The Spanish soon took Moctezuma hostage on November 14, 1519, as a safety measure because they were so outnumbered by the Aztec. Secondly they learned that Moctezuma had heard from a messenger, a few days before Cortes, that at least eight hundred more Spaniards in thirteen great ships had arrived on the coast. Cortés had been communicating to the Crown that he already had control of the territory and was practically running the city of Tenochtitlan. He was at risk of having his commission revoked, because the vast new Spanish forces were sent by his enemy Diego Velázquez. If they competed for power, they could have ended his campaign in Mexico and might have doomed the try for a lightning conquest.
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It is uncertain why Moctezuma cooperated so readily with the Spaniards. It is possible he feared losing his life or political power; however, one of the effective threats wielded by Cortés was the destruction of his beautiful city in the case of fighting between Spaniards and Aztecs (which ultimately came to pass). This Moctezuma at all costs wanted to avoid, vacillating and deferring the rupture until this policy claimed his life. It was clear from the beginning that he was ambivalent about who Cortés and his men really were, whether they be gods, descendants of a god, ambassadors from a greater king, or just barbaric invaders. From the perspective of the tlatoani, the Spaniards might have been assigned some decisive role by fate. It could also have been a tactical move: Moctezuma may have wanted to gather more information on the Spaniards, or to wait for the end of the agricultural season and strike at the beginning of the war season.[clarification needed] However, he did not carry out either of these actions even though high-ranking military leaders such as his brother Cuitlahuac and nephew Cacamatzin urged him to do so.[2][page needed]
With Moctezuma captive, Cortés did not need to worry about being cut off from supplies or being attacked, although some of his captains had such concerns. He also assumed that he could control the Aztecs through Moctezuma. However, Cortés had little knowledge of the ruling system of the Aztecs; Moctezuma was not all-powerful as Cortés imagined. Being appointed to and maintaining the position of tlatoani was based on the ability to rule decisively; he could be replaced by another noble if he failed to do so. At any sign of weakness, Aztec nobles within Tenochtitlan and in other Aztec tributaries were liable to rebel. As Moctezuma complied with orders issued by Cortés, such as commanding tribute to be gathered and given to the Spaniards, his authority was slipping, and quickly his people began to turn against him.[2][page needed]
Cortés failed to grasp the full extent of the situation, as the attack on the festival was the last straw for the Aztecs, who now were completely against Moctezuma and the Spanish. The military gains of the attack therefore had a serious political cost for Cortés. His new followers were greatly disturbed at the power of the Aztecs, and held Cortés to be a liar since nobody revered them and brought them food and gifts as Cortés had promised.[2]
The women survivors included Cortés's translator and lover La Malinche, María Estrada, Beatriz de Palacios, and two of Moctezuma's daughters who had been given to Cortés, including the emperor's favorite and reportedly most beautiful daughter Tecuichpotzin (later Doña Isabel Moctezuma). A third daughter died, leaving behind her infant by Cortés, the mysterious second "María" named in his will.
Cuitláhuac had been elected as the emperor immediately following Moctezuma's death. It was necessary for him to prove his power and authority to keep the tributaries from revolting. Usually, the new king would take his army on a campaign before coronation; this demonstration would solidify necessary ties. However, Cuitláhuac was not in a position to do this, as it was not yet war season; therefore, allegiance to the Spanish seemed to be an option for many tributaries. The Aztec Empire was very susceptible to division: most of the tributary states were divided internally, and their loyalty to the Aztecs was based either on their own interests or fear of punishment.[citation needed]
The whole of his Leipzig days proved of the[Pg ix] utmost importance to mybrother's career. There he was plunged into the very midst of a torrentof intellectual influences which found an impressionable medium inthe fiery youth, and to which he eagerly made himself accessible.He did not, however, forget to discriminate among them, but testedand criticised the currents of thought he encountered, and selectedaccordingly. It is certainly of great importance to ascertain whatthose influences precisely were to which he yielded, and how longthey maintained their sway over him, and it is likewise necessary todiscover exactly when the matured mind threw off these fetters in orderto work out its own salvation.
The influences that exercised power over him in those days may bedescribed in the three following terms: Hellenism, Schopenhauer,Wagner. His love of Hellenism certainly led him to philology; but, asa matter of fact, what concerned him most was to obtain a wide viewof things in general, and this he hoped to derive from that science;philology in itself, with his splendid method and thorough way of goingto work, served him only as a means to an end.
