Chapter II: Mexican Mythology (1)

Nahua Religion

The religion of the ancient Mexicans was a polytheism or worship of a pantheon of deities, the general aspect of which presented similarities to the systems of Greece and Egypt. Original influences, however, were strong, and they are especially discernible in the institutions of ritualistic cannibalism and human sacrifice. Strange resemblances to Christian practice were observed in the Aztec mythology by the Spanish Conquistadores, who piously condemned the native customs of baptism, consubstantiation, and confession as frauds founded and perpetuated by diabolic agency.

A superficial examination of the Nahua religion might lead to the inference that within its scope and system no definite theological views were embraced and no ethical principles propounded, and that the entire mythology presents only the fantastic attitude of the barbarian mind toward the eternal verities. Such a conclusion would be both erroneous and unjust to a human intelligence of a type by no means debased. As a matter of fact, the Nahua displayed a theological advancement greatly superior to that of the Greeks or Romans, and quite on a level with that expressed by the Egyptians and Assyrians. Toward the period of the Spanish occupation the Mexican priesthood was undoubtedly advancing to the contemplation of the exaltation of one god, whose worship was fast excluding that of similar deities, and if our data are too imperfect to allow us to speak very fully in regard to this phase of religious advancement, we know at least that much of the Nahua ritual and many of the prayers preserved by the labours of the Spanish fathers are unquestionably genuine, and display the attainment of a high religious level.

Cosmology

Aztec theology postulated an eternity which, however, was not without its epochs. It was thought to be broken up into a number of æons, each of which depended upon the period of duration of a separate "sun." No agreement is noticeable among authorities on Mexican mythology as to the number of these "suns," but it would appear as probable that the favourite tradition stipulated for four "suns" or epochs, each of which concluded with a national disaster--flood, famine, tempest, or fire. The present æon, they feared, might conclude upon the completion of every "sheaf" of fifty-two years, the "sheaf" being a merely arbitrary portion of an æon. The period of time from the first creation to the current æon was variously computed as 15,228, 2386, or 1404 solar years, the discrepancy and doubt arising because of the equivocal nature of the numeral signs expressing the period in the pinturas or native paintings. As regards the sequence of "suns" there is no more agreement than there is regarding their number. The Codex Vaticanus states it to have been water, wind, fire, and famine. Humboldt gives it as hunger, fire, wind, and water; Boturini as water, famine, wind, and fire; and Gama as hunger, wind, fire, and water.

In all likelihood the adoption of four ages arose from the sacred nature of that number. The myth doubtless shaped itself upon the tonalamatl (Mexican native calendar), the great repository of the wisdom of the Nahua race, which the priestly class regarded as its vade mecum, and which was closely consulted by it on every occasion, civil or religious.

The Sources of Mexican Mythology

Our knowledge of the mythology of the Mexicans is chiefly gained through the works of those Spaniards, lay and cleric, who entered the country along with or immediately subsequent to the Spanish Conquistadores. From several of these we have what might be called first-hand accounts of the theogony and ritual of the Nahua people. The most valuable compendium is that of Father Bernardino Sahagun, entitled A General History of the Affairs of New Spain, which was published from manuscript only in the middle of last century, though written in the first half of the sixteenth century. Sahagun arrived in Mexico eight years after the country had been reduced by the Spaniards to a condition of servitude. He obtained a thorough mastery of the Nahuatl tongue, and conceived a warm admiration for the native mind and a deep interest in the antiquities of the conquered people. His method of collecting facts concerning their mythology and history was as effective as it was ingenious. He held daily conferences with reliable Indians, and placed questions before them, to which they replied by symbolical paintings detailing the answers which he required. These he submitted to scholars who had been trained under his own supervision, and who, after consultation among themselves, rendered him a criticism in Nahuatl of the hieroglyphical paintings he had placed at their disposal. Not content with this process, he subjected these replies to the criticism of a third body, after which the matter was included in his work. But ecclesiastical intolerance was destined to keep the work from publication for a couple of centuries. Afraid that such a volume would be successful in keeping alight the fires of paganism in Mexico, Sahagun's brethren refused him the assistance he required for its publication. But on his appealing to the Council of the Indies in Spain he was met with encouragement, and was ordered to translate his great work into Spanish, a task he undertook when over eighty years of age. He transmitted the work to Spain, and for three hundred years nothing more was heard of it.

The Romance of the Lost "Sahagun"

For generations antiquarians interested in the lore of ancient Mexico bemoaned its loss, until at length one Muñoz, more indefatigable than the rest, chanced to visit the crumbling library of the ancient convent of Tolosi, in Navarre. There, among time-worn manuscripts and tomes relating to the early fathers and the intricacies of canon law, he discovered the lost Sahagun! It was printed separately by Bustamante at Mexico and by Lord Kingsborough in his collection in 1830, and has been translated into French by M. Jourdanet. Thus the manuscript commenced in or after 1530 was given to the public after a lapse of no less than three hundred years!

Torquemada

Father Torquemada arrived in the New World about the middle of the sixteenth century, at which period he was still enabled to take from the lips of such of the Conquistadores as remained much curious information regarding the circumstances of their advent. His Monarchia Indiana was first published at Seville in 1615, and in it he made much use of the manuscript of Sahagun, not then published. At the same time his observations upon matters pertaining to the native religion are often illuminating and exhaustive.

In his Storia Antica del Messico the Abbé Clavigero, who published his work in 1780, did much to disperse the clouds of tradition which hung over Mexican history and mythology. The clarity of his style and the exactness of his information render his work exceedingly useful.

