The Mother or all-nourishing Goddess under various names and in
various aspects—Her Feast in the Eleventh Aztec month Ochpaniztli—Festivals
of the Eighth month, Hueytecuilhuitl, and
of the Fourth, Hueytozoztli—The deification of women that died
in child-birth—The Goddess of Water under various names and
in various aspects—Ceremonies of the Baptism or lustration of
children—The Goddess of Love, her various names and aspects—Rites
of confession and absolution—The God of fire and his various
names—His festivals in the tenth month Xocotlveti and in
the eighteenth month Yzcali; also his quadriennial festival in
the latter month—The great festival of every fifty-two years;
lighting the new fire—The God of hades, and Teoyaomique, collector
of the souls of the fallen brave—Deification of dead rulers and
heroes—Mixcoatl, God of hunting and his feast in the fourteenth
month, Quecholli—Various other Mexican deities—Festival in the
second month, Tlacaxipehualiztli, with notice of the gladiatorial
sacrifices—Complete synopsis of the festivals of the Mexican Calendar,
fixed and movable—Temples and Priests.
Centeotl is a goddess, or according to some good authorities
a god, who held, under many names and in many
characters, a most important place in the divine world of
the Aztecs, and of other Mexican and Central American
peoples. She was goddess of maize, and consequently,
from the importance in America of this grain, of agriculture,
and of the producing earth generally. Many of her
various names seem dependent on the varying aspects of
the maize at different stages of its growth; others seem to
have originated in the mother-like nourishing qualities
of the grain of which she was the deity. Müller lays
much stress on this aspect of her character: "The force
which sustains life must also have created it. Centeotl
was therefore considered as bringing children to light,
and is represented with an infant in her arms. Nebel
gives us such a representation, and in our Mexican
museum at Basel there are many images in this form,
made of burnt clay. Where agriculture rules, there
more children are brought to mature age than among
the hunting nations, and the land revels in a large population.
No part of the world is so well adapted to
exhibit this difference as America. Centeotl is consequently
the great producer, not of children merely, she
is the great goddess, the most ancient goddess."[IX-1]
THE MOTHER-NOURISHER.
Centeotl was known, according to Clavigero, by the
titles Tonacajohua, 'she who sustains us;' Tzinteotl,
'original goddess;' and by the further names Xilonen,
Iztacacenteotl, and Tlatlauhquicenteotl. She was further,
according to the same author, identical with Tonantzin,
'our mother,' and, according to Müller and
many Spanish authorities, either identical or closely connected
with the various deities known as Teteionan, 'the
mother of the gods,'[IX-2] Cihuatcoatl, 'the snake-woman,'
Tazi or Toci or Tocitzin, 'our grandmother,' and Earth,
the universal material mother. Squier says of Tiazolteotl,
that "she is Cinteotl the goddess of maize, under
another aspect."[IX-3]
She was particularly honored by the Totonacs, with
whom she was the chief divinity. They greatly loved
her, believing that she did not demand human victims,
but was content with flowers and fruits, the fat banana
and the yellow maize, and small animals, such as doves,
quails, and rabbits. More, they hoped that she would in
the end utterly deliver them from the cruel necessity of
such sacrifices, even to the other gods.
With very different feelings, as we shall soon see, did
the Mexicans proper approach this deity, making her
temples horrid with the tortured forms of human sacrifices.
It shows how deep the stain of the blood was in
the Mexican religious heart, how poisonous far the odor
of it had crept through all the senses of the Aztec soul,
when it could be believed that the great sustainer, the
yellow waving maize, the very mother of all, must be
fed upon the flesh of her own children.[IX-4]
To make comprehensible various allusions it seems
well here to sum up rapidly the characters given of certain
goddesses identical with or resembling in various
points this Centeotl. Chicomecoatl[IX-5] was, according to
Sahagun, the Ceres of Mexico, and the goddess of provisions,
as well of what is drunk as of what is eaten. She
was represented with a crown on her head, a vase in her
right hand, and on her left arm a shield with a great
flower painted thereon; her garments and her sandals
were red.
The first of the Mexican goddesses was, following the
same authority, Cioacoatl, or Civacoatl, the goddess of adverse
things, such as poverty, downheartedness, and toil.
She appeared often in the guise of a great lady, wearing
such apparel as was used in the palace; she was also heard
at night in the air shouting and even roaring. Besides her
name Cioacoatl, which means 'snake-woman,' she was
known as Tonantzin, that is to say, 'our mother.' She
was arrayed in white robes, and her hair was arranged
in front, over her forehead, in little curls that crossed
each other. It was a custom with her to carry a cradle
on her shoulders, as one that carries a child in it, and
after setting it down in the market-place beside the
other women, to disappear. When this cradle was examined,
there was found a stone knife in it, and with
this the priests slew their sacrificial victims.
MEDICINE-GODDESS.
The goddess of Sahagun's description most resembling
the Toci of other writers, is the one that he calls
'the mother of the gods, the heart of the earth, and
our ancestor or grandmother (abuela).' She is described
as the goddess of medicine and of medicinal
herbs, as worshiped by doctors, surgeons, blood-letters,
of those that gave herbs to produce abortions, and also
of the diviners that pronounced upon the fortune of
children according to their birth. They worshiped her
also that cast lots with grains of maize, those that augured
by looking into water in a bowl, those that cast lots with
bits of cord tied together, those that drew little worms
or maggots from the mouth or eyes, those that extracted
little stones from other parts of the body, and those that
had sweat-baths, temazcallis, in their houses. These last
always set the image of this goddess in the baths, calling
her Temazcalteci, that is to say, 'the grandmother of
the baths.' Her adorers made this goddess a feast every
year, buying a woman for a sacrifice, decorating this
victim with the ornaments proper to the goddess. Every
evening they danced with this unfortunate, and regaled
her delicately, praying her to eat as they would a great
lady, and amusing her in every way that she might not
weep nor be sad at the prospect of death. When the
dreadful hour did come, having slain her, together with
two others that accompanied her to death, they flayed
her; then a man clothed himself in her skin, and went
about all the city playing many pranks—by all of which
her identity with Tozi seems sufficiently clear. This
goddess was represented with the mouth and chin stained
with ulli, and a round patch of the same on her face;
on her head she had a kind of turban made of cloth
rolled round and knotted behind. In this knot were
stuck plumes which issued from it like flames, and
the ends of the cloth fell behind over the shoulders.
She wore sandals, a shirt with a kind of broad serrated
lower border, and white petticoats. In her left hand
she held a shield with a round plate of gold in the centre
thereof; in her right hand she held a broom.[IX-6]
The festival in which divers of the various manifestations
of the mother-goddess were honored, was held in
the beginning of the eleventh Aztec month, beginning on
the 14th of September; Centeotl, or Cinteotl, or Centeutl,
or Tzinteutl, is however represented therein as a
male and not a female.
SACRIFICE TO THE MOTHER-GODDESS.
Fifteen days before the commencement of the festival
those that took part in it began to dance, if dancing it
could be called, in which the feet and body were hardly
moved, and in which the time was kept by raising and
lowering the hands to the beat of the drum. This went
on for eight days, beginning in the afternoon and finishing
with the set of sun, the dancers being perfectly silent,
arranged in four lines, and each having both hands full
of flowers, cut branches and all. Some of the youths,
indeed, too restless to bear the silence, imitated with
their mouths the sound of the drum; but all were forced
to keep, as well in motion as in voice, the exactest time
and good order. On the expiration of these eight days
the medical women, both old and young, divided themselves
into two parties, and fought a kind of mock battle
before the woman that had to die in this festival, to
amuse her and keep tears away; for they held it of bad
augury if this miserable creature gave way to her grief,
and as a sign that many women had to die in childbirth.
This woman who was called for the time being,
'the image of the mother of the gods,' led in person the
first attack upon one of the two parties of fighters, being
accompanied by three old women that were to her as
mothers and never left her side, called respectively Aoa,
Tlavitezqui, and Xocuauhtli.[IX-7] The fight consisted in
pelting each other with handfuls of red leaves, or leaves
of the nopal, or of yellow flowers called cempoalsuchitl,
the same sort as had been carried by the actors in the
preceding dance. These women all wore girdles, to
which were suspended little gourds filled with powder
of the herb called yietl. When the pelting-match was
over, the woman that had to die was led back to the
house where she was guarded; and all this was repeated
during four successive days. Then the victim representing
Toci, that is to say, 'our grandmother or ancestor,'
for so was called the mother of the gods, was led for the
last time through the market-place by the medical
woman. This ceremony was called 'the farewell to the
market-place;' for never more should she see it who this
day passed through, decorated in such mournful frippery,
surrounded by the pomp of such hollow mirth. She
went sowing maize on every side as she walked, and
having passed through the market she was received by
the priests who took her to a house near the cu where
she had to be killed. There the medical women and
midwives consoled her: Daughter, be joyful and not sad,
this night thou shalt sleep with the king. Then they
adorned her with the ornaments of the goddess Toci,
striving all the while to keep the fact of her death in the
back-ground, that she might die suddenly and without
knowing it. At midnight, in darkness, not so much as
a cough breaking the silence, she was led to the holy
temple-top, and caught up swiftly on the shoulders of a
man. There was hardly a struggle; her bearer felt himself
deluged with blood, while she was beheaded with
all despatch, and flayed, still warm. The skin of the
thighs was first taken off and carried, for a purpose to be
presently revealed, to the cu of Centeotl, who was the
son of Toci. With the remainder of the skin, next
taken off, a priest clothed himself, drawing it on, it would
appear from other records, like a glove; this priest
who was a young man chosen for his bodily forces and
size, thus clothed represented Toci, the goddess herself.
The Toci priest, with this horrible jacket sticking to his
sinewy bust, then came down from the temple amid the
chanting of the singers of the cu. On each side of him
went two persons, who had made a vow to help him in
this service, and behind came several other priests. In
front there ran a number of principal men and soldiers,
armed with besoms of blood-stained grass, who looked
back from time to time, and struck their shields as if
provoking a fight; these he pretended to pursue with
great fury, and all that saw this play (which was called
cacacalli) feared and trembled exceedingly. On reaching
the cu of Huitzilopochtli, the Toci priest spread out
his arms and stood like a cross before the image of the
war god; this he did four times and then went on to the
cu of Centeotl, whither, as we remember, the skin of the
thighs of the flayed woman had been sent. This skin
of the thighs another young priest, representing the god
Centeotl, son of Toci, had put on over his face like a
mask. In addition to this loathsome veil, he wore a
jacket of feathers and a hood of feathers attached to the
jacket. This hood ran out into a peak of a spiral form
falling behind; and the back-bone or spine of this spiral
resembled the comb of a cock; this hood was called ytztlacoliuhqui,
that is to say 'god of frost.'
The Toci priest and the Centeotl priest next went together
to the cu of Toci, where the first waited for
the morning (for all this already described took
place at night) to have certain trappings put on over
his horrid under-vest. When the morning broke,
amid the chanting of the singers, all the principal
men, who had been waiting below, ran with great
swiftness up the steps of the temple carrying their
offerings. Some of these principal men began to cover
the feet and the head of the Toci priest with the white
downy inner feathers of the eagle; others painted his
face red; others put on him a rather short shirt with
the figure of an eagle wrought or woven into the breast
of it, and certain painted petticoats; others beheaded
quails and offered copal. All this done quickly, these
men took their departure.
THE SKIN-BEARERS.
Then were brought forth and put on the Toci priest
all his rich vestures, and a kind of square crown very
wide above and ornamented with five little banners, one
in each corner, and in the centre one higher than the
others. All the captives that had to die were brought
out and set in line, and he took four of them one after
the other, threw them down on the sacrificial stone and
took out their hearts; the rest of the captives he handed
over to the other priests to complete the work he had
begun. After this he set out with the Centeotl priest
for the cu of the latter. In advance of these a little
way there walked a party of their devotees, called
ycuexoan, decorated with papers, girt for breech-clout
with twisted paper, carrying at their shoulders a
crumpled paper, round like a shield, and tassels of untwisted
cotton. On either side also there went those
that sold lime[IX-8] in the market, and the medical women,
moving to the singing of the priests and the beat of
drum. Having come to the place where heads were
spitted at the cu of Centeotl, the Toci priest set one foot
on the drum and waited there for the Centeotl priest.
The two being come together it would seem that he who
represented Centeotl now set out alone, with much haste
and accompanied by many soldiers, for a place on the
enemy's frontier where there was a kind of small hut
built. There at last was deposited and left the skin of
the thighs of the sacrificed woman which had served
such ghastly use. And often, it is said, it happened,
this ceremony taking place on the border of a hostile
territory, that the enemy sallied out against the procession,
and there was fighting and many were slain.
After this the young man who represented the goddess
Toci was taken to the house that is called Atempan.
The king took his seat on a throne with a mat of eagle-skin
and feathers under his feet, and a tiger-skin over
the back of his seat, and there was a grand review of the
army, and a distribution from the royal treasury of
raiment, ornaments, and arms; and it was understood
that those who received such arms had to die with them
in war. This done, dancing was begun in the court-yard
of the temple of Toci; and all who had received
presents, as above, repaired thither. This dancing, as in
the first part of the festival, consisted for the most part
in keeping time to the beat of the drum with hands filled
with flowers; so that the whole court looked like a living
garden; and there was so much gold, for the king
and all the princes were there, that the sun flashed
through all as on water. This began at mid-day and
went on for two days. On the evening of the second
day, the priests of the goddess Chicomecoatl, clothed
with the skins of the captives that had died in a former
day, ascended a small cu called the table of Huitzilopochtli
and sowed maize of all kinds, white and yellow and
red, and calabash-seeds, upon the heads of the people
that were below. The people tried to gather up these as
they fell, and elbowed each other a good deal. The
damsels, called cioatlamacazque, that served the goddess
Chicomecoatl, carried each one on her shoulder, rolled in
a rich mantle, seven ears of maize, striped with melted
ulli and wrapped in white paper; their legs and arms
were decorated with feathers sprinkled over with marcasite.
These sang with the priest of their goddess.
This done, one of the priests descended from the above-mentioned
cu of Huitzilopochtli, carrying in his hand a
large basket filled with powdered chalk and feather-down,
which he set in a small chamber, or little cave, called coaxalpan,
between the temple-stairs and the temple itself.
