Aztec - Jennings Gary - Страница 17
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Axayacatl did not hesitate or fumble. As expertly as any priest, he stabbed the knife point into the man's chest on the left side, just under the nipple and between two ribs, then made a slash with the knife edge, then rotated the wide blade sideways to separate the ribs and open the wound wider. With his other hand he reached into the wet red opening, seized the un-scratched and still-beating heart, and tore it loose from its enlacement of blood vessels. Not until then did the xochimiqui utter his first sound of pain—a blubbering sob—and the last sound of his life.
As the Revered Speaker held high the glistening, dripping, purple-red object, a priest somewhere jerked some hidden string, the shroud fell away from the Sun Stone, and the crowd gave a concerted "Ay-y-yo-o!" of admiration. Axayacatl turned, reached up, and ground the victim's heart into the very center of the circular stone, into the mouth of Tonatiu carved there. He mashed and rubbed the heart until it was only a smear on the stone and nothing was left in his hand. I have been told by priests that a heart's donor usually lived long enough to see what became of his heart. But that one could not have seen much. When Axayacatl was finished, the blood and ground meat were scarcely visible, because the carved sun face was already painted a color very like that of heart's blood.
"That was cleanly done," said the bent man at my father's side. "I have often seen a heart go on beating so vigorously that it jumps from the executioner's fingers. But I think this particular heart had already been broken."
Now the xochimiqui lay unmoving, except that his skin twitched here and there, like the skin of a dog tormented by flies. The priests rolled his carcass from the stone and let it tumble unceremoniously off the terrace, while a second victim plodded up the stair. Axayacatl honored no more of the xochimique, but left the rest to the priests. As the procession went on—each man's extracted heart being used to anoint the Sun Stone—I peered closely at the massive object, so I might describe it to my friend Tlatli, who, even way back then, had begun practicing to be a sculptor by whittling bits of wood into doll figures.
Yyo ayyo, reverend friars, if you could but have seen the Sun Stone! Your faces show disapproval of the dedication ceremony, but if you had ever once seen the stone, you would know it to have been worth all its cost in toil and years and human lives.
The carving alone was beyond belief, for that was porphyry, a stone as hard as granite. In the center was the face of Tonatiu, eyes staring, mouth agape, and on either side of his head were claws grasping the human hearts which were his provender. Surrounding that were the symbols of the four eras of the world which preceded the era in which we now live, and a circle comprising the symbols of our twenty day-names, and a circle of the alternating symbols of jadestone and turquoise, the gems held in highest esteem of all found in our lands. Around that, again, a circle of the day's sun rays alternating with the night's stars. And, girdling the whole, two sculptures of the Fire Serpent of Time, their tails at the top of the stone, their bodies making the round of it, and their heads meeting at the bottom. In one stone, that one artist had captured all of our universe, all of our time.
It was painted in bold colors, meticulously applied on those precise places where each color belonged. Yet the painter's real skill was most evident where no paint at all had been put on. Porphyry is a stone that holds fragments of mica, feldspar, and quartz. Wherever one of those bits of crystalline rock was embedded, the artist had left it unpainted. So, as the Sun Stone stood in the midday radiance of Tonatiu himself, those tiny clear jewels flashed at us pure sunlight from among the glowing colors. The entire great object seemed not so much colored as lighted from within. But I suppose you would have to have seen it in all its original glory to believe it. Or through the clearer eyes and in the clearer light I enjoyed in those days. Or perhaps with the mind of an impressionable and still-benighted little heathen boy...
Anyway, I turned my attention from the stone to our guide, who was continuing his interrupted history of the thing's painful progress hither:
"The causeway had never before known such a weight. The two brothers' two mighty stones were moving along on their log rollers, one behind the other, when the road buckled under the leading burden, and that wrapped stone went to the bottom of Lake Texcoco. The porters rolling the second—this Sun Stone here—stopped it just short of the brink of the broken causeway. It was lowered onto a raft again and floated around the island to the plaza here. Thus it alone was saved for us to admire today."
"But the other?" asked my father. "After all that work spent, could not a little more have been expended?"
"Oh, it was, my lord. The most experienced divers went down time after time. But the floor of Lake Texcoco is a soft and maybe bottomless ooze. The divers prodded with long poles, but they never located it. The stone, whatever it was, must have gone down edge on."
"Whatever it was?" echoed my father.
"No one but its artist ever laid eyes on it. No one ever will. It may have been more magnificent even than that"—the old man indicated the Sun Stone—"but we will never know."
"Will not the artist tell?" I asked.
"He never did."
I persisted, "Well, could he not do it over again?" A task of twenty and two years seemed rather less to me then than it would now.
"Perhaps he could, but he never will. He took the disaster as evidence of his tonali, as a sign that the gods had spurned his offering. That was he whom the Revered Speaker just now honored with the Flowery Death at his own hand. The rejected artist gave himself to be the first sacrifice to the Sun Stone."
"To his brother's work," my father murmured. "Meanwhile, what of the brother?"
"He will receive honors and rich gifts and the -tzin to his name," said our guide. "But the whole world will forever wonder, and so will he. Might there not be a work more sublime even than the Sun Stone lying unseen beneath Lake Texcoco?"
In time, indeed, the myth-enhanced unknown came to be more treasured than the tangible reality. The lost sculpture came to be called In Huehuetotetl—The Most Venerable Stone—and the Sun Stone regarded as only a middling substitute. The surviving brother never carved another work. He became an octli drunkard, a pitiful ruin, but he had enough self-respect remaining that, before he brought irredeemable shame to his new and noble title, he too volunteered to participate in a sacrificial ceremony. And when he died the Flowery Death, his heart did not, either, leap from the executioner's hand.
Ah, well, the Sun Stone too has been lost and gone these eight years now, buried under the rubble when The Heart of the One World was demolished by your war boats and cannon balls and battering beams and fire arrows. But perhaps one day your own rebuilt new City of Mexico will be razed in its turn, and the Sun Stone will be rediscovered shining among the ruins. Even—aquin ixnentla?—perhaps someday The Most Venerable Stone as well.
My father and I went home again that night, on our composite acali now loaded with trade goods procured by the freightmaster. You have heard the major and most memorable events of that day, that celebration of my seventh birthday and naming day. It was, I think, the most enjoyable of all the birthdays I have passed, and I have passed more than my share.
* * *
I am glad I got to see Tenochtitlan when I did, for I never again saw it the same way. I do not mean just because the city grew and changed, or because I came back to it surfeited and no longer impressionable. I mean I literally never saw anything so clearly again with my own two eyes.
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