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88 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY NUMBER 23 "Maybe [I can] right away," he said. "Who knows, if you like, give me your horse, I'll go myself," said [Peter]. "Go on, then," he said. Peter mounted the horse. He pricked the horse with a needle. The horse reared. "Oh, your horse isn't used to me. Give me your clothes, give me your shoes! I'll hurry back," said [Peter]. "Take them," he said. "All right, you stay here. Don't look, because it pecks terribly," said [Peter]. No [sign of him], no Peter. He left for good. "Well, so what, even if it does peck me I'm going to look, I guess," said the Ladino. He raised the hat. As soon as he grabbed it [he realized] it was shit he was touching. "Oh, the bastard! He's a thief. He fooled me completely," he said. "So what, he's gone now," he said. Peter went off feeling very pleased with himself. He went on. He met a devil on the road. "What do you say, Devil?" he asked. "Nothing," said the devil. "Do you want to make a bet to see who can make a hole in a tree?" asked Peter. "Well, are you telling the truth? Are you a real man?" asked the devil. "That's what I say." Earlier Peter had gone to cut the hole in the tree. He left a [piece of] bark covering [the hole]. "Let's go!" said Peter. "Let's go, then!" said the devil. "You throw [the rock] first," said Peter. The devil threw it. He couldn't put a hole through the tree. "You throw!" said the devil. "All right," said Peter. He threw it. He put a hole in the tree. The bark just fell. Peter won more money. "Eh, but I won't give up," said the devil. "That money of mine has got to come back," said the devil. "If you want to, tomorrow [we'll make] another bet," he said. "Okay!" said Peter. "Tomorrow we'll each roll a rock," said [the devil]. "Okay," said Peter. Well, Peter first went to make a hole under [his] rock. On the next day, "Roll it, I guess," said Peter. "Rock it towards me!" said the devil. "All right," said Peter. But the rock didn't budge. "Well, rock it towards me!" Peter said. He stuck his head where he had dug before. "Rock it towards me!" he said. The devil rocked it and [when Peter pushed] the boulder rolled away. "Ta 7ora nan," xi la. "Jna7tik mi xak'ane, 7ak'bon ech'el Iaka7e, chibat vo7on," xi. "Batan che7e," xi la. Ta xkaji ta ka7 ti Pegroe, ta spajbe 7akuxa ti ka7e, ta xva7i ti ka7e. "7A, mu xisnop Iaka7e, 7ak'bon ech'el Iak'u7e, 7ak'bon ech'el lasapatoe, chibat ta 7anil," xi la. "7Ich'o!" xi la. "Bweno, koman 7un mu me xak'el 7un, yu7un me batz'i ta xti7van," xi la. Ch'abal, ch'abal ti Pegroe, 7ibat 7o. "Bweno, pasensia, yech te k'alal, ti mi Iisti7e ta jk'el kik," xi la ti jkaxlane. 7Isjam la li pixalale po7ot xa stae spikoj, 7ik'ot li tzo7e. "7Ay kavron!" xi. "J7elek' Ie7e," xi. "Lek Iislo71o," xi. "Pasensia yu7un xa 7ibat," xi. Xmuyibaj xa ech'el ti Pegroe, 7ibat 7isnup ta be jun dyablo. "K'u xi, dyablo?" xi la. "Mu k'u xi," xi la ti dyabloe. "Mi xak'an jpastik jun 7apostal jk'eltik buch'u xch'oj yu7un j-tek' te7?" xi la ti Pegroe. "Bweno mi yech 7aval, mi vinikot?" xi la ti dyabloe. "Yech kal," xi la. Bweno, ja7 la xch'oj ba7yi te7 ti Pegroe, 7iskajanbe komel, pat te7. "Battik 7un!" xi la ti Pegroe. "Battik che7e!" xi ti dyabloe. "Teno ba7yuk," xi la ti Pegroe. 7Isten la ti dyabloe, muk' la xch'oj ti te7e. "Teno vo7ote!" xi la ti dyabloe. "Bweno," xi la ti Pegroe. 7Isten la, 7ixch'oj la ti te7e, naka 7ip'aj ti pat te7e 7ispas kanal mas tak'in ti Pegroe. "Jee, pero mu xkikta jba," xi ti dyabloe. "Ta sut tal ta pwersa li jtak'in Ie7e," xi la ti dyabloe. "Mi xak'an 7ok'ob 7otro jun 7apostal," xi la. "Stak'," xi la ti Pegroe. "7Ok'ob jbalch'untik, ju-p'ejuk ton," xi la 7un. "Stak'," xi la ti Pegroe. Bweno, 7a ti Pegroe, ba xch'oj ba7yi yolon ton ti Pegroe. Bweno, ta yok'omal -- "Balch'uno kik 7un," xi ti Pegroe. "Toyon tal che7e!" xi la ti tyavloe. "Bweno," xi la ti Pegroe. Pero mu la xbak' ti tone. "Bweno toyon kik vo7one!" xi la ti Pegroe. 7Ispaj la ochel sjol ti yo7 buy sjok'oj ba7yie. "Toyon tal 7un!" xi la. 7Itoy van la ti tyavlo 7une, 7ibalch'uj la ech'el ti mol tone.
