THE ABORIGINAL DRAMA.
The drama scarcely equaled in excellence the choral dance, yet in this respect, as in others, the Nahuas showed considerable advancement. Thalia presided more frequently than Melpomene over the play, which generally took the character of a burlesque. The performers mostly wore masks of wood, or were disguised as animals. No special building was devoted to the drama, but the lower porch of a temple usually served as the stage; some large towns, however, boasted of a permanent stage, erected in the centre of the plaza. The principal of these was at Tlatelulco, and consisted of a terrace of stone and lime, thirteen feet high, by thirty in breadth. When in use it was decorated with foliage, and mats of various colors, whereon was emblazoned the coat of arms of the city, were hung all round it. At Cholula the porch of the temple of Quetzalcoatl served as a stage; this was whitewashed and adorned with arches of branches, feathers, and flowers, from which hung birds, rabbits, and other curious objects. Here the people congregated after dinner on gala-days to witness the performance, in which deaf, lame, blind, deformed, or sick people, or, sometimes, merchants, mechanics, or prominent citizens, were mimicked, burlesqued, and made fun of. Each actor endeavored to represent his rôle in the most grotesque manner possible. He who was for the moment deaf gave nonsensical answers to questions put to him; the sick man depicted the effects of pain, and so forth. When these had exhausted their stock of jokes, others entered as beetles, frogs, or lizards, croaking, whistling, and skipping about the stage after the manner of the creatures they represented. The boys from the temples also appeared as birds and butterflies, and flocked into the trees in the courtyard. Each performer rehearsed his part before appearing in public, and great care was taken that no blunder should mar the beauty of the plot. The priests added to the fun by blowing mud-balls at the actors through wooden tubes, and praising or censuring the performance in a jocular manner. The entertainment concluded with a ball, which was attended by all the actors.[251]
Some authors have spoken very favorably of the dramatic skill of the Nahuas. Clavigero is not inclined to indorse this opinion, although he thinks a great advance would have been made in this direction had the Mexican Empire survived another century; a very natural conclusion, certainly. The ceremonies at the religious festivals often partook of a dramatic character, as will be seen presently.[252]
Music, a principal attraction at our theatrical entertainments, did not play an important part on the Nahua stage, and, though we hear of singers appearing, instrumental concert is not mentioned. Aside from this, the high importance attached to music is evident from the myth of its origin. According to this myth no less a personage than Tezcatlipoca[253] brought, or sent for, music from the sun, and constructed a bridge of whales and turtles, symbols of strength, by which to convey it to the earth.
MUSICAL INSTRUMENTS.
Drums, horns, shells, trumpets, and shrill whistles made from cleft bones were the instruments most used. The drum was the favorite, and the beating of several in nice accord sufficed alone for an accompaniment to the song and the dance. Two kinds of drum are mentioned; of these, the huehuetl[254] was a hollow cylinder of wood, about three feet high, and a foot and a half in diameter, curiously carved and painted, and having its upper end covered with a dressed deer-skin, tightened or loosened in tuning, and played upon with the hands. The other kind of drum was called the teponaztli, 'wing of the stone-vapor;' this was entirely of wood, and had no opening but two parallel slits in one side, the enclosed piece being divided in the centre so as to form two tongues, each of which increased in thickness towards its extremity; the drum was placed in a horizontal position and the sound was produced by beating the tongues with sticks tipped with rubber balls. This drum varied in length from a toy of a few inches to five feet. Sometimes it was carved in the shape of a man, woman, or animal, and lay lengthways on trestles. The huehuetl gave forth a dull sound resembling that of the East Indian tom-tom. These drums, when of the largest size, could be heard at a distance of two miles.[255] The teponaztli produced a melancholy sound, which is considered by Brasseur de Bourbourg to have been a symbol of the hollow warning noise preceding the annihilation of Earth, which was symbolized by the instrument itself.[256] The tetzilacatl was a kind of gong made of copper and struck with a hammer of the same material. The ayacachtli was a rattle of copper, perforated and filled with pebbles, used by dancers.
The ancient writers unite in praising the perfect unison and good time observed by the singers, both in solo and quartette, with chorus and responses, and they mention particularly the little boys of from four to eight years of age, who rendered the soprano in a manner that reflected great credit on the training of their priestly tutors. Each temple, and many noblemen kept choirs and bands of professional musicians, usually led by a priest, who composed odes appropriate to every occasion, and set them to music. Bass singers were rare, and were prized in proportion to their rarity. They had a great number of popular songs or ballads, which were well known in all classes. Young people were obliged to learn by heart long epics, in which were recounted the glorious deeds of heroes in battle and the chase; or didactic pieces, pointing some moral and inculcating a useful lesson; or hymns of praise and appeal for sacred festivals. Clavigero, Pimentel, and other authors extol the aboriginal muse highly, and describe the language used as pure, brilliant, figurative, and interwoven with allusions to the beauties of nature; unmeaning interjections scattered here and there to assist the metre, evince a lack of finish, however, and the long, compound words, a single one of which often formed a whole verse, certainly did not add to the harmony, yet they observed good metre and cadence.[257]
The art of music was under royal protection, and singers as well as musicians were exempt from taxation. Nezahualcoyotl, the great Tezcucan patron of art, himself composed a number of odes and elegies, and founded an academy of sciences and music, where the allied kings of Mexico, Tezcuco, and Tlacopan presided, and distributed prizes to the successful competitors. Toltec songs are highly praised for their beauty and variety. The Totonacs and Tepanecs are said to have been as far advanced in music and singing as the Aztecs;[258] but concerning these arts I shall speak more at length in a future chapter.
GYMNASTIC PERFORMANCES.