This cavity was reached from below by four or five steps,
and when the basket was put down there was a general
rush of the soldiers to be first to secure some of the contents.
Every one, as he got his hands filled, with much elbowing,
returned running to the place whence he had set
out. All this time the Toci priest had been looking on,
and now he pretended to chase those that ran, while they
pelted him back with the down and powdered chalk
they had in their hands; the king himself running a
little way and pelting him like the rest. After this
fashion they all ran away from him and left him alone,
except some priests, who followed him to a place called
Tocititlan, when he took off the skin of the sacrificed
woman and hung it up in a little hut that was there;
taking care that its arms were stretched out, and that
the head (or, surely, the neck—for have we not read
that the head was cut off the woman on the fatal night
which terminated her life?), was turned toward the road,
or street. And this was the last of the ceremonies of
the feast of Ochpaniztli.[IX-9]
THE XILONEN FESTIVAL.
The intimate connection of the goddess Xilonen (from
xilotl, a young or tender ear of maize) with Centeotl is
shown by the fact that in the cu of Centeotl was killed
the unfortunate woman who was decorated to resemble
the goddess Xilonen. The festival of Xilonen commenced
on the eleventh day of the eighth Mexican month,
which month begins on the 16th of July. The victim
was made to resemble the image of the goddess by having
her face painted yellow from the nose downward, and her
brow red. On her head was put a crown of paper with
four corners, from the centre and top of which issued
many plumes. Round her neck and over her breasts
hung strings of precious stones, and over these was put
a round medal of gold. Her garments and sandals were
curiously wrought, the latter painted with red stripes.
On her left arm was a shield, and in the right hand she
held a stick, or baton, painted yellow. The women led
her to death dancing round her, and the priests and the
principal men danced before them, sowing incense as
they went. The priest who was to act as executioner
had on his shoulders a bunch of feathers held there in
the grip of an eagle's talons, artificial; another of the
priests carried the hollow board filled with rattles, so
often mentioned. At the foot of the cu of Centeotl, this
latter stopped in front of the Xilonen woman, scattered
incense before her, and rattled with his board, waving
it from side to side. They ascended the cu, and one of
the priests caught the victim up, twisting her backwards,
her shoulders against his shoulders; on which living
altar her heart was cut out through her breast, and put
into a cup. After that there was more dancing, in
which the women, old and young, took part in a body by
themselves, their arms and legs decorated with red macaw
feathers, and their faces painted yellow and dusted
with marcasite. There was also a banquet of small
pies called xocotamalli, during which to the old men and
women license was given to drink pulque; the young,
however, being restrained from the bacchanalian part of
this enjoyment by severe and sometimes capital punishment.[IX-10]
Lastly, the intimate connection or identity of Centeotl
with the earth-mother, the all-nourisher, seems clearly
symbolized in the feast of the fourth month of the Mexicans,
which began on the 27th of April. In it they
made a festival to the god of cereals, under the name of
Centeotl, and to the goddess of provisions, called Chicomecoatl.
First they fasted four days, putting certain
rushes or water-flags beside the images of the gods, staining
the white part of the bottom of each rush with blood
drawn from their ears or legs; branches too, of the kind
called acxoiatl, and a kind of bed or mattress of hay
were put before the altars. A sort of porridge of maize
called mazamorra was also made and given to the youths.
Then all walked out into the country, and through the
maize-fields, carrying stalks of maize, and other herbs
called mecoatl. With these they strewed the image of
the god of cereals that every one had in his house, and
they put papers on it and food before it of various kinds;
five chiquivites,[IX-11] or baskets, of tortillas, and on the top
of each chiquivitl a cooked frog, a basket of chian[IX-12] flour,
which they call pinolli;[IX-13] and a basket of toasted maize
mixed with beans. They cut also a joint from a green
maize-stalk, stuffed the little tube with morsels of every
kind of the above-mentioned food, and set it carefully
on the back of the frog.[IX-14] This each one did in his own
house, and in the afternoon all this offering of food was
carried to the cu of the goddess of provisions, of the goddess
Chicomecoatl, and eaten there in a general scramble,
take who take could; symbolizing one knows not what,
if not the laisser-faire and laisser-aller system of national
commisariat much advocated by many political economists,
savage and civilized.
BLESSING THE SEED-MAIZE.
In this festival the ears of maize that were preserved
for seed were carried in procession by virgins to a cu,
apparently the one just mentioned, but which is here
called the cu of Chicomecoatl and of Centeotl. The
maidens carried on their shoulders not more than seven
ears of corn apiece, sprinkled with drops of oil of ulli,
and wrapped first in papers and then in a cloth. The
legs and arms of these girls were ornamented with red
feathers, and their faces were smeared with the pitch
called chapopotli and sprinkled with marcasite. As they
went along in this bizarre attire, the people crowded to
see them pass, but it was forbidden to speak to them.
Sometimes indeed an irrepressible youth would break
out into words of admiration or love toward some fair
pitch-besmeared face, but his answer came sharp and
swift from one of the old women that watched the
younger, in some such fashion as this: And so thou
speakest, raw coward! thou must be speaking, eh? Think
first of performing some man's feat, and get rid of that
tail of hair at the nape of thy neck that marks the
coward and the good-for-nothing. It is not for thee to
speak here; thou art as much a woman as I am; thou
hast never come out from behind the fire! But the
young lovers of Tenochtitlan were not without insolent
springalls among them, much given to rude gibes, and
retorts like the following: Well said, my lady, I receive
this with thanks, I will do what you command me,
will take care to show myself a man; but as for you,
I value two cacao-beans more than you and all your
lineage; put mud on your body, and scratch yourself;
fold one leg over the other and roll in the dust; see!
here is a rough stone, knock your face against it; and if
you want anything more take a red-hot coal and burn a
hole in your throat to spit through; for God's sake, hold
your peace.
This the young fellows said, writes Sahagun, to show
their courage; and so it went, give and take, till the
maize was carried to the cu and blessed. Then the
folk returned to their houses and sanctified maize was
put in the bottom of every granary, and it was said
that it was the heart thereof, and it remained there till
taken out for seed. These ceremonies were specially in
honor of the goddess Chicomecoatl. She supplied provisions,
she it was that had made all kinds of maize and
frijoles, and whatsover vegetables could be eaten, and all
sorts of chia; and for this they made her that festival
with offerings of food, and with songs and dances, and
with the blood of quails. All the ornaments of her attire
were bright red and curiously wrought, and in her
hands they put stalks of maize.[IX-15]
The Mexicans deified, under the name Cioapipilti,
all women that died in child-bed. There were oratories
raised to their honor in every ward that had two
streets. In such oratories, called cioateucalli or ciateupan,
there were kept images of these goddesses adorned with
certain papers called amatetevitl. The eighth movable
feast of the Mexican calendar was dedicated to them,
falling in the sign Cequiahuitl, in the first house; in this
feast were slain in their honor all lying in the jails under
pain of death. These goddesses were said to move
through the air at pleasure, and to appear to whom they
would of those that lived upon the earth, and sometimes
to enter into and possess them. They were accustomed
to hurt children with various infirmities, especially paralysis
and other sudden diseases. Their favorite haunt
on earth was the cross-roads, and, on certain days of the
year, people would not go out of their houses for fear of
meeting them. They were propitiated in their temples
and at the cross-roads by offerings of bread kneaded into
various shapes—into figures of butterflies and thunderbolts
for example—by offerings of small tamales, or
pies, and of toasted maize. Their images, besides
the papers above mentioned, were decorated by having
the face, arms, and legs painted very white; their ears
were made of gold; their hair was dressed like that of
ladies, in little curls; the shirt was painted over with
black waves; the petticoats were worked in divers colors;
the sandals were white.
THE MOTHER-GODDESS AND WOMAN IN CHILD-BED.
The mother-goddess, under the form of the serpent-woman,
Cioacoatl, or Ciuacoatl, or Cihuacoatl, or, lastly,
Quilaztli, seems to have been held as the patroness of
women in child-bed generally, and, especially, of those
that died there. When the delivery of a woman was
likely to be tedious and dangerous, the midwife addressed
the patient saying: Be strong, my daughter; we
can do nothing for thee. Here are present thy mother
and thy relations, but thou alone must conduct this business
to its termination. See to it, my daughter, my well-beloved,
that thou be a strong and valiant and manly
woman; be like her who first bore children, like Cioacoatl,
like Quilaztli. And if still after a day and a
night of labor the woman could not bring forth, the midwife
took her away from all other persons and brought
her into a closed room and made many prayers, calling
upon the goddess Cioacoatl, and upon the goddess Yoalticitl,[IX-16]
and upon other goddesses. If, notwithstanding
all, however, the woman died, they gave her the title,
mociaquezqui, that is 'valiant woman,' and they washed
all her body, and washed with soap her head and her
hair. Her husband lifted her on his shoulders, and,
with her long hair flowing loose behind him, carried her
to the place of burial. All the old midwives accompanied
the body, marching with shields and swords, and
shouting as when soldiers close in the attack. They
had need of their weapons, for the body that they
escorted was a holy relic which many were eager to win;
and a party of youths fought with these Amazons to take
their treasure from them: this fight was no play but a
very bone-breaking earnest. The burial procession set
out at the setting of the sun and the corpse was interred
in the court-yard of the cu of the goddesses, or celestial
women called Cioapipilti. Four nights the husband
and his friends guarded the grave and four nights the
youths, or rawest and most inexperienced soldiers,
prowled like wolves about the little band. If, either
from the fighting midwives or from the night-watchers,
they succeeded in securing the body, they instantly cut
off the middle finger of the left hand and the hair of
the head; either of these things being put in one's shield,
made one fierce, brave, invincible in war, and blinded
the eyes of one's enemies. There prowled also round
the sacred tomb certain wizards, called temamacpalitotique,
seeking to hack off and steal the whole left arm of
the dead wife; for they held it to be of mighty potency
in their enchantments, and a thing that when they went
to a house to work their malice thereon, would wholly
take away the courage of the inmates, and dismay them
so that they could neither move hand nor foot, though
they saw all that passed.
THE HOUSE OF THE SUN.
The death of this woman in child-bed was mourned
by the midwives, but her parents and relations were
joyful thereat; for they said that she did not go to hades,
or the under-ground world, but to the western part of
the House of the Sun. To the eastern part of the House of
the Sun, as the ancients said, were taken up all the
soldiers that died in war. When the sun rose in the
morning these brave men decorated themselves in their
panoply of war, and accompanied him towards the mid-heaven,
shouting and fighting, apparently in a sham or
review battle, until they reached the point of noonday,
which was called nepantlatonatiuh. At this point
the heroines, whose home was in the west of heaven, the
mocioaquezque, the valiant women, dead in child-bed, who
ranked as equal with the heroes fallen in war, met these
heroes and relieved them of their duty as guards of
honor of the sun. From noon till night, down the
western slope of light, while the forenoon escort of warriors
were scattered through all the fields and gardens of
heaven, sucking flowers till another day should call
them anew to their duty, the women, in panoply of war,
just as the men had been, and fighting like them with
clashing shields and shouts of joy, bore the sun
to his setting; carrying him on a litter of quetzales, or
rich feathers, called the quetzal-apanecaiutl. At this
setting-place of the sun the women were, in their turn,
relieved by those of the under world, who here came out
to receive him. For it was reported of old by the
ancients that when night began in the upper world the
sun began to shine through hades, and that thereupon
the dead rose up from their sleep and bore his shining
litter through their domain. At this hour too the
celestial women, released from their duty in heaven,
scattered and poured down through the air upon the
earth, where, with a touch of the dear nature that makes
the world kin, they are described as looking for spindles
to spin with, and shuttles to weave with, and all the old
furniture and implements of their house-wifely pride.
This thing, says Sahagun, "the devil wrought to deceive
withal, for very often, in the form of those women, he
appeared to their bereaved husbands, giving them petticoats
and shirts."
Very beautiful was the form of address before burial
used by the midwife to the dead woman who had taken
rank among the mocioaquezque or mocioaquetza: O woman,
strong and warlike, child well-beloved, valiant one,
beautiful and tender dove, strong hast thou been and
toil-enduring as a hero; thou hast conquered, thou hast
done as did thy mother the lady Cioacoatl, or Quilaztli.
Very valiantly hast thou fought, stoutly hast thou
handled the shield and the spear that the great mother
put in thine hand. Up with thee! break from sleep!
behold it is already day; already the red of morning
shoots through the clouds; already the swallows and all
birds are abroad. Rise, my daughter, attire thyself, go
to that good land where is the house of thy father and
mother the Sun; thither let thy sisters, the celestial
women, carry thee, they that are always joyful and
merry and filled with delight, because of the Sun with
whom they take pleasure. My tender daughter and
lady, not without sore travail hast thou gotten the glory
of this victory; a great pain and a hard penance hast
thou undergone. Well and fortunately hast thou purchased
this death. Is this, peradventure, a fruitless
death, and without great merit and honor? Nay, verily,
but one of much honor and profit. Who receives other
such great mercy, other such happy victory as thou? for
thou hast gained with thy death eternal life, a life full
of joy and delight, with the goddesses called Cioapipilti,
the celestial goddesses. Go now, my lady, my well-beloved;
little by little advance toward them; be one of
them, that they may receive thee and be always with
thee, that thou mayest rejoice and be glad in our father
and mother the Sun, and accompany him whithersoever
he wish to take pleasure. O my lady, my well-beloved
daughter, thou hast left us behind, us old people, unworthy
of such glory; thou hast torn thyself away from
thy father and mother, and departed. Not indeed of
thine own will, but thou wast called; thou didst follow
a voice that called. We must remain orphans and forlorn,
old and luckless and poor; misery will glorify itself
in us. O my lady, thou hast left us here that we
may go from door to door and through the streets in
poverty and sorrow; we pray thee to remember us
where thou art, and to provide for the poverty that
we here endure. The sun wearies us with his great
heat, the air with its coldness, and the frost with
its torment. All these things afflict and grieve our
miserable earthen bodies; hunger is lord over us, and
we can do nothing against it. My well-beloved, I pray
thee to visit us since thou art a valorous woman and a
lady, since thou art settled forever in the place of delight
and blessedness, there to live and be forever with our
Lord. Thou seest him with thine eyes, thou speakest to
him with thy tongue, pray to him for us, entreat him
that he favor us, and therewith we shall be at rest.[IX-17]
CHALCHIHUITLICUE.
