[Footnote 2: Colhuacan, is a locative form. It is usually derived from _coloa_, to curve, to round. Father Duran says it is another name for Aztlan: "Estas cuevas son en Teoculacan, _que por otro nombre_ se llama Aztlan." _Historia de los Indios de Nueva Espana_, Lib. i, cap. i.]

_Teo_ is from _teotl_, G.o.d, deity. The description in the text of the relations of land and water in this mythical land, is also from Duran's work.

The lord of this land and the father of the seven sons is variously and indistinctly named. One legend calls him the White Serpent of the Clouds, or the White Cloud Twin, _Iztac Mixcoatl_.[1] Whoever he was we can hardly mistake the mountain in which or upon which he dwelt. _Colhuacan_ means the bent or curved mountain. It is none other than the Hill of Heaven, curving down on all sides to the horizon; upon it in all times have dwelt the G.o.ds, and from it they have come to aid the men they favor. Absolutely the same name was applied by the Choctaws to the mythical hill from which they say their ancestors first emerged into the light of day. They call it _Nane Waiyah_, the Bent or Curved Hill[2]. Such ident.i.ty of metaphorical expression leaves little room for discussion.

[Footnote 1: Mendieta, _Historia Eclesiastica Indiana_, Lib. ii, cap.

x.x.xiii.]

[Footnote 2: See my work, _The Myths of the New World_, p. 242.]

If it did, the other myths which surround the mystic mountain would seem to clear up doubt. Colhuacan, we are informed, continued to be the residence of the great Mother of the G.o.ds. On it she dwelt, awaiting their return from earth. No one can entirely climb the mountain, for from its middle distance to the summit it is of fine and slippery sand; but it has this magical virtue, that whoever ascends it, however old he is, grows young again, in proportion as he mounts, and is thus restored to pristine vigor. The happy dwellers around it have, however, no need of its youth restoring power; for in that land no one grows old, nor knows the outrage of years.[1]

[Footnote 1: "En esta tierra nunca envejecen los hombres. * * * Este cerro tiene esta virtud, que el que ya viejo se quiere remozar, sube hasta donde le parece, y vuelve de la edad que quiere." Duran, in Kingsborough, Vol.

viii, p. 201.]

When Quetzalcoatl, therefore, was alleged to be the son of the Lord of the Seven Caves, it was nothing more than a variation of the legend that gave him out as the son of the Lord of the High Heavens. They both mean the same thing. Chimalman, who appears in both myths as his mother, binds the two together, and stamps them as identical, while Mixcoatl is only another name for Tezcatlipoca.

Such an interpretation, if correct, would lead to the dismissal from history of the whole story of the Seven Cities or Caves, and the pretended migration from them. In fact, the repeated endeavors of the chroniclers to a.s.sign a location to these fabulous residences, have led to no result other than most admired disorder and confusion. It is as vain to seek their whereabouts, as it is that of the garden of Eden or the Isle of Avalon. They have not, and never had a place on this sublunary sphere, but belong in that ethereal world which the fancy creates and the imagination paints.

A more prosaic account than any of the above, is given by the historian, Alva Ixtlilxochitl, so prosaic that it is possible that it has some grains of actual fact in it.[1] He tells us that a King of Tollan, Tecpancaltzin, fell in love with the daughter of one of his subjects, a maiden by name Xochitl, the Rose. Her father was the first to collect honey from the maguey plant, and on pretence of buying this delicacy the king often sent for Xochitl. He accomplished her seduction, and hid her in a rose garden on a mountain, where she gave birth to an infant son, to the great anger of the father. Casting the horoscope of the infant, the court astrologer found all the signs that he should be the last King of Tollan, and should witness the destruction of the Toltec monarchy. He was named _Meconetzin_, the Son of the Maguey, and in due time became king, and the prediction was accomplished.[2]

[Footnote 1: Ixtlilxochitl, _Relaciones Historicas_, p. 330, in Kingsborough, Vol. ix.]

[Footnote 2: In the work of Ramirez de Fuen-leal (cap. viii), Tezcatlipoca is said to have been the discoverer of pulque, the intoxicating wine of the Maguey. In Mezt.i.tlan he was a.s.sociated with the G.o.ds of this beverage and of drunkenness. Hence it is probable that the name _Meconetzin_ applied to Quetzalcoatl in this myth meant to convey that he was the son of Tezcatlipoca.]

