, his metal. But the scope of his face lies right around his own perch; his face does not reach everywhere beneath the sky. The faces of the sun, moon, and stars are not yet visible, it has not yet dawned» — la voz del libro niega la pretensión de Seven Macaw: el alcance de su cara no pasa de su propia percha y las caras del sol, la luna y las estrellas aún no se ven

«And so Seven Macaw puffs himself up as the days and the months, though the light of the sun and moon has not yet clarified. He only wished for surpassing greatness» — la voz del libro dice qué quería Seven Macaw: grandeza superior, hinchándose como días y meses antes de que sol y luna aclararan

«The manikins, woodcarvings were killed when the Heart of Sky devised a flood for them. A great flood was made; it came down on the heads of the manikins, woodcarvings» — Parte Uno, sección *Again there comes a humiliation*: el Heart of Sky idea el diluvio que mata a los maniquíes y tallas de madera

«The man’s body was carved from the wood of the coral tree by the Maker, Modeler. And as for the woman, the Maker, Modeler needed the hearts of bulrushes for the woman’s body» — el libro dice de qué se hicieron el hombre y la mujer de madera: él del palo de coral, ella del corazón de la espadaña; el pasaje vuelve citado en las notas

«They want to climb up on the houses, but they fall as the houses collapse. They want to climb the trees; they’re thrown off by the trees» — la letanía de huidas fallidas de los hombres de madera: las casas se derrumban y los árboles los echan; la frase sigue en la plana siguiente con las cuevas que se cierran

«They want to get inside caves, but the caves slam shut in their faces» — el cierre de esa letanía en la plana siguiente: las cuevas se cierran en sus caras

«And this nose of mine shines white into the distance like the moon» — Seven Macaw remata su proclama con la nariz que brilla blanca como la luna; la frase sigue en la plana siguiente con el nido de metal que alumbra la tierra

«Since my nest is metal, it lights up the face of the earth. When I come forth before my nest, I am like the sun and moon for those who are born in the light, begotten in the light. It must be so, because my face reaches into the distance,” says Seven Macaw» — la continuación de la proclama de Seven Macaw: su nido de metal alumbra la tierra y él es sol y luna para los nacidos en la luz

«l ERE IS THE BEGINNING OF THE DEFEAT AND DESTRUCTION OF the DAY OF Seven Macaw by the two boys, the first named Hunahpu and the second named Xbalanque. Being gods, the two of them saw evil in his attempt at self-magnification before the Heart of Sky» — Parte Dos, sección *Here is the beginning of the defeat and destruction of the day of Seven Macaw*: el libro nombra a los dos muchachos, Hunahpu y Xbalanque, y dice que por ser dioses vieron el mal en la autoexaltación de Seven Macaw; el troceo deja la capitular suelta y el renglón abre en *l ERE*

«It’s no good without life, without people here on the face of the earth.” “Well then, let’s try a shot» — diálogo de los dos muchachos que abre el episodio: que no hay bien sin vida ni gente sobre la tierra, y la decisión de tirarle

«We could make him ill, then put an end to his riches, his jade, his metal, his jewels, his gems, the source of his brilliance. Everyone might do as he does, but it should not come to be that fiery splendor is merely a matter of metal» — los muchachos declaran el motivo del ataque: que el esplendor de fuego no llegue a ser mero asunto de metal, aunque todos quieran hacer como Seven Macaw

«And this Seven Macaw has two sons: the first of these is Zipacna, and the second is the Earthquake. And Chimalmat is the name of their mother, the wife of Seven Macaw» — el libro nombra a los dos hijos de Seven Macaw, Zipacna y Earthquake, y a su madre Chimalmat

«And this is Zipacna, this is the one to build up the great mountains: Fireplace, Hunahpu, Cave by the Water, Xcanul, Macamob, Huliznab, as the names of the mountains that were there at the dawn are spoken. They were brought forth by Zipacna in a single night» — el libro adjudica a Zipacna la construcción de los montes del amanecer y los nombra uno por uno, hechos en una sola noche

«And now this is the Earthquake. The mountains are moved by him; the mountains, small and great, are softened by him. The sons of Seven Macaw did this just as a means of self-magnification» — el libro adjudica a Earthquake el mover y ablandar los montes, y declara que los hijos de Seven Macaw lo hacían por engrandecerse

«Here am I: I am the sun,” said Seven Macaw. “Here am I: I am the maker of the earth,” said Zipacna» — las dos proclamas encadenadas: Seven Macaw se dice el sol y Zipacna el hacedor de la tierra

«The boys talked: Hunahpu (left) and Xbalanque (right). The latter, known as Tax Balam in lowland Maya texts, has patches of jaguar skin on his face and body. Classic Maya painting from the cave at Naj Tunich, Guatemala» — el pie de lámina de Tedlock identifica a Hunahpu y Xbalanque en una pintura maya clásica de la cueva de Naj Tunich, y dice que a Xbalanque, llamado Yax Balam en textos mayas de las tierras bajas, le pintan manchas de piel de jaguar

«As for me, I bring down the sky, I make an avalanche of all the earth,” said Earthquake. The sons of Seven Macaw are alike, and like him: they got their greatness from their father» — la tercera proclama, la de Earthquake, y el juicio del libro: los hijos son como el padre y de él sacaron su grandeza

«And the two boys saw evil in this, since our first mother and father could not yet be made. Therefore deaths and disappearances were planned by the two boys» — el libro da el motivo de las muertes planeadas: que la primera madre y el primer padre aún no podían hacerse

«And when Seven Macaw arrived, perching over his meal, the nance, it was then that he was shot by Hunahpu. The blowgun shot went right to his jaw, breaking his mouth. Then he went up over the tree and fell flat on the ground» — el cerbatanazo de Hunahpu da en la quijada de Seven Macaw y lo tumba del árbol

«He was shot by Hunahpu: Seven Macaw is perched at the top of the tree at left. Xbalanque is hidden behind its trunk, with only his pawlike hand showing just below the fruit that dangles from the base of the tree’s right limb. Hunahpu, with his blowgun on target, crouches at right, shaded by a straw hat. From a Classic Maya vase» — el pie de lámina de Tedlock describe la escena en un vaso maya clásico, con Xbalanque tras el tronco y Hunahpu agazapado bajo un sombrero de paja

«Then Seven Macaw tore it right out of Hunahpu. Even so, the boys did well: the first round was not their defeat by Seven Macaw» — el libro consigna que Seven Macaw arranca el brazo de Hunahpu y aun así no da la primera ronda por derrota de los muchachos

«What is it but those two tricksters! They’ve shot me, they’ve dislo¬ cated my jaw. All my teeth are just loose, now they ache. But once what I’ve got is over the fire—hanging there, dangling over the fire—then they can just come and get it. They’re real tricksters!” said Seven Macaw, then he hung up the arm of Hunahpu» — Seven Macaw cuenta a Chimalmat lo ocurrido y cuelga el brazo de Hunahpu sobre el fuego como cebo; el troceo parte *dislocated* con el guion ¬

«And then they invoked a grandfather, a truly white-haired grandfather, and a grand¬ mother, a truly humble grandmother—just bent-over, elderly people. Great White Peccary is the name of the grandfather, and Great White Coati is the name of the grandmother» — los muchachos invocan a la pareja de ancianos, Great White Peccary y Great White Coati; el troceo parte *grandmother* con el guion ¬

«Please travel with us when we go to get our arm from Seven Macaw; we’ll just follow right behind you. You’ll tell him: ‘Do forgive us our grandchildren, who travel with us. Their mother and father are dead, and so they follow along there, behind us. Perhaps we should give them away, since all we do is pull worms out of teeth.’ So we’ll seem like children to Seven Macaw, even though were giving you the instructions,” the two boys told them» — la instrucción de los muchachos a los ancianos: hacerlos pasar por nietos huérfanos de saca-gusanos de dientes para parecer niños ante Seven Macaw

«We shall explain the defeat of each one of those who engaged in self¬ magnification. This is the great tree of Seven Macaw, a nance, and this is the food of Seven Macaw. In order to eat the fruit of the nance he goes up the tree every day. Since Hunahpu and Xbalanque have seen where he feeds, they are now hiding beneath the tree of Seven Macaw, they are keeping quiet here, the two boys are in the leaves of the tree» — Parte Dos, sección *And here is the shooting of Seven Macaw by the two boys*: el libro anuncia la derrota de cada uno de los que se engrandecieron y abre con la escena en presente del nance y los dos muchachos callados entre las hojas; el troceo parte *self-magnification* con el guion ¬ y Tedlock cita el pasaje del árbol en su Introduction

«Where are you headed, our grandfather?” said the lord. “We’re just making our living, your lordship» — el diálogo de Seven Macaw con los ancianos disfrazados a la puerta de su casa

«No, they’re not, your lordship. They’re our grandchildren, our de¬ scendants, but it is nevertheless we who take pity on them. The bit of food they get is the portion we give them, your lordship,” replied the grandmother and grandfather» — los ancianos sostienen ante Seven Macaw que los dos son nietos a quienes mantienen por lástima; el troceo parte *descendants* con el guion ¬

«I implore you, please take pity on me! What sweets can you make, what poisons can you cure?” said the lord» — Seven Macaw, vencido por el dolor de dientes, pide ayuda a los supuestos curanderos

«We just pull the worms out of teeth and we just cure eyes. We just set bones, your lordship,” they replied» — los ancianos declaran su oficio: sacar gusanos de dientes, curar ojos y componer huesos

«Very well, please cure my teeth. They really ache, every day. It’s insufferable! I get no sleep because of them—and my eyes. They just shot me, those two tricksters! Ever since it started I haven’t eaten be¬ cause of it. Therefore take pity on me! Perhaps it’s because my teeth are loose now» — Seven Macaw cuenta su mal y a quién culpa: los dos embusteros que lo balearon; el troceo parte *because* con el guion ¬

«But perhaps it’s not good for my teeth to come out—since I am, after all, a lord. My finery is in my teeth—and my eyes» — la objeción de Seven Macaw a que le saquen los dientes: que su gala está en ellos y en sus ojos, y que él es señor

«But then we’ll put in a replacement. Ground bone will be put back in.” And this is the “ground bone”: it’s only white com» — la treta de los ancianos: el hueso molido que ofrecen de reemplazo es solo maíz blanco; el escaneo imprime *com* por *corn*

«And when the teeth of Seven Macaw came out, it was only white corn that went in as a replacement for his teeth—just a coating shining white, that corn in his mouth. His face fell at once, he no longer looked like a lord. The last of his teeth came out, the jewels that had stood out blue from his mouth» — el resultado del reemplazo: la cara de Seven Macaw se cae de golpe y con el último diente se van las joyas azules

«And when the eyes of Seven Macaw were cured, he was plucked around the eyes, the last of his metal came off» — la segunda cura: a Seven Macaw le desplumaron el contorno de los ojos y se le fue el último metal

«Such was the loss of the riches of Seven Macaw: only the doctors got the jewels and gems that had made him arrogant, here on the face of the earth» — cierre del episodio: las joyas y gemas que lo hacían arrogante quedaron para los médicos

«The genius of the grandmother, the genius of the grandfather did its work when they took back their arm: it was implanted and the break got well again. Just as they had wished the death of Seven Macaw, so they brought it about» — el libro adjudica al genio de los ancianos la reimplantación del brazo de Hunahpu y la muerte querida de Seven Macaw

«After this the two boys went on again. What they did was simply the word of the Heart of Sky» — el libro declara que lo hecho por los dos muchachos fue sin más la palabra del Heart of Sky

«And this is Zipacna, bathing on the shore. Then the Four Hundred Boys passed by dragging a log, a post for their hut. The Four Hun¬ dred Boys were walking along, having cut a great tree for the lintel of their hut» — la escena en presente de Zipacna bañándose en la orilla cuando pasan los Cuatrocientos Muchachos arrastrando un tronco; el troceo parte *Hundred* con el guion ¬

«This is Zipacna, bathing on the shore: With bands of sky above and water below, this lowland version of Zipacna takes the form of a caiman. From a Classic Maya vase» — el pie de lámina de Tedlock dice que esta versión de Zipacna en las tierras bajas toma forma de caimán, entre bandas de cielo y de agua

«We should kill him, because what he does is no good. He lifted that log all by himself. Let’s dig a big hole for him, and then we’ll throw him down in the hole. We’ll say to him: ‘Why are you spilling dirt in the hole?’ And when he’s wedged down in the hole we’ll wham a big log down behind him. Then he should die in the hole,” said the Four Hundred Boys» — el plan de los Cuatrocientos Muchachos: cavarle un hoyo y dejarle caer encima un tronco

«But the only hole he dug was for his own salvation. He realized that he was to be killed, so he dug a separate hole to one side, he dug a second hole for safety» — el libro dice que Zipacna cavó su propio escape: un segundo hoyo a un lado, porque entendió que iban a matarlo

«But he’s not digging at the bottom of the hole, in his own grave; rather, the hole he’s digging is for his own salvation» — la voz del libro insiste en presente en que Zipacna no cava su tumba sino su salvación

«just looked on while the last of his greatness left him. It was just as Hunahpu and Xbalanque had intended» — el libro consigna que Seven Macaw solo miró irse su grandeza, tal como lo habían dispuesto los muchachos; la frase abre al otro lado del corte de chunk

«here are the deeds of Zipacna, the first son of Seven Macaw. “I am the maker of mountains,” says Zipacna» — Parte Dos, sección *And here are the deeds of Zipacna*: el primer hijo de Seven Macaw se proclama hacedor de montes; el troceo deja suelta la capitular del renglón

«What if he had gone on with his deeds, his works? He would’ve made himself first among us and taken our place—we, the Four Hundred Boys!” they said» — el motivo que declaran los Cuatrocientos Muchachos para matar a Zipacna: que se habría puesto primero entre ellos y les habría quitado su lugar

«On to the making of our sweet drink! Three days will pass, and after three days let’s drink to dedicate our hut» — los Cuatrocientos Muchachos fijan en tres días la bebida dulce para estrenar su choza

«But this Zipacna is still alive. He just cuts the hair off his head and chews off his nails to give them to the ants» — el ardid de Zipacna con las hormigas: darles su propio pelo cortado y sus uñas roídas para pasar por muerto

«After that the hut was brought down on top of them by Zipacna. All of them were completely flattened. Not even one or two were saved from among all the Four Hundred Boys. They were killed by Zipacna, the son of Seven Macaw» — la matanza de los Cuatrocientos Muchachos borrachos bajo su propia choza, echada encima por Zipacna

«It’s mere fish and crabs that Zipacna looks for in the waters, but he’s eating every day, going around looking for his food by day and lifting up mountains by night» — el reparto del día de Zipacna en presente: busca peces y cangrejos de día y alza montes de noche

«And they used bromeliad flowers, picked from the bromeliads of the forests. These became the forearms of the crab, and where they opened were the claws. They used a flagstone for the back of the crab, which clattered» — la fabricación del cangrejo falso: flores de bromelia por antebrazos y pinzas y una losa por caparazón

«Meauan is the name of the mountain where the defeat took place. After that, when the boys came along, they found Zipacna by the water: “Where are you going, boy» — el libro nombra el monte Meauan como lugar de la derrota de Zipacna

«There is that crab that’s down in the canyon. A really big crab! Perhaps you might manage to eat her. We were just getting bitten. We wanted to catch her, but we got scared by her. If she hasn’t gone away you could catch her,” said Hunahpu and Xbalanque» — el cebo que los muchachos le ponen a Zipacna: un cangrejo enorme al fondo del cañón que ellos no se atrevieron a coger

«What if you can’t catch the crab? Just as we had to turn back, so will you. Not only didn’t we eat her, but all at once she was biting us. We were entering face down, but when she got scared we were entering on our back. We just barely missed reaching her then, so you’d better enter on your back,” he was told» — la instrucción tramposa de los muchachos a Zipacna: entrar de espaldas y no boca abajo

«The crab is on her side, her shell is gleaming red there. In under the canyon wall is their contrivance» — la escena en presente del cangrejo falso bajo el alero del cañón, descrito por el libro como artificio de los muchachos

«He wishes she were already in his mouth, so she could really cure his hunger. He wanted to eat her, he just wanted it face down, he wanted to enter, but since the crab got on top of him with her back down, he came back out» — el libro describe el hambre de Zipacna y su primer intento fallido, boca abajo

«After that he entered again, on his back. He entered all the way—only his kneecaps were showing now! He gave a last sigh and was calm. The great mountain rested on his chest. He couldn’t turn over now, and so Zipacna turned to stone» — el desenlace: Zipacna entra de espaldas, el monte le queda sobre el pecho, da el último suspiro y se vuelve piedra

«He was “the maker of mountains,” as his previous pro¬ nouncements had it, the first son of Seven Macaw. He was defeated beneath the great mountain called Meauan, defeated by genius alone» — el libro cierra la derrota de Zipacna repitiendo su proclama y adjudicando la victoria al genio solo; el troceo parte *pronouncements* con el guion ¬

«Vnd the third to magnify himself is the second son of Seven Macaw, named Earthquake. “I am the breaker of mountains,” he said» — Parte Dos, sección *And the third to magnify himself is the second son of Seven Macaw, named Earthquake*: el tercero se proclama quebrador de montes; el troceo deja suelta la capitular

«I just scatter the mountains, and I’m the one who breaks them, in the course of the days, in the course of the light,” he said when he answered» — respuesta de Earthquake a los muchachos: que solo desparrama y quiebra los montes en el curso de los días y de la luz

«We have no names. We just hunt and trap in the mountains. We’re just orphans, we have nothing to call our own, boy. We’re just making our way among the mountains, small and great, boy. And there’s one great mountain we saw that’s just growing right along. It’s rising really high! It’s just swelling up, rising above all the other mountains. And there weren’t even one or two birds to be found, boy. So how could it be that you destroy all mountains, boy?” Hunahpu and Xbalanque said to Earthquake» — la treta de los muchachos ante Earthquake: decirse huérfanos sin nombre y hablarle de un monte que crece solo al oriente

«And this is the way they shoot: the shot of their blowguns isn’t made of earth—they just blow at the birds when they shoot, to the amazement of the Earthquake» — el libro describe el modo de tirar de los muchachos: sin bodoque de tierra, soplando nada más a las aves

«And then the boys made fire with a drill and roasted the birds over the fire. And they coated one of the birds with plaster, they put gypsum on it» — los muchachos hacen fuego con taladro, asan las aves y recubren una de yeso

«The boys made fire WITH A DRILL: Two figures turn afire drill while sparks flij up from the wooden platform where the point of the drill is inserted. They are seated beside a road, marked by footprints. From the Madrid Codex» — el pie de lámina de Tedlock describe a dos figuras girando un taladro de fuego junto a un camino marcado con huellas, del Códice de Madrid; el escaneo imprime *afire* y *flij* por *a fire* y *fly*

«Because of this, the human heart will desire a bite of meat, a meal of flesh, just as the heart of the Earthquake will desire it,” Hunahpu and Xbalanque said to each other» — los muchachos derivan de ese episodio el deseo humano de carne, igual que el de Earthquake

«What are you eating? I smell a truly delicious aroma! Please give me a little bit,” he said. And when they gave a bird to Earthquake, he was as good as defeated» — la petición de Earthquake y el juicio del libro: al recibir el ave quedó como vencido

«Meanwhile, Earthquake had lost the strength in his legs and arms. He couldn’t go on because of the earth that coated the bird he’d eaten. So now there was nothing he could do to the mountain. He never recovered; he was destroyed» — el efecto del ave enyesada: Earthquake pierde la fuerza de piernas y brazos y ya nada puede contra el monte

«So then he was bound by the two boys; his hands were bound behind him. When his hands had been secured by the boys, his ankles were bound to his wrists. After that they threw him down, they buried him in the earth» — el remate: atado de manos y con los tobillos amarrados a las muñecas, Earthquake queda enterrado

«Such is the defeat of Earthquake. It’s Hunahpu and Xbalanque yet again. Their deeds on the face of the earth are countless» — cierre de la Parte Dos: el libro declara incontables los hechos de Hunahpu y Xbalanque sobre la tierra

«said that they entered a constellation, named Hundrath after them, though perhaps this is just a play on words» — el libro consigna que se decía que los Cuatrocientos Muchachos entraron en una constelación llamada Hundrath por ellos, y añade la reserva de que quizá sea solo juego de palabras; la frase abre en la plana anterior

«THIS IS THE DEFEAT AND DEATH OF ZlPACNA, when he was beaten by the two boys, Hunahpu and Xbalanque. What now weighed heavily on the hearts of the two boys was that the Four Hundred Boys had been killed by Zipacna» — Parte Dos, sección *Now this is the defeat and death of Zipacna*: lo que pesa en el corazón de los dos muchachos es la muerte de los Cuatrocientos Muchachos; el troceo deja suelta la capitular y el escaneo imprime *ZlPACNA* con ele

«The second son of Seven Macaw is another one, another who should» — la palabra de Hurricane a los dos muchachos sobre el segundo hijo de Seven Macaw; la frase sigue en la plana siguiente

«be defeated. This is my word, because what they do on the face of the earth is no good. They are surpassing the sun in size, in weight, and it should not be that way. Lure this Earthquake into sitting down over there in the east,” Hurricane told the two boys» — la continuación de la orden de Hurricane: lo que hacen sobre la tierra no es bueno, superan al sol en tamaño y peso, y hay que atraer a Earthquake al oriente

«Meanwhile he presses on, this Earthquake, breaker of mountains. Just by lightly tapping his foot on the ground he instantly demolishes the» — la escena en presente de Earthquake derribando montes con un leve golpe de pie; el tramo se corta en el límite de chunk

«So this is the one we’ll give him when he’s hungry, and when he» — los muchachos anuncian a quién darán el ave enyesada; la frase sigue al otro lado de la lámina de la plana siguiente

«savors the aroma of our birds. That will be victory, since we’ve covered his bird with baked earth. In earth we must cook it, and in earth must be his grave—if the great knower, the one to be made and modeled, is to have a sowing and dawning,” said the boys» — la continuación declara el hechizo: en tierra se cuece el ave y en tierra ha de estar la tumba, para que el gran conocedor por hacer tenga siembra y amanecer

«ND NOW WE SHALL NAME THE NAME OF THE FATHER OF HUNahpu and Xbalanque. Let’s drink to him, and let’s just drink to the telling and accounting of the begetting of Hunahpu and Xbalanque. We shall tell just half of it, just a part of the account of their father. Here follows the account» — Parte Tres, sección *And now we shall name the name of the father of Hunahpu and Xbalanque*: los autores brindan por él y avisan que contarán solo la mitad del relato del padre; el troceo deja suelta la capitular y parte *Hunahpu* con el guion

«These are the names: One Hunahpu and Seven Hunahpu, as they are called. And these are their parents: Xpiyacoc, Xmucane. In the blackness, in the night, One Hunahpu and Seven Hunahpu were born to Xpiyacoc and Xmucane» — el libro nombra a One Hunahpu y Seven Hunahpu y a sus padres, Xpiyacoc y Xmucane, nacidos en la negrura y en la noche

«And this is the name of their mother: she is called Egret Woman, the wife of One Hunahpu. As for Seven Hunahpu, he has no wife. He’s just a partner and just secondary; he just remains a boy» — el libro nombra a Egret Woman, mujer de One Hunahpu, y dice de Seven Hunahpu que no tiene mujer y se queda de muchacho

«They are great thinkers and great is their knowledge. They are the midmost seers, here on the face of the earth. There is only good in their being and their birthright. They taught skills to One Monkey and One Artisan, the sons of One Hunahpu. One Monkey and One Artisan be¬ came flautists, singers, and writers; carvers, jadeworkers, metalworkers as well» — el libro llama a One y Seven Hunahpu videntes del medio sobre la faz de la tierra y les adjudica la enseñanza de los oficios a One Monkey y One Artisan; el troceo parte *became* con el guion ¬

«And as for One and Seven Hunahpu, all they did was throw dice and play ball, every day. They would play each other in pairs, the four of them together. When they gathered in the ball court for entertainment a falcon would come to watch them, the messenger of Hurricane, Newborn Thunderbolt, Sudden Thunderbolt. And for this falcon it wasn’t far to the earth here, nor was it far to Xibalba; he could get back to the sky, to Hurricane, in an instant» — el libro describe la vida de los cuatro jugadores y al halcón mensajero de Hurricane, para quien ni la tierra ni Xibalba quedaban lejos

«What’s happening on the face of the earth? They’re just stomping and shouting. They should be summoned to come play ball here. We’ll defeat them, since we simply get no deference from them. They show no respect, nor do they have any shame. They’re really determined to run right over us!” said all of Xibalba, when they all shared their thoughts, the ones named One and Seven Death. They are great lawgivers» — la queja de One Death y Seven Death, que oyen el juego desde Xibalba y deciden convocar a los hermanos; el libro los llama grandes legisladores

«lnd these are the lords over everything, each lord with a commission and a domain assigned by One and Seven Death: There are the lords named Scab Stripper and Blood Gatherer. And this is their commission: to draw blood from people» — Parte Tres, sección *And these are the lords over everything*: el libro reparte comisiones y dominios entre los señores de Xibalba, empezando por Scab Stripper y Blood Gatherer, encargados de sacar sangre a la gente; el troceo deja suelta la capitular

«Next are the lordships of Demon of Pus and Demon of Jaundice» — el dominio de Demon of Pus y Demon of Jaundice: hinchar a la gente, sacarle pus de las piernas y ponerle la cara amarilla

«Next are the lords Bone Scepter and Skull Scepter» — el oficio de Bone Scepter y Skull Scepter, portadores de báculos de hueso: reducir a la gente a huesos hasta morir de consunción y edema

«Next are the lords named Demon of Filth and Demon of Woe. This is their commission: just to give people a sudden fright whenever they have filth or grime in the doorway of the house, the patio of the house. Then they’re struck, they’re just punctured till they crawl on the ground, then die. And this is the domain of Demon of Filth and Demon of Woe, as they are called» — el dominio de Demon of Filth y Demon of Woe: dar sustos súbitos a quien tenga inmundicia en la puerta o el patio de la casa

«Next are the lords named Wing and Packstrap. This is their domain: that people should die in the road, just “sudden death,” as it is called. Blood comes to the mouth, then there is death from vomiting blood» — el dominio de Wing y Packstrap: la muerte súbita en el camino, con la sangre en la boca

«People should die in the road: A Xibalban (right) stabs a merchant god (left) on a road (indicated by the footprints). From the Madrid Codex» — el pie de lámina de Tedlock describe a un xibalbano apuñalando a un dios mercader en un camino marcado con huellas, del Códice de Madrid

«What Xibalba desired was the gam¬ ing equipment of One and Seven Hunahpu: their kilts, their yokes, their arm guards, their panaches and headbands, the costumes of One and Seven Hunahpu» — el libro dice qué codiciaba Xibalba: el equipo de juego de One y Seven Hunahpu, faldas, yugos, guardabrazos, penachos y cintas; el troceo parte *gaming* con el guion ¬

«These messengers of theirs are owls: The great horned owl appears as a bird of omen in lowland Maya art, serving as the messenger of the merchant lord of Xibalba. From the Dresden Codex» — el pie de lámina de Tedlock identifica al búho cornudo como ave de agüero en el arte maya de las tierras bajas y mensajero del señor mercader de Xibalba

«And these messengers of theirs are owls: Shooting Owl, One-legged Owl, Macaw Owl, Skull Owl, as the messengers of Xibalba are called» — el libro nombra a los cuatro búhos mensajeros de Xibalba

«There is Shooting Owl, like a point, just piercing. And there is One-legged Owl, with just one leg; he has wings. And there is Macaw Owl, with a red back; he has wings. And there is also Skull Owl, with only a head alone; he has no legs, but he does have wings» — el libro describe uno por uno a los cuatro búhos, hasta Skull Owl, que es solo cabeza y alas

«And when they came out of Xibalba they arrived quickly, alighting above the ball court where One and Seven Hunahpu were playing, at the ball court called Great Hollow with Fish in the Ashes. The owls, arriving in a flurry over the ball court, now repeated their words, reciting the. exact words of One Death, Seven Death, Demon of Pus, Demon of Jaundice, Bone Scepter, Skull Scepter, Scab Stripper, Blood Gatherer, Demon of Filth, Demon of Woe, Wing, Packstrap, as all the lords are named. Their words were repeated by the owls» — los búhos repiten en la cancha las palabras exactas de los doce señores de Xibalba, que el libro enumera

«As for you, just play and just sing, write and carve to warm our house and to warm the heart of your grandmother» — el encargo de One y Seven Hunahpu a sus hijos al partir: tocar, cantar, escribir y tallar para calentar la casa y el corazón de la abuela; el tramo cruza el corte de chunk

«We’re going, we’re not dying. Don’t be sad,” said One and Seven Hunahpu, then they left» — la despedida de One y Seven Hunahpu a Xmucane, que sollozaba

«They passed through there, then they passed through Scorpion Rapids. They passed through countless scorpions but they were not stung. And then they came to water again, to blood: Blood River. They crossed but did not drink. They came to a river, but a river filled with pus. Still they were not defeated, but passed through again» — las tres primeras pruebas del camino: los alacranes, el Río de Sangre y el río de pus, que cruzan sin beber y sin ser vencidos

«And then they came to the Crossroads, but here they were defeated, at the Crossroads: Red Road was one and Black Road another. White Road was one and Yellow Road another. There were four roads, and Black Road spoke: “I am the one you are taking. I am the lord’s road,” said the road. And they were defeated there: this was the Road ofXibalba» — la derrota en la Encrucijada: el Camino Negro se declara camino del señor y ellos lo toman; el escaneo imprime *ofXibalba* pegado

«The ones seated first there are just manikins, just woodcarvings dressed up by Xibalba» — el libro dice qué son los dos primeros sentados en la sala del consejo: maniquíes y tallas de madera vestidos por Xibalba

«Morning, One Death,” they said to the manikin. “Morning, Seven Death,” they said to the woodcarving in turn» — el saludo con que One y Seven Hunahpu se delatan, dirigido a los maniquíes

«So they did not win out, and the lords of Xibalba shouted out with laughter over this. All the lords just shouted with laughter because they had triumphed; in their hearts they had beaten One and Seven Hunahpu» — la risa de los señores de Xibalba, que en sus corazones ya los dan por vencidos

«Sit here on our bench,” they were told, but the only bench they were offered was a burning-hot rock» — la segunda burla: el banco ofrecido es una piedra al rojo

«The lords of Xibalba shouted out with laughter: This lowland Maya death lord, whose skull and joints have no flesh on them, sits on a throne made of bones. From the Dresden Codex» — el pie de lámina de Tedlock describe al señor de la muerte maya de las tierras bajas, descarnado y sentado en un trono de huesos, del Códice de Dresde

«So now they were burned on the bench; they really jumped around on the bench now, but they got no relief. They really got up fast, having burned their butts. At this the Xibalbans laughed again, they began to shriek with laughter, the laughter rose up like a serpent in their very cores, all the lords of Xibalba laughed themselves down to their blood and bones» — la escena de la risa de Xibalba, que sube como serpiente en sus adentros mientras los hermanos se queman

«Let’s just sacrifice them tomorrow. It can only turn out to be quick; they’ll die quickly because of our playing equipment, our gaming things,” the Xibalbans are saying among themselves» — el plan que los xibalbanos se dicen en presente: sacrificarlos al día siguiente por obra del equipo de juego

«This ball of theirs is just a spherical knife. White Dagger is the name of the ball, the ball of Xibalba. Their ball is just ground down to make it smooth; the ball of Xibalba is just surfaced with crushed bone to make it firm» — el libro describe la pelota de Xibalba: cuchillo esférico llamado White Dagger, recubierto de hueso molido

«lnd One and Seven Hunahpu went inside Dark House. And then their torch was brought, only one torch, already lit, sent by One and Seven Death, along with a cigar for each of them, also already lit, sent by the lords» — Parte Tres, sección *And One and Seven Hunahpu went inside Dark House*: la antorcha única y los dos puros, ya encendidos, que mandan One y Seven Death; el troceo deja suelta la capitular

«When these were brought to One and Seven Hun¬ ahpu they were cowering, here in the dark. When the bearer of their torch and cigars arrived, the torch was bright as it entered; their torch and both of their cigars were burning» — la escena de la entrega en la oscuridad, con los hermanos encogidos; el troceo parte *Hunahpu* con el guion ¬

«A cigar: A lowland Maya god producing a shower of sparks with a cigar. From the Dresden Codex» — el pie de lámina de Tedlock identifica al dios maya de las tierras bajas que saca una lluvia de chispas de un puro, del Códice de Dresde

«You’re going, you Military Keepers of the Mat, to summon One and Seven Hunahpu. You’ll tell them, when you arrive: ‘ “They must come,” the lords say to you. “Would that they might come to play ball with us here. Then we could have some excitement with them. We are truly amazed at them. Therefore they should come,” say the lords, “and they should bring their playthings, their yokes and arm guards should come, along with their rubber ball,” say the lords,’ you will say when you arrive,” the messengers were told» — Parte Tres, sección *And now for the messengers of One and Seven Death*: el recado que los Military Keepers of the Mat deben repetir, con la invitación a jugar pelota y la orden de traer yugos, guardabrazos y pelota de hule

«And then they descended the road to Xibalba, going down over the edge of a steep slope, and they descended until they came to the mouth where the canyons change, the ones named Rustling Canyon, Gurgling Canyon» — Parte Tres, sección *After that One and Seven Hunahpu left*: el descenso a Xibalba por el borde de una cuesta hasta la boca donde cambian los cañones

«And Xibalba is packed with tests, heaps and piles of tests» — el libro declara Xibalba llena de pruebas, a montones

«These are the first tests of Xibalba, but One and Seven Hunahpu never entered into them, except for the one named earlier, the specified test house» — el libro precisa que One y Seven Hunahpu no entraron en esas pruebas salvo en la casa señalada

«This very day, your day is finished, you will die, you will disappear, and we shall break you off. Here you will hide your faces: you are to be sacrificed!” said One and Seven Death» — la sentencia de One y Seven Death tras la antorcha consumida

«And then they were sacrificed and buried. They were buried at the Place of Ball Game Sacrifice, as it is called. The head of One Hunahpu was cut off; only his body was buried with his younger brother» — el libro consigna el sacrificio y el entierro en el Place of Ball Game Sacrifice, con la cabeza de One Hunahpu cortada aparte

«And when his head was put in the fork of the tree» — el libro dice que el árbol no habría dado fruto de no ponerse allí la cabeza de One Hunahpu

«The fruit grows out everywhere, and it isn’t clear where the head of One Hunahpu is; now it looks just the way the calabashes look. All the Xibalbans see this, when they come to look» — la escena en presente del árbol cargado, donde ya no se distingue la cabeza de los frutos

«No one is to pick the fruit, nor is anyone to go beneath the tree,” they said. They restricted themselves; all of Xibalba held back» — la prohibición que los xibalbanos se imponen a sí mismos sobre el árbol

«nd here is the account of a maiden, the daughter of a lord named Blood Gatherer. And this is when a maiden heard of it, the daughter of a lord. Blood Gatherer is the name of her father, and Blood Moon is the name of the maiden» — Parte Tres, sección *And here is the account of a maiden*: el libro nombra a Blood Moon, hija del señor Blood Gatherer; el troceo deja suelta la capitular

«I’m not acquainted with that tree they talk about. ‘ “Its fruit is truly sweet!” they say,’ I hear,” she said» — la reacción de Blood Moon al relato de su padre sobre el fruto del árbol

«What? Well! What’s the fruit of this tree? Shouldn’t this tree bear something sweet? They shouldn’t die, they shouldn’t be wasted. Should I pick one?” said the maiden» — el soliloquio de Blood Moon al pie del árbol, preguntándose si tomar un fruto

«Blood Moon is the name of the maiden: The lowland Maya moon goddess sits on a platform that represents the sky, and receives an offering. Her lunar identity is revealed in part by the crescent-shaped object she wears tucked under her arm and curving up behind her back to touch her shoulder. From the Dresden Codex» — el pie de lámina de Tedlock identifica a la diosa lunar maya de las tierras bajas sentada sobre una plataforma que representa el cielo, y dice por qué se sabe lunar: el objeto en forma de creciente que lleva bajo el brazo

«Why do you want a mere bone, a round thing in the branches of a tree?’ said the head of One Hunahpu when it spoke to the maiden. “You don’t want it,” she was told» — la primera respuesta de la cabeza de One Hunahpu a Blood Moon, que le niega el interés del hueso

«Very well. Stretch out your right hand here, so I can see it,” said the bone» — la instrucción del hueso a Blood Moon de tender la mano derecha

«And then the bone spit out its saliva, which landed squarely in the hand of the maiden. And then she looked in her hand, she inspected it right away, but the bone’s saliva wasn’t in her hand» — el escupitajo que cae en la mano de Blood Moon y que al mirar ya no está

«This was the word Hurricane, Newborn Thunderbolt, Sudden Thun¬ derbolt had given them. In the same way, by the time the maiden re¬ turned to her home, she had been given many instructions. Right away something was generated in her belly, from the saliva alone, and this was the generation of Hunahpu and Xbalanque» — el libro adjudica esa palabra a Hurricane y a los dos Thunderbolt, y dice que de la sola saliva se engendraron Hunahpu y Xbalanque; el troceo parte *Thunderbolt* y *returned* con el guion ¬

«ND AFTER THE MAIDEN WAS NOTICED BY HER FATHER, when he saw that she was now with child, all the lords then shared their thoughts —One and Seven Death, along with Blood Gatherer: “This daughter of mine is with child, lords. It’s just a bastard,” Blood Gatherer said when he joined the lords» — Parte Tres, sección *And after the maiden was noticed by her father*: Blood Gatherer declara ante los señores que el embarazo de su hija es de bastardo; el troceo deja suelta la capitular

«Very well. Get her to open her mouth. If she doesn’t tell, then sacri¬ fice her. Go far away and sacrifice her» — la sentencia de los señores de Xibalba sobre Blood Moon si no habla; el troceo parte *sacrifice* con el guion ¬

«Take her away for sacrifice: The merchant lord of the underworld (the lowland Maya equivalent of Blood Gatherer) sends away the moon goddess. Sitting on his hat is his owl messenger. From the Dresden Codex» — el pie de lámina de Tedlock identifica al señor mercader del inframundo, equivalente de Blood Gatherer en las tierras bajas, despachando a la diosa lunar con su búho mensajero en el sombrero

«There is no child, my father, sir; there is no man whose face IVe known,” she replied» — la respuesta de Blood Moon a su padre; el escaneo imprime *IVe* por *I’ve*

«This is the first one: the Dark House, with darkness alone inside. And the second is named Rattling House, heavy with cold inside, whistling with drafts, clattering with hail» — el libro abre la lista de las casas de prueba: Dark House con sola oscuridad y Rattling House con frío, corrientes y granizo

«And the third is named Jaguar House, with jaguars alone inside, jos¬ tling one another, crowding together, with gnashing teeth. They’re scratching around; these jaguars are shut inside the house. Bat House is the name of the fourth test, with bats alone inside the house, squeaking, shrieking, darting through the house. The bats are shut inside; they can’t get out. And the fifth is named Razor House, with blades alone inside. The blades are moving back and forth, ripping, slashing through the house» — la lista sigue con Jaguar House, Bat House y Razor House, con los jaguares apretados, los murciélagos chillando y las navajas yendo y viniendo; el troceo parte *jostling* con el guion ¬

«This is the calabash, as we call it today, or “the skull of One Hunahpu,” as it is said» — el libro nombra al jícaro y le da el otro nombre, la calavera de One Hunahpu; el pasaje vuelve citado en las notas