Chalchihuitlicue or Chalchiuhcyeje is described by
Clavigero as the goddess of water and the mate of Tlaloc.
She had other names relating to water in its different
states, as Apozonallotl and Acuecuejotl, which mean
the swelling and fluctuation of water; Atlacamani, or
the storms excited thereon; Ahuic and Aiauh, or its
motion, now to one side, now to the other; and Xixiquipilihui,
the alternate rising and falling of the waves.
The Tlascaltecs called her Matlalcueje, that is 'clothed
in a green robe;' and they gave the same name to the
highest mountain of Tlascala, on whose summit are found
those stormy clouds which generally burst over the city
of Puebla. To that summit the Tlascaltecs ascended
to perform their sacrifices, and offer up their prayers.
This is the very same goddess of water to whom Torquemada
gives the name of Hochiquetzal, and Boturini
that of Macuilxochiquetzalli.[IX-18]
Of the accuracy of the assertions of this last sentence
I am by no means certain; Boturini and Torquemada
both describe their goddess of water without
giving any support thereto. Boturini says that
she was metaphorically called by the Mexicans the
goddess of the Petticoat of Precious Stones—chalchihuites,
as it would appear from other authorities,
being meant—and that she was represented with
large pools at her feet, and symbolized by certain
reeds that grow in moist places. She was particularly
honored by fishermen and others whose trade
connected them with water, and great ladies were accustomed
to dedicate to her their nuptials—probably,
as will be seen immediately, because this goddess had
much to do with certain lustral ceremonies performed
on new-born children.[IX-19]
Many names, writes Torquemada, were given to this
goddess, but that of Chalchihuitlicue was the most common
and usual; it meant to say, 'petticoat of water, of
a shade between green and blue,' that is, of the color of
the stones called chalchihuites.[IX-20] She was the companion,
not the wife of Tlaloc, for indeed as our author
affirms, the Mexicans did not think so grossly of their
gods and goddesses as to marry them.[IX-21]
IDOL OF CHALCHIHUITLICUE.
According to Sahagun, Chalchihuitlicue was the sister
of the Tlalocs. She was honored because she had power
over the waters of the sea and of the rivers to drown
those that went down to them, to raise tempests and
whirlwinds, and to cause boats to founder. They
worshiped her all those that dealt in water, that went
about selling it from canoes, or peddled jars of it in the
market. They represented this goddess as a woman,
painted her face yellow, save the forehead, which was
often blue, and hung round her neck a collar of precious
stones from which depended a medal of gold. On
her head was a crown of light blue paper, with plumes of
green feathers, and tassels that fell to the nape of her neck.
Her ear-rings were of turquoise wrought in mosaic. Her
clothing was a shirt, or upper body-garment, clear blue
petticoats with fringes from which hung marine shells,
and white sandals. In her left hand she held a shield,
and a leaf of the broad round white water-lily, called atlacuezona.[IX-22]
In her right hand she held as a sceptre a vessel
in the shape of a cross, or of a monstrance of the Catholic
Church. This goddess, together with Chicomecoatl,
goddess of provisions, and Vixtocioatl, goddess of salt,
was held in high veneration by kings and lords, for they
said that these three supported the common people so
that they could live and multiply.[IX-23]
TWO LUSTRATIONS OR BAPTISMS.
Chalchihuitlicue was especially connected with certain
ceremonies of lustration of children, resembling in many
points baptism among Christians. It would seem that
two of these lustrations were practiced upon every infant,
and the first took place immediately upon its birth.
When the midwife had cut the umbilical cord of the
child, then she washed it, and while washing it said,
varying her address according to its sex: My son, approach
now thy mother, Chalchihuitlicue, the goddess of
water; may she see good to receive thee, to wash thee,
and to put away from thee the filthiness that thou takest
from thy father and mother; may she see good to purify
thine heart, to make it good and clean, and to instill
into thee good habits and manners.
Then the midwife turned to the water itself and spoke:
Most compassionate lady, Chalchihuitlicue, here has come
into the world this thy servant, sent hither by our
father and mother, whose names are Ometecutli and
Omecioatl,[IX-24] who live on the ninth heaven, which is the
place of the habitation of the gods. We know not what
are the gifts that this infant brings with it; we know
not what was given to it before the beginning of the
world; we know not what it is, nor what mischief and
vice it brings with it taken from its father and mother.
It is now in thine hands, wash and cleanse it as thou knowest
to be necessary; in thine hands we leave it. Purge
it from the filthiness it inherits from its father and its
mother, all spot and defilement let the water carry away
and undo. See good, O our lady, to cleanse and purify
its heart and life that it may lead a quiet and peaceable
life in this world; for indeed we leave this creature in
thine hands, who art mother and lady of the gods, and
alone worthy of the gift of cleansing that thou has held
from before the beginning of the world; see good to do
as we have entreated thee to this child now in thy presence.
Then the midwife spake again; I pray thee to receive
this child here brought before thee. This said, the midwife
took water and blew her breath upon it, and gave
to taste of it to the babe, and touched the babe with it
on the breast and on the top of the head. Then she
said: My well-beloved son, or daughter, approach here
thy mother and father, Chalchihuitlicue and Chalchihuitlatonac;
let now this goddess take thee, for she has to
bear thee on her shoulders and in her arms through this
world. Then the midwife dipped the child into water
and said: Enter, my son, into the water that is called
mamatlac and tuspalac; let it wash thee; let him cleanse
thee that is in every place, let him see good to put away
from thee all the evil that thou hast carried with thee
from before the beginning of the world, the evil that
thy father and thy mother have joined to thee. Having
so washed the creature, the midwife then wrapped
it up, addressing it the while as follows: O precious
stone, O rich feather, O emerald, O sapphire, thou wert
shaped where abide the great god and the great goddess
that are above the heavens; created and formed thou
wert by thy mother and father, Ometecutli and Omecioatl,
the celestial woman and the celestial man. Thou
hast come into this world, a place of many toils and
troubles, of intemperate heat and intemperate cold and
wind, a place of hunger and thirst, of weariness and of
tears; of a verity we cannot say that this world is other
than a place of weeping, of sadness, of vexation. Behold
thy lot, weariness and weeping and tears. Thou
hast come, my well-beloved, repose then and take here
thy rest; let our Lord that is in every place provide for
and support thee. And in saying all these things the
midwife spake softly, as one that prays.
The second lustration or baptism, usually took place
on the fifth day after birth, but in every case the astrologers
and diviners were consulted, and if the signs were
not propitious, the baptism was postponed till a day of
good sign came. The ceremony, when the child was a
boy, began by bringing to it a little shield, bow, and
arrows; of which arrows there were four, one pointing
toward each of the four points of the world. There
were also brought a little shield, bow, and arrows, made
of paste or dough of wild amaranth seeds, and a pottage
of beans and toasted maize, and a little breech-clout and
blanket or mantle. The poor in such cases had no more
than the little shield, bow, and arrows, together with some
tamales and toasted maize. When the child was a girl,
there were brought to it, instead of mimic weapons, certain
woman's implements and tools for spinning and
weaving, the spindle and distaff, a little shirt and petticoats.
These things being prepared, suiting the sex of
the infant, its parents and relatives assembled before
sunrise. When the sun rose the midwife asked for a
new vessel full of water; and she took the child in her
hands. Then the by-standers carried all the implements
and utensils already mentioned into the court-yard of
the house, where the midwife set the face of the child
toward the west, and spake to the child saying: O
grandson of mine, O eagle, O tiger, O valiant man,
thou hast come into the world, sent by thy father and
mother, the great Lord and the great lady; thou wast
created and begotten in thy house, which is the place of
the supreme gods that are above the nine heavens. Thou
art a gift from our son Quetzalcoatl, who is in every
place; join thyself now to thy mother, the goddess of
water, Chalchihuitlicue.
Then the midwife gave the child to taste of the water,
putting her moistened fingers in its mouth, and said:
Take this; by this thou hast to live on the earth, to
grow and to flourish; through this we get all things that
support existence on the earth; receive it. Then with
her moistened fingers she touched the breast of the child,
and said: Behold the pure water that washes and
cleanses thine heart, that removes all filthiness; receive
it; may the goddess see good to purify and cleanse thine
heart. Then the midwife poured water upon the head
of the child saying: O my grandson, my son, take this
water of the Lord of the world, which is thy life, invigorating
and refreshing, washing and cleansing. I
pray that this celestial water, blue and light blue, may
enter into thy body and there live; I pray that it may
destroy in thee and put away from thee all the things
evil and adverse that were given thee before the beginning
of the world. Into thine hand, O goddess of water,
are all mankind put, because thou art our mother Chalchihuitlicue.
Having so washed the body of the child
and so spoken, the midwife said: Wheresoever thou art
in this child, O thou hurtful thing, begone, leave it, put
thyself apart; for now does it live anew, and anew is it
born; now again is it purified and cleansed; now again
is it shaped and engendered by our mother the goddess
of water.
PRAYER TO THE EARTH-MOTHER.
All these things being done and spoken, the midwife
lifted the child in both her hands toward heaven and
said: O Lord, behold here thy creature that thou hast
sent to this place of pain, of affliction, of anguish, to this
world. Give it, O Lord, thy gifts and thine inspiration,
forasmuch as thou art the great god, and hast with
thee the great goddess. Then the midwife stooped again
and set the child upon the earth, and raised it the second
time toward heaven, saying: O our lady, who art
mother of the heavens, who art called Citlalatonac,[IX-25] to
thee I direct my voice and my cry; I pray thee to inspire
with thy virtue, what virtue soever it may be, to
give and to instil it into this creature. Then the midwife
stooped again and set the child on the ground, and
raised it the third time toward heaven, and said: O our
Lord, god and goddess celestial, that are in the heavens,
behold this creature; see good to pour into it thy virtue
and thy breath, so that it may live upon the earth.
Then a fourth and last time the midwife set the babe
upon the ground, a fourth time she lifted it toward
heaven, and she spake to the sun and said: O our Lord,
Sun, Totonametl, Tlaltecutli, that art our mother and our
father, behold this creature, which is like a bird of precious
plumage, like a zaquan or a quechutl;[IX-26] thine, O our
Lord the Sun, he is; thou who art valiant in war and
painted like a tiger in black and gray, he is thy creature
and of thine estate and patrimony. For this he was
born, to serve thee and to give thee food and drink; he
is of the family of warriors and soldiers that fight on
the field of battle.
DEDICATION OF THE CHILD TO WAR.
Then the midwife took the shield, and the bow and
the dart that were there prepared, and spake to the Sun
after this sort: Behold here the instruments of war
which thou art served with, which thou delightest in;
impart to this babe the gift that thou art wont to give
to thy soldiers, enabling them to go to thine house of
delights, where, having fallen in battle, they rest and are
joyful and are now with thee praising thee. Will this
poor little nobody ever be one of them? Have pity upon
him, O clement Lord of ours.
During all the time of these ceremonies a great torch
of candlewood was burning; and when these ceremonies
were accomplished, a name was given to the child, that
of one of his ancestors, so that he might inherit the fortune
or lot of him whose name was so taken. This name
was applied to the child by the midwife, or priestess,
who performed the baptism. Suppose the name given
was Yautl. Then the midwife began to shout and to
talk like a man to the child: O Yautl, O valiant man,
take this shield and this dart; these are for thy amusement,
they are the delight of the sun. Then she tied
the little mantle on its shoulders and girt the breech-clout
about it. Now all the boys of the ward were assembled,
and at this stage of the ceremony they rushed
into the house where the baptism had taken place, and
representing soldiers and forrayers, they took food that
was there prepared for them, which was called 'the
navel-string,' or 'navel,' of the child, and set out with
it into the streets, shouting and eating. They cried O
Yautl, Yautl, get thee to the field of battle, put thyself
into the thickest of the fight; O Yautl, Yautl, thine office
is to make glad the sun and the earth, to give them to
eat and to drink; upon thee has fallen the lot of the
soldiers that are eagles and tigers, that die in war, that
are now making merry and singing before the sun.
And they cried again: O soldiers, O men of war, come
hither, come to eat of the navel of Yautl. Then the
midwife, or priestess, took the child into the house, and
departed, the great torch of candlewood being carried
burning before her, and this was the last of the ceremony.[IX-27]
THE AZTEC VENUS.
The goddess (or god, as some have it) connected by
the Mexicans with carnal love was variously called Tlazolteotl,
Ixcuina, Tlaclquani, with other names, and,
especially it would appear in Tlascala, Xochiquetzal.
She had no very prominent or honorable place in the
minds of the people and was much more closely allied to
the Roman Cloacina than to the Greek Aphrodite.
Camargo, the Tlascaltec, gives much the most agreeable
and pleasing account of her. Her home was in the
ninth heaven, in a pleasant garden, watered by innumerable
fountains, where she passed her time spinning
and weaving rich stuffs, in the midst of delights, ministered
to by the inferior deities. No man was able to
approach her, but she had in her service a crowd of
dwarfs, buffoons, and hunchbacks, who diverted her with
their songs and dances, and acted as messengers to such
gods as she took a fancy to. So beautiful was she painted
that no woman in the world could equal her; and the
place of her habitation was called Iamotamohuanichan,
Xochitlycacan, Chitamihuany, Cicuhnauhuepaniuhcan,
and Tuhecayan, that is to say 'the place of Tamohuan,
the place of the tree of flowers Xochitlihcacan, where the
air is purest, beyond the nine heavens.' It was further
said, that whoever had been touched by one of the
flowers that grow in the beautiful garden of Xochiquetzal
should love to the end, should love faithfully.[IX-28]
TLAZOLTEOTL SEDUCES YÁPPAN.
