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138 PASSPORT TO MAGONIA<br />
when they reached for them, they were astonished and let him go.<br />
Juan was taken once more to the bishop.<br />
Juan Diego put up both hands and untied the corners of crude<br />
cloth behind his neck. The looped-up fold of the tilma fell; the<br />
flowers he thought were the precious sign tumbled out and lay in<br />
an untidy heap on the floor. Alas for the Virgin's careful arrangement!<br />
But Juan's confusion over this mishap was nothing to what he<br />
felt immediately after it. Inside of seconds the Bishop had risen<br />
from his chair and was kneeling at Juan's feet, and inside of a minute<br />
all the other persons in the room had surged forward and were<br />
also kneeling,<br />
The bishop was kneeling before Juan's tilma, and, as Ethel<br />
Cook Eliot remarks, "millions of people have knelt before it<br />
since," for it has been placed over the high altar in the basilica of<br />
Our Lady of Guadalupe, in Mexico City. The tilma consists of<br />
two pieces, woven of maguey fibers and sewn together and measuring<br />
sixty-six by forty-one inches. On this coarse material, whose<br />
color is that of unbleached linen, a lovely figure can be seen,<br />
fifty-six inches tall.<br />
Surrounded by golden rays, it emerges as from a shell of light,<br />
clear-cut and lovely in every detail of line and color. The head is<br />
bent slightly and very gracefully to the right, just avoiding the long<br />
seam. The eyes look downward, but the pupils are visible. This<br />
gives an unearthly impression of lovingness and lovablcness. The<br />
mantle that covers the head and falls to the feet is greenish blue<br />
with a border of purest gold, and scattered through with golden<br />
stars. The tunic is rose-colored, patterned with a lacc-likc design of<br />
golden flowers. Below is a crescent moon, and beneath it appear<br />
the head and arms of a cherub.<br />
In the six years that followed the incident, over eight million<br />
Indians were baptized. In recent times, sonic fifteen hundred persons<br />
kneel before Juan Diego's tilma (still intact with the image's<br />
radiant colors) ever}' day.<br />
Juan's uncle was cured. As he was awaiting the priest, too weak<br />
even to drink the medicine his nephew had prepared, he saw his<br />
room suddenly filled with soft light. A luminous figure, that<br />
of a young woman, appeared near him. She told him he would<br />
get well and informed him of Juan Diego's mission. She also said,<br />
NURSLINGS OF IMMORTALITY 139<br />
"Call me and call my image Santa Maria de Guadalupe"—or so<br />
the message was understood.<br />
But was this the intended meaning? Following the research of<br />
Helen Bchrcns, Ethel Cook Eliot suggests that the Indian word<br />
used by the apparition was Tetlcoatlaxopeuh, which could be<br />
transcribed phonetically as Deguatlashupee. To Spanish ears, this<br />
would naturally sound like "De Guadalupe." But the apparition<br />
spoke the same Indian dialect as Juan Diego and his uncle—<br />
she even looked like "a young Indian girl"—and she had no reason<br />
to use the Spanish term ascribed to her. Tetlcoatlaxopeuh means<br />
"Stone Serpent Trodden on." Helen Bchrcns assumes that the<br />
apparition was thus announcing that she had supplanted Ouctzalcoatl,<br />
whom the Indians had idolized as a feathered serpent.<br />
This impressive story contains a magnificent symbolism. Not<br />
only docs it bring us back, through the stone serpent, to the Maya<br />
monuments we discussed at the beginning of this book, but it<br />
also reminds us, in several important aspects, of the many talcs of<br />
fairies we have reviewed: the mysterious, sweet music announcing<br />
that the fairy draws near; the flowers (roses once again) that grow<br />
in an impossible place; and the sign given to the human messenger,<br />
which changes nature as he goes away, like the coals given<br />
to human midwives by the gnomes that changed to gold; the<br />
numerous similar symbols found in countless talcs;* and finally,<br />
the cosmic symbolism, the crescent moon under the Virgin's feet,<br />
as in the lines of Revelation:<br />
And there appeared a great sign in heaven; a woman clothed with<br />
the sun, and the moon was under her feet, and upon her head a<br />
crown of twelve stars. 6<br />
"LOOK BUT DO NOT TOUCH"<br />
It was a very great wonder, a sign, in heaven indeed, the marvelous<br />
airship that flew over the United States in the spring of<br />
* Indeed, we cannot help but recall here the words of llartland in his<br />
Science of Fairy Talcs: "This gift of an object apparently worthless, which<br />
turns out, on the conditions being observed, of the utmost value, is a commonplace<br />
of fairy transactions. It is one of the most obvious manifestations<br />
of superhuman power,"