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    Burkhart - Flowery Heaven in Devotional Literature

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    Lucy Velasco Oropeza

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    9""RES 21 SPRING 1992 Flowery heaven The aesthetic of paradise in Nahuatl devotional literature LOUISE M. RURKHART ‘The Christianization ofthe Nahua for Aztec) poops ‘of cenval Mexico inthe siteerth century was 2 proces of compromise and accommodation, oversen by Tar of the mendicant orders ard the literate Nahuas who served a thee translator ad inert. Friars leared to preach in Nahual, depending on these brand tlingual (with Spanish end Latin) asians to ‘certain fr them the best ways to relate Christan Concepts to Naha understandings, This tansformation tf atemedieval Chistian into an indigenous ‘American mes i inscribed in large corpus of surviving catechsic and devotional iterate in Nahuat The Nahuas encharged with vanslating Chisaity had net only ta find or invent Nahuatl equivalents for alien ter, but also to pesuade, to presen these translated ideas in such a way that they would be iresisible as well as comprehensible. To achiev his, they relied onthe aehetc and emetionl responses tached lo certain rhetorical modes, manipulating sets ‘of metaphors that evoked the desired states of revision ‘or atvaction. Elsewhere | have analyzed how the se of NNahua moral metaphors to express such Christian oncepts a5 sin and evil had the eect of 'Nahuatizing” the alien concepts and facilitating cultural continuity (Burkhart 1986a, 1969). In this paper [will examine another rhetorical mode by which Christianity was rendered meaning the applicaton of flower and bird terms to the Chvstan sacred ‘Chisianty porvayed heaven, 2s well a humarity’s primordial ongi-pace, asa paadisiacal garden, with the tenesral Eden of Genesis serving 383 ‘efiguration, or type of the eternal, heavenly panelse [An easy comespondence developed between these places and various indigenous atrworids and places of ‘tigi that were also described as hh wopical paadises.' This was exactly the sot of carespondence 1 Thee ind th hae the un, pa iran, he ome othe al nt dry, ad be mylene ha ed wo socal ane where hey nt om Tubing ie Coverensncs beter nye nd thatthe friars loved 1 exploit seeing in the indigenous beliefs a seed of Chistian th that they could nurture into conformity with their own precepts. They failed 0 realize tht this garden imagery, ths aesthetic of parade, was not simpy a made of describing a place there ane would want one’s soul to spend emi. {The sacred garden was also a transermational aspect of the here and now, a sacred aspect of reality that one Called ino being by manipulating this garden imagery instal contexts, particularly though song. In this symbolic garden, one came into direct contact withthe creative fe giving forces of the universe and ‘withthe timeless wold of dees and ancestors. The farce is a shimmering place fled with avin fie the Tight ofthe sun reflects fom the petals of lwers and the descent fathers of ds: human beings—the ‘ouls ofthe dead or the ually wansformed lving—are themselves flower, bids, and shimmering gems. One's Individual identty daslves 2s one becomes pat of he sered econystem, This garden is nota place of reward forthe righteous, existing on some ranscendent plane of realty septate fom the material word. tis 2 ‘metaphor fr life on earth, a metaphor that tual transforms int reality by aseting that, in fat, his the way the world is Hil (1987) has raced this “Towery word” complex Ltwoughout the Uo-Aztecan language family to which [Nahuat belongs: culture after culture, to sing of flowers calls into being this sacred, iridescent, paradsacal pace infused with creative, animating Bower The terminology of blostoming and amg 5 Closely related to coneeps ofthe sul ad the heart, nd of coming to Iie. Hil ers this complex of Symbols “cult of billance,” for nt only owes but ko coll birds, stones, and shells