Boturini gives a legend in which this goddess figures
in a very characteristic way. There was a man called
Yáppan, who, to win the regard of the gods made himself
a hermit, leaving his wife and his relations, and retiring
to a desert place, there to lead a chaste and solitary
life. In that desert was a great stone or rock,
called Tehuehuetl, dedicated to penitential acts, which
rock Yáppan ascended and took up his abode upon like
a western Simeon Stylites. The gods observed all this
with attention, but doubtful of the firmness of purpose
of the new recluse, they set a spy upon him in the person
of an enemy of his, named Yáotl, the word yáotl indeed
signifying 'enemy.' Yet not even the sharpened
eye of hate and envy could find any spot in the austere
continent life of the anchorite, and the many women sent
by the gods to tempt him to pleasure were repulsed and
baffled. In heaven itself the chaste victories of the
lonely saint were applauded, and it began to be thought
that he was worthy to be transformed into some higher
form of life. Then Tlazolteotl, feeling herself slighted
and held for naught, rose up in her evil beauty, wrathful,
contemptuous, and said: Think not, ye high and immortal
gods, that this hero of yours has the force to preserve
his resolution before me, or that he is worthy of
any very sublime transformation; I descend to earth,
behold now how strong is the vow of your devotee, how
unfeigned his continence!
That day the flowers of the gardens of Xochiquetzal
were untended by their mistress, her singing dwarfs
were silent, her messengers undisturbed by her behests,
and away in the desert, by the lonely rock, the
crouching spy Yáotl saw a wondrous sight: one shaped
like a woman, but fairer than eye can conceive, advancing
toward the lean penance-withered man on
the sacred height. Ha! thrills not the hermit's mortified
flesh with something more than surprise, while
the sweet voice speaks: My brother Yáppan, I the goddess
Tlazolteotl, amazed at thy constancy, and commiserating
thy hardships, come to comfort thee; what way shall
I take, or what path, that I may get up to speak with
thee? The simple one did not see the ruse, he came
down from his place and helped the goddess up. Alas,
in such a crisis, what need is there to speak further?—no
other victory of Yáppan was destined to be famous in
heaven, but in a cloud of shame his chaste light went
down for ever. And thou, O shameless one, have thy
fierce red lips had their fill of kisses, is thy Paphian
soul satisfied withal, as now, flushed with victory,
thou passest back to the tinkling fountains, and to the
great tree of flowers, and to the far-reaching gardens
where thy slaves await thee in the ninth heaven? Do
thine eyes lower themselves at all in any heed of
the miserable disenchanted victim left crouching,
humbled on his desecrated rock, his nights and days of
fasting and weariness gone for naught, his dreams, his
hopes dissipated, scattered like dust at the trailing of thy
robes? And for thee, poor Yáppan, the troubles of this
life are soon to end; Yáotl, the enemy, has not seen all
these things for nothing; he, at least, has not borne
hunger and thirst and weariness, has not watched and
waited in vain. O it avails nothing to lift the pleading
hands, they are warm but not with clasping in prayer,
and weary but not with waving the censer; the flint-edged
mace beats down thy feeble guard, the neck that
Tlazolteotl clasped is smitten through, the lips she kissed
roll in the dust beside a headless trunk.
The gods transformed the dead man into a scorpion,
with the forearms fixed lifted up as when he deprecated
the blow of his murderer; and he crawled under the
stone upon which he had abode. His wife, whose name
was Tlahuitzin, that is to say 'the inflamed,' still lived.
The implacable Yáotl sought her out, led her to the spot
stained with her husband's blood, detailed pitilessly the
circumstances of the sin and death of the hermit, and
then smote off her head. The gods transformed the poor
woman into that species of scorpion called the alacran
encendido, and she crawled under the stone and found
her husband. And so it comes that tradition says that
all reddish colored scorpions are descended from Tlahuitzin,
and all dusky or ash-colored scorpions from Yáppan,
while both keep hidden under the stones and flee
the light for shame of their disgrace and punishment.
Last of all the wrath of the gods fell on Yáotl for his
cruelty and presumption in exceeding their commands;
he was transformed into a sort of locust that the Mexicans
call ahuacachapullin.[IX-29]
CONFESSION.
Sahagun gives a very full description of this goddess
and her connection with certain rites of confession, much
resembling those already described in speaking of Tezcatlipoca.[IX-30]
The goddess had according to our author,
three names. The first was Tlazolteotl, that is to say
'the goddess of carnality.' The second name was
Yxcuina, which signifies four sisters, called respectively,
and in order of age, Tiacapan, Teicu, Tlaco,
Xucotsi. The third and last name of this deity was
Tlaclquani, which means 'eater of filthy things,' referring
it is said to her function of hearing and pardoning
the confessions of men and women guilty of unclean
and carnal crimes. For this goddess, or these goddesses,
had power not only to inspire and provoke to
the commission of such sins, and to aid in their accomplishment,
but also to pardon them, if they were confessed
to certain priests who were also diviners and tellers
of fortunes and wizards generally. In this confession,
however, Tlazolteotl seems not to have been directly addressed,
but only the supreme deity under several of his
names. Thus the person whom, by a stretch of courtesy,
we may call the penitent, having sought out a confessor
from the class above mentioned, addressed that functionary
in these words: Sir, I wish to approach the all-powerful
god, protector of all, Yoalliehecatl, or Tezcatlipoca;
I wish to confess my sins in secret. To this the
wizard, or priest, replied: Welcome, my son; the thing
thou wouldst do is for thy good and profit. This said,
he searched the divining book, tonalamatl, to see what
day would be most opportune for hearing the confession.
That day come, the penitent brought a new mat, and
white incense called copalli, and wood for the fire in
which the incense was to be burned. Sometimes when
he was a very noble personage, the priest went to his
house to confess him, but as a general rule the ceremony
took place at the residence of the priest. On entering
this house the penitent swept very clean a portion of the
floor and spread the new mat there for the confessor to
seat himself upon, and kindled the wood. The priest
then threw the copal upon the fire and said: O Lord,
thou that art the father and the mother of the gods and
the most ancient god,[IX-31] know that here is come thy
vassal and servant, weeping and with great sadness; he
is aware that he has wandered from the way, that he
has stumbled, that he has slidden, that he is spotted
with certain filthy sins and grave crimes worthy of death.
Our Lord, very pitiful, since thou art the protector and
defender of all, accept the penitence, give ear to the anguish
of this thy servant and vassal.
At this point the confessor turned to the sinner and
said: My son, thou art come into the presence of God,
favorer and protector of all; thou art come to lay bare
thy inner rottenness and unsavoriness; thou art come to
publish the secrets of thine heart; see that thou fall into
no pit by lying unto our Lord; strip thyself, put away
all shame before him who is called Yoalliehecatl and
Tezcatlipoca. It is certain that thou art now in his presence,
although thou art not worthy to see him, neither
will he speak with thee, for he is invisible and impalpable.
See then to it how thou comest, and with what heart;
fear nothing to publish thy secrets in his presence, give
account of thy life, relate thine evil deeds as thou didst
perform them; tell all with sadness to our Lord God,
who is the favorer of all, and whose arms are open and
ready to embrace and set thee on his shoulders. Beware
of hiding anything through shame or through weakness.
Having heard these words the penitent took oath,
after the Mexican fashion, to tell the truth. He touched
the ground with his hand and licked off the earth that
adhered to it;[IX-32] then he threw copal in the fire, which
was another way of swearing to tell the truth. Then
he set himself down before the priest and, inasmuch as
he held him to be the image and vicar of god, he, the
penitent, began to speak after this fashion: O our Lord
who receivest and shelterest all, give ear to my foul
deeds; in thy presence I strip, I put away from myself
what shameful things soever I have done. Not from thee,
of a verity, are hidden my crimes, for to thee all things
are manifest and clear. Having thus said, the penitent
proceeded to relate his sins in the order in which they
had been committed, clearly and quietly, as in a slow and
distinctly pronounced chant, as one that walked along a
very straight way turning neither to the right hand nor
to the left. When he had done the priest answered him
as follows: My son, thou hast spoken before our Lord
God, revealing to him thine evil works; and I shall now
tell thee what thou hast to do. When the goddesses Civapipilti
descend to the earth, or when it is the time of
the festival of the four sister goddesses of carnality that
are called Yxcuina, thou shalt fast four days afflicting
thy stomach and thy mouth; this feast of the Yxcuina
being come, at daybreak thou shalt do penance suitable
to thy sins.[IX-33] Through a hole pierced by a maguey-thorn
through the middle of thy tongue thou shall pass certain
osier-twigs called teucalzacatl or tlacotl, passing them in
front of the face and throwing them over the shoulder
one by one; or thou mayest fasten them the one to the
other and so pull them through thy tongue like a long
cord. These twigs were sometimes passed through a
hole in the ear; and, wherever they were passed, it
would appear by our author that there were sometimes
used of them by one penitent to the number of four
hundred, or even of eight hundred.
PENANCES.
If the sin seemed too light for such a punishment as
the preceding, the priest would say to the penitent: My
son, thou shalt fast, thou shall fatigue thy stomach with
hunger and thy mouth with thirst, and that for four
days, eating only once on each day and that at noon.
Or, the priest would say to him: Thou shalt go to offer
paper in the usual places, thou shalt make images covered
therewith in number proportionate to thy devotion, thou
shalt sing and dance before them as custom directs. Or,
again, he would say to him: Thou hast offended God,
thou hast got drunk; thou must expiate the matter before
Totochti, the god of wine; and when thou goest to
do penance thou shalt go at night, naked, save only a
piece of paper hanging from thy girdle in front and another
behind; thou shalt repeat thy prayer and then
throw down there before the gods those two pieces of
paper, and so take thy departure.
This confession was held not to have been made to
a priest, or to a man, but to God; and, inasmuch as it
could only be heard once in a man's life, and, as for a
relapse into sin after it there was no forgiveness, it was
generally put off till old age. The absolution given by
the priest was valuable in a double regard; the absolved
was held shriven of every crime he had confessed, and
clear of all pains and penalties, temporal or spiritual,
civil or ecclesiastical, due therefor. Thus was the fiery
lash of Nemesis bound up, thus were struck down alike
the staff of Minos and the sword of Themis before the
awful ægis of religion. It may be imagined with what
reluctance this last hope, this unique life-confession was
resorted to; it was the one city of refuge, the one Mexican
benefit of sanctuary, the sole horn of the altar, of
which a man might once take hold and live, but no
more again for ever.[IX-34]
GOD OF FIRE.
The Mexican god of fire as we have already noticed
was usually called Xiuhtecutli. He had, however, other
names such as Ixcozauhqui, that is to say, 'yellow-faced;'
and Cuecaltzin, which means 'flame of fire;' and Huehueteotl,
or 'the ancient god.'[IX-35] His idol represented
a naked man, the chin blackened with ulli, and wearing
a lip-jewel of red stone. On his head was a parti-colored
paper crown, with green plumes issuing from the
top of it like flames of fire; from the sides hung tassels
of feathers down to the ears. The ear-rings of the image
were of turquoise wrought in mosaic. On the idol's
back was a dragon's head made of yellow feathers and
some little marine shells. To the ankles were attached
little bells or rattles. On the left arm was a shield,
almost entirely covered with a plate of gold, into which
were set in the shape of a cross five chalchiuites. In
the right hand the god held a round pierced plate of
gold, called the 'looking-plate,' (mirador ó miradero); with
this he covered his face, looking only through the hole
in the golden plate. Xiuhtecutli was held by the people to
be their father, and regarded with feelings of mingled love
and fear; and they celebrated to him two fixed festivals
every year, one in the tenth and another in the eighteenth
month, together with a movable feast in which, according
to Clavigero, they appointed magistrates and renewed
the ceremony of the investiture of the fiefs of the
kingdom. The sacrifices of the first of these festivals,
the festival of the tenth month, Xocotlveti, were particularly
cruel even for the Mexican religion.
FESTIVAL OF THE FIRE GOD.
The assistants began by cutting down a great tree of
five and twenty fathoms long and dressing off the
branches, removing all it would seem but a few round
the top. This tree was then dragged by ropes into the
city, on rollers apparently, with great precaution against
bruising or spoiling it; and the women met the entering
procession giving those that dragged cacao to drink.
The tree, which was called xocotl, was received into the
court of a cu with shouts; and there set up in a hole in
the ground and allowed to remain for twenty days.
On the eve of the festival Xocotlvetzi, they let this large
tree or pole down gently to the ground, by means of
ropes and trestles, or rests, made of beams tied two and
two, probably in an X shape; and carpenters dressed it
perfectly smooth and straight, and, where the branches
had been left, near the top, they fastened with ropes a
kind of yard or cross-beam of five fathoms long. Then
was prepared, to be set on the very top of the pole or
tree, a statue of the god Xiuhtecutli, made like a man
out of the dough of wild amaranth seeds, and covered
and decorated with innumerable white papers. Into
the head of the image were stuck strips of paper instead
of hair; sashes of paper crossed the body from each
shoulder; on the arms were pieces of paper like wings,
painted over with figures of sparrow-hawks; a maxtli
of paper covered the loins; and a kind of paper
shirt or tabard covered all. Great strips of paper, half a
fathom broad and ten fathoms long, floated from the
feet of the dough god half way down the tree; and into
his head were struck three rods with a tamale or small
pie on the top of each. The tree being now prepared
with all these things, ten ropes were attached to the
middle of it, and by the help of the above-mentioned
trestles and a large crowd pulling all together, the whole
structure was reared into an upright position and there
fixed, with great shouting and stamping of feet.
Then came all those that had captives to sacrifice;
they came decorated for dancing, all the body painted
yellow (which is the livery color of the god), and the
face vermilion. They wore a mass of the red plumage
of the parrot, arranged to resemble a butterfly, and
carried shields covered with white feathers and as it
were the feet of tigers or eagles walking. Each one
went dancing side by side with his captive. These
captives had the body painted white, and the face vermilion,
save the cheeks which were black; they were
adorned with papers, much, apparently, as the dough
image was, and they had white feathers on the head and
lip-ornaments of feathers. At set of sun the dancing
ceased; the captives were shut up in the calpulli, and
watched by their owners, not being even allowed to sleep.
About midnight every owner shaved away the hair of
the top of the head of his slave, which hair, being
fastened with red thread to a little tuft of feathers, he
put in a small case of cane, and attached to the rafters
of his house, that every one might see that he was a
valiant man and had taken a captive. The knife with
which this shaving was accomplished was called the claw
of the sparrow-hawk. At daybreak the doomed and
shorn slaves were arranged in order in front of the place
called Tzompantli, where the skulls of the sacrificed were
spitted in rows. Here one of the priests went along the
row of captives taking from them certain little banners
that they carried and all their raiment or adornment,
and burning the same in a fire; for raiment or ornament
these unfortunates should need no more on earth.