«It is just a sign I have given you, my saliva, my spittle. This, my head, has nothing on it—just bone, nothing of meat. It’s just the same with the head of a great lord: it’s just the flesh that makes his face look good. And when he dies, people get frightened by his bones» — primera mitad de la enseñanza de la cabeza de One Hunahpu a Blood Moon: su cabeza es solo hueso, y lo mismo pasa con la de un gran señor, a quien solo la carne le hacía buena la cara; el pasaje vuelve citado en las notas

«After that, his son is like his saliva, his spittle, in his being, whether it be the son of a lord or the son of a craftsman, an orator. The father does not disappear, but goes on being fulfilled. Neither dimmed nor destroyed is the face of a lord, a warrior, craftsman, orator. Rather, he will leave his daughters and sons. So it is that I have done likewise through you. Now go up there on the face of the earth; you will not die. Keep the word. So be it,” said the» — segunda mitad de la misma enseñanza: el hijo es como la saliva del padre, el padre no desaparece sino que sigue cumpliéndose, y ni señor ni guerrero ni artesano ni orador quedan oscurecidos porque dejan hijas e hijos

«It would not turn out well if you sacrificed me, messengers, because it is not a bastard that’s in my belly. What’s in my belly generated all by itself when I went to marvel at the head of One Hunahpu, which is there at the Place of Ball Game Sacrifice. So please stop: don’t do your sacri» — el alegato de Blood Moon ante los búhos: lo que lleva se engendró solo al maravillarse ante la cabeza de One Hunahpu; el troceo parte *sacrifice* con el guion ¬

«What are we going to use in place of her heart? We were told by her father: ‘Bring back her heart. The lords will take it in their hands, they will satisfy themselves, they will make themselves familiar with its composi¬ tion. Hurry, bring it back in a bowl, put her heart in the bowl.’ Isn’t that what we’ve been told? What shall we deliver in the bowl? What we want above all is that you should not die,” said the messengers» — la deliberación de los búhos, que declaran querer sobre todo que ella no muera; el troceo parte *composition* con el guion ¬

«After it congealed, the substitute for her heart became round. When the sap of the croton tree was tapped, tree sap like blood, it became the substitute for her blood. When she rolled the blood around inside there, the sap of the croton tree, it formed a surface like blood, glistening red now, round inside the bowl. When the tree was cut open by the maiden, the so-called cochineal croton, the sap is what she called blood, and so there is talk of “nodules of blood» — el libro describe la savia del croton cuajada como sustituto del corazón y de la sangre, y de ahí el hablar de nódulos de sangre

«So you have been blessed with the face of the earth. It shall be yours,” she told the owls» — lo que Blood Moon concede a los búhos: la faz de la tierra

«Good. Stir up the fire, put it over the fire,” said One Death. After that they dried it over the fire, and the Xibalbans savored the aroma. They all ended up standing here, they leaned over it intently. They found the smoke of the blood to be truly sweet» — la escena de los xibalbanos inclinados sobre el falso corazón, hallando dulce el humo de la sangre

«The owls went to show the maiden the way out: Flying above the moon goddess (and thus appearing above the earth ahead of her) is the owl messenger of the merchant god of the underworld. From the Dresden Codex» — el pie de lámina de Tedlock describe al búho mensajero del dios mercader volando sobre la diosa lunar, del Códice de Dresde

«In this way the lords of Xibalba were defeated by a maiden; all of them were blinded» — el libro declara la derrota de los señores de Xibalba a manos de una doncella, y que todos quedaron cegados

«I’ve come, my lady. I’m your daughter-in-law and I’m your child, my lady,” she said when she came here to the grandmother» — Parte Tres, sección *And when Blood Moon came to the mother of One Monkey and One Artisan*: la presentación de Blood Moon ante Xmucane

«Where do you come from? As for my little babies, didn’t they die in Xibalba? And these two remain as their sign and their word: One Monkey and One Artisan are their names. So if you’ve come to see my children, get out of here!” the maiden was told by the grandmother» — el rechazo de Xmucane, que da por muertos a sus hijos y por señal suya a One Monkey y One Artisan

«Even so, I really am your daughter-in-law. I am already his, I belong to One Hunahpu. What I carry is his. One Hunahpu and Seven Hunahpu are alive, they are not dead. They have merely made a way for the light to show itself, my mother-in-law, as you will see when you look at the faces of what I carry,” the grandmother was told» — la réplica de Blood Moon: que One y Seven Hunahpu viven y solo abrieron camino a la luz, como se verá en las caras de lo que lleva

«And One Monkey and One Artisan have been keeping their grand¬ mother entertained: all they do is play and sing, all they work at is writing and carving, every day, and this cheers the heart of their grandmother» — el libro describe en presente los oficios con que One Monkey y One Artisan alegran a su abuela: jugar, cantar, escribir y tallar; el troceo parte *grandmother* con el guion ¬

«I don’t want you, no thanks, my daughter-in-law. It’s just a bastard in your belly, you trickster! These children of mine who are named by you are dead,” said the grandmother» — la segunda negativa de Xmucane, que llama embustera a Blood Moon

«Very well, my daughter-in-law, I hear you. So get going, get their food so they can eat. Go pick a big netful of ripe corn ears, then come back—since you are already my daughter-in-law, as I understand it,” the maiden was told» — el examen que Xmucane le pone: traer una red llena de mazorcas maduras

«Very well. My heart must not be theirs, nor will your homes be here. Nor will you simply force people to die, but hereafter, what will be truly yours will be the true bearers of bastards» — la sentencia de Blood Moon sobre los búhos: ni su corazón será de los señores ni las casas de ellos estarán allí, y lo suyo serán en adelante los verdaderos portadores de bastardos

«Seven Death, only blood, only nodules of sap, will be theirs. So be it that these things are presented before them, and not that hearts are burned before them. So be it: use the fruit of a tree,” said the maiden» — la continuación en la plana siguiente: a One y Seven Death solo les tocarán sangre y nódulos de savia, no corazones quemados ante ellos

«All they work at is writing: Two monkey scribes sit on either side of a thick screen-fold book, discussing a page they have opened. The scribe on the left holds a writing instrument in his hand. From a Late Classic Maya vase» — el pie de lámina de Tedlock describe a dos escribas-mono discutiendo una página de un libro plegado, de un vaso maya del Clásico tardío

«And then she took hold of the silk, the bunch of silk at the top of the ear. She pulled it straight out, she didn’t pick the ear, and the ear reproduced itself to make food for the net. It filled the big net» — el prodigio del maíz: Blood Moon tira del cabello de la mazorca sin arrancarla y la mazorca se reproduce hasta llenar la red

«The sign is still there. You really are my daughter-in-law! I’ll have to keep watching what you do. These grandchildren of mine are already showing genius,” the maiden was told» — el reconocimiento de Xmucane al ver la huella de la red, y su juicio: que los nietos ya muestran genio

«And this is what One Monkey and One Artisan wanted: that they should die on the anthill and die in the brambles. One Monkey and One Artisan wanted this because they were rowdy and flushed with jealousy» — el libro declara el deseo de los hermanos mayores: que los recién nacidos murieran en el hormiguero y en las zarzas, por envidia

«They didn’t allow their younger brothers in the house at first, as if they didn’t even know them, but even so they flourished in the mountains» — el libro consigna que los mayores no dejaban entrar a los menores y que aun así estos prosperaron en los montes

«It had cost them suffering to become great knowers. Through it all they became flautists, singers, and writers, carvers. They did everything well. They sim¬ ply knew it when they were born, they simply had genius» — el libro dice cómo llegaron a grandes conocedores One Monkey y One Artisan: por sufrimiento, y a la vez que lo sabían de nacimiento, por genio

«But Hunahpu and Xbalanque aren’t turning red with anger; rather, they just let it go, even though they know their proper place, which they see as clear as day» — el libro describe en presente la paciencia de Hunahpu y Xbalanque, que dejan pasar el agravio aunque ven claro su lugar

«We’ll just turn their very being around with our words. So be it, since they have caused us great suffering. They wished that we might die and disappear—we, their younger brothers. Just as they wished us to be slaves here, so we shall defeat them there. We shall simply make a sign of it,” they said to each other» — el plan de los gemelos contra sus hermanos mayores, dicho como vuelta del ser por la palabra y como señal

«Undo your pants, tie them around your hips, with the long end trail¬ ing like a tail behind you, and then you’ll be better able to move,” they were told by their younger brothers» — la instrucción tramposa de los gemelos a sus hermanos encaramados en el árbol; el troceo parte *trailing* con el guion ¬

«And then they left the ends of their loincloths trailing, and all at once these became tails. Now they looked like mere monkeys» — la transformación: las puntas del taparrabo se vuelven colas

«Such was the defeat of One Monkey and One Artisan by Hunahpu and Xbalanque. They did it by means of their genius alone» — el libro adjudica la derrota de los hermanos mayores al genio solo de los gemelos

«If you’ve done something to your elder brothers, you’ve knocked me down and stood me on my head. Please don’t do anything to your elder brothers, my dear grandchildren,” the grandmother said to Hunahpu and Xbalanque» — el reproche de Xmucane a los gemelos

«Don’t be sad, our dear grandmother. You will see the faces of our elder brothers again. They’ll come, but this will be a test for you, our dear grandmother. Will you please not laugh while we test their destiny?” they said» — la promesa de los gemelos a su abuela y la condición de la prueba: que no se ría

«And then they began playing. They played “Hunahpu Monkey.” A jlIlnd then they sang, they played, they drummed. When they took up their flutes and drums, their grandmother sat down with them, then they played, they sounded out the tune, the song that got its name then. “Hunahpu Monkey” is the name of the tune» — Parte Tres, sección *And then they sang, they played, they drummed*: el libro nombra la tonada con que llaman a los hermanos convertidos en monos; el troceo deja suelta la capitular entre las dos frases

«Dancing when they arrived: A monkey scribe dances with a mirror in his right hand. From a Late Classic Maya vase» — el pie de lámina de Tedlock describe a un escriba-mono bailando con un espejo en la mano derecha, de un vaso maya del Clásico tardío

«Why are you doing that, our dear grandmother? We’ll only try four times; only three times are left. We’ll call them with the flute, with song. Please hold back your laughter. We’ll try again,” said Hunahpu and Xbalanque» — los gemelos fijan en cuatro los intentos y piden a la abuela que aguante la risa

«The monkeys looked truly ridiculous, with the skinny little things below their bellies and their tails wiggling in front of their breasts» — el libro dice qué hacía reír a la abuela en el segundo intento

«Then they climbed up here, cutting right across the building, with thin red lips, with faces blank, puckering their lips, wiping their mouths and faces, suddenly scratching themselves» — la descripción del tercer intento, con los labios rojos y delgados y las caras en blanco

«Suddenly scratching themselves: This spider monkeij has his genitals showing, or what the Popol Vuh calls “the skinny little things below their bellies. ” From a Late Classic Maya» — el pie de lámina de Tedlock identifica al mono araña con los genitales a la vista, lo que el libro llama las cositas flacas bajo la barriga; el escaneo imprime *monkeij* por *monkey*

«Well, we’ve tried, our dear grandmother. They came at first, and we’ve tried calling them again. So don’t be sad. We’re here—we, your grandchildren. Just love our mother, dear grandmother. Our elder broth¬ ers will be remembered. So be it: they have lived here and they have been named; they are to be called One Monkey and One Artisan,” said Hunahpu and Xbalanque» — el consuelo de los gemelos a la abuela tras el cuarto intento fallido, con el nombre que quedará a los hermanos; el troceo parte *brothers* con el guion ¬

«So they were prayed to by the flautists and singers among the ancient people, and the writers and carvers prayed to them. In ancient times they turned into animals, they became monkeys, because they just magnified themselves, they abused their younger brothers. Just as they wished them to be slaves, so they themselves were brought low. One Monkey and One Artisan were lost then, they became animals, and this is now their place forever» — el libro consigna que los flautistas, cantores, escribas y talladores de los antiguos les rezaban, y da la razón de su caída: se engrandecieron y abusaron de sus hermanos menores

«Come on out, rise up now, come on out, stand up now: Thunder Woman, Yellow Woman, Cacao Woman and Cornmeal Woman, thou guardian of the food of One Monkey, One Artisan,” said the maiden» — la invocación de Blood Moon a las guardianas del alimento: Thunder Woman, Yellow Woman, Cacao Woman y Cornmeal Woman; el pasaje vuelve citado en las notas

«THIS IS THEIR BIRTH; WE SHALL TELL OF IT HERE. Then it came to the day of their birth, and the maiden named Blood Moon gave birth. The grandmother was not present when they were born; they were born suddenly» — Parte Tres, sección *And this is their birth; we shall tell of it here*: el libro consigna que la abuela no estaba presente y que el parto fue súbito; el troceo deja suelta la capitular

«Since One Monkey and One Artisan were great knowers, in their hearts they already realized everything when their younger brothers» — el libro dice que los hermanos mayores ya lo sabían todo al nacer los menores; la frase sigue en la plana siguiente

«came into being, but they didn’t reveal their insight because of their jealousy» — la continuación en la plana siguiente: la envidia les impidió mostrar esa clarividencia

«The anger in their hearts came down on their own heads; no great harm was done» — el juicio del libro sobre la ira de los hermanos mayores: les cayó sobre sus propias cabezas; el pasaje vuelve citado en las notas

«ND NOW THEY BEGAN TO ACT OUT THEIR SELF-REVELATION be¬ fore their grandmother and mother. First they made a garden: “We’ll just do some gardening, our dear grandmother and mother,” they said. “Don’t worry. We’re here, we’re your grandchildren, we’re the successors of our elder brothers,” said Hunahpu and Xbalanque» — Parte Tres, sección *And now they began to act out their self-revelation*: los gemelos se declaran ante abuela y madre sucesores de sus hermanos mayores; el troceo deja suelta la capitular y parte *before* con el guion ¬

«They simply stuck their mat¬ tock in the ground, and the mattock simply cultivated the ground. And it wasn’t only the mattock that cultivated, but also the axe. In the same way, they stuck it in the trunk of a tree; in the same way, it cut into the tree by itself, felling, scattering, felling all the trees and bushes, now leveling, mowing down the trees» — el prodigio de la milpa: el azadón labra solo y el hacha tala sola, derribando árboles y matorrales; el troceo parte *mattock* con el guion ¬

«Just watch for our grandmother, bringing our food. Cry out right away when she comes, and then we’ll grab the mattock and axe.” “Very well,” said the mourning dove» — el encargo de los gemelos a la paloma huilota, que ha de avisar cuando llegue la abuela

«This is because all they’re doing is shooting; they’re not really doing any gardening» — la voz del libro descubre el engaño en presente: los gemelos solo tiran con cerbatana y no labran

«One of them deliberately rubs dirt on his hands; he dirties his face as well, so he’s just like a real gardener. And as for the other one, he deliberately dumps wood chips on his head, so he’s like a real woodcutter» — el libro describe el disfraz de cada gemelo ante la abuela: uno untado de tierra y el otro con astillas en la cabeza

«And when they went on the second day and arrived at the garden, it had all grown up high again. Every tree and bush, every stalk and bram¬ ble had put itself back together again when they arrived» — el segundo día la milpa ha vuelto a crecer entera

«And these are the ones who are doing it, all the animals, small and great: puma, jaguar, deer, rabbit, fox, coyote, peccary, coati, small birds, great birds. They are the ones who did it; they did it in just one night» — el libro nombra a los animales que rehacen el bosque en una sola noche

«The first of these were the puma and jaguar. The boys tried to grab them, but they did not give themselves up. When the deer and rabbit came near they only got them by the tail, which just broke off: the deer left its tail in their hands. When they grabbed the tail of the deer, along with the tail of the rabbit, the tails were shortened» — el libro cuenta qué animales se escapan y cómo el venado y el conejo quedan con la cola corta

«now there was fire in their hearts, because they didn’t catch them. And one more came, the last one now, jumping as he came, then they cut him off. In their net they caught the rat» — Parte Tres, sección *So now there was fire in their hearts*: los gemelos atrapan en su red a la rata, la última en pasar; el troceo deja suelta la capitular

«Ever since the rat’s tail got caught, there’s been no hair on his tail, and his eyes have been the way they are since the boys tried to choke him» — el libro deriva del maltrato a la rata su cola sin pelo y sus ojos de hoy

«I will not die by your hand! Gardening is not your job, but there is something that is,” said the rat» — la rata niega a los gemelos el oficio de labradores y les anuncia el suyo

«Very well. It’s something that belonged to your fathers, named One Hunahpu and Seven Hunahpu, who died in Xibalba. What remains is their gaming equipment. They left it up under the roof of the house: their kilts, their wrist guards, their rubber ball. But your grandmother doesn’t take these down in front of you, because this is how your fathers died» — la revelación de la rata: el equipo de juego de One y Seven Hunahpu guardado bajo el techo, y por qué la abuela no lo baja

«If anything of yours is stored or gets wasted, then gnaw away,” the rat was told by Hunahpu and Xbalanque» — la concesión de los gemelos a la rata sobre lo guardado y lo desperdiciado

«And then they saw the rat reflected in their chili sauce: here was the rat loosening the ball that had been left in the peak of the roof» — la treta de la salsa de chile: los gemelos ven en ella el reflejo de la rata soltando la pelota

«He went to the water, then he punctured the side of the grandmother’s jar. The water just gushed out from the side of her jar. She tried, but she could not stop up the side of her jar» — el mosquito enviado por los gemelos perfora la jarra de la abuela para sacarla de la casa

«After that, the rat cut the ball loose. It dropped from beneath the roof, along with the yokes, wrist guards, kilts. These were taken away then; they went to hide them on the road, the road to the ball court» — la rata suelta la pelota con yugos, guardamuñecas y faldas, y los gemelos los esconden en el camino a la cancha

«So now the grandmother’s heart was broken: “How can I send for my grandchildren? Isn’t it really Xibalba, just as it was when the messengers came long ago, when their fathers went to die?” said the grandmother, sobbing, at home by herself» — el libro describe a Xmucane rota al recibir la citación, sola en su casa

«My grandchild, perhaps you might like to take my message, to go where my grandchildren are, at the ball court,” the louse was told» — el encargo de Xmucane al piojo, a quien llama nieto, de llevar el recado a la cancha

«Wouldn’t you like me to swallow you? You’ll see, I’ll run bent over this way, we’ll arrive in a hurry» — la oferta del sapo Tamazul al piojo, que abre la cadena de mensajeros tragados

«Tamazul, the TOAD: Trailing down the back of this toad is a piece of skin he is shedding. From a Late Classic Maya vase» — el pie de lámina de Tedlock describe al sapo con la piel que muda colgando de la espalda, de un vaso maya del Clásico tardío

«Get going,” he was told, so then the toad was next swallowed by Zaquicaz. When snakes get their food today they swallow toads» — el libro deriva de ese episodio que las serpientes de hoy traguen sapos

«So the snake was running as he went, then the snake was met from overhead by a laughing falcon, a large bird. The snake was swallowed up by the falcon, and then he arrived above the court. When hawks get their food, they eat snakes in the mountains» — el libro deriva del siguiente eslabón que los gavilanes coman serpientes en los montes

«Next they took a bit of rubber off the surface of the ball, then they put it on the falcon’s eye. “Blood of sacrifice” was their name for it. As soon as he was treated by them, the falcon’s vision became good again» — la cura del ojo del halcón con hule de la pelota, que el libro llama sangre de sacrificio

«They put it on the falcon’s eye: The laughing falcon, alone among the hawks and falcons of Mesoamerica, has black feathers around the eye» — el pie de lámina de Tedlock dice que el guaco es el único halcón de Mesoamérica con plumas negras alrededor del ojo

«And such was the defeat of the toad. It’s not clear what kind of food they gave him, and because he didn’t run he became mere meat for snakes» — el libro cierra la derrota del sapo diciendo que no se sabe qué comida le dieron y que por no correr quedó de carne para serpientes

«Arise, conjoin, you trees! Arise, conjoin, you bushes» — el conjuro que los animales dicen a medianoche para levantar árboles y matorrales; el pasaje vuelve citado en las notas

«There was great joy in their hearts when they got word of the rubber ball. When the rat had named it they gave the rat his food» — el libro consigna la alegría de los gemelos al saber de la pelota y la comida que dan a la rata; la lista sigue al otro lado del corte de chunk

«food: com kernels, squash seeds, chili, beans, pataxte, cacao» — la lista de la comida de la rata: granos de maíz, semillas de calabaza, chile, frijol, pataxte y cacao; el escaneo imprime *com* por *corn*

«Who’s begun a game again up there, over our heads? Don’t they have any shame, stomping around this way» — la queja de los señores de Xibalba al oír el juego de los gemelos sobre sus cabezas

«die trying to magnify themselves in front of us? So, you must deliver another summons,” they said as before, One and Seven Death, all the lords» — la continuación de la queja en la plana siguiente, con la memoria de la muerte de One y Seven Hunahpu y la orden de una segunda citación

«Each of us will plant an ear of green corn. Well plant them in the center of our house. When the corn dries up, this will be a sign of our death: ‘Perhaps they died,’ you’ll say, when it dries up. And when the sprout¬ ing comes: ‘Perhaps they live,’ you’ll say, our dear grandmother and mother. From now on, this is the sign of our word» — la señal que los gemelos dejan a Xmucane: una mazorca verde plantada en el centro de la casa por cada uno, seca por su muerte y brotada por su vida; el troceo parte *sprouting* con el guion ¬

«hey went down to Xibalba, quickly going down the face of a cliff, and they crossed through the change of canyons. They passed right through the birds—the ones called throng birds—and then they crossed Pus River and Blood River, intended as traps by Xibalba. They did not step in, but simply crossed over on their blowguns, and then they went on over to the Crossroads. But they knew about the roads of Xibalba: Black Road, White Road, Red Road, Green Road» — Parte Tres, sección *They went down to Xibalba*: el segundo descenso, ahora sorteando los ríos de pus y de sangre sobre las cerbatanas, con los cuatro caminos ya sabidos; el troceo deja suelta la capitular

«Bite them one by one. First bite the first one seated there, then bite every last one of them, and it will be yours alone to suck the blood of people in the roads,” the mosquito was told» — el encargo de los gemelos al mosquito y la paga que le prometen: la sangre de la gente en los caminos

«That creature named the MOSQUITO: In this drawing from a Late Classic Maya vase, the mosquito wears its weapon on the front of its headdress and dribbles blood from its anus» — el pie de lámina de Tedlock describe al mosquito de un vaso maya del Clásico tardío, con el arma en el frente del tocado

«And such was the naming of their names, they named them all among themselves. They showed their faces and named their names, each one named by the one ranking above him, and naming in turn the name of the one seated next to him. There wasn’t a single name they missed, naming every last one of their names when they were bitten by the hair that Hunahpu had plucked from his own shin» — el libro revela la treta: no era un mosquito sino un pelo que Hunahpu se arrancó de la espinilla, y con él se nombraron todos los señores por orden

«This bench isn’t for us! It’s just a stone slab for cooking,” said Hunahpu and Xbalanque. They were not defeated» — los gemelos rechazan el banco caliente diciendo que es losa de cocinar; el troceo parte *Hunahpu* con el guion

«IRST THEY ENTERED DARK HOUSE. And after that, the messenger of One Death brought their torch, burning when it arrived, along with one cigar apiece. “ ‘Here is their torch,’ says the lord. They must return the torch in the morning, along with the cigars. They must return them intact,’ say the lords,” the messenger said when he arrived» — Parte Tres, sección *First they entered Dark House*: el recado que acompaña la antorcha y los puros, que han de devolverse intactos; el troceo deja suelta la capitular

«Very well,” they said, but they didn’t burn the torch—instead, some¬ thing that looked like fire was substituted. This was the tail of the macaw, which looked like a torch to the sentries. And as for the cigars, they just put fireflies at the tips of those cigars, which they kept lit all night» — la treta de los gemelos en Dark House: cola de guacamaya por antorcha y luciérnagas en las puntas de los puros; el troceo parte *something* con el guion ¬

«What’s happening? Where did they come from? Who begot them and bore them? Our hearts are really hurting, because what they’re doing to us is no good. They’re different in looks and different in their very being,” they said among themselves» — el desconcierto de los señores de Xibalba ante los gemelos, a quienes hallan distintos en aspecto y en su ser mismo

«It’s just a skull”: In this game the ball (just right of center) is marked with a skull in profile. From the mouths of the two players at left and the one at extreme right comes speech (resembling curling smoke), probably in the form of taunts like the ones hurled back and forth in the Popol Vuh. The first player to the left of the ball holds the severed head of the first player to the right, whose neck sprouts serpents (repre¬ senting spurts of blood) and a squash vine (recalling an episode in which a squash serves as Hunahpu’s head). From a relief panel in the great ball court at Chichen Itza» — el pie de lámina de Tedlock describe un tablero del gran juego de pelota de Chichen Itza, con la pelota marcada con un cráneo, las volutas de habla que quizá sean pullas como las del libro y el cuello del decapitado echando serpientes y una guía de calabaza; el troceo parte *representing* con el guion ¬

«Oh no it’s not. It’s just a skull, we say in return,” said the boys» — la réplica de los gemelos sobre la pelota de Xibalba

«And then, while Xibalba watched, the White Dagger came out from inside the ball. It went clattering, twisting all over the floor of the court» — el arma escondida sale de la pelota de Xibalba y recorre la cancha

«And this is what had been ordained for the boys: that they should have died right away, right there, defeated by that knife. But it wasn’t like that. Instead, Xibalba was again defeated by the boys» — el libro consigna lo que estaba dispuesto para los gemelos y que no sucedió

«We’ll just win four bowls of flowers,” said the Xibalbans» — la apuesta que fijan los xibalbanos: cuatro cuencos de flores

«One bowl of red petals, one bowl of white petals, one bowl of yellow petals, and one bowl of whole ones,” said the Xibalbans» — el detalle de la apuesta por colores de pétalo

«Their ball was dropped in: Hunahpu (left) and a member of the Xibalba team (right) jointly hold a ball up with their arm guards just before putting it into play; the latter wears a trophy head on his back. From a relief carved, on a stone ball-court marker at Copan» — el pie de lámina de Tedlock describe un marcador de cancha de Copan con Hunahpu y un jugador de Xibalba sosteniendo la pelota con los guardabrazos, este último con una cabeza trofeo a la espalda

«Then the boys gave themselves up in defeat, and the Xibalbans were glad when they were defeated: “We’ve done well. We’ve beaten them on the first try,” said the Xibal¬ bans. “Where will they go to get the flowers?” they said in their hearts» — los gemelos se dejan ganar y los xibalbanos se preguntan dónde conseguirán las flores

«Ynd after that, the boys next entered Razor House, the second test of Xibalba» — Parte Tres, sección *And after that, the boys next entered Razor House*: el libro la nombra como la segunda prueba de Xibalba; el troceo deja suelta la capitular

«This is yours: the flesh of all the animals,” they told the knives, and they no longer moved—rather, each and every knife put down its point» — el trato de los gemelos con las navajas: la carne de todos los animales a cambio de que se detengan

«Cutting ants, conquering ants, come now, all of you fetch all of them for us: flowers in bloom, prizes for lords» — el conjuro con que los gemelos llaman a las hormigas arrieras a traer las flores del premio

«Would you please watch our flowers? Don’t let them get stolen. We ve defeated these boys, so won’t they come looking for the prize they owe us? Don’t sleep tonight» — la orden de One y Seven Death a los guardianes de su jardín

«Whip-poor-will! Whip-poor-will!” one of them says as he cries. “Poor-willow! Poor-willow!” says the other as he cries, the one named poorwill» — los cantos con que los dos guardianes del jardín pasan la noche sin advertir el robo

«The two of them are the guards of the garden, the garden of One and Seven Death, but they don’t notice the ants stealing what’s under their guard, swarming, carrying away loads of flowers, coming to cut down the flowers in the trees, gathering these together with the flowers beneath the trees, while the guards just stretch their mouths wide open, not noticing the nibbling at their own tails, the nibbling at their own wings» — la escena en presente del robo: las hormigas cargan las flores mientras los guardianes abren la boca sin notar que les roen cola y alas

«The severed flowers rain down into the gathering and bunching here below, so that four bowls of flowers are easily filled, an acrobatic perfor¬ mance that lasts till dawn» — el libro llama número acrobático a la faena de las hormigas, que llena cuatro cuencos hasta el amanecer; el troceo parte *performance* con el guion ¬

«Hunahpu planted one and Xbalanque planted another. They were planted right there in the house: neither in the mountains nor where the earth is damp, but where the earth is dry, in the middle of the inside of their house» — el libro precisa dónde se plantan las mazorcas: ni en el monte ni en tierra húmeda, sino en el centro seco de la casa; el pasaje vuelve citado en las notas

«These aren’t lords! These are manikins, woodcarvings!” they said as they came up» — los gemelos desbaratan el engaño de los maniquíes al llegar ante el consejo; el pasaje vuelve citado en las notas

«Death is the only thing you want for us! Wasn’t it you who sent a summons to us, and wasn’t it your messenger who went? Truly, take pity on us, or else we’ll just leave,” the boys told them» — la protesta de los gemelos ante los señores tras el lance del cuchillo; el pasaje vuelve citado en las notas

«They named every one of their names; there wasn’t a single name they missed. When this was required of them, no name was omitted by them» — el libro insiste en que ningún nombre quedó fuera cuando se les exigió

«Such was the defeat of One and Seven Death by Hunahpu and Xbalanque, on account of which the whippoorwills got gaping mouths. Their mouths gape to this day» — el libro deriva de la derrota de los guardianes que los tapacaminos tengan la boca rasgada hasta hoy

«ilND now they entered Cold House. There are countless drafts, thick-falling hail inside the house, the home of cold. They diminished the cold right away by shutting it out. The cold dissipated because of the boys. They did not die, but were alive when it dawned» — Parte Tres, sección *And now they entered Cold House*: los gemelos apagan el frío cerrándolo fuera y amanecen vivos; el troceo deja suelta la capitular

«NEXT THEY entered Jaguar House, the jaguar-packed home of jaguars: “Don’t eat us. There is something that should be yours,” the jaguars were told» — Parte Tres, sección *So next they entered Jaguar House*: el trato con los jaguares, a quienes ofrecen otra cosa a cambio de no comerlos

«With that, they scattered bones before the animals. After that, the jaguars were wrestling around there, over the bones. “So they’ve made good work of them, they’ve eaten their very hearts. Now that the boys have given themselves up, they’ve already been trans¬ formed into skeletons,” said the sentries, all of them finding it sweet» — los gemelos echan huesos a los jaguares y los centinelas dan por hechos esqueletos a los muchachos

«NEXT THEY ENTERED THE MIDST OF THE FIRE, a house of fire with only fire alone inside. They weren’t burned by it, just toasted, just simmered, so they were well when it dawned. Although it had been ordained that they be quickly killed in there, overcome, they weren’t, and instead it was the Xibalbans who lost heart over this» — Parte Tres, sección *So next they entered the midst of the fire*: los gemelos salen solo tostados y quienes se desaniman son los xibalbanos

«THEY WERE put inside Bat House, with bats alone inside the house, a house of snatch-bats, monstrous beasts, their snouts like knives, the instruments of death. To come before these is to be finished off at once» — Parte Tres, sección *Now they were put inside Bat House*: el libro describe a los murciélagos arrebatadores, con hocicos como cuchillos, instrumentos de muerte

«But this is where they gave one of themselves up because of a snatch-bat that came down, he came along just as one of them showed himself. They did it because it was actually what they were asking for, what they had in mind» — el libro precisa que la entrega de uno de los gemelos al murciélago era lo que ellos mismos buscaban

«Snatch-bats, monstrous beasts: The design on the bat’s wings represents plucked-out eyes; the scroll-like forms issuing from his mouth are his shrieks. From a Late Classic Maya vase in the Chama style, found in the same region as the Great Hollow where Hunahpu and Xbalanque descended into Xibalba» — el pie de lámina de Tedlock lee el dibujo de las alas del murciélago como ojos arrancados y las volutas de la boca como chillidos, en un vaso maya de estilo Chama hallado en la misma región del Great Hollow

«And then his head was taken off by a snatch-bat, leaving Hunahpu’s body still stuffed inside» — la decapitación de Hunahpu por el murciélago al asomarse por la cerbatana

«Alas! We’ve given it all up!” he said. And elsewhere, the head mean¬ while went rolling onto the court, in accordance with the word of One and Seven Death, and all the Xibalbans were happy over the head of Hunahpu» — la desesperación de Xbalanque y la alegría de Xibalba con la cabeza rodando en la cancha; el troceo parte *meanwhile* con el guion ¬

«There’s the one who only brought his rotten wood. There’s the one who only brought leaves. There’s the one who only brought stones. There’s the one who only brought earth, on through the varied foods of the animals, small and great, until the very last one remained: the coati. He brought a squash, bumping it along with his snout as he came» — la lista de lo que trae cada animal, hasta el pizote que llega con una calabaza empujada con el hocico

«And this became a simulated head for Hunahpu. His eyes were carved right away, then brains came from the thinker, from the sky. This was the Heart of Sky, Hurricane, who came down, came on down into Bat House. The face wasn’t finished any too quickly; it came out well. His strength was just the same, he looked handsome, he spoke just the same» — el libro cuenta cómo el Heart of Sky, Hurricane, baja a Bat House a poner los sesos en la calabaza tallada

«His head was taken off: Hunahpu stands headless with his arms bound. From the Dresden Codex» — el pie de lámina de Tedlock identifica a Hunahpu decapitado y maniatado en el Códice de Dresde

«Now make the streaks, man,’’ the possum was told. “Yes,” said the old man. When he made the streaks he made it dark again; the old man made four streaks» — el encargo al tlacuache de rayar el alba, y las cuatro rayas que hace el viejo

«Xbalanque summoned all the animals: Here he brings a hummingbird to him. Around his mouth and on his back and thigh are patches of jaguar skin. From the Dresden Codex» — el pie de lámina de Tedlock identifica a Xbalanque con parches de piel de jaguar alrededor de la boca y en espalda y muslo, trayendo un colibrí

«The possum: Bringing in a new year that begins on the day named E or Eb, a possum uses a backpack to carry the patron deity assigned to such years. There are four kinds of year in all, corresponding to the four streaks made by the possum» — el pie de lámina de Tedlock explica al tlacuache que carga al dios patrono del año y dice que hay cuatro clases de año, como las cuatro rayas del relato

«Possum is making streaks,” people say today, ever since he made the early dawn red and blue, establishing its very being» — el libro consigna que la gente dice hasta hoy que el tlacuache hace las rayas, desde que enrojeció y azuleó el alba temprana

«How about not playing ball yourself? You should just make lots of threats, while I should be the one to take all the action,” Xbalanque told him» — el reparto de papeles entre los gemelos: Hunahpu amenaza y Xbalanque juega

«Your place is there above the court, on top. Stay there among the ball bags,” the rabbit was told» — la instrucción de Xbalanque al conejo escondido entre los morrales de pelota

«It was the head of Hunahpu: A member of the Xibalba team goes down on one knee and returns the ball ivith his thigh, protected by a leather kilt. The ball bears the name of Hunahpu. From a relief carved on an Early Classic Maya ball-court marker from La Esperanza, Chiapas» — el pie de lámina de Tedlock describe un marcador maya del Clásico temprano de La Esperanza, Chiapas, donde la pelota lleva el nombre de Hunahpu; el escaneo imprime *ivith* por *with*

«Then the rabbit took off hopping, then they went off in pursuit, then all the Xibalbans went off, shouting, shriek¬ ing, they went after the rabbit, off went the whole of Xibalba» — la persecución del conejo por todo Xibalba, que deja a los gemelos recuperar la cabeza; el troceo parte *shrieking* con el guion ¬

«After that, the squash was punted by Xbalanque. The squash was wearing out; it fell on the court, bringing to light its light-colored seeds, as plain as day right in front of them» — la calabaza revienta en la cancha y muestra sus semillas claras ante todos

«With this, the masters of Xibalba were defeated by Hunahpu and Xbalanque. There was great danger there, but they did not die from all the things that were done to them» — el libro declara vencidos a los amos de Xibalba y consigna que los gemelos no murieron pese al peligro

«HERE IT IS: THE EPITAPH, THE DEATH OF HUNAHPU AND Xbalanque. Here it is: now we shall name their epitaph, their death. They did what¬ ever they were instructed to do, going through all the dangers, the troubles that were made for them, but they did not die from the tests of Xibalba, nor were they defeated by all the voracious animals that inhabit Xibalba» — Parte Tres, sección *And here it is: the epitaph, the death of Hunahpu and Xbalanque*: el libro anuncia su muerte y recuerda que ninguna prueba ni animal de Xibalba los venció; el troceo parte *whatever* con el guion ¬

«After that, they summoned two midmost seers, similar to readers. Here are their names: Xulu, Pacam, both knowers» — el libro nombra a los dos videntes del medio, semejantes a lectores, que los gemelos convocan

«So this is the sign, here in our hearts: their instrument for our death will be a stone oven» — los gemelos declaran la señal que llevan en el corazón: que el instrumento de su muerte será un horno de piedra

«This is a good death for them, and it would also be good to grind their bones on a stone, just as hard corn is refined into flour, and refine each of them separately, and then: ‘Spill them into the river, sprinkle them on the water’s way, among the mountains, small and great» — la respuesta que los gemelos ponen en boca de Xulu y Pacam: moler los huesos como se refina el maíz duro y esparcirlos por el agua

«named for you, said little Hunahpu and Xbalanque. When they gave these instructions they already knew they would die» — el libro consigna que los gemelos sabían ya que morirían al dar esas instrucciones a Xulu y Pacam; el tramo abre al otro lado del corte de chunk

«his is the making of the oven, the great stone oven. The Xibalbans made it like the places where the sweet drink is cooked, they opened it to a great width» — Parte Tres, sección *This is the making of the oven*: los xibalbanos lo hacen a la manera de los hornos donde se cuece la bebida dulce; el troceo deja suelta la capitular

«Here, let’s jump over our drink four times, clear across, one of us after the other, boys,” they were told by One Death» — el reto de One Death a los gemelos junto a la boca del horno

«Walking on Stilts: A figure from the M» — el pie de lámina de Tedlock remite al Códice de Madrid por la figura del zancudo; el escaneo arrastra una letra suelta del margen

«nd ON the fifth day they reappeared. They were seen in the water by the people. The two of them looked like catfish when their faces were seen by Xibalba. And having germinated in the waters, they appeared the day after that as two vagabonds, with rags before and rags behind, and rags all over too. They seemed unrefined when they were examined by Xibalba; they acted differently now» — Parte Tres, sección *And on the fifth day they reappeared*: los gemelos vuelven como bagres y al día siguiente como vagabundos harapientos; el troceo deja suelta la capitular

«It was only the Dance of the Poorwill, the Dance of the Weasel, only Armadillos they danced. Only Swallowing Swords, only Walking on Stilts now they danced» — el libro enumera los bailes de los dos vagabundos: el tapacaminos, la comadreja, los armadillos, el tragasables y el zancudo

«They would set fire to a house, as if they were really burning it, and suddenly bring it back again. Now Xibalba was full of admiration» — el primer número de los vagabundos: incendiar una casa y devolverla de golpe

«Who are these two vagabonds? Are they really such a delight? And is their dancing really that pretty? They do everything!” they said» — la curiosidad de One y Seven Death al oír de los bailes

