5.  Nic ch[=a]lchiuhcozcameca quenmach totoma in nocuic.

5.  I see my song unfolding in a thousand directions, like a string of precious stones.”

From the specimens presented in this volume and from the above extracts, I would assign the following peculiarities to the poetic dialect of the Nahuatl:—­

I. Extreme frequency and richness of metaphor.  Birds, flowers, precious stones and brilliant objects are constantly introduced in a figurative sense, often to the point of obscuring the meaning of the sentence.

II.  Words are compounded to a much greater extent than in ordinary prose writing.

III.  Both words and grammatical forms unknown to the tongue of daily life occur.  These may be archaic, or manufactured capriciously by the poet.

IV.  Vowels are inordinately lengthened and syllables reduplicated, either for the purpose of emphasis or of meter.

V. Meaningless interjections are inserted for metrical effect, while others are thrown in and repeated in order to express emotion.

VI.  The rhetorical figure known as aposiopesis, where a sentence is left unfinished and in an interjectional condition, in consequence of some emotion of the mind, is not rare and adds to the obscurity of the wording.

Sec. 8. THE PRESERVATION OF THE ANCIENT SONGS.

In a passage already quoted,[42] Sahagun imparts the interesting information that the more important songs were written down by the Nahuas in their books, and from these taught to the youth in the schools.  A certain branch of the Mexican hieroglyphic writing was largely phonetic, constructed on that method to which I have applied the adjective ikonomatic, and by which it was quite possible to preserve the sound as well as the sense of sentences and verses.[43] Such attention could have been bestowed only on the sacred, royal, or legendary chants, while the compositions of ordinary poets would only be disseminated by oral teaching.

By one or both of these methods there was a large body of poetic chants the property of the Nahuatl-speaking tribes, when they were subjugated by the Europeans.  Among the intelligent missionaries who devoted their lives to mastering the language and translating into it the doctrines of Christianity, there were a few who felt sufficient interest in these chants to write some of them down in the original tongue.  Conspicuous among these was the laborious Bernardino de Sahagun, whose works are our most valued sources of information on all that concerns the life of the ancient Nahuas.  He collected a number of their sacred hymns, translated them into Spanish, and inserted them into the Appendix to the Second Book of his History of New Spain; but this portion of his work was destroyed by order of the Inquisition, as a note in the original MS. expressly states.[44]

A certain number, however, were preserved in the original tongue, and, as already noted, we find the able grammarian Horatio Carochi, who published his Grammar of the Nahuatl in 1645, quoting lines from some as furnishing examples of the genuine ancient forms of word-building.  He could not, therefore, have doubted their antiquity and authenticity.