While they were standing thus all naked and waiting
for death, there came another priest, carrying in
his arms the image of the god Paynal and his
ornaments; he ran up with this idol to the top
of the cu Tlacacouhcan where the victims were to
die. Down he came, then up again, and as he went
up the second time the owners took their slaves by
the hair and led them to the place called Apetlac and
there left them. Immediately there descended from the
cu those that were to execute the sacrifice, bearing bags
of a kind of stupefying incense called yiauhtli,[IX-36] which
they threw by handfuls into the faces of the victims
to deaden somewhat their agonies in the fearful death
before them. Each captive was then bound hand and
foot and so carried up to the top of the cu where smouldered
a huge heap of live coal. The carriers heaved their
living burdens in; and the old narrative gives minute
details about the great hole made in the sparkling embers
by each slave, and how the ashy dust rose in a cloud as
he fell. As the dust settled the bound bodies could be
seen writhing and jerking themselves about in torment
on their soft dull-red bed, and their flesh could be heard
crackling and roasting. Now came a part of the ceremony
requiring much experience and judgment; the
wild-eyed priests stood grappling-hook in hand biding
their time. The victims were not to die in the fire, the
instant the great blisters began to rise handsomely over
their scorched skins it was enough, they were raked
out. The poor blackened bodies were then flung on the
'tajon' and the agonized soul dismissed by the sacrificial
breast-cut (from nipple to nipple, or a little lower); the
heart was then torn out and cast at the feet of Xiuhtecutli,
god of fire.
CLIMBING FOR THE GOD.
This slaughter being over, the statue of Paynal was
carried away to its own cu and every man went home to
eat. And the young men and boys, all those called
quexpaleque,[IX-37] because they had a lock of hair at the nape
of the neck, came, together with all the people, the
women in order among the men, and began at mid-day
to dance and to sing in the court-yard of Xiuhtecutli;
the place was so crowded that there was hardly room to
move. Suddenly there arose a great cry, and a rush
was made out of the court toward the place where was
raised the tall tree already described at some length.
Let us shoulder our way forward, not without risk to
our ribs, and see what we can see: there stands the tall
pole with streamers of paper and the ten ropes by which
it was raised dangling from it. On the top stands the
dough image of the fire god, with all his ornaments and
weapons, and with the three tamales sticking out so
oddly above his head. Ware clubs! we press too close;
shoulder to shoulder in a thick serried ring round the
foot of the pole stand the 'captains of the youths' keeping
the youngsters back with cudgels, till the word be
given at which all may begin to climb the said pole for
the great prize at the top. But the youths are wild for
fame; old renowned heroes look on; the eyes of all the
women of the city are fixed on the great tree where it
shoots above the head of the struggling crowd; glory to
him who first gains the cross-beam and the image.
Stand back, then, ye captains, let us pass! There is a
rush, and a trampling, and despite a rain of blows, all
the pole with its hanging ropes is aswarm with climbers,
thrusting each other down. The first youth at the top
seizes the idol of dough; he takes the shield and the
arrows and the darts and the stick atalt for throwing
the darts; he takes the tamales from the head of the
statue, crumbles them up, and throws the crumbs with
the plumes of the image down into the crowd; the securing
of which crumbs and plumes is a new occasion for
shouting and scrambling and fisticuffs among the multitude.
When the young hero comes down with the
weapons of the god which he has secured, he is received
with far-roaring applause and carried up to the cu Tlacacouhcan,
there to receive the reward of his activity and
endurance, praises and jewels and a rich mantle not lawful
for another to wear, and the honor of being carried
by the priests to his house, amid the music of horns and
shells. The festivity is over now; all the people lay hold
on the ropes fastened to the tree, and pull it down
with a crash that breaks it to pieces, together, apparently,
with all that is left of the wild-amaranth-dough image
of Xiuhtecutli.[IX-38]
Another feast of the god of fire was held in the month
Yzcalli, the eighteenth month; it was called motlaxquiantota,
that is to say 'our father the fire toasts his food.'
An image of the god of fire was made, with a frame of
hoops and sticks tied together as the basis or model to be
covered with his ornaments. On the head of this image
was put a shining mask of turquoise mosaic, banded
across with rows of green chalchiuites. Upon the mask
was put a crown fitting to the head below, wide above,
and gorgeous with rich plumage as a flower; a wig of
reddish hair was attached to this crown so that the
evenly cut locks flowed from below it, behind and around
the mask, as if they were natural. A robe of costly
feathers covered all the front of the image and fell over the
ground before the feet, so light that it shivered and floated
with the least breath of air till the variegated feathers
glittered and changed color like water. The back of the
image seems to have been left unadorned, concealed by
a throne on which it was seated, a throne covered with
a dried tiger-skin, paws and head complete. Before this
statue new fire was produced at midnight by boring
rapidly by hand one stick upon another; the spunk or
tinder so inflamed was put on the hearth and a fire lit.[IX-39]
At break of day came all the boys and youths with game
and fish that they had captured on the previous day;
walking round the fire, they gave it to certain old men
that stood there, who taking it threw it into the flames
before the god, giving the youths in return certain tamales
that had been made and offered for this purpose by
the women. To eat these tamales it was necessary to
strip off the maize-leaves in which they had been wrapped
and cooked; these leaves were not thrown into the fire,
but were all put together and thrown into water. After
this all the old men of the ward in which the fire was,
drank pulque and sang before the image of Xiuhtecutli
till night. This was the tenth day of the month and
thus finished that feast, or that part of the feast, which
was called vauquitamalqualiztli.
On the twentieth and last day of the month was made
another statue of the fire god, with a frame of sticks and
hoops as already described. They put on the head of it
a mask with a ground of mosaic of little bits of the shell
called tapaztli,[IX-40] composed below the mouth of black stones,
banded across the nostrils with black stones of another
sort, and the cheeks made of a still different stone called
tezcapuchtli. As in the previous case there was a crown
on this mask, and over all and over the body of the
image costly and beautiful decorations of feather-work.
Before the throne on which this statue sat there was a
fire, and the youths offered game to and received cakes
from the old men with various ceremonies; the day
being closed with a great drinking of pulque by the old
people, though not to the point of intoxication. Thus
ended the eighteenth month; and with regard to the two
ceremonies just described, Sahagun says, that though
not observed in all parts of Mexico, they were observed
at least in Tezcuco.
FOURTH YEAR FESTIVAL.
It will be noticed that the festivals of this month have
been without human sacrifices; but every fourth year was
an exception to this. In such a year on the twentieth
and last day of this eighteenth month, being also, according
to some, the last day of the year, the five Nemonteni, or
unlucky days, being excepted, men and women were slain
as images of the god of fire. The women that had to
die carried all their apparel and ornaments on their
shoulders, and the men did the same. Arrived thus
naked where they had to die, men and women alike
were decorated to resemble the god of fire; they ascended
the cu, walked round the sacrificial stone, and then descended
and returned to the place where they were to
be kept for the night. Each male victim had a rope tied
round the middle of his body which was held by his
guards. At midnight the hair of the crown of the head
of each was shaven off before the fire and kept for a
relic, and the head itself was covered with a mixture
of resin and hens' feathers. After this the doomed
ones burned or gave away to their keepers their now
useless apparel, and as the morning broke they were
decorated with papers and led in procession to die, with
singing and shouting and dancing. These festivities
went on till mid-day, when a priest of the cu, arrayed in
the ornaments of the god Paynal, came down, passed
before the victims, and then went up again. They were
led up after him, captives first and slaves after, in the
order they had to die in; they suffered in the usual
manner. There was then a grand dance of the lords,
led by the king himself; each dancer wearing a high-fronted
paper coronet, a kind of false nose of blue paper,
ear-rings of turquoise mosaic, or of wood wrought with
flowers, a blue curiously flowered jacket, and a mantle.
Hanging to the neck of each was the figure of a dog
made of paper and painted with flowers; in the right
hand was carried a stick shaped like a chopping-knife,
the lower half of which was painted red and the upper
half white; in the left hand was carried a little paper
bag of copal. This dance was begun on the top of the
cu and finished by descending and going four times
round the court-yard of the cu; after which all entered
the palace with the king. This dance took place only
once in four years, and none but the king and his lords
could take part in it. On this day the ears of all children
born during the three preceding years were bored
with a bone awl, and the children themselves passed
near or through the flames of a fire as already related.[IX-41]
There was a further ceremony of taking the children by
the head and lifting them up "to make them grow;"
and from this the month took its name, Yzcalli meaning
'growth.'[IX-42]
There was generally observed in honor of fire a custom
called 'the throwing,' which was that no one ate without
first flinging into the fire a scrap of the food. Another
common ceremony was in drinking pulque to first
spill a little on the edge of the hearth. Also when a
person began upon a jar of pulque he emptied out a
little into a broad pan and put it beside the fire, whence
with another vessel he spilt of it four times upon the
edge of the hearth; this was 'the libation or the tasting.'[IX-43]
THE GREAT NEW FIRE FESTIVAL.
The most solemn and important of all the Mexican
festivals was that called Toxilmolpilia or Xiuhmolpilli,
the 'the binding up of the years.' Every fifty-two
years was called a sheaf of years; and it
was held for certain that at the end of some sheaf
of fifty-two years the motion of the heavenly bodies
should cease and the world itself come to an end.
As the possible day of destruction drew near all the
people cast their household gods of wood and stone into
the water, as also the stones used on the hearth for cooking and
bruising pepper. They washed thoroughly their
houses, and last of all put out all fires. For the lighting
of the new fire there was a place set apart, the summit
of a mountain called Vixachtlan, or Huixachtla, on the
boundary line between the cities of Itztapalapa and Colhuacan,
about six miles from the city of Mexico. In
the production of this new fire none but priests had any
part, and the task fell specially upon those of the ward
Copolco. On the last day of the fifty-two years, after
the sun had set, all the priests clothed themselves
with the dress and insignia of their gods, so as to
themselves appear like very gods, and set out in procession
for the mountain, walking very slowly, with
much gravity and silence, as befitted the occasion and
the garb they wore, "walking," as they phrased it, "like
gods." The priest of the ward of Copolco, whose office
it was to produce the fire, carried the instruments thereof
in his hand, trying them from time to time to see that
all was right. Then, a little before midnight, the mountain
being gained, and a cu which was there builded for
that ceremony, they began to watch the heavens and
especially the motion of the Pleiades. Now this night
always fell so that at midnight these seven stars were in
the middle of the sky with respect to the Mexican horizon;
and the priests watched them to see them pass the
zenith and so give sign of the endurance of the world,
for another fifty and two years. That sign was the
signal for the production of the new fire, lit as follows.
The bravest and finest of the prisoners taken in war was
thrown down alive, and a board of very dry wood was
put upon his breast; upon this the acting priest at the
critical moment bored with another stick, twirling it
rapidly between his palms till fire caught. Then instantly
the bowels of the captive were laid open, his
heart torn out, and it with all the body thrown upon and
consumed by a pile of fire. All this time an awful
anxiety and suspense held possession of the people at
large; for it was said, that if anything happened to prevent
the production at the proper time of the new fire,
there would be an end of the human race, the night and
the darkness would be perpetual, and those terrible and
ugly beings the Tzitzimitles[IX-44] would descend to devour
all mankind. As the fateful hour approached, the people
gathered on the flat house-tops, no one willingly remaining
below. All pregnant women, however, were closed
into the granaries, their faces being covered with maize-leaves;
for it was said that if the new fire could not be
produced, these women would turn into fierce animals
and devour men and women. Children also had masks
of maize-leaf put on their faces, and they were kept
awake by cries and pushes, it being believed that if they
were allowed to sleep they would become mice.
FEAST OF THE NEW FIRE.
From the crowded house-tops every eye was bent on
Vixachtlan. Suddenly a moving speck of light was
seen by those nearest, and then a great column of flame
shot up against the sky. The new fire! and a great
shout of joy went up from all the country round about.
The stars moved on in their courses; fifty and two years
more at least had the universe to exist. Every one did
penance; cutting his ear with a splinter of flint and
scattering the blood toward the part where the fire was;
even the ears of children in the cradle were so cut.
And now from the blazing pile on the mountain, burning
brands of pine candle-wood were carried by the
swiftest runners toward every quarter of the kingdom.
In the city of Mexico, on the temple of Huitzilopochtli,
before the altar, there was a fire-place of stone and lime
containing much copal; into this a blazing brand was
flung by the first runner, and from this place fire was
carried to all the houses of the priests, and thence again
to all the city. There soon blazed great central fires in
every ward, and it was a thing to be seen the multitude
of people that came together to get light, and the general
rejoicings.
The hearth-fires being thus lit, the inhabitants of every
house began to renew their household gods and furniture,
and to lay down new mats, and to put on new
raiment; they made everything new in sign of the new
sheaf of years; they beheaded quails, and burned incense
in their court-yard toward the four quarters of the
world, and on their hearths. After eating a meal of
wild amaranth seed and honey, a fast was ordered, even
the drinking of water till noon being forbidden. Then
the eating and drinking were renewed, sacrifices of slaves
and captives were made, and the great fires renewed.
The last solemn festival of the new fire was celebrated
in the year 1507, the Spaniards being not then in the
land; and through their presence, there was no public
ceremony when the next sheaf of years was finished in
1559.[IX-45]
TEOYAOMIQUE.
Mictlan, the Mexican hades, or place of the dead,
signifies either primarily, or by an acquired meaning,
'northward, or toward the north,' though many authorities
have located it underground or below the earth.