Antonio Gama, in his Descripcion Historica y Cronologica de las dos Piedras, poured a flood of light on Mexican antiquities. His work was published in 1832. With him may be said to have ceased the line of Mexican archæologists of the older school. Others worthy of being mentioned among the older writers on Mexican mythology (we are not here concerned with history) are Boturini, who, in his Idea de una Nueva Historia General de la America Septentrional, gives a vivid picture of native life and tradition, culled from first-hand communication with the people; Ixtlilxochitl, a half-breed, whose mendacious works, the Relaciones and Historia Chichimeca, are yet valuable repositories of tradition; José de Acosta, whose Historia Natural y Moral de las Yndias was published at Seville in 1580; and Gomara, who, in his Historia General de las Indias (Madrid, 1749), rested upon the authority of the Conquistadores. Tezozomoc's Chronica Mexicana, reproduced in Lord Kingsborough's great work, is valuable as giving unique facts regarding the Aztec mythology, as is the Teatro Mexicana of Vetancurt, published at Mexico in 1697-98.

The Worship of One God

The ritual of this dead faith of another hemisphere abounds in expressions concerning the unity of the deity approaching very nearly to many of those we ourselves employ regarding God's attributes. The various classes of the priesthood were in the habit of addressing the several gods to whom they ministered as "omnipotent," "endless," "invisible," "the one god complete in perfection and unity," and "the Maker and Moulder of All." These appellations they applied not to one supreme being, but to the individual deities to whose service they were attached. It may be thought that such a practice would be fatal to the evolution of a single and universal god. But there is every reason to believe that Tezcatlipoca, the great god of the air, like the Hebrew Jahveh, also an air-god, was fast gaining precedence of all other deities, when the coming of the white man put an end to his chances of sovereignty.

Tezcatlipoca

Tezcatlipoca (Fiery Mirror) was undoubtedly the Jupiter of the Nahua pantheon. He carried a mirror or shield, from which he took his name, and in which he was supposed to see reflected the actions and deeds of mankind. The evolution of this god from the status of a spirit of wind or air to that of the supreme deity of the Aztec people presents many points of deep interest to students of mythology. Originally the personification of the air, the source both of the breath of life and of the tempest, Tezcatlipoca possessed all the attributes of a god who presided over these phenomena. As the tribal god of the Tezcucans who had led them into the Land of Promise, and had been instrumental in the defeat of both the gods and men of the elder race they dispossessed, Tezcatlipoca naturally advanced so speedily in popularity and public honour that it was little wonder that within a comparatively short space of time he came to be regarded as a god of fate and fortune, and as inseparably connected with the national destinies. Thus, from being the peculiar deity of a small band of Nahua immigrants, the prestige accruing from the rapid conquest made under his tutelary direction and the speedily disseminated tales of the prowess of those who worshipped him seemed to render him at once the most popular and the best feared god in Anahuac, therefore the one whose cult quickly overshadowed that of other and similar gods.

Tezcatlipoca, Overthrower of the Toltecs

We find Tezcatlipoca intimately associated with the legends which recount the overthrow of Tollan, the capital of the Toltecs. His chief adversary on the Toltec side is the god-king Quetzalcoatl, whose nature and reign we will consider later, but whom we will now merely regard as the enemy of Tezcatlipoca. The rivalry between these gods symbolises that which existed between the civilised Toltecs and the barbarian Nahua, and is well exemplified in the following myths.

Myths of Quetzalcoatl and Tezcatlipoca

In the days of Quetzalcoatl there was abundance of everything necessary for subsistence. The maize was plentiful, the calabashes were as thick as one's arm, and cotton grew in all colours without having to be dyed. A variety of birds of rich plumage filled the air with their songs, and gold, silver, and precious stones were abundant. In the reign of Quetzalcoatl there was peace and plenty for all men.

But this blissful state was too fortunate, too happy to endure. Envious of the calm enjoyment of the god and his people the Toltecs, three wicked "necromancers" plotted their downfall. The reference is of course to the gods of the invading Nahua tribes, the deities Huitzilopochtli, Titlacahuan or Tezcatlipoca, and Tlacahuepan. These laid evil enchantments upon the city of Tollan, and Tezcatlipoca in particular took the lead in these envious conspiracies. Disguised as an aged man with white hair, he presented himself at the palace of Quetzalcoatl, where he said to the pages-in-waiting: "Pray present me to your master the king. I desire to speak with him."

The pages advised him to retire, as Quetzalcoatl was indisposed and could see no one. He requested them, however, to tell the god that he was waiting outside. They did so, and procured his admittance.

On entering the chamber of Quetzalcoatl the wily Tezcatlipoca simulated much sympathy with the suffering god-king. "How are you, my son?" he asked. "I have brought you a drug which you should drink, and which will put an end to the course of your malady."

"You are welcome, old man," replied Quetzalcoatl. "I have known for many days that you would come. I am exceedingly indisposed. The malady affects my entire system, and I can use neither my hands nor feet."

Tezcatlipoca assured him that if he partook of the medicine which he had brought him he would immediately experience a great improvement in health. Quetzalcoatl drank the potion, and at once felt much revived. The cunning Tezcatlipoca pressed another and still another cup of the potion upon him, and as it was nothing but pulque, the wine of the country, he speedily became intoxicated, and was as wax in the hands of his adversary.