may serve to invoke “The close link in Nahual poetics besween lower “iran aera wae cy ate y Nah ad misionas ‘S'S ened toy ee for = Bison of i dn yn 167-87 Ue Kin 0 REE21 SPRING 1992 and song, xochit and cual, i an expression of his Underlying “flewery world” complex; the couplet, in Hills word, svokes the word-eeatng immanence of cach element” (Hill 1987"5). The flowery werld is 2 place filed wih song; song calls this world into being. [AS Kab (1988) noes, forthe Nahuas, lowers are the lulimate aesthetic achievement of the plant world, hile songs are that ofthe human domain, which exss Ina metaphorcal relationship tothe plant world, Thus flowers and songs are equivalent; together they embody the Nahuas’ aesthetic ofthe sacted, the symbolic transformation of the human word into 2 garden ful of flowers and sigig birds ® “The briliance ofthe flowery word lent it anther superticial resemblance to Chistian conception of the Sacred. In Chetan symbolism, light was an aspect of the sacred, both inthe meraphoical sense of sprtual “enlightnmmen” and ina physical sense: the resurtected bodies of the saved would give of ight, 08 ‘does Chris's during his ranstiguration In Nahas Chistian thought, Cit became linked with the sun (Burkhart 1980), The sn was the source ofthe warmth and ight that animated the sacred garden; it eal became a metiphor, or even an equivalent, for he lie- ving deity. Cait as the “light ofthe word” varsated Ime the briliance ofthe sacred garden. Sia, the radiance of he saved, which was a reward for Individual mon mer, warsated into the radiance of the transformed, which was an inalienable feature of the etnerworid and ore no relationship To india idenity or most. The glorified bodies ofthe CCisian saved would wanscend created nature, which ‘was rite and transitory; the transformed Naha self ‘solves into a oneness with nature, which seeral, sclereating,evertransorming, and everrenewing.* 2, Beth 09850 sme tet ops ee, owes Senge y tan foo ae how ane ay in Bien esting me meal mel re, Powe ‘andere doe us well rng wham be neon ‘otal ar ne puro anh Th ao ee ‘Sot hsterde moc ths ean age a fw ol deed ss tran oe, ster tone aon ih Se Sr pat ttm kta gnneal comma is ‘ed corespending Rhu bell By applying the flowery world aesietc to Cristian referents, converted Nahas were able to relate CCristanity othe things they held most sacred, thereby turning the paradise of Chesiany into further ‘manifesations of thee own sacred garden, The traditional practice of enlowering sacred space continved Under Christianity: msionary evonicers Such as Motolinia (1970), Mendieta (1980), and Durén (1967) refer often tothe use of flowers in feng, pageants, and church decoration. Translated ita ore permanent mei, flowers painted and sculpted by Indigenous aisane adorn many sxeenh-cenury churches, Ad inthe Christan hye and prayers that took the place of radtional genres of ritual speech, NNahua authors and inerpretes planted seeds rom their ‘own sacred landscape “The ars’ acceptance of this garden symbolism stemmed not ony fom the existence of Chrsian parallels, but aso fom thee perception ofthe New ‘World and thee mission there. Peterson, analyzing ‘mural paatngs of gardens in the Augustinan ‘monastery at Malinaleo, relates ths imagery tothe ‘mendicants' dese to create a utopc,paradisiacal Christian state, a New jerusalem, among their indigenous charges. The mssion Church was seen 35 a kindof garden, a vineyard ofthe Lord. The Malinaico ‘murals represen! an idealization of the Indo-chisian ‘community and the Augustinian mission (Peterson 1985) (ig. 1. Parade self was thought by many Europeans to lien the Western Hemisphere: this could only enhance the fis’ Edenic view of her mission land reinforce the Nahuas sense of thee primordial figs ‘Nahuatl devotional erature isan ambivalent gee in which “naive” and “European” voices often cannot be easly distinguished. Certain texts, however, reveal 3 high degree of indigenous canto over the selection and presentation of Cvistian