«But we don’t want to, because we’re really ashamed. Just plain no. Wouldn’t we be afraid to go inside there, into a lordly house? Because we’d really look bad. Wouldn’t we just be wide-eyed? Take pity on us! Wouldn’t we look like mere dancers to them? What would we say to our fellow vagabonds? There are others who also want us to dance today, to liven things up with us, so we can’t do likewise for the lords, and likewise is not what we want, messengers,” said Hunahpu and Xbalanque» — la negativa fingida de los gemelos ante los mensajeros de Xibalba

«You’ll never put that one over on us. Don’t we know what our death is, you lords? Watch!” they said, then they faced each other. They grabbed each other by the hands and went head first into the oven» — la respuesta de los gemelos a One Death, que se toman de las manos y se echan de cabeza al horno; el pasaje vuelve citado en las notas

«After that they summoned Xulu and Pacam, who kept their word: the bones went just where the boys had wanted them» — el libro consigna que Xulu y Pacam cumplieron su palabra y que los huesos fueron a donde los gemelos querían

«had done the divination, the bones were ground and spilled in the river, but they didn’t go far—they just sank to the bottom of the water. They became handsome boys; they looked just the same as before when they reappeared» — la continuación tras la lámina: los huesos molidos y echados al río se hundieron y volvieron muchachos iguales que antes

«Next they would sacrifice themselves, one of them dying for the other, stretched out as if in death. First they would kill themselves, but then they would suddenly look alive again. The Xibalbans could only admire what they did. Everything they did now was already the groundwork for their defeat of Xibalba» — el segundo número de los vagabundos, el sacrificio sin muerte, que el libro declara ya preparación de la derrota de Xibalba; el pasaje vuelve citado en las notas

«They danced the Armadillo: This dancer wears a scaly armadillo mask, plays a flute, and shakes a rattle. From a Late Classic Maya vase in the Chama style, found in the same region as the Great Hollow where Hunahpu and Xbalanque descended into the Xibalba» — el pie de lámina de Tedlock describe al danzante con máscara escamosa de armadillo, flauta y sonaja, en un vaso maya de estilo Chama

«Then they took hold of a human sacrifice: The aged merchant god of the underworld sits on a dais in his pal¬ ace, with his owl messenger perched on his hat. The women around the plat¬ form are all of noble rank; one of them turns to watch the performance to the left, in which two masked dancers (probably Hunahpu and Xbalanque in disguise) carry out a human sacrifice. The left-hand dancer is applying an axe to the back of the neck of the victim. From a Late Classic Maya vase in the Princeton University Art Museum» — el pie de lámina de Tedlock describe la escena de un vaso maya del Clásico tardío: el dios mercader del inframundo en su estrado con su búho, mujeres nobles alrededor y dos danzantes enmascarados, quizá los gemelos, ejecutando un sacrificio humano; el troceo parte *palace* y *platform* con el guion ¬

«Don’t be afraid. Don’t be ashamed. Just dance this way: first you’ll dance to sacrifice yourselves, you’ll set fire to my house after that, you’ll act out all the things you know. We want to be entertained. This is our heart’s desire, the reason you had to be sent for, dear vagabonds. We’ll give you payment,” they were told» — el encargo del señor de Xibalba a los vagabundos: bailar el sacrificio de sí mismos y el incendio de su casa

«Sacrifice my dog, then bring him back to life again,” they were told» — la primera petición del señor a los danzantes

«When they sacrificed the dog he then came back to life. And that dog was really happy when he came back to life» — el libro cuenta en verso el sacrificio y la resurrección del perro, que menea la cola al volver

«Well, you have yet to set my home on fire,” they were told next, so then they set fire to the home of the lord. The house was packed with all the lords, but they were not burned. They quickly fixed it back again, lest the house of One Death be consumed all at once, and all the lords were amazed, and they went on dancing this way. They were overjoyed» — el incendio de la casa del señor, llena de señores y no quemada, deshecho enseguida

«You have yet to kill a person! Make a sacrifice without death!” they were told» — la tercera petición del señor de Xibalba a los danzantes

«Sacrifice yet again, even do it to yourselves!: At left is Hunahpu disguised as a Thunderbolt god, about to swing a lightning-striking axe; the catfish barbel on his cheek recalls the episode in which he and his brother appeared as catfish. Playfully waiting to have his head cut off is a prostrate Xbalanque, no longer limited to wearing a few patches of jaguar skin but rather appearing as a parody of him¬ self Next (from left to right) are a skeletal Xibalban who dances with de¬ light, a dog who wags his tail (having survived his own decapitation), and a firefly bearing a torch (from the Dark House episode). From a Late Classic Maya vase in the Metropolitan Mu» — el pie de lámina de Tedlock describe a Hunahpu disfrazado de dios del rayo con la barbilla de bagre, a Xbalanque tendido en parodia de sí mismo, a un xibalbano esquelético, al perro que menea la cola y a una luciérnaga con antorcha; el troceo parte *wearing*, *himself* y *Museum* con el guion ¬

«And then they took hold of a human sacrifice. And they held up a human heart on high. And they showed its roundness to the lords. And now One and Seven Death admired it, and now that person was brought right back to life» — el número del sacrificio humano ante One y Seven Death, con el corazón alzado y la resurrección

«Sacrifice yet again, even do it to yourselves! Let’s see it! At heart, that’s the dance we really want from you,” the lords said now» — la petición que precipita la caída de Xibalba: que los danzantes se sacrifiquen a sí mismos

«And with One Death dead, the next to be taken was Seven Death. They did not come back to life» — el desenlace del número: los dos señores sacrificados no vuelven a la vida

«They underwent heart sacrifice there, and the heart sacri¬ fice was performed on the two lords only for the purpose of destroying them» — el libro declara el fin del sacrificio de los dos señores: destruirlos; el troceo parte *sacrifice* con el guion ¬

«Take pity on me!” he said when he realized. All their vassals took the road to the great canyon, in one single mass they filled up the deep abyss. So they piled up there and gathered together, countless ants, tumbling down into the canyon, as if they were being herded there. And when they arrived, they all bent low in surrender, they arrived meek and tearful» — la súplica del segundo señor y la rendición en masa de los vasallos, que el libro compara con hormigas cayendo al abismo

«Such was the defeat of the rulers of Xibalba. The boys accomplished it only through wonders, only through self-transformation» — el libro adjudica la derrota de Xibalba solo a prodigios y a la transformación de sí mismos

«Take pity on us, Hunahpu and Xbalanque! It is true that we wronged your fathers, the ones you name. Those two are buried at the Place of Ball Game Sacrifice,” they replied» — la confesión de los xibalbanos, que dicen dónde están enterrados los padres

«because of this, your day and your descen¬ dants will not be great. Moreover, the gifts you receive will no longer be great, but reduced to scabrous nodules of sap. There will be no cleanly blotted blood for you, just griddles, just gourds, just brittle things broken to pieces» — la sentencia de los gemelos sobre Xibalba: día y descendencia menguados y ofrendas reducidas a nódulos de savia; el troceo parte *descendants* con el guion ¬ y el tramo cruza el corte de plana

«Such was the beginning of their disappearance and the denial of their worship» — el libro marca ahí el comienzo de la desaparición de Xibalba y la negación de su culto

«Their ancient day was not a great one, these ancient people only wanted conflict, their ancient names are not really divine, but fearful is the ancient evil of their faces. They are makers of enemies, users of owls, they are inciters to wrongs and violence, they are masters of hidden intentions as well, they are black and white, masters of stupidity, masters of perplexity, as it is said. By putting on appearances they cause dismay» — el juicio en verso sobre los antiguos de Xibalba: buscadores de conflicto, hacedores de enemigos, usadores de búhos, amos de intenciones ocultas y de la perplejidad

«and father. We must’ve been small when they died,” was all they said. They didn’t give any names» — los gemelos disfrazados de vagabundos niegan saber quiénes son sus padres y no dan nombres; la frase abre al otro lado de la lámina de la plana anterior

«Further, you will only feed on creatures of the meadows and clearings. None of those who are born in the light, begotten in the light will be yours» — segunda parte de la sentencia de los gemelos: Xibalba se alimentará solo de criaturas de prados y claros y nada de lo nacido en la luz será suyo

«These will be the guilty, the violent, the wretched, the afflicted. Wherever the blame is clear, that is where you will come in, rather than just making sudden attacks on people in general. And you will hear petitions over headed-up sap» — el cierre de la sentencia: solo los culpables, violentos, míseros y afligidos se les entregarán, y entrarán donde la culpa sea clara

«One by one his legs, his arms were spread wide. His head came off, rolled far away outside. His heart, dug out, was smothered in a leaf, and all the Xibalbans went crazy at the sight» — Parte Tres, sección *And this is the sacrifice of little Hunahpu by Xbalanque*: el descuartizamiento y el corazón arrancado y envuelto en una hoja

«Listen: we shall name our names, and we shall also name the names of our fathers for you. Here we are: we are little Hunahpu and Xbalanque by name. And these are our fathers, the ones you killed: One Hunahpu and Seven Hunahpu by name. And we are here to clear the road of the torments and troubles of our fathers. And so we have suffered all the troubles you’ve caused us» — Parte Tres, sección *And then they named their names*: los gemelos se nombran y nombran a sus padres muertos y declaran que vinieron a limpiar el camino de los tormentos de estos

«Then the ears were deified by their grandmother, and she gave them names: Middle of the House, Middle of the Harvest, Living Ears of Green Com, Bed of Earth became their names» — los cuatro nombres con que Xmucane deifica las mazorcas; el escaneo imprime *Com* por *Corn*

«And she named the ears Middle of the House, Middle of the Harvest, because they had planted them right in the middle of the inside of their home» — el libro explica dos de los nombres por el lugar de la siembra, en medio de la casa

«And she further named them Bed of Earth, Living Ears of Green Corn, since the ears had been placed up above an earthen floor. And she also named them Living Ears of Green Corn, because the corn plants had grown again» — el libro explica los otros dos nombres, por el piso de tierra y por el rebrote de las matas

«They had been left behind, planted by Hunahpu and Xbalanque, simply as a way for their grandmother to remember them» — el libro declara el fin de esa siembra: que la abuela los recordara

«Their father is put back together ry them: Hunahpu (left) and Xba¬ lanque (right) resurrect their father. He takes the form of a maize god in lowland Maya art, here emerging (or sprouting) from a cleft in the back of a turtle (the earth). From a Late Classic Maya bowl» — el pie de lámina de Tedlock describe a los gemelos resucitando a su padre, que en el arte maya de las tierras bajas toma forma de dios del maíz brotando de la hendidura del caparazón de una tortuga; el escaneo imprime *ry* por *by* y el troceo parte *Xbalanque* con el guion ¬

«Lnd here their father is put back together by them. They put Seven Hunahpu back together; they went to the Place of Ball Game Sacrifice to put him together. He had wanted his face to become just as it was, but when he was asked to name everything, and once he had found the name of the mouth, the nose, the eyes of his face, there was very little else to be said. Although his mouth could not name the names of each of his former parts, he had at least spoken again» — Parte Tres, sección *And here their father is put back together by them*: Seven Hunahpu recupera boca, nariz y ojos pero no llega a nombrar las demás partes; el troceo deja suelta la capitular

«You will be prayed to here,” his sons told him, and his heart was comforted. “You will be the first resort, and you will be the first to have your day kept by those who will be bom in the light, begotten in the light. Your name will not be lost. So be it,” they told their father» — la promesa de los gemelos a su padre: que será el primer recurso y el primero cuyo día guarden los nacidos en la luz; el escaneo imprime *bom* por *born*

«We merely cleared the road of your death, your loss, the pain, the suffering that were inflicted upon you» — lo que los gemelos declaran haber hecho por su padre: limpiar el camino de su muerte y su sufrimiento

«And then the two boys ascended this way, here into the middle of the light, and they ascended straight on into the sky, and the sun belongs to one and the moon to the other. When it be¬ came light within the sky, on the face of the earth, they were there in the sky» — el ascenso de los gemelos al cielo, con el sol para uno y la luna para el otro

«The moon to the other: The lowland Maya Jaguar Moon Lord, enclosed by a lunar crescent. From an Early Classic conch shell trumpet» — el pie de lámina de Tedlock identifica al Señor Luna Jaguar maya de las tierras bajas dentro de un creciente lunar, en una trompeta de caracol del Clásico temprano

«And then the Four Hundred Boys climbed up, the ones who were killed by Zipacna. And so they came to accompany the two of them, they became the sky’s own stars» — el cierre de la Parte Tres: los Cuatrocientos Muchachos suben a acompañar a los gemelos y se vuelven las estrellas del cielo

«And this was when their grandmother burned something, she burned copal before the ears of green corn as a memorial to them. There was happiness in their grandmother’s heart the second time the corn plants sprouted» — Xmucane quema copal ante las mazorcas verdes en memoria de los gemelos y se alegra cuando la milpa brota otra vez; el pasaje vuelve citado en las notas

«Vnd here is the beginning of the conception of humans, and of the search for the ingredients of the human body» — Parte Cuatro, sección *And here is the beginning of the conception of humans*: el libro abre la busca de los ingredientes del cuerpo humano; el troceo deja suelta la capitular

«The dawn has approached, preparations have been made, and morn¬ ing has come for the provider, nurturer, born in the light, begotten in the light. Morning has come for humankind, for the people of the face of the earth» — la declaración de los dioses al abrirse la Parte Cuatro: llegó la mañana para el proveedor y sustentador nacido en la luz; el troceo parte *morning* con el guion ¬

«It all came together as they went on thinking in the darkness, in the night, as they searched and they sifted, they thought and they wondered» — el libro describe el modo del hallazgo: pensar, buscar, cribar y maravillarse en la oscuridad

«Split Place, Bitter Water Place is the name: the yellow com, white com came from there» — el libro nombra el lugar de donde vino el maíz amarillo y el blanco; el escaneo imprime *com* por *corn*

«And these are the names of the animals who brought the food: fox, coyote, parrot, crow. There were four animals who brought the news of the ears of yellow com and white corn. They were coming from over there at Split Place, they showed the way to the split» — el libro nombra a los cuatro animales que trajeron la noticia del maíz y mostraron el camino a la hendidura; el escaneo imprime *com* por *corn*

«The yellow corn and WHITE CORN WERE GROUND: This woman is rubbing a hand stone (“mano”) over a grinding stone (“■metate”) that has stone feet. From a Late Classic Maya bowl» — el pie de lámina de Tedlock describe a una mujer moliendo con mano sobre un metate de tres pies, de un cuenco maya del Clásico tardío; el escaneo imprime un signo suelto antes de *metate*

«And these were the ingredients for the flesh of the human work, the human design, and the water was for the blood. It became human blood, and corn was also used by the Bearer, Begetter» — el libro fija los dos ingredientes: el agua para la sangre y el maíz para la carne

«And so they were happy over the provisions of the good mountain, filled with sweet things, thick with yellow corn, white corn, and thick with pataxte and cacao, countless zapotes, anonas, jocotes, nances, matasanos, sweets—the rich foods filling up the citadel named Split Place, Bitter Water Place. All the edible fruits were there: small staples, great staples, small plants, great plants. The way was shown by the animals» — el libro enumera las riquezas del monte Split Place: maíz, pataxte, cacao, zapotes, anonas, jocotes, nances y matasanos

«And then the yellow corn and white com were ground, and Xmucane did the grinding nine times. Food was used, along with the water she rinsed her hands with, for the creation of grease; it became human fat when it was worked by the Bearer, Begetter, Sovereign Plumed Serpent, as they are called» — el libro consigna las nueve moliendas de Xmucane y el agua de enjuagarse las manos como origen de la grasa humana; el escaneo imprime *com* por *corn*

«the making, the modeling of our first mother-father, with yellow corn, white corn alone for the flesh, food alone for the human legs and arms, for our first fathers, the four human works. It was staples alone that made up their flesh» — el verso que cierra la creación: maíz amarillo y blanco solos por carne, alimento solo por piernas y brazos de los cuatro primeros

«And these are the names of our first mother-fathers. They were simply made and modeled, it is said; they had no mother and no father. We have named the men by themselves. No woman gave birth to them, nor were they begotten by the builder, sculptor, Bearer, Begetter. By sacri¬ fice alone, by genius alone they were made, they were modeled by the Maker, Modeler, Bearer, Begetter, Sovereign Plumed Serpent» — el libro declara que los cuatro primeros no tuvieron madre ni padre y fueron hechos por sacrificio solo y por genio solo; el troceo parte *sacrifice* con el guion ¬

«Thoughts came into existence and they gazed; their vision came all at once. Perfectly they saw, perfectly they knew everything under the sky, whenever they looked. The moment they turned around and looked around in the sky, on the earth, everything was seen without any obstruc¬ tion. They didn’t have to walk around before they could see what was under the sky; they just stayed where they were» — el libro describe la visión perfecta de los primeros hombres, que veían todo sin obstrucción y sin moverse; el troceo parte *obstruction* con el guion ¬

«As they looked, their knowledge became intense. Their sight passed through trees, through rocks, through lakes, through seas, through moun¬ tains, through plains. Jaguar Quitze, Jaguar Night, Not Right Now, and Dark Jaguar were truly gifted people» — el libro dice hasta dónde pasaba su vista: por árboles, rocas, lagos, mares, montes y llanos; el troceo parte *mountains* con el guion ¬

«What do you know about your being? Don’t you look, don’t you listen? Isn’t your speech good, and your walk? So you must look, to see out under the sky. Don’t you see the mountain-plain clearly? So try it,” they were told» — la pregunta del constructor y el albañil a los primeros hombres

«Truly now, double thanks, triple thanks that we’ve been formed, we’ve been given our mouths, our faces, we speak, we listen, we wonder, we move, our knowledge is good, we’ve understood what is far and near, and we’ve seen what is great and small under the sky, on the earth» — la acción de gracias en verso de los primeros hombres por la boca, la cara, el habla, el oído y el conocimiento de lo lejano y lo cercano

«They understood everything perfectly, they sighted the four sides, the four corners in the sky, on the earth, and this didn’t sound good to the builder and sculptor» — el libro consigna que la comprensión perfecta de los primeros hombres no sonó bien al constructor y escultor

«What should we do with them now? Their vision should at least reach nearby, they should see at least a small part of the face of the earth, but what they’re saying isn’t good. Aren’t they merely ‘works’ and ‘designs’ in their very names? Yet they’ll become as great as gods, unless they procre¬ ate, proliferate at the sowing, the dawning, unless they increase» — la deliberación de los dioses: que los hombres se volverían tan grandes como ellos si no procrean y se multiplican; el troceo parte *procreate* con el guion ¬

«Let it be this way: now we’ll take them apart just a little, that’s what we need. What we’ve found out isn’t good. Their deeds would become equal to ours, just because their knowledge reaches so far. They see everything» — la decisión de los dioses de desarmarlos un poco, porque sus hechos igualarían a los suyos

«in front of the ears of green corn they left planted. Corn plants grew, then dried up» — Parte Tres, sección *And this is their grandmother, crying and calling out in front of the ears of green corn*: las matas que dejaron plantadas crecen y se secan

«This is the first person: Jaguar Quitze. And now the second: Jaguar Night. And now the third: Not Right Now. And the fourth: Dark Jaguar» — Parte Cuatro, sección *These are the names of the first people who were made and modeled*: el libro nombra uno por uno a los cuatro primeros hombres

«They looked and they listened. They walked, they worked. They were good people, handsome, with looks of the male kind» — el verso que describe a los cuatro primeros hombres: miran, escuchan, andan, trabajan, y el libro los llama buena gente

«Vnd this is our root, we who are the Quiche people. And there came to be a crowd of penitents and sacrificers. It wasn’t only four who came into being then, but there were four mothers for us, the Quiche people. There were different names for each of the peoples when they multiplied, there in the east» — Parte Cuatro, sección *And this is our root, we who are the Quiche people*: el libro declara cuatro madres junto a los cuatro padres y nombra a los pueblos del oriente; el troceo deja suelta la capitular

«Jaguar Quitze was the grandfather and father of the nine great houses of the Cauecs. Jaguar Night was the grandfather and father of the nine great houses of the Greathouses. Not Right Now was the grandfather and father of the four great houses of the Lord Quiches» — el libro reparte los tres linajes por fundador: nueve casas de los Cauecs, nueve de los Greathouses y cuatro de los Lord Quiches

«There were three separate lineages. The names of the grandfathers and fathers are not forgotten. These multiplied and flowered there in the east, but the Tams and Ilocs also came forth, along with thirteen allied tribes, thirteen principalities, including» — el libro consigna tres linajes separados y nombra trece tribus aliadas junto a Tams e Ilocs

«The Rabinals, Cakchiquels, those of Bird House. And the White Commeals. And also the Lamacs, Serpents, Sweatbath House, Talk House, those of Star House. And those of Quiba House, those of Yokes House, Acul people, Jaguar House, Guardians of the Spoils, Jaguar Ropes» — la lista de las tribus aliadas, de los Rabinals a Jaguar Ropes; el escaneo imprime *Commeals* por *Cornmeals*

«It is sufficient that we speak only of the largest tribes from among the allied tribes; we have only noted the largest. Many more came out after¬ ward, each one a division of that citadel. We haven’t written their names» — el libro declara su propio recorte: solo anota las tribus mayores y no escribe los nombres de las demás; el troceo parte *afterward* con el guion ¬

«There came to be many peoples in the blackness; they began to abound even before the birth of the sun and the light. When they began to abound they were all there together; they stood and walked in crowds, there in the east» — el libro sitúa la multiplicación de los pueblos en la negrura, antes del nacimiento del sol y la luz

«There was nothing they could offer for sustenance, but even so they lifted their faces to the sky. They didn’t know where they were going» — el libro describe a los pueblos sin qué ofrecer de sustento y sin saber adónde iban, con la cara alzada al cielo

«black people, white people, people of many faces, people of many lan¬ guages, uncertain, there at the edge of the sky» — la enumeración de los pueblos en el pastizal, de muchas caras y muchas lenguas, al borde del cielo; el troceo parte *languages* con el guion ¬

«And there were mountain people. They didn’t show their faces, they had no homes. They just traveled the mountains, small and great. “It’s as if they were crazy,” they used to say. They derided the mountain people, it was said. There they watched for the sunrise, and for all the mountain people there was just one language. They did not yet pray to the tree» — el libro describe a la gente de los montes, sin casas y con una sola lengua, de quienes se decía que parecían locos, y que aún no rezaba a la piedra-árbol

«These are the words with which they remembered the Maker, Mod¬ eler, Heart of Sky, Heart of Earth. It was said that these were enough to keep them mindful of what was in shadow and what was dawning. All they did was ask; they had reverent words. They were reverent, they were givers of praise, givers of respect, lifting their faces to the sky when they made requests for their daughters and sons» — el libro consigna la reverencia de los pueblos antes del amanecer, que solo pedían y alzaban la cara al cielo; el troceo parte *Modeler* y *shadow* con el guion ¬

«Wait! thou Maker, thou Modeler, look at us, listen to us, don’t let us fall, don’t leave us aside, thou god in the sky, on the earth, Heart of Sky, Heart of Earth, give us our sign, our word, as long as there is day, as long as there is light. When it comes to the sowing, the dawning, will it be a greening road, a greening path? Give us a steady light, a level place, a good light, a good place, a good life and beginning. Give us all of this, thou Hurricane, Newborn Thunderbolt, Sudden Thunderbolt, Newborn Nanahuac, Sudden Nanahuac, Falcon, Hunahpu, Sovereign Plumed Serpent, Bearer, Begetter, Xpiyacoc, Xmucane, Grandmother of Day, Grandmother of Light, when it comes to the sowing, the dawning» — la oración de los pueblos antes del amanecer, que pide señal y palabra, camino verde, luz firme y buen comienzo, y nombra a los dioses uno por uno

«They did not yet pray to the tree-stone: A wooden stele commemorating a new year. The cluster of branches and leaves at the top is the glyph for te’ or “tree,” while the glyph at the foot of the stele is for tun or “stone. ” The snake (kan) near the top is a pun on “sky” (kan); the inscription on the strip of paper hanging from the stele is represented only by footprints that signify the passage of time, following the reading order of a column of glyphs. From the Dresden Codex» — el pie de lámina de Tedlock lee una estela de madera del Códice de Dresde: el glifo de árbol arriba, el de piedra al pie, la serpiente como juego de palabras con cielo y las huellas que marcan el paso del tiempo

«We’re still waiting for the dawning,” they said, these great knowers, great thinkers, penitents, praisers, as they are called. And there was no tree-stone in the keeping of our first mother-fathers, and they were weary at heart there, waiting for the sun» — la queja de los cuatro fundadores, a quienes el libro llama grandes conocedores y pensadores, sin piedra-árbol en su custodia

«Let’s just go. We’ll look and see whether there is something to keep as our sign. We’ll find out what we should burn in front of it. The way we are right now, we have nothing to keep as our own,” said Jaguar Quitze, Jaguar Night, Not Right Now, and Dark Jaguar. They got word of a citadel. They went there» — la decisión de los cuatro de ir a buscar algo que guardar por señal y algo que quemar ante ello

«Tulan Zuyua, Seven Caves, Seven Canyons is the name of the citadel. Those who were to receive the gods arrived there» — Parte Cuatro, sección *And this is the name of the mountain where they went*: el libro nombra Tulan Zuyua, Siete Cuevas, Siete Cañones como la ciudadela adonde fueron a recibir los dioses

«Tohil . . . was first to generate fire: Here he sits amid, swirls of smoke and fire (or clouds and lightning), some of which originate from his own forehead and tongue. One of his legs, turned to the right, can he seen turning into a snake (lightning) below his knee. From an incised potsherd found at Rotten Cane (Utatlan), now in the Peabody Museum, Harvard University» — el pie de lámina de Tedlock describe a Tohil entre volutas de humo y fuego, con una pierna vuelta serpiente bajo la rodilla, en un tiesto incidido hallado en Rotten Cane; el escaneo imprime *he* por *be*

«Alas! Fire has not yet become ours. We’ll die from the cold,” they said. And then Tohil spoke: “Do not grieve. You will have your own even when the fire you’re talking about has been lost,” Tohil told them» — el primer diálogo con Tohil sobre el fuego

«Aren’t you a true god! Our sustenance and our support! Our god!” they said when they gave thanks for what Tohil had said. “Very well, in truth, I am your god: so be it. I am your lord: so be it» — la aclamación de los quichés a Tohil y la respuesta de este, que se declara su dios y su señor

«Well, do not grieve,” said Tohil. Then he started a fire. He pivoted inside his sandal» — el modo en que Tohil enciende el fuego: girando dentro de su sandalia

«Alas! We left our language behind. How did we do it? We’re lost! Where were we deceived? We had only one language when we came to Tulan, and we had only one place of emergence and origin. We haven’t done well,” said all the tribes beneath the trees and bushes» — el lamento de las tribus al perder la lengua única con que llegaron a Tulan

«Truly, since you have your god, your nurturer, and he is the represen¬ tation, the commemoration of your Maker and your Modeler, don’t give the tribes their fire until they give something to Tohil. You don’t want them to give anything to you. You must ask for what belongs to Tohil; to him must come what they give in order to get fire,” said the Xibalban» — la instrucción del mensajero de Xibalba: no dar el fuego hasta que las tribus den algo a Tohil, y no a ellos; el troceo parte *representation* con el guion ¬

«He had wings like the wings of a bat. “I am a messenger of those who made you and modeled you,” said the Xibalban. So now they were happy; now they thought all the more of Tohil, Auilix, and Hacauitz. When the Xibalban had spoken he made himself vanish right in front of them, without delay» — el libro describe al mensajero de Xibalba con alas de murciélago y su desaparición súbita

«Wouldn’t you take pity on us if we asked to remove a little something from your fire? Wasn’t it found and wasn’t it revealed that we had just one home and just one mountain when you were made, when you were modeled? So please take pity on us,” they said» — la súplica de las tribus ateridas por un poco de fuego, invocando el origen común

«Well, we’d give you metal,” said the tribes. “We don’t want metal,” said Jaguar Quitze and Jaguar Night» — la oferta de metal por el fuego y su rechazo

«Don’t they want to be suckled on their sides and under their arms? They’ve come to ask for your» — la condición que Tohil pone por el fuego, dicha en la lengua torcida de Zuyua

«They’ve come to ask for your FIRE: This is a scepter held by a ruler, one of the forms taken by K’awil, the lowland Maya counterpart of Tohil, or Hurricane. On his forehead he wears an obsidian mirror with a burning torch emerging from it. His body and his one normal leg are omitted here, leaving only the leg that becomes a serpent (or lightning). This is a reconstruction from several Late Classic stucco reliefs at Palenque» — el pie de lámina de Tedlock identifica el cetro de K’awil, contraparte de Tohil en las tierras bajas, con espejo de obsidiana y antorcha en la frente y una pierna vuelta serpiente, reconstruido de relieves de Palenque

«Very well. Let him suckle. And very well, we shall embrace him,” said the tribes, when they answered and agreed to the word of Tohil. They made no delay but said “very well” right away, and then they received their fire» — la aceptación de las tribus sin demora y la entrega del fuego

«After that they got warm, but there was one group that simply stole the fire, there in the smoke. This was the Bat House. Snake Tooth is the name of the god of the Cakchiquels, but it looks like a bat. They went right past in the smoke then, they sneaked past when they came to get fire» — el libro cuenta que la Casa del Murciélago robó el fuego entre el humo y nombra al dios cakchiquel Snake Tooth

«And this is what Tohil meant by being “suckled”: that all the tribes be cut open before him, and that their hearts be removed “through their sides, under their arms» — el libro descifra la lengua torcida: que las tribus sean abiertas ante Tohil y se les saque el corazón

«This deed had not yet been attempted when Tohil saw into the middle of it, nor had Jaguar Quitze, Jaguar Night, Not Right Now, and Dark Jaguar received fiery splendor and majesty» — el libro sitúa el momento: Tohil ya lo veía y los cuatro fundadores aún no tenían esplendor de fuego ni majestad

«uEN THEY CAME away from Tulan Zuyua, they weren’t eating. They observed a continuous fast. It was enough that they watch intently for the dawning, that they watch closely for the rising of the sun, taking turns at watching for the great star named sun carrier. This one came first before the sun when the sun was bom, the newly risen sun carrier» — Parte Cuatro, sección *When they came away from Tulan Zuyua*: el ayuno continuo y las guardias por turno para ver el portador del sol; el troceo deja suelta la capitular y el escaneo imprime *bom* por *born*

«It wasn’t really here that they received their fiery splendor and their dominion, but rather there that the tribes, great and small, were subjugated and humiliated. When they were cut open before Tohil, all the peoples gave their blood, their gore, their sides, their underarms. Fiery splendor came to them all at once at Tulan, along with great knowledge, and they achieved this in the darkness, in the night» — el libro declara dónde se ganó el esplendor de fuego: en Tulan, cuando las tribus fueron abiertas ante Tohil, y no aquí

«Isn’t it their heart’s desire to embrace me? I, who am Tohil? But if there is no desire, then I’ll not give them their fire,” says Tohil. “When the time comes, not right now, they’ll be suckled on their sides, under their arms,” he says to you,’ you will say» — la segunda mitad de la condición de Tohil, con el aplazamiento del abrazo; el pasaje vuelve citado en las notas

«Those fiery Cakchiquels didn’t ask for their fire. They didn’t give themselves up in defeat, but all the other tribes were defeated when they gave themselves up to being suckled on their sides, under their arms» — el libro exceptúa a los cakchiquelas de la derrota que las otras tribus aceptaron; el pasaje vuelve citado en las notas

«And it isn’t clear how they crossed over» — Parte Cuatro, sección *And then they came away, just camping on the road*: el libro consigna que no está claro cómo cruzaron el mar, y nombra el lugar Stone Courses, Sand Banks

«Observing a great fast was Jaguar Quitze, with his wife; Red Sea Turtle is his wife’s name. Likewise doing it was Jaguar Night, with his wife, named Prawn House. And Not Right Now was also there at the great fast, with his wife, named Water Hummingbird, along with Dark Jaguar, whose wife’s name is Macaw House» — el libro nombra a los cuatro fundadores y a sus cuatro mujeres en el gran ayuno del Place of Advice

«Let’s just go, let’s just get up, let’s not stay here. Please give us places to hide. R’s nearly dawn. Wouldn’t you look pitiful if we became plunder for warriors? Construct places where we can remain yours, you penitents and sacrificers, and give one place to each of us,” they said when they spoke» — Parte Cuatro, sección *And then Tohil, along with Auilix and Hacauitz, spoke to them*: los dioses piden escondites, uno para cada uno, antes del amanecer; el escaneo imprime *R’s* por *It’s*

«And then Auilix went into the canyon named Concealment Canyon, as they called it, into the great canyon in the forest. Auilix’s Place is the name today. He was left there, placed in the canyon by Jaguar Night, coming first in the sequence of placements» — el primer escondite: Auilix en el cañón del Ocultamiento, dejado allí por Jaguar Night

«And then Hacauitz was placed at the top of a great pyramid. Hacauitz is the name of the mountain today, and it became their citadel. So the god Hacauitz remained there, and Not Right Now stayed with his god. This was the second god to be hidden by them. Hacauitz didn’t stay in the forest. It was on a bare mountain that Hacauitz was hidden» — el segundo escondite: Hacauitz en lo alto de una gran pirámide, en monte pelado y no en el bosque

«Tohil was put into hiding by Jaguar Quitze; the mountain is called Tohil’s Place today. Then they gave Concealment Canyon an epithet: Tohil Medicine. Masses of serpents and masses of jaguars, rattlesnakes, fer-de-lances were there in the forest where he was hidden by the penitents and sacrificers» — el tercer escondite: Tohil en el gran bosque, entre serpientes y jaguares, con el epíteto Tohil Medicine para el cañón

«In unity they stopped there, and in unity they had their dawning there. In unity they waited there for the rising of the great star named sun carrier» — el libro insiste en la unidad de todas las tribus esperando la salida del portador del sol

«There was no sleep, no rest for them. They cried their hearts and their guts out, there at the dawning and clearing, and so they looked terrible. Great sorrow, great anguish came over them; they were marked by their pain. They just stayed that way» — el libro describe la vigilia de los cuatro fundadores, llorando el corazón y las tripas en la espera del alba

«Coming here hasn’t been sweet for us. Alas! If we could only see the birth of the sun! What have we done? We all had one identity, one mountain, but we sent ourselves into exile,” they said when they talked among themselves» — el lamento de los cuatro: tenían una identidad y un monte y se mandaron ellos mismos al exilio

«And these are the ones who did feel settled there: the gods who were in the canyons, in the forests, just out in the bromeliads, in the hanging mosses, not yet set on pedestals» — el libro contrasta la inquietud de los hombres con el sosiego de los dioses en cañadas y bosques, aún sin pedestal

«At first, Tohil, Auilix, and Hacauitz actually spoke. The greatness of their day and the greatness of their breath of spirit set them above all the other tribal gods» — el libro dice que los tres dioses hablaban de veras al principio y que su día y su aliento de espíritu los ponía sobre los demás dioses tribales

«These were the dawning places: Tohil’s Place, Auilix’s Place, and Hacauitz, as they are called today. And this is where our grandfathers, our fathers had their sowing, their dawning» — el libro nombra los tres lugares del amanecer, que dice llamarse así hasta hoy; el troceo parte *Hacauitz* con el guion

«Mixtam Copal is the name of the copal brought by Jaguar Quitze. Cauiztan Copal, next, is the name of the copal brought by Jaguar Night. Godly Copal, as the next one is called, was brought by Not Right Now» — el libro nombra los tres copales que cada fundador trajo del oriente

«The three of them had their copal, and this is what they burned as they incensed the direction of the rising sun. They were crying sweetly as they shook their burning copal, the precious copal» — el libro describe la quema del copal hacia el oriente, con llanto dulce mientras lo sacudían

«It was ahead of the sun: The band across the top is sky, with the glyph for Venus in the middle. Below Venus, lying on the earth, is the profile of the sun god. From a Late Classic Maya relief on a bench at Copan» — el pie de lámina de Tedlock lee un relieve maya del Clásico tardío de Copan: la banda del cielo con el glifo de Venus y, bajo él, el perfil del dios solar tendido en la tierra

«And then, when the sun came up, the animals, small and great, were happy. They all came up from the rivers and canyons; they waited on all the mountain peaks. Together they looked toward the place where the sun came out» — el libro describe la salida del sol vista por todos los animales desde las cumbres

«So then the puma and jaguar cried out, but the first to cry out was a bird, the parrot by name. All the animals were truly happy. The eagle, the white vulture, small birds, great birds spread their wings, and the penitents and sacrificers knelt down» — el libro nombra al perico como el primero en gritar al amanecer, antes que el puma y el jaguar

«The sun was like a person when he revealed himself. His face was hot, so he dried out the face of the earth. Before the sun came up it was soggy, and the face of the earth was muddy before the sun came up» — el libro dice cómo era el sol al revelarse: como persona, con la cara caliente que resecó la tierra antes lodosa

«They were just smelling the tips of their staffs as if they were thinking of eating them, but they weren’t eating at all as they came» — el libro describe el hambre del camino: olían las puntas de sus bastones como si pensaran comérselos; el pasaje vuelve citado en las notas

«And Jaguar Quitze, Jaguar Night, Not Right Now, and Dark Jaguar were overjoyed when they saw the sun carrier. It came up first. It looked brilliant when it came up, since it was ahead of the sun» — Parte Cuatro, sección *And here is the dawning and showing of the sun, moon, and stars*: la alegría de los cuatro al ver el portador del sol, que sale brillante por delante

«And the Mexican Sovereigns—however many tribes there may be today. There were countless peoples, but there was just one dawn for all tribes» — la frase que el libro pone al cabo de la lista de tribus: incontables pueblos y un solo amanecer para todos; Tedlock la cita en su Introduction, y el ancla va aquí en el cuerpo

«Even though Tohil is his name, he is the same as the god of the Mexican people, who is named Yolcuat and Quitzalcuat. When we di¬ vided, there at Tulan, at Zuyua, they left with us, and they shared our identity when we came away,” they said among themselves when they remembered their faraway brothers» — el libro identifica a Tohil con el dios de los mexicanos, nombrado Yolcuat y Quitzalcuat, y dice que compartieron identidad al salir de Tulan; el troceo parte *divided* con el guion ¬

«There was just one name for the god of all three divisions of the Quiche people» — el libro consigna un solo nombre de dios para las tres divisiones quichés

«And again, the name of the god of the Rabinals was the same. His name was only slightly changed; “One Toh” is the way the name of the god of the Rabinals is spoken. They say it that way, but it is meant to be in agreement with the Quiches and with their language» — el libro registra la variante rabinal del nombre, One Toh, y dice que está hecha para concordar con los quichés

«Vnd here they burn their copal, and here also is the origin of the masking of Tohil» — Parte Cuatro, sección *And here they burn their copal*: el libro anuncia también el origen del enmascaramiento de Tohil; el troceo deja suelta la capitular

«This very place has become our mountain, our plain. Now that we are yours, our day and our birth have become great, because all the peoples are yours, all the tribes. And since we are still your companions, even in your citadel, we shall give you procedures» — la palabra de los dioses a los penitentes y sacrificadores al enseñarles los procedimientos

«Do not reveal us to the tribes when they burn with envy over us. They are truly numerous now, so don’t you let us be hunted down, but rather give the creatures of the grasses and grains to us, such as the female deer and female birds. Please come give us a little of their blood, take pity on us» — la primera instrucción de los dioses: no revelarlos a las tribus y darles sangre de venada y de aves

«And set the pelts of the deer aside, save them. These are for disguises, for deception. They will become deerskin bundles, and they will also serve as our surrogates before the tribes. When you are asked: ‘Where is Tohil?’ then you will show them the deerskin bundle, yet you won’t be giving yourselves away» — la instrucción del engaño: guardar las pieles de venado para hacer bultos que sirvan de sustitutos ante las tribus