Tezcatlipoca and the Toltecs

Tezcatlipoca, in pursuance of his policy inimical to the Toltec state, took the form of an Indian of the name of Toueyo (Toveyo), and bent his steps to the palace of Uemac, chief of the Toltecs in temporal matters. This worthy had a daughter so fair that she was desired in marriage by many of the Toltecs, but all to no purpose, as her father refused her hand to one and all. The princess, beholding the false Toueyo passing her father's palace, fell deeply in love with him, and so tumultuous was her passion that she became seriously ill because of her longing for him. Uemac, hearing of her indisposition, bent his steps to her apartments, and inquired of her women the cause of her illness. They told him that it was occasioned by the sudden passion which had seized her for the Indian who had recently come that way. Uemac at once gave orders for the arrest of Toueyo, and he was haled before the temporal chief of Tollan.

"Whence come you?" inquired Uemac of his prisoner, who was very scantily attired.

"Lord, I am a stranger, and I have come to these parts to sell green paint," replied Tezcatlipoca.

"Why are you dressed in this fashion? Why do you not wear a cloak?" asked the chief.

"My lord, I follow the custom of my country," replied Tezcatlipoca.

"You have inspired a passion in the breast of my daughter," said Uemac. "What should be done to you for thus disgracing me?"

"Slay me; I care not," said the cunning Tezcatlipoca.

"Nay," replied Uemac, "for if I slay you my daughter will perish. Go to her and say that she may wed you and be happy."

Now the marriage of Toueyo to the daughter of Uemac aroused much discontent among the Toltecs; and they murmured among themselves, and said: "Wherefore did Uemac give his daughter to this Toueyo?" Uemac, having got wind of these murmurings, resolved to distract the attention of the Toltecs by making war upon the neighbouring state of Coatepec. The Toltecs assembled armed for the fray, and having arrived at the country of the men of Coatepec they placed Toueyo in ambush with his body-servants, hoping that he would be slain by their adversaries. But Toueyo and his men killed a large number of the enemy and put them to flight. His triumph was celebrated by Uemac with much pomp. The knightly plumes were placed upon his head, and his body was painted with red and yellow--an honour reserved for those who distinguished themselves in battle.

Tezcatlipoca's next step was to announce a great feast in Tollan, to which all the people for miles around were invited. Great crowds assembled, and danced and sang in the city to the sound of the drum. Tezcatlipoca sang to them and forced them to accompany the rhythm of his song with their feet. Faster and faster the people danced, until the pace became so furious that they were driven to madness, lost their footing, and tumbled pell-mell down a deep ravine, where they were changed into rocks. Others in attempting to cross a stone bridge precipitated themselves into the water below, and were changed into stones.

On another occasion Tezcatlipoca presented himself as a valiant warrior named Tequiua, and invited all the inhabitants of Tollan and its environs to come to the flower-garden called Xochitla. When assembled there he attacked them with a hoe, and slew a great number, and others in panic crushed their comrades to death.

Tezcatlipoca and Tlacahuepan on another occasion repaired to the market-place of Tollan, the former displaying upon the palm of his hand a small infant whom he caused to dance and to cut the most amusing capers. This infant was in reality Huitzilopochtli, the Nahua god of war. At this sight the Toltecs crowded upon one another for the purpose of getting a better view, and their eagerness resulted in many being crushed to death. So enraged were the Toltecs at this that upon the advice of Tlacahuepan they slew both Tezcatlipoca and Huitzilopochtli. When this had been done the bodies of the slain gods gave forth such a pernicious effluvia that thousands of the Toltecs died of the pestilence. The god Tlacahuepan then advised them to cast out the bodies lest worse befell them, but on their attempting to do so they discovered their weight to be so great that they could not move them. Hundreds wound cords round the corpses, but the strands broke, and those who pulled upon them fell and died suddenly, tumbling one upon the other, and suffocating those upon whom they collapsed.

The Departure of Quetzalcoatl

The Toltecs were so tormented by the enchantments of Tezcatlipoca that it was soon apparent to them that their fortunes were on the wane and that the end of their empire was at hand. Quetzalcoatl, chagrined at the turn things had taken, resolved to quit Tollan and go to the country of Tlapallan, whence he had come on his civilising mission to Mexico. He burned all the houses which he had built, and buried his treasure of gold and precious stones in the deep valleys between the mountains. He changed the cacao-trees into mezquites, and he ordered all the birds of rich plumage and song to quit the valley of Anahuac and to follow him to a distance of more than a hundred leagues. On the road from Tollan he discovered a great tree at a point called Quauhtitlan. There he rested, and requested his pages to hand him a mirror. Regarding himself in the polished surface, he exclaimed, "I am old," and from that circumstance the spot was named Huehuequauhtitlan (Old Quauhtitlan). Proceeding on his way accompanied by musicians who played the flute, he walked until fatigue arrested his steps, and he seated himself upon a stone, on which he left the imprint of his hands. This place is called Temacpalco (The Impress of the Hands). At Coaapan he was met by the Nahua gods, who were inimical to him and to the Toltecs.

"Where do you go?" they asked him. "Why do you leave your capital?"

"I go to Tlapallan," replied Quetzalcoatl, "whence I came."

"For what reason?" persisted the enchanters.

"My father the Sun has called me thence," replied Quetzalcoatl.

"Go, then, happily," they said, "but leave us the secret of your art, the secret of founding in silver, of working in precious stones and woods, of painting, and of feather-working, and other matters."

But Quetzalcoatl refused, and cast all his treasures into the fountain of Cozcaapa (Water of Precious Stones). At Cochtan he was met by another enchanter, who asked him whither he was bound, and on learning his destination proffered him a draught of wine. On tasting the vintage Quetzalcoatl was overcome with sleep. Continuing his journey in the morning, the god passed between a volcano and the Sierra Nevada (Mountain of Snow), where all the pages who accompanied him died of cold. He regretted this misfortune exceedingly, and wept, lamenting their fate with most bitter tears and mournful songs. On reaching the summit of Mount Poyauhtecatl he slid to the base. Arriving at the sea-shore, he embarked upon a raft of serpents, and was wafted away toward the land of Tlapallan.

