[Footnote 1: These myths are from the third book of Sahagun's _Historia de las Cosas de Nueva Espana_. They were taken down in the original Nahuatl, by him, from the mouth of the natives, and he gives them word for word, as they were recounted.]

The legend which appears to have been prevalent in Cholula was somewhat different. According to that, Quetzalcoatl was for many years Lord of Tollan, ruling over a happy people. At length, Tezcatlipoca let himself down from heaven by a cord made of spider's web, and, coming to Tollan, challenged its ruler to play a game of ball. The challenge was accepted, and the people of the city gathered in thousands to witness the sport.

Suddenly Tezcatlipoca changed himself into a tiger, which so frightened the populace that they fled in such confusion and panic that they rushed over the precipice and into the river, where nearly all were killed by the fall or drowned in the waters.

Quetzalcoatl then forsook Tollan, and journeyed from city to city till he reached Cholula, where he lived twenty years. He was at that time of light complexion, n.o.ble stature, his eyes large, his hair abundant, his beard ample and cut rounding. In life he was most chaste and honest. They worshiped his memory, especially for three things: first, because he taught them the art of working in metals, which previous to his coming was unknown in that land; secondly, because he forbade the sacrifice either of human beings or the lower animals, teaching that bread, and roses, and flowers, incense and perfumes, were all that the G.o.ds demanded; and lastly, because he forbade, and did his best to put a stop to, wars, fighting, robbery, and all deeds of violence. For these reasons he was held in high esteem and affectionate veneration, not only by those of Cholula, but by the neighboring tribes as well, for many leagues around.

Distant nations maintained temples in his honor in that city, and made pilgrimages to it, on which journeys they pa.s.sed in safety through their enemy's countries.

The twenty years past, Quetzalcoatl resumed his journey, taking with him four of the princ.i.p.al youths of the city. When he had reached a point in the province of Guazacoalco, which is situated to the southeast of Cholula, he called the four youths to him, and told them they should return to their city; that he had to go further; but that they should go back and say that at some future day white and bearded men like himself would come from the east, who would possess the land.[1]

[Footnote 1: For this version of the myth, see Mendieta, _Historia Eclesiastica Indiana_, Lib. ii, caps, v and x.]

Thus he disappeared, no one knew whither. But another legend said that he died there, by the seash.o.r.e, and they burned his body. Of this event some particulars are given by Ixtlilxochitl, as follows:[1]--

[Footnote 1: Ixtlilxochitl, _Relaciones Historicas_, p. 388, in Kingsborough, vol. ix.]

Quetzalcoatl, surnamed Topiltzin, was lord of Tula. At a certain time he warned his subjects that he was obliged to go "to the place whence comes the Sun," but that after a term he would return to them, in that year of their calendar of the name _Ce Acatl_, One Reed, which returns every fifty-two years. He went forth with many followers, some of whom he left in each city he visited. At length he reached the town of Ma Tlapallan.

Here he announced that he should soon die, and directed his followers to burn his body and all his treasures with him. They obeyed his orders, and for four days burned his corpse, after which they gathered its ashes and placed them in a sack made of the skin of a tiger.

The introduction of the game of ball and the tiger into the story is not so childish as it seems. The game of ball was as important an amus.e.m.e.nt among the natives of Mexico and Central America as were the jousts and tournaments in Europe in the Middle Ages.[1] Towns, nations and kings were often pitted against each other. In the great temple of Mexico two courts were a.s.signed to this game, over which a special deity was supposed to preside.[2] In or near the market place of each town there were walls erected for the sport. In the centre of these walls was an orifice a little larger than the ball. The players were divided into two parties, and the ball having been thrown, each party tried to drive it through or over the wall. The hand was not used, but only the hip or shoulders.

[Footnote 1: Torquemada gives a long but obscure description of it.

_Monarquia Indiana_, Lib. xiv, cap. xii.]

