Lewis Spence

“ I beseech thee to look with eyes of pity upon the people of this city and kingdom, for the whole world, down to the very beasts, is in peril of destruction and disappearance and irremediable end ... for the ridges of the earth suffer sore need and anguish from lack of water ... with deep sighing and anguish of heart I cry upon all those that are gods of water, that are in the four quarters of the world ... ”

“ Bands of blood and darkness issue from the body of the Earth-goddess, in which it has its root, and these wind around its boughs. The eagle stands upon the top, each of its plumes bristling with a sacrificial stone knife. ”

“ There are present, too, in the picture, the vampire shapes of such insects as devour the maize, each decorated with the death’s-head. But, more fatal sign than all, from the pitcher of the god descends the lightning-axe, wrapped in symbolic fire. The northern Tlaloc, then, is no deity of plenty, but obviously represents the Rain-god in his most deadly and terrible aspect. The god in his western complexion is painted blue, and wears as a helmet-mask the sign of the third calendar division. ”

“ In the mythologies of many lands the Earth-mother is represented as ferocious, insatiable, as slaying those who take part in her amours, as a riotous and outrageous demon, unnatural and destructive in her lusts and appetites, and it would seem that her Mexican phase throws light upon the reasons for this savage wantonness. In the sculpture first alluded to, and in the carving on its base, we can perceive a close resemblance to the earth-monster of the Maya peoples, especially as represented in the carvings at Copan and in the Temple of the Cross at Palenque. ”

“ If we had not worshipped the gods and sacrificed to them, nourished them with blood and pleasured them with gifts, they would have ceased to watch over our welfare, and would have withheld the maize and water which kept us in life. ”

“ The crown is of dark feathers, the sombreness of which is lightened by quetzal plumes and a loin-cloth like that of the Ciuateteô or Ciuapipiltin, the dead women who had perished in childbed, and who were regarded as partaking of the nature of warriors. The end of the loin-cloth and skirt is trimmed with a hem of teeth. As a back-mirror she wears a death’s-head, below which hangs a “star-skirt,” to the plaited thongs of which rattling snail-shells are attached. ”

“ As the sun is the great central cause of all agricultural success, so Uitzilopochtli came to be looked upon as one of the promoters of plant growth, as is witnessed by his festivals, which synchronize with the first rainfall of the year, the [91] growth of plant life, and the end of the fruitful season, when, in the form of a paste image, the god was slain. He is thus the sun of the season of plenty, as his “brother” Tezcatlipocâ represents that of sereness and drought. He is the “young warrior” of the South, who drives away the evil spirits of the dry season and causes the land to rejoice. ”

“ As the dog, too, he has a connection with Hades, and, said myth, was dispatched thence for the bones from which man was created.
He is also a travelling god, for the shadows cast by the clouds seem to travel quickly over plain and mountain. As the monstrous dwarf, too, he symbolized the palace-slave, the deformed jester who catered for the amusement of the great, and this probably accounts for the symbol of the white hand outspread on his face, which he has in common with Xochipilli and the other gods of pleasure. ”

“ He wears the symbol of night upon his forehead; he is the moon, ruler of the night, the wizard who veils himself behind the clouds; he bears the severed arm of a woman who has died in childbed, as a magical instrument, as did the naualli of old Mexico. ”

“ Thus from the shape beheld in the seer’s mirror, Tezcatlipocâ came to be regarded as the seer. That into which the wizard gazed became so closely identified with sorcery as to be thought of as wizard-like itself; for Tezcatlipocâ is, of all Mexican deities, the one most nearly connected with the wizard’s art. He is par excellence the nocturnal god who haunts the crossways and appears in a myriad phantom guises to the night-bound wayfarer. “These,” says Sahagun, “were masks that Tezcatlipocâ assumed to frighten the people.” ”

“ At the time of the Conquest we observe Mexican religion as a highly complex faith, with a ceremonial of the most elaborate nature, a priesthood with nicely defined gradations in office, and a pantheon which had obviously been formed by the collocation of the deities of provincial and dependent tribes and peoples around a nucleus composed of the national and departmental gods of the Aztecâ. The great temple-area of Mexico-Tenochtitlan harboured a bewildering array of gods, many of which possessed separate shrines and ministrants. ”

“ The whole may allude, in the ultimate, to mound-burial. It is strange too—or quite natural, as we believe in, or doubt, the penetration of America by alien influences—to find in Mexico an incomplete variant of the legend of the Pied Piper of Hamelin. I should not be surprised to find that Xipe piped the Toltec children into the Underworld, for Tezcatlipocâ, with whom he was identified, or at least the captive who represented that god at the Toxcatl festival, and who had a year of merriment in which to prepare himself for his fate, went through the city at intervals, playing upon a flute. ”