mate. Exquisite poery and oratory, conforming to Nahua literary canons and deplaying 9 sl with Nahuatl beyond that of ary ar, indicate native authorship. Some texts bear eros that ‘a priest would make, of adapt Latin spellings Nahuatl phonetics to sch a degree that priestly participation can only be inet. Ii in these toxs {hat the flowery werld tends to be most visible. When NNahua authors were free to select and manipulate Cristian symbalism a they desied, they chose 10 temphasize the evacatve aim ofthe paden, furthat: Flowery heaven 9 The garden songs ofthe Psalmodia Christiana Fray Bernardino de Sahagi, the Franciscan shnographer and educator best known for his welve- took tease on Naha culture (ahagin 1950-1982), ‘produced the oly Nahuatl songbook published in the Sixteenth century. Tiled Pslmodia chisiana y {smanario de los anetos del ao its tbe only Sahaguntine text published during the friars ifetime ‘Sahagun 1503) eis noteworthy also because it as rected explicily toward Indian rather than presty tse, and bacauee is ftyfour woodcuts tender he ‘mot lavishly ustated Nahuatl book printed in New Spain “The Psalm sa collection of songs or chants composed fo fifty-four Church festivals. although not published unt 1583, the songs were ist writen between 1558 and 1560, while Sahagin was stationed 2 Tepeapuleo, Four Nahua scholars, who had been Suen of Sahagi a the Francican college in| Tatloieo, collaborated with him on the projec, and can be considered the authors ofthe actual Nahuatl text. These were very likely the same four whom he cknowiedges 9 having assisted him throughout his tetnogaphic projec: Martin acobita of Tlatelolco, ‘Antonio Valerano ftom Azcapetzale, and Alonso Vegerano and Pecto de San Buenaventura, both rom CCaauhstian (Sahagdn 1583" prologue, Sahagan 1950— 1982: intoductery volume, 54-55; Nicolau D'Oiwer 1987: 35, 84), Most ofthe Pealmodia’s content derives from Lala sources avilable toi composors: the Bibl, the missal 4nd brevar, and one or more books of sins! lives. This material i carefully selected, reorganized, and translated into Nahuatl o create a highly unorthodox text adapted to Naha use. Even less ortrodox are a umber of passages that invoke the flowery word, falling into being through the incantatry power of Song. These pasages range from a single phrase to thee pages tify-cght ines of text. They occur in contexts relating to God's presence on ear as Crist forthe Holy Spr), and in Franciscan festivals. Because the flowery world represented the ansformation of present realty into a sacred space ad time, was fogical thatthe coming of the deity should evoke such Franciscan saints merited special attention not only because of Sahagin’s devotion to his order. Franciscan ‘ature mysticism saw the workings of God's mind reflected inthe beauties ofthe natural worl the Contemplation of nature was the tating pot fr the mystic’ ascent toward union with God (Avmstrong 1973; Bonaventure 1549) The Psalmedla's authors sed this tradition as a basis for pacing thelr most. honored Franciscans—Saints Berardie, Car, and Francs himeell—into the flowery wod. But here the fatden isnot a starting pont on 2 route toward a transcendent sacred to be found in the depths of one's Soul The garden Iisel isthe consummate manifestation ‘of holiness; to incorporate these imported Sains io it Is the highest atestation of thei worth an relevance that a Nabua senility can grant hem "The species name! in these passages are selected ‘rom the native fora and fauna, with he single ‘exception ofthe roe, but even tis given a Nahuatt name, Casilan cempohuaeochi, Castiian ‘margod.