Nezahualcoyotl, King of Tezcoco. Many of the transgressors were sacrificed at some of the festivals, especially at that of Xipe, god of the goldsmiths. Slavery was countenanced, though the child of a slave was born free; and if a refractory slave—even though his owner had the right to punish him by placing a wooden collar about his neck and selling him for sacrifice—could escape, and gain the royal palace, he was considered free henceforth. More than this, if any one not his owner, or sons of his master, undertook to stop him, he lost his own freedom from that moment.
Their laws and customs—especially as regarding war and the invasion of an enemy's territory—will be more fully dwelt upon in the progress of the Conquest.
A rich and expressive language, like the Mexican tongue, was capable of extensive use in the mouths of poets and orators. They composed hymns almost without number, historical poems, verses on love and morality, in all of which was manifest their love for the objects of nature that surrounded them, to which they made figurative allusions. Nezahualcoyotl, the wise King of Tezcoco, was the great patron of art, and richly rewarded successful composers in the Nahua tongue.
Dramatic poetry received almost as much attention as lyric. In the great square of Tlaltelolco the Mexicans had built a theatre where they had a mimic stage. It was about thirty feet square, and raised twelve or thirteen feet above the level of the market-place, adorned with flowers and feathers. Here, after having dined, the people assembled to witness the actors, "who appeared in burlesque characters, feigning themselves deaf, sick with colds, lame, blind, and crippled, and addressing the idol for a return of health. Others appeared under the names of different little animals, some in the disguise of beetles, some like toads and liz-
