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things they saw with us, as mathematical instruments, sea compasses, the virtue of the lodestone in drawing iron, a perspective glass whereby was showed many strange sights, burning glasses, wildfire works, guns, books, writing and reading, spring clocks that seem to go of themselves, and many other things that we had, were so strange unto them, and so far exceeded their capacities to comprehend the reason and means how they should be made and done, that they thought they were rather the works of gods than of men, or at the leastwise they had been given and taught us of the gods. […]

      A Weroan or great Lord of Virginia

      The Princes of Virginia … wear the hair of their heads long and bind up the end of the same in a knot under their ears. Yet they cut the top of their heads from the forehead to the nape of the neck in manner of a cockscomb, sticking a [feather] of some bird at the beginning of the crest upon their foreheads, and another short one on both sides of their ears. They hang at their ears either thick pearls, or somewhat else, as the claw of some great bird, as cometh in to their fancy. Moreover they either pounce [tattoo] or paint their forehead, cheeks, chin, body, arms, and legs … They wear a chain about their necks of pearls or beads of copper, which they much esteem, and thereof wear they also bracelets on their arms … They hang before them the skin of some beast very finely dressed in such sort, that the tail hangeth down behind. […] When they go to battle they paint their bodies in the most terrible manner that they can devise.

      One of chief Ladies of Secota

      Their idol Kiwasa

      The people of this country have an Idol, which they call Kiwasa: it is carved of wood in length 4 foot whose head is like the heads of the people of Florida, the face of a flesh colour, the breast white, the rest is all black, the thighs are also spotted with white. He hath a chain about his neck of white beads, between which are other round beads of copper which they esteem more than gold or silver. This Idol is placd in the temple of the town of Secotam, as the keeper of the dead kings corpses. Sometime they have two of these idols in their churches, and sometimes 3, but never above, which they place in a dark corner where they show terrible. These poor souls have none other knowledge of god although I think them very desirous to know the truth. For when as we kneeled down on our knees to make our prayers unto god, they went about to imitate us, and when they saw we moved our lips, they also did the like. Whereof that is very like that they might easily be brought to the knowledge of the gospel. God of his mercy grant them this grace.

      Bernardo de Balbuena is now acclaimed as the first Hispano‐American poet of the New World. Little is known about his early life. It seems he was born in Spain, but taken to America as a child where he was brought up and entered the Church, being ordained as a priest in the 1590s. His major poem about the glories of Mexico was published in 1604. Subsequently he returned to Spain, where he became a doctor of theology in 1606, before travelling back to the New World and taking up senior ecclesiastical positions. He was abbot of Jamaica for approximately 10 years from 1608, and thereafter bishop of Puerto Rico until his death. In the opening passage of Grandeza Mexicana, Balbuena addresses the person (some sources say ‘a lady’, others specify ‘a nun’) to whose request his poem is the answer. His description of the city as being supported on a thin crust over two lagoons is a reference to its being built on the site of the former Aztec capital Technoctitlan, which stood on a lake crossed by causeways. In essence the poem celebrates Mexico City as the crossroads of the world, a site of riches drawn from across the globe: from Europe and Africa across the Atlantic, and from Asia, including from Spanish possessions in the East Indies, across the Pacific. The extracts are taken from Chapters 1, 2, 3 and 5 of Bernardo de Balbuena: Grandeza Mexicana, Madrid: Edición de Asima F. X. Saad Maura; Ediciones Cátedra, 2011, pp. 167–8, 180, 186–9 and 205. The poem was translated by Emma Barker with the assistance of Encarna Trinidad Barrantes.

      Chapter 1: About the site of the famous Mexico City

      …

      You ask me to write you some indication

      That I have arrived in this famous city

      Centre of perfection, hinge of the world,

      Its site, its immense population.

      Its rare objects, its riches and its commerce.

      Its distinguished people, its prosperous labour.

      […]

      In the zone where the sun travels overhead,

      And gentle April walks, swathed in roses,

      Spreading its intoxicating scent

      On a delicate crust

      That supports it above two lagoons,

      Surrounded by waves on every side,

      Carved in fine proportions, innumerable

      Towers, spires, windows,

      Present their construction with pride.

      […]

      Chapter 2: The origin and grandeur of its buildings

      …

      The grandeur of its proud streets

      Closely resembling a chess board,

      Square by square, and each square piece by piece.

      […]

      The pediments covered with sculpture,

      Subtle workmanship, opulent adornment

      Of Corinthian refinement and elegance,

      The wide friezes of gold relief,

      Grooved triglyphs and metopes

      Which support the buildings with order and decorum.

      […]

      Chapter 3: Horses, streets, commerce, politeness

      …

      It is the most rich and opulent city,

      With

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