The smoking-canes were now once more produced, and while the guests reclined luxuriously upon their mats enjoying the grateful influence of the fragrant leaf which we are told by Bernal Diaz they called 'tobacco,' and sipping their drinks, the music suddenly struck up, and the young folks, or perhaps some professionals, executed a dance, singing at the same time an ode prepared for the occasion, as well as other songs. Dwarfs, deformed beings, and curious objects were also introduced to vary the entertainment; but the professional jesters were the favorites, and the jokes made by them raised many a laugh, though this was rather forced perhaps by those at whose expense said jokes were cracked, for these fools were fully as privileged as their contemporary European brothers of motley, and sometimes spoke very biting truths in the shape of a jest; in some cases they were disguised in the costume of a foreign nation, whose dialect and peculiarities they imitated; at other times they would mimic old women, well-known eccentric individuals, and so forth.
The nobles kept a number of these jesters for their own amusement, and often sent them to a neighboring brother-noble to propound riddles; taking care to provide them with means to pay forfeit should the riddle be solved.[239]
These private banquets generally lasted till midnight, when the party broke up. Each guest received at parting presents of dresses, gourds, cacao-beans, flowers, or articles of food. Should any accident or shortcoming have marred the pleasure of the party, the host would sooner repeat the entertainment than have any slur rest upon his great social venture. In any case it was doubtless difficult for the good man to escape censure either for extravagance or stinginess.
At the royal feasts given when the great vassals came to the capital to render homage to their sovereign, the people flocked in from the provinces in great numbers to see the sights, which consisted of theatrical representations, gladiatorial combats, fights between wild beasts, athletic sports, musical performances, and poetical recitations in honor of kings, gods, and heroes. The nobles, in addition to this, partook daily of banquets at the palace, and were presented by the monarch with costly gifts.[240]
TOBACCO IN THE NEW WORLD.
To the tobacco-loving reader it will be interesting to learn how the weed was smoked in the New World before it was introduced into the Old by the immortal Jean Nicot, whose name be forever blessed. The habit of smoking did not possess among the Nahuas the peculiar character attached to it by the North American natives, as an indispensable accessory to treaties, the cementing of friendship, and so forth, but was indulged in chiefly by the sick, as a pastime and for its stimulating effect. The origin of the custom among the Nahuas may be traced to the use of reed-grass, filled with aromatic herbs, which was lighted and given to guests that they might diffuse the perfume about them; gradually they came to puff the reeds and swallow the smoke, pretending to find therein a remedy against headache, fatigue, phlegm, sleeplessness, etc. Three kinds of tobacco were used, the yetl, signifying tobacco in general, obtained from a large leaved plant, the picyetl, from a small but stronger species, and quauyetl, a less esteemed kind known later on as wild tobacco. Clavigero asserts that the picyetl and quauyetl were the only species known among the Mexicans. It was generally smoked after dinner in the form of paper, reed, or maize-leaf cigarettes, called pocyetl, 'smoking tobacco,' or acayetl, 'tobacco-reed,' the leaf being mixed in a paste, says Veytia, with xochiocotzotl, liquid amber, aromatic herbs, and pulverized charcoal, so as to keep smouldering when once lighted, and shed a perfume. The picyetl tobacco was smoked later in the day, without admixture, and somewhat in the shape of cigars. The smoke was inhaled, and the nose closed, in order that none of the grateful qualities should be lost. Wooden, metal, or bamboo tubes were sometimes used instead of cigarettes. Snuffing the pulverized leaf is an ancient custom which we owe to them.[241]
Dancing was the favorite Aztec amusement, and the fanciful arrangement of their dances, as well as the peculiar grace of their motions, is highly praised by all the old chroniclers. Dancing, and especially religious dances, formed an important part of an Aztec youth's education, and much trouble was taken by the priests to instruct them in it.
THE MITOTE AND RIBBON DANCE.