*t Although the grape became important only wth the inttdvtion of Old World domesteated Species, id grapes existed in Mexico, and ii under the native name, xocomecat thatthe plant appears in the Psalmadta> “The flowers named in the songs include rial and medicinally important species, sich a the yolloeochi, “heart flower" (Talauma mexicana} eacaloxocht “neste i rane we bron, Mol 170: 105 loses rascal tbiopr, “ana ei yo a hint ta ape grr mon red cl and Fron somehogto ol re entered ‘Sree thar ar 1989" 208 No st ato {Souci snp nc loner or Caio ch, "Eile Nowe sam a have Slopes, howe At ‘Schalpabmpenan, owen ore gear dng ‘ipl sgn tr “Snes spo the poe carat ch Rs "yod ficou Caton fave len ecard: 39M, Theo el naw pcre sive cr aac nbn doesent {558113 emma G94 26 ard Cdyn Sagan 162, 272 vious males eran he Ce aire ‘ra mar 130, Hoan 199719851, lard "one Cer aps 1950-1982 20) ss he (fos Ista teaigse ec, expan tars or ‘simone fs de Manian 97520 92 RES SPRING 1992 figure 2. The cacahusrochi “cacao flame” at depicted by ‘haan ans (vom Sahai 1979, 188, “row flower” (Plumeria? huacalsochi, “basket ower” ihilodendron!*rzquixochit, “popcorn fhwer” (ourreia* ard eacahvaxochil “cacao flower (Werarzafurebris.' These are well known fom the 2. Th oweing we nude Puri aL co nb and heats for le sel Aden Sata {3seiSea 00 lowing amar 95.10, ee 1960 Bit een 94 Cary a ine poo ‘Shag 9:25), ema (95000: 2 eee ‘Seq we arog indian ome fol oa carn hg, 3, Sart {Ts Seat Soars oor 8 huni and el aby Ciera em a ha rnd epictions and descriptions of rivals in such ‘ethnographic sources as Dur (1967) and Sahagie (1950=1982}. In preconquest times, these lowers were important component ofthe ruler’ pleaire gardens a8 ‘wel as of ritl accoutrements; Duri's ist of flowers planted in Motecunzoma lhuicamina's gardens Husstepec includes al ofthe above species (Durin 1967: , 247-248; Heyden 1983: 16-20, 48). Figure 2 epics the cacahuatochit, cacao flower"; men eolect its blossoms while a hummingbied and a butery dps recta. The bird species named in the songs are notable ether for colorful and descent plumage, such a the hummingbirds shown in figure 3, or forthe singing, “There is Some overlap with the species selected by the ats at Malinao for their garden murals 25 identified by Peterson (1985). The yoloxochil, and hhvacalochi os, buttery, part, huringbid, and chachalaca appeat in both. But the Maaco pains {rew on a much broader specirm of ther environment, including food plans, cach, various ‘mammals, and birds of prey. The Psalmodia authors Selected only those bird and flower species that suggest hot-county pleasure garden filled with music and ‘olen The selection coincides much more closely with the species invoked in the Cantaes mexicano, mide Iate-sceenth century Nahuatl songe composed in the full “lower and song” vadition of Nahuatl poets (Bieshorst 19853). About two-thirds of the plant and bird species in the Peslmodia garden songs are mentioned also in the Cantaes." However, the Pralmacia passages tend to Ist spaces names ane ser another in a sort of Incantatory retatve although the Contre texts often mention wo or thee species, ch ‘ong lists are ot typical tis posible tat the Pralmadia’s authors were drawing on 2 catalog of appropriate species, perhaps sections ofthe dai for Sahagtn’s volume on natural history, Book Twelve of his encyclopedia. Nearly all ofthe species named in the garden songs would appear inthe final redaction of this book “To Sahagtn, the Psalmodia’s garden songs probsbly suggested noting more than a view of Chistian paralte appropriate to Nahua parishioners, filed with ecjlopei son, tnt wren it SPA, ae ‘sr pe ae luda wy where Pino wae moe 8” 15 sn evo ableton (109, gue 3, Humming om Sshagn 1975: I, 26 the besutifl fra and fauna of their own continent His assistant, however, were surely aware that their ‘Nahuatl words invoked the transformational flowery ‘word ina fully conceived and very tadtional sense Te first occurrences of garden references within the Psalmodta estival songs ae briel and tentative. The text forthe fist festival, the Circumcision (January 1), borrows pat of ts eaten from a Latin missl reading ‘on Christ's name. This source desrlbes Chest a5 pls, pulcher,fridus. The authors expand ths last erm, ower,” ino the pase ihuiese such ‘euepontica," “in heaven flowers stand blossoming” 1D The eng i orth any 2 et, De amine vague