“ Both present each other with a naked human figure, symbolic of human sacrifice. Between them stands a receptacle painted black and studded with eyes, with red bands in the middle and yellow border. On the left of this stands a dish filled with blood and smoking hearts, on which the goddess is pouring fire from a vessel. On the right projects the body and tail of a dragon, which is seized by the god. In the centre is seen a skull swallowing a man who is falling headforemost into its throat, and above all is pictured the moon, without, however, the usual rabbit appearing in its circumference. ”

“ When the rain comes the cypress glitters like a quetzal-feather, a Mexican euphuism for a glittering gem, or anything very precious. The xiuhcoatl, or fire-serpent, is the terrible weapon of Uitzilopochtli, with which he slew his rebellious brothers and sister, the enemies of his mother Coatlicue, [212] as Indra slew those of his mother, both of these events occurring immediately after the birth of the gods thus compared. (In the case of Indra the weapon was a thunderbolt.) The fire-serpent in this place evidently symbolizes the scorching, torrid heat which brings about famine. ”

“ They are represented in the ancient paintings as dressed in the garments and insignia of the goddess Tlazolteotl, the witch par excellence, with a fillet and ear-plug of unspun cotton, a golden crescent-shaped nasal ornament, empty eye-sockets, and the heron-feather headdress of the warrior caste, for the woman who died in child-bed was regarded as equally heroic with the man who perished in battle. ”

“ He is, indeed, the god of rain, of moisture, who dwells on the mountain peaks, and manifests himself in the lightning and the thunder, both of which are symbolized in the serpentine folds of his countenance and in its darksome hues. ”

“ It requests Tlaloc to assist the god of earth with rain, so that the vegetables and plants may grow and not perish. It also asks that the rain may be of the kind which assists growth, and that it be not accompanied by hail or lightning, the usual manifestation of the wrath of the Tlaloquê. “You who are gods of the water, who dwell at the east, west, north, and south of the world, who inhabit the subterranean places, the air, the mountains and the profound caverns, hasten to the consolation of man.” ”

“ The writer who undertakes the description of any of the great faiths of the world usually presupposes in his readers a certain acquaintance with the history and conditions of the people of whose religion he treats. But the obscurity which surrounded all questions relating to Mexican antiquity until the beginning of this century formerly made it essential that any view of its religious phase should be prefaced by an account of the peoples who professed it, their racial affinities, and the country they occupied. ”

“ The origin of his conception as the sun of the north and as the setting sun seems reasonably clear and is secondary in character. As the sun sinks in the west its brilliant gold turns to a glassy red, reminiscent of the dull reflex of light in a surface of polished obsidian. The mirror held by Tezcatlipocâ, with its fringe of feathers, obviously represents the sun of evening. ”

“ In this striking example of the Mexican sculptor’s art a representation of the face of the god is skilfully contrived by the arrangement of two snakes or serpents, the tails of which form eye-orbits and a species of nose, the reptiles’ heads meeting in the region of the mouth, their fangs thus serving the god for teeth. It is rarely in aboriginal art that a conception so individual and striking is encountered, and great imaginative ability must be conceded the sculptor who conceived it. ”

“ The people walked in the fields cutting stalks of the young maize, which they bedecked with flowers, placing them before the altars of the gods in the calpulli, or common house of the village, along with food-offerings of every kind, baskets of tortillas, or pancakes of chian flour and toasted maize mixed with beans, each surmounted by a cooked frog. ”

“ Coatlicue is, in one of her aspects, undoubtedly the flower-covered earth of spring, from whom, as it were, the sun (Uitzilopochtli) is reborn. Her serpent-skirt is probably symbolic of the circumstance that, at the season which she represents, the earth is clothed with the rain as with a garment. The myth which makes her a pious widow is obviously of late, and probably of hierophantic, origin. In my view Uitzilopochtli is chiefly her son in his naualli or disguise of a humming-bird. The humming-bird sucks from the breasts of earth as a child from its mother’s. ”

“ Tezcatlipocâ, at the period of the Conquest, had developed attributes of a more lofty kind than any of those already described. Like Quetzalcoatl, and because he was a god of the wind or atmosphere, he came to be regarded as the personification of the breath of life. In the mind of savage man the wind is usually the giver of breath, the great store-house of respiration, the source of immediate life. In many mythologies the name of the principal deity is synonymous with that for wind, and in others the words “soul” and “breath” have a common origin. ”

“ But admitting Toltec reality, what proof do we possess that such a civilizing agency as that of Quetzalcoatl gave an impetus to the “prehistoric” culture of Tollan? But little—that is if we are to regard Quetzalcoatl as a man. But in his guise as the gentle trade-wind that ushers in the rains, we have every reason to see in him the founder of the Toltec civilization. Such a culture as the Toltec must undoubtedly have had its origin in agricultural efficiency. Only through agricultural efficiency can the corvée system arise and extensive building become possible. ”