It is obvious that these legends bear some resemblance to those of Ixtlilxochitl which recount the fall of the Toltecs. They are taken from Sahagun's work, Historia General de Nueva España, and are included as well for the sake of comparison as for their own intrinsic value.

Tezcatlipoca as Doomster

Tezcatlipoca was much more than a mere personification of wind, and if he was regarded as a life-giver he had also the power of destroying existence. In fact on occasion he appears as an inexorable death-dealer, and as such was styled Nezahualpilli (The Hungry Chief) and Yaotzin (The Enemy). Perhaps one of the names by which he was best known was Telpochtli (The Youthful Warrior), from the fact that his reserve of strength, his vital force, never diminished, and that his youthful and boisterous vigour was apparent in the tempest.

Tezcatlipoca was usually depicted as holding in his right hand a dart placed in an atlatl (spear-thrower), and his mirror-shield with four spare darts in his left. This shield is the symbol of his power as judge of mankind and upholder of human justice.

The Aztecs pictured Tezcatlipoca as rioting along the highways in search of persons on whom to wreak his vengeance, as the wind of night rushes along the deserted roads with more seeming violence than it does by day. Indeed one of his names, Yoalli Ehecatl, signifies "Night Wind." Benches of stone, shaped like those made for the dignitaries of the Mexican towns, were distributed along the highways for his especial use, that on these he might rest after his boisterous journeyings. These seats were concealed by green boughs, beneath which the god was supposed to lurk in wait for his victims. But if one of the persons he seized overcame him in the struggle he might ask whatever boon he desired, secure in the promise of the deity that it should be granted forthwith.

It was supposed that Tezcatlipoca had guided the Nahua, and especially the people of Tezcuco, from a more northerly clime to the valley of Mexico. But he was not a mere local deity of Tezcuco, his worship being widely celebrated throughout the country. His exalted position in the Mexican pantheon seems to have won for him especial reverence as a god of fate and fortune. The place he took as the head of the Nahua pantheon brought him many attributes which were quite foreign to his original character. Fear and a desire to exalt their tutelar deity will impel the devotees of a powerful god to credit him with any or every quality, so that there is nothing remarkable in the spectacle of the heaping of every possible attribute, human or divine, upon Tezcatlipoca when we recall the supreme position he occupied in Mexican mythology. His priestly caste far surpassed in power and in the breadth and activity of its propaganda the priesthoods of the other Mexican deities. To it is credited the invention of many of the usages of civilisation, and that it all but succeeded in making his worship universal is pretty clear, as has been shown. The other gods were worshipped for some special purpose, but the worship of Tezcatlipoca was regarded as compulsory, and to some extent as a safeguard against the destruction of the universe, a calamity the Nahua had been led to believe might occur through his agency. He was known as Moneneque (The Claimer of Prayer), and in some of the representations of him an ear of gold was shown suspended from his hair, toward which small tongues of gold strained upward in appeal of prayer. In times of national danger, plague, or famine universal prayer was made to Tezcatlipoca. The heads of the community repaired to his teocalli (temple) accompanied by the people en masse, and all prayed earnestly together for his speedy intervention. The prayers to Tezcatlipoca still extant prove that the ancient Mexicans fully believed that he possessed the power of life and death, and many of them are couched in the most piteous terms.

The Teotleco Festival

The supreme position occupied by Tezcatlipoca in the Mexican religion is well exemplified in the festival of the Teotleco (Coming of the Gods), which is fully described in Sahagun's account of the Mexican festivals. Another peculiarity connected with his worship was that he was one of the few Mexican deities who had any relation to the expiation of sin. Sin was symbolised by the Nahua as excrement, and in various manuscripts Tezcatlipoca is represented as a turkey-cock to which ordure is being offered up.

Of the festival of the Teotleco Sahagun says: "In the twelfth month a festival was celebrated in honour of all the gods, who were said to have gone to some country I know not where. On the last day of the month a greater one was held, because the gods had returned. On the fifteenth day of this month the young boys and the servitors decked all the altars or oratories of the gods with boughs, as well as those which were in the houses, and the images which were set up by the wayside and at the cross-roads. This work was paid for in maize. Some received a basketful, and others only a few ears. On the eighteenth day the ever-youthful god Tlamatzincatl or Titlacahuan arrived. It was said that he marched better and arrived the first because he was strong and young. Food was offered him in his temple on that night. Every one drank, ate, and made merry. The old people especially celebrated the arrival of the god by drinking wine, and it was alleged that his feet were washed by these rejoicings. The last day of the month was marked by a great festival, on account of the belief that the whole of the gods arrived at that time. On the preceding night a quantity of flour was kneaded on a carpet into the shape of a cheese, it being supposed that the gods would leave a footprint thereon as a sign of their return. The chief attendant watched all night, going to and fro to see if the impression appeared. When he at last saw it he called out, 'The master has arrived,' and at once the priests of the temple began to sound the horns, trumpets, and other musical instruments used by them. Upon hearing this noise every one set forth to offer food in all the temples." The next day the aged gods were supposed to arrive, and young men disguised as monsters hurled victims into a huge sacrificial fire.