This region was the seat of the power of a god best
known under his title of Mictlantecutli; his female companion
was called Mictlancihuatl, made identical by some
legends with Tlazolteotl, and by others apparently with the
serpent-woman and mother goddess.[IX-46] There has been discovered
and there is now to be seen in the city of Mexico
a huge compound statue, representing various deities, the
most prominent being a certain goddess Teoyaomique,
who, it seems to me, is almost identical with or at least
a connecting link between the mother goddess and the
companion of Mictlantecutli. Mr Gallatin says[IX-47] that
the Mexican gods "were painted in different ways according
to their various attributes and names: and the
priests were also in the habit of connecting with the
statue of a god or goddess, symbols of other deities which
partook of a similar character. Gama has adduced
several instances of both practices, in the part of his dissertation
which relates to the statue of the goddess of
death found buried in the great Square of Mexico of
which he, and lately Mr Nebel, have given copies.[IX-48] Her
name is Teoyaomiqui, which means, to die in sacred war,
or 'in defense of the gods,' and she is the proper companion
of Huitzilopochtli, the god of war. The symbols
of her own attributes are found in the upper part of the
statue: but those from the waist downwards relate to
other deities connected with her or with Huitzilopochtli.
The serpents are the symbols of his mother Cohuatlycue,
and also of Cihuacohuatl, the serpent woman who begat
twins, male and female, from which mankind proceeded:
the same serpents and feathers are the symbol of Quezatlcohuatl,
the precious stones designate Chalchihuitlycue,
the goddess of water; the teeth and claws refer to Tlaloc
and to Tlatocaocelocelotl (the tiger king): and together
with her own attributes, the whole is a most horrible
figure."
GAMA ON THE COMPOUND IMAGE.
Of this great compound statue of Huitzilopochtli (for
the most part under his name of Teoyaotlatohua), Teoyaomique,
and Mictlantecutli, and of the three deities separately
Leon y Gama treats, in substance as follows,
beginning with Mictlantecutli:[IX-49]—
The Chevalier Boturini mentions another of his
names, Teoyaotlatohua, and says that as director and
chief of sacred war he was always accompanied by
Teoyaomique, a goddess whose business it was to
collect the souls of those that died in war and of
those that were sacrificed afterward as captives. Let
these statements be put alongside of what Torquemada
says, to wit, that in the great feast of the month Hueimiccailhuitl,[IX-50]
divine names were given to dead kings
and to all famous persons who had died heroically in
war, and in the power of the enemy; idols were made
furthermore of these persons, and they were put with
the deities; for it was said that they had gone to the place
of delights and pleasures there to be with the gods.
From all this it would appear that before this image, in
which were closely united Teoyaotlatohua and Teoyaomique,
there were each year celebrated certain rites in
memory and honor of dead kings and lords and captains
and soldiers fallen in battle. And not only did the
Mexicans venerate in the temple this image of many
gods, but the judicial astrologers feigned a constellation
answering thereto and influencing persons born under
it. In depicting this constellation Teoyaotlatohua Huitzilopochtli
was represented with only half his body, as
it were seated on a bench, and with his mouth open as
if speaking. His head was decorated after a peculiar
fashion with feathers, his arms were made like trunks
of trees with branches, while from his girdle there issued
certain herbs that fell downwards over the bench. Opposite
this figure was Teoyaomique, naked save a thin
robe,[IX-51] and standing on a pedestal, apparently holding her
head in her hands, at any rate with her head cut off,
her eyes bandaged, and two snakes issuing from the neck
where the head should have been. Between the god
and the goddess was a flowering tree divided through the
middle, to which was attached a beam with various crosspieces,
and over all was a bird with the head separated
from its body. There was to be seen also the head of a
bird in a cup, and the head of a serpent, together with
a pot turned upside down while the contents—water as
it would appear by the hieroglyphics attached—ran out.
In this form were painted these two gods, as one of
the twenty celestial signs, sufficiently noticed by Boturini,
although as he confesses, he had not arranged them
in the proper order. Returning to notice the office attributed
to Teoyaomique, that of collecting the souls of
the dead, we find that Cristóbal del Castillo says that
all born under the sign which, with the god of war, this
goddess ruled, were to become at an early age valorous
soldiers; but that their career was to be short as it was
brilliant, for they were to fall in battle young. These
souls were to rise to heaven, to dwell in the house of the
sun, where were woods and groves. There they were to
exist four years, at the end of which time they were to
be converted into birds of rich and beautiful plumage,
and to go about sucking flowers both in heaven and on
earth.
MICTECACIHUATL.
To the statue mentioned above there was joined with
great propriety the image of another god, feigned to be
the god of hell, or of the place of the dead, which latter
is the literal signification of his name, Mictlantecutli.
This image was engraved in demi-relief on the lower
plane of the stone of the great compound statue; but it
was also venerated separately in its own proper temple,
called Tlalxicco, that is to say, 'in the bowels or navel
of the earth.' Among the various offices attributed to
this deity was that of burying the corpses of the dead,
principally of those that died of natural infirmities; for
the souls of these went to hell to present themselves before
this Mictlantecutli and before his wife Mictecacihuatl,
which name Torquemada interprets as 'she that
throws into hell.' Thither indeed it was said that these
dead went to offer themselves as vassals carrying offerings,
and to have pointed out to them the places that
they were to occupy according to the manner of their
death. This god of hades was further called Tzontemoc,
a term interpreted by Torquemada to mean 'he that
lowers his head;' but it would rather appear that it
should take its signification from the action indicated
by the great statue, where this deity is seen as it were
carrying down tied to himself the heads of corpses to
bury them in the ground, as Boturini says. The places
or habitations supposed to exist in hell, and to which
the souls of the dead had to go, were nine; in the last of
which, called Chicuhnauhmictlan, the said souls were supposed
to be annihilated and totally destroyed. There
was lastly given to this god a place in heaven, he being
joined with one of the planets and accompanied by Teotlamacazqui;
at his feet, there was painted a body that
was half buried, or covered with earth from the head to
the waist, while the rest stuck out uncovered. It only
remains to be said that such was the veneration and religious
feeling with which were regarded all things relating
to the dead, that not only there were invented for
them tutelary gods, much honored by frequent feasts and
sacrifice; but the Mexicans elevated Death itself, dedicating
to it a day of the calendar (the first day of the
sixth 'trecena'), joining it to the number of the celestial
signs; and erecting to it a sumptuous temple called
Tolnahuac, within the circuit of the great temple of
Mexico, wherein it was particularly adored with holocausts
and victims under the title Ce Miquiztli.[IX-52]
MIXCOATL, GOD OF HUNTING.
Mixcoatl is the god—or goddess according to some
good authorities—of hunting. The name means 'cloud-serpent'
and indeed seems common to a whole class of
deities or heroes somewhat resembling the Nibelungs of
northern European mythology.[IX-53] He is further supposed
to be connected with the thunderstorm: "Mixcoatl,
the Cloud-Serpent, or Iztac-Mixcoatl, the White or
Gleaming Cloud-Serpent," writes Brinton,[IX-54] "said to
have been the only divinity of the ancient Chichimecs,
held in high honor by the Nahuas, Nicaraguans, and
Otomís, and identical with Taras, supreme god of the
Tarascos, and Camaxtli, god of the Teo-Chichimecs, is
another personification of the thunderstorm. To this
day this is the familiar name of the tropical tornado in
the Mexican language. He was represented, like Jove,
with a bundle of arrows in his hand, the thunderbolts.
Both the Nahuas and Tarascos related legends in which
he figured as father of the race of man. Like other
lords of the lightning he was worshiped as the dispenser
of riches and the patron of traffic; and in Nicaragua
his image is described as being 'engraved stones' probably
the supposed products of the thunder."
In the fourteenth month, called Quecholli, and beginning,
according to Clavigero, on the fourteenth of November,
there was made with many obscure ceremonies, a feast
to this god. On the sixth day of the month all assembled
at the cu of Huitzilopochtli, where during four days
they made arrows and darts for use in war and for
general practice at a mark, mortifying at the same time
their flesh by drawing blood, and by abstaining from
women and pulque. This done they made, in honor of
the dead, certain little mimic darts of a hand long, of
which four seem to have been tied together with four
splinters of candle-wood pine; these were put on the
graves, and at set of sun, lit and burned, after which the
ashes were interred on the spot. There were taken a
maize-stalk of nine knots with a paper flag on the top
that hung down to the bottom, together with a shield and
dart belonging to the dead man, and his maxtli and
blanket; the last two being attached to the maize-stalk.
The hanging flag was ornamented on either side with
red cotton thread, in the figure of an X; a piece of
twisted white thread also hung down to which was suspended
a dead humming-bird. Handfuls of the white
feathers of the heron were tied two and two and fastened
to the burdened maize-stalk, while all the cotton threads
used were covered with white hen's feathers, stuck on
with resin. Lastly all these were burned on a stone block
called the quaulixicalcalico.
In the court of the cu of Mixcoatl was scattered much
dried grass brought from the mountains, upon which the
old women-priests, or cioatlamacazque, seated themselves,
each with a mat before her. All the women that had
children came, each bringing her child and five sweet
tamales; and the tamales were put on the mats before
the old women, who in return took the children, tossed
them in their arms and then returned them to their
mothers.
DRIVE-HUNT OF MIXCOATL.
About the middle of the month was made a special
feast to this god of the Otomís, to Mixcoatl. In the
morning all prepared for a great drive-hunt, girding
their blankets to their loins, and taking bows and arrows.
They wended their way to a mountain-slope, anciently
Zapatepec, or Yxillantonan, above the sierra of
Atlacuizoayan, or as it is now called, according to Bustamante,
Tacubaya. There they drove deer, rabbits, hares,
coyotes, and other game together, little by little, every
one in the meantime killing what he could; few or
no animals escaping. To the most successful hunters
blankets were given, and every one brought to his house
the heads of the animals he had taken, and hanged them
up for tokens of his prowess or activity.
There were human sacrifices in honor of this hunting
god with other deities. The manufacturers of pulque
bought, apparently two slaves who were decorated with
paper and killed in honor of the gods Tlamatzincatl and
Yzquitecatl; there were also sacrificed women supposed
to represent the wives of these two deities. The calpixquis
on their part led other two slaves to the death in
honor of Mixcoatl and of Cohuatlicue his wife. On the
morning of the last day but one of the month, all the
doomed were brought out and led round the cu where
they had to die; after mid-day they were led up the cu,
round the sacrificial block, down again, then back to the
calpulco, to be at once guarded and forced to keep awake
for the night. At midnight their heads were shaven
before the fire, and every one of them burned there
what goods he had, little paper flags, cane tobacco-pipes[IX-55]
and drinking-vessels; the women threw into
the flame their raiment, their ornaments, their
spindles, little baskets, vessels in which the spindles
were twirled, warping-frames, fuller's earth,
pieces of cane for pressing a fabric together, cords
for fastening it up, maguey-thorns, measuring-rods,
and other implements for weaving; and they said that
all these things had to be given to them in the other
world after their death. At daybreak these captives
were carried or assisted up, each having a paper flag
borne before him, to the several cues of the gods they
were to die in honor of. Four that had to die, probably
before Mixcoatl, were, each by four bearers, carried up
to a temple, bound hand and foot to represent dead deer;
while others were merely assisted up the steps by a
youth at each arm, so that they should not faint nor fail;
two other youths trailing or letting them down the same
steps after they were dead. The preceding relates
only to the male captives, the women being slain before
the men, in a separate cu called the coatlan; it is said
that as they were forced up the steps of it some screamed
and others wept. In letting the dead bodies of these
women down the steps again, it is also specially written,
that they were not hurled down roughly, but rolled down
little by little. At the place where the skulls of the
dead were exposed, waited two old women called teixamique,
having by them salt water and bread and a mess
or gruel of some kind. The carcasses of the victims
being brought to them, they dipped cane-leaves into the
salt water and sprinkled the faces of them therewith,
and into each mouth they put four morsels of bread
moistened with the gruel or mess above-mentioned.
Then the heads were cut off and spitted on poles; and so
the feast ended.[IX-56]
MACUILXOCHITL.
In connection with the religious honors paid to the
dead, it may be here said that the Mexicans had a deity
of whom almost all we know is that he was the god of
those that died in the houses of the lords or in the
palaces of the principal men; he was called Macuilxochitl,
'the chief that gives flowers, or that takes care of
the giving of flowers.'[IX-57] The festival of this god fell
among the movable feasts and was called Xochilhuitl,
or 'the festival of flowers.' There were in it the usual
preliminary fasting (that is to say, eating but once a day,
at noon, and then only of a restricted diet), blood-letting,
and offering of food in the temple; though there did not
occur therein anything suggestive either of a god of
flowers or of a god of the more noble dead. The image
of this deity was in the likeness of an almost naked man,
either flayed or painted of a vermilion color; the mouth
and chin were of three tints, white, black, and light blue;
the face was of a light reddish tinge. It had a crown of
light green color, with plumes of the same hue, and tassels
that hung down to the shoulders. On the back of
the idol was a device wrought in feathers, representing
a banner planted on a hill; about the loins of it was a
bright reddish blanket, fringed with sea-shells; curiously
wrought sandals adorned its feet; on the left arm of it
was a white shield, in the midst of which were set four
stones, joined two and two; it held a sceptre, shaped like
a heart and tipped with green and yellow feathers.[IX-58]
Ome Acatl was the god of banquets and of guests; his
name signified 'two canes.' When a man made a feast
to his friends, he had the image of this deity carried to
his house by certain of its priests; and if the host did
not do this, the deity appeared to him in a dream, rebuking
him in such words as these: Thou bad man, because
thou hast withheld from me my due honor, know
that I will forsake thee and that thou shalt pay dearly
for this insult. When this god was excessively angered,
he was accustomed to mix hairs with the food and drink
of the guests of the object of his wrath, so that the giver
of the feast should be disgraced. As in the case of
Huitzilopochtli, there was a kind of communion sacrament
in connection with the adoration of this god of
feasts: in each ward dough was taken and kneaded by
the principal men into the figure of a bone of about a
cubit long, called the bone of Ome Acatl. A night seems
to have been spent in eating and in drinking pulque; then
at break of day an unfortunate person, set up as the living
image of the god, had his belly pricked with pins, or
some such articles; being hurt thereby, as we are told.
This done the bone was divided and each one ate what
of it fell to his lot; and when those that had insulted
this god ate, they often grew sick, and almost choked,
and went stumbling and falling. Ome Acatl was represented
as a man seated on a bunch of cyperus-sedges.