We shall have gained much for the science of æsthetics, when once wehave perceived not only by logical inference, but by the immediatecertainty of intuition, that the continuous development of art is boundup with the duplexity of the Apollonian and the Dionysian: inlike manner as procreation is dependent on the duality of the sexes,involving perpetual conflicts with only periodically interveningreconciliations. These names we borrow from the Greeks, who discloseto the intelligent observer the profound mysteries of their view ofart, not indeed in concepts, but in the impressively clear figures oftheir world of deities. It is in connection with Apollo and Dionysus,the two art-deities of the Greeks, that we learn that there existed inthe Grecian world a wide antithesis, in origin and aims, between theart of the shaper, the Apollonian, and the non-plastic art of music,that of Dionysus: both these so heterogeneous tendencies run parallelto each other, for the most part openly at variance, and continuallyinciting each other to new and more powerful births, to perpetuate in[Pg 22]them the strife of this antithesis, which is but seemingly bridged overby their mutual term "Art"; till at last, by a metaphysical miracleof the Hellenic will, they appear paired with each other, and throughthis pairing eventually generate the equally Dionysian and Apollonianart-work of Attic tragedy.
In the same work Schopenhauer has described to us the stupendous awewhich seizes upon man, when of a sudden he is at a loss to account forthe cognitive forms of a phenomenon, in that the principle of reason,in some one of its manifestations, seems to admit of an exception.Add to this awe the blissful ecstasy which rises from the[Pg 26] innermostdepths of man, ay, of nature, at this same collapse of the principiumindividuationis, and we shall gain an insight into the being ofthe Dionysian, which is brought within closest ken perhaps by theanalogy of drunkenness. It is either under the influence of thenarcotic draught, of which the hymns of all primitive men and peoplestell us, or by the powerful approach of spring penetrating all naturewith joy, that those Dionysian emotions awake, in the augmentation ofwhich the subjective vanishes to complete self-forgetfulness. So alsoin the German Middle Ages singing and dancing crowds, ever increasingin number, were borne from place to place under this same Dionysianpower. In these St. John's and St. Vitus's dancers we again perceivethe Bacchic choruses of the Greeks, with their previous history in AsiaMinor, as far back as Babylon and the orgiastic Sacæa. There are some,who, from lack of experience or obtuseness, will turn away from suchphenomena as "folk-diseases" with a smile of contempt or pity promptedby the consciousness of their own health: of course, the poor wretchesdo not divine what a cadaverous-looking and ghastly aspect this very"health" of theirs presents when the glowing life of the Dionysianrevellers rushes past them.
Under the charm of the Dionysian not only is the covenant between manand man again established, but also estranged, hostile or subjugatednature again celebrates her reconciliation with her lost son, man. Ofher own accord earth proffers her gifts, and peacefully the beasts of[Pg 27]prey approach from the desert and the rocks. The chariot of Dionysus isbedecked with flowers and garlands: panthers and tigers pass beneathhis yoke. Change Beethoven's "jubilee-song" into a painting, and, ifyour imagination be equal to the occasion when the awestruck millionssink into the dust, you will then be able to approach the Dionysian.Now is the slave a free man, now all the stubborn, hostile barriers,which necessity, caprice, or "shameless fashion" has set up betweenman and man, are broken down. Now, at the evangel of cosmic harmony,each one feels himself not only united, reconciled, blended withhis neighbour, but as one with him, as if the veil of Mâyâ has beentorn and were now merely fluttering in tatters before the mysteriousPrimordial Unity. In song and in dance man exhibits himself as a memberof a higher community, he has forgotten how to walk and speak, andis on the point of taking a dancing flight into the air. His gesturesbespeak enchantment. Even as the animals now talk, and as the earthyields milk and honey, so also something super-natural sounds forthfrom him: he feels himself a god, he himself now walks about enchantedand elated even as the gods whom he saw walking about in his dreams.Man is no longer an artist, he has become a work of art: the artisticpower of all nature here reveals itself in the tremors of drunkennessto the highest gratification of the Primordial Unity. The noblest clay,the costliest marble, namely man, is here kneaded and cut, and thechisel strokes of[Pg 28] the Dionysian world-artist are accompanied with thecry of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnestdu den Schöpfer, Welt?"[3] 2ff7e9595c
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