«So then began the hunting of the young of all the birds and deer; they were taken in the hunt by the penitents and sacrificers» — el libro fecha ahí el comienzo de la caza de crías de aves y venados

«And when they got hold of the birds and fawns, they would then go to anoint the mouth of the stone of Tohil or Auilix with the blood of the deer or bird. And the bloody drink was drunk by the gods. The stone would speak at once when the penitents and sacrificers arrived, when they went to make their burnt offerings» — el rito descrito: untar de sangre la boca de la piedra de Tohil o Auilix, que bebía y hablaba enseguida

«And this was their food: just the larva of the yellow jacket, the larva of the wasp, and the larva of the bee, which they hunted. As yet there wasn’t anything good to eat or good to drink» — el libro dice de qué comían entonces: larvas de avispa y de abeja, sin nada bueno que comer ni beber

«When they saw the people of the tribes passing by on the roads, that was when they would get up on the mountain peaks, just crying out with the cry of the coyote and the cry of the fox. And they would make the cries of the puma and jaguar, whenever they saw the tribes out walking in numbers» — la emboscada desde las cumbres imitando al coyote, al zorro, al puma y al jaguar

«In the minds of all the tribes, it was as if humans weren’t involved. They did it just as a way of decoying the tribes; that was what their hearts desired. They did it so that the tribes wouldn’t get really frightened just yet; that was what they intended when they cried out with the cry of the puma and the cry of the jaguar. And then, when they saw just one or two people out walking, they intended to overwhelm them» — el libro declara el propósito del engaño: no asustar todavía a las tribus y caer sobre los que anduvieran solos o en pares

«And when they went before Tohil, Auilix, and Hacauitz, they took stitches in their ears and their elbows in front of the gods. They spilled their blood, they poured gourdfuls into the mouths of the stones» — el rito de sangre propia: puntadas en orejas y codos y guacales de sangre vertidos en las bocas de las piedras

«All they burned before their gods was resin, just bits of pitchy bark, along with marigolds» — el libro dice qué quemaban entonces ante los dioses: resina, cortezas resinosas y cempasúchil; el pasaje vuelve citado en las notas

«And there is still more for you to do. You will become great in your very being. Defeat all the tribes» — la promesa de los dioses a los quichés: que se volverán grandes en su ser y vencerán a todas las tribus; la frase sigue en la plana siguiente

«must bring blood and lymph before us, they must come to embrace us. They belong to us already» — la continuación en la plana siguiente: las tribus deberán traer sangre y linfa y venir a abrazarlos

«They are Tohil, Auilix, and Hacauitz, yet we only give them the blood» — la deliberación de los cuatro sobre las ofrendas que dan a los tres dioses; la frase sigue en la plana siguiente

«of deer and birds, we only take stitches in our ears and our elbows when we ask for our strength and our manhood from Tohil, Auilix, and Hacauitz. Who will take care of the death of the tribes? Should we just kill them one by one?” they said among themselves» — la continuación en la plana siguiente: puntadas en orejas y codos para pedir fuerza y hombría, y la pregunta de si matar a las tribus una por una; el troceo parte *Hacauitz* con el guion

«They sang out the lament of their very hearts and guts. In their song they stated: “Alas! We were lost at Tulan! We shattered ourselves! We left our elder brothers behind! Our younger brothers! Where did they see the sun? Where must they be staying, now that the dawn has come» — Parte Cuatro, sección *And there began their song named “Camacu”*: el lamento cantado por los hermanos dejados atrás en Tulan

«Like their god, their language was differentiated on account of a stone, when they came from Tulan in the darkness. All the tribes were sown and came to light in unity, and each division was allocated a name for its god» — el libro adjudica a una piedra la diferenciación de la lengua cakchiquel y dice que todas las tribus fueron sembradas y salieron a la luz en unidad

«Because Tohil, Auilix, and Hacauitz were great in their very being, they did this for a long time, there on the mountain. They did their killing on the frontiers of the tribes when the abductions began; they singled them out and cut them down. They would seize the people of the tribes in the roads, cutting them open before Tohil, Auilix, and Hacauitz» — Parte Cuatro, sección *And then comes the killing of the tribes*: el libro consigna las abducciones en los caminos y los sacrificios ante los tres dioses

«And the boys hid there on the mountain. Tohil, Auilix, and Hacauitz had the appearance of three boys when they went out walking; these were simply the spirit familiars of the stones» — el libro dice que los tres dioses aparecían como tres muchachos y que eran los espíritus familiares de las piedras

«The name of the river came to be Tohil’s Bath, and the tribes saw them there many times. They would vanish the moment they were seen by the tribes» — el libro nombra el río Baño de Tohil y dice que los dioses se desvanecían al ser vistos

«IRST THE TRIBES TRIED TO PLAN THE DEFEAT OF TOHIL, AUILIX, and Hacauitz. All the penitents and sacrificers of the tribes spoke to the others. They roused and summoned one another, all of them. Not even one or two divisions were left out. All of them converged and presented themselves, then they shared their thoughts» — Parte Cuatro, sección *First the tribes tried to plan the defeat of Tohil, Auilix, and Hacauitz*: la asamblea de todas las tribus sin faltar ninguna división; el troceo deja suelta la capitular

«What would assure the defeat of the Cauecs, the Quiche people? Our vassals have met their ends because of them. Isn’t it clear that our people have been lost because of them? What if they finish us off with these abductions» — la pregunta con que abre la asamblea de las tribus

«Let it be this way: if the fiery splendor of Tohil, Auilix, and Hacauitz is so great, then let this Tohil become our god! Let him be captured! Don’t let them defeat us completely! Don’t we constitute a multitude of people? And as for the Cauecs, there aren’t as many of them,” they said, when all of them had assembled» — la propuesta de las tribus: capturar a Tohil y hacerlo dios propio, apoyándose en su número frente al de los Cauecs

«Let this be our means for defeating them: since they present the appearance of adolescent boys at the river, let two maidens go there. Let them be choice maidens who radiate preciousness, so that when they go they’ll be desirable,” they said» — el plan acordado: mandar dos doncellas escogidas al río donde los dioses aparecen como muchachos

«Here are their names: Lust Woman is the name of the one maiden, and Wailing Woman is the name of the other» — el libro nombra a las dos doncellas

«lnd they sent the two of them, named Lust Woman and Wailing Woman, over to the place where Tohil, Auilix, and Hacauitz bathed. All the tribes knew about this» — Parte Cuatro, sección *And they sent the two of them, named Lust Woman and Wailing Woman*: el libro consigna que todas las tribus lo sabían; el troceo deja suelta la capitular

«They did not go lusting after the two maidens. Then came the questioning» — el libro consigna que los tres dioses no codiciaron a las doncellas

«But this is what the tribes had intended: that the maidens should be violated by the spirit familiars of Tohil and the others» — el libro declara la intención de las tribus: que los espíritus familiares violaran a las doncellas

«Good. Let a sign of our word go with you. But you must wait for it, then give it directly to the lords,” they were told» — la respuesta de los tres dioses a las doncellas: una señal de su palabra para entregar a los señores

«You must inscribe three cloaks, inscribe the signs of your being. They’re for the tribes; they’ll go back with the maidens who are washing. Give them to the maidens,” Jaguar Quitze, Jaguar Night, and Not Right Now were told» — la orden de los dioses a los tres fundadores de inscribir tres capas con las señales de su ser

«After that, they inscribed all three of them. Jaguar Quitze wrote first: the jaguar became his image, he inscribed it on the face of his cloak. Then there was Jaguar Night: the eagle was now his image, he in¬ scribed it on the face of his cloak. The next to write was Not Right Now: swarms of yellow jackets, swarms of wasps were his images, his figures; he inscribed them on the face of his cloak. Then their figures were complete, all three of them; they had done the threefold inscription» — el libro reparte las tres imágenes: jaguar, águila y enjambres de avispas, cada una inscrita por su autor; el troceo parte *inscribed* con el guion ¬

«You must go, our dear daughters. Go wash clothes at the river, and if you should see three boys, undress yourselves in front of them. And if their hearts should desire you, you will titillate them» — primera mitad de la instrucción de los señores a sus hijas: lavar ropa en el río y desvestirse ante los tres muchachos

«We are the daughters of lords, so let a sign be forthcoming from you.’ Then they should give you something. If they like your faces you must really give yourselves up to them. And if you do not give yourselves up, then we shall kill you. Well feel satisfied when you bring back a sign, since well think of it as proof that they came after you,” said the lords, instructing the two maidens» — segunda mitad de la instrucción, con la amenaza de muerte si no se entregan y la exigencia de una señal como prueba

«Here is the proof of your word. When you come before the lords you» — la instrucción a las doncellas sobre qué decir ante los señores; la frase sigue al otro lado del corte de chunk

«Tohil really spoke to us, and here is the sign we’ve brought back,’ you’ll tell them, and give them the cloaks to try on,” the maidens were told» — la continuación: qué decir y entregar las capas para que se las prueben

«So then they were shown the inscribed cloaks by the maidens: one with a jaguar, one with an eagle, and one with yellow jackets and wasps figured on the inside, on a smooth surface» — el libro describe las tres capas inscritas mostradas a los señores

«And then he started getting stung by the yellow jackets and wasps. He couldn’t endure it, he couldn’t stand the stings of the insects. That lord yelled his mouth off over the insects, mere written images, the figures of Not Right Now. It was the third inscription that defeated them» — el libro adjudica la derrota de los señores a la tercera inscripción, meras imágenes escritas que pican

«Again, all the tribes were defeated because of Tohil. This is what they had intended: that Tohil would be tempted to go after the maidens. It then became the profession of Lust Woman and Wailing Woman to bark shins; the tribes continued to think of them as temptresses» — el libro dice qué habían intentado las tribus y en qué acabaron las dos doncellas, con el oficio de morder espinillas

«So the defeat of Jaguar Quitze, Jaguar Night, and Not Right Now was not brought about, since they were people of genius» — el libro adjudica al genio de los tres el que no fueran vencidos

«Even so, we’ll invade them and kill them. Let’s fit ourselves out with weapons and shields. Aren’t we a multitude? There won’t even be one or two of them left,” they said when they shared their thoughts. All the tribes fitted themselves out. There were masses of killers, once the killers of all the tribes had joined together» — el segundo plan de las tribus: invadir con armas y escudos apoyándose en el número

«They were not a numerous people then; their numbers were not equal to the numbers of the tribes. There were just a few of them on the mountain, their fortress» — el libro consigna la desproporción: pocos en la fortaleza del monte Hacauitz frente al número de las tribus

«Since there is a Tohil, and since he is a god, let’s celebrate his day— or let’s make him our prize!” they said among themselves. But Tohil already knew about it, and Jaguar Quitze, Jaguar Night, and Not Right Now also knew about it. They had heard about it while it was being plotted, since they were neither asleep nor at rest» — la propuesta de las tribus sobre Tohil y el aviso de que los quichés ya lo sabían

«They would become our CAPTIVES: This warrior has hound his prisoners arms behind his hack and stripped him of nearly all his paraphernalia. From the Dresden Codex» — el pie de lámina de Tedlock describe a un guerrero con su prisionero maniatado y despojado, del Códice de Dresde; el escaneo imprime *hound* y *hack* por *bound* y *back*

«Their metal was taken just to cause them a loss of face, and the plucking was done just to signify the greatness of the Quiche» — el libro declara el sentido del despojo: causarles pérdida de cara y significar la grandeza de los quichés

«Perhaps it’s those tricksters who’ve been abducting people! But it’s not over with. Let’s not get frightened by them. Let’s enter their very citadel! That’s the only way we’ll ever see our metal and make it ours again!” said all the tribes, but even so, they were just making talk, all of them» — la reacción de las tribus al despertar despojadas, que el libro despacha como mera habladuría

«Do not grieve. I am here. And here is what you will use on them. Do not be afraid,” Jaguar Quitze, Jaguar Night, Not Right Now, and Dark Jaguar were told, and then the matter of the yellow jackets and wasps was set out» — la respuesta de Tohil a la consulta de los cuatro y el arma que les da

«And when they had gone to get these insects and come back with them, they put them inside four large gourds, which were placed all around the citadel. The yellow jackets and wasps were shut inside the gourds. These were their weapons against the tribes» — las cuatro grandes calabazas con avispas colocadas alrededor de la ciudadela

«There aren’t many of them,” they said, but when they came to look it was only the manikins, the woodcarvings, that were moving, with weap¬ ons and shields in their hands. They looked like real people, they looked like real killers when the tribes saw them» — lo que ven los espías de las tribus: maniquíes que se mueven con armas y escudos y parecen gente de verdad; el troceo parte *weapons* con el guion ¬

«After that, all the warriors got up during the night, in order to enter» — el libro cuenta que los guerreros salieron de noche para entrar en la ciudadela; la frase sigue al otro lado de la lámina

«our very midst. They set off, but they never arrived. They just fell asleep on the way, all those warriors» — la continuación en la plana siguiente: se durmieron en el camino y nunca llegaron

«Their eyebrows were plucked out, along with their beards. And then the metal was undone from their cloaks, along with their headdresses. And their necklaces came off too, and then the necks of their staffs» — el despojo de los guerreros dormidos: cejas, barbas, metal de las capas y los tocados, collares y cuellos de los bastones; el pasaje vuelve citado en las notas

«They made a fence at the edge of their citadel. They just made a palisade of planks and stakes around their citadel» — Parte Cuatro, sección *And then Jaguar Quitze, Jaguar Night, Not Right Now, and Dark Jaguar had a plan*: la empalizada de tablas y estacas en torno a la ciudadela

«Next they made manikins; it was as if they had made people. Next they lined them up on the parapet. They were even equipped with weapons and shields. Headdresses were included, with metal on top, and cloaks were included. But they were mere manikins, mere woodcarvings» — el libro describe los maniquíes armados y adornados puestos en el parapeto, meras tallas de madera

«They used the metal that belonged to the tribes, which they had gone to get in the road. This is what they used to decorate the manikins. They sur» — el libro dice de dónde salió el metal de los maniquíes: del robado a las tribus en el camino

«THESE ARE THE ONES WHO WERE THERE: JAGUAR QUITZE, Jaguar Night, Not Right Now, and Dark Jaguar. They were in unity on the mountain with their wives and children» — Parte Cuatro, sección *And these are the ones who were there*: los cuatro en unidad en el monte con sus mujeres e hijos; el troceo deja suelta la capitular

«all decked out now with weapons and shields. Their metal ornaments were countless, they looked beautiful, all the lords, the men. In truth, they were just making talk, all of them. In truth, they would become our captives» — Parte Cuatro, sección *And here is the joining together of all the tribes*: el libro describe a los señores armados y adornados de metal y anticipa que serían cautivos

«were done in, with the insects landing on their eyes and landing on their noses, on their mouths, their legs, their arms. The insects went after them wherever they were, they overtook them wherever they were. There were yellow jackets and wasps everywhere, landing to sting their eyes. They had to watch out for whole swarms of them, there were insects going after every single person. They were dazed by the yellow jackets and wasps. No longer able to hold on to their weapons and shields, they were doubling over and falling to the ground, stumbling. They fell down the mountainside» — el libro describe el efecto de las avispas sobre los guerreros de las tribus, que sueltan armas y escudos y ruedan cuesta abajo

«Now Jaguar Quitze and Jaguar Night could even use sticks; even their wives became killers» — el libro consigna que bastaron palos y que también las mujeres de los cuatro mataron

«Take pity on us! Don’t kill us!” they said. “Very well. Although you were destined to join the dead, you will be payers of tribute for as long as there are days and as long as there is light,” they were told» — la rendición de las tribus y la sentencia: tributarios mientras haya días y haya luz

«Such was the defeat of all the tribes by our first mother-fathers. It was done there on the mountain named Hacauitz today. This is where they first began. They grew, they multiplied, they had daughters, they had sons on Hacauitz. They were happy, once they had beaten all the tribes, who were defeated there on the mountain» — el libro fecha en el monte Hacauitz el principio de los quichés tras vencer a todas las tribus

«NOW THIS IS WHERE WE SHALL TELL ABOUT THE DEATH OF JAG¬ UAR Quitze, Jaguar Night, Not Right Now, and Dark Jaguar, as they are named. Since they knew about their death and disappearance, they left instructions with their sons. They weren’t sickly yet, they weren’t gasping for breath when they left their word with their sons» — Parte Cuatro, sección *Now this is where we shall tell about the death of Jaguar Quitze, Jaguar Night, Not Right Now, and Dark Jaguar*: dejaron instrucciones sin estar enfermos ni jadeantes; el troceo parte *Jaguar* con el guion

«And again, Jaguar Night begot two. These are their names: Noble Acul was the name of his first son, and the other was called Noble Acutec, the second son of Jaguar Night, of the Greathouses» — el libro nombra a los dos hijos de Jaguar Night

«And Not Right Now begot just one son, named Noble Lord. These three had sons, but Dark Jaguar had no son. They were all true penitents and sacrificers, and these are the names of their sons, with whom they left instructions. They were united, the four of them together» — el libro consigna un hijo para Not Right Now y ninguno para Dark Jaguar

«They sang of the pain in their hearts, they cried their hearts out in their singing. “Camacu” is the name of the song they sang» — el libro nombra otra vez el canto *Camacu* con que los cuatro lloraron antes de partir

«Our dear sons: we are leaving. We are going back. We have enlight¬ ened words, enlightened advice to leave with you—and with you who have come from faraway mountains, our dear wives,” they told their wives» — la despedida de los cuatro a hijos y mujeres, con palabras y consejo iluminados; el troceo parte *enlightened* con el guion ¬

«We are going back to our own tribal place. Again it is the time of our Lord Deer, as is reflected in the sky. We have only to make our return. Our work has been done, our day has been completed. Since you know this, neither forget us nor put us aside. You have yet to see your own home and mountain, the place of your beginning» — los cuatro declaran su regreso por la vuelta del tiempo del Señor Venado y mandan que no los olviden ni los aparten

«Let it be this way: you must go. Go see the place where we came from,” were the words they spoke when they gave their advice» — el mandato final de los cuatro a sus hijos: ir a ver el lugar de donde vinieron

«This is for making requests of me. I shall leave it with you. Here is your fiery splendor. I have completed my instructions, my counsel» — la palabra de Jaguar Quitze al dejar el Bundle of Flames como señal de su ser y esplendor de fuego de los suyos

«It wasn’t clear just what it was; it was wound about with coverings. It was never unwrapped. Its sewing wasn’t clear because no one looked on while it was being wrapped» — el libro declara desconocido el contenido del bulto, envuelto y nunca abierto

«In this way they left instructions, and then they disappeared from there on the mountain of Hacauitz. Their wives and children never saw them again. The nature of their disappearance was not clear. But what¬ ever the case with their disappearance, their instructions were clear, and the bundle became precious to those who remained. It was a memorial to their fathers» — el libro consigna la desaparición sin explicación de los cuatro y el bulto vuelto memorial ante el que se quemaban ofrendas; el troceo parte *whatever* con el guion ¬

«It was wound about with coverings: The rounded shape and large knot on top are characteristic of lowland Maya sacred bundles. From a Late Classic vase» — el pie de lámina de Tedlock reconoce en la forma redondeada y el nudo grande los rasgos de los bultos sagrados mayas de las tierras bajas

«As for all the tribes, it was now their day to be broken and downtrodden. They no longer had any splendor to them, though they were still numerous» — el libro dice qué quedó de las tribus tras la derrota: sin esplendor aunque numerosas

«V-ND THEN THEY REMEMBERED WHAT HAD BEEN SAID ABOUT THE east. This is when they remembered the instructions of their fathers. The ancient things received from their fathers were not lost» — Parte Cinco, sección *And then they remembered what had been said about the east*: la memoria de las instrucciones de los padres y de las cosas antiguas no perdidas; el troceo deja suelta la capitular

«So these are the names of those who went there beside the sea. There were only three who went, but they had skill and knowledge. Their being was not quite that of mere humans» — el libro dice de los tres peregrinos que tenían destreza y conocimiento y que su ser no era del todo el de meros humanos

«We’re not dying. We’re coming back,” they said when they went, yet it was these same three who passed over the sea» — la despedida de los tres peregrinos, que a diferencia de sus padres vuelven en carne

«So they came away bringing all of these. Then, from beside the sea, they brought back the writing of Tulan, the writing of Zuyua. They spoke of their investiture in their signs, in their words» — el libro consigna que de junto al mar trajeron además la escritura de Tulan, la escritura de Zuyua

«Only the signs of the greatness of lordship were revealed before them. Now the lords became great in their very being; when they had displayed their lordship previously, it was incomplete» — el libro dice qué cambió con el regreso: el señorío exhibido antes estaba incompleto

«And the wives of Jaguar Quitze, Jaguar Night, and Not Right Now died there. Then they came away, they left their mountain place behind. They sought another mountain where they could settle. They settled countless mountains, giving them epithets and names» — la muerte de las mujeres de los fundadores y el abandono del monte Hacauitz por otros innumerables

«IlND then they came to a place where they founded a CITADEL NAMED Thorny Place. They spent a long time there in that one citadel. They had daughters and sons while they were there. There were actually four mountains, but there came to be a single name for the whole town. Their daughters and sons got married. They just gave them away. They accepted mere favors and gifts as sufficient payment for their daughters. They did only what was good» — Parte Cinco, sección *And then they came to a place where they founded a citadel named Thorny Place*: allí casaban a sus hijas por meros favores y regalos; el troceo deja suelta la capitular

«Here are the names of the divisions of Thorny Place: Dry Place, Bark House, Boundary Marker, and Stronghold are the names of the mountains where they stayed» — el libro nombra las cuatro divisiones de Thorny Place

«It was said that Noble Rooftree ruled when Nine Deer was the Lord Minister, and then the lords named Noble Sweatbath and Iztayul reigned as Keeper of the Mat and Keeper of the Reception House Mat. They reigned there at Bearded Place. It was through their works that it became an excellent citadel» — el libro nombra a los señores de la cuarta generación en Bearded Place y adjudica a sus obras la excelencia de la ciudadela

«The number of great houses only reached three, there at Bearded Place. There were not yet a score and four great houses, but only three of them: Just one Cauec great house. And just one great house for the Greathouses. And finally, just one for the Lord Quiches» — el libro cifra en tres las casas grandes de Bearded Place, una por linaje

«They were of just one mind: there was no evil for them, nor were there difficulties. Their reign was all in calm: there were no quarrels for them, and no disturbances. Their hearts were filled with a steady light: there was nothing of stupid¬ ity and nothing of envy in what they did. Their splendor was modest: they caused no amazement, nor had they grown great» — el retrato en paralelismos del reinado en Bearded Place: un solo ánimo, calma, luz firme y esplendor modesto; el troceo parte *stupidity* con el guion ¬

«And then they tested themselves. They excelled in the Shield Dance, there at Bearded Place. They did it as a sign of their sovereignty. It was a sign of their fiery splendor and a sign of their greatness» — el libro presenta la Danza del Escudo como señal de soberanía, esplendor de fuego y grandeza

«When it was seen by the Ilocs, the Ilocs began to foment war. It was their desire that the Lord Noble Sweatbath be murdered, and that the other lord be allied with them. It was the Lord Iztayul they wanted to persuade; the Ilocs wanted him as their disciple in committing murder» — el complot iloc para asesinar a Noble Sweatbath y ganarse a Iztayul

«They were captured and THEY WERE MADE PRISONERS: A Late Classic Maya drawing from Tikal, depicting a captive warrior from Calakmul» — el pie de lámina de Tedlock identifica un dibujo maya del Clásico tardío de Tikal con un guerrero cautivo de Calakmul

«Such were the roots of disturbances, of tumult and war. First they invaded the citadel, the killers were on the move. What they wanted was to obliterate the very identity of the Quiches. Only then, they thought, could they alone have sovereignty, and it was for this alone that they came to kill» — el libro declara el propósito de los invasores: borrar la identidad misma de los quichés para tener ellos solos la soberanía

«The shields of war were made then; it was the very beginning of the fortification of the citadel at Bearded Place. The root of fiery splendor was implanted there, and because of it the reign of the Quiche lords was truly great. They were lords of singular genius. There was nothing to humble them; nothing happened to make fools of them or to ruin the greatness of their reign, which took root there at Bearded Place» — el libro sitúa en Bearded Place la raíz del esplendor de fuego y llama a los señores quichés de genio singular

«The penance done for the gods increased there, striking terror again, and all the tribes were terrified, small tribes and great tribes. They witnessed the arrival of people captured in war, who were cut open and killed for the splendor and majesty of Lord Noble Sweatbath and Lord Iztayul, along with the Greathouses and the Lord Quiches. There were only three branches of kin there at the citadel named Bearded Place» — el libro consigna el terror de las tribus ante los cautivos de guerra abiertos por el esplendor de los dos señores

«And it was also there that they began feasting and drinking over the blossoming of their daughters. This was the way the ones they named the “Three Great Houses” stayed together. They drank their drinks there and ate their corn there, the payment for their sisters, payment for their daughters. There was only happiness in their hearts when they did it. They ate, they feasted inside their palaces» — el libro fecha en Bearded Place el comienzo del banquete y la bebida por las hijas casaderas

«This is just our way of being thankful and grateful that we have good news and good tidings. It is the sign of our agreements about the daugh¬ ters and sons bom to our women,” they said» — la fórmula con que las Tres Casas Grandes explican el banquete; el escaneo imprime *bom* por *born* y el troceo parte *daughters* con el guion ¬

«We are intermarried: we Cauecs, we Greathouses, and we Lord Quiches,” said those of the three lineages and the three great houses» — la declaración de parentesco por matrimonio entre los tres linajes

«And they also built houses for the gods, putting these in the center of the highest part of the citadel. They came and they stayed» — el libro sitúa las casas de los dioses en el centro de la parte más alta de la ciudadela

«Canopy, throne. Bone flute, bird whistle. Sparkling powder, yellow ocher. Puma’s paw, jaguar’s paw» — primera mitad de la lista de emblemas de señorío que Nacxit entrega: dosel, trono, flauta de hueso, silbato de pájaro, polvo brillante, ocre amarillo y garras de puma y jaguar

«Head and hoof of deer. Leather armband, snail-shell rattle. Tobacco gourd, food bowl. Parrot feathers, egret feathers» — segunda mitad de la lista de emblemas: cabeza y pezuña de venado, brazalete de cuero, sonaja de caracol, guacal de tabaco, cuenco de comida y plumas de perico y de garza

«And then began the cutting of flesh. They cut the Ilocs open before the gods. This was in payment for their wrongs against Lord Noble Sweatbath» — el castigo a los Ilocs, abiertos ante los dioses en pago de sus agravios contra Noble Sweatbath

«Noble Two was the name of the son of Jaguar Quitze who represented all the Cauecs. Noble Acutec was the name of the son of Jaguar Night who served as the sole representative of the Greathouses» — el libro nombra a dos de los tres hijos representantes que van al oriente, por los Cauecs y por los Greathouses

«Noble Lord was the name of the only son of Not Right Now, repre¬ senting the Lord Quiches» — el libro nombra al tercer representante, hijo único de Not Right Now, por los Lord Quiches; el troceo parte *representing* con el guion ¬

«But those who had brought lordship from the east had» — el libro consigna la muerte de los que trajeron el señorío del oriente; la frase sigue en la plana siguiente

«died by now; they had become old in the process of going from one citadel to another. But their faces did not die; they passed them on» — la continuación en la plana siguiente: envejecieron pasando de ciudadela en ciudadela, pero sus caras no murieron

«And many others went into bondage; they were made into» — la esclavitud de los demás Ilocs; la frase sigue al otro lado del corte de chunk

«slaves and serfs. They had simply given themselves up in defeat by fomenting war against the lord and against the canyon and the citadel» — la continuación: se dieron por vencidos al fomentar la guerra contra el señor, el cañón y la ciudadela

«The Lords Noble Sweatbath and Plumed Serpent came along, together with all the other lords. There had been five changes and five generations of people since the origin of light, the origin of continuity, the origin of life and of humankind» — Parte Cinco, sección *And then they got up and came to the citadel of Rotten Cane*: el libro cuenta cinco cambios y cinco generaciones desde el origen de la luz

«They stayed there and they settled down there. And they tested their fiery splendor there» — Parte Cinco, sección *And Bearded Place is the name of the mountain of their citadel*: allí se quedaron y allí probaron su esplendor de fuego

«So this was the origin of their separation, when they quarreled among themselves, disturbing the bones and skulls of the dead. Then they broke apart into nine lineages, putting an end to quarrels over sisters and daughters. When the planning of the lordships was done, the result was a score and four great houses» — el libro da el origen de la separación en nueve linajes: las querellas por el precio de hermanas e hijas

«The nine lords of the Cauecs. The nine lords of the Greathouses. The four lords of the Lord Quiches. The two lords of the Zaquics» — el libro reparte los señores por linaje: nueve Cauecs, nueve Greathouses, cuatro Lord Quiches y dos Zaquics

«Vnd now these are the Lord Quiches. Here are the titles of the lords: Herald. Lord Emissary. Lord Master of Ceremonies for the Lord Quiches. Lord Hacauitz» — Parte Cinco, sección *And now these are the Lord Quiches*: los cuatro títulos; el troceo deja suelta la capitular

«And there were also two lineages of Zaquic LORDS: Lord Comtassel House. Minister for the Zaquics» — Parte Cinco, sección *And there were also two lineages of Zaquic lords*: dos títulos en un solo palacio; el escaneo imprime *Comtassel* por *Corntassel*

«But the lords could not have accomplished it, they could not have done the work of building their houses or the houses of the gods, were it not for the fact that their vassals had become numerous. They neither had to lure them nor did they kidnap them or take them away by force, because each one of them rightfully belonged to the lords» — el libro adjudica las obras al número de los vasallos y niega que hubiera que atraerlos, raptarlos o llevarlos por fuerza

«Each lord led a crowded life, crowded with petitions. The lords were truly valued and had truly great respect. The birthdays of the lords were made great and held high by their vassals. Those who lived in the canyons and those who lived in the citadels multiplied then. Even so they would not have been numerous, had not all the tribes arrived to give them» — el libro describe la vida de los señores llena de peticiones y sus cumpleaños engrandecidos por los vasallos

«On one occasion he would climb up to the sky; on another he would go down the road to Xibalba. On another occasion he would be serpentine, becoming an actual serpent. On yet another occasion he would make himself aquiline, and on another feline; he would become like an actual eagle or a jaguar in his appearance. On another occasion it would be a pool of blood; he would become nothing but a pool of blood» — el libro enumera las transformaciones de Plumed Serpent: subir al cielo, bajar a Xibalba, volverse serpiente, águila, jaguar o charco de sangre

«He didn’t do these things just so there would be one single lord, a being of genius, but they had the effect of humbling all the tribes when he did them. It was just his way of revealing himself, but because of it he became the sole head of the tribes» — el libro precisa el sentido de esas exhibiciones: eran su modo de revelarse y el efecto fue humillar a las tribus

«He would make himself ... feline: A dancing shaman transforms himself into a jaguar. From a Late Classic Maya vase from Altar de Sacrificios» — el pie de lámina de Tedlock identifica a un chamán danzante que se vuelve jaguar, de un vaso maya del Clásico tardío de Altar de Sacrificios

«And Quicab and Cauizimah did a great deal in their turn. They added to the greatness of the Quiche because they truly had genius. They crushed and they shattered the canyons and citadels of the tribes, small and great» — el libro adjudica al genio de Quicab y Cauizimah el quebranto de los cañones y ciudadelas de las tribus

«In fear, the members of one tribe after another went before the gum tree, carrying in their hands the signs of the citadels, with the result that a mountain of stones is there today. Only a few of these aren’t cut stones; the rest look as though they had been split with an axe. The result is there on the plain named Petatayub; it is obvious to this day. Everyone who passes by can see it as a sign of the manhood of Quicab» — el libro señala el montón de piedras de la llanura de Petatayub como señal visible hasta hoy de la hombría de Quicab

«Vfter THAT came the sentries, to watch for the makers of war. Now lookout lineages were established to occupy the conquered moun¬ tains: “Otherwise the tribes would return to inhabit their citadels,” all the lords said when they had all shared their thoughts» — Parte Cinco, sección *After that came the sentries*: los linajes vigía puestos a ocupar los montes conquistados; el troceo deja suelta la capitular

«Projectiles alone were the MEANS FOR RREARING THE citadels: In Mixtec books, conquest is signified by darts thrust into a place name, which in this example consists of the sign for a mountain. From the Codex Nuttall» — el pie de lámina de Tedlock explica que en los libros mixtecos la conquista se marca con dardos clavados en el topónimo; el escaneo imprime *RREARING* por *BREAKING*

«None of them had been there at the dawning nor did any of them have his own god; they just blocked the way to the citadel» — el libro distingue a los linajes vigía: ninguno estuvo en el amanecer ni tenía dios propio, solo cerraban el paso a la ciudadela

«There were four lords who posted messengers and sentries against the makers of war: Quicab and Cauizimah are the names of the two lords who led the Cauecs. Woven is the name of the lord who led the Greathouses. And Armadillo Dung is the name of the lord who led the Lord Quiches» — el libro nombra a los cuatro señores que apostaron mensajeros y centinelas contra los hacedores de guerra

«There came to be heroes again, among those who were sentries. They were given seats and honored; they were generously remembered by the lords when they came to turn over all their spoils and their prisoners» — el libro consigna que los centinelas volvieron a dar héroes, honrados con asientos por los señores

«When it comes to the ennobling of the lookout lineages, we’ll induct only those who are first in rank. I am Keeper of the Mat.” “And I am Keeper of the Reception House Mat.” “The nobility of Keeper of the Mat, which is mine—and that which is yours, Lord Minister—should enter into this. Ministers will be enno» — la decisión de los cuatro señores sobre a quiénes ennoblecer de los linajes vigía: solo a los primeros en rango

«It was a long time ago when they all came up onto their citadel, building a score and four palaces there in the citadel of Rotten Cane» — el libro consigna que hace mucho subieron todos a su ciudadela y levantaron veinticuatro palacios en Rotten Cane

«HERE ARE THE TITLES OF THE LORDS WHO LED THE CAUECS, beginning with the first in rank: Keeper of the Mat. Keeper of the Reception House Mat. Keeper of Tohil. Keeper of the Plumed Serpent. Master of Ceremonies for the Cauecs. Councilor of the Stores. Quehnay Emissary. Councilor in the Ball Court. Mother of the Reception House» — Parte Cinco, sección *And here are the titles of the lords who led the Cauecs*: la lista de los nueve títulos por orden de rango; el troceo deja suelta la capitular

«HERE ARE THE NAMES OF THE SIXTH GENERATION OF LORDS. There were two great lords; they were fiery. Quicab was the name of one lord; Cauizimah was the name of the other» — Parte Cinco, sección *And here are the names of the sixth generation of lords*: dos grandes señores a quienes el libro llama fieros; el troceo deja suelta la capitular

«Their lineages came to be bled, shot full of arrows at the stake. Their day came to nothing, their heritage came to nothing» — el libro dice qué pasó con los linajes vencidos: sangrados y asaeteados en el poste; el pasaje vuelve citado en las notas

«Let them be like a palisade to us, and like doubles for our own lineages, and like a stockade, a fortress to us» — la fórmula con que los señores definen a los linajes vigía: empalizada, dobles de sus propios linajes y estacada

«anger, our manliness,” said all the lords. The assignments were given to each of the lineages that were to provide opposition to the makers of war» — la continuación al otro lado del corte de chunk: los linajes vigía como ira y hombría de los señores

«beginning with the first lord: Lord Minister. Lord Herald. Minister of the Reception House. Chief of the Reception House. Mother of the Reception House. Master of Ceremonies for the Greathouses. Lord Auilix. Yacolatam, meaning the “corner of the mat” or the zaclatol. Chief Yeoltux Emissary» — Parte Cinco, sección *And now these are the lords who led the Greathouses*: la lista de los nueve títulos, con la glosa que el propio libro da de *Yacolatam*

«The greatness and weight of the Quiche reached its full splendor and majesty with the surfacing and plastering of the canyon and citadel» — Parte Cinco, sección *Then splendor and majesty grew among the Quiche*: el libro liga el esplendor al enlucido del cañón y la ciudadela

«In this way the decision was reached. But they weren’t inducted at Quiche. The mountain where the first-ranking vassals were inducted has a name; all of them were summoned, from each of the mountains where they were, and they gathered in just one place. Under the Twine, Under the Cord is the name of the mountain where they were inducted, where they entered into nobility. It was done at the boundary of Mirror Side» — el libro nombra el monte Under the Twine, Under the Cord como lugar de la investidura de los vasallos de primer rango

«And here are their titles, their honors, and their marks: a score of Ministers and a score of Keepers of the Mat were created by the Keeper of the Mat and the Keeper of the Reception House Mat, and by the Minister and the Herald» — el libro cifra en veinte Ministros y veinte Keepers of the Mat los creados por los cuatro señores

«These were the first-ranking vassals, watchers and listeners for the Quiche people, Points of the Arrows, Angles of the Bowstrings, a pali¬ sade, an enclosure, a wall, a fortress around Quiche» — el libro define a los vasallos de primer rango como vigías y oidores, empalizada, cerca, muro y fortaleza en torno a Quiche; el troceo parte *palisade* con el guion ¬

«V.ND NOW WE SHALL NAME THE NAMES OF THE HOUSES OF THE GODS, although the houses have the same names as the gods: Great Monument of Tohil is the name of the building that housed Tohil of the Cauecs. Auilix, next, is the name of the building that housed Auilix of the Greathouses. Hacauitz is the name, then, of the building that housed the god of the Lord Quiches. Comtassel, whose house of sacrifice can still be seen, is the name of another great monument» — Parte Cinco, sección *And now we shall name the names of the houses of the gods*: el libro consigna que las casas llevan el nombre de los dioses y enumera las cuatro; el troceo deja suelta la capitular y el escaneo imprime *Comtassel* por *Corntassel*

«These were the locations of the stones whose days were kept by the Quiche lords. Their days were also kept by all the tribes. When the tribes burned offerings, they came before Tohil first» — el libro dice que los días de esas piedras los guardaban tanto los señores como todas las tribus, y que las tribus iban primero ante Tohil

«They came before Tohil first: Seated in his temple (shown in cross section behind him), K’awil (the lowland Maya counterpart of Tohil) receives offerings in bowls and (at extreme left) a censer full of flaming copal. From the Dresden Codex» — el pie de lámina de Tedlock describe a K’awil, contraparte de Tohil en las tierras bajas, recibiendo ofrendas en cuencos y un incensario de copal ardiendo

«They were great lords, they were people of genius. Plumed Serpent and Noble Sweatbath were lords of genius, and Quicab and Cauizimah were lords of genius. They knew whether war would occur; everything they saw was clear to them. Whether there would be death, or whether there would be famine, or whether quarrels would occur, they knew it for certain, since there was a place to see it, there was a book. Council Book was their name for it» — el libro explica el uso del Popol Vuh jeroglífico: con él los señores de genio sabían de cierto si habría guerra, muerte, hambre o pleitos; Tedlock cita este pasaje en su Introduction, donde aparece primero

«But it wasn’t only in this way that they were lords. They were great in their own being and observed great fasts. As a way of cherishing their buildings and cherishing their lordship, they fasted for long periods, they did penance before their gods» — el libro añade el ayuno y la penitencia a la lectura del libro como fuente de la grandeza de los señores

«Even if they did penance for seventeen score, then for seventeen they fasted, they did not eat. They achieved truly great abstinence» — el libro consigna el ayuno de diecisiete veintenas