Peter won more money. "So what, I can't win," said the devil. Peter went on. He walked along. He met a lot of muleteers on the road. "Ah, here comes Peter!" said the muleteers. "Poor Peter, now he'll die here for sure!" said the muleteers. "This one's a real bad robber," they said. They caught Peter and stuck him in a burlap bag. They tied it up tight with lassos. "Well, now he'll spend the night here. Tomorrow we'll go throw him in the river," they said. Peter spent the night there. The next day he woke up when the sun rose. The muleteers hadn't arrived. "Oh, what can I do?" he said. Peter looked for his razor. There were lassos there. He put [the food] in his own place [in the bag]. He tied it up tight. Well, Peter fled. He went to the other side of the river. The muleteers arrived. "Poor Peter, he's going now," said the muleteers. They picked [the bag] up and went to chuck it in the river. They reached the river. Just dishes came out. "Poor dinner, it's gone now," said the muleteers. "That bastard, Peter, he's scrammed," they said. "Hurray!" said Peter from far away. "Well, what can you do?" said the muleteers. That's how it ends. ROMIN TERATOL This account of the merry pranks of the Indian counterpart to Till Eulenspiegel conforms quite closely to the Spanish model, usually known as Pedro Ordemales (A. M. Espinosa, 1967:T163-T165). Many of the episodes can be traced at least to the beginning of the seventeenth century, to the picaresque Spanish novel El Subtil Cordobis Pedro de Urdemalas by Alonso Jeronimo de Salas Barbadillo. From New Mexico to Guatemala, Pedro plays these same tricks over and over (A. M. Espinosa, 1914a:l 19-124; Gamio, 1922:290, 314; Mason, 1914:168-171; Parsons, 1932a, T14; Pittman, 1945:10-17; Recinos, 1918:474— 478; Robe, 1970, T114, T122, T132; Rosales, 1945:883; Tax, 1950, T106; Wheeler, 1943, T148-T151). The only unusual feature of Romin's version is the needle episode, but even this occurs in a Puerto Rican tale of Juan Bobo, who mistakes the baby's breathing spot for a tumor (Mason, 146). The deliberate confusion as to what Pedro's boss told him to get back home was once probably a play on words, since lost in translation. Indeed this occurs in a tale from Teotihuacan, in which Pedro is told to bring a digging stick and a shovel. Instead he urges his bosses' wife and daughter to submit to him. When they protest, he calls to his boss, "Aren't I right—both of them?" To which his boss nods "Yes!" and the deed is done (Gamio, 1922:314). Pedro's escape, by substituting the muleteers' food for himself, seems to Bweno, 7ispas kanal mas tak'in ti Pegro 7une. "Pasensia mu xa xu7 ku7un," xi la ti dyablo 7une. 7Ibat la ti Pegroe, 7ixanav la ech'el, 7isnup la ta be 7ep 7arieroetik. "7A H7 xtal li Pegroe," xi la ti 7arieroetike. "Povre Pegro, 76ra si H7 ta xlaje!" xi la ti 7arieroetike. "Batz'i j7elek' Ii7e," xi la. 7Istzakik la, 7istik'ik la ta brin, ti Pegroe, 7ispech'ik lek ta riataetik. "Bweno, lavie Ii7 chvaye 7ok'ob chba jtentik ta mar," xi la. Te vay ti Pegro 7une, ta yok'omal sakub 7osil, 7ilok' la k'ak'al, muk' bu xk'ot ti 7arieroetike. "Je pero k'u ta jnop?" xi la. Ti Pegroe 7issa7 la snavaxax 7isjat la ti brine, 7ilok' la, 7istzob la skotol ve7eletik, te la riataetik, 7iyak' la komel ta sk'exol, 7ispech' komel lek. Bweno, ti Pegroe jatav 7ibat ta j-jech mar, 7ik'ot 7arieroetik. "Povre Pegro chbat 7un," xi la ti 7arieroetike. 