His face was painted white and black; upon his head
was a paper crown surrounded by a long and broad fillet
of divers colors, knotted up at the back of the head; and
again round and over the fillet, was wound a string of
chalchiuite beads. His blanket was made like a net, and
had a broad border of flowers woven into it. He bore
a shield, from the lower part of which hung a kind of
fringe of broad tassels. In the right hand he held a
sceptre called the tlachielonique, or 'looker,'[IX-59] because it
was furnished with a round plate through which a hole
was pierced, and the god kept his face covered with the
plate and looked through the hole.[IX-60]
IXTLILTON, HEALER OF CHILDREN.
Yxtliton, or Ixtlilton—that is to say 'the little negro,'
according to Sahagun, and 'the black-faced,' according
to Clavigero—was a god who cured children of various
diseases.[IX-61] His 'oratory' was a kind of temporary building
made of painted boards; his image was neither graven
nor painted; it was a living man decorated with certain
vestments. In this temple or oratory were kept many
pans and jars, covered with boards, and containing a
fluid which was called 'black water.' When a child
sickened, it was brought to this temple and one of these
jars was uncovered, upon which the child drank of the
black water and was healed of its disease—the cure being
probably most prompt and complete when the priests as
well as the god knew something of physic. When one
made a feast to this god—which seems to have been
when one made new pulque—the man that was the
image of Ixtlilton came to the house of the feast-giver
with music and dancing, and preceded by the smoke of
copal incense. The representative of the deity having
arrived, the first thing he did was to eat and drink;
there were more dances and festivities in his honor, in
which he took part, and then he entered the cellar of
the house, where were many jars of pulque that had been
covered for four days with boards or lids of some kind.
He opened one or many of these jars, a ceremony called
'the opening of the first, or of the new wine,' and himself
with those that were with him drank thereof. This
done, he went out into the court-yard of the house,
where there were prepared certain jars of the above-mentioned
black water, which also had been kept covered
four days; these he opened, and if there was found therein
any dirt, or piece of straw, or hair, or ash, it was
taken as a sign that the giver of the feast was a man of
evil life, an adulterer, or a thief, or a quarrelsome person,
and he was affronted with the charge accordingly.
When the representative of the god set out from the
house where all this occurred, he was presented with
certain blankets called yxguen, or ixquen, that is to say,
'covering of the face,' because when any fault had been
found in the black water, the giver of the feast was put
to shame.[IX-62]
OPUCHTLI, GOD OF FISHING.
Opuchtli, or Opochtli, 'the left-handed,' was venerated
by fishermen as their protector and the inventor of their
nets, fish-spears, oars, and other gear. In Cuitlahuac, an
island of lake Chalco, there was a god of fishing called
Amimitl, who, according to Clavigero, differed from the
first-mentioned only in name. Sahagun says that Opuchtli
was counted among the number of the Tlaloques,
and that the offerings made to him were composed of
pulque, stalks of green maize, flowers, the smoking-canes,
or pipes called yietl, copal incense, the odorous herb
yiauhtli, and parched maize. These things seem to have
been strewed before him as rushes used to be strewed
before a procession. There were used in these solemnities
certain rattles enclosed in hollow walking-sticks.
The image of this god was like a man, almost naked,
with the face of that grey tint seen in quails' feathers;
on the head was a paper crown of divers colors, made
like a rose, as it were, of leaves overlapping each other,
topped by green feathers issuing from a yellow tassel;
other long tassels hung from this crown to the shoulders
of the idol. Crossed over the breast was a green stole
resembling that worn by the Christian priest when saying
mass; on the feet were white sandals; on the left
arm was a red shield, and in the centre of its field a
white flower with four leaves disposed like a cross; and
in the left hand was a sceptre of a peculiar fashion.[IX-63]
Xipe, or Totec, or Xipetotec, or Thipetotec, is, according
to Clavigero, a god whose name has no meaning,[IX-64]
who was the deity of the goldsmiths, and who was much
venerated by the Mexicans, they being persuaded that
those that neglected his worship would be smitten with
diseases; especially the boils, the itch, and pains of the
head and eyes. They excelled themselves therefore in
cruelty at his festival time, occurring ordinarily in the
second month.
Sahagun describes this god as specially honored by
dwellers on the sea-shore, and as having had his origin
at Zapotlan in Jalisco. He was supposed to afflict
people with sore eyes and with various skin-diseases,
such as small-pox, abscesses, and itch. His image was
made like a human form, one side or flank of it being
painted yellow, and the other of a tawny color; down
each side of the face from the brow to the jaw a thin
stripe was wrought; and on the head was a little cap
with hanging tassels. The upper part of the body was
clothed with the flayed skin of a man; round the loins
was girt a kind of green skirt. It had on one arm a
yellow shield with a red border, and held in both hands
a scepter shaped like the calix of a poppy and tipped with
an arrow-head.[IX-65]
EATING THE BODIES OF THE SACRIFICED.
On the last day of the second month—or, according
to some authors, of the first—Tlacaxipehualiztli,
there was celebrated a solemn feast in honor at once
of Xipetotec and of Huitzilopochtli. It was preceded
by a very solemn dance at noon of the day before.
As the night of the vigil fell, the captives were shut up
and guarded; at midnight—the time when it was usual
to draw blood from the ears—the hair of the middle of
the head of each was shaven away before a fire. When
the dawn appeared they were led by their owners to the
foot of the stairs of the temple of Huitzilopochtli—and
if they would not ascend willingly the priests dragged
them up by the hair. The priests threw them down one
by one on the back on a stone of three quarters of a
yard or more high, and square on the top something
more than a foot every way. Two assistants held the
victim down by the feet, two by the hands, and one by
the head—this last according to many accounts putting
a yoke over the neck of the man and so pressing it down.
Then the priest, holding with both hands a splinter
of flint, or a stone resembling flint, like a large lance-head,
struck across the breast therewith, and tore out the
heart through the gash so made; which, after offering it
to the sun and other gods by holding it up toward the
four quarters of heaven, he threw into a wooden vessel.[IX-66]
The blood was collected also in a vessel and given to the
owner of the dead captive, while the body, thrown down
the temple steps, was taken to the calpule by certain
old men, called quaquacuiltin, flayed, cut into pieces, and
divided for eating; the king receiving the flesh of the
thigh, while the rest of the carcass was eaten at the
house of the owner of the captive, though, as will appear
by a remark hereafter,[IX-67] it is improbable that the captor
or owner himself ate any of it. With the skin of these
flayed persons, a party of youths called the tototecli
clothed themselves, and fought in sham fight with another
party of young men; prisoners being taken on both
sides, who were not released without a ransom of some
kind or other. This sham battle was succeeded by combats
of a terribly real sort, the famous so-called gladiatorial
fights of Mexico. On a great round stone, like an
enormous mill-stone, a captive was tied by a cord, passing
round his waist and through the hole of the stone,
long enough to permit him freedom of motion everywhere
about the block—set near or at a temple called
yopico, of the god Totec, or Xipe.[IX-68] With various ceremonies,
more particularly described in the preceding
volume, the bound man furnished with inferior weapons
was made to fight with a picked Mexican champion—the
latter holding up his sword and shield to the sun
before engaging. If, as sometimes happened, the desperate
though hampered and ill-armed captive—whose club-sword
was, by a refinement of mockery, deprived of its
jagged flint edging and set with feathers—slew his opponent,
another champion was sent against him, and so
on to the number of five, at which point, according to
some, the captive was set free; though according to other
authorities, he was not allowed so to escape, but champions
were sent against him till he fell. Upon which a
priest called the yooallaoa opened his breast, tore out his
heart, offered it to the sun, and threw it into the usual
wooden vessel; while the ropes used for binding to the
fighting-stone were carried to the four quarters of the
world, reverently with weeping and sighing. A second
priest thrust a piece of cane into the gash in the victim's
breast and held it up stained with blood to the sun.
Then the owner of the captive came and received the
blood into a vessel bordered with feathers; this vessel he
took with a little cane-and-feather broom or aspergillum
and went about all the temples and calpules, giving to each
of the idols, as it were to taste of the blood of his captive.
The slain body was then carried to the calpulco—where,
while alive, it had been confined the night before the
sacrifice—and there skinned. Thence it was brought to
the house of its owner, who divided and made presents
of it to his superiors, relatives, and friends; not however
tasting thereof himself, for, we are told, "he counted it
as the flesh of his own body," because from the hour that
he took the prisoner "he held him to be his son, and the
captive looked up to his captor as to a father."
RELATIONS BETWEEN CAPTOR AND CAPTIVE.
The skins of the dead belonged to their captors, who
gave them again to others to be worn by them for apparently
twenty days, probably as a kind of penance—the
persons so clothed collecting alms from everyone in the
meantime and bringing all they got, each to the man
that had given him the skin. When done with, these
skins were hid away in a rotting condition in a certain
cave, while the ex-wearers thereof washed themselves
with great rejoicings. At the putting away of these
skins there assisted numbers of people ill with the itch
and such other diseases as Xipe inflicted—hoping thus
to be healed of their infirmities, and it is said that many
were so cured.[IX-69]
The merchants of Mexico—a class of men who hawked
their goods from place to place and wandered often far
into strange countries to buy or sell—had various deities
to whom they did special honor. Among these the
chief, and often the only one mentioned, was the god
Yiacatecutli, or Jacateuctli, or Iyacatecuhtli, that is 'the
lord that guides,' otherwise called Yacacoliuhqui, or
Jacacoliuhqui.[IX-70] This chief god of the merchants had,
however, according to Sahagun, five brothers and a sister,
also reverenced by traders, the sister being called
Chalmecacioatl, and the brothers respectively Chiconquiavitl,
Xomocuil, Nacxitl, Cochimetl, and Yacapitzaoac.
The principal image of this god was a figure representing
a man walking along a road with a staff; the face
black and white; the hair tied up in a bundle on the
middle of the top of the head with two tassels of rich
quetzal-feathers; the ear-rings of gold; the mantle blue,
bordered with a flowered fringe, and covered with a red
net, through whose meshes the blue appeared; round the
ankles leather straps from which hung marine shells;
curiously wrought sandals on the feet; and on the arm
a plain unornamented yellow shield, with a spot of light
blue in the centre of its field. Practically, however,
every merchant reverenced his own stout staff—generally
made of a solid, knotless piece of black cane, called
utatl—as the representative or symbol of this god Yiacatecutli;
keeping it, when not in use, in the oratory or
sacred place in his house, and invariably putting food
before it preliminary to eating his own meal. When
traveling the traders were accustomed nightly to stack
up their staves in a convenient position, bind them
about, build a fire before them,[IX-71] and then offering blood
and copal, pray for preservation and shelter from the
many perils to which their wandering life made them
especially subject.[IX-72]
NAPATECUTLI.
Napatecutli, that is to say 'four times lord,' was the
god of the mat-makers and of all workers in water-flags
and rushes. A beneficent and helpful divinity, and one
of the Tlalocs, he was known by various names, such as
Tepahpaca Teaaltati, 'the purifier or washer;' Quitzetzelohua,
or Tlaitlanililoni, 'he that scatters or winnows
down;' Tlanempopoloa, 'he that is large and liberal;'
Teatzelhuia, 'he that sprinkles with water;' and Amotenenqua,
'he that shows himself grateful.' This god
had two temples in Mexico and his festival fell in the
thirteenth month, by Clavigero's reckoning. His image
resembled a black man, the face being spotted with white
and black, with tassels hanging down behind supporting
a green plume of three feathers. Round the loins and
reaching to the knees was girt a kind of white and black
skirt or petticoat, adorned with little sea-shells. The
sandals of this idol were white; on its left arm was a
shield made like the broad leaf of the water-lily, or nenuphar;
while the right hand held a sceptre like a
flowering staff, the flowers being of paper; and across
the body, passing under the left arm, was a white scarf,
painted over with black flowers.[IX-73]
The Mexicans had several gods of wine, or rather of
pulque; of these the chief seems to have been Tezcatzoncatl,
otherwise known as Tequechmecaniani 'the strangler,'
and as Teatlahuiani 'the drowner;' epithets
suggested by the effects of drunkenness. The companion
deities of this Aztec Dionysus were called as a class by
the somewhat extraordinary name of Centzontotochtin
or 'the four hundred rabbits'; Yiaulatecatl, Yzquitecatl,
Acoloa, Thilhoa, Pantecatl (the Patecatl of the interpreters
of the codices), Tultecatl, Papaztac, Tlaltecaiooa,
Ometochtli (often referred to as the principal god of
wine), Tepuztecatl, Chimapalnecatl, were deities of this
class. The principal characteristic of the image of the
Mexican god of drunkenness was, according to Mendieta
and Motolinia, a kind of vessel carried on the head of
the idol, into which vessel wine was ceremoniously
poured. The feast of this god, like that of the preceding
divinity, fell in the thirteenth month, Tepeilhuitl, and
in his temple in the city of Mexico there served four
hundred consecrated priests, so great was the service
done this everywhere too widely and well known god.[IX-74]
THE HOUSEHOLD GODS.
The Mexicans had certain household gods called Tepitoton,
or Tepictoton, 'the little ones,'—small statues of
which kings kept six in their houses, nobles four, and
common folks two. Whether these were a particular
class of deities or merely miniature images of the already
described greater gods it is hard to say. Similar small
idols are said to have adorned streets, cross-roads, fountains
and other places of public traffic and resort.[IX-75]
THE CEREMONIAL CALENDAR.
With these Tepitoton may be said to finish the list of
Mexican gods of any repute or any general notoriety; so
that it seems fit to give here a condensed and arranged
résumé of all the fixed festivals and celebrations of the
Aztec calendar, with its eighteen months of twenty
days each, and its five supplementary days at the end
of the year. There is some disagreement as to which of
the months the year began with; but it will best suit
our present purpose to follow the arrangement of Sahagun,
the interpreters of the Codices, Torquemada, and
Clavigero, in which the month variously called Atlcahualco,
or Quahuitlehua, or Cihuailhuitl, or Xilomanaliztli,
is the first.[IX-76] The name Atlchualco, or Atlaooalo,
or Atalcaoplo, means 'the buying or scarcity of water;'
Quahuitlehua, or Quavitleloa, 'the sprouting of trees;'
and Xilomanaliztli, 'the offering of Xilotl (that is heads
of maize, which were then presented to the gods to secure
their blessing on the seed time).' This first month beginning
on the second of February according to Sahagun,
the eighteenth according to Gama, and the twenty-sixth
according to Clavigero, was consecrated to Tlaloc
and the other gods of water, and in it great numbers of
children were sacrificed.[IX-77] In further honor of the Tlalocs
there were also at this time killed many captives on
the gladiatorial stone.