«This was a sign that they had the being of tme lords. And there weren’t any women with them when they slept; they kept themselves apart when they fasted» — el libro consigna la abstinencia sexual durante el ayuno como señal del ser de verdaderos señores; el escaneo imprime *tme* por *true*

«May there be no blame, obstacle, want, or misery; let no deceiver come behind or before them, may they neither be snared nor wounded, nor seduced, nor burned, nor diverted below the road nor above it; may they neither fall over backward nor stumble; keep them on the Green Road, the Green Path» — segunda parte de la oración: que nadie los engañe, hiera, seduzca, queme ni desvíe del Camino Verde

«May there be no blame or barrier for them through any secrets or sorcery of thine; may thy nurturers and providers be good before thy mouth and thy face, thou, Heart of Sky; thou, Heart of Earth; thou, Bundle of Flames; and thou, Tohil, Auilix, Hacauitz, under the sky, on the earth, the four sides, the four corners; may there be only light, only continuity within, before thy mouth and thy face, thou god» — tercera parte de la oración, dirigida al Heart of Sky, al Heart of Earth, al Bundle of Flames y a Tohil, Auilix y Hacauitz, pidiendo solo luz y continuidad

«They went into fasting two by two, taking turns at carrying the tribes and all the Quiche people on their shoulders» — el libro describe el ayuno por parejas de los cuatro señores, cargando a las tribus sobre los hombros

«At its root the word came from just one place, and the root of nurturing and providing was the same as the root of the word. The Tams and Ilocs did likewise, along with the Rabinals, Cakchiquels, those of Bird House, Sweatbath House, Talk House. They came away in unity, having heard, there at Quiche, what all of them should do» — el libro declara una sola raíz para la palabra y para el sustento, y la unidad con que las tribus salieron de Quiche

«It wasn’t merely that they became lords; it wasn’t just that they re¬ ceived occasional gifts from nurturers and providers who merely made food and drink for them. Nor did they wantonly falsify or steal their lordship, their splendor, their majesty. And it wasn’t merely that they crushed the canyons and citadels of the tribes, whether small or great, but that the tribes paid a great price» — el libro niega que el señorío viniera de regalos ocasionales o de falsificación o robo; el troceo parte *received* con el guion ¬

«There came turquoise, there came metal. And there came drops of jade and other gems that measured the width of four fingers or a full fist across. And there came green, yellow, and red feather work, the tribute of all the tribes» — el libro enumera el tributo: turquesa, metal, gotas de jade y gemas del ancho de cuatro dedos o de un puño, y plumería verde, amarilla y roja

«And the lords had undergone pain and withstood it; their rise to splen¬ dor had not been sudden. Actually it was Plumed Serpent who was the root of the greatness of the lordship» — el libro niega que el ascenso fuera súbito y pone a Plumed Serpent en la raíz de la grandeza del señorío

«Vnd here are the generations, the sequences of lordships, so that all of them will be clear. Jaguar Quitze, Jaguar Night, Not Right Now, and Dark Jaguar were our first grandfathers, our first fathers when the sun appeared, when the moon and stars appeared» — Parte Cinco, sección *And here are the generations, the sequences of lordships*: el libro vuelve a nombrar a los cuatro primeros abuelos y padres; el troceo deja suelta la capitular

«Seven Thought and Cauatepech next, eleventh in the sequence of lords. Three Deer and Nine Dog, in the twelfth generation of lords. And they were ruling when Tonatiuh arrived. They were tortured by the Castilian people» — la genealogía llega a Three Deer y Nine Dog, que reinaban cuando llegó Tonatiuh y a quienes el libro dice torturados por los castellanos

«Black Butterfly and Tepepul were tributary to the Castilian people. They had already been begotten as the thirteenth generation of lords. Don Juan de Rojas and Don Juan Cortes, in the fourteenth generation of lords. They are the sons of Black Butterfly and Tepepul» — las dos últimas generaciones: la tributaria y la de Don Juan de Rojas y Don Juan Cortes

«When Tonatiuh arrived: A Quiche sketch of the coat of arms of the Hapshurgs, rulers of Austria and Spain when Pedro de Alvarado (Tonatiuh) invaded the Quiche kingdom. From the sixteenth-century Tttulo de los Sehores de Coyoy» — el pie de lámina de Tedlock identifica un dibujo quiché del escudo de los Habsburgo, en un título del siglo XVI; el escaneo imprime *Hapshurgs* y *Tttulo de los Sehores*

«Ynd this is the cry of their hearts, here it is: “Wait! On this blessed day, thou Hurricane, thou Heart of the Sky-Earth, thou giver of ripeness and freshness, and thou giver of daughters and sons, spread thy stain, spill thy drops of green and yellow» — Parte Cinco, sección *And this is the cry of their hearts*: la oración de los señores a Hurricane, Corazón del Cielo-Tierra, dador de madurez y frescura; el troceo deja suelta la capitular

«Jaguar Quitze, origin of the Cauecs. Noble Raiment, in the second generation after Jaguar Quitze» — el arranque de la genealogía de los señores Cauecs

«Jaguar Noble Rooftree, who began the office of Keeper of the Mat, was in the third generation. Noble Sweatbath and Iztayul, in the fourth generation. Plumed Serpent and Noble Sweatbath, at the root of the lords of genius, were in the fifth generation. Tepepul and Iztayul next, sixth in the sequence. Quicab and Cauizimah, in the seventh change of lordship, were the culmination of genius. Tepepul and Xtayub, in the eighth generation. Black Butterfly and Tepepul, in the ninth generation. Eight Cord, with Quicab, in the tenth generation of lords» — la genealogía sigue de la tercera a la décima generación, con Plumed Serpent y Noble Sweatbath en la raíz de los señores de genio y Quicab y Cauizimah como culminación

«Lord Keeper of the Mat, with one great house. Granary is the name of the palace» — el libro abre la lista de las nueve casas grandes de los Cauecs con el palacio llamado Granary

«Lord Keeper of the Reception House. Mat. Bird House is the name of his palace. Master of Ceremonies for the Cauecs, with one great house. Lord Keeper of Tohil, with one great house. Lord Keeper of the Plumed Serpent, with one great house. Councilor of the Stores, with one great house. Quehnay Emissary, with one great house. Councilor in the Ball Court, Xcuxeba, with one great house. Sovereign Mexican, with one great house» — la lista sigue con las demás casas grandes de los Cauecs; el escaneo parte el título con puntos

«For nine score days they would fast, and for nine they would do penance and bum offerings» — el libro detalla el ayuno de nueve veintenas con su penitencia y sus ofrendas quemadas; el escaneo imprime *bum* por *burn*

«Thirteen score was another of their fasts, and for thirteen they would do penance and bum offerings before Tohil and their other gods. They would only eat zapotes, matasanos, jocotes; there was nothing made of com for their meals» — el libro detalla el ayuno de trece veintenas y qué comían: zapotes, matasanos y jocotes, nada de maíz; el escaneo imprime *bum* y *com* por *burn* y *corn*

«that they might multiply and grow, nurturing and providing for thee, calling to thee along the roads and paths, on rivers, in canyons, beneath the trees and bushes; give them their daughters and sons» — la continuación de la oración en la plana siguiente: que se multipliquen y crezcan sustentando al dios y llamándolo por caminos, ríos y cañadas

«Don Pedro de Robles is Lord Minister today. And these are all the lords who come in the following of the Lord Minister» — el libro nombra en presente a Don Pedro de Robles como Lord Minister en funciones, dato con que Tedlock data la escritura

«There are many branch lineages in the following of each one of these lords; we have named only the first-ranking titles» — el libro declara de nuevo su recorte: solo nombra los títulos de primer rango

«jLnd now these are for the Lord Quiches. Here are their grandfathers and fathers: Not Right Now, the first person. Noble Lord is the name of the lord of the second generation. Red Banner. Noble Short One. Noble Doctor. Seven Cane. Noble Mortal. Noble Caller. Person of Bam» — Parte Cinco, sección *And now these are for the Lord Quiches*: la lista de sus abuelos y padres; el troceo deja suelta la capitular

«And here are the lords within the palaces, with just four great houses: Herald for the Lords is the title of the first lord, with one great house. Emissary for the Lords, the second lord, with one great house. Master of Ceremonies for the Lords, the third lord, with one great house. And Hacauitz, the fourth lord, with one great house» — el libro enumera las cuatro casas grandes de los Lord Quiches con sus títulos

«iiND THERE ARE THREE MASTERS OF CEREMONIES IN ALL. They are like fathers to all the Quiche lords. They come together in unity, these three Masters of Ceremonies» — Parte Cinco, sección *And there are three Masters of Ceremonies in all*: el libro los llama padres de todos los señores quichés, dadores de nacimiento, Madres de la Palabra y Padres de la Palabra, grandes por ser pocos; el troceo deja suelta la capitular

«his is enough about the being of Quiche, given that there is no longer a place to see it. There is the original book and ancient writing owned by the lords, now lost, but even so, everything has been completed here concerning Quiche, which is now named Santa Cruz» — el cierre del libro: dice que ya no hay dónde verlo, que el libro original y la escritura antigua de los señores están perdidos, y nombra el lugar con su nombre cristiano; el troceo deja suelta la capitular

«Vnd here are those of the Greathouses, with nine more great houses. First we shall name the genealogy of the lordship. It began, from just one root, at the origin of the root of the day and the light» — Parte Cinco, sección *And here are those of the Greathouses*: el libro anuncia la genealogía de ese señorío desde una sola raíz; el troceo deja suelta la capitular

«Jaguar Night, first grandfather and father. Noble Acul and Noble Acutec, in the second generation. Noble Chahuh and Noble Inscription House, in the third generation. Nine Deer next, in the fourth generation. Noble Sweatbath, in the fifth generation of lords. And Monkey House next, in the sixth generation. And Iztayul, in the seventh generation of lords. Noble Sweatbath then, eighth in the sequence of lordships. Nine Deer, ninth in the sequence. Woven, as the next one was called, in the tenth generation. Lord Noble Sweatbath, in the eleventh generation. Don Cristobal, as he was called, became lord in the presence of the Castilian people» — la genealogía de los once primeros señores Greathouse hasta Don Cristobal, hecho señor ante los castellanos

«Lord Minister, the first-ranking lord at the head of the Greathouses, with one great house» — el libro abre la lista de las casas grandes de los Greathouses por el Lord Minister

«Master of Ceremonies for the Greathouses, with one great house. Lord Auilix, with one great house. Yacolatam, with one great house» — la lista sigue en la plana siguiente con las demás casas grandes de los Greathouses

«Master of Ceremonies for the Cauecs, first. And Master of Ceremonies for the Greathouses, second» — el libro reparte los dos primeros Maestros de Ceremonias, uno por linaje

«Skilled Quiche orators do not deliver verse mechanically, but rather ring changes on it through the timing of their pauses» — Tedlock dice cómo trabajan hoy los oradores quichés diestros: no recitan el verso mecánicamente sino que lo varían con el tiempo de sus pausas

«But whatever the groupings according to meaning, a list of this kind would be delivered today without any more marking of the transition between jaguars and serpents than that between pumas and jaguars. There would be no pause until the run of parallel nouns came to a halt or the breath of the speaker ran out» — Tedlock describe cómo se diría hoy una lista de ese tipo: sin marcar transiciones y sin pausa hasta que se acabe la serie o el aliento

«For Quiche ears it is rather the sound of chaos—not the maelstrom of Old World mythology, but a chaos of vibrations and pulsations» — Tedlock dice qué oye un oído quiché en ese pasaje: el sonido del caos, no el remolino de la mitología del Viejo Mundo sino un caos de vibraciones y pulsaciones

«In contemporary Quiche speech there are deliber¬ ate pauses both before and after phrases consisting of initial particles, and immediately before quotations» — Tedlock consigna las pausas deliberadas del habla quiché de hoy antes y después de las partículas iniciales y antes de las citas; el troceo parte *deliberate* con el guion ¬

«Contemporary daykeepers often call this sequence of days “the calendar of the earth,” thus setting it apart from astronomical intervals such as the solar year» — Tedlock dice cómo llaman hoy los daykeepers a la cuenta de 260 días, el calendario de la tierra, y de qué la apartan con ese nombre

«Andres Xiloj, among others, insists that the period of human pregnancy is the basis for its length, and 260 days is indeed close to an average figure for the interval between first missed menses (the earliest definitive sign of pregnancy) and birth» — Tedlock consigna la insistencia de Andres Xiloj en que la duración de la cuenta sale del embarazo humano, y añade que 260 días se acerca al intervalo medio entre la primera falta y el parto

«It should also be noted that the growth cycle of one of the varieties of com planted in highland Guatemala is such that it is ideally harvested 260 days after planting» — Tedlock añade el otro ciclo de 260 días: el de una variedad de maíz del altiplano guatemalteco, que idealmente se cosecha a ese plazo; el escaneo imprime *com* por *corn*

«Andres Xiloj pointed out that combining the numbers 1 and 7 with a given day name is a conventional way of indicating all 13 days bearing that name. The reason is that when one traces a single day name through all of its occurrences in a given 260-day cycle, the accompanying numbers fall out in the sequence 1, 8, 2, 9, 3, 10, 4, 11, 5, 12, 6, 13, and 7» — Tedlock consigna la observación de Andres Xiloj: combinar 1 y 7 con un nombre de día es la manera convencional de indicar los trece días de ese nombre, porque los números salen en esa secuencia

«For the Quiche, these new year s day names were and are the same as in the Dresden Codex; their Quiche names are Kej, E, No’j, and Iq’, followed by Kej again» — Tedlock dice que los nombres de día de año nuevo de los quichés eran y siguen siendo los mismos del Códice de Dresde y los enumera

«Tracing the contemporary Quiche calendar back to that same Julian date, we come to a day whose Quiche name, Jun Kan, also means “One Snake» — Tedlock coteja el calendario quiché de hoy con la fecha juliana de la rendición de Tenochtitlan y halla el mismo nombre de día

«In other words, when it was One Snake in Tenochtitlan, it was One Snake a thousand road miles away in the town of Quiche» — Tedlock resume el cotejo: el mismo día llevaba el mismo nombre a mil millas de camino de distancia

«Andres Xiloj said of tz’aq- (which today is agentivized as tz’aqal), “This is to make or construct, like a building, a wall» — la glosa de Andres Xiloj sobre *tz’aq-*: hacer o construir, como un edificio o un muro

«Of b’it- he said, “This b’itik is to form, as when we were small and played with mud; we made forms. Qab’itik, ‘we form it» — la glosa de Andres Xiloj sobre *b’it-*: formar, como de niños jugando con lodo

«Andres Xiloj pointed out that when the head of a contemporary patrilineage (who is always a diviner) dies, his successor must be installed in office by the head of a neigh¬ boring lineage, who is hired as an ajch’ajb’al laq, ajch’ajb’al tasa, “washer of the plate, washer of the cup» — Andres Xiloj describe el rito vivo de instalación de una cabeza de patrilinaje: lo instala la cabeza de un linaje vecino, contratada como lavadora del plato y de la taza; el troceo parte *neighboring* con el guion ¬

«Before the new lineage head can take office, the “washer” must go to all of that lineage’s shrines and clean out the ashes of all the offerings burned by the deceased lineage head. Such shrines are lined and covered with slabs of stone and pieces of pottery, spoken of as “plates” and “cups» — Andres Xiloj dice qué hace el lavador antes de que el nuevo tome posesión: limpiar de cenizas todos los santuarios del linaje, revestidos de losas y tiestos que se llaman platos y tazas

«This recalls the fact that contemporary diviners (of either sex) are symbolically androgynous, female on the left side of the body and male on the right» — Tedlock consigna la androginia simbólica de los adivinos de hoy, femeninos del lado izquierdo del cuerpo y masculinos del derecho

«Andres Xiloj suggested that the -pi- in Xpiyacoc might be -pe-, “to come,” and he derived -yak- from yekik {yakik in some dialects), “to be put in order, to be lifted up,” a verb diviners use with reference to the problems of clients» — Andres Xiloj propone una etimología de Xpiyacoc y liga el verbo con el uso que los adivinos le dan al hablar de los problemas de sus clientes

«In the case of Xmucane, Xiloj derived mukane from mokonik, “to do something requested” or “to do a favor”; he pointed out that a diviner who has ascertained the cause of a problem may then be hired to make prayers and offerings on behalf of the client» — Andres Xiloj deriva el nombre de Xmucane de hacer un favor y lo liga al adivino contratado para rezar y ofrendar por el cliente

«Today ilb’al or ilob’al (without the re) refers to crystals used for gazing by diviners and to eyeglasses, binoculars, and telescopes» — Tedlock da el sentido actual de *ilb’al*: los cristales de mirar de los adivinos, y también anteojos, binoculares y telescopios

«Xiloj uses the latter word in his prayers, saying kaj xukut kaj, kaj xukut ulew, “four comers of sky, four corners of earth» — Andres Xiloj usa la palabra de las esquinas en sus oraciones, con la fórmula de las cuatro esquinas del cielo y de la tierra; el escaneo imprime *comers* por *corners*

«The unit of measurement in question, still used by Quiches, is the k’a’m or “cord,” a length of rope about twenty yards (or paces) long» — Tedlock dice que la unidad de medida del pasaje, la cuerda de unas veinte yardas, la siguen usando los quichés

«He explained that the “folded” measurement is done with the cord doubled back on itself to halve its length, while the “stretched” measurement is done with the cord pulled out to its full length» — Andres Xiloj explica la diferencia entre la medida doblada y la tendida

«He observed that the PV describes the measurement of sky and earth as if a cornfield were being laid out for cultivation; house and loom constmction are also suggested by this passage» — Andres Xiloj observa que el libro describe la medición del cielo y la tierra como si se trazara una milpa; el escaneo imprime *constmction* por *construction*

«Andres Xiloj defined k’uxlanel as follows: “One who raises us and has a good reputation for doing this» — la definición de Andres Xiloj para *k’uxlanel*: el que nos cría y tiene buena fama de hacerlo

«Andres Xiloj pointed out that a daykeeper, when he or she states the case of a client in a prayer, may be» — Andres Xiloj habla del daykeeper que expone el caso de un cliente en una oración; la frase sigue al otro lado del corte de plana

«called an “abogado,” Spanish for “lawyer” or (more literally) “advocate» — la continuación: a ese daykeeper se le llama abogado, en español

«only as a term addressed to a matchmaker in the ceremonial language of a bride-asking ceremony. Ordinarily such a person (always a male) would be referred to as k’amal b’e, “road guide» — Andres Xiloj reconoce *mamom* solo como tratamiento al casamentero en la lengua ceremonial de la pedida, y da el nombre corriente del oficio, guía de camino

«My reading follows the one offered by Andres Xiloj, who found this passage perfectly clear» — Tedlock adopta la lectura de Andres Xiloj para el pasaje de la negación, que a este le resultó perfectamente claro

«Like other day names, Aq’ab’al is often given a divinatory interpretation by means of sound play, and one of the words used to play on it today is in fact aq’ab’il, an allusion to the fact that Aq’ab’al is a day whose rituals are best performed during the very early dawn» — Tedlock dice cómo se interpreta hoy el día Aq’ab’al por juego de sonido y a qué hora se hacen sus ritos

«The rituals in question, appropriately enough, involve the first steps toward the negotiation of new social relationships that will last a lifetime» — Tedlock dice de qué tratan esos ritos: los primeros pasos de relaciones sociales para toda la vida

«When a daykeeper who holds the office of mother-father needs to schedule a visit to the shrines of his patrilineage in order to ask his ancestors to approve a forthcoming marriage negotia¬ tion, 1 Aq’ab’al is a particularly auspicious date, and a day with the same name (but some other number) may be chosen for the actual marriage proposal at the house of the prospective bride» — Tedlock describe la práctica viva: el madre-padre elige 1 Aq’ab’al para pedir a los antepasados que aprueben una pedida de mano; el troceo parte *patrilineage* y *negotiation* con el guion

«On 1, 8, and 9 Aq’ab’al, a mother-father who has agreed to train and install the successor of his deceased counterpart in a neighboring lineage goes to the ancestral shrines of that lineage to ask for the approval of the novice» — Tedlock da las fechas en que un madre-padre va a los santuarios del linaje vecino a pedir la aprobación del novicio que instalará

«In both the marriage and the installation the negotiation has two levels: it is not only the living who must give their approval to the bond between husband and wife or the spiritual marriage between the new mother-father and the shrines, but the ancestors» — Tedlock describe los dos niveles de la negociación viva: la aprobación de los vivos y la de los antepasados

«In Momostenango a mother-father or patrilineage head “sows” and “plants” an unborn child in certain shrines of his lineage by announcing its mother’s pregnancy there» — Tedlock describe la siembra viva de un niño por nacer en Momostenango: el madre-padre lo siembra en los santuarios anunciando allí el embarazo; el troceo parte *patrilineage* con el guion

«On the “dawning” side of this process, the woman who gives birth to the child kuya ri saq, “gives it light» — Tedlock da el lado del amanecer en esa práctica: la mujer que pare *le da luz* al niño

«When Andres Xiloj read these lines, he shifted away from the idea that the preceding lines about cloud formation and dispersal referred to something happening in the atmosphere around the mountains, moving toward the idea that this process was a simile for the formation and differentiation of the moun» — Tedlock consigna el cambio de lectura de Andres Xiloj ante esas líneas: de las nubes en torno a los montes a un símil de la formación de los montes mismos; el troceo parte *mountains* con el guion ¬

«Then these mountains are for no other reason than represent¬ ing that there are hills or volcanoes.” That is to say, he interpreted the mountains not as hard realities but as mere “signs” (retal), unfolding themselves “just like a cloud, like a mist» — el comentario de Andres Xiloj sobre los montes hechos por *nawal*: no realidades duras sino meras señales que se despliegan como nube y como neblina; el troceo parte *representing* con el guion ¬

«Andres Xiloj took this to mean that the formation of the earth was an act of self-revelation on the part of the Heart of Sky and Heart of Earth. He compared them to the present-day uk’ux pwaq or “Heart of Metal (or silver or money),” which reveals itself to the fortunate» — Andres Xiloj lee la formación de la tierra como autorrevelación del Heart of Sky y el Heart of Earth y la compara con el Corazón del Metal de hoy

«They are properly kept in the indoor half of a pair of patrilineage shrines called the meb’il, which consists of a wooden box placed on a family altar» — Tedlock dice dónde se guardan esas piedras: el *meb’il*, la mitad techada de un par de santuarios de patrilinaje, una caja de madera sobre el altar familiar

«This is where one prays, this is where the fortune, the money, abounds. Here in the PV, the Heart of Sky and the Heart of Earth appeared, and this is where the earth was propagated» — Andres Xiloj empareja el *meb’il* con el pasaje del libro: allí se reza y abunda la fortuna, y allí se propagó la tierra

«Among the objects called “Heart of Metal today, volca¬ nic concretions are said to have been formed in the same way, while ancient stone artifacts are said to have been formed where thunderbolts struck the ground» — Tedlock distingue el origen que se atribuye hoy a las dos clases de Corazón del Metal: concreciones volcánicas quemadas y artefactos de piedra donde cayó el rayo; el troceo parte *volcanic* con el guion ¬

«Andres Xiloj commented, “The animals are the caretakers of the woods. They [the gods] thought, There is a need for animals, so that people won’t be able to enter the woods. The animals will frighten them» — el comentario de Andres Xiloj sobre los guardianes del bosque: los dioses los pusieron para que la gente no entrara

«For the contemporary Quiche, wild animals are the domestic animals of the Mundo, or earth deity. One cannot hunt deer without first asking permis¬ sion of the Mundo. When a family is in arrears in its offerings, the Mundo may send a predator from out of the woods to raid its flocks or herds» — Tedlock consigna la creencia viva: los animales silvestres son el ganado del Mundo, hay que pedirle permiso para cazar venado y manda depredadores a quien le debe ofrendas; el troceo parte *permission* con el guion ¬

«Today, 7 lx and 8 Tz’ikin are the days devoted to the rites of the contemporary patrilineage shrine called the meb’il, which is often referred to simply by naming these two days» — Tedlock da los dos días dedicados hoy a los ritos del *meb’il*, que a menudo se nombra por ellos; el escaneo imprime *lx* por *Ix*

«Sleeping place of the house: A foundation shrine belonging to a patrilineage in Mornostenango. The stone slab that covers the shrine marks it as a place of worship that is private rather than open to the public; only the head of the patrilineage that owns this particular shrine may pray and bum copal here» — el pie de foto de Tedlock describe un santuario de cimiento de Momostenango y dice que la losa lo marca como privado, solo para la cabeza del patrilinaje; el escaneo imprime *Mornostenango* y *bum*

«During the period of my formal apprenticeship as a daykeeper in Momostenango, I told Andres Xiloj of dreaming that I was followed along a path by a series of large deer. After a laugh of immediate recognition he told me that I had been followed by shrines» — Tedlock cuenta su propio aprendizaje de daykeeper en Momostenango y la lectura que Andres Xiloj le dio a su sueño de venados: que lo seguían los santuarios; el troceo parte *daykeeper* con el guion

«He explained that outdoor shrines have spirit familiars that frequently take the form of deer—and, these days, of horses and cattle. The path, of course, was that of the days of the calendar, along which each shrine had its proper place in a sequence» — Andres Xiloj explica que los santuarios al aire libre tienen espíritus familiares con forma de venado y hoy también de caballo y de res, y que el camino del sueño era el de los días del calendario

«Andres Xiloj commented that a grandmother (or grandfather) of “day” and “light” would be a grandmother “until the end of the world,” that is, for as long as light lasts, and would go back to the beginning of light» — Andres Xiloj glosa el epíteto de abuela del día y de la luz: abuela hasta el fin del mundo y desde el principio de la luz

«The objects in a meb’il should multiply of their own accord» — Tedlock cierra la lectura de Xiloj con la regla del *meb’il*: sus objetos deben multiplicarse solos; la frase sigue en la plana siguiente

«that, as Xiloj would have it, is what happened to the object or objects from which the earth began» — la continuación: según Xiloj, eso mismo le pasó al objeto del que empezó la tierra

«The human mother-father or patrilineage head uses a low-numbered day bearing the name Kej to go to the parts of the» — Tedlock describe el rito vivo del día Kej: el madre-padre va a las partes del santuario dedicadas a los humanos; la frase sigue al otro lado de la foto

«married into his lineage is pregnant, and to pray for the child she bears. This ritual is called a “sowing» — la continuación: anuncia el embarazo de una mujer casada en su linaje, reza por la criatura, y el rito se llama una siembra

«Run your hands ... over the SEEDS OF THE CORAL TREE: A divination in progress in front of burning offerings at Tohil’s Place. Coral seeds and crystals from a random handful are being sorted out in lots of four each; once the arrangement is complete the daykeeper will count the days of the 260-day calendar (one day for each lot), starting from the current day or the day the client’s problem began» — el pie de foto de Tedlock describe una adivinación en curso en el Lugar de Tohil: las semillas de palo de coral y los cristales de un puñado al azar se reparten en suertes de a cuatro y luego se cuentan los días del calendario de 260, uno por suerte

«At left is the bundle in ivhich the seeds and crystals are carried; the coin on top is the fee paid by the client. The hands are those of the translator, who is a trained and initiated daykeeper» — el mismo pie de foto identifica el bulto de las semillas, la moneda del pago del cliente y las manos del traductor, daykeeper formado e iniciado; el escaneo imprime *ivhich* por *which*

«he or she is said to be “borrowing” these forces from the days themselves, each of which is ruled by a lord, and from the mountains of the world, each of which has a spirit familiar» — Tedlock describe el préstamo que hace el daykeeper de hoy: toma las fuerzas de los días, cada uno regido por un señor, y de los montes, cada uno con su espíritu familiar

«This is [chiracan], which Andres Xiloj identified as part of a phrase used today by daykeepers: chiraqan uq’ab’, “at-his/her-legs his/ her-arms” (in which legs and arms include feet and hands). To be at someone’s feet and hands means to give assistance, as a daykeeper does when praying and giving offerings on behalf of a client, or a midwife does when assisting a birth» — Andres Xiloj identifica la palabra del epíteto de Xmucane con una fórmula viva de los daykeepers, estar a los pies y las manos de alguien, que es asistir

«Like Xpiyacoc and Xmucane, the contemporary daykeeper speaks to the seeds while arranging them, asking for a clear outcome» — Tedlock empareja a los adivinos del libro con el daykeeper de hoy, que también habla a las semillas mientras las reparte

«Andres Xiloj was not surprised to hear the Heart of Sky addressed in this manner. He pointed out that today’s daykeepers (including himself) also ask that the gods not deceive their divinatory clients. The praying diviner may say, for example, Ma b’an la ri mentira, “Do not make a lie» — Andres Xiloj dice que los daykeepers de hoy, él incluido, también piden a los dioses que no engañen a sus clientes, con la fórmula que cita en español

«Andres Xiloj commented, “Then they’re like animals.” In Quiche thinking one of the major differences between animals and humans is that humans must ask permission of the gods to go abroad in the world» — Andres Xiloj lee el andar sin permiso de los de madera como propio de animales, y Tedlock añade la distinción quiché: el humano debe pedir permiso a los dioses para salir al mundo

«To pray that nothing bad happen to one in the road is to ask permission to pass; the need for such permission is more acute in the case of visits to powerful shrines or distant towns» — Tedlock describe el pedir permiso de hoy: rezar para que nada malo pase en el camino, con más urgencia ante santuarios poderosos o pueblos lejanos

«Andres Xiloj commented, “This was turpentine that fell, and it was burning as it fell» — el comentario de Andres Xiloj sobre la lluvia de resina del diluvio: trementina que caía ardiendo

«Andres Xiloj gave the modem name as k’ot kiwach, “gouges out their faces,” and identified it as a kind of animal, commenting that “they still exist, but I don’t know whether in the sky or the forest. They stay in the darkness, and when the sun doesn’t shine they come out» — Andres Xiloj da el nombre actual de Gouger of Faces, lo identifica como animal y dice que siguen existiendo, aunque no sepa si en el cielo o en el bosque; el escaneo imprime *modem* por *modern*

«As Andres Xiloj explained, the phrase does not mean that the rain itself was black, but refers to the darkness created by an intense rainstorm» — Andres Xiloj aclara que la lluvia negra del libro no es lluvia negra sino la oscuridad de un aguacero intenso

«Andres Xiloj pointed out that such animals do not speak (ch’awik) but rather give signs (retal) by their cries or movements» — Andres Xiloj distingue hablar de dar señales: los animales que entran a la casa dan señales con sus gritos o movimientos

«Andres Xiloj immedi¬ ately heard a sound play in these lines, which he rendered as follows: Jo’ ali, jo’ ali, juquwik, juquwik. Let’s go girl, let’s go girl, rubbing together, rubbing together» — Andres Xiloj oye un juego de sonido en la onomatopeya de la piedra de moler y lo vuelve una frase en quiché con su traducción; el troceo parte *immediately* con el guion ¬

«Andres Xiloj compared this incident with stones shooting out of a volcano. It appears to be an origin story for the stars Alnitak, Saiph, and Rigel in Orion, which are said by Quiches to be the three hearthstones of the typical Mayan kitchen fireplace, arranged to form a triangle» — Andres Xiloj compara las piedras del fogón disparadas con las de un volcán, y Tedlock lee el episodio como origen de las tres estrellas de Orión que los quichés llaman el fogón

«Andres Xiloj remarked, “They lacked blood, or quickening, which is what corn gives.” As it turns out later, real human beings are indeed made of com» — el comentario de Andres Xiloj sobre los de madera: les faltaba sangre o vivificación, que es lo que da el maíz; el escaneo imprime *com* por *corn*

«Andres Xiloj expli¬ cated Seven Macaw’s statement as follows: “B’inib’al is to give light for walking, or to go out on a somewhat clear road; and chakab’al—now we say chakanib’al —is the same. These words are in the prayers we say at the warab’alja [patrilineage shrines], to ask permission for anyone who goes out of the house to whatever place. They can walk, they can crawl—chakanib’al is to crawl on all fours. Seven Macaw is saying that he is a person’s feet, since he knows that he has light [to show a person where to step], but in fact the person sees darkly, it isn’t very clear» — Andres Xiloj glosa las dos palabras de la proclama de Seven Macaw con las oraciones vivas de los santuarios de patrilinaje, donde se pide permiso para salir de casa, y concluye que Seven Macaw se dice los pies de la gente aunque esta vea a oscuras; el troceo parte *explicated* con el guion ¬

«Meteorological forces, large or small, serve to connect the cosmos, both temporally and spatially, with the microcosmic scene of the divination, transmitting information about» — Tedlock dice cómo conectan las fuerzas meteorológicas el cosmos con la escena microcósmica de la adivinación; la frase sigue en la plana siguiente

«distant places or times through the counting of days and through lightning-like sensations that occur in various parts of the diviner’s own body» — la continuación: la información de lugares y tiempos distantes llega por la cuenta de los días y por sensaciones de relámpago en el cuerpo del adivino

«one asks not only that there be no robbers in the road, but that policemen, soldiers, and customs officials should be inattentive» — Tedlock consigna qué se pide hoy en las oraciones antes de un viaje largo: que no haya ladrones y que policías, soldados y aduaneros estén distraídos

«And then the hearts of the lords were filled with longing, with yearning for the dance of little Hunahpu and Xbalanque, so then came these words from One and Seven Death: “Do it to us! Sacrifice us!” they said. “Sacrifice both of us» — la petición de One y Seven Death tras ver el número de los danzantes: que los sacrifiquen a ellos

«Very well. You ought to come back to life. What is death to you? And aren’t we making you happy, along with the vassals of your domain?” they told the lords» — la respuesta de los gemelos a esa petición, con la pregunta de qué es la muerte para los señores

«Tohil is the name of the god loaded in the backpack borne by Jaguar Quitze. And the others came out in turn: Auilix is the name of the god that Jaguar Night carried. Hacauitz, in turn, is the name of the god received by Not Right Now. Middle of the Plain is the name of the god received by Dark Jaguar» — el libro reparte los cuatro dioses entre los cuatro fundadores al salir de Tulan

«It remains for you to give thanks, since you have yet to take care of bleeding your ears, yet to take stitches in your elbows. You must worship. This is your way of giving thanks before your god» — la orden de Tohil sobre el modo de dar gracias: sangrar las orejas y dar puntadas en los codos

«We won’t be here when we see the dawn, when the sun is bom, when the face of the earth is lit» — el llanto en canto de los cuatro al dejar Tulan, porque no estarán para ver el amanecer; el escaneo imprime *bom* por *born*

«Xiloj commented, “When the earth is completely soaked it can be destroyed by the water. When there are rains of forty-eight or sixty hours, there may be destruc¬ tion. Landslides are the work of such rains» — el comentario de Andres Xiloj sobre el ablandar de los montes: con lluvias de cuarenta y ocho o sesenta horas la tierra empapada se destruye y hay deslaves; el troceo parte *destruction* con el guion ¬

«Andres Xiloj himself covers a medi¬ cal territory similar to that of Hunahpu and Xbalanque: in addition to being a bonesetter and healer of sprains, he knows how to make eyedrops» — Tedlock dice que el propio Andres Xiloj cubre un territorio médico parecido al de los gemelos: compone huesos, cura torceduras y hace gotas para los ojos; el troceo parte *medical* con el guion ¬

«The present-day Quiche retain the notion that a toothache is caused by a worm gnawing at the bone. According to T. J. Knab (personal communication), there is a Mesoamerican parasite that takes up residence in the gums» — Tedlock consigna la creencia viva de que el dolor de muelas lo causa un gusano que roe el hueso, y añade el dato de un parásito mesoamericano que se aloja en las encías

«Andres Xiloj explained that this would be a vertical post with a fork at the top. The “lintel” is wapalil (apalil today), which he specified as a term for a horizontal beam over a door or window» — Andres Xiloj distingue las dos piezas del pasaje de los Cuatrocientos Muchachos: el poste vertical con horqueta y la viga horizontal sobre puerta o ventana

«In today’s Quiche thought the Pleiades symbolize a fistful of seeds. The planting season for high-altitude maize, in March, is marked by evening settings of the Pleiades, which leave them invisible for most of the night; by May, when low-altitude maize is planted, the Pleiades enter a period of complete invisibility» — Tedlock liga las Pléyades del pensamiento quiché de hoy con el calendario agrícola: su puesta vespertina marca la siembra del maíz de altura en marzo y su invisibilidad total la del maíz de tierra baja en mayo

«Andres Xiloj commented, “A crab is just like a wristwatch: it has the meat inside and it’s pure bone outside» — el comentario de Andres Xiloj sobre el cangrejo falso: como un reloj de pulsera, carne por dentro y puro hueso por fuera

«Andres Xiloj pictured this as a spot beneath a waterfall» — Andres Xiloj imagina el alero donde se pone el cangrejo falso como un sitio bajo una cascada; el troceo pega a esta nota el número de plana impresa con que abre la siguiente, y el verbatim se corta antes.