In several points, however, this seemingly historic narrative has a suspicious resemblance to a genuine myth preserved to us in a certain Aztec ma.n.u.script known as the _Codex Telleriano-Remensis_. This doc.u.ment tells how Quetzalcoatl, Tezcatlipoca and their brethren were at first G.o.ds, and dwelt as stars in the heavens. They pa.s.sed their time in Paradise, in a Rose Garden, _Xochitlycacan_ ("where the roses are lifted up"); but on a time they began plucking the roses from the great Rose tree in the centre of the garden, and Tonaca-tecutli, in his anger at their action, hurled them to the earth, where they lived as mortals.

The significance of this myth, as applied to the daily descent of sun and stars from the zenith to the horizon, is too obvious to need special comment; and the coincidences of the rose garden on the mountain (in the one instance the Hill of Heaven, in the other a supposed terrestrial elevation) from which Quetzalcoatl issues, and the anger of the parent, seem to indicate that the supposed historical relation of Ixtlilxochitl is but a myth dressed in historic garb.

The second cycle of legends disclaimed any miraculous parentage for the hero of Tollan. Las Casas narrates his arrival from the East, from some part of Yucatan, he thinks, with a few followers,[1] a tradition which is also repeated with definitiveness by the native historian, Alva Ixtlilxochitl, but leaving the locality uncertain.[2] The historian, Veytia, on the other hand, describes him as arriving from the North, a full grown man, tall of stature, white of skin, and full-bearded, barefooted and bareheaded, clothed in a long white robe strewn with red crosses, and carrying a staff in his hand.[3]

[Footnote 1: Torquemada, _Monarquia Indiana_, Lib. vi, cap. xxiv. This was apparently the canonical doctrine in Cholula. Mendieta says: "El dios o idolo de Cholula, llamado Quetzalcoatl, fue el mas celebrado y tenido por mejor y mas digno sobre los otro dioses, segun la reputacion de todos.

Este, segun sus historias (aunque algunos digan que de Tula) vino de las partes de Yucatan a la ciudad de Cholula." _Historia Eclesiastica Indiana_, Lib. ii, cap. x.]

[Footnote 2: _Historia Chichimeca_, cap. i.]

[Footnote 3: _Historia_, cap. xv.]

Whatever the origin of Quetzalcoatl, whether the child of a miraculous conception, or whether as an adult stranger he came from some far-off land, all accounts agree as to the greatness and purity of his character, and the magnificence of Tollan under his reign. His temple was divided into four apartments, one toward the East, yellow with gold; one toward the West, blue with turquoise and jade; one toward the South, white with pearls and sh.e.l.ls, and one toward the North, red with bloodstones; thus symbolizing the four cardinal points and four quarters of the world over which the light holds sway.[1]

[Footnote 1: Sahagun, Lib. ix, cap. xxix.]

Through the midst of Tollan flowed a great river, and upon or over this river was the house of Quetzalcoatl. Every night at midnight he descended into this river to bathe, and the place of his bath was called, In the Painted Vase, or, In the Precious Waters.[1] For the Orb of Light dips nightly into the waters of the World Stream, and the painted clouds of the sun-setting surround the spot of his ablutions.

[Footnote 1: The name of the bath of Quetzalcoatl is variously given as _Xicapoyan_, from _xicalli_, vases made from gourds, and _poyan_, to paint (Sahagun, Lib. iii, cap. iii); _Chalchiuhapan_, from _atl_, water _pan_, in, and _chalchiuitl_, precious, brilliant, the jade stone (_id._, Lib. x, cap. xxix); and _Atecpanamochco_, from _atl_, water, _tecpan_, royal, _amochtli_, any shining white metal, as tin, and the locative _co_, hence, In the Shining Royal Water (_a.n.a.les de Cuauht.i.tlan_, p. 21). These names are interesting as ill.u.s.trating the halo of symbolism which surrounded the history of the Light-G.o.d.]

I have said that the history of Quetzalcoatl in Tollan is but a continuation of the conflict of the two primal brother G.o.ds. It is still the implacable Tezcatlipoca who pursues and finally conquers him. But there is this significant difference, that whereas in the elemental warfare portrayed in the older myth mutual violence and alternate destruction prevail, in all these later myths Quetzalcoatl makes no effort at defence, scarcely remonstrates, but accepts his defeat as a decree of Fate which it is vain to resist. He sees his people fall about him, and the beautiful city sink into destruction, but he knows it is the hand of Destiny, and prepares himself to meet the inevitable with what stoicism and dignity he may.

The one is the quenching of the light by the darkness of the tempest and the night, represented as a struggle; in the other it is the gradual and calm but certain and unavoidable extinction of the sun as it noiselessly sinks to the western horizon.