[Footnote 2: Nieremberg, "De septuaginta et octo partibus maximi templi Mexicani," in his _Historia Naturae_, Lib. viii, cap. xxii (Antwerpt, 1635). One of these was called "The Ball Court of the Mirror," perhaps with special reference to this legend. "Trigesima secunda Tezcatlacho, locus erat ubi ludebatur pila ex gumi olli, inter templa." The name is from _tezcatl_, mirror, _tlachtli_, the game of ball, and locative ending _co_.]

From the earth the game was transferred to the heavens. As a ball, hit by a player, strikes the wall and then bounds back again, describing a curve, so the stars in the northern sky circle around the pole star and return to the place they left. Hence their movement was called The Ball-play of the Stars.[1]

[Footnote 1: "_Citlaltlachtli_," from _citlalin_, star, and _tlachtli_, the game of ball. Alvarado Tezozomoc, _Cronica Mexicana_, cap. lx.x.xii. The obscure pa.s.sage in which Tezozomoc refers to this is ingeniously a.n.a.lyzed in the _a.n.a.les del Museo Nacional_, Tom. ii, p. 388.]

A recent writer a.s.serts that the popular belief of the Aztecs extended the figure to a greater game than this.[1] The Sun and Moon were huge b.a.l.l.s with which the G.o.ds played an unceasing game, now one, now the other, having the better of it. If this is so, then the game between Tezcatlipoca and Quetzalcoatl is again a transparent figure of speech for the contest between night and day.

[Footnote 1: _a.n.a.les del Museo Nacional_, Tom. ii, p. 367.]

The Mexican tiger, the _ocelotl_, was a well recognized figure of speech, in the Aztec tongue, for the nocturnal heavens, dotted with stars, as is the tiger skin with spots.[1] The tiger, therefore, which destroyed the subjects of Quetzalcoatl--the swift-footed, happy inhabitants of Tula--was none other than the night extinguishing the rays of the orb of light. In the picture writings Tezcatlipoca appears dressed in a tiger's skin, the spots on which represent the stars, and thus symbolize him in his character as the G.o.d of the sky at night.

[Footnote 1: "Segun los a.n.a.les de Cuauht.i.tlan el _ocelotl_ es el cielo manchado de estrellas, como piel de tigre." _a.n.a.les del Mus. Nac._, ii, p.

254.]

The apotheosis of Quetzalcoatl from the embers of his funeral pyre to the planet Venus has led several distinguished students of Mexican mythology to identify his whole history with the astronomical relations of this bright star. Such an interpretation is, however, not only contrary to results obtained by the general science of mythology, but it is specifically in contradiction to the uniform statements of the old writers. All these agree that it was not till _after_ he had finished his career, _after_ he had run his course and disappeared from the sight and knowledge of men, that he was translated and became the evening or morning star.[1] This clearly signifies that he was represented by the planet in only one, and that a subordinate, phase of his activity. We can readily see that the relation of Venus to the sun, and the evening and morning twilights, suggested the pleasing tale that as the light dies in the west, it is, in a certain way, preserved by the star which hangs so bright above the horizon.

[Footnote 1: _Codex Telleriano-Remensis_, plate xiv.]

--4. _Quetzalcoatl as Lord of the Winds._

As I have shown in the introductory chapter, the Light-G.o.d, the Lord of the East, is also master of the cardinal points and of the winds which blow from them, and therefore of the Air.

This was conspicuously so with Quetzalcoatl. As a divinity he is most generally mentioned as the G.o.d of the Air and Winds. He was said to sweep the roads before Tlaloc; G.o.d of the rains, because in that climate heavy down-pours are preceded by violent gusts. Torquemada names him as "G.o.d of the Air," and states that in Cholula this function was looked upon as his chief attribute,[1] and the term was distinctly applied to him _Nanihe-hecatli_, Lord of the four Winds.

[Footnote 1: Sahagun, _Historia_, Lib. i, cap. v. Torquemada, _Monarquia Indiana_, Lib. vi, cap. xxiv.]

In one of the earliest myths he is called _Yahualli ehecatl_, meaning "the Wheel of the Winds,"[1] the winds being portrayed in the picture writing as a circle or wheel, with a figure with five angles inscribed upon it, the sacred pentagram. His image carried in the left hand this wheel, and in the right a sceptre with the end recurved.