The Toxcatl Festival

The most remarkable festival in connection with Tezcatlipoca was the Toxcatl, held in the fifth month. On the day of this festival a youth was slain who for an entire year previously had been carefully instructed in the rôle of victim. He was selected from among the best war captives of the year, and must be without spot or blemish. He assumed the name, garb, and attributes of Tezcatlipoca himself, and was regarded with awe by the entire populace, who imagined him to be the earthly representative of the deity. He rested during the day, and ventured forth at night only, armed with the dart and shield of the god, to scour the roads. This practice was, of course, symbolical of the wind-god's progress over the night-bound highways. He carried also the whistle symbolical of the deity, and made with it a noise such as the weird wind of night makes when it hurries through the streets. To his arms and legs small bells were attached. He was followed by a retinue of pages, and at intervals rested upon the stone seats which were placed upon the highways for the convenience of Tezcatlipoca. Later in the year he was mated to four beautiful maidens of high birth, with whom he passed the time in amusement of every description. He was entertained at the tables of the nobility as the earthly representative of Tezcatlipoca, and his latter days were one constant round of feasting and excitement. At last the fatal day upon which he must be sacrificed arrived. He took a tearful farewell of the maidens whom he had espoused, and was carried to the teocalli of sacrifice, upon the sides of which he broke the musical instruments with which he had beguiled the time of his captivity. When he reached the summit he was received by the high-priest, who speedily made him one with the god whom he represented by tearing his heart out on the stone of sacrifice.

Huitzilopochtli, the War-God

Huitzilopochtli occupied in the Aztec pantheon a place similar to that of Mars in the Roman. His origin is obscure, but the myth relating to it is distinctly original in character. It recounts how, under the shadow of the mountain of Coatepec, near the Toltec city of Tollan, there dwelt a pious widow called Coatlicue, the mother of a tribe of Indians called Centzonuitznaua, who had a daughter called Coyolxauhqui, and who daily repaired to a small hill with the intention of offering up prayers to the gods in a penitent spirit of piety. Whilst occupied in her devotions one day she was surprised by a small ball of brilliantly coloured feathers falling upon her from on high. She was pleased by the bright variety of its hues, and placed it in her bosom, intending to offer it up to the sun-god. Some time afterwards she learnt that she was to become the mother of another child. Her sons, hearing of this, rained abuse upon her, being incited to humiliate her in every possible way by their sister Coyolxauhqui.

Coatlicue went about in fear and anxiety; but the spirit of her unborn infant came and spoke to her and gave her words of encouragement, soothing her troubled heart. Her sons, however, were resolved to wipe out what they considered an insult to their race by the death of their mother, and took counsel with one another to slay her. They attired themselves in their war-gear, and arranged their hair after the manner of warriors going to battle. But one of their number, Quauitlicac, relented, and confessed the perfidy of his brothers to the still unborn Huitzilopochtli, who replied to him: "O brother, hearken attentively to what I have to say to you. I am fully informed of what is about to happen." With the intention of slaying their mother, the Indians went in search of her. At their head marched their sister, Coyolxauhqui. They were armed to the teeth, and carried bundles of darts with which they intended to kill the luckless Coatlicue.

Quauitlicac climbed the mountain to acquaint Huitzilopochtli with the news that his brothers were approaching to kill their mother.

"Mark well where they are at," replied the infant god. "To what place have they advanced?"

"To Tzompantitlan," responded Quauitlicac.

Later on Huitzilopochtli asked: "Where may they be now?"

"At Coaxalco," was the reply.

Once more Huitzilopochtli asked to what point his enemies had advanced.

"They are now at Petlac," Quauitlicac replied.

After a little while Quauitlicac informed Huitzilopochtli that the Centzonuitznaua were at hand under the leadership of Coyolxauhqui. At the moment of the enemy's arrival Huitzilopochtli was born, flourishing a shield and spear of a blue colour. He was painted, his head was surmounted by a panache, and his left leg was covered with feathers. He shattered Coyolxauhqui with a flash of serpentine lightning, and then gave chase to the Centzonuitznaua, whom he pursued four times round the mountain. They did not attempt to defend themselves, but fled incontinently. Many perished in the waters of the adjoining lake, to which they had rushed in their despair. All were slain save a few who escaped to a place called Uitzlampa, where they surrendered to Huitzilopochtli and gave up their arms.

The name Huitzilopochtli signifies "Humming-bird to the left," from the circumstance that the god wore the feathers of the humming-bird, or colibri, on his left leg. From this it has been inferred that he was a humming-bird totem. The explanation of Huitzilopochtli's origin is a little deeper than this, however. Among the American tribes, especially those of the northern continent, the serpent is regarded with the deepest veneration as the symbol of wisdom and magic. From these sources come success in war. The serpent also typifies the lightning, the symbol of the divine spear, the apotheosis of warlike might. Fragments of serpents are regarded as powerful war-physic among many tribes. Atatarho, a mythical wizard-king of the Iroquois, was clothed with living serpents as with a robe, and his myth throws light on one of the names of Huitzilopochtli's mother, Coatlantona (Robe of Serpents). Huitzilopochtli's image was surrounded by serpents, and rested on serpent-shaped supporters. His sceptre was a single snake, and his great drum was of serpent-skin.

In American mythology the serpent is closely associated with the bird. Thus the name of the god Quetzalcoatl is translatable as "Feathered Serpent," and many similar cases where the conception of bird and serpent have been unified could be adduced. Huitzilopochtli is undoubtedly one of these. We may regard him as a god the primary conception of whom arose from the idea of the serpent, the symbol of warlike wisdom and might, the symbol of the warrior's dart or spear, and the humming-bird, the harbinger of summer, type of the season when the snake or lightning god has power over the crops.

