"Drink again," said the old man. "It is a good medicine, and you will be healthier than ever."

Again did Quetzalcoatl drink, and soon he was intoxicated. He began to weep; his heart was stirred, and his mind turned toward the suggestion of his departure, nor did the deceit of the old sorcerer permit him to abandon the thought of it. The medicine which Quetzalcoatl drank was the white wine of the country, made of those magueys call _teometl_.[1]

[Footnote 1: From _teotl_, deity, divine, and _metl_, the maguey. Of the twenty-nine varieties of the maguey, now described in Mexico, none bears this name; but Hernandez speaks of it, and says it was so called because there was a superst.i.tion that a person soon to die could not hold a branch of it; but if he was to recover, or escape an impending danger, he could hold it with ease and feel the better for it. See Nieremberg, _Historia Naturae_, Lib. xiv, cap. x.x.xii. "Teomatl, vitae et mortis Index."]

This was but the beginning of the guiles and juggleries of Tezcatlipoca.

Transforming himself into the likeness of one of those Indians of the Maya race, called _Toveyome_,[1] he appeared, completely nude, in the market place of Tollan, having green peppers to sell. Now Huemac, who was a.s.sociated with Quetzalcoatl in the sovereignty of Tollan (although other myths apply this name directly to Quetzalcoatl, and this seems the correct version),[2] had an only daughter of surpa.s.sing beauty, whom many of the Toltecs had vainly sought in marriage. This damsel looked forth on the market where Tezcatlipoca stood in his nakedness, and her virginal eyes fell upon the sign of his manhood. Straightway an unconquerable longing seized her, a love so violent that she fell ill and seemed like to die.

Her women told her father the reason, and he sent forth and had the false Toveyo brought before him. Huemac addressed him:--

[Footnote 1: _Toveyome_ is the plural of _toveyo_, which Molina, in his dictionary, translates "foreigner, stranger." Sahagun says that it was applied particularly to the Huastecs, a Maya tribe living in the province of Panuco. _Historia_, etc., Lib. x, cap. xxix, --8.]

[Footnote 2: _Huemac_ is a compound of _uey_, great, and _maitl_, hand.

Tezozomoc, Duran, and various other writers a.s.sign this name to Quetzalcoatl.]

"Whence come you?"

"My lord," replied the Toveyo, "I am a stranger, and I have come to sell green peppers."

"Why," asked the king "do you not wear a _maxtli_ (breech-cloth), and cover your nakedness with a garment?"

"My lord," answered the stranger, "I follow the custom of my country."

Then the king added:--

"You have inspired in my daughter a longing; she is sick with desire; you must cure her."

"Nay, my lord," said the stranger, "this may not be. Rather slay me here; I wish to die; for I am not worthy to hear such words, poor as I am, and seeking only to gain my bread by selling green peppers."

But the king insisted, and said:--

"Have no fear; you alone can restore my daughter; you must do so."

Thereupon the attendants cut the sham Toveyo's hair; they led him to the bath, and colored his body black; they placed a _maxtli_ and a robe upon him, and the king said:--

"Go in unto my daughter."

Tezcatlipoca went in unto her, and she was healed from that hour.

Thus did the naked stranger become the son-in-law of the great king of Tula. But the Toltecs were deeply angered that the maiden had given his black body the preference over their bright forms, and they plotted to have him slain. He was placed in the front of battle, and then they left him alone to fight the enemy. But he destroyed the opposing hosts and returned to Tula with a victory all the more brilliant for their desertion of him.

Then he requited their treachery with another, and pursued his intended destruction of their race. He sent a herald to the top of the Hill of Shouting, and through him announced a magnificent festival to celebrate his victory and his marriage. The Toltecs swarmed in crowds, men, women and children, to share in the joyous scene. Tezcatlipoca received them with simulated friendship. Taking his drum, he began to beat upon it, accompanying the music with a song. As his listeners heard the magic music, they became intoxicated with the strains, and yielding themselves to its seductive influence, they lost all thought for the future or care for the present. The locality to which the crafty Tezcatlipoca had invited them was called, The Rock upon the Water.[1] It was the summit of a lofty rock at the base of which flowed the river called, By the Rock of Light.[2] When the day had departed and midnight approached, the magician, still singing and dancing, led the intoxicated crowd to the brink of the river, over which was a stone bridge. This he had secretly destroyed, and as they came to the spot where it should have been and sought to cross, the innumerable crowd pressing one upon the other, they all fell into the water far below, where they sank out of sight and were changed into stones.

[Footnote 1: _Texcalapan_, from _texcalli_, rock, and _apan_, upon or over the water.]

[Footnote 2: _Texcaltlauhco_, from _texcalli_, rock, _tlaulli_, light, and the locative ending _co_, by, in or at.]