[Footnote 1: "Quecalcoatl y por otro nombre yagualiecatl." Ramirez de Fuen-leal, _Historia_, cap. i. _Yahualli_ is from the root _yaual_ or _youal_, circular, rounding, and was applied to various objects of a circular form. The sign of Quetzalcoatl is called by Sahagun, using the native word, "el _Yoel_ de los Vientos" (_Historia_, ubi supra).]

Another reference to this wheel, or mariner's box, was in the shape of the temples which were built in his honor as G.o.d of the winds. These, we are informed, were completely circular, without an angle anywhere.[1]

[Footnote 1: "Se llaman (a Quetzalcoatl) Senor de el Viento * * * A este le hacian las yglesias redondas, sin esquina ninguna." _Codex Telleriano-Remensis_. Parte ii, Lam. ii. Describing the sacred edifices of Mexico, Motolinia says: "Habio en todos los mas de estos grandes patios un otro templo que despues de levantada aquella capa quadrada, hecho su altar, cubrianlo con una pared redonda, alta y cubierta con su chapital.

Este era del dios del aire, cual dijimos tener su princ.i.p.al sella en Cholollan, y en toda esta provincia habia mucho de estos. A este dios del aire llamaban en su lengua Quetzalcoatl," _Historia de los Indios_, Epistola Proemial. Compare also Herrera, _Historia de las Indias Occidentals_, Dec. ii, Lib. vii, cap. xvii, who describes the temple of Quetzalcoatl, in the city of Mexico, and adds that it was circular, "porque asi como el Aire anda al rededor del Cielo, asi le hacian el Templo redondo."]

Still another symbol which was sacred to him as lord of the four winds was the Cross. It was not the Latin but the Greek cross, with four short arms of equal length. Several of these were painted on the mantle which he wore in the picture writings, and they are occasionally found on the sacred jades, which bear other of his symbols.

This has often been made use of by one set of writers to prove that Quetzalcoatl was some Christian teacher; and by others as evidence that these native tales were of a date subsequent to the Conquest. But a moment's consideration of the meaning of this cruciform symbol as revealed in its native names shows where it belongs and what it refers to. These names are three, and their significations are, "The Rain-G.o.d," "The Tree of our Life," "The G.o.d of Strength."[1] As the rains fertilize the fields and ripen the food crops, so he who sends them is indeed the prop or tree of our subsistence, and thus becomes the giver of health and strength. No other explanation is needed, or is, in fact, allowable.

[Footnote 1: The Aztec words are _Quiahuitl teotl, quiahuitl_, rain, _teotl_, G.o.d; _Tonacaquahuitl_, from _to_, our, _naca_, flesh or life, _quahuitl_, tree; _Chicahualizteotl_, from _chicahualiztli_, strength or courage, and _teotl_, G.o.d. These names are given by Ixtlilxochitl, _Historia chichimeca_, cap. i.]

The winds and rains come from the four cardinal points. This fact was figuratively represented by a cruciform figure, the ends directed toward each of these. The G.o.d of the Four Winds bore these crosses as one of his emblems. The sign came to be connected with fertility, reproduction and life, through its a.s.sociations as a symbol of the rains which restore the parched fields and aid in the germination of seeds. Their influence in this respect is most striking in those southern countries where a long dry season is followed by heavy tropical showers, which in a few days change the whole face of nature, from one of parched sterility to one of a wealth of vegetable growth.

As there is a close connection, in meteorology, between the winds and the rains, so in Aztec mythology, there was an equally near one between Quetzalcoatl, as the G.o.d of the winds, and the G.o.ds of rain, Tlaloc and his sister, or wife, or mother, Chalchihuitlicue. According to one myth, these were created by the four primeval brother-G.o.ds, and placed in the heavens, where they occupy a large mansion divided into four apartments, with a court in the middle. In this court stand four enormous vases of water, and an infinite number of very small slaves (the rain drops) stand ready to dip out the water from one or the other vase and pour it on the earth in showers.[1]

[Footnote 1: Ramirez de Fuen-leal, _Historia de los Mexicanos_, cap. ii.]