Huitzilopochtli was usually represented as wearing on his head a waving panache or plume of humming-birds' feathers. His face and limbs were striped with bars of blue, and in his right hand he carried four spears. His left hand bore his shield, on the surface of which were displayed five tufts of down, arranged in the form of a quincunx. The shield was made with reeds, covered with eagle's down. The spear he brandished was also tipped with tufts of down instead of flint. These weapons were placed in the hands of those who as captives engaged in the sacrificial fight, for in the Aztec mind Huitzilopochtli symbolised the warrior's death on the gladiatorial stone of combat. As has been said, Huitzilopochtli was war-god of the Aztecs, and was supposed to have led them to the site of Mexico from their original home in the north. The city of Mexico took its name from one of its districts, which was designated by a title of Huitzilopochtli's, Mexitli (Hare of the Aloes).

The War-God as Fertiliser

But Huitzilopochtli was not a war-god alone. As the serpent-god of lightning he had a connection with summer, the season of lightning, and therefore had dominion to some extent over the crops and fruits of the earth. The Algonquian Indians of North America believed that the rattlesnake could raise ruinous storms or grant favourable breezes. They alluded to it also as the symbol of life, for the serpent has a phallic significance because of its similarity to the symbol of generation and fructification. With some American tribes also, notably the Pueblo Indians of Arizona, the serpent has a solar significance, and with tail in mouth symbolises the annual round of the sun. The Nahua believed that Huitzilopochtli could grant them fair weather for the fructification of their crops, and they placed an image of Tlaloc, the rain-god, near him, so that, if necessary, the war-god could compel the rain-maker to exert his pluvial powers or to abstain from the creation of floods. We must, in considering the nature of this deity, bear well in mind the connection in the Nahua consciousness between the pantheon, war, and the food-supply. If war was not waged annually the gods must go without flesh food and perish, and if the gods succumbed the crops would fail, and famine would destroy the race. So it was small wonder that Huitzilopochtli was one of the chief gods of Mexico.

Huitzilopochtli's principal festival was the Toxcatl, celebrated immediately after the Toxcatl festival of Tezcatlipoca, to which it bore a strong resemblance. Festivals of the god were held in May and December, at the latter of which an image of him, moulded in dough kneaded with the blood of sacrificed children, was pierced by the presiding priest with an arrow--an act significant of the death of Huitzilopochtli until his resurrection in the next year.

Strangely enough, when the absolute supremacy of Tezcatlipoca is remembered, the high-priest of Huitzilopochtli, the Mexicatl Teohuatzin, was considered to be the religious head of the Mexican priesthood. The priests of Huitzilopochtli held office by right of descent, and their primate exacted absolute obedience from the priesthoods of all the other deities, being regarded as next to the monarch himself in power and dominion.

Tlaloc, the Rain-God

Tlaloc was the god of rain and moisture. In a country such as Mexico, where the success or failure of the crops depends entirely upon the plentiful nature or otherwise of the rainfall, he was, it will be readily granted, a deity of high importance. It was believed that he made his home in the mountains which surround the valley of Mexico, as these were the source of the local rainfall, and his popularity is vouched for by the fact that sculptured representations of him occur more often than those of any other of the Mexican deities. He is generally represented in a semi-recumbent attitude, with the upper part of the body raised upon the elbows, and the knees half drawn up, probably to represent the mountainous character of the country whence comes the rain. He was espoused to Chalchihuitlicue (Emerald Lady), who bore him a numerous progeny, the Tlalocs (Clouds). Many of the figures which represented him were carved from the green stone called chalchiuitl (jadeite), to typify the colour of water, and in some of these he was shown holding a serpent of gold to typify the lightning, for water-gods are often closely identified with the thunder, which hangs over the hills and accompanies heavy rains. Tlaloc, like his prototype, the Kiche god Hurakan, manifested himself in three forms, as the lightning-flash, the thunderbolt, and the thunder. Although his image faced the east, where he was supposed to have originated, he was worshipped as inhabiting the four cardinal points and every mountain-top. The colours of the four points of the compass, yellow, green, red, and blue, whence came the rain-bearing winds, entered into the composition of his costume, which was further crossed with streaks of silver, typifying the mountain torrents. A vase containing every description of grain was usually placed before his idol, an offering of the growth which it was hoped he would fructify. He dwelt in a many-watered paradise called Tlalocan (The Country of Tlaloc), a place of plenty and fruitfulness, where those who had been drowned or struck by lightning or had died from dropsical diseases enjoyed eternal bliss. Those of the common people who did not die such deaths went to the dark abode of Mictlan, the all-devouring and gloomy Lord of Death.

In the native manuscripts Tlaloc is usually portrayed as having a dark complexion, a large round eye, a row of tusks, and over the lips an angular blue stripe curved downward and rolled up at the ends. The latter character is supposed to have been evolved originally from the coils of two snakes, their mouths with long fangs in the upper jaw meeting in the middle of the upper lip. The snake, besides being symbolised by lightning in many American mythologies, is also symbolical of water, which is well typified in its sinuous movements.

Many maidens and children were annually sacrificed to Tlaloc. If the children wept it was regarded as a happy omen for a rainy season. The Etzalqualiztli (When they eat Bean Food) was his chief festival, and was held on a day approximating to May 13, about which date the rainy season usually commenced. Another festival in his honour, the Quauitleua, commenced the Mexican year on February 2. At the former festival the priests of Tlaloc plunged into a lake, imitating the sounds and movements of frogs, which, as denizens of water, were under the special protection of the god. Chalchihuitlicue, his wife, was often symbolised by the small image of a frog.

