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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,"

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