The acrobatic feats performed by the Nahuas excited the surprise and admiration of the conquerors, and the court of Spain, before which some of these athletes were introduced, was no less astounded at the grace, daring, and strength displayed by them.
Some of these gymnastic performances have only of late become known to us; thus, the so-called Chinese foot-balancing trick, in which a man lying on his back spins a heavy pole on the soles of his raised feet, throws it up, catches it, and twirls it in every direction, was a common feat with the Nahua acrobat, who, indeed, excelled the circus-man of to-day, in that he twirled the pole while a man sat at each end of it. Another feat was performed by three. One having braced himself firmly, another mounted on his shoulders, while the third climbed up and stood upon the head of the second. In this position the human column moved slowly about, the man on the top performing a kind of dance at the same time. Again, a man would dance on the top of a beam, the lower end of which was forked and rested upon the shoulders of two other dancers. Some raised a stick from the ground while a man balanced at the end of it; others leaped upon a stick set upright in the ground, or danced upon the tight-rope. Another game involving an equal display of grace and daring was the netotoliztli, or 'bird dance,' known to the Spaniards as the 'flying-game,' and performed especially during the laymen's feast. In the centre of an open place, generally a public square, a lofty pole was erected. On the top of this pole was placed a wooden, moveable cap, resembling an inverted mortar; to this were fastened four stout ropes which supported a wooden frame about twelve feet square. Four other, longer ropes were carefully wound thirteen times about the pole just below the cap, and were thence passed through holes made one in each of the four sides of the frame. The ends of these ropes, while wound about the pole, hung several feet below the frame. Four gymnasts, who had practiced some time previously, and were disguised as birds of different form, ascended by means of loops of cord tied about the pole, and each having fastened one of the ropes round his waist, they started on their circular flight with spread wings. The impulse of the start and the weight of the men set the frame in motion, and the rope unwound quicker and quicker, enabling the flyers to describe larger and larger circles. A number of other men, all richly dressed, sat perched upon the frame, whence they ascended in turn to the top of the revolving cap, and there danced and beat a drum, or waved a flag, each man endeavoring to surpass his predecessor in daring and skill.[259] As the flyers neared the ground, and the ropes were almost untwisted, the men on the frame glided down the ropes so as to gain the ground at the same time, sometimes passing from one rope to the other in their descent and performing other tricks. The thirteen turns of the rope, with the four flyers, represented the cycle with its four divisions of thirteen years.
Running was practiced, not only for exercise, but as a profession; as the government employed a large number of couriers to run with messages, who were trained for the purpose from early childhood. To these I shall have occasion to refer again. Races were held at the chief temple in Mexico under the auspices of the priests,[260] at which prizes were awarded to the four competitors who succeeded in first gaining the topmost of the one hundred and twenty steps. The Nahuas must have been able swimmers, too, for it is said that travelers usually took to the water when crossing rivers, leaving the bridges to those who carried burdens. There were also sham fights and public reviews, both for the exercise of the army and the delectation of the masses. At these times the soldiers competed for prizes in shooting with the arrow or throwing the dart.[261] On grand occasions, such as the coronation of a king, soldiers fought with wild beasts, or wrestled with one another, and animals were pitted against each other in fenced enclosures.[262]
THE TLACHTLI, OR NATIONAL GAME.
The national game of the Nahuas was the tlachtli, which strongly resembled in many points our game of football, and was quite as lively and full of scuffle. It was common among all the nations whose cult was similar to the Toltec, and was under special divine protection, though what original religious significance it had is not clear. Indeed, for that matter, nearly every game enjoyed divine patronage, and Ometochtli, 'two rabbits,' the god of games, according to Duran, was generally invoked by athletes as well as gamblers, in conjunction with some special god. Instruments of play, and natural objects were also conjured to grant good luck to the applicant. As an instance of the popularity of the game of tlachtli,[263] it may be mentioned that a certain number of towns contributed annually sixteen thousand balls in taxes, that each town of any size had a special play-ground devoted to the game, and that kings kept professionals to play before them, occasionally challenging each other to a game besides. The ground in which it was played, called the tlachco,[264] was an alley whose shape is shown in the cut; one hundred feet long[265] and half as wide, except at each end where there were rectangular nooks, which doubtless served as resting-places for the players. The whole was enclosed by smooth whitewashed walls, from nine to twelve feet high on the sides, and somewhat lower at the ends, with battlements and turrets, and decreasing in thickness toward the top.[266] At midnight, previous to the day fixed for the game, which was always fixed favorably by the augurs, the priests with much ceremony placed two idols—one representing the god of play, the other the god of the tlachtli[267]—upon the side walls, blessed the edifice, and consecrated the game by throwing the ball four times round the ground, muttering the while a formula. The owner of the tlachco, usually the lord of the place, also performed certain ceremonies and presented offerings, before opening the game. The balls, called ullamaloni, were of solid India-rubber, three to four inches in diameter. The players were simply attired in the maxtli, or breech-clout, and sometimes wore a skin to protect the parts coming in contact with the ball, and gloves; they played in parties, usually two or three on each side. The rule was to hit the ball only with knee, elbow, shoulder, or buttock, as agreed upon, the latter was however the favorite way, and to touch the wall of the opposite side with the ball, or to send it over, either of which counted a point. He who struck the ball with his hand or foot, or with any part of his body not previously agreed upon, lost a point; to settle such matters without dispute a priest acted as referee. On each side-wall, equidistant from the ends, was a large stone, carved with images of idols, pierced through the centre with a hole large enough to just admit the passage of the ball;[268] the player who by chance or skill drove the ball through one of these openings not only won the game for his side, but was entitled to the cloaks of all present, and the haste with which the spectators scrambled off in order to save their garments is said to have been the most amusing part of the entertainment. A feat so difficult was, of course, rarely accomplished, save by chance, and the successful player was made as much of as a prize-winner at the Olympic games, nor did he omit to present thank offerings to the god of the game for the good fortune vouchsafed him.
The possession of much property depended upon the issue of the game; the rich staked their gold and jewels, the poor their dresses, their food, or even their liberty.[269]
BALL-PLAYING AND GAMBLING.
Gambling, the lowest yet most infatuating of amusements, was a passion with the Nahuas, and property of all kinds, from ears of corn or cacao-beans, to costly jewelry and personal liberty, were betted upon the issue of the various games. Professional gamesters went from house to house with dice and play-mats, seeking fresh victims. All gambling tools were formally charmed, and this charm was renewed and strengthened at intervals by presenting the instruments in the temple, with prayers that the blessing of the idol might descend upon them.
POPULAR AMUSEMENTS.