7Istamik ech'el, ba xch'ayik ta mar, 7ik'ot ta mar, naka traste 7ilok'. "Povre ve7elil 7ibat xa 7un," xi la ti 7arieroetike. "Kavron Pegro 7ijatav," xi la. "Ke viva!" xi la ti Pegroe. Nom xa 7ox. "Bweno, pasensia," xi ti 7arieroetike. Laj 7o yech 7un. be a typical Zinacantec touch. In Mitla (Parsons, T14) and Guatemala (Recinos, 477) he fills the sack with lassos. The Aguacatec, who know their hero by the name of Pedro Tecomate, have him substitute a doll made of the muleteers' food and lassos (Shaw, 1972:69-71). Among the Tepecanos he entices a goatherd in the sack (Mason, 1914:170). In New Mexico he lures the bosses' wife into it (A. M. Espinosa, 120). Some months before Romin told me "The Adventures of Peter" he had recounted the tale to B. N. Colby in Spanish following the identical plot, but with slightly greater detail. Colby chooses this epic to illustrate the social situation in the highlands of Chiapas where Indians at least until very recently have been submissive and nonretaliatory despite centuries of exploitation at the hands of the Ladinos. Ladino power and prestige is envied while Ladino personality is condemned. Peter's agressive behavior, argues Colby, must be viewed in the light of "the effectiveness with which the Ladinos have kept Indians under control since the time of the conquest" (Colby, 1966:42). In fact the catharsis that Petul provides his Zinacantec audience must be very similar to that which Till Eulenspiegel provided the German peasants living under the yoke of the burghers and nobility in the Fifteenth century and beyond. See also T171. 89
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Of Cabbages and Kings TALES FROM ZI
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FRONTISPIECE: Disguised Aztec merch
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ABSTRACT Laughlin, Robert M. Of Cab
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iv SMITHSONIAN CONTRIBUTIONS TO ANT
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VI SMITHSONIAN CONTRIBUTIONS TO ANT
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Acknowledgments It seemed a logical
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Epigraph "I see nobody on the road,
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GENESIS A second expectation create
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he himself made no connection betwe
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nineteen townships in the state of
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Linguistic Notes In order to make t
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Page 104 and 105: Romin Tan-chak comes of a well-to-d
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FIGURE 7.—Tonik Nibak, 1961 (phot
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172 boy told me, my companion, my n
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228 he reached the place where the
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I'm sorry to say it was pretty well
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356 So he tossed his hair upwards.
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Postscript "Talk of many things, ..
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Acala 7Ach' Jtek-lum 7Ak'ol Mukenal
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Number Page 1. Romin Teratol 17 2.
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Aarne, Antti Amatus 1928. The Types
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Maps Nearly all the local place nam
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