Huei tlamahuiçoltica

From Wikipedia, the free encyclopedia

Huei tlamahuiçoltica omonexiti in ilhuicac tlatocaçihuapilli Santa Maria totlaçonantzin Guadalupe in nican huei altepenahuac Mexico itocayocan Tepeyacac (Nahuatl: "By a great miracle appeared the heavenly queen, Saint Mary, our precious mother of Guadalupe, here near the great altepetl of Mexico, at a place called Tepeyacac", generally shortened to Huei tlamahuiçoltica and translated as "The Great Event") is the title of a 36-page tract published in 1649 by Bachelor Luis Laso de la Vega, the vicar of the chapel at Tepeyac, and published the same year in New Spain (now Mexico). It contains an account of the apparition of Our Lady of Guadalupe at Tepeyac.

The tract is written almost entirely in Nahuatl and includes the Nican mopohua which contains the story of the apparitions. According to the sworn testimony of D. Carlos de Sigüenza y Góngora, the original preprint was in the calligraphy of Valeriano, its author. A very old and battered partial manuscript copy of the Nican Mopohua in 16 pages, dating c. 1556, can be found at the Public Library of New York; it's there since 1880 together with two later ones (one copy is complete). The older copy appears in Tonanzin Guadalupe with full historical details.^[1] The Huei tlamahuiçoltica contains also the "Nican motecpana" listing the miracles by D. Fernando de Alva Ixtlilxochitl; neither he nor Valeriano are mentioned as authors by Lasso, as recognition of intellectual property and merits were not a requirement in their times.

There is an even older (c.1541)^{[verification needed]} and much shorter manuscript in Nahuatl preceding the Nican Mopohua, which is known as the Inin hueitlamahuilzoltzin meaning This is the great marvel, also known as "The Primitive Relation" of the apparitions. It is kept at The National Library of México.

The first Spanish printed rendering of the tradition belongs to Fr. Miguel Sánchez's 1648 Imagen de la Virgen María, Madre de Dios de Guadalupe ("Image of the Virgin Mary, Mother of God of Guadalupe"), a theological dissertation linking the Guadalupan Image to Revelation 12:1.^[1][2]

Contents 1 Sections 1.1 Preface 1.2 Nican mopohua 1.2.1 Content, style, and structure 1.2.2 Critical response 1.2.3 The Nican mopohua and liberation theology 1.3 Description 1.4 Nican motecpana 1.5 Biography of Juan Diego 1.6 Nican tlantica 1.7 Final prayer 2 Publication and authorship 3 References

[edit] Sections

[edit] Preface

The first section, a preface, is titled in Nahuatl "Noble Queen of Heaven, Forever Virgin, Mother of God". In it Lasso addresses the Virgin directly, and after an introduction of four to five lines proceeds to the reason why he took up Nahuatl to print the history of the apparitions:

• "You yourself spoke in Nahuatl to a poor Indian and painted yourself in his ayate, thus showing you are not displeased with many languages..."
• "That the Indians of this land remember and keep in their language all you did for them and how it happened..."
• "Christ on the Cross had His sentence in three languages..."
• "You were with the apostles in Pentecost to receive the Holy Spirit" (a remembrance of the miracle of Diaspora Jews understanding each in his own language Acts 2:1-6) ^[3]

The preface ends with a short prayer in two lines pleading the Virgin's intercession that the Holy Ghost may help him to write in Nahuatl.

[edit] Nican mopohua

The second section, the Nican mopohua (Nahuatl: "Here is recounted"), constitutes the apparition narrative (including the Virgin's apparition to Juan Diego's uncle Juan Bernardino). It is probable that the Nahuatl manuscript used by Lasso was the original by Valeriano which is actually in the New York Public Library. Most authorities agree on this and on the dating of when it was written: c. 1556, even O'Gorman. ^[4][5][1]

[edit] Content, style, and structure

The Nican mopohua which has been described as "A Jewel of Nahuatl literature, whose beauty and depth of thought make it worthy of renown the world over" relies on the beauty of the dialogues between the Holy Virgin and Juan Diego to express the most tender feelings to be found in world literature. Her promise to grant the wishes of the locals who beseech her is prominent, as is her demand for a temple on the very spot. The Nican Mopohua section by Valeriano of Lasso de la Vega's account is related in a poetic style, typical of the most elegant formal classical Nahuatl in its full beauty. The other parts are clearly different and with greater Spanish influence. The Nican Mopohua is unique for presenting a blending between the deepest Nahuatl thought with the Christian message. It is precisely on this point that an abysmal difference exists with other Dialogues which invoke elements of the dramatic writings (called autos), many of which were used for the purposes of proselytization during the Spanish colonization of Mexico. The autos reflect only Spanish Christian thinking, while the main characteristic of the Nican Mopohua is the exceptional blending of the best of two cultures. The emphasis on the beauty of a miraculous event as given by the Nican Mopohua can be contrasted with the account of Sánchez, which focuses primarily on the agreements between Indian accounts of the apparition and Biblical prophecy (most notably Revelation 12:1-2,14 and Revelation 21:2).^[1]

Because the apparition, and the purportedly miraculous transposition of the Virgin's image onto on Diego's tilma ("mantle") of ayatl, or maguey cloth, are largely credited with the conversion of the Native American Mexica (Aztecs) and other peoples of Mexico to Roman Catholicism, all documents pertaining to the alleged miracle have been the subject of the intense scrutiny of the Roman Catholic Church, the colonial Spanish Crown (and after 1820, the Mexican government), scholars of Latin American religion and history, scholars of classical Nahuatl, as well as independent Guadalupanos, skeptics, and historians the world over.