_Tlaloc_ means, literally, "The wine of the Earth,"[1] the figure being that as man's heart is made glad, and his strength revived by the joyous spirit of wine, so is the soil refreshed and restored by the rains.

_Tlaloc tecutli_, the Lord of the Wine of the Earth, was the proper t.i.tle of the male divinity, who sent the fertilizing showers, and thus caused the seed to grow in barren places. It was he who gave abundant crops and saved the parched and dying grain after times of drought. Therefore, he was appealed to as the giver of good things, of corn and wine; and the name of his home, Tlalocan, became synonymous with that of the terrestrial paradise.

[Footnote 1: _Tlalli_, earth, _oc_ from _octli_, the native wine made from the maguey, enormous quant.i.ties of which are consumed by the lower cla.s.ses in Mexico at this day, and which was well known to the ancients. Another derivation of the name is from _tlalli_, and _onoc_, being, to be, hence, "resident on the earth." This does not seem appropriate.]

His wife or sister, Chalchihuitlicue, She of the Emerald Skirts, was G.o.ddess of flowing streams, brooks, lakes and rivers. Her name, probably, has reference to their limpid waters.[1] It is derived from _chalchihuitl_, a species of jade or precious green stone, very highly esteemed by the natives of Mexico and Central America, and worked by them into ornaments and talismans, often elaborately engraved and inscribed with symbols, by an art now altogether lost.[2] According to one myth, Quetzalcoatl's mother took the name of _chalchiuitl_ "when she ascended to heaven;"[3] by another he was engendered by such a sacred stone;[4] and by all he was designated as the discoverer of the art of cutting and polishing them, and the patron deity of workers in this branch.[5]

[Footnote 1: From _chalchihuitl_, jade, and _cueitl_, skirt or petticoat, with the possessive prefix, _i_, her.]

[Footnote 2: See E.G. Squier, _Observations on a Collection of Chalchihuitls from Central America_, New York, 1869, and Heinrich Fischer, _Nephrit und Jadeit nach ihrer Urgeschichtlichen und Ethnographischen Bedeutung_, Stuttgart, 1880, for a full discussion of the subject.]

[Footnote 3: _Codex Telleriano-Remensis_, Pt. ii, Lam. ii.]

[Footnote 4: See above, chapter iii, --3]

[Footnote 5: Torquemada, _Monarquia Indiana_, Lib. vi, cap. xxiv.]

The a.s.sociation of this stone and its color, a bluish green of various shades, with the G.o.d of Light and the Air, may have reference to the blue sky where he has his home, or to the blue and green waters where he makes his bed. Whatever the connection was, it was so close that the festivals of all three, Tlaloc, Chalchihuitlicue and Quetzalcoatl, were celebrated together on the same day, which was the first of the first month of the Aztec calendar, in February.[1]

[Footnote 1: Sahagun, _Hisioria_, Lib. ii, cap. i. A worthy but visionary Mexican antiquary, Don J.M. Melgar, has recognized in Aztec mythology the frequency of the symbolism which expresses the fertilizing action of the sky (the sun and rains) upon the earth. He thinks that in some of the ma.n.u.scripts, as the _Codex Borgia_, it is represented by the rabbit fecundating the frog. See his _Examen Comparativo entre los Signos Simbolicos de las Teogonias y Cosmogonias antiguas y los que existen en los Ma.n.u.scritos Mexicanos_, p. 21 (Vera Cruz, 1872).]

In his character as G.o.d of days, the deity who brings back the diurnal suns, and thus the seasons and years, Quetzalcoatl was the reputed inventor of the Mexican Calendar. He himself was said to have been born on Ce Acatl, One Cane, which was the first day of the first month, the beginning of the reckoning, and the name of the day was often added to his own.[1] As the count of the days really began with the beginning, it was added that Heaven itself was created on this same day, Ce Acatl.[2]

[Footnote 1: _Codex Vatica.n.u.s_, Pl. xv.]

[Footnote 2: _Codex Telleriano Remensis_, Pl. x.x.xiii.]