Is it pushing symbolism too far to attempt an interpretation of this fable, recounted with all the simplicity of the antique world, with greater directness, indeed, than I have thought wise to follow?

I am strongly inclined to regard it as a true myth, which, in materialistic language, sets forth the close of the day and the extinction of the light. May we not construe the maiden as the Evening Twilight, the child of the Day at the close of its life? The black lover with whom she is fatally enamored, is he not the Darkness, in which the twilight fades away? The countless crowds of Toltecs that come to the wedding festivities, and are drowned before midnight in the waters of the strangely named river, are they not the infinitely numerous light-rays which are quenched in the world-stream, when the sun has sunk, and the gloaming is lost in the night?

May we not go farther, and in this Rock of Light which stands hard by the river, recognize the Heavenly Hill which rises beside the World Stream?

The bright light of one day cannot extend to the next. The bridge is broken by the intervening night, and the rays are lost in the dark waters.

But whether this interpretation is too venturesome or not, we cannot deny the deep human interest in the story, and its poetic capacities. The overmastering pa.s.sion of love was evidently as present to the Indian mind as to that of the mediaeval Italian. In New as well as in Old Spain it could break the barriers of rank and overcome the hesitations of maidenly modesty. Love clouding the soul, as night obscures the day, is a figure of speech, used, I remember, by the most pathetic of Ireland's modern bards:--

"Love, the tyrant, evinces, Alas! an omnipotent might; He treads on the necks of princes, He darkens the mind, like night."[1]

[Footnote 1: Clarence Mangan, _Poems_, "The Mariner's Bride."]

I shall not detail the many other wiles with which Tezcatlipoca led the Toltecs to their destruction. A mere reference to them must suffice. He summoned thousands to come to labor in the rose-garden of Quetzalcoatl, and when they had gathered together, he fell upon them and slew them with a hoe. Disguised with Huitzilopochtli, he irritated the people until they stoned the brother G.o.ds to death, and from the corrupting bodies spread a pestilential odor, to which crowds of the Toltecs fell victims. He turned the thought of thousands into madness, so that they voluntarily offered themselves to be sacrificed. By his spells all articles of food soured, and many perished of famine.

At length Quetzalcoatl, wearied with misfortune, gave orders to burn the beautiful houses of Tollan, to bury his treasures, and to begin the journey to Tlapallan. He transformed the cacao trees into plants of no value, and ordered the birds of rich plumage to leave the land before him.

The first station he arrived at was Quauht.i.tlan, where there was a lofty and spreading tree. Here he asked of his servants a mirror, and looking in it said: "I am already old." Gathering some stones, he cast them at the tree. They entered the wood and remained there.

As he journeyed, he was preceded by boys playing the flute. Thus he reached a certain spot, where he sat upon a stone by the wayside, and wept for the loss of Tollan. The marks of his hands remained upon the stone, and the tears he dropped pierced it through. To the day of the Conquest these impressions on the solid rock were pointed out.

At the fountain of Cozcapan, sorcerers met him, minded to prevent his departure:--

"Where are you going?" they asked. "Why have you left your capital? In whose care is it? Who will perform the sacred rites?"

But Quetzalcoatl answered:--

"You can in no manner hinder my departure. I have no choice but to go."

The sorcerers asked again: "Whither are you going?"

"I am going," replied Quetzalcoatl, "to Tlapallan. I have been sent for.

The Sun calls me."

"Go, then, with good luck," said they. "But leave with us the art of smelting silver, of working stone and wood, of painting, of weaving feathers and other such arts."

Thus they robbed him, and taking the rich jewels he carried with him he cast them into the fountain, whence it received its name _Cozcapan_, Jewels in the Water.

Again, as he journeyed, a sorcerer met him, who asked him his destination:--

"I go," said Quetzalcoatl, "to Tlallapan."

"And luck go with you," replied the sorcerer, "but first take a drink of this wine."

"No," replied Quetzalcoatl, "not so much as a sip."

"You must taste a little of it," said the sorcerer, "even if it is by force. To no living person would I give to drink freely of it. I intoxicate them all. Come and drink of it."

Quetzalcoatl took the wine and drank of it through a reed, and as he drank he grew drunken and fell in the road, where he slept and snored.

Thus he pa.s.sed from place to place, with various adventures. His servants were all dwarfs or hunchbacks, and in crossing the Sierra Nevada they mostly froze to death. By drawing a line across the Sierra he split it in two and thus made a pa.s.sage. He plucked up a mighty tree and hurling it through another, thus formed a cross. At another spot he caused underground houses to be built, which were called Mictlancalco, At the House of Darkness.

At length he arrived at the sea coast where he constructed a raft of serpents, and seating himself on it as in a canoe, he moved out to sea. No one knows how or in what manner he reached Tlapallan.[1]