The preparations for the great public dances, when the performers numbered thousands,[242] were on an immense scale. The choirs and bands attached to the service of the various temples were placed under the supervision of a leader, usually a priest, who composed the ode of the day, set it to music, instructed the musicians, appointed the leaders of the dance, perfected the arrangements generally, observed that all did their duty, and caused every fault or negligence to be severely punished.[243] The Neteteliztli dance took place either in the plaza or in the courtyard of the temple, in the centre of which mats were spread for the musicians. The nobles and aged men formed a circle nearest to the drums, the people of less importance formed another circle a little distance behind, and the young people composed the third ring. Two leading dancers directed the movements, and whatever steps they made were imitated by the performers. When all was ready, a whistle gave the signal and the drums were beaten lightly to a well-known tune started by the leaders and taken up by the dancers, who at the same time began to move their feet, arms, heads and bodies in perfect accord. Each verse or couplet was repeated three or four times, the dancers keeping time with their ayacachtli, or rattles. Each must keep his relative position in the circle, and complete the circuit at the same time; the inner circle, therefore, moved at a slow, dignified pace, suited to the rank and age of the men composing it; the second proceeded somewhat faster, while the dancers in the outer circle approached a run as the dance became livelier. The motions were varied; at one time the dancers held one another by the hand, at another, round the waist; now they took the left hand neighbor for partner, now the right, sometimes facing one way, sometimes another. The first song ended, which referred to the event of the day, a popular ode, treating of their gods, kings, or heroes, was taken up and sung in a higher scale and to a livelier measure, the dance meanwhile constantly increasing in animation. This was the case with all the succeeding songs, each one becoming higher and shriller as it proceeded; flutes, trumpets, and sharp whistles were sometimes added to the band to increase the effect. When one set of dancers became tired, another took its place, and so the dance continued through the whole day, each song taking about an hour. Jesters and clowns in various disguises circulated between the lines, cutting capers, cracking jokes, and serving refreshments. Herrera states that the solemn mitote was danced by twos in the outer circle.[244] At private dances, two parallel lines were usually formed, the dancers turning in various directions, changing partners, and crossing from line to line.[245] Sometimes one stepped from each line, and performed a pas de deux while the others looked on. The 'ribbon dance,' resembled the English may-pole dance to a certain extent. A pole, fifteen to twenty feet high, was erected on a smooth piece of ground, and twenty or more persons, each seizing the end of a colored ribbon attached to its summit, began to dance about the mast, crossing each other and winding in apparent confusion, until the pole was covered with a motley texture of a certain design. When the band became too short, the plaiting was unwound by reversing the order of the dance. They had a number of other mitotes, or dances, varying chiefly in the colors worn by the dancers, the finery, painting, and disguises, and conforming to the text of the songs, such as the huexotzincaiutl, anaoacaiutl, cuextecaiutl, tocotin, and others to be described under religious festivals.[246] Children from four to eight years of age, the sons of nobles, took part in some dances and sang the soprano, and the priests joined in the solemn performances. Certain dances, as the netecuitotoli,[247] could only be performed by the king and nobles,[248] a space being always set apart for the sovereign when he danced. Women joined the men in some dances, but generally danced apart. Certain dancing-houses of bad repute termed cuicoyan, 'great joy of women,' were open to females at night, and were then scenes of unmitigated debauch.[249] Great pains was taken to appear as fine as possible at the dances; noted warriors appeared magnificently dressed, and occasionally bearing shields set with feathers; nobles in court dress of rich mantles knotted at the shoulders, fanciful maxtlis round the loins, tassels of feathers and gold in the hair, lip-ornaments of gold and precious stones, gold rings in the ears, bracelets of the same metal set with plumes, or strings of chalchiuites and turquoises round the wrists and other parts of the arms, and some had gold bells attached to the ankles; the gaily colored dresses of the lower class were decorated with feathers and embroidery; garlands and flowers encircled the head, necklaces of shells and beans hung about the neck, bracelets clasped the arms and legs, and all carried nosegays. The women also shone in huipiles, gaily colored, fancifully embroidered, and set with fringes.[250]