pradue he ntaapy he song gud ee aod sas ary mae {Tsauae peling a Nhu at woe marking tl aps ‘now nh ees Co avs be ny vwrtar:Fomery heaven 93 \Sshagdn 1583: 18, Since Nahuatl doesnot mark umber i inanimate, sucht och) may be read as ther singular or plural singular, it could eer to Crist himself, blossoming in heaven. As sated, the line i ambiguous and reads most easly a «description ‘of heaven as owery place. ‘The next festival included is Epiphany. The line Reges arabur dona adducen (Psalm 71:10), rom the ‘ofletory fr this fev, translate into Nahuatl 38 “the great king, the Arabian kings, wil ring oferngs, thing to be offered.” These oferings ate deseribed as 2 bursting forth of flowers, an appropiate sting forthe infant Chit Sahagin 1583: 18 1a ue cenques, ma nechicai i squich qual et Imauzv, lage tui nepapan cose In wtapatoatin eis lost nelesucbl in "euch ncacossuchit maleic elon) In topo use seh, ma mano ma fe ‘ay they come out ogee, may hey aeemble, al he tro the ne, the wardrobe precious ings, ha i Sere way fe varius precios flower, te peeing, 9 RES2) SPRING 1982 what ina sacred way ar beat owes gremcam Mowe, popecr Howes, eeao Howes! ay they al ome quaking the sweet iat flowers! May they come tobe fered has may there come be greetings! ‘The term yori, “in a sacred way,” was a formula sed in Christan tos to indeate that & metaphor was being dawn between an earthly anda heavenly referent Intended 19 uphold te dinction between ‘hose two realms in accordance with Chetan'y’s transcendental dualism, it probably served rather to nite the, simpy casting an aura of holiness around "ts reerans. Applied to lowers, it here enforces the [Nahuat’ sone o the flowery world as an alternate, sacred redity where things at, indeed, transformed ‘mo fw, Tes forthe festival of Saint Gabriel March 24 that the Psalmodia's authors fst equate angels with bids Beth Nahua thought and Chistian and pre-Christian thought in the Old World used bird symbolism forthe soul. In Christan legend, angels as well were Sometimes associated with birds (Armstrong 1973: 65— 66). Thus there were precedents forthe Nahua- Chistian imovaton of idenyng angels with the most treasured bids ofthe American topics, an identiieaton that appears ia other texts 3: well asthe Palmodla ts aptess i obvious: anges are winged ‘move between the heavens and the earth and are responsible forthe beautiful music be heard in heaven. The Nahua worldview lacked any intermediate Category between humans and det ether than the Souls 0! the dead. The glosious dead were thought to lake the fem of colorful birds and buts delighting inthe paradise ofthe sun, flying back and fort @ earth to suck the nectar of lowers (Lpez Austin 1983: | 336; Sahagcn 1950-1982: I, 4). The firs inwaduce the word “angel” ito Nahuatl o eer to beings tha, in ther view, had no indigenous parallel; however, he Nahas Seem to have fied the new ‘creatures, also often called the "nobles" (pp of heaven, ito the slot once occupied by these avanized tecane mot dont ave om ae gi and Nal Thence tng by Sana 1959: 15, loomed y Oiled denon aan 180-198 200) 2nd Caray in Sgn 190: 1,399 Maa cette ep n Cra Pasta fea 1940 63) ‘irate on Hon yp fs eo me In the Pslmodia, the archangel Gabriel becomes & resplendent quetzl bird in oder to announce to May the incamation of Christ Sahagin 1583: 49¥h Ihulcae quezaied oaimoila in iictinco Dios inant quite: Ave Mia ai pers inc valpepetacaa n base gui fons culmea In atlpa, amo can ith nc paaoac qual in el fague in vel patos, eS valpepe aati, apepeccta From heaven a quetzal was sen God's mathe. cameo sy 0 heal Mary, lo race” The way eae cme shimmering vas ke he sun, ‘he way ame sing wns, etal feathers arena a wide! They were ute pointe te green I came sermering ren, ‘me tly lineering “This event was typically depicted, as inthe woodeut in the Psatmodia ig. 4, with both the winged angel and 23 dove, representing the Holy Sprit by which Christ was conceived: thus bird associations were paticuary Strong, The lily, also