The Infidel; or, the Fall of Mexico. Vol. I.. Robert Bird

he refuse to do me reparation."

      "I tell thee, thou shalt have friends," said the Alguazil, with an insinuating voice, "to back thee in this matter, as well as in all others wherein thou hast been wronged. But thou must be ruled. Speak not to Cortes in complaint: he will do thee no justice. Send no defiance of battle to Guzman, for this has been proclaimed a sin against God and the king, to be punished with loss of arms, degradation, and whipping with rods, – sometimes with the loss of the right hand. You stare! Oh, señor Juan Lerma, you will find we have a master now, – a master by the king's patent, – who makes his own laws, beats and dishonours, and gives us to the gallows, when the fit moves him, without any necessity of cozening us to death in expeditions to the gold mines, or the South Seas."

      1

      These poems, we presume, were handed down orally. We know not how far the picture-writing of the Mexicans (the art of interpreting which appears to be now lost,) was capable of conveying any such thoughts as could not be represented by an absolute portrait. No system of writing that is not essentially phonetic or dialectical, (i. e. representative of sounds, or of language,) can be made to express abstract ideas, which may be defined to be such as admit of no ideographic or metaphoric representation. If they could, mankind might, at once, enjoy the benefits of the universal language, (or, to speak strictly, a substitute for it; for it would convey

1

These poems, we presume, were handed down orally. We know not how far the picture-writing of the Mexicans (the art of interpreting which appears to be now lost,) was capable of conveying any such thoughts as could not be represented by an absolute portrait. No system of writing that is not essentially phonetic or dialectical, (i. e. representative of sounds, or of language,) can be made to express abstract ideas, which may be defined to be such as admit of no ideographic or metaphoric representation. If they could, mankind might, at once, enjoy the benefits of the universal language, (or, to speak strictly, a substitute for it; for it would convey ideas not words,) which Leibnitz dreamed of, and Bishop Wilkins, and many others after him, so vainly attempted to construct.

When, therefore, we relate any very curious and marvellous matters, appertaining to Mexican literature, though we speak upon the authority of historians, we invite the reader to receive our accounts with some grains of allowance. With the exception of a few arbitrary symbols, expressive of numerals, and a few other objects of constant recurrence, the picture-writing of Mexico spoke in ideas, not words; and it may therefore be assumed, that it could express nothing that did not, or by a stretch of ingenuity, could not be made to, address and explain itself to the eye.

2

The Manga and Serape are Mexican cloaks worn scapulary-wise, the one of richly embroidered cloth, the other of blanket, or some such coarse material. The Anquera is a leather housing, embossed and gilt, with a jingling fringe of brass or silver ornaments.

3

Vasco Nuñez de Balboa.

4

The historical reader will find that the worthy Bernal has incorporated many of these judicious sentiments in the work he was then composing, and some almost word for word.

5

Fusta– a sort of galley, very small and open, with lateen sails.

6

Itzli, the obsidian or volcanic glass.