Sacrifices to Tlaloc

Human sacrifices also took place at certain points in the mountains where artificial ponds were consecrated to Tlaloc. Cemeteries were situated in their vicinity, and offerings to the god interred near the burial-place of the bodies of the victims slain in his service. His statue was placed on the highest mountain of Tezcuco, and an old writer mentions that five or six young children were annually offered to the god at various points, their hearts torn out, and their remains interred. The mountains Popocatepetl and Teocuinani were regarded as his special high places, and on the heights of the latter was built his temple, in which stood his image carved in green stone.

The Nahua believed that the constant production of food and rain induced a condition of senility in those deities whose duty it was to provide them. This they attempted to stave off, fearing that if they failed in so doing the gods would perish. They afforded them, accordingly, a period of rest and recuperation, and once in eight years a festival called the Atamalqualiztli (Fast of Porridge-balls and Water) was held, during which every one in the Nahua community returned for the time being to the conditions of savage life. Dressed in costumes representing all forms of animal and bird life, and mimicking the sounds made by the various creatures they typified, the people danced round the teocalli of Tlaloc for the purpose of diverting and entertaining him after his labours in producing the fertilising rains of the past eight years. A lake was filled with water-snakes and frogs, and into this the people plunged, catching the reptiles in their mouths and devouring them alive. The only grain food which might be partaken during this season of rest was thin water-porridge of maize.

Should one of the more prosperous peasants or yeomen deem a rainfall necessary to the growth of his crops, or should he fear a drought, he sought out one of the professional makers of dough or paste idols, whom he desired to mould one of Tlaloc. To this image offerings of maize-porridge and pulque were made. Throughout the night the farmer and his neighbours danced, shrieking and howling round the figure for the purpose of rousing Tlaloc from his drought-bringing slumbers. Next day was spent in quaffing huge libations of pulque, and in much-needed rest from the exertions of the previous night.

In Tlaloc it is easy to trace resemblances to a mythological conception widely prevalent among the indigenous American peoples. He is similar to such deities as the Hurakan of the Kiche of Guatemala, the Pillan of the aborigines of Chile, and Con, the thunder-god of the Collao of Peru. Only his thunderous powers are not so apparent as his rain-making abilities, and in this he differs somewhat from the gods alluded to.

Quetzalcoatl

It is highly probable that Quetzalcoatl was a deity of the pre-Nahua people of Mexico. He was regarded by the Aztec race as a god of somewhat alien character, and had but a limited following in Mexico, the city of Huitzilopochtli. In Cholula, however, and others of the older towns his worship flourished exceedingly. He was regarded as "The Father of the Toltecs," and, legend says, was the seventh and youngest son of the Toltec Abraham, Iztacmixcohuatl. Quetzalcoatl (whose name means "Feathered Serpent" or "Feathered Staff") became, at a relatively early period, ruler of Tollan, and by his enlightened sway and his encouragement of the liberal arts did much to further the advancement of his people. His reign had lasted for a period sufficient to permit of his placing the cultivated arts upon a satisfactory basis when the country was visited by the cunning magicians Tezcatlipoca and Coyotlinaual, god of the Amantecas. Disentangled from its terms of myth, this statement may be taken to imply that bands of invading Nahua first began to appear within the Toltec territories. Tezcatlipoca, descending from the sky in the shape of a spider by way of a fine web, proffered him a draught of pulque, which so intoxicated him that the curse of lust descended upon him, and he forgot his chastity with Quetzalpetlatl. The doom pronounced upon him was the hard one of banishment, and he was compelled to forsake Anahuac. His exile wrought peculiar changes upon the face of the country. He secreted his treasures of gold and silver, burned his palaces, transformed the cacao-trees into mezquites, and banished all the birds from the neighbourhood of Tollan. The magicians, nonplussed at these unexpected happenings, begged him to return, but he refused on the ground that the sun required his presence. He proceeded to Tabasco, the fabled land of Tlapallan, and, embarking upon a raft made of serpents, floated away to the east. A slightly different version of this myth has already been given. Other accounts state that the king cast himself upon a funeral pyre and was consumed, and that the ashes arising from the conflagration flew upward, and were changed into birds of brilliant plumage. His heart also soared into the sky, and became the morning star. The Mexicans averred that Quetzalcoatl died when the star became visible, and thus they bestowed upon him the title "Lord of the Dawn." They further said that when he died he was invisible for four days, and that for eight days he wandered in the underworld, after which time the morning star appeared, when he achieved resurrection, and ascended his throne as a god.

It is the contention of some authorities that the myth of Quetzalcoatl points to his status as god of the sun. That luminary, they say, begins his diurnal journey in the east, whence Quetzalcoatl returned as to his native home. It will be recalled that Montezuma and his subjects imagined that Cortés was no other than Quetzalcoatl, returned to his dominions, as an old prophecy declared he would do. But that he stood for the sun itself is highly improbable, as will be shown. First of all, however, it will be well to pay some attention to other theories concerning his origin.