«Today, when someone runs from a fight, the saying is ke’me ta hoab’aj, ‘Don’t hide your balls.’ So Zipacna is saying, ‘Don’t you have any balls, boys» — Andres Xiloj trae el dicho vivo para quien huye de un pleito y lo empareja con el doble sentido que oye en la frase de Zipacna

«Continuing along the lines of his comment above, Andres Xiloj said, “There it is again, only now it’s nuwab’a’, ‘I show you something,’ or else nuab’aj, ‘my balls’—he’s got balls» — Andres Xiloj repite el juego de palabras en la frase siguiente de Zipacna

«Clearly, the crab is a woman. As you already know, a woman does it on her back, but here it’s in reverse: the man is on the bottom and the crab will go on top. These are trial runs. In ancient times, I think, they didn t know what sin was. They were looking for a way to understand everything» — Andres Xiloj declara mujer al cangrejo y lee la escena como ensayo, y añade su propio juicio sobre los antiguos: que no sabían qué era el pecado y buscaban entenderlo todo

«At this point Xiloj sat back and said, “My God! All the way to the knees» — la reacción de Andres Xiloj al llegar a las rodillas de Zipacna

«According to Andres Xiloj, it means “for all time. Just the way we in my family are weavers. All the time, and for all time, we are weavers» — Andres Xiloj glosa la fórmula del curso de los días y de la luz como para siempre, con el ejemplo de los tejedores de su propia familia

«Andres Xiloj remarked, “When people go out hunting today with guns, and when they see that an animal is coming, they do this: [blows a quick puff of air]. It is like magnetism, they pull it, the animal stops—it feels, it thinks there is a person hidden. When the animal has stopped for a moment, the person shoots, and there it is. The animal stopped to see what this noise was» — Andres Xiloj empareja el soplo de los gemelos con el de los cazadores de hoy, que sopla para detener al animal y que él llama magnetismo

«the “neck” of a leg or arm is its “ankle” or “wrist” in Quiche. In effect he is being prepared for a bundle-style burial» — Andres Xiloj glosa el cuello de una pierna o de un brazo como el tobillo o la muñeca en quiché

«Andres Xiloj commented, “When there is strife, when people begin to fight, they strike one another. The blood comes out, and Xibalba receives this blood. We see that it fell, but it fell into the flasks of the evil ones. It is like their food» — el comentario de Andres Xiloj sobre los señores sacadores de sangre: cuando la gente pelea, la sangre cae en los frascos de los malos y les sirve de alimento

«According to Andres Xiloj, the contemporary shamans called ajmesa, “keeper of the table,” sometimes go bad and practice a ritual called chaqij mesa, “dry table,” in which they ask Xibalba to cause emaciation: “They put bones into the body of a person by means of prayers, in order to dry him up. They put a skull into the body of a person. They dry up the whole body» — Andres Xiloj describe la mesa seca, rito vivo de los chamanes llamados guardianes de la mesa cuando se tuercen: meten huesos y una calavera en el cuerpo de una persona por medio de oraciones para secarla

«He told of a recent case in Momostenango in which a man was brought to court because “there were skulls, and bones of the arms and legs, in the place where this man burned his offerings. It was by means of these things that he screwed people up» — Andres Xiloj cuenta un caso reciente en Momostenango: llevaron a un hombre a juicio porque en su lugar de ofrendas había calaveras y huesos de brazos y piernas

«Xiloj continued, “This, too, is done with bones. They put the bone in water, or whatever they put it in, and this same bone comes to be left in the body of the person, who then swells up. It’s like an injection, but the evil is contained by this bone. The moment it is put in the body, the evil befalls one» — Andres Xiloj describe la mesa fresca, que causa el edema: se pone el hueso en agua y queda en el cuerpo, que se hincha

«According to Andres Xiloj, the best way to keep the agents of Xibalba out of one’s house is to keep the place swept out and not allow trash to accumulate» — Andres Xiloj dice cómo se mantiene hoy a los agentes de Xibalba fuera de casa: barrida y sin basura acumulada

«In Quiche, as Andres Xiloj explained, the “back” of a house is the side that has a door or entranceway giving access to a public road or path, while the “face” is the side that gives onto a patio» — Andres Xiloj explica que en quiché la espalda de una casa es el lado de la puerta a la vía pública y la cara el que da al patio

«At this point Andres Xiloj was re¬ minded of a story, which he told on the spot» — Tedlock consigna que Andres Xiloj contó allí mismo una historia a propósito del pasaje del consejo de Xibalba; el troceo parte *reminded* con el guion ¬

«For Andres Xiloj, it expresses what happens in a certain type of dream: “When one is in bed, not yet really sleeping» — Andres Xiloj liga el susto súbito de los señores de Xibalba con lo que pasa en cierto tipo de sueño; la frase sigue en la plana siguiente

«comes the apparition; it is represented. A person comes right up to touch one, one feels they are coming to touch one directly, but one can neither move nor cry out» — la continuación: la aparición llega y toca, y uno no puede moverse ni gritar

«They come to frighten one in the road, and now one doesn’t arrive home. Suddenly one may fall in the ditch, rax kamikal. As it says here in the Popol Vuh, ‘Blood comes to the mouth,’ it is as if one had pneumonia, suddenly one begins to vomit blood, and one dies in a moment. It is a matter of the rax mesa. They put a bone in the lung, and it is damaged instantly» — Andres Xiloj describe la muerte súbita del camino como obra de la mesa fresca, con el hueso puesto en el pulmón

«They carry their materials on their shoulders, as it says here: ‘the load on his shoulders.’ When they are encountered in the road, they can kill one. But it isn’t the ajmesa directly, but rather his genius [spirit familiar] or win [were animal]» — Andres Xiloj precisa quién mata en el camino: no el chamán en persona sino su espíritu familiar o su animal, y empareja la carga al hombro con la del libro

«Andres Xiloj remarked, “At times an owl suddenly arrives near the house and begins to sing. This is a warning» — Andres Xiloj lee el canto de un tecolote cerca de la casa como advertencia; la frase sigue en la plana siguiente

«Today, as Andres Xiloj pointed out, people visit graveyards on days bearing the name Junajpu» — Andres Xiloj consigna la práctica viva: la gente visita los cementerios en los días que llevan el nombre Junajpu

«Explaining these lines to me, Jose Leon Coloch of Rabinal said, “He’s comparing himself to a calabash» — Tedlock cita a José León Coloch de Rabinal explicando los versos del cautivo del Rabinal Achi

«Among the Quiche today, the principal occasions for banqueting on a scale that brings members of different lineages together are tz’onoj or “asking” cere¬ monies, in which the family of a young man comes to the house of a young woman to negotiate a marriage, and the k’ulanem or “marriage” itself» — Tedlock dice cuáles son hoy las ocasiones principales de banquete entre linajes quichés: la pedida y la boda; el troceo parte *ceremonies* con el guion ¬

«Andres Xiloj explained that the right side of the body (whether that of a male or female) is symbolically male, while the left is female. Further, the hands unite the fingers, which symbolize the living members of a family, graded from babies (the little finger of each hand) on up to the elderly (thumbs)» — Andres Xiloj explica el simbolismo de los lados del cuerpo y de los dedos, graduados de los bebés a los ancianos

«The fact that Blood Moon receives the sign from the skull in her right hand already points toward the bearing of a male child; in fact she will bear male twins» — Tedlock deriva de la mano derecha de Blood Moon el augurio de hijo varón

«Because of the mention of “sign” (retal) here, Andres Xiloj remarked, “Then this is a dream» — Andres Xiloj lee la palabra señal en el pasaje del escupitajo y concluye que se trata de un sueño

«Asked what would be augured by being spit on in a dream, he said, “This is two matters. It depends on whether the saliva is good or bad. When it is good it has a lot of foam; when it is just clear water it is bad. But here in the Popol Vuh, one isn’t told which kind of saliva it is» — Andres Xiloj da el augurio del escupitajo soñado según la saliva sea espumosa o clara, y advierte que el libro no dice cuál era

«As Andres Xiloj pointed out, the hearsay in question here is misinformation, since the fruit referred to is not only not sweet» — Andres Xiloj señala que lo que el libro marca como oído decir es información falsa; la frase sigue en la plana siguiente

«but is not even edible. For a general discussion of how the writers of the PV address the epistemological questions raised by their text, see D. Tedlock» — la continuación: el fruto del jícaro ni siquiera es comestible

«Andres Xiloj remarked, “We see a person; we speak behind his back and he doesn’t hear what we are murmuring. Then this murmur doesn’t fall upon that person, but we are the ones who pay for it» — Andres Xiloj glosa la ira que cae sobre la propia cabeza con el murmurar a espaldas de alguien, que paga quien murmura

«A daykeeper, taking on the task of defending a person who has been the victim of witchcraft, asks in prayer that “the one who did this work should be the one to receive it» — Tedlock consigna la oración viva del daykeeper que defiende a una víctima de brujería: que la reciba quien hizo el trabajo

«This passage reminded him of the contemporary Monkey Dance in Momostenango: “These monkeys, when they come out here in the fiesta, they scratch themselves, and do their mouths this way [touches himself all around the mouth], as if they had fleas and lice» — Andres Xiloj empareja los gestos de los monos del libro con los de la Danza del Mono de Momostenango

«Two monkeys with stars on their costumes cross the plaza from east to west on a high tightrope, interrupting their progress with midair acrobatics that could be (or might once have been) a dramatization of Martian retrograde motion» — Tedlock describe el número de los dos monos con estrellas en el traje sobre la cuerda floja y lo lee, en condicional, como dramatización de la retrogradación de Marte

«Andres Xiloj, who is a wiqol b’aq or “bonesetter” in addition to being a daykeeper, remarked here that he uses a combination of massage and stretching to treat sprains» — Tedlock consigna el oficio de Andres Xiloj como componedor de huesos y su tratamiento de torceduras con masaje y estiramiento

«He pointed out that this is the part of the house where tools are kept today, along with the stored harvest» — Andres Xiloj dice para qué sirve hoy el tapanco: guardar herramientas y la cosecha

«For the contemporary Quiche diviner, words that are “in the belly” of a person are words that person is unable to bring to consciousness and articulate; words that are higher up, in the chest or the head, are more likely to be spoken, and those that are in the throat or mouth or on the tongue are at the very point of actually being said» — Tedlock describe el mapa somático del habla del adivino quiché de hoy: la palabra en el vientre no llega a la conciencia y la de la garganta o la lengua está por decirse

«Andres Xiloj commented, “When the rat speaks it isn’t understood what he says, ‘witz’, witz’, witz’. ’ When a boy is born, then the rat doesn’t cry, they say» — Andres Xiloj imita el chillido de la rata y da el agüero vivo: no llora cuando nace un niño

«is the one who sows the garden. Now, if a woman is born, then the rat cries, they say, because when the rat comes near a woman in the kitchen she grabs a stick to kill him» — la continuación al otro lado del corte de chunk: la rata llora cuando nace una niña, porque esta la matará en la cocina

«This makes it sound as though there were two ears of com, but today it would be four: one yellow, one white, one spotted, and one blue» — Tedlock contrasta las dos mazorcas del libro con las cuatro de hoy: amarilla, blanca, pinta y azul; el escaneo imprime *com* por *corn*

«Andres Xiloj was quite definite that this could only mean indoors, not on the patio» — Andres Xiloj fija dónde se plantan las mazorcas: adentro de la casa y no en el patio

«Today flower petals are sprinkled on tombs and are used to adorn shrines before offerings are burned» — Tedlock consigna el uso vivo de los pétalos: se esparcen en las tumbas y adornan los santuarios antes de quemar las ofrendas

«Andres Xiloj identified ch’eken sanik as leaf-cutting ants seen only in the lowlands, called “zompopo” in Guatemalan Spanish» — Andres Xiloj identifica una de las dos hormigas del conjuro como la arriera de tierra caliente, el zompopo

«Andres Xiloj recognized xpurpuwek as the call of the perpuwaq, which he described as a ground-dwelling bird that calls out at night» — Andres Xiloj reconoce uno de los dos cantos como el del tapacaminos que grita de noche; el troceo parte el nombre del ave con el guion ¬

«Andres Xiloj commented, “These are not animal bats, but the bats of Xibalba» — el comentario de Andres Xiloj sobre los murciélagos arrebatadores: no son murciélagos animales sino los de Xibalba

«The notion of a squash as a head shows up in the contemporary traditions of Chichicastenango, where an excess of large squashes in a field means that the senior male of a family may die, the squashes being a sign that his head is rotting» — Tedlock trae la creencia viva de Chichicastenango: el exceso de calabazas grandes en la milpa anuncia la muerte del mayor de la familia, con la cabeza pudriéndose

«Xiloj commented, “At 4:30 in the morning it is as if black clouds were placed there at the end of the sky [the horizon], they are like a sea, they are in grades or levels, alternating yellow and black. Then, according to the hour, as it clears up, the black becomes blacker, blacker, blacker, and what was yellow becomes redder, as the sun comes nearer. Then it changes, these black clouds are no longer there, now there is only the light of the sun» — Andres Xiloj describe las bandas negras y amarillas del alba que el libro llama rayas del tlacuache, y cómo cambian al acercarse el sol

«The stripes signal that the sun is already shining; they are a reflec¬ tion. When one gets up at 4:00 or 4:30 in the morning, kaq chutoi xekaj, ‘it is red over the end of the sky.’ At first only one black band is there, then it divides up. One can see all this in the dry season, but not at this time of year» — Andres Xiloj cierra la descripción con la fórmula quiché del alba roja y dice que eso se ve en la seca y no en la estación de lluvias

«Andres Xiloj remarked, “It s like they held a fiesta, complete with a marimba» — el comentario de Andres Xiloj sobre la algarabía de Xibalba tras el horno: como una fiesta con marimba; el escaneo imprime *It s* sin apóstrofo

«He commented that tz’alik refers to any leaves used to wrap tamales, of which there are several different kinds» — Andres Xiloj aclara la palabra del envoltorio del corazón: las hojas con que se envuelven tamales, de varias clases

«Here Andres Xiloj remarked, “It didn’t please them that they were perfectiy well; what pleased them was to be butchered» — el comentario de Andres Xiloj sobre la petición de One y Seven Death

«Andres Xiloj pointed out that it is still said of the Xibalbans that they collect blood spilled on the ground—that is, dirty blood» — Andres Xiloj consigna lo que aún se dice de los xibalbanos: que recogen la sangre derramada en el suelo, la sangre sucia

«Andres Xiloj commented, “They are the ones who send one to do evil. It is as if, in spirit, they enter us, into the head. I think, ‘I’m going to do such-and-such a thing,’ but I don’t know who put this bad idea into me» — el comentario de Andres Xiloj sobre los incitadores de Xibalba: entran en espíritu a la cabeza y uno no sabe quién le puso la mala idea

«Andres Xiloj pointed out that only human beings can be referred to in this way; note the contrast with “creatures of the meadows and clearings” in the previous sentence. The point is that the lords of Xibalba will henceforth be denied proper human sacrifices» — Andres Xiloj precisa que la fórmula de los nacidos en la luz solo cabe a los humanos, y Tedlock saca la consecuencia: a Xibalba se le niegan los sacrificios humanos propiamente dichos; el escaneo imprime *bom* por *born*

«Andres Xiloj recognized one of the obligations of the contemporary mother-father (patrilineage head) in this passage: “What was ‘left planted’ was a custom. . . . Because of the corn, they would never be forgotten» — Andres Xiloj reconoce en la siembra de las mazorcas una obligación viva del madre-padre: la costumbre dejada plantada, para que por el maíz no se los olvide

«Now, this is the custom of the winel [a pair of shrines located near a cornfield, one above it and the other below]. When the corn is ripe one has to give thanks, to burn copal in the winel. One gives thanks so that the seeds will have to sprout again; one carries the com there to have it at the burning place, and when one is finished praying one passes the ears through the smoke of the copal, saying are k’u wa ruk’ux [this here is that which is its heart» — Andres Xiloj describe el rito vivo del *winel*, el par de santuarios junto a la milpa: al madurar el maíz se quema copal, se pasan las mazorcas por el humo y se dice la fórmula que él traduce; el escaneo imprime *com* por *corn*

«Andres Xiloj saw this as the beginning of the veneration of the dead. He explained that when there is a death in the patrili¬ neage, the funeral rites are not complete until the mother-father goes to the lineage shrines on a Junajpu day that falls after the actual death. There he prays that the lingering soul of the deceased, which is a spark of light, might pass on into the cool, dark room of the underworld, from which it may later have the good fortune to rise into the sky» — Andres Xiloj lee la promesa a Seven Hunahpu como comienzo de la veneración de los muertos y describe el rito vivo: el madre-padre reza en un día Junajpu para que el alma pase al cuarto fresco y oscuro del inframundo; el troceo parte *patrilineage* con el guion ¬

«The number of the Junajpu day is chosen according to the age and importance of the deceased, with a very low number for a small child and a high one for a very old person who occupied important offices» — Tedlock dice cómo se elige el número del día Junajpu del rito: bajo para un niño y alto para un viejo con cargos importantes

«With or without a recent death Junajpu days are appropriate for visiting the graves of relatives, where prayers are said and offerings are burned in much the same way as at lineage shrines, except that the entire family can go along and make a day of it, taking along a picnic lunch and strong drink» — Tedlock describe la visita a las tumbas en días Junajpu, con oraciones, ofrendas quemadas y la familia entera de día de campo

«Andres Xiloj, who is the mother-father for his own patrillineage, remarked, “This is just the way it is with our family. The first man who lived in this place was named Gaspar Xiloj, but we are still remembering him right now. Gaspar is the first generation, the second is Juan, the third is Sabino, the fourth is Antonio, the fifth is ourselves, but we are still remembering all of them. That’s what it’s talking about here in the Popol Vuh» — Andres Xiloj empareja la promesa del nombre que no se pierde con su propia familia y nombra las cinco generaciones que sigue recordando; el troceo parte *patrilineage* con el guion

«He added that ideally a mother-father would be able to call upon nine or even thirteen genera¬ tions of predecessors, all of them having lived on the same lands» — Tedlock consigna el ideal de nueve o trece generaciones de predecesores invocables, todos de las mismas tierras

«The list of people invoked in prayers should also include the spouses of all these men (with their maiden names). The names of wives are given only for the first generation in the PV (pp. 148-49), but wives receive more frequent mention in the Annals of the Cakchiquels» — Tedlock dice que la lista de invocados debe incluir a las esposas con su apellido de soltera, y compara con los Anales de los Cakchiqueles

«The contemporary Quiche use q’ij, “sun,” as a figure of speech for the full moon, thus saluting its brightness and roundness, and this may help account for the sun (-q’e) in Xbalanque’s Kekchi name» — Tedlock consigna el uso vivo de la palabra sol para la luna llena y lo liga al nombre kekchí de Xbalanque

«Andres Xiloj pointed out that all four of these animals eat corn. Of the birds he said, “There are birds that take the kernels from the crop and carry them off to hide them. When the time comes they still know where they are and go to eat them. When they don’t find where they left them, a garden is created there» — Andres Xiloj explica cómo las aves que esconden granos siembran sin querer una milpa donde no vuelven a hallarlos

«Andres Xiloj commented, “The first time com is ground it is broken open. The second time, it is somewhat fine. The third time is finer.” He indicated that ordinarily corn would not be ground nine times; that would be very fine indeed» — Andres Xiloj describe las moliendas del maíz y dice que nueve serían finísimas; el escaneo imprime *com* por *corn*

«This reminded Andres Xiloj of a saying used today: ujral q’anwach, xolob’, “We are the children [specifically a woman’s children] of yellow-faced com, spotted corn» — Andres Xiloj trae el dicho vivo de ser hijos del maíz de cara amarilla y del maíz pinto; el escaneo imprime *com* por *corn*

«Quiches think of the extremities together; walking and using the hands are the physical counterparts of articulate speech» — Tedlock dice cómo piensan los quichés las extremidades juntas: andar y usar las manos son la contraparte física del habla articulada

«Andres Xiloj explained, “When one prays, as here, asking for things, one looks to heaven; afterward, when waiting for the blessing, one looks to earth» — Andres Xiloj describe la postura viva de la oración: mirar al cielo al pedir y a la tierra al esperar la bendición

«In the present context Andres Xiloj commented, “Today one says qab’e q’ij, qab’e saq [our-road day, our-road light]. This is the time that goes forward; it is the road of time, the number of years one is going to live, or the number of times there will be until the end of the world» — Andres Xiloj glosa la fórmula del día y la luz como el camino del tiempo: los años que uno va a vivir o los que faltan hasta el fin del mundo

«Andres Xiloj commented, “These words would be used in prayer when someone was setting up a new household» — Andres Xiloj sitúa la petición de buena vida y buen comienzo en la oración por una casa nueva

«On the basis of fieldwork, Barbara Tedlock and I can confirm Lowy’s report that the Quiche word for thunderbolt, kaqulja, is also the term for the Amanita muscaria mush» — Tedlock dice que su trabajo de campo coincide con el reporte de Lowy: la palabra quiché del rayo nombra también al hongo Amanita muscaria; el troceo parte *mushroom* con el guion ¬

«We must hasten to add that although Quiches collect and eat wild mushrooms, including Amanita caesaria, they regard muscaria as a poisonous species best avoided» — Tedlock acota enseguida que los quichés tienen esa especie por venenosa y la evitan

«contemporary Quiche daykeepers give the day named Toj its divinatory meaning by saying tojonik, “one pays» — Tedlock da el sentido adivinatorio que los daykeepers de hoy asignan al día Toj

«Andres Xiloj commented, “Per¬ haps these staffs had some secret. Perhaps they were of a wood like cherry, which has the odor of the fruit» — el comentario de Andres Xiloj sobre los bastones que olían los caminantes: quizá tenían algún secreto o eran de una madera con olor a fruta; el troceo parte *Perhaps* con el guion ¬

«Today in Momostenango the shrines on the high moun¬ tains that bound the community, together with the shrine (atop a very high waterfall) used by those who organize and play parts in the Monkey Dance, are all said to be haunted by dangerous animals. Such animals appear to those whose ritual office does not entitle them to visit a particular shrine; they also appear to those who have a right to visit but have failed to abstain from sexual or violent acts (whether verbal or physical) on the day of their arrival at the shrine» — Tedlock consigna la creencia viva de Momostenango: los santuarios de los montes altos y el de la cascada están hechizados por animales peligrosos, que se aparecen a quien no tiene oficio para visitarlos o no se abstuvo ese día; el troceo parte *mountains* con el guion ¬

«Asked why, Andres Xiloj said, “They were sad in the darkness, there was no light, no day, no night, all the time it was dark» — Andres Xiloj explica el llanto de los antepasados antes del amanecer

«The Quiche do not think of night as simply “dark” as opposed to “light” (see “early dawn” in the notes to p. 65). The conditions before the first dawn in the PV were so bad that one could not even speak properly of night, with its moon and stars and even a faint trace of dawn, to say nothing of the full light of day» — Tedlock precisa que para los quichés la noche no es solo oscuridad, y que antes del primer amanecer ni siquiera se podía hablar de noche

«Today, ek’ or bromeliads (Tillandsia spp.) and atziyaq [atziyac] or Spanish moss (Dendropogon usneoides) are standard materials in the construction of temporary outdoor arbors or archways for saints» — Tedlock consigna el uso vivo de las bromelias y el musgo del pasaje: enramadas y arcos temporales para los santos

«Andres Xiloj commented on this passage as follows: “When all the birds, animals were converted into stone, they remained as meb’il. When the moment comes and one is able to acquire one of these, this is the meb’il. Birds, rabbits —in sum, all the different kinds of stones. Now the k’oxol [Sparkstriker], this one, yes, he has money, they say. When one has luck, the k’oxol presents himself. If he takes off his shoe and leaves it thrown away, then there is the money; or his little bag—because he has a little bag, and if he leaves it thrown away, there is the money. This is the meb’il of a person; it is the luck» — Andres Xiloj glosa la petrificación como origen de los *meb’il* y cuenta el agüero del Sparkstriker: quien tiene suerte lo ve y halla dinero en el zapato o la bolsita que este deja tirados

«According to Andres Xiloj, all of these things are burned as offerings today in Momostenango, but they constitute a poorer offering than copal» — Andres Xiloj consigna que resina, corteza resinosa y pericón se siguen quemando hoy en Momostenango como ofrenda pobre frente al copal; el escaneo imprime *unbumed* por *unburned*

«In the eastern Quiche area today, the mouths of stones (now called k’amawil rather than k’ab’awil as here) are more commonly given drinks of distilled liquor than of blood, but the blood of sacrificed chickens is sometimes given in the area of Chichicastenango» — Tedlock consigna el rito vivo de untar la boca de las piedras: hoy más con aguardiente que con sangre, y con sangre de pollo por Chichicastenango

«Ideally the liquid offered should quickly disappear, as if actually swallowed by the stone or saint; in the words of the PV, “And the bloody drink was drunk by the gods» — Tedlock dice qué se espera de la ofrenda líquida: que desaparezca como si la piedra o el santo la bebiera, igual que dice el libro

«Today, as in the PV, the burning of marigolds and stevia constitutes a more modest offering than copal incense (see Earle 1983:294, 297). In the present passage the two plants are mentioned in the standard yellow/white order of Quiche ritual discourse» — Tedlock consigna que quemar pericón y pericón blanco sigue siendo ofrenda más modesta que el copal, y señala el orden amarillo-blanco del discurso ritual quiché

«Andres Xiloj described these insects, the wonon, sital, and aqaj, as follows: “The wonon is large and striped yellow and black; there is honey in its hive, and it stings. The sital is bigger and has red stripes. Its bite is more serious than that of the wonon; it causes a large swelling and one could even die. It, too, has honey. The aqaj is small, a little bigger than a fly, and stings. It makes a nest, with thousands of aqaj. If one can get it down with a stick the aqaj stay up there, then one can get whatever pieces of honey there are» — Andres Xiloj describe los tres insectos del alimento de los quichés, su picadura y cómo se les saca la miel

«Among the contemporary Quiche of the region around Santa Cruz del Quiche, the principal criterion for distinguishing a divine stone from an ordinary rock is the presence of a groove or opening that might serve as a mouth, to be anointed with liquor or (less often) with the blood of sacrificed poultry» — Tedlock da el criterio vivo para distinguir una piedra divina de una roca común: un surco o abertura que sirva de boca, que se unta

«But the word k’ab’awil is no longer used; instead, the terms for stones with mouths are k’amawil, “that which receives,” and iq\ which is also one of the twenty day names and an archaic word for “wind» — Tedlock consigna que la palabra antigua de dios ya no se usa y da las dos que hoy nombran a las piedras con boca

«Andres Xiloj explained, “These are days when it doesn’t rain strongly; instead the drops are small, little bits of water fall. It is musmul» — Andres Xiloj describe la llovizna del pasaje

«Andres Xiloj pictured the maidens as twelve to fifteen years old» — Andres Xiloj pone edad a las dos doncellas enviadas al río; el troceo pega a esta nota el número de plana impresa con que abre la siguiente, y el verbatim se corta antes.

«Ch’eq is the shin bone. Joxol is ‘one who wounds.’ It is the wound that they [the girls] gave them. A girl or a boy comes to know how the world is [laughs]. Let’s suppose we are now old people. We can deceive a girl of fifteen» — Andres Xiloj glosa el oficio de morder espinillas como el de herir por engaño; la frase sigue en la plana siguiente

«or sixteen years, and there is the wound. The violence. And so a woman can deceive a boy of fifteen or fourteen years, then there it is. The old woman wounded the boy [laughs]. This is joxol ch’eq, ‘the wounder of shins. Only now we say xuporo raqan, ‘she burned his legs» — la continuación: da los dos ejemplos, de viejo con muchacha y de vieja con muchacho, y la fórmula que se usa hoy en lugar de aquella

«As Andres Xiloj pointed out, this is an idiom meaning “all over their bodies» — Andres Xiloj glosa el par de piernas y brazos del libro como modismo de todo el cuerpo; el troceo pega a esta nota el número de plana impresa con que abre la siguiente, y el verbatim se corta antes.

«Any day can be addressed as “Lord” in contemporary ritual language, but only these four are commonly addressed without specifying a day number, as “Lord Deer” is here» — Tedlock consigna que en la lengua ritual de hoy cualquier día se trata de Señor, pero solo los cuatro de año nuevo se nombran sin número

«Andres Xiloj remarked, “It’s like a place to bum offerings. But this word is only used for places that are open to the public, not for shrines that only a mother-father [patrilineage head] can visit» — Andres Xiloj glosa la palabra del objeto que deja Jaguar Quitze como sitio público de quemar ofrendas, distinto de los santuarios reservados al madre-padre; el escaneo imprime *bum* por *burn*

«Today this day is associated, above all others, with mother-fathers» — Tedlock liga el día del bulto con los madre-padres de hoy; la frase sigue en la plana siguiente

«the priest-shamans who perform rites for lineages, cantons, or an entire town (according to their rank). All mother-fathers, as well as the ordinary daykeepers who rank just below them, possess a sacred bundle, but this bundle contains divining paraphernalia and is opened frequently» — la continuación: todos los madre-padres y los daykeepers tienen bulto sagrado, pero el de hoy guarda enseres de adivinar y se abre a menudo

«Andres Xiloj read it as an idiom meaning “to look over» — Andres Xiloj glosa como modismo la frase con que los quichés examinan las divisiones de su ciudadela; el troceo pega a esta nota el número de plana impresa con que abre la siguiente, y el verbatim se corta antes.

«The Quiche also use a water-mountain pairing, but it is applied not to towns but to outdoor shrines, which (ideally) exist in low-high pairs» — Tedlock consigna que los quichés aplican el par agua-monte no a los pueblos sino a los santuarios al aire libre, que idealmente van en pares de abajo y arriba

«Today, cacao remains a key item among the gifts the family of a Quiche groom brings to the banquet at the bride’s house» — Tedlock consigna que el cacao sigue siendo pieza clave de los regalos que la familia del novio quiché lleva al banquete de la casa de la novia

«The town is still called Xelaju (or Xela) in everyday Guatemalan speech, whether in Span¬ ish or in Mayan languages, but in government documents and on maps it is known as Quetzaltenango, a Nahuatl name meaning “quetzal citadel» — Tedlock contrasta el nombre vivo del pueblo en el habla cotidiana con el náhuatl de los documentos oficiales y los mapas

«This is uq’ij [uquih] ralaxik, “its-day his-being-bom,” the phrase still used for “birthday» — Tedlock consigna que la fórmula quiché del cumpleaños del libro sigue en uso; el escaneo imprime *bom* por *born*

«The notion of “face” is intimately tied up with personal identity in Quiche; a person’s day of birth, for example, is called uwach» — Tedlock liga la noción quiché de cara con la identidad personal y con el día de nacimiento; la frase sigue en la plana siguiente

«uq’ij, “its-face his/her-day,” and a number of Quiche lords were named after the days of their birth» — la continuación: varios señores quichés llevaban el nombre de su día de nacimiento

«It is interesting to note that the present-day term k’amawil, which covers large stones found in outdoor shrines, is used only in the region around the ruins of Rotten Cane. Shrines in the western Quiche area lack such stones, and the small stone objects collected for household altars are called by a different term» — Tedlock reparte geográficamente los dos términos vivos para las piedras divinas: uno para las grandes de los santuarios en torno a Rotten Cane y otro para las pequeñas de los altares domésticos

«In its literal sense the root eqa- has to do with taking a load on the shoulders; it is used today in various expressions having to do with taking on responsibilities, such as those of mother-fathers for people they train as daykeepers, or those of daykeepers for the clients they are currently praying for» — Tedlock liga la palabra del ennoblecimiento con la carga al hombro y con las responsabilidades vivas de madre-padres y daykeepers

«In today’s ritual practice, one can use a shrine close at hand to summon up a deity whose proper residence is another and quite distant shrine» — Tedlock consigna la práctica viva de convocar desde un santuario cercano a una deidad cuya residencia propia está lejos

«The diviners of El Palmar, a community whose founders emigrated from Momostenango, have named their local shrines after those of their parent town but address the shrines of Momo¬ stenango itself from a distance; they try to make a pilgrimage to the parent shrines once each 260 days» — Tedlock describe a los adivinos de El Palmar, que nombraron sus santuarios como los de Momostenango y peregrinan a los originales cada 260 días

«Andres Xiloj suggested “something that shows esteem or expresses a sense of value» — Andres Xiloj glosa la palabra del apreciar que el libro usa para el cuidado de los edificios y del señorío

«Of this kind of diet, Andres Xiloj said, “This was so that they would have strength. This Tecum Umam [hero of Quiche resistance to the Spanish] didn’t eat cooked things, only raw [or green] things. Because of this, the people of that time were muscular. Whatever place they went, whatever kind of fruit they found, they ate in place of tamales» — Andres Xiloj explica la dieta de los ayunos señoriales por la fuerza que daba y trae el ejemplo de Tecum Umam, que comía crudo

«When people “keep the days” at present, the abstinence always includes sexual contact but never avoidance of all interaction with the opposite sex» — Tedlock precisa el alcance de la abstinencia en el guardar los días de hoy: sexual, no de todo trato con el otro sexo

«Andres Xiloj commented, “When one prays, q’anal means to have com, to have money, to do business. Yes, it is like yellow’ but it isn’t yellow, but rather that it ripens. Raxal is like a plant that is green, it is developing to give fruit. Q’anal is when it ripens» — Andres Xiloj glosa el par amarillo-verde de la oración: el amarillo es tener maíz, dinero y negocio, y el verde la planta que se desarrolla para dar fruto; el escaneo imprime *com* por *corn*

«Of the connotations Andres Xiloj said, “Tz’iloj is to use [sexually]; now they are going to have a family. Mak’ij is the sin. The man looks for his companion, there it is. And there is that liquid [semen]. And the green [raxal], there it is, it is the son or daughter, and the yellow [q’anal]; and they, in turn, have to produce again. Here it is like a plant, the sowing of a plant, and its ripening» — Andres Xiloj glosa la mancha y las gotas de la oración en clave sexual y generativa, con el hijo por lo verde y lo amarillo por lo que ha de producir a su vez

«He suggested that a contemporary prayer for safety in the road might include the following lines: Do not let us fall into the hands of this person, this neighbor, who has a pistol, who has a dagger, who has a knife, who has a revolver; keep away the legs and arms of people at the corners, on the streets» — Andres Xiloj propone los versos de una oración de hoy por la seguridad en el camino, contra quien lleva pistola, daga, cuchillo o revólver

«Contemporary prayers also include numerous passages with lists of negative requests; here is an example from a prayer by Esteban Ajxub of Momostenango, a professional ajb’ix or “singer”: May there be no pain, may there be no trouble, may there be no jail, may there be no prison, may there be no weakness, may there be no feebleness, may there be no stiffness, may there be no lies and gossip» — Tedlock da como ejemplo de listas de peticiones negativas una oración de Esteban Ajxub de Momostenango, cantor de oficio

«Turning to the contemporary scene, daykeepers who visit the main cave beneath the ruins of Rotten Cane, the last Quiche capital, speak of the danger of falling into “the open mouth of the Mundo” there, which is said to be more than four yards wide» — Tedlock consigna lo que dicen hoy los daykeepers que bajan a la cueva mayor de Rotten Cane: el peligro de caer en la boca abierta del Mundo

«This is [uain ucaha], translated on the basis of the reading offered by Andres Xiloj, who uses the phrase wa’im ok’aja, “food, drink,” in his own prayers» — Tedlock adopta para el par de comida y bebida la lectura de Andres Xiloj, que usa esa misma fórmula en sus propias oraciones

«Poq taj is that it produces. Like a seed: when we cast it, we say to it, kapoq la, ‘Come out [sprout], produce more.’ ” Commenting on the prayer as a whole, he said, “We’re using this now; it’s just that the language has changed somewhat» — Andres Xiloj glosa el verbo de multiplicarse con la fórmula que se dice a la semilla al echarla, y dice de la oración entera que se sigue usando con la lengua algo cambiada

«Andres Xiloj commented, “The k’oxol [Sparkstriker] has to take care of the animals; he doesn’t allow them to go out, because they are harmful. He keeps them, he has them in a corral» — Andres Xiloj describe el oficio del Sparkstriker: cuida a los animales dañinos y no los deja salir, los tiene en un corral

«This is the Sparkstriker in his role as gamekeeper (see B. Tedlock 1992:181-87); today the dangerous animals only attack people who have failed in their ritual duties» — Tedlock consigna la creencia viva: los animales peligrosos solo atacan hoy a quien falló en sus deberes rituales

«The Definitive Edition of the Mayan Book of the Dawn of Life and the Glories of Gods and Kings» — la solapa de Touchstone, texto editorial y no voz de la obra, presenta el volumen como la edición definitiva del libro maya del amanecer de la vida

«POPOL VUH IS ONE OF THE GREAT BOOKS ABOUT THE CREATION OF THE WORLD. IT IS THE MAYAN BIBLE» — el blurb de la solapa, firmado por Carlos Fuentes —el escaneo imprime *FuENTES*, con u minúscula—, coloca al Popol Vuh entre los grandes libros sobre la creación del mundo y lo llama la Biblia maya; es texto de promoción editorial, no del cuerpo

«REVISED EDITION Translated by DENNIS TEDLOCK with commentary based on the ancient knowledge of the modern Quiche Maya» — la portada declara las dos operaciones de Dennis Tedlock sobre el volumen, traducir y comentar, y dice de dónde sale el comentario: del conocimiento antiguo de los quichés de hoy; el troceo imprime *Quiche* sin acento porque el escaneo perdió todos los diacríticos

«A TOUCHSTONE BOOK Published by Simon & Schuster New York London Toronto Sydney» — el pie de imprenta declara el sello Touchstone de Simon & Schuster

«Are k’u wa nu tak’alib’al, nu presenta chikiwach ri nantat, comon chuchkajawib’ much’ulik ulew, much’ulik poqlaj, much’ulik baq» — la dedicatoria de Tedlock, impresa en quiché en la página de derechos y sin traducción al inglés en esa plana; el volumen no la glosa

«Popul Vuh. English. Popol Vuh: the Mayan book of the dawn of life / translated by Dennis Tedlock; with commentary based on the ancient knowledge of the modem Quiche Maya.—Rev. ed. p. cm. Translated from the Quiche» — el dato catalográfico de la Library of Congress fija la lengua de partida y registra la edición como revisada; el encabezado imprime *Popul Vuh* con u, distinto del título de la portada

«Special acknowledgment is due to Donna Serwinowski for her excellent editorial assistance in the preparation of this edition» — el reconocimiento editorial adjudica a Donna Serwinowski la asistencia en la preparación de esta edición

«A revised edition of this translation of the Popol Vuh has become necessary because the world of Mayan studies is itself a constantly bright¬ ening one» — Tedlock abre el Preface diciendo por qué rehizo la traducción: porque el campo de los estudios mayas se aclara sin parar; el troceo parte *brightening* con el guion ¬ del renglón y no lo une

«Newly available sources on Mayan languages have made it possible to give meaning to proper names that were left untranslated before» — Tedlock adjudica a fuentes nuevas sobre las lenguas mayas la posibilidad de dar sentido a nombres propios que antes dejó sin traducir

«The temptresses Xtah and Xpuch are now Lust Woman and Wailing Woman, and they stand revealed as the predecessors of a danger¬ ous phantom known all the way from Guatemala to northern New Mex¬ ico by her Spanish name, La Llorona» — Tedlock rebautiza a Xtah y Xpuch como Lust Woman y Wailing Woman y las enlaza con La Llorona, el fantasma que dice conocido de Guatemala al norte de Nuevo México; el troceo parte *dangerous* y *Mexico* con el guion ¬

«In other cases new sources have made it possible to correct errors of translation that were caused by imprecise spellings or slips of the pen in the Popol Vuh manuscript, which often leave words and phrases open to multiple interpretations» — Tedlock señala la causa de los errores que enmienda: grafías imprecisas y deslices de pluma en el manuscrito, que dejan palabras y frases abiertas a varias lecturas

«Other refinements have resulted from discussions with Quiche linguist and literary scholar Enrique Sam Colop» — Tedlock nombra al lingüista y estudioso literario quiché Enrique Sam Colop como interlocutor de esta revisión

«he has conclusively shown that various translators (including myself) have misread the phrase saq petenaq ch’aqa palo, which is one of several titles of the Popol Vuh» — Tedlock consigna la objeción de Sam Colop a la lectura de *saq petenaq ch’aqa palo*, uno de los varios títulos del libro, e incluye entre los traductores mal leídos a sí mismo

«Advances in the understanding of ancient Mayan art have made it clearer than ever that many of the characters and events in the Popol Vuh have a very deep past and were well known among the lowland Maya» — Tedlock sostiene que los personajes y episodios del Popol Vuh tienen un pasado hondo y eran conocidos entre los mayas de las tierras bajas

«The continuing decipherment of Mayan hieroglyphic texts is another source of new light for the Popol Vuh, including the astronomical aspects of the story it tells. At times the astronomy is quite explicit, but the narrators often content themselves with allusions whose meaning is left to knowledgeable readers» — Tedlock enuncia el modo astronómico del relato: unas veces explícito y otras por alusiones dejadas al lector que sabe

«The authors of the Popol Vuh might well be telling us the origin story of this constellation, but they never come right out and say so» — Tedlock deja en condicional la lectura del cataclismo como relato de origen de la constelación del fogón, porque el texto no lo dice

«Another place that is no longer misty is the mountain named Pan Paxil or “Split Place” (previously translated “Broken Place”), which turns out to be well known to the present-day Mam Maya under the name Paxal» — Tedlock identifica el monte Pan Paxil del relato con el Paxal que conocen hoy los mam, y enmienda su propia traducción anterior del nombre

«It is now evident that this was not hanging by the neck but rather hanging by the wrists, the method of torture favored by Europeans at the time» — Tedlock relee el pasaje de los reyes quichés y dice que el colgamiento era de las muñecas, método de tortura europeo de la época, y no del cuello

«What most struck the authors of the Popol Vuh was not the execution but the means of interrogation. Accordingly, the translation no longer states that the kings “were hanged by the Castilian people,” which appears to refer to execution, but rather that they “were tortured by the Castilian people» — Tedlock declara el cambio de traducción que se sigue de esa lectura y dice qué le parece que impresionó a los autores: el modo del interrogatorio, no la ejecución

