ion, conforming

therefore to the dictates of the Ordinances of Discovery, it does so first by referencing the action of Cortes, the "great" conquistador of New Spain. As this was a very common "plot" in missionary drama of New Spain, we can be quite confident that the role of Cortes/conquistador would have been enacted; either Onate himself or an actor-soldier acting in his place would have played the role. Through this comedia, then, Onate is able to act both in the name of the monarch and, more importantly, in the image of Cortes. Following the comedia, Onate delivers the Requerimiento. We remember th