Perhaps the most important of these is that which regards Quetzalcoatl as a god of the air. He is connected, say some, with the cardinal points, and wears the insignia of the cross, which symbolises them. Dr. Seler says of him: "He has a protruding, trumpet-like mouth, for the wind-god blows.... His figure suggests whirls and circles. Hence his temples were built in circular form.... The head of the wind-god stands for the second of the twenty day signs, which was called Ehecatl (Wind)." The same authority, however, in his essay on Mexican chronology, gives to Quetzalcoatl a dual nature, "the dual nature which seems to belong to the wind-god Quetzalcoatl, who now appears simply a wind-god, and again seems to show the true characters of the old god of fire and light." [8]

Dr. Brinton perceived in Quetzalcoatl a similar dual nature. "He is both lord of the eastern light and of the winds," he writes (Myths of the New World, p. 214). "Like all the dawn heroes, he too was represented as of white complexion, clothed in long, white robes, and, as many of the Aztec gods, with a full and flowing beard.... He had been overcome by Tezcatlipoca, the wind or spirit of night, who had descended from heaven by a spider's web, and presented his rival with a draught supposed to confer immortality, but in fact producing an intolerable longing for home. For the wind and the light both depart when the gloaming draws near, or when the clouds spread their dark and shadowy webs along the mountains, and pour the vivifying rain upon the fields."

The theory which derives Quetzalcoatl from a "culture-hero" who once actually existed is scarcely reconcilable with probability. It is more than likely that, as in the case of other mythical paladins, the legend of a mighty hero arose from the somewhat weakened idea of a great deity. Some of the early Spanish missionaries professed to see in Quetzalcoatl the Apostle St. Thomas, who had journeyed to America to effect its conversion!

The Man of the Sun

A more probable explanation of the origin of Quetzalcoatl and a more likely elucidation of his nature is that which would regard him as the Man of the Sun, who has quitted his abode for a season for the purpose of inculcating in mankind those arts which represent the first steps in civilisation, who fulfils his mission, and who, at a late period, is displaced by the deities of an invading race. Quetzalcoatl was represented as a traveller with staff in hand, and this is proof of his solar character, as is the statement that under his rule the fruits of the earth flourished more abundantly than at any subsequent period. The abundance of gold said to have been accumulated in his reign assists the theory, the precious metal being invariably associated with the sun by most barbarous peoples. In the native pinturas it is noticeable that the solar disc and semi-disc are almost invariably found in connection with the feathered serpent as the symbolical attributes of Quetzalcoatl. The Hopi Indians of Mexico at the present day symbolise the sun as a serpent, tail in mouth, and the ancient Mexicans introduced the solar disc in connection with small images of Quetzalcoatl, which they attached to the head-dress. In still other examples Quetzalcoatl is pictured as if emerging or stepping from the luminary, which is represented as his dwelling-place.

Several tribes tributary to the Aztecs were in the habit of imploring Quetzalcoatl in prayer to return and free them from the intolerable bondage of the conqueror. Notable among them were the Totonacs, who passionately believed that the sun, their father, would send a god who would free them from the Aztec yoke. On the coming of the Spaniards the European conquerors were hailed as the servants of Quetzalcoatl, thus in the eyes of the natives fulfilling the tradition that he would return.

Various Forms of Quetzalcoatl

Various conceptions of Quetzalcoatl are noticeable in the mythology of the territories which extended from the north of Mexico to the marshes of Nicaragua. In Guatemala the Kiches recognised him as Gucumatz, and in Yucatan proper he was worshipped as Kukulcan, both of which names are but literal translations of his Mexican title of "Feathered Serpent" into Kiche and Mayan. That the three deities are one and the same there can be no shadow of doubt. Several authorities have seen in Kukulcan a "serpent-and-rain god." He can only be such in so far as he is a solar god also. The cult of the feathered snake in Yucatan was unquestionably a branch of sun-worship. In tropical latitudes the sun draws the clouds round him at noon. The rain falls from the clouds accompanied by thunder and lightning--the symbols of the divine serpent. Therefore the manifestations of the heavenly serpent were directly associated with the sun, and no statement that Kukulcan is a mere serpent-and-water god satisfactorily elucidates his characteristics.

Quetzalcoatl's Northern Origin

It is by no means improbable that Quetzalcoatl was of northern origin, and that on his adoption by southern peoples and tribes dwelling in tropical countries his characteristics were gradually and unconsciously altered in order to meet the exigencies of his environment. The mythology of the Indians of British Columbia, whence in all likelihood the Nahua originally came, is possessed of a central figure bearing a strong resemblance to Quetzalcoatl. Thus the Thlingit tribe worship Yetl; the Quaquiutl Indians, Kanikilak; the Salish people of the coast, Kumsnöotl, Quäaqua, or Släalekam. It is noticeable that these divine beings are worshipped as the Man of the Sun, and totally apart from the luminary himself, as was Quetzalcoatl in Mexico. The Quaquiutl believe that before his settlement among them for the purpose of inculcating in the tribe the arts of life, the sun descended as a bird, and assumed a human shape. Kanikilak is his son, who, as his emissary, spreads the arts of civilisation over the world. So the Mexicans believed that Quetzalcoatl descended first of all in the form of a bird, and was ensnared in the fowler's net of the Toltec hero Hueymatzin.

The titles bestowed upon Quetzalcoatl by the Nahua show that in his solar significance he was god of the vault of the heavens, as well as merely son of the sun. He was alluded to as Ehecatl (The Air), Yolcuat (The Rattlesnake), Tohil (The Rumbler), Nanihehecatl (Lord of the Four Winds), Tlauizcalpantecutli (Lord of the Light of the Dawn). The whole heavenly vault was his, together with all its phenomena. This would seem to be in direct opposition to the theory that Tezcatlipoca was the supreme god of the Mexicans. But it must be borne in mind that Tezcatlipoca was the god of a later age, and of a fresh body of Nahua immigrants, and as such inimical to Quetzalcoatl, who was probably in a similar state of opposition to Itzamna, a Maya deity of Yucatan.

The Worship of Quetzalcoatl