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ould not be with his

sword? Elsewhere the poet speaks conquest's own eulogy: "Through history those men are heroes whose deeds have been given proper recognition by the historian's pen" (35). He already senses that the pen does not render the glory of the sword immutable; in this his

torical moment, the pen takes up a work that the sword itself cannot perform. Thus while the old prestige economy of conquest may momentarily enter into its present here, it does so at the expense of its own practice: mandated out of existence by the monarch, the performance of Spanish conquest finds its refuge, and later a final resting place, in a practice o

f writing. When the epic is reviewed by the royal censors in 1609, it

ew Mexico once before, prior to his Historia: "From that place he wrote a letter to the viceroy of Spain, praising the high quality, ri

chness, and fertility of the provinces of

New Mexico, when the opposite is true, as it is a sterile and poor land" (D/O 1116).' Villagra's writing is found guilty, in other words, of lacking truth and offering far too much imagination. Onate, in turn, is also tried and found guilty of brutality in New Mexico at the battle of Acoma. In the end, the law exiles both men from the New Mexico they

"conquered," and both die stripped of their desired military honors. Despite Onate and Villagra's attem, please contact our webmaster at pts to invoke performati

vely in act and word the "honor" of conquest, the final word