It was the second month, called Tlacaxiphualiztli,[IX-78]
or 'the flaying of men,' that was specially famous for its
gladiatorial sacrifices, sacrifices already described and
performed to the honor of Xipe, or Xipetotec.[IX-79]
The third month called Tozoztontli, 'the lesser fast
or penance,' was inaugurated by the sacrifice on the
mountains of children to the Tlalocs. Those also that
traded in flowers and were called Sochimanque, or Xochimanqui,
made a festival to their goddess, Coatlycue,
or Coatlantona, offering her the first-fruits of the flowers
of the year, of these that had grown in the precincts of
the cu yapico, a cu as we have seen, consecrated to Tlaloc.
Into a cave belonging to this temple there were also at
this time cast the now rotten skins of the human beings
that had been flayed in the preceding month. Thither,
"stinking like dead dogs," as Sahagun phrases it, marched
in procession the persons that wore these skins and there
they put them off, washing themselves with many ceremonies;
and sick folk troubled with certain skin-diseases
followed and looked on, hoping by the sight of all these
things to be healed of their infirmities. The owners of the
captives that had been slain had also been doing penance
for twenty days, neither washing nor bathing during
that time; and they now, when they had seen the
skins deposited in the cave, washed and gave a banquet to
all their friends and relatives, performing many ceremonies
with the bones of the dead captives. All the
twenty days of this month singing exercises, praising
the god, were carried on in the houses called Cuicacalli,
the performers not dancing but remaining seated.
The fourth month was called, in contradistinction to
the third, Veitozoztli, or Hueytozoztli, that is to say,
'the greater penance or letting of blood;' because in it
not only the priests but also the populace and nobility
did penance, drawing blood from their ears, shins, and
other parts of the body, and exposing at their doors
leaves of sword-grass stained therewith. After this they
performed certain already described ceremonies,[IX-80]
and then made, out of the dough known as tzoalli,[IX-81] an
image of the goddess Chicomecoatl, in the court-yard of
her temple, offering before it all kinds of maize, beans,
and chian, because she was the maker and giver of these
things and the sustainer of the people. In this month,
as well as in the three months preceding, little children
were sacrificed, a cruelty which was supposed to please
the water gods, and which was kept up till the rains
began to fall abundantly.
THE MONTH TOXCATL.
The fifth month, called Toxcatl and sometimes Tepopochuiliztli,[IX-82]
was begun by the most solemn and famous
feast of the year, in honor of the principal Mexican god,
a god known by a multitude of names and epithets,
among which were Tezcatlipoca, Titlacaoan, Yautl, Telpuchtli,
and Tlamatzincatl. A year before this feast,
one of the most distinguished of the captives reserved
for sacrifice was chosen out for superior grace and personal
appearance from among all his fellows, and given
in charge to the priestly functionaries called calpixques.
These instructed him with great diligence in all the arts
pertaining to good breeding, according to the Mexican
idea: such as playing on the flute, walking, speaking,
saluting those he happened to meet, the use and carrying
about of straight cane tobacco-pipes and of flowers,
with the dexterous smoking of the one, and the graceful
inhalation of the odor of the other. He was attended
upon by eight pages, who were clad in the livery
of the palace, and had perfect liberty to go where he
pleased night and day; while his food was so rich that
to guard against his growing too fat, it was at times
necessary to vary the diet by a purge of salt and water.
Everywhere honored and adored as the living image
and accredited representative of Tezcatlipoca, he went
about playing on a small shrill clay flute, or fife, and
adorned with rich and curious raiment furnished by
the king, while all he met did him reverence kissing
the earth. All his body and face was painted—black,
it would appear; his long hair flowed to the waist; his
head was covered with white hens' feathers stuck on
with resin, and covered with a garland of the flowers
called yzquisuchitl; while two strings of the same flowers
crossed his body in the fashion of cross-belts. Earrings
of gold, a necklace of precious stones with a
great dependent gem hanging to the breast, a lip-ornament
(barbote) of sea-shell, bracelets of gold above
the elbow on each arm, and strings of gems called
macuextli winding from wrist almost to elbow, glittered
and flashed back the light as the doomed man-god
moved. He was covered with a rich beautifully
fringed mantle of netting, and bore on his shoulders
something like a purse made of white cloth of a span
square, ornamented with tassels and fringe. A white
maxtli of a span broad went about his loins, the two
ends, curiously wrought, falling in front almost to the
knee. Little bells of gold kept time with every motion
of his feet, which were shod with painted sandals called
ocelunacace.
All this was the attire he wore from the beginning
of his year of preparation; but twenty days before the
coming of the festival, they changed his vestments,
washed away the paint or dye from his skin, and cut
down his long hair to the length, and arranged it after
the fashion, of the hair of the captains, tying it up on the
crown of the head with feathers and fringe and two gold-buttoned
tassels. At the same time they married to him
four damsels, who had been pampered and educated for
this purpose, and who were surnamed respectively after
the four goddesses, Xochiquetzal, Xilonen, Atlatonan,
and Vixtocioatl.[IX-83] Five days before the great day of
the feast,[IX-84] the day of the feast being counted one, all
the people, high and low, the king it would appear being
alone excepted, went out to celebrate with the man-god
a solemn banquet and dance, in the ward called Tecanman;
the fourth day before the feast, the same was done
in the ward in which was guarded the statue of Tezcatlipoca.
The little hill, or island, called Tepetzinco, rising
out of the waters of the lake of Mexico, was the
scene of the next day's solemnities; solemnities renewed
for the last time on the next day, or that immediately
preceding the great day, on another like island called
Tepelpulco, or Tepepulco. There, with the four women
that had been given him for his consolation, the honored
victim was put into a covered canoe usually reserved
for the sole use of the king; and he was carried
across the lake to a place called Tlapitzaoayan, near
the road that goes from Yztapalapan to Chalco, at a
place where was a little hill called Acacuilpan, or
Cabaltepec. Here left him the four beautiful girls,
whose society for twenty days he had enjoyed, they
returning to the capital with all the people; there accompanying
the hero of this terrible tragedy only those
eight attendants that had been with him all the year.
Almost alone, done with the joys of beauty, banquet,
and dance, bearing a bundle of his flutes, he walked to
a little ill-built cu, some distance from the road mentioned
above, and about a league removed from the city.
He marched up the temple steps, not dragged, not
bound, not carried like a common slave or captive; and
as he ascended he dashed down and broke on every
step one of the flutes that he had been accustomed to
play on in the days of his prosperity. He reached the
top;—by sickening repetition we have learned to know the
rest; one thing only, from the sacrificial stone his body
was not hurled down the steps, but was carried by four
men down to the Tzompantli, to the place of the spitting
of heads.
THE FEAST OF TOXCATL.
And the chroniclers say that all this signified that
those who enjoyed riches, delights in this life, should at
the end come to poverty and sorrow—so determined are
these same chroniclers to let nothing escape without its
moral.
In this feast of Toxcatl, in the cu called Huitznahuac,
where the image of Huitzilopochtli was always kept, the
priests made a bust of this god out of tzoalli dough, with
pieces of mizquitl-wood inserted by way of bones. They
decorated it with his ornaments; putting on a jacket
wrought over with human bones, a mantle of very thin
nequen, and another mantle called the tlaquaquallo,
covered with rich feathers, fitting the head below and
widening out above; in the middle of this stood up a
little rod, also decorated with feathers and sticking into
the top of the rod was a flint knife half covered with
blood. The image was set on a platform made of pieces
of wood resembling snakes and so arranged that heads
and tails alternated all the way round; the whole borne
by many captains and men of war. Before this image
and platform a number of strong youths carried an
enormous sheet of paper resembling pasteboard, twenty
fathoms long, one fathom broad, and a little less than an
inch thick; it was supported by spear-shafts arranged in
pairs of one shaft above and one below the paper, while
persons on either side of the paper held each one of
these pairs in one hand. When the procession, with
dancing and singing, reached the cu to be ascended, the
snaky platform was carefully and cautiously hoisted up
by cords attached to its four corners, the image was set
on a seat, and those that carried the paper rolled it up
and set down the roll before the bust of the god. It was
sunset when the image was so set up; and the following
morning every one offered food in his own house before
the image of Huitzilopochtli there, incensing also such
images of other gods as he had, and then went to offer
quails' blood before the bust set up on the cu. The king
began, wringing off the heads of four quails; the priests
offered next, then all the people; the whole multitude
carrying clay fire-pans and burning copal incense of
every kind, after which every one threw his live coals upon
a great hearth in the temple-yard. The virgins painted
their faces, put on their heads garlands of parched maize
with strings of the same across their breasts, decorated
their arms and legs with red feathers, and carried black
paper flags stuck into split canes. The flags of the
daughters of nobles were not of paper but of a thin cloth
called canaoac, painted with vertical black stripes. These
girls joining hands danced round the great hearth, upon
or over which on an elevated place of some kind there
danced, giving the time and step, two men, having each
a kind of pine cage covered with paper flags on his
shoulders, the strap supporting which passed, not across
the forehead—the usual way for men to carry a burden—but
across the chest as was the fashion with women.
The priests of the temple, dancing on this occasion with
the women, bore shields of paper, crumpled up like great
flowers; their heads were adorned with white feathers,
their lips and part of the face were smeared with sugar-cane
juice which produced a peculiar effect over the black
with which their faces were always painted. They
carried in their hands pieces of paper called amasmaxtli,
and sceptres of palm-wood tipped with a black flower
and having in the lower part a ball of black feathers.
In dancing they used this sceptre like a staff, and the
part by which they grasped it was wrapped round with
a paper painted with black lines. The music for the
dancers was supplied by a party of unseen musicians,
who occupied one of the temple buildings, where they sat,
he that played on the drum in the centre, and the performers
on the other instruments about him. The men
and women danced on till night, but the strictest order
and decency were preserved, and any lewd word or
look brought down swift punishment from the appointed
overseers.
DEATH OF THE YXTEUCALLI.
This feast was closed by the death of a youth who
had been during the past year dedicated to and taken
care of for Huitzilopochtli, resembling in this the victim
of Tezcatlipoca, whose companion he had indeed
been, but without receiving such high honors. This
Huitzilopochtli youth was entitled Yxteucalli, or Tlacabepan,
or Teicauhtzin, and was held to be the image
and representative of the god. When the day of his
death came, the priests decorated him with papers
painted over with black circles, and put a mitre of
eagles' feathers on his head, in the midst of whose
plumes was stuck a flint knife, stained half way up
with blood and adorned with red feathers. Tied to his
shoulders, by strings passing across the breast, was a
piece of very thin cloth about a span square, and over
it hung a little bag. Over one of his arms was thrown
a wild beast's skin, arranged somewhat like a maniple;
bells of gold jingled at his legs as he walked or danced.
There were two peculiar things connected with the
death of this youth; first he had absolute liberty of
choice regarding the hour in which he was to die; and
second, he was not extended upon any block or altar,
but when he wished he threw himself into the arms of
the priests, and had his heart so cut out. His head
was then hacked off and spitted alongside of that of
the Tezcatlipoca youth, of whom we have spoken already.
In this same day the priests made little marks
on children, cutting them, with thin stone knives, in
the breast, stomach, wrists, and fleshy part of the arms;
marks, as the Spanish priests considered, by which the
devil should know his own sheep.[IX-85] The ceremonies of
the ensuing monthly festivals have already been described
at length.[IX-86]
MISCELLANEOUS FEASTS.
There were, besides, a number of movable feasts in
honor of the higher gods, the celestial bodies, and the
patron deities of the various trades and professions.
Sahagun gives an account of sixteen movable feasts,
many of which, however, contained no religious element.[IX-87]
The first was dedicated to the sun, to whom a
ghostly deputation of eighteen souls was sent to make
known the wants of the people, and implore future
favors. The selected victims were ranged in order at
the place of sacrifice, and addressed by the priest, who
exhorted them to bear in mind the sacred nature of
their mission, and the glory which would be theirs
upon its proper fulfillment. The music now strikes up;
amid the crash and din the victims one after another
are stretched upon the altar; a few flashes of the iztli-knife
in the practiced hand of the slayer, and the embassy
has set out for the presence of the sun.[IX-88]
The sixth, seventh, and eleventh festivals were celebrated
to Quetzalcoatl, Tezcatlipoca, and Huitzilopochtli
respectively. The public and household idols of these
gods were at such seasons decorated, and presented with
offerings of food, quails, and incense. During the festival
of the god of fire, the thirteenth of the movable
feasts, various public officials were elected, and a great
many grand banquets given. The atamalqualiztli, or
'fast of bread and water,' seems to have been one of
the most important of the movable feasts. The people
prepared for its celebration, which took place every
eight years, by a rigid fast, broken only by a midday
meal of water and unsalted bread. Those who offended
the gods by neglecting to observe this fast were thought
to expose themselves to an attack of leprosy. The
people indulged in all sorts of amusements during the
holiday season which succeeded the fast. The most
interesting feature of the festivities was a bal masqué,
which was supposed to be attended by all the gods.
The chief honors of the day were, however, rendered
to the Tlalocs, and round their effigy, which stood in
the midst of a pond alive with frogs and snakes, the
dancers whirled continually. It was a part of the
ceremonies for a number of men called maxatecaz to
devour the reptiles in the pond; this they did by each
seizing a snake or a frog in his teeth, and swallowing it
gradually as he joined in the dance; the one who first
bolted his titbit cried out triumphantly, 'Papa, papa!'
Every fourth year, called teoxihuitl, or 'divine year,'
and at the beginning of every period of thirteen years,
the feasts were more numerous and on a larger scale,
the fasts more severe, and the sacrifices far greater in
number than upon ordinary occasions.[IX-89] The entire
series of festivals may be said to have closed with the
solemn Toxilmolpilia, or 'binding up of the years,'
which took place every fifty-two years, and marked the
expiration and renewal of the world's lease of existence.[IX-90]