There on that constricted space he stood, dizzyingly high, and then he stamped one foot and then the other, and then he began to dance, accompanying himself with flute and drum. The drum he patted and pounded with one hand while his other manipulated the holes of the flute on which he blew. Though everyone watching from the plaza below was breathlessly quiet, the music came down to us as only the thinnest tweedling and thumping. Meanwhile, the other four tocotine were cautiously knotting the pole's rope ends around their ankles, but we could not see it, so high up they were. When they were ready, the dancing man made some signal to the musicians in the plaza.
Ba-ra-ROOM! There was a thunderous concussion of music and drumming that made every spectator jump, and, at the same instant, the four men atop the pole also jumped—into empty air. They flung themselves outward and spread their arms, the full length of which were feathered. Each of the men was feathered like a different bird: a red macaw, a blue fisher bird, a green parrot, a yellow toucan—and his arms were his outstretched wings. That first leap carried the tocotine a distance outward from the platform, but then the ropes around their ankles jerked them up short. They would all have fallen back against the pole, except for the ingenious way the ropes were twined. The men's initial leap outward became a slow circling around the pole, each of the men equidistant from the others, and each still in the graceful posture of a spread-winged, hovering bird.
While the man on top went on dancing and the musicians below played a trilling, lilting, pulsing accompaniment, the four bird-men continued to circle and, as the ropes gradually unwound from the pole, they circled farther out and slowly came lower. But the men, like birds, could tilt their feathered arms so that they rose and dipped and soared up and down past each other as if they too danced—but in all the dimensions of the sky.
Each man's rope was wrapped thirteen times around and down the extent of the pole. On his final circuit, when his body was swinging in its widest and swiftest circle, almost touching the plaza pavement, he arched his body and backed his wings against the air—exactly in the manner of a bird alighting—so that he skimmed to the ground feet first, and the rope came loose, and he ran to a stop. All four did that at the same moment. Then one of them held his rope taut for the fifth man to slide down to the plaza.
If Your Excellency has read some of my previous explanations of our beliefs, you will have realized that the sport of the tocotine was not simply an acrobatic feat, but that each aspect of it had some significance. The four fliers were partly feathered, partly flesh, like Quetzalcoatl, the Feathered Serpent. The four circling men with the dancing man among them represented our five points of the compass: north, east, west, south, and center. The thirteen turns of each rope corresponded to the thirteen day and year numbers of our ritual calendar. And four times thirteen makes fifty and two, the number of years in a sheaf of years. There were more subtle relevances—the word tocotine means "the sowers"—but I will not expatiate on those things, for I perceive that Your Excellency is more eager to hear of the sacrificial part of the dedication ceremony.
The night before, after they had all confessed to Filth Eater's priests, our Texcalteca prisoners had been moved to the perimeter of the island and divided into three herds, so that they could move toward the Great Pyramid along the three broad avenues leading into the plaza. The first prisoner to approach, well forward of the rest, was my own: Armed Scorpion. He had haughtily declined to ride a liner chair to his Flowery Death, but came with his arms across the shoulders of two solicitous brother knights, though they were of course Mexíca. Armed Scorpion swung along between them, the remains of his legs dangling like gnawed roots. I was positioned at the base of the pyramid, where I fell in beside the three and accompanied them up the staircase to the terrace where all the nobles waited.
To my beloved son, the Revered Speaker Ahuítzotl said, "As our xochimíqui of highest rank and most distinction, Armed Scorpion, you have the honor of going first to the Flowery Death. However, as a Jaguar Knight of long and notable reputation, you may choose instead to fight for your life on the Battle Stone. What is your wish?"
The prisoner sighed. "I no longer have a life, my lord. But it would be good to fight one last time. If I may choose, then, I choose the Battle Stone."
"A decision worthy of a warrior," said Ahuítzotl. "And you will be honored with worthy opponents, our own highest-ranking knights. Guards, assist the esteemed Armed Scorpion to the stone and gird him for hand-to-hand combat."
I went along to watch. The Battle Stone, as I have earlier told, was the former Uey-Tlatoani Tixoc's one contribution to the plaza: that broad, squat cylinder of volcanic rock situated between the Great Pyramid and the Sun Stone. It was reserved for any warrior who merited the distinction of dying as he had lived, still fighting. But a prisoner who chose to duel on the Battle Stone was required to fight not just one opponent. If, by guile and prowess, he bested one man, another Mexícatl knight would take up the fray, and another and another—four in all. One of those was bound to kill him... or at least that was the way the duels had always ended before.
Armed Scorpion was dressed in full battle armor of quilted cotton, plus his knightly regalia of jaguar skin and helmet. Then he was placed upon the stone where, having no feet, he could not even stand. His opponent, armed with an obsidian-bladed maquahuitl, had the advantage of being able to leap on and off the pedestal, and to attack from any direction. Armed Scorpion was given two weapons with which to defend himself, but they were poor things. One was simply a wooden staff for warding off his attacker's blows. The other was a maquahuitl, but the harmless play-kind used by novice soldiers in training: its obsidian flakes removed and replaced by tufts of feathery down.
Armed Scorpion sat near one edge of the stone, in a posture almost of relaxed anticipation, the bladeless sword in his right hand, the wooden staff gripped by his left and lying across his lap. His first opponent was one of the two Jaguar Knights who had helped him into the plaza. The Mexícatl leapt onto the Battle Stone at the left side of Armed Scorpion; that is, on the side away from his offensive weapon, the maquahuitl. But Armed Scorpion surprised the man. He did not even move the weapon, he used his defensive staff instead. He swung it, hard, in an up-curving arc. The Mexícatl, who could scarcely have expected to be attacked with a mere pole, caught it under his chin. His jaw was broken and he was knocked senseless. Some of the crowd murmured in admiration and others owl-hooted in applause. Armed Scorpion simply sat, the wooden staff held languidly resting on his left shoulder.
The second duelist was Armed Scorpion's other supporting Jaguar Knight. He, naturally supposing that the prisoner's first win had been only a caprice of fortune, also bounded onto the stone at Armed Scorpion's left, his obsidian blade poised to strike, his eyes fixed on the seated man's own maquahuitl. That time, Armed Scorpion lashed overhand with his defensive staff, over the knight's uplifted weapon hand, and brought the pole crashing down between the ears of the Mexican's jaguar-head helmet. The man fell backward off the Battle Stone, his skull fractured, and he was dead before he could be attended by any physician. The spectators' murmurs and hoots increased in volume.