“ With true priestly diplomacy, then, it would seem that they temporized by affording Quetzalcoatl a status as the great rain-making priest, a character which he retained to the last. Myth certainly alludes to Tlaloc as the supplanter of Quetzalcoatl in the affections of the goddess Chalchihuitlicue and as robbing the peaceful culture-hero of the maize-plant which he had discovered. This does not necessarily signify the defeat of an older religion by a more novel faith, but may relate to a successful defence by the more ancient cultus and its absorption of the other. ”

“ Just as the Egyptian priests of Ammon at Thebes once a year killed a ram, flayed it, and clothed the image of their god in the skin, just as the Celtic priest wore the skin of a bull at certain festivals, so the Mexicans slew and flayed a man, in whose skin they clothed their priests and those who desired to be closely associated with the god. ”

“ Should anyone grapple with and overcome him, he might crave whatsoever boon he desired, with the surety of its being granted. The worship of Tezcatlipocâ previous to the Conquest had so advanced, and so powerful had his cult become, that it would appear as if the movement would ultimately have led to a monotheism or worship of one god equivalent to that of the cult of Jahveh, the God of the Old Testament among the ancient Hebrews. To his priestly caste is credited the invention of many of the usages of civilized life, and it succeeded in making his worship universal. ”

“ The weeping Mexicans remained with the skull and bones of their beloved captain, which they carried with them till they arrived in New Spain, and at the place where they built the great city of Tenochtitlan, or Mexico. All this time the devil spoke to them through this skull of Huitziton, often asking for the immolation of men and women, from which thing originated those bloody sacrifices, practised afterwards by this nation with so much cruelty on prisoners of war. ”

“ As has already been said, solar worship in Mexico seems to have been developed at a comparatively late period. In the myths regarding the origin of the sun given by Olmos and Sahagun, it is clear that he is regarded more as a luminary than as a god. The name Tonatiuh, indeed, means nothing more than “sun,” and although one of the sacrificed gods was believed to have [306] given him life, and he afterwards acts as a living being, he does not seem to possess the same qualities of personality as his later form, Piltzintecutli. ”

“ The revised myth took on a cultural complexion. In terms of allegory, it tells how the powers of the rain-making priest-god fail him; he becomes sick, and is beguiled and defeated by Tezcatlipocâ, the rival wind-god, who tells him that “another old man” awaits him in Tlapallan. And here we seem to find interpolated a reference to the guardian genius of the fountain of perpetual youth, the reservoir of rain and all refreshment, which Quetzalcoatl must visit if he would be cured of the ills of old age, and he is counselled to speak with its keeper if he would return to Mexico “as a boy.” ”

“ If blood-offerings to the sun were to cease, it was thought that the luminary would grow weak, fail, and become extinguished, or else would visit his wrath upon humanity in some such manner as we read of in those myths which recount the recurrent catastrophes of fire, wind, deluge, and earthquakes which the wrathful luminary brought upon mankind. ”

“ DEIFICATION OF THE ELEMENTS OF GROWTH
The elements of growth, in the mind of primitive man, are four in number, the earth, grain, rain, and solar heat, and it is not remarkable that all of these came to be regarded as deified powers, and were latterly personalized in anthropomorphic form. It does not appear that the sun was at first looked upon as an agency of growth. ”

“ The limbless body is red, the costume of the same colour, but with a face-mask of yellow, tinted to represent dead human flesh, with the chapfallen jaw of the dead, narrow slit eyes, as on sheet 92, and a red streak running over the eye, the full length of the face, indicative, perhaps, of the place where the operation of flaying was commenced. Here the nose-cap is also reminiscent of Xipe’s peculiar peaked cap, its ends especially resembling those of that headdress. Two red and white bands, the colours of the roseate spoonbill, depend from the ear. ”

“ Our knowledge of the religion of ancient Mexico, they will say, is still too vague and too fragmentary to permit of the assemblage and criticism of its material. Such a charge it is impossible to gainsay. Yet the bitter-sweet experience of twenty years of meditation among the ruins of the Mexican pantheon has emboldened me to attempt its partial restoration by the aid of such reconstructive capacity as I possess. ”

“ The circumstance that Ciuacoatl appears with the skull of a dead person leads to the conclusion that, besides being an earth-deity, she had phantom or underworld characteristics—a common connection for a grain-goddess. From her hymn we gather that she has a magical influence over the plantation and growth of the maize. She is, perhaps, a prototype of the Ciuateteô, the disappointed and vengeful women who had died in their first childbed, and the myth of her cradle containing the sacrificial knife is eloquent of the connection of the Earth-goddess with human sacrifice. ”