«Mayan scholars and educators in Guatemala established the Academia de las Lenguas Mayas de Guatemala. The long-range goals of the members of the Academia include the introduction of the reading and writing of Mayan languages in the public schools of Guatemala» — Tedlock registra la fundación de la Academia de las Lenguas Mayas de Guatemala por estudiosos y educadores mayas y su meta de llevar la lectura y escritura de las lenguas mayas a la escuela pública

«Their first practical task was to institute reforms in the alphabetic writing of Mayan languages; for the first time ever, all the orthographic decisions were made by native speakers of the languages in question» — Tedlock consigna que la reforma ortográfica de la Academia fue la primera en que las decisiones las tomaron hablantes nativos

«Otherwise I have been guided by the decisions of the Academia de las Lenguas Mayas» — Tedlock declara su regla de grafía: sigue a la Academia salvo en los nombres propios del manuscrito y en las citas directas de documentos tempranos

«The first four humans, the first four earthly beings who were truly articulate when they moved their feet and hands, their faces and mouths, and who could speak the veiy language of the gods, could also see everything under the sky and on the earth. All they had to do was look around from the spot where they were, all the way to the limits of space and the limits of time» — Tedlock abre la Introduction resumiendo lo que el libro cuenta de los primeros cuatro humanos: hablaban la lengua de los dioses y veían todo bajo el cielo y sobre la tierra hasta los límites del espacio y del tiempo

«But then the gods, who had not intended to make and model beings with the potential of becoming their own equals, limited human sight to what was obvious and nearby» — Tedlock dice el motivo que el relato da para la ceguera humana: los dioses no querían hacer seres capaces de volverse sus iguales

«Nevertheless, the lords who once ruled a kingdom from a place called Quiche, in the highlands of Guatemala, once had in their possession the means for overcoming this nearsightedness, an ilb’ai, a “seeing instrument” or a “place to see”; with this they could know distant or future events. The instrument was not a telescope, not a crystal for gazing, but a book» — Tedlock nombra el instrumento de ver, *ilb’ai*, con que los señores de Quiche vencían esa cortedad, y lo distingue del telescopio y del cristal de mirar

«Those who wrote the version of the Popol Vuh we know today do not give us their personal names, but rather call themselves “we” in its opening pages and “we who are the Quiche people» — Tedlock consigna el anonimato declarado del texto: quienes escribieron la versión conocida no dan nombres personales y se llaman *we* y *we who are the Quiche people*

«These are the peoples, with a total population of more than six million today, whose ancestors developed what has become known to the outside world as Mayan civilization» — Tedlock cifra en más de seis millones la población maya de hoy y dice que de sus antepasados salió lo que fuera se llama civilización maya

«The roots of Mayan civilization may lie in the prior civilization of the Olmecs, which was flowering on the Gulf coastal plain of Veracruz and Tabasco by about 1200 B.C. A more immediate antecedent is the Izapan culture» — Tedlock deja en condicional la raíz olmeca de la civilización maya y da como antecedente más próximo la cultura izapana

«Hieroglyphic texts in great quantity were sculpted in stone and stucco, painted on pottery and plaster, and inked on long strips of paper that were folded like screens to make books» — Tedlock describe los soportes del texto jeroglífico: piedra y estuco, cerámica y yeso, y tiras largas de papel plegadas como biombos para hacer libros

«The lords of Quiche consulted their book when they sat in council, and their name for it was Popol Vuh or “Council Book.” Because they obtained the book (or some section of it) on a pilgrimage that took them down from the highlands to the Atlantic shore, they called it “The Light That Came from Beside the Sea» — Tedlock da dos de los nombres del libro y su razón: el consejo de los señores, y la peregrinación que los bajó de las tierras altas a la costa atlántica

«Because the book told of events that happened before the first true dawn, and of a time when their ancestors hid themselves and the stones that contained the spirit familiars of their gods in forests, they also called it “Our Place in the Shadows.” And because it told of the rise of the morning star and the sun and moon, and foretold the rise and radiant splendor of the Quiche lords, they called it “The Dawn of Life» — Tedlock da los otros dos nombres: el tiempo en que los antepasados se escondieron con las piedras que guardaban los espíritus familiares de sus dioses, y el alzarse del lucero del alba, del sol y de la luna que anunciaba el esplendor de los señores quichés

«“we who are the Quiche people” later on. In contem¬ porary usage “the Quiche people” are an ethnic group in Guatemala, consisting of all those who speak the particular Mayan language that itself has come to be called Quiche; they presently number close to a million and occupy most of the former territory of the kingdom whose develop¬ ment is described in the Popol Vuh» — Tedlock fija el sentido actual del nombre: grupo étnico de Guatemala definido por la lengua, cercano al millón de personas y asentado en casi todo el antiguo territorio del reino que el libro describe; el troceo parte *contemporary* y *development* con el guion ¬

«At the core of each of these states was an alliance of noble lineages that was largely Mayan but included Mexi¬ cans whose native language was Nahua. The heads of these lineages, whatever their places of origin, resided in the capital, surrounded by fortifications» — Tedlock describe el núcleo de esos Estados: una alianza de linajes nobles mayoritariamente maya pero con mexicanos de lengua náhuatl, con las cabezas de linaje residiendo en la capital fortificada; el troceo parte *Mexicans* con el guion ¬

«Carved inscriptions were no longer a major feature of Mayan monu¬ ments and buildings during the Postclassic period, but writing and paint¬ ing flourished on plastered walls and the pages of books» — Tedlock contrasta el Postclásico con el Clásico: la inscripción tallada deja de ser rasgo mayor y la escritura y la pintura florecen en muros enlucidos y en las páginas de los libros; el troceo parte *monuments* y *painting* con el guion ¬

«The illustrations in three of the surviving Mayan books, the ones now known as the Madrid, Paris, and Dresden codices, have strong ties in both style and content to the wall art of this region» — Tedlock vincula las ilustraciones de los códices de Madrid, París y Dresde con el arte mural de la costa oriental de Yucatán, por estilo y por contenido

«Cortes and his men saw many books when they landed on Cozumel, and there is good evidence that the loot they took away with them included the Dresden Codex» — Tedlock consigna que Cortés y los suyos vieron muchos libros al desembarcar en Cozumel y da por buena la evidencia de que el botín incluyó el Códice de Dresde

«The European invasion of the Mayan world began during the sixteenth century, and so did a long history of Mayan resistance that continues right down to the broadcast news of our own day. Backed by means of persuasion that included gunpowder, instruments of torture, and the threat of eternal damnation, the invaders established a monopoly on virtually all major forms of visible public expression, whether in drama, architecture, sculpture, painting, or writing» — Tedlock data la invasión europea en el siglo XVI y con ella una resistencia maya que dice viva hasta las noticias de hoy; enumera los medios de persuasión —pólvora, instrumentos de tortura y amenaza de condenación eterna— y el monopolio resultante sobre la expresión pública

«Hundreds of hieroglyphic books were burned by missionaries, but they were still in use as late as the end of the seventeenth century in Yucatan and the beginning of the eighteenth in highland Guatemala» — Tedlock consigna a la vez la quema de cientos de libros jeroglíficos por los misioneros y su uso continuado hasta fines del siglo XVII en Yucatán y principios del XVIII en el altiplano guatemalteco

«Only four books are known to have survived to the present day, including the three that found their way to Madrid, Paris, and Dresden long ago. A fourth was recovered in 1966 from looters who had found it in a dry cave in Chiapas» — Tedlock cifra en cuatro los libros jeroglíficos sobrevivientes y fecha en 1966 la recuperación del cuarto, hallado por saqueadores en una cueva seca de Chiapas

«But the survival of ancient Mayan literature was not dependent on the survival of its outward forms. Just as Mayan peoples learned to use the symbolism of Christian saints as masks for ancient gods, so they learned to use the Roman alphabet as a mask for ancient texts» — Tedlock enuncia el mecanismo de supervivencia: como los santos cristianos sirvieron de máscara a los dioses antiguos, el alfabeto romano sirvió de máscara a los textos antiguos

«There was no little justice in the fact that it was the missionaries themselves, the burners of the ancient books, who first introduced Mayans to alphabetic writing» — Tedlock señala la ironía de que fueran los propios misioneros quemadores de libros quienes enseñaran a los mayas la escritura alfabética

«What they wanted their pupils to write was translations of Christian prayers, sermons, and catechisms into Mayan languages, but very little time passed before some Mayans found political and religious applica¬ tions for alphabetic writing that suited their own purposes» — Tedlock dice qué querían los misioneros que se escribiera —oraciones, sermones y catecismos en lengua maya— y cuán pronto algunos mayas le dieron usos políticos y religiosos propios; el troceo parte *applications* con el guion ¬

«The authors of the alphabetic Popol Vuh were members of the three lordly lineages that had once ruled the Quiche kingdom: the Cauecs, the Greathouses, and the Lord Quiches. They worked in the middle of the sixteenth century, and the scene of their writing was the town of Quiche, northwest of what is now Guatemala City» — Tedlock adjudica la autoría del Popol Vuh alfabético a miembros de los tres linajes señoriales que habían gobernado el reino quiché —Cauecs, Greathouses y Lord Quiches—, y fecha y sitúa el trabajo a mediados del siglo XVI en el pueblo de Quiche

«The pages of books: This is a page from the Maya hieroglyphic book known as the Dresden Codex, dating from the fifteenth century. The left-hand column describes the movements of Venus during one of five different types of cycles reckoned for that planet» — el pie de lámina de Tedlock identifica la página reproducida como del Códice de Dresde, del siglo XV, y dice que la columna izquierda describe los movimientos de Venus en uno de cinco tipos de ciclo

«The right-hand column describes the auguries for the cycle and gives both pictures and names for the attendant deities. In the top picture the seated figure is Hunahpu, called Hun Ahaw in Yucatan. In the middle picture is the god who currently accounts for Venus itself holding a dart thrower in his left hand and darts in his right. In the bottom picture is his victim, whose shield has been pierced by a dart» — el mismo pie de lámina describe la columna derecha: augurios, imágenes y nombres de las deidades acompañantes, con Hunahpu —llamado Hun Ahaw en Yucatán— en la figura de arriba, el dios que da cuenta de Venus en la de en medio y su víctima abajo

«The Late Postclassic (from a.d. 1200 to the European in¬ vasion) saw the rise of the kingdom of Mayapan in the north and that of Quiche in the south, both of them tribute-collecting conquest states that followed Chichen Itza in giving mythic prominence to a divine king named Plumed Serpent» — Tedlock sitúa el reino de Quiche en el Postclásico tardío, junto al de Mayapan, y dice que los dos seguían a Chichen Itza en dar prominencia mítica a un rey divino llamado Serpiente Emplumada; el troceo parte *invasion* con el guion ¬

«In the highlands, when they realized that textile designs carried complex messages» — Tedlock dice que en las tierras altas los invasores advirtieron que los diseños textiles llevaban mensajes complejos; la frase sigue al otro lado de la lámina de la plana 22, donde el libro añade que hasta intentaron prohibir la ropa maya

«These inde¬ pendent writers have left a literary legacy that is both more extensive than the surviving hieroglyphic corpus and more open to understanding. Their most notable works, created as alphabetic substitutes for hiero¬ glyphic books, are the Chilam Balam or “Jaguar Translator” books of Yucatan and the Popol Vuh of Guatemala» — Tedlock adjudica a esos escritores independientes un legado más extenso y más comprensible que el corpus jeroglífico, y nombra sus obras mayores: los libros del Chilam Balam, que traduce como *Jaguar Translator*, y el Popol Vuh de Guatemala; el troceo parte *independent* y *hieroglyphic* con el guion ¬

«The residents of this rising town included members of the Cauec and Lord Quiche lineages, and at some point a copy of the alphabetic Popol Vuh found its way there. Between 1701 and 1703, a friar named Francisco Ximenez happened to get a look at this manuscript while he was serving as the parish priest» — Tedlock cuenta cómo el manuscrito llegó a Chichicastenango y fecha entre 1701 y 1703 el momento en que el fraile Francisco Ximenez, párroco del lugar, alcanzó a verlo

«He made the only surviving copy of the Quiche text of the Popol Vuh and added a Spanish translation» — Tedlock adjudica a Ximenez la única copia sobreviviente del texto quiché y la traducción española añadida

«His work remained in the possession of the Dominican order until after Guatemalan independence, but when liberal reforms forced the closing of all monasteries in 1830, it was acquired by the library of the University of San Carlos in Guatemala City» — Tedlock sigue la custodia del manuscrito: en manos dominicas hasta que el cierre de los monasterios en 1830 lo llevó a la biblioteca de la Universidad de San Carlos

«Carl Scherzer, an Austrian physician, happened to see it there in 1854, and Charles Etienne Brasseur de Bourbourg, a French priest, had the same good fortune a few months later. In 1857 Scherzer published Ximenez’ Span¬ ish translation under the patronage of the Hapsburgs in Vienna, mem¬ bers of the same royal lineage that had ruled Spain at the time of the conquest of the Quiche kingdom, and in 1861 Brasseur published the Quiche text and a French translation in Paris» — Tedlock data en 1854 y 1855 las vistas de Carl Scherzer y de Charles Etienne Brasseur de Bourbourg, y en 1857 y 1861 sus publicaciones: la traducción española de Ximenez en Viena y el texto quiché con traducción francesa en París; el troceo parte *Spanish* con el guion ¬

«The manuscript itself, which Brasseur spirited out of Guatemala, eventually found its way back across the Atlantic from Paris, coming to rest in the Newberry Library in 1911. The town graced by this library, with its magnificent collection of Native American texts, is not in Mesoamerica, but it does have an Indian name: Chicago, meaning “Place of Wild Onions» — Tedlock dice que Brasseur sacó el manuscrito de Guatemala y que en 1911 llegó a la Newberry Library, en la ciudad cuyo nombre indio significa lugar de cebollas silvestres

«The manuscript Ximenez copied in the place called “Nettles Heights” may have included a few illustrations and even an occasional hieroglyph, but his version contains nothing but solid columns of alphabetic prose» — Tedlock deja en condicional que el original copiado llevara ilustraciones o algún jeroglífico, y dice qué contiene la copia de Ximenez: columnas macizas de prosa alfabética

«In Mayan languages the terms for writing and painting were and are the same, the same artisans practiced both skills, and the patron deities of both skills were twin monkey gods bearing two different names for the same day, translatable as One Monkey and One Artisan» — Tedlock consigna que en las lenguas mayas escribir y pintar se dicen igual, que los mismos artesanos hacían ambas cosas y que sus patronos eran dos dioses monos gemelos, nombres de un mismo día

«At times the writers of the alphabetic Popol Vuh seem to be describing pictures, especially when they begin new episodes in narratives. In pas¬ sages like the following, the use of sentences beginning with phrases like “this is” and the use of verbs in the Quiche equivalent of the present tense cause the reader to linger, for a moment, over a lasting image» — Tedlock señala un recurso de los escritores: las frases que abren episodio con *this is* y el presente quiché hacen que el lector se detenga en una imagen duradera; el troceo parte *passages* con el guion ¬

«It must be cautioned, of course, that word pictures painted by storytell¬ ers, in Quiche or in any other language, need not have physical counter¬ parts in the world outside the mind’s eye» — Tedlock pone su propio límite a esa lectura: las pinturas verbales de un narrador no tienen por qué tener contraparte física fuera del ojo de la mente; el troceo parte *storytellers* y *counterparts* con el guion ¬

«The writing of words in ancient Mayan books was done by means of a script that combines logographic and phonetic principles. Logographic signs, which stand for entire words and sometimes carry pictorial clues to their meaning» — Tedlock describe el sistema de escritura maya como combinación de principios logográfico y fonético, con signos logográficos que a veces llevan pistas pictóricas

«Mayan phonetic signs proceed syllable by syllable, with each sign corresponding to a consonant and vowel in combination or (less often) a vowel alone. Where a spelling problem was created by a syllable that had a single vowel bracketed by two consonants, the conventional solution was to treat it as if it were two syllables, each containing one of the consonants, and leave it up to the reader to avoid pronouncing the second vowel sound» — Tedlock explica la marcha silábica de los signos fonéticos mayas y la convención para la sílaba de vocal única entre dos consonantes

«books made under the patronage of these twin gods there is a dialectical relationship between the writing and the pictures: the writing not only records words but sometimes offers pictorial clues to its meaning. As for the pictures, they not only depict what they mean but have elements that can be read as words» — Tedlock describe la relación dialéctica entre escritura y dibujo en esos libros: la escritura ofrece a veces pistas pictóricas de su sentido y las imágenes tienen elementos legibles como palabras

«More than any other Mayan book, whether hieroglyphic or alphabetic, the Popol Vuh tells us something about the conceptual place of books in the pre-Columbian world. The writers of the alphabetic version explain why the hieroglyphic version was among the most precious possessions of Quiche rulers» — Tedlock sostiene que el Popol Vuh dice más que ningún otro libro maya sobre el lugar conceptual del libro en el mundo prehispánico, y anuncia la explicación que dan sus escritores

«the Quiche lords were recovering the vision of the first four humans, who at first “saw everything under the sky perfectly.” That would mean that the Popol Vuh made it possible, once again, to sight “the four sides, the four comers in the sky, on the earth,” the corners and sides that mark the earth and serve as reference points for the movements of celestial lights» — Tedlock lee la claridad de visión de los señores quichés como recobro de la de los primeros cuatro humanos, y dice para qué servían los cuatro lados y las cuatro esquinas: puntos de referencia de los movimientos de las luces celestes; el escaneo imprime *comers* por *corners*

«If the ancient Popol Vuh was like the surviving hieroglyphic books, it contained systematic accounts of cycles in astronomical and earthly events that served as a complex navigation system for those who wished to see and move beyond the present» — Tedlock deja en condicional el contenido del Popol Vuh antiguo y lo describe como sistema de navegación complejo para quien quisiera ver y moverse más allá del presente

«In the case of a section dealing with the planet Venus, for example, there would have been tables of rising and setting dates, pictures of the attendant gods, and brief texts outlining what these gods did when they first established the pattern for the movements of Venus» — Tedlock conjetura qué habría traído una sección de Venus: tablas de salidas y puestas, imágenes de los dioses acompañantes y textos breves sobre lo que esos dioses hicieron al fijar el patrón

«When the ancient readers of the Popol Vuh took the roles of divin¬ ers and astronomers, seeking the proper date for a ceremony or a momen¬ tous political act, we may guess that they looked up specific passages, pondered their meanings, and rendered an opinion» — Tedlock deja como conjetura declarada —*we may guess*— que los lectores antiguos, en papel de adivinos y astrónomos, buscaban pasajes concretos y daban una opinión; el troceo parte *diviners* y *momentous* con el guion ¬

«But the authors of the alphabetic Popol Vuh tell us that there were also occasions on which readers offered “a long performance and account” whose subject was the lighting of the whole kajulew or “sky-earth,” which is the Quiche way of saying “world» — Tedlock consigna la otra ocasión de lectura que declaran los autores: una larga ejecución y relato cuyo asunto era el encenderse del *kajulew*, el cielo-tierra, que es como los quichés dicen mundo

«If a divinatory reading or pondering was a way of recov¬ ering the depth of vision enjoyed by the first four humans, a long perfor¬ mance, in which readers may well have covered every major subject in the entire book, was a way of recovering the full cosmic sweep of that vision» — Tedlock distingue las dos lecturas por su alcance: la adivinatoria recobra la hondura de visión de los primeros humanos y la larga ejecución, que pudo cubrir todo el libro, recobra su barrido cósmico entero; el troceo parte *recovering* y *performance* con el guion ¬

«What they did instead was to quote what readers of the ancient book would say when they gave long performances, telling the full story that lay behind the charts, pictures, and plot outlines of the ancient book» — Tedlock adjudica a los autores la decisión de citar lo que decían los lectores del libro antiguo en sus largas ejecuciones, contando la historia entera detrás de las tablas, las imágenes y los esquemas

«Lest we miss the fact that they are quoting, they periodi¬ cally insert such phrases as “This is the account, here it is,” or “as it is said» — Tedlock señala las marcas de cita que los autores insertan periódicamente; el troceo parte *periodically* con el guion ¬

«At one point they themselves become performers, speaking di¬ rectly to us as if we were members of a live audience rather than mere readers. When they introduce the first episode of a long cycle of stories about the gods who prepared the sky-earth for human life, they propose that we all drink a toast to the heroes» — Tedlock consigna el punto en que los autores se vuelven ejecutantes y se dirigen al lector como a un público vivo, proponiendo un brindis por los héroes; el troceo parte *directly* con el guion ¬

«At the beginning of their book, the authors delicately describe the difficult circumstances under which they work. When they tell us that they are writing “amid the preaching of God, in Christendom now,” we can catch a plaintive tone only by noticing that they make this statement immediately after asserting that their own gods “accounted for every¬ thing—and did it, too—as enlightened beings, in enlightened words» — Tedlock lee el tono quejumbroso de la apertura en el orden de dos frases: que escriben en medio de la prédica de Dios y en la cristiandad, dicho justo después de afirmar que sus propios dioses dieron cuenta de todo como seres iluminados; el troceo parte *everything* con el guion ¬

«What the authors propose to write down is what Quiches call the Ojer Tzij, the “Ancient Word” or “Prior Word,” which has precedence over “the preaching of God» — Tedlock nombra lo que los autores se proponen escribir, el *Ojer Tzij* o Palabra Antigua, y dice que tiene precedencia sobre la prédica de Dios

«They have chosen to do so because “there is no longer” a Popol Vuh, which makes it sound as though they intend to re-create the original book solely on the basis of their memory of what they have seen in its pages or heard in the long performance» — Tedlock lee el *there is no longer* como si los autores fueran a rehacer el libro solo de memoria, de lo visto en sus páginas o de lo oído en la larga ejecución

«But when we remember their complaint about being “in Christendom,” there re¬ mains the possibility that they still have the original book but are pro¬ tecting it from possible destruction by missionaries» — Tedlock deja abierta la otra posibilidad: que los autores conservaran el libro original y lo estuvieran protegiendo de los misioneros; el troceo parte *remains* y *protecting* con el guion ¬

«Here we must remember that the authors of the alphabetic Popol Vuh have chosen to remain anonymous; in other words, they are hiding their identities. If they are protecting anyone with their enigmatic statements about an inaccessible book or an anonymous reader, it could well be themselves» — Tedlock enlaza el lector de identidad oculta con el anonimato elegido por los propios autores y deja como conjetura que a quien protegen sea a sí mismos

«If the authors of the alphabetic Popol Vuh had transposed the ancient Popol Vuh directly, on a glyph-by-glyph basis, they might have produced» — Tedlock plantea la alternativa que los autores no tomaron: transponer el libro antiguo glifo a glifo; la frase sigue en la plana siguiente, donde dice que habría salido un texto solo legible para un adivino y ejecutante formado

«a text that would have made little sense to anyone but a fully trained diviner and performer» — la continuación de esa frase en la plana siguiente dice para quién habría tenido sentido ese texto hipotético

«The authors begin their narrative in a world that has nothing but an empty sky above and a calm sea below. The action gets under way when the gods who reside in the primordial sea, named Maker, Modeler, Bearer, Begetter, Heart of the Lake, Heart of the Sea, and Sovereign Plumed Serpent» — Tedlock resume la escena inicial del relato —cielo vacío arriba y mar en calma abajo— y nombra a los dioses que residen en el mar primordial

«The emergence of the earth from the water: Lake Atitlan, called Najachel in Quiche, with the volcanoes of Cerro de Oro (in the middle distance) and San Pedro» — el pie de foto de Tedlock identifica el lago Atitlan, llamado Najachel en quiché, y los volcanes que se ven en la imagen

«and in the course of it they conceive the emergence of the earth from the water and the growth of plants and people on its surface» — Tedlock resume lo que los dioses conciben en ese diálogo: el surgir de la tierra desde el agua y el crecer de plantas y gente en su superficie

«They wish to set in motion a process they call the “sowing” and “dawning,” by which they mean several different things at once» — Tedlock nombra el proceso que los dioses quieren poner en marcha, la siembra y el amanecer, y advierte que el par quiere decir varias cosas a la vez

«Then there is the matter of human beings, whose sowing in the womb will be followed by their emergence into the light at birth, and whose sowing in the earth at death will be followed by dawning when their souls become sparks of light in the darkness» — Tedlock da el tercer sentido de la pareja siembra-amanecer: la del ser humano en el vientre y su salida a la luz al nacer, y la del muerto en la tierra y el volverse su alma chispa de luz en la oscuridad

«For the gods, the idea of human beings is as old as that of the earth itself, but they fail in their first three attempts (all in Part One of the present translation) to transform this idea into a living reality» — Tedlock consigna que para los dioses la idea del ser humano es tan vieja como la de la tierra y que fracasan en sus tres primeros intentos, todos en la Parte Uno

«What they want is beings who will walk, work, and talk in an articulate and measured way, visiting shrines, giving offerings, and calling upon their makers by name, all according to the rhythms of a calendar» — Tedlock dice qué quieren los dioses: seres que anden, trabajen y hablen de modo articulado y medido, que visiten santuarios, den ofrendas y llamen a sus hacedores por su nombre, y todo al ritmo de un calendario

«What they get instead, on the first try, is beings who have no arms to work with and can only squawk, chatter, and howl, and whose descendants are the animals of today» — Tedlock describe el primer resultado: seres sin brazos que solo graznan, parlotean y aúllan, y cuyos descendientes son los animales de hoy

«On the second try they make a being of mud, but this one is unable to walk or turn its head or even keep its shape; being solitary, it cannot reproduce itself, and in the end it dissolves into nothing» — Tedlock describe el segundo: un ser de lodo que no anda ni vuelve la cabeza ni guarda forma, y que por solitario no se reproduce

«Before making a third try the gods decide, in the course of a further dialogue, to seek the counsel of an elderly husband and wife named Xpiyacoc and Xmucane» — Tedlock consigna que antes del tercer intento los dioses acuerdan consultar a un matrimonio anciano, Xpiyacoc y Xmucane

«Xpiyacoc is a divine matchmaker and therefore prior to all marriage, and Xmucane is a divine midwife and therefore prior to all birth» — Tedlock define los oficios divinos de la pareja: él casamentero y por eso anterior a todo matrimonio, ella partera y por eso anterior a todo nacimiento

«They are older than all the other gods, who address them as grandparents, and the cycle they divine by is older than the longer cycles that govern Venus and the sun, which have not yet been established at this point in the story» — Tedlock sitúa a la pareja por encima de los demás dioses, que los llaman abuelos, y dice que el ciclo con que adivinan es más viejo que los de Venus y el sol, aún no establecidos en ese punto del relato

«The question the younger gods put to them here is whether human beings should be made out of wood» — Tedlock dice cuál es la consulta: si los seres humanos deben hacerse de madera

«The wooden beings turn out to look and talk and multiply themselves some¬ thing like humans, but they fail to time their actions in an orderly way and forget to call upon the gods in prayer» — Tedlock dice en qué fallan los seres de madera: no ordenan sus actos en el tiempo y se olvidan de llamar a los dioses en oración; el troceo parte *something* con el guion ¬

«Hurricane brings a catastrophe down on their heads, not only flooding them with a gigantic rainstorm but sending monsters to attack them» — Tedlock nombra a Hurricane como quien trae la catástrofe sobre los seres de madera, con un aguacero gigantesco y monstruos

«Even their own dogs, turkeys, tools, and houses rise against them, taking vengeance for past mistreatment. Their only descendants are the monkeys that inhabit the forests today» — Tedlock consigna la venganza de perros, guajolotes, herramientas y casas por el maltrato pasado, y dice que los únicos descendientes de aquellos seres son los monos de los bosques de hoy

«There is the sowing of seeds in the earth, whose sprouting will be their dawning, and there is the sowing of the sun, moon, and stars, whose difficult passage beneath» — Tedlock desglosa dos sentidos de la pareja siembra-amanecer: la de las semillas, cuyo brotar es su amanecer, y la del sol, la luna y las estrellas; la frase sigue en la plana siguiente, donde dice que a ese paso bajo la tierra le sigue el amanecer de los astros

«First come the twin sons of Xpiyacoc and Xmucane, named One Hunahpu and Seven Hunahpu, together with Blood Moon, the daughter of a lord of the underworld named Blood Gatherer» — Tedlock nombra la primera generación: los gemelos One Hunahpu y Seven Hunahpu, hijos de Xpiyacoc y Xmucane, y Blood Moon, hija del señor del inframundo Blood Gatherer; el troceo parte *Hunahpu* y *generation* con el guion de renglón

«In the second genera¬ tion come her twin sons, Hunahpu and Xbalanque, jointly fathered by One and Seven Hunahpu» — Tedlock nombra la segunda generación: los gemelos Hunahpu y Xbalanque, engendrados en común por One y Seven Hunahpu; el troceo parte *generation* con el guion ¬

«Both generations of twins are players of the Mesoamerican ball game, in which the rubber ball (an indigenous Ameri¬ can invention) is hit with a yoke-shaped device worn on one side of the body, riding just under the arm or resting on the hip» — Tedlock describe el juego de pelota mesoamericano que juegan las dos generaciones y el modo de golpear la pelota de hule con un yugo ceñido a un costado; el troceo parte *American* con el guion ¬

«In addition to being ballplayers, One and Seven Hunahpu occupy themselves by gambling with dice, whereas Hunahpu and Xbalanque go out hunting with blow» — Tedlock distingue los pasatiempos de cada pareja: los dados para One y Seven Hunahpu, la cerbatana para Hunahpu y Xbalanque; el troceo corta *blowguns* al pie de la plana

«At this point the gods who have been working on the problem of making human beings will need only one more try before they solve it, but the authors of the Popol Vuh postpone the telling of this episode» — Tedlock señala el aplazamiento que hacen los autores: con un intento más habrían resuelto el problema del ser humano, y en vez de contarlo desvían el relato

«turning their attention to stories about two generations of heroic deities whose triumphs make the sky-earth a safer place for human habitation» — la continuación en la plana siguiente dice a qué desvían el relato: a dos generaciones de deidades heroicas cuyos triunfos vuelven el cielo-tierra más seguro para la habitación humana

«The adventures of the sons, daughter-in-law, and grandsons of Xpiya¬ coc and Xmucane are presented in two different cycles» — Tedlock anuncia que las aventuras de los hijos, la nuera y los nietos de Xpiyacoc y Xmucane van en dos ciclos distintos; el troceo parte *Xpiyacoc* con el guion ¬

«divided between the cycles more on the basis of where they take place in space than when they take place in time» — Tedlock declara el criterio de reparto de los episodios entre los dos ciclos: el lugar antes que el tiempo

«The first cycle deals entirely with adventures on the face of the earth, while the second, though it has two separate aboveground passages, deals mainly with adventures in the underworld, a region named Xibalba or “Place of Fear» — Tedlock distingue los dos ciclos por su escenario: la faz de la tierra el primero, el inframundo llamado Xibalba o Lugar del Miedo el segundo

«These sowing and dawning movements of the heroes, along with those of their supporting cast, prefigure the present-day movements of the sun, moon, planets, and stars» — Tedlock sostiene que los movimientos de siembra y amanecer de los héroes y su reparto prefiguran los movimientos actuales del sol, la luna, los planetas y las estrellas

«Hurricane, or Heart of Sky, is offended by this threesome, and it is he who sends Hunahpu and Xbalanque against them» — Tedlock nombra a Hurricane, o Heart of Sky, como el ofendido que manda a Hunahpu y Xbalanque contra los tres pretendientes al poder sobre la tierra

«The first to get his due is the father, named Seven Macaw, who claims to be both the sun and moon» — Tedlock nombra a Seven Macaw, el padre, como el primero en recibir lo suyo, y dice qué pretende ser: sol y luna a la vez

«In chronological terms this episode overlaps with the story of the wooden people (at the end of Part One), since Seven Macaw serves as their source of celestial light and has his downfall at the same time they do» — Tedlock hace solapar el episodio con el de los hombres de madera porque Seven Macaw les servía de luz celeste y cae al mismo tiempo que ellos

«He himself remains as the seven stars of the Big Dipper, and his wife, Chimalmat, corresponds to a circle of northern stars that includes the arc of the Little Dipper» — Tedlock identifica a Seven Macaw con las siete estrellas de la Osa Mayor y a su mujer Chimalmat con un círculo de estrellas del norte que incluye el arco de la Osa Menor

«In mid-July, when he is already falling from his tree as the night begins, he opens the hurricane season, and in mid-October, when he almost gets back up the tree before morning, he closes it» — Tedlock hace coincidir la apertura y el cierre de la temporada de huracanes con la posición de Seven Macaw respecto de su árbol a mediados de julio y de octubre

«It was his first fall, brought on by the blowgun shot of Hunahpu and Xbalanque, that opened the way for the great flood that brought down the wooden people» — Tedlock encadena la primera caída de Seven Macaw por el cerbatanazo con el diluvio que acabó con los hombres de madera

«Just as Seven Macaw only pretended to be the sun and moon, so the wooden people only pretended to be human» — Tedlock empareja las dos simulaciones: la de Seven Macaw como sol y luna y la de los hombres de madera como humanos

«At the celestial level they become the stars called Motz, the Quiche name for the Pleiades, and their downfall corresponds to early-evening settings of these stars» — Tedlock identifica a los Cuatrocientos Muchachos con las estrellas llamadas Motz, nombre quiché de las Pléyades, y su caída con las puestas tempranas de esas estrellas

«Zipacna goes after the crab with great passion, and his struggles to wrestle himself into the right position to consummate his hunger become a symbolic parody of sexual intercourse» — Tedlock lee el forcejeo de Zipacna con el cangrejo artificial como parodia simbólica del coito

«Finally there comes the demise of the younger son of Seven Macaw, named Earthquake, who bills himself as a destroyer of mountains» — Tedlock nombra al hijo menor de Seven Macaw, Earthquake, y lo que este se proclama: destructor de montañas

«They cast a spell on the bird they give him to eat: just as it was cooked inside a coating of earth, so he will end up covered by earth» — Tedlock dice en qué consiste el hechizo del ave asada: como se coció bajo una capa de tierra, así acabará él cubierto de tierra

«They leave him buried in the east, opposite his elder brother, whose killing of the Four Hundred Boys associates him with the west (where the Pleiades may be seen to fall beneath the earth» — Tedlock reparte a los dos hermanos por los puntos cardinales, el menor al oriente y el mayor al poniente por su matanza de los Cuatrocientos Muchachos

«Seven Macaw, as the Big Dipper, is of course in the north. He is near the pivot of the movement of the night sky, whereas his two sons make the earth move—though they cannot raise or level whole mountains in a single day as they once did» — Tedlock coloca a Seven Macaw al norte, cerca del pivote del cielo nocturno, y dice que sus dos hijos siguen moviendo la tierra aunque ya no puedan alzar ni allanar montañas en un día

«This is the point at which the authors treat us as if we were in their very presence, introducing One Hunahpu by saying, “Let's drink to him» — Tedlock marca el punto en que los autores se dirigen al lector como si estuviera presente, con el brindis por One Hunahpu

«At some point Egret Woman dies, but we are not told how; that leaves Xmucane, the mother of One and Seven Hunahpu, as the only woman in the household» — Tedlock consigna que el relato no dice cómo muere Egret Woman y que su muerte deja a Xmucane como única mujer de la casa; el troceo parte *Hunahpu* con el guion de renglón

«arts and crafts, including flute playing, singing, writing, carving, jewelry making, and metalworking» — Tedlock enumera las artes y oficios que aprenden One Monkey y One Artisan: flauta, canto, escritura, talla, joyería y metalistería; la frase abre en la plana anterior

«Their ball playing offends the lords of Xibalba, who dislike hearing noises above their subterranean domain» — Tedlock dice qué ofende a los señores de Xibalba: el ruido del juego de pelota sobre su dominio subterráneo

«One and Seven Death decide to challenge One and Seven Hunahpu to come play ball in the court of Xibalba, which lies at the western edge of the underworld» — Tedlock sitúa la cancha de Xibalba en el borde occidental del inframundo y dice quién lanza el reto

«They therefore send their messen¬ gers, who are monstrous owls, to the Great Hollow» — Tedlock nombra a los mensajeros de Xibalba, búhos monstruosos, y adónde los mandan; el troceo parte *messengers* con el guion ¬

«The way is full of traps, but they do well until they come to the Crossroads, where each of four roads has a different color corresponding to a differ» — Tedlock describe el camino lleno de trampas hasta la Encrucijada, donde cada uno de los cuatro caminos lleva un color de su dirección; el troceo corta la palabra *different* al final del renglón

«They choose the Black Road, which means, at the terres¬ trial level, that their journey through the underworld will take them from east to west» — Tedlock dice qué significa elegir el Camino Negro en el plano terrestre: que el viaje por el inframundo irá de oriente a poniente; el troceo parte *terrestrial* con el guion ¬

«At the celestial level, it means that they were last seen in the black cleft of the Milky Way when they descended below the eastern horizon; to this day the cleft is called the Road of Xibalba» — Tedlock da la lectura celeste de ese camino: la grieta negra de la Vía Láctea, que hasta hoy se llama Camino de Xibalba

«Entering the council place of the lords of Xibalba is a tricky business, beginning with the fact that the first two figures seated there are mere manikins, put there as a joke» — Tedlock describe la primera trampa de la sala del consejo de Xibalba: dos maniquíes sentados, puestos ahí como broma

«One and Seven Hunahpu must face a night in Dark House, which is totally black inside. They are given a torch and two cigars, but they are warned to keep these burning all night without consuming them» — Tedlock enuncia la prueba de Dark House: pasar la noche con una antorcha y dos puros encendidos sin consumirlos

«They fail this test, so their hosts sacrifice them the next day instead of playing ball with them» — Tedlock dice la consecuencia del fracaso: el sacrificio al día siguiente en lugar del juego

«except that the severed head of One Hunahpu is placed in the fork of a tree that stands by the road there. Now, for the first time, the tree bears fruit, and it becomes difficult to tell the head from the fruit. This is the origin of the calabash tree, whose fruit has the character of a human skull when dried and hollowed» — Tedlock cuenta el origen del jícaro: la cabeza cortada de One Hunahpu puesta en la horqueta de un árbol que por primera vez da fruto, indistinguible de la cabeza

«The skull of One Hunahpu, animated by both brothers, now spits in her hand and makes her preg¬ nant with Hunahpu and Xbalanque» — Tedlock consigna que el cráneo de One Hunahpu, animado por los dos hermanos, escupe en la mano de Blood Moon y la preña de Hunahpu y Xbalanque; el troceo parte *pregnant* con el guion ¬

«The head lords are named One Death and Seven Death, and under them are other lords who specialize in causing such maladies as» — Tedlock nombra a One Death y Seven Death como señores principales de Xibalba y dice que bajo ellos hay otros especializados en causar males; la lista sigue al otro lado del corte de chunk

«lesions, jaundice, emaciation, edema, stabbing pains, and sudden death from vomiting blood» — la continuación de esa lista enumera los males de los señores menores de Xibalba: lesiones, ictericia, consunción, edema, punzadas y muerte súbita por vómito de sangre

«plaining to her that henceforth a father’s face will survive in his son, even after his own face has rotted away and left nothing but bone» — Tedlock cita lo que la calavera de One Hunahpu explica a Blood Moon: que en adelante el rostro del padre sobrevivirá en el del hijo aun después de podrido el suyo; la frase abre en la plana anterior

«She answers that “there is no man whose face I ve known,” which is literally true» — Tedlock señala que la respuesta de Blood Moon a su padre es literalmente verdadera; el escaneo imprime el apóstrofo de *I’ve* separado

«But she persuades them to spare her, devising a substitute for her heart in the form of a congealed nodule of sap from a croton tree» — Tedlock cuenta el sustituto del corazón que Blood Moon idea para los búhos: un nódulo cuajado de savia de croton

«As a result of this episode it is destined that the lords of Xibalba will receive offerings of incense made from croton sap rather than human blood and hearts» — Tedlock lee el episodio como origen del destino de las ofrendas de Xibalba: incienso de savia de croton en lugar de sangre y corazones humanos

«At the astronomical level Blood Moon corresponds to the moon, which appears in the west at nightfall when it begins to wax, just as she appeared before the skull at the Place of Ball Game Sacrifice when she became pregnant» — Tedlock identifica a Blood Moon con la luna, que aparece al poniente al anochecer cuando empieza a crecer, como ella apareció ante la calavera

«Blood Moon finds only a single clump of corn plants there, but she produces a whole netful of ears by pulling out the silk from just one ear» — Tedlock cuenta la prueba del maíz: Blood Moon saca una red llena de mazorcas del cabello de una sola

«On the ground at the foot of the clump of plants she notices the imprint of the carrying net, which she reads as a sign that Blood Moon is indeed pregnant with her own grandchildren» — Tedlock dice cómo lee Xmucane la huella de la red en el suelo: como señal de que Blood Moon está preñada de sus propios nietos

«To understand how Xmucane is able to interpret the sign of the net we must remember that she knows how to read the auguries of the Mayan calendar, and that one of the twenty day names that go into the making of that calendar is “Net» — Tedlock explica la lectura de Xmucane por su oficio: sabe leer los augurios del calendario maya, y uno de sus veinte nombres de día es Red

«Retold from a calendrical point of view, the story so far is that Venus rose as the morning star on a day named Hunahpu, corresponding to the ball playing of Xmucane’s sons, One and Seven Hunahpu, in the east; then, after being out of sight in Xibalba, Venus reappeared as the evening star on a day named Death, corre¬ sponding to the defeat of her sons by One and Seven Death and the placement of One Hunahpu’s head in a tree in the west» — Tedlock vuelve a contar la historia en clave calendárica: Venus como estrella de la mañana en un día Hunahpu, su desaparición en Xibalba y su reaparición como estrella vespertina en un día Death; el troceo parte *corresponding* con el guion ¬

«The event that is due to come next in the story is the rebirth of Venus as the morning star, which should fall, as she already knows, on a day named Net» — Tedlock enuncia el episodio calendárico siguiente: el renacer de Venus como estrella de la mañana, que debe caer en un día Red

«One Monkey and One Artisan, both of whose names refer to a single day on the divinatory calendar, correspond to the planet Mars, whose period is thereafter reckoned by that day, and their tempo¬ rary return to the house of Xmucane corresponds to the retrograde motion of Mars» — Tedlock identifica a One Monkey y One Artisan con el planeta Marte, cuyo periodo se cuenta desde ese día, y su regreso temporal a casa de Xmucane con la retrogradación; el troceo parte *temporary* con el guion ¬

«They are also the gods of arts and crafts, and they probably made their first journey through the sky during the era of the wooden people, who were the first earthly beings to make and use arti¬ facts and who themselves ended up as monkeys» — Tedlock los declara además dioses de las artes y los oficios y deja en conjetura —*probably*— su primer viaje por el cielo en la era de los hombres de madera, primeros seres terrestres en hacer y usar artefactos; el troceo parte *artifacts* con el guion ¬

«By hiding themselves at the edge of the plot one night, they discover that the animals of the forest are restoring the cleared plants by means of a chant» — Tedlock cuenta el descubrimiento de los gemelos: los animales del bosque restauran la milpa talada mediante un canto

«In exchange for his future share of stored crops, the rat reveals to them that One and Seven Hunahpu left a set of ball game equipment tied up under the rafters of their house, and he agrees to help them get it down» — Tedlock dice el trato con la rata: a cambio de su parte futura de las cosechas guardadas revela el equipo de juego escondido bajo el techo

«When she sees the imprint of the net in the field, she takes it as a sign that this» — Tedlock dice qué toma Xmucane de la huella de la red en la milpa; la frase se completa en la plana siguiente, donde el suceso que se acerca lo harán posible los hijos de Blood Moon

«They cure his eye with rubber stripped from their ball, which is why this particular species of falcon (the so-called laughing falcon) now has a black patch around the eye» — Tedlock cuenta la cura del ojo del halcón con hule de la pelota y la explica como origen de la mancha negra del guaco

«the louse recites the message, quoting what Xmucane told him when she quoted what the owls told her when they quoted what the lords of Xibalba told them to say» — Tedlock describe el mensaje del piojo como cita dentro de cita dentro de cita, desde los señores de Xibalba hasta los gemelos

«They “plant” ears of corn in the center of her house, in the attic; these ears are neither to be eaten nor used as seed corn but are to be kept as a sign that corn remains alive throughout the year, even between the drying out of the plants at harvest time and the sprouting of new ones after planting» — Tedlock explica el ritual: las mazorcas puestas en el tapanco no se comen ni se siembran, quedan como señal de que el maíz sigue vivo todo el año

«They tell their grandmother that when a crop dries out it will be a sign of their death, but that the sprouting of a new crop will be a sign that they live again» — Tedlock consigna el pacto de señales que los gemelos dejan a su abuela: la milpa seca por su muerte, la nueva por su vida

«The secret word is Aj, one of the twenty day names; the twins point to it by playing on its sounds rather than simply mentioning it» — Tedlock nombra la palabra escondida en las instrucciones a la abuela, el día *Aj*, y dice que los gemelos la señalan por el sonido y no por la mención

«If the twins planted their com ears in the house on this day, then their expected arrival in Xibalba, seven days later, would fall on the day named Hunahpu» — Tedlock deriva del juego de palabras la fecha de llegada de los gemelos a Xibalba, siete días después, en un día Hunahpu; el escaneo imprime *com* por *corn*.