The story of the subtlety of Tezcatlipoca is variously told. In what may well be its oldest and simplest version it is said that in his form as Camaxtli he caught a deer with two heads, which, so long as he kept it, secured him luck in war; but falling in with one of five G.o.ddesses he had created, he begat a son, and through this act he lost his good fortune.

The son was Quetzalcoatl, surnamed Ce Acatl, and he became Lord of Tollan, and a famous warrior. For many years he ruled the city, and at last began to build a very great temple. While engaged in its construction Tezcatlipoca came to him one day and told him that toward Honduras, in a place called Tlapallan, a house was ready for him, and he must quit Tollan and go there to live and die. Quetzalcoatl replied that the heavens and stars had already warned him that after four years he must go hence, and that he would obey. The time past, he took with him all the inhabitants of Tula, and some he left in Cholula, from whom its inhabitants are descended, and some he placed in the province of Cuzcatan, and others in Cempoal, and at last he reached Tlapallan, and on the very day he arrived there, he fell sick and died. As for Tula, it remained without an inhabitant for nine years.[1]

[Footnote 1: Ramirez de Fuen-leal, _Historia de los Mexicanos por sus Pinturas_, cap. viii.]

A more minute account is given by the author of the _Annals of Cuauht.i.tlan_, a work written at an early date, in the Aztec tongue. He a.s.sures his readers that his narrative of these particular events is minutely and accurately recorded from the oldest and most authentic traditions. It is this:--

When those opposed to Quetzalcoatl did not succeed in their designs, they summoned to their aid a demon or sorcerer, by name Tezcatlipoca, and his a.s.sistants. He said: "We will give him a drink to dull his reason, and will show him his own face in a mirror, and surely he will be lost." Then Tezcatlipoca brewed an intoxicating beverage, the _pulque_, from the maguey, and taking a mirror he wrapped it in a rabbit skin, and went to the house of Quetzalcoatl.

"Go tell your master," he said to the servants, "that I have come to show him his own flesh."

"What is this?" said Quetzalcoatl, when the message was delivered. "What does he call my own flesh? Go and ask him."

But Tezcatlipoca refused. "I have not come to see you, but your master,"

he said to the servants. Then he was admitted, and Quetzalcoatl said:--

"Welcome, youth, you have troubled yourself much. Whence come you? What is this, my flesh, that you would show me?"

"My Lord and Priest," replied the youth, "I come from the mountain-side of Nonoalco. Look, now, at your flesh; know yourself; see yourself as you are seen of others;" and with that he handed him the mirror.

As soon as Quetzalcoatl saw his face in the mirror he exclaimed:--

"How is it possible my subjects can look on me without affright? Well might they flee from me. How can a man remain among them filled as I am with foul sores, his face wrinkled and his aspect loathsome? I shall be seen no more; I shall no longer frighten my people."

Then Tezcatlipoca went away to take counsel, and returning, said:--

"My lord and master, use the skill of your servant. I have come to console you. Go forth to your people. I will conceal your defects by art."

"Do what you please," replied Quetzalcoatl. "I will see what my fate is to be."

Tezcatlipoca painted his cheeks green and dyed his lips red. The forehead he colored yellow, and taking feathers of the _quechol_ bird, he arranged them as a beard. Quetzalcoatl surveyed himself in the mirror, and rejoiced at his appearance, and forthwith sallied forth to see his people.

Tezcatlipoca withdrew to concoct another scheme of disgrace. With his attendants he took of the strong _pulque_ which he had brewed, and came again to the palace of the Lord of Tollan. They were refused admittance and asked their country. They replied that they were from the Mountain of the Holy Priest, from the Hill of Tollan. When Quetzalcoatl heard this, he ordered them to be admitted, and asked their business. They offered him the _pulque_, but he refused, saying that he was sick, and, moreover, that it would weaken his judgment and might cause his death. They urged him to dip but the tip of his finger in it to taste it; he complied, but even so little of the magic liquor overthrew his self control, and taking the bowl he quaffed a full draught and was drunk. Then these perverse men ridiculed him, and cried out:--

"You feel finely now, my son; sing us a song; sing, worthy priest."

Thereupon Quetzalcoatl began to sing, as follows:--

"My pretty house, my coral house, I call it Zacuan by name; And must I leave it, do you say?

Oh my, oh me, and ah for shame."[1]

[Footnote 1: The original is--

Quetzal, quetzal, no calli, Zacuan, no callin tapach No callin nic yacahuaz An ya, an ya, an quilmach.

Literally--

Beautiful, beautiful (is) my house Zacuan, my house of coral; My house, I must leave it.