a standard component ofthe Scene, adds flowers to birds to comprise a concise ‘evocation ofthe flowery word By Esse, the authors have found their vole as conjures of the sacred garden. The Resurrection tums the world, represented here in the microcosm ofthe churchyard, nto 3 blossoming, music filed garden (Sahagdn 1583: 59-60% Yn telsuchit in tllosucht In cacaoaschi a laapatecomasuchesubiates malate, realoaia,oacieo fet mutzmoini ‘in upuced, in aveuel in tea in lame 0 slauhgvau tics nc suas, ved, eins, In ela a muuch ia maaan rele a thsi In tive in ltt, a teteonatl, n wiz, im eampa oamouiac, camps oanclacea {uh in tquich in tnepapangscho in dneppagaqus, oimeucaca, ma elqunos, ma papatanioa, ma ecngtn Hlapon achi nara mo ‘hacalacon, ma tacocolnin n amecct You gen-co flower, you hear flower, you cacao Nowe, you fed fr ower” pt och asd sing fond send mea ile copa de ro nS The sealed by Meine 1958<1951 t-te an Soap 950-1982 Ire 306, Den Anarene sel ple “Sars, oo Vella oes Here 1959-1985 otha: Flowery heaven 95 Fipwe 4, Woodcut ofthe Annoncition, in Shag Pineda Christan (1563), 58 Pte: Counesy of the eh Carer own bray, Bown Univers fon boughs! You have com tative in your lace of Sprouting "You eis, you bald cypress, you cypress, you, pine: wy do you stil stand say sth r,s the ‘moment you to renew you ower, you leaves, fr ‘You send loth tugs, for ost bloom! "You oo" you ble grote, you mocking you harwminghi where had su poe? Where had you {rtrd And al you various pean you varus 19 Lal, tamer te Soin 195019025; 1a ely gens i an gn 90-868 28 Tt tly pose bund word agg “2S Satay 050-604 24 35 tg ed cain gc te te ons 1985 15) pose rer pec a Sed ns aon evan fom te “cha oly ‘ther wich would pet lrg ode Maa 970: 68) ruil coma! Let thee being et thre be {inoling let hee be unt! May you speech ‘ound May thre be chtrng. may your ong eonste ie bel A later passage identifies the Nowers, trees, and birds as representing “ina sacred way," wore, men, and Snel, respectively The tees and lowers sttound the Churchyard swaying an blosioming, the brs circle Sbove them. The frendship between people and Angels, between earth and heaven, reinttuted by ‘Cheats coming, conceptualized os this amonious Coexistence within the sere garden “The song for Pentecom announces the coming ofthe Holy Spirit wih a cll to dancing and the music of crams, flutes, and bells Sahagin 1583: 92v-930). This is accompanied by another bursting forh of flowers, het teoizquioch, “sacred popcom flowers” (a variety oftaquixochith; eaaloxochi, “crow flowers" nd tapalomixach, “red bone flowers." The text then mentions the tongues of flame fom heaven that came to stand upon the Apostles, The cacalorocht and the dapalomixochtl ae red in color; tei selection ‘may have been suggested by the tongues of ame. The Iaquizochil has white blossoms (although these are red {and white in one varity, the dpalizgunochit, “ed popcorn flower”), but the plant was associated with flamer ts seeds explode ine, Ike popcara (Hemdnder 195971985: I, 424) Bursting nto bloom land ito fame are equivalent i he cul of beliance. The Holy Spi’ arrival catalyzes a flowery-world transformation, causing the Apostis to “lower” and bringing forth an abundance of flowers to adorn the Nabua celebrant, Sunt jn the Baptist was sometimes refered 10 as the morning stat that announces the coming of the Sun- ‘Chit see Burkhart 1963), John was thus linked to ‘Christ in the latter's ole as the lowery wore’ energy source. The Primo calls for owes o celebrate oar gah nt ey pn “Kamen 093:200 SSMS dps tte once ge Sone nae he ga ae SSrine sadhquncha mx Sets 1950-1082" 20 Hanes 1 02 25; ee 9998 say agin 196: 13 et ome “trp et hes nino rf ms et ‘vom tor Ss mr 6 RES 21 SPRING 1992 this sain (Sahagin 1583: 107: ‘Ma guinmauigoa in suche ma igus in suchinaoat, mp evecoopuntimannaustinan in cacalonachusl mguchiquul ‘elsschiquaul, sucha. txnstiman I quincenmijacsioue Popheasme, Ualzcapan peoal,ma rteilo, ma guiness in aus, i ‘ets neheca neu auaait, uae quae: in