«This fits the Mayan Venus calendar perfectly: whenever Venus rises as the morning star on a day named Net, corresponding to the appearance of Hunahpu and Xbalanque on the earth, its next descent into the underworld will always fall on a day named Hunahpu» — Tedlock encaja esa cuenta con el calendario maya de Venus: el orto matutino en un día Red tiene siempre su descenso siguiente en un día Hunahpu

«They send a spy ahead of them, a mosquito, to learn the names of the lords. He bites each one of them in turn; the first two lords reveal themselves as mere manikins by their lack of response» — Tedlock cuenta la treta del mosquito espía y el primer resultado: los dos maniquíes se delatan por no responder al piquete

«but the others, in the process of complaining about being bitten, address each other by name» — la continuación del pasaje dice cómo los señores verdaderos se nombran entre sí al quejarse del piquete

«Not only that, but they refuse to fall for the hot seat, and when they are given a torch and two cigars to keep lit all night, they trick the lords by passing off a macaw’s tail as the glow of the torch and by putting fireflies at the tips of their cigars» — Tedlock enumera las dos tretas con que los gemelos pasan la noche de la antorcha: una cola de guacamaya por resplandor y luciérnagas en las puntas de los puros

«The Xibalbans insist on putting their own ball into play first, though the twins protest that this ball, which is covered with crushed bone, is nothing but a skull» — Tedlock consigna la protesta de los gemelos contra la pelota de Xibalba, cubierta de hueso molido

«When Hunahpu hits it back to the Xibalbans with the yoke that rides on his hip, it falls to the court and reveals the weapon that was hidden inside it. This is nothing less than the White Dagger, the same instrument of sacrifice the owls were supposed to use on Blood Moon; it twists its way all over the court, but it fails to kill the twins» — Tedlock cuenta lo que la pelota de Xibalba escondía: el White Dagger, el mismo instrumento de sacrificio destinado a Blood Moon, que recorre la cancha sin matarlos

«In exchange for a promise that they will one day have the flesh of animals as their food, the blades stop moving» — Tedlock dice el trato con las navajas de Razor House: dejan de moverse a cambio de la promesa de tener carne de animales por alimento

«they send leaf-cutting ants to get them from the very gardens of the lords of Xibalba» — Tedlock cuenta el robo de los pétalos con hormigas arrieras de los jardines mismos de los señores de Xibalba

«The ground-dwelling birds who guard this garden, poorwills and whippoorwills, are so oblivious that they fail to notice that their own tails and wings are being trimmed along with the flowers» — Tedlock describe la desatención de los pájaros guardianes, tapacaminos que no notan que les recortan cola y alas junto con las flores

«The lords, who are aghast when they receive bowls filled with the petals of their own flowers, split the birds’ mouths open, giving them the wide gape that birds of the nightjar family have today» — Tedlock explica la boca rasgada de los tapacaminos de hoy por el castigo de los señores al recibir sus propias flores

«Next, the hero twins survive stays in Cold House, which is full of drafts and falling hail; Jaguar House, which is full of hungry, brawling jaguars; and a house with fire inside» — Tedlock enumera las casas de prueba siguientes: Cold House con corrientes y granizo, Jaguar House con jaguares hambrientos y una casa con fuego dentro

«After these horrors comes Bat House, full of moving, shrieking bats, where they spend the night squeezed up inside their blowgun» — Tedlock describe Bat House y el modo en que los gemelos pasan la noche, apretados dentro de su cerbatana

«When the house grows quiet and Hunahpu peeks out from the muzzle, one of the bats swoops down and takes his head off» — Tedlock cuenta la decapitación de Hunahpu por un murciélago al asomarse por la boca de la cerbatana

«The head ends up rolling on the ball court of Xibalba, but Xbalanque gives his brother a temporary replacement in the form of a carved squash» — Tedlock dice el reemplazo temporal que Xbalanque da a la cabeza de su hermano: una calabaza tallada

«When the twins them¬ selves arrive before the lords, they ignore the manikins» — Tedlock dice lo que los gemelos hacen distinto de sus padres al llegar ante los señores: ignoran a los maniquíes; el troceo parte *themselves* con el guion ¬ y el tramo se corta en el límite de chunk

«fathers) and address each of the twelve real lords correctly. Not only that, but they refuse to fall for the hot seat» — Tedlock cifra en doce los señores reales de Xibalba a quienes los gemelos saludan correctamente, y añade su negativa al asiento caliente; la frase abre al otro lado del corte de chunk

«Not only the red dawn but the possum and his streaks are signs that the time of the sun (which has never before been seen) is coming nearer» — Tedlock lee el amanecer rojo y las cuatro rayas del tlacuache como señales de que se acerca el tiempo del sol, nunca visto antes

«In the future a new solar year will be brought in by the old man each 365 days; the four streaks signify that only four of the twenty day names—Deer, Tooth, Thought, and Wind— will ever correspond to the first day of a solar year» — Tedlock deriva de las cuatro rayas la regla calendárica: solo cuatro de los veinte nombres de día —Venado, Diente, Pensamiento y Viento— pueden caer en el primer día de un año solar

«The game played with the squash, like the games played with the bone-covered ball and with Hunahpu’s severed head, corresponds to an appearance of Venus in the west, the direction of evening and death» — Tedlock hace corresponder los tres juegos de pelota en Xibalba con apariciones de Venus al poniente, dirección del atardecer y de la muerte

«If these events were combined in chronological order with those that take place entirely above ground, they would probably alternate with the episodes in which the twins defeat One Monkey and One Artisan, Seven Macaw, Zipacna, and Earthquake, with each of these latter episodes corresponding to an appearance of Venus in the east, the direction of morning and life» — Tedlock conjetura —*probably*— la alternancia de los episodios subterráneos y los de la superficie, y hace corresponder estos últimos con apariciones de Venus al oriente

«Knowing that the lords of Xibalba plan to bum them, Hunahpu and Xbalanque instruct two seers named Xulu and Pacam as to what they should say when the lords seek advice as to how to dispose of their remains» — Tedlock cuenta la instrucción anticipada de los gemelos a los videntes Xulu y Pacam sobre qué decir a los señores; el escaneo imprime *bum* por *burn*

«The lords challenge them to a contest in which the object is to leap clear across the pit, but the boys cut the deadly game short and jump right in» — Tedlock describe el reto del salto sobre el foso y la decisión de los gemelos de abreviar el juego tirándose dentro

«Thinking they have triumphed, the Xibalbans follow the advice of Xulu and Pacam, grinding the bones of the boys and spilling the powder into a river» — Tedlock dice qué hacen los xibalbanos con los huesos molidos según el consejo de Xulu y Pacam: verter el polvo en un río

«After five days Hunahpu and Xbalanque reappear as catfish; the day after that they take human form again, only now they are disguised as vagabond dancers and actors» — Tedlock cuenta el regreso de los gemelos como bagres a los cinco días y su vuelta a forma humana disfrazados de bailarines y actores vagabundos

«They gain great fame as illusionists, their most popular acts being the ones in which they set fire to a house without burning it and perform a sacrifice without killing the victim» — Tedlock nombra los dos números que dan fama a los gemelos: incendiar una casa sin quemarla y sacrificar sin matar

«The climax of their performance comes when Xbalanque sacrifices Hunahpu, rolling his head out the door, removing his heart, and then bringing him back to life» — Tedlock describe el número culminante ante la corte de Xibalba

«One and Seven Death go wild at the sight of this and demand that they themselves be sacrificed. The twins oblige—and, as might already be imagined, these final sacrifices are real ones» — Tedlock consigna la petición de One y Seven Death de ser ellos mismos sacrificados y advierte que esos últimos sacrificios sí son reales

«They declare that henceforth the offerings received by Xibalbans will be lim¬ ited to incense made of croton sap and to animals, and that Xibalbans will limit their attacks on future human beings to those who have weak» — Tedlock resume la declaración final de los gemelos: las ofrendas de Xibalba quedan limitadas a incienso de croton y animales, y sus ataques a los humanos con debilidades o culpa; el troceo parte *limited* y *weaknesses* con el guion ¬

«She cries when the season comes for com plants to dry out, signifying the death of her grandsons, and rejoices when they sprout again, signifying rebirth» — Tedlock cuenta el luto y la alegría de la abuela con el secarse y el brotar de la milpa; el escaneo imprime *com* por *corn*

«She bums incense in front of ears from the new crop and thus completes the establishment of the custom whereby humans keep consecrated ears in the house, at the center of the stored harvest» — Tedlock cierra ahí el establecimiento de la costumbre de guardar mazorcas consagradas en la casa; el escaneo imprime *bums* por *burns*

«The full restoration of his face depends on his own ability to pronounce the names of all the parts it once had, but he gets no further than the mouth, nose, and eyes, which remain as notable features of skulls» — Tedlock dice de qué depende la restauración del rostro de Seven Hunahpu y hasta dónde llega: boca, nariz y ojos, que quedan como rasgos notables de las calaveras

«They leave him there, but they promise that human beings will keep his day (the one named Hunahpu), coming to pray where his remains are» — Tedlock consigna la promesa de los gemelos: que los humanos guardarán el día de Seven Hunahpu y vendrán a rezar donde están sus restos

«At the astronomical level the visit of Hunahpu and Xbalanque to Seven Hunahpu’s grave signals the return of a whole new round of Venus cycles, starting with a morning star that first appears on a day named Hunahpu» — Tedlock lee la visita a la tumba como señal astronómica del arranque de una nueva ronda de ciclos de Venus

«Most likely the twin who became the moon is to be under¬ stood specifically as the full moon, whereas Blood Moon, the mother of the twins, would account for other phases of the moon» — Tedlock deja como probabilidad declarada que el gemelo vuelto luna sea la luna llena y que Blood Moon dé cuenta de las demás fases; el troceo parte *understood* con el guion ¬

«The account of their fourth and final attempt at a solution is a flashback, since it takes us back to a time when Seven Macaw had already seen his downfall but the real sun had yet to appear» — Tedlock declara que el cuarto y último intento de hacer humanos es un salto atrás, a un tiempo posterior a la caída de Seven Macaw y anterior al sol verdadero

«but now they get news of a mountain filled with yellow corn and white corn, discovered by the fox, coyote, parrot, and crow» — Tedlock nombra a los cuatro animales que descubren el monte del maíz amarillo y blanco; el troceo parte *beginning* con el guion ¬

«Xmucane grinds the corn from this mountain very finely, and the flour, mixed with the water she rinses her hands with, provides the substance for human flesh» — Tedlock describe la materia de la carne humana: la harina del maíz molido por Xmucane mezclada con el agua de enjuagarse las manos

«The first people to be modeled from the corn dough are four men named Jaguar Quitze, Jaguar Night, Not Right Now, and Dark Jaguar» — Tedlock nombra a los cuatro primeros hombres modelados de la masa de maíz

«This time the beings shaped by the gods are everything they hoped for and more: not only do the first four men pray to their makers, but they have perfect vision and therefore perfect knowledge» — Tedlock dice qué logran los dioses en el cuarto intento: hombres que rezan y que además tienen visión y por tanto conocimiento perfectos

«The gods are alarmed that beings who were merely manufactured by them should have divine powers, so they decide, after their usual dialogue, to put a fog on human eyes» — Tedlock da el motivo de la niebla sobre los ojos humanos: la alarma de los dioses ante criaturas manufacturadas con poderes divinos

«All these early events in human histoiy take place in darkness, and all the different tribes wander about and grow weary as they go on watching and waiting for the rising of Venus as the morning star, to be followed by the sun» — Tedlock sitúa toda la historia humana temprana en la oscuridad, con las tribus esperando la salida de Venus como estrella matutina; el escaneo imprime *histoiy* por *history*

«The authors of the Popol Vuh describe some of them as rustic “mountain people,” including the Quiches and their closest Mayan relatives: Rabinals, Cakchiquels, and “those of the Bird House» — Tedlock consigna cómo el propio libro llama a algunos peticionarios, gente rústica de las montañas, y enumera a los quichés con sus parientes mayas más cercanos

«The Popol Vuh gives the eastern city names that reach deep into the Mesoamerican past, calling it Tulan Zuyua, Seven Caves, Seven Canyons» — Tedlock nombra la ciudad oriental como la nombra el libro y dice que esos nombres alcanzan hondo en el pasado mesoamericano

«From other Mayan authors we learn that this city had a western twin that shared the name Tulan, which means “Place of Cattails” in Nahua» — Tedlock adjudica a otros autores mayas la noticia de la gemela occidental que compartía el nombre Tulan, que en náhuatl dice lugar de tules

«A new reading of the inscriptions at Copan reveals that Mayans knew this name as long ago as the Classic period, and that they applied it to the great western city whose ruins are known today as Teotihuacan» — Tedlock adjudica a una lectura nueva de las inscripciones de Copan que los mayas del Clásico conocían ese nombre y lo aplicaban a la gran ciudad occidental

«Their closest contact with the world of that city, while it was still in its glory, was through its eastern outpost at Kaminaljuyu, which is a likely candidate for the eastern city of the Popol Vuh» — Tedlock propone a Kaminaljuyu como candidato probable para la ciudad oriental del Popol Vuh, por ser el puesto avanzado oriental de Teotihuacan

«Whatever language it came from, Zuyua came to mean “twisted” or “deceptive” in Yucatec Maya and referred to riddles that pretenders to lordly positions were required to answer» — Tedlock dice qué llegó a significar Zuyua en maya yucateco, torcido o engañoso, y a qué se refería: los acertijos que debían responder los pretendientes a cargos señoriales

«At Teotihuacan, the Pyramid of the Sun rises directly above a cave whose main shaft and side chambers add up to seven, while Kaminaljuyu is located on a tableland that falls away into multiple canyons» — Tedlock encuentra las Siete Cuevas y los Siete Cañones en los dos sitios: la cueva de siete cámaras bajo la Pirámide del Sol y la meseta quebrada de Kaminaljuyu

«During their stay in the eastern city, the Quiche ancestors are given patron deities. Among these the first in rank is Tohil, patron of the Cauecs and two lesser lineages, the Tams and Ilocs. Next comes Auilix, god of the Greathouses, and then Hacauitz, god of the Lord Quiches» — Tedlock reparte los tres dioses patronos por linaje: Tohil para los Cauecs con Tams e Ilocs, Auilix para los Greathouses y Hacauitz para los Lord Quiches

«Tohil, who stands on one leg, provides fire, and thirsts for blood, is very much like the one-legged patron deity of Classic Maya rulers, whose image takes the form of a scepter» — Tedlock compara a Tohil con la deidad patrona de una sola pierna de los gobernantes mayas del Clásico, cuya imagen toma forma de cetro

«Tohil introduces the element of riddling into the story. When a great hailstorm puts out the fires of all the visitors to the city, he makes himself into a fire drill on behalf of the Quiches, pivoting on one leg and using his sandal as the drill socket» — Tedlock dice que Tohil trae el acertijo al relato y describe cómo se hace taladro de fuego, girando sobre una pierna con la sandalia por asiento

«Members of other tribes, shivering with cold, beg for a little of his fire, but he refuses to let them have it unless they promise to embrace him someday, allowing themselves to be suck¬ led. Not realizing that he is speaking the twisted language of Zuyua, they agree to this» — Tedlock consigna la condición que Tohil pone por el fuego y que las otras tribus aceptan sin advertir que habla la lengua torcida de Zuyua; el troceo parte *suckled* con el guion ¬

«When the time comes for the Quiche lords to subjugate the members of these tribes, being “suckled” by Tohil will mean having their hearts cut out as a sacrifice to him» — Tedlock dice qué resultará ser el abrazo prometido: que les saquen el corazón en sacrificio a Tohil

«Only the Cakchiquels, who get their fire by sneaking past everyone else in the smoke, escape this fate» — Tedlock consigna la excepción cakchiquel, que consigue el fuego colándose entre el humo

«It is not known what language was spoken at Kaminaljuyu, but the names of all three of these gods are of Cholan origin» — Tedlock declara desconocida la lengua de Kaminaljuyu y adjudica origen cholano a los nombres de los tres dioses patronos

«The Cakchiquel version of the visit to the city weaves in threads that seem to belong to the Late Classic period, when Teotihuacan had fallen and Copan had replaced Kaminaljuyu as the greatest city of the Mayan highlands» — Tedlock data la versión cakchiquel de la visita a la ciudad en hebras del Clásico tardío, cuando Copan había reemplazado a Kaminaljuyu

«Two details point straight to Copan itself. First, we are told that the lords of the city had a bat as their insignia. Second, just as the Cakchiquel visitors to the city were passing through its gate, they heard one of the world’s most dramatic bird cries, that of the brown-backed solitaire» — Tedlock da los dos detalles cakchiquelas que apuntan a Copan: el murciélago por insignia de los señores y el canto del jilguero de dorso pardo a la entrada

«It happens that the hieroglyphic emblem of the rulers of Copan features the profiled head of a leaf-nosed bat and spells out the word xwukpi, the term for the brown-backed solitaire in the Mayan language» — Tedlock describe el emblema jeroglífico de los gobernantes de Copan, con cabeza de murciélago de nariz foliada, y dice que deletrea *xwukpi*, el nombre del jilguero

«The head of a bat: The heraldic emblem of the lords of the Classic Maya city of Copan, with the profile of a leaf-nosed bat facing left at the center. The bat’s head, itself a hieroglyph, forms the first syllable of a phrase that continues to the right of the bat’s mouth and runs clockwise around its head from there» — el pie de lámina de Tedlock describe el emblema heráldico de los señores de Copan y el orden de lectura de la frase que arranca en la cabeza del murciélago

«The first full word is xwukpi, a term for the brown-backed solitaire and the name of the ruling lineage of Copan; then comes the title of the ruler himself ch’ul pop ahaw, “Lord of the Holy Council» — el mismo pie de lámina da la primera palabra, *xwukpi*, nombre del jilguero y del linaje gobernante de Copan, y el título del gobernante

«A further clue that may point to Copan appears in the Popol Vuh, where the Quiche ancestors continue to watch for the first appearance of the morning star after they leave the city, an act that turns their gaze back toward the east» — Tedlock ofrece como pista adicional, en condicional, la vigilancia del lucero del alba que los antepasados quichés mantienen tras dejar la ciudad

«It happens that the inscriptions of Copan give more attention to Venus than those of any other major Classic Maya site» — Tedlock consigna que las inscripciones de Copan atienden a Venus más que las de ningún otro sitio maya clásico mayor

«Singing a song in which they lament the loss of a cosmopolitan life, they begin their search for a place to found their own kingdom» — Tedlock consigna el canto de duelo por la vida cosmopolita perdida con que los cuatro dejan la ciudad oriental

«During the fast Tohil, Auilix, and Hacauitz speak to them, asking to be given hiding places so that they will not be captured by enemies of the Quiches» — Tedlock dice qué piden los tres dioses durante el ayuno: escondites para no ser capturados por los enemigos de los quichés

«At first they are put beneath arbors decorated with bromeliads and hanging mosses, Tohil on a mountain and Auilix in a canyon, but Hacauitz, on his own mountain, is eventually put at the top of a great pyramid» — Tedlock describe dónde se esconde cada dios: Tohil en un monte y Auilix en un cañón bajo enramadas de bromelias y musgos colgantes, y Hacauitz al fin en lo alto de una gran pirámide

«When, at last, they all see the “sun carrier,” or the morning star, they give thanks by burn¬ ing the incense they have kept for this occasion, ever since they left the city» — Tedlock cuenta la acción de gracias al ver el portador del sol: quemar el incienso guardado desde la salida de la ciudad; el troceo parte *burning* con el guion ¬

«On just this one occasion he appears as an entire person, so hot that he dries out the face of the earth» — Tedlock consigna que solo en esa ocasión el Sol aparece como persona entera, tan caliente que reseca la faz de la tierra

«His heat turns Tohil, Auilix, and Hacauitz to stone, along with such pumas, jaguars, and snakes as there were at the time» — Tedlock dice a quiénes petrifica ese calor: a los tres dioses y a los pumas, jaguares y serpientes de entonces

«A diminutive god called White Sparkstriker escapes petrifaction by going into the shade of the trees» — Tedlock nombra al dios diminuto que escapa a la petrificación metiéndose a la sombra de los árboles

«At first the Quiches rejoice when they see the sunrise, but then they remember their “brothers,” the members of other tribes who were with them at the eastern city. They sing their lament again, wondering where their brothers might be at this very moment. In effect, the coming of the first sunrise reunites the tribes despite the fact that they remain widely separated in space» — Tedlock lee el primer amanecer como reunión de las tribus en el canto de duelo, pese a seguir separadas en el espacio

«What makes such a vision of unity possible is the possession of a common calendar» — Tedlock adjudica esa visión de unidad a la posesión de un calendario común

«Having seen the first sunrise from the mountain of Hacauitz, the Quiches eventually build a citadel there. Wherever Hacauitz may have been, it is mentioned in a Late Classic inscription at the lowland site of Seibal» — Tedlock dice que Hacauitz, dondequiera que estuviera, aparece nombrado en una inscripción del Clásico tardío en Seibal

«At first, even while the people of other tribes are becoming thickly settled and can be seen traveling the roads in great numbers, the Quiches remain rustic and rural, gathering the larvae of yellow jackets, wasps, and bees for food and staying largely out of sight» — Tedlock describe la vida rústica de los quichés tras el primer amanecer: recolectan larvas de avispas y abejas y se mantienen fuera de la vista

«When they go before the petrified forms of Tohil, Auilix, and Hacauitz, they burn bits of pitchy bark and wildflowers as substitutes for refined incense, and they offer blood drawn from their own bodies» — Tedlock enumera las ofrendas de esa etapa pobre: cortezas resinosas y flores silvestres por incienso, y sangre sacada del propio cuerpo

«The three gods are still able to speak to them, but only by appearing in spirit form» — Tedlock dice que los dioses petrificados aún pueden hablar, pero solo apareciendo en forma de espíritu

«Tohil tells them to augment their offerings with the blood of deer and birds taken in the hunt, but they grow dissatisfied with this arrangement and begin to cast eyes on the people they see walking by in the roads» — Tedlock consigna la orden de Tohil de ampliar las ofrendas con sangre de venado y aves, y el descontento que lleva a los quichés a mirar a los caminantes

«Hacauitz: A four-part glyph from Stele 8 at Seibal, carved during the ninth century. It refers to the place of origin of a lord from elsewhere than Seibal, reading ha- (upper left) -ka- (lower left) -witz- (upper right) -il (lower right); hakawitzil means “from Hacauitz» — el pie de lámina de Tedlock descompone el glifo de cuatro partes de la Estela 8 de Seibal y lee *hakawitzil* como oriundo de Hacauitz

«Finally Tohil reminds his followers that members of other tribes once promised to embrace him, allowing him to suckle» — Tedlock señala el momento en que Tohil recuerda a los suyos la promesa del abrazo

«Now the Quiches begin to seize people they find out walking alone or in pairs, taking them away to cut them open before Tohil, Auilix, and Hacauitz and then rolling their heads out onto the roads» — Tedlock describe la práctica que sigue: apresar caminantes solos o en pares, abrirlos ante los tres dioses y echar sus cabezas a los caminos

«At first the lords who rule the victimized tribes think these deaths are the work of wild animals, but then they suspect the worshippers of Tohil, Auilix, and Hacauitz and attempt to track them down» — Tedlock consigna el paso de la sospecha: primero animales salvajes, después los adoradores de Tohil, Auilix y Hacauitz

«Again and again they are foiled by rain, mist, and mud, but they do discover that the three gods, whose spirit familiars take the form of adolescent boys, have a favorite bathing place» — Tedlock dice qué descubren los señores enemigos pese a la lluvia, la niebla y el lodo: que los espíritus familiares de los tres dioses, con forma de muchachos, tienen un baño predilecto

«They send two beautiful maidens, Lust Woman and Wailing Woman, to wash clothes there, instructing them to tempt the boys and yield to any advances» — Tedlock nombra a las dos doncellas enviadas a lavar ropa allí y la instrucción que reciben

«They warn the maidens to return with proof of the success of their mission, which must take the form of presents from the boys» — Tedlock dice qué prueba se les exige del éxito: regalos de los muchachos

«Contrary to plan, the three Quiche gods fail to lust after Lust Woman and Wailing Woman, but they do agree to provide them with presents» — Tedlock consigna el fracaso de la tentación y el acuerdo de los dioses de dar regalos igualmente

«They give them three cloaks, one brocaded with the figure of a jaguar by Jaguar Quitze, another with an eagle by Jaguar Night, and the third with swarms of yellow jackets and wasps by Not Right Now» — Tedlock describe las tres capas brocadas y a quién se debe cada una: jaguar, águila y enjambres de avispas

«When the maid¬ ens return the enemy lords are so pleased with the cloaks that they cannot resist trying them on. All is well until the brocaded wasps of the third cloak turn into real ones» — Tedlock cuenta la trampa de las capas: los señores enemigos no resisten probárselas y las avispas brocadas se vuelven reales; el troceo parte *maidens* con el guion ¬

«As for the enemy lords, they resolve to make war, launching a massive attack on the Quiche citadel at Hacauitz» — Tedlock consigna la respuesta de los señores enemigos: guerra y ataque masivo a la ciudadela quiché de Hacauitz

«mountain peaks, they begin imitating the cries of the coyote, fox, puma, and jaguar» — Tedlock describe la emboscada quiché desde las cumbres, imitando los gritos del coyote, el zorro, el puma y el jaguar; la frase abre al otro lado de la lámina de la plana anterior

«The enemy warriors come at night in order to get as far as possible without resistance, but they fall into a deep sleep on the road. The Quiches not only strip them of all the metal ornaments on their weapons and clothes, but pluck out their eyebrows and beards as well» — Tedlock cuenta el primer revés de los atacantes: el sueño en el camino y el despojo de sus adornos de metal, cejas y barbas

«What the enemy lookouts see all around the citadel of Hacauitz is a wooden palisade; visible on the parapet are rows of warriors, decked out with the very metal objects that were stolen during the night» — Tedlock describe lo que ven los vigías enemigos: empalizada de madera y filas de guerreros con los mismos metales robados

«What the lookouts do not see is that these warriors are mere wooden puppets, and that behind the palisade, on each of its four sides, is a large gourd filled with yellow jackets and wasps, put there at the suggestion of Tohil» — Tedlock dice lo que los vigías no ven: que los guerreros son títeres de madera y que tras la empalizada hay calabazas con avispas, puestas por consejo de Tohil

«But Tohil has made them so confident that they treat the attack as a great spectacle, bringing their women and children up on the parapet to see it» — Tedlock consigna la confianza que Tohil da a los quichés: tratan el ataque como espectáculo y suben a mujeres y niños al parapeto

«When they release the yellow jackets and wasps their enemies drop their weapons and attempt to flee, so badly stung they hardly even notice the blows they receive from conventional Quiche weapons» — Tedlock describe el efecto de soltar las avispas: los enemigos sueltan las armas y apenas notan los golpes de las armas convencionales

«They sing the lament they last sang at the first sunrise, and then they explain to their wives and succes¬ sors that “the time of our Lord Deer» — Tedlock consigna el anuncio de la muerte de los cuatro fundadores por la vuelta del tiempo del Señor Venado; el troceo parte *successors* con el guion ¬

«This is a reference to the transition from one solar year to another, in particular from a year ruled by Lord Wind, beginning on a day named Wind, to a year whose first day will be Deer. Lord Wind rules from a western mountain, while Lord Deer rules from an eastern one» — Tedlock explica el anuncio como paso de un año solar regido por el Señor Viento, desde un monte occidental, a otro regido por el Señor Venado, desde uno oriental

«The Quiche forefathers choose the passage to the easterly year to announce that they intend to return to the east» — Tedlock lee la elección de la fecha como anuncio del propósito de volver al oriente

«Jaguar Quitze leaves behind a sacred object called the “Bundle of Flames,” a sort of cloth-wrapped ark with mysteri¬ ous contents, as a “sign of his being» — Tedlock describe el objeto sagrado que deja Jaguar Quitze, el Bundle of Flames, arca envuelta en tela de contenido misterioso, como señal de su ser; el troceo parte *mysterious* con el guion ¬

«Neither he nor the others are ever seen again, but their descendants bum incense before the Bundle of Flames in remembrance of them, just as Xmucane burned incense before the ears of corn in remembrance of Hunahpu and Xbalanque» — Tedlock empareja el incienso quemado ante el Bundle of Flames con el que Xmucane quemó ante las mazorcas; el escaneo imprime *bum* por *burn*

«Here the authors of the Popol Vuh have foreshortened time; an alternative Quiche account puts these same individuals not in the second but in the fourth generation» — Tedlock señala la compresión de tiempo del libro: otro relato quiché pone a los mismos peregrinos en la cuarta generación y no en la segunda

«In any case they go all the way down to the lowlands, and at some point they cross a “sea,” or what is described in other accounts as both a lake and a sea, on a stone causeway» — Tedlock consigna la travesía de la peregrinación sobre una calzada de piedra, sobre lo que otros relatos llaman a la vez lago y mar

«This would be one of the ancient stone causeways of Yucatan, perhaps the one that ran northward across a lake on its way to Coba» — Tedlock propone en condicional que la calzada sea una de las antiguas de Yucatán, quizá la que cruzaba un lago rumbo a Coba

«No name is given for their destination, but when they get there they come before the ruler of a large kingdom. He gives them the royal titles Keeper of the Mat and Keeper of the Reception House Mat, the one belonging to a head of state and the other to an overseer of tribute collection» — Tedlock dice que el libro no nombra el destino y glosa los dos títulos reales otorgados: jefe de Estado y supervisor del tributo

«The titles bestowed on the pilgrims are venerable Mayan ones, yet the rule r who bestows them is called by the Nahua name Nacxit» — Tedlock contrasta los títulos mayas venerables con el nombre náhuatl del señor que los concede, Nacxit; el escaneo parte *ruler* en *rule r*

«In Yucatec accounts this is one of the names of the god-king Plumed Serpent, who established himself at Chichen Itza at some time during the transition from the Classic to the Postclassic period, but it was used by later rulers as well» — Tedlock consigna que en los relatos yucatecos Nacxit es uno de los nombres del rey-dios Serpiente Emplumada, establecido en Chichen Itza, y que gobernantes posteriores lo usaron

«The Nacxit of the Popol Vuh does not give his Quiche visitors patron deities, as did the rulers of the eastern city visited by their fore¬ fathers, but rather gives them canopies, thrones, musical instruments, cosmetics, and ornaments that serve as emblems of lordship» — Tedlock distingue lo que da Nacxit de lo que dieron los señores de la ciudad oriental: no dioses patronos sino doseles, tronos, instrumentos, cosméticos y adornos de señorío; el troceo parte *forefathers* con el guion ¬

«Where the names of the patron deities were Cholan, the foreign words in the list of emblems are either Yucatec, as in the case of a gourd container of tobacco called k’us b’us, or Nahua, as in the case of a food bowl called kaxkon (from caxcomulli» — Tedlock clasifica por lengua las palabras extranjeras de la lista de emblemas: yucateca la del recipiente de tabaco, náhuatl la del cuenco de comida

«Somewhere along the way, when the pilgrims are “beside the sea,” they also acquire “the writing of Tulan, the writing of Zuyua» — Tedlock consigna que en algún punto del camino los peregrinos adquieren la escritura de Tulan, la escritura de Zuyua

«This would be the hieroglyphic Popol Vuh, or at least the part of it known as “The Light That Came from Beside the Sea.” It seems likely that the coast in question was the eastern one of Yucatan, which was not only a source of books but famous for its places of pilgrimage as well» — Tedlock identifica en condicional esa escritura con el Popol Vuh jeroglífico o con la parte llamada La Luz que Vino de Junto al Mar, y sitúa la costa en el oriente de Yucatán

«Both of these titles go to the Cauecs, but other sources add that the Greathouse and Lord Quiche lineages also receive titles at this time» — Tedlock adjudica a otras fuentes que los Greathouses y los Lord Quiches también reciben títulos en esa ocasión; la lista de cargos sigue en la plana siguiente

«Only now do the Quiche lords begin to have what the Popol Vuh calls “fiery splendor» — Tedlock fecha en el regreso de la peregrinación el comienzo de lo que el libro llama esplendor de fuego

«It seems likely that their pilgrimage was conceived as a reenactment of the adventures of Hunahpu and Xbalanque in Xibalba, who had only the planet Venus to their credit when they first descended in the east at the Great Hollow, but who eventually returned with the greater splendor of the sun and full moon» — Tedlock propone en condicional que la peregrinación se concibiera como reactuación del descenso de Hunahpu y Xbalanque a Xibalba

«At Bearded Place there is great harmony among the Cauecs, Greathouses, and Lord Quiches; these three lineages, each with its own palace, are tied together through intermarriage» — Tedlock describe la armonía de los tres linajes en Bearded Place, cada uno con su palacio y unidos por matrimonio

«At Thorny Place women were married off in exchange for modest favors and gifts, but now, at Bearded Place, wedding arrangements are accompanied by elaborate feasting and drinking» — Tedlock contrasta los arreglos matrimoniales de Thorny Place y de Bearded Place, de favores modestos a banquete y bebida elaborados

«The only disturbance during this period comes from the Ilocs, who first try to get Iztayul involved in a plot to assassinate Noble Sweatbath and then go so far as to mount a direct attack on Bearded Place» — Tedlock consigna el único disturbio del periodo: el complot iloc para asesinar a Noble Sweatbath y el ataque directo

«The Cauec, Greathouse, and Lord Quiche lineages now gain greater and greater power, defeating some tribes in direct attacks and terrorizing still others by having them witness the sacrifice of prisoners of war» — Tedlock describe los dos medios del creciente poder de los tres linajes: el ataque directo y el terror de hacer presenciar el sacrificio de prisioneros