[edit] Critical response

Today, Catholics (especially those in Mexico and the rest of Latin America) accept the Nican mopohua, whether written by Laso de la Vega, Valeriano, or another, unknown author, as the primordial gospel of the Virgin Mary's personal evangelism to the indigenous peoples of the Americas.^{[citation needed]}

Until recently, there had been little secular scholarship that questioned the literal or factual nature of the origin of the images or texts. Baltazar González, a Jesuit professor, Nahuatl speaker, and contemporary of Laso de la Vega, explained that the Huei tlamahuiçoltica "...agrees with what is known of the facts from tradition and the annals."

Some contemporary scholars have written skeptical or critical texts about the origin of the image and the texts. Sousa, Poole and Lockhart concluded that Laso de la Vega's narrative was based on Sánchez's Image of the Virgin Mary..., and that the icon was most likely painted by human hands, possibly those of Marcos Cipac de Aquino, an Indian painter from the school of Fray Pedro de Gante.^[6]

[edit] The Nican mopohua and liberation theology

According to scholar of Mexican religion D.A. Brading, "...the romantic engagement with folk culture that characterized the revolutionary years was eventually taken up by the clergy. Equally important, the effect of the Second Vatican Council (1962-1965) and the rise of Liberation Theology was to convert the text into a catechetical instrument, since its emphasis on a poor peasant and his willing acceptance of the Virgin's message, not to mention [Bishop] Zumárraga's initial disdain, responded perfectly to the new-found 'option for the poor'."^[7]

That is to say, the existence of the Nican mopohua provided a theological justification of the sanctity not only of the Virgin's apparition, but of the especial sanctity of the indigenous peoples of the American continents to the Virgin Mary and to the Church itself, an idea that was highly prized in the contentious dialogue revolving around the social status of indigenous and poverty-stricken people in the Catholic Church that existed during the 1960s-1970s.^{[citation needed]}

[edit] Description

The third section is a description of the image of the Virgin of Guadalupe as it was exhibited at the chapel of Tepeyac during Laso de la Vega's day.

[edit] Nican motecpana

The fourth section, called the "Nican motecpana" (Nahuatl: "Here is an ordered account"), relates the fourteen miracles ascribed to the image of the Virgin that remained stamped on Juan Diego's tilma after the apparition.

[edit] Biography of Juan Diego

The fifth section is a post-apparition biography of Juan Diego, detailing his pious life and devotion to the Virgin and her image.

[edit] Nican tlantica

The sixth section, the "Nican tlantica" (Nahuatl: "Here ends"), is a general history of the Virgin in New Spain and an exhortation to her devotion.

[edit] Final prayer

The seventh section is another prayer, this one following the structure of the Salve Regina.

[edit] Publication and authorship

The Huei tlamahuiçoltica was written by Licenciado Luis Laso de la Vega, vicar of the sanctuary of Tepeyac, and published under the auspices of Dr. Pedro de Barrientos Lomelín, vicar general of the Mexican diocese, at the press of Juan Ruiz in 1649.

In 1666, Lic. Luis Becerra Tanco (1603-1672), a secular priest, affirmed that the Nahuatl account was based on long-standing oral tradition in a deposition for the enquiries of Francisco de Siles, who was commissioned to compile documentation of the continuity of the Virgin's popular cult since the time of her apparition. Becerra Tanco later elaborated on this position in his Felicidad de México (Spanish: "Mexico's Happiness") (1675), claiming that Laso de la Vega's text must have been based on documents created through collaborations between the Franciscan faculty of the College of Santa Cruz Tlatelolco and their indigenous pupils shortly after the apparition itself and purported to have been in the custody of Fernando de Alva Cortés Ixtlilxochitl. He even claimed to have seen among these papers "a manuscript book written in the letters of our alphabet in an Indian's hand in which were described the four apparitions of the Most Holy Virgin to the Indian Juan Diego and his uncle Juan Bernardino."

Other scholars who have disputed Laso de la Vega's authorship include Francisco de Florencia, a Jesuit chronicler, who assumed that the "Indian manuscript" mentioned by Becerra Tanco was written by Jerónimo de Mendieta, (d. 1605), a Franciscan missionary and historian in early New Spain, and Carlos de Sigüenza y Góngora, Florencia's censor, who, by way of correction of his charge, swore that he "found this account among the papers of Fernando de Alva. [...] The original in Mexican [Nahuatl] is of the letter of don Antonio Valeriano, an Indian, who is its true author...".

Some contemporary scholars uphold the notion that Becerra Tanco, Florencia, and Sigüenza y Góngora endeavored to authenticate the events of the narrative by placing its original authorship in hands that were both native to Mexico and of greater antiquity than the mid-seventeenth century. Since Mexican petitioners to the Vatican for official recognition of the miracle relied on Sigüenza y Góngora's testimony that the story predated the publication of both the Nican mopohua and Image of the Virgin Mary, ecclesiastical writers have continued to cite Valeriano as its author.^[8][9] The discovery in 1995 of the Escalada codex was trumpeted by Catholic historians and proponents of Juan Diego's canonization, but viewed suspiciously by mainstream historians and scholars of religion, who questioned its timing (just as Pope John Paul II was considering sainthood for Juan Diego), and its content (it bore the date 1548 and the names of Juan Diego, Valeriano, and an "authentic" signature of Bernardino de Sahagún, a find one critic likened to "finding a picture of St Paul's vision of Christ on the road to Damascus, drawn by St Luke and signed by St Peter."^[7]

[edit] References