quae mola in etiam Santo. "a ie cuele ceicae, ex ago in vel cia a cule ma peas, ma ntl, ca aqua vce ve fia nat an Ma tccazeatc, ma tasuchicrcaea wenoane, ‘tectmamaryi in onus: a eo na ih ‘Zacharias, sat oa, Let us mal at the owery mountains, et ws bold the Alwery pis! They le bang in loom, hye ina of raance “The ean flower wes the popcorn Flower es, the hea ower wee spend abou Hower, spread bout Bing of warmth, sped about sing of Fragrance, today fon he fetal Ne surpass the Prophets AL dawn its begun. Let there be dancing! Ut ur snithe wid that comes ving ‘fragrance, that cone ving of cet, ‘nat na saced way Farance came to emerge when te sae messenger, Sit eh, was bom ‘Goshen how ft For Ves has come to ‘megs! Go ahead! May it be bapun Let there be dancing! Farhe who in asated way Venus fst come 6 emer, Sint Jot et bjewel ourselves, et us jewel oes with Atowers, oh or fen The ane who pave vou owe, Wor steel of Zachara, art ob That this blossoming is accompanied by wind tehecal) may be no accident the authors were surely avare that Ehecal thet ancestors wind deity, was an aspect of Quetzalcoat, wi was also the moring san ‘The Psalmodla's longest garden song is found atthe end af the book, inthe tex for Christmas, The author ve ther source, quoting two Latin antphons in the ‘margins ofthe book. But her they diverge fom their Source toa greater degre than anywhere else the book where Latin sources are given. The fist antiphon reads: “Thre was with the angela multitude ofthe heavenly host rasing God and saying, “Glory to God inthe highest and on earth peace to men of good wil allelua."" The Psalmodia adapt this 35 follows, (Sahagtn 1503: 235-7 Inula tagonepapanczua, antzean teuquecho, \acecolocshoanuitz ang leeoan in angelome, Vngutzalchlchohisptsicaoscsisqe. ndagtuesouniaqe in nepaan led, Hated, i psc Angelo fella ‘Suehiaquemed,chachlcabed,suctenacl, Sloaalquctal let eine coneoaa In Anglo ima vecenelo nt! Dick ee, ale ine muh, i ule nepapantactitaho, nluctztpaiosgue, coneiatgue: ma lamas rie nia alco, alu ‘Quetatagocomlintste in invite, ulasistiaue ivcaeeucaca, qucltetzque: ma tamstcateat nec em ac, ‘Omuchish in wpa Behe in quae omodaalizino teigetemaquiat lsu Oi, allel, ale, From heaven came varlous precios voupi, ogo” sacred poor eoraing ie precious al tems tha they were angele "They en chirping ie fates of uctza pee jade Thay went resonating ike recius bel, the vars Bids, Iheprecious bid, te bi of pig tbe angel lela "he lower woupa, the charhalaa, "the meld toucane" the euoiebrowed rairat." Fomine wat ther song that he ange’ were inoring: May the doy Cea in heaven be pred! lel ‘Al here ofthe varius precious litle bids of heaven came fying ike gut eter, war yg in one ‘Ny tee be peace hee on eat Ale “That songs came ring ka precious qezal fester bells They came recing with heavenly songs. They ame syng May peace be wih poop! Aelia” happened tere in Seblebem, when our precious savor es Csr was bom Alle! lela! ‘Te second antihon reads: “While all things were in ‘quiet silence, and the night was in the mist of her course, Your Almighty Word, © Lor, leapt down from heaven's royal thane, alu." In the Balmodia, this Fe Fan eam Aree mul cals ec Inate ‘eames Cla ieee, pox hat one vino tiki ows fh Dine Oe 196) 172, 1 Se Soin 1950-1982 X20 236. Shaan (1950-1902 2 eager chs sean short nme tsi, ewe ‘Serf eh tan cn Seale Besos eng 985: 41 ao oso 2 secu oan 20 2, Dum med svedam trent omni ox su cas ‘hr wn snes wrt oo Ove Oe 50 aD Burka: Flowery ever 97 becomes (Sahaggn 1583: 2359-2360: ‘Grau ie nepapan sucht, aimarecaoe in {iapalomehit onesecepunie, teocutlquetaleonpiahtoe, a sexuhtiman, taezlitmn’ evcuasih lua, alli In escaouueht ningun palaces nguetaaeachuatuhee. vtevcullapeeicitoe “rcfalebunonatman ned cenguoenepapa date Iva Batem, alli. Avasteac i ollsuch (quezalcoobcht Vapahecorasrhd Uatealostce oticulonotiran ala, eu In casi soch,caalonuchi tiaizcleot: ale lei. in chathishsuchi Uatcatinan,dapslomuchid

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