TWO MOTHERS OF HUITZILOPOCHTLI.
This nature-basis is first seen in the myth about his birth. In the neighborhood of Tulla there was a place called Coatepec, where lived a god-fearing woman, called Coatlicue. One day, as she was going to the temple, according to her custom, a gaily colored ball of feathers fell down from heaven; she picked it up, and hid it in her bosom, intending to decorate the altar therewith. As she was on the point of producing it for this purpose, it could not be found. A few days afterward she was aware of being pregnant. Her children, the Centzunhuitznahuas, also noticed this, and, in order to avoid their own disgrace, they determined to kill her before she was delivered. Her sorrow was however, miraculously consoled by a voice that made itself heard from within her womb, saying: Fear not, O mother, I will save thee to thy great honor, and to my great fame! The brothers, urged on by their sister, were on the point of killing her, when, behold, even as the armed Athena sprang from her father's head, Huitzilopochtli was born; the shield in his left hand, the spear in his right, the green plumage on his head, and humming-bird feathers on his left leg; his face, arms, and legs being, moreover, striped with blue. At once he slew his opponents, plundered their dwellings, and brought the spoils to his mother. From this he was called Terror and the Frightful God.
If we dissect this myth, we notice that another mother appears than the one formerly sacrificed in his honor, Teteionan. Two mothers present nothing remarkable in mythology, I have only to mention Aphrodite and Athena, who according to different accounts, had different fathers. So long as the formation of myths goes on, founded upon fresh conceptions of nature, somewhat different ideas (for wholly different, even here, the two mothers are not) from distinct points of view, are always possible. It is the anthropomorphism of the age that fixes on the one-sided conclusion. Teteionan is Huitzilopochtli's mother, because she is the mother of all the gods. The mother, in this instance, is the Flora of the Aztecs, euhemerized into a god-fearing woman, Coatlicue, or Coatlantana, of whose worship in Coatepec and Mexico we have already spoken.
The second point prominent in the myth, is the close connection of Huitzilopochtli with the botanical kingdom. The humming-bird is the messenger of spring, sent by the south to the north, by the hot to the temperate region. It is the means of fructifying the flowers, its movements causing the transfer of the pollen from the stamens to the germ-shells. It sticks its long, thin little bill deep into the flower, and rummaging beneath the stamens, drinks the nectar of the flower, while promoting the act of plant-reproduction. In the Latin myth also, Mars stands in close connection with Flora: Juno gives him birth with Flora's aid, without the assistance of Jupiter. In our mythology of the north, Thor is on a friendly footing with Nanna, the northern Flora. We are already acquainted also with a fable of the Pimas, according to which the goddess of maize became pregnant by a raindrop, and bore the forefather of the people, he who built the great houses.
SISTERS OF HUITZILOPOCHTLI.
The question, why Huitzilopochtli should be the son of the goddess of plants, and what his real connection with the botanical kingdom consists in, is solved by examining his worship at the three ancient yearly feasts, which take place exactly at those periods of the year that are the most influential for the Mexican climate, the middle of May, the middle of August, and the end of December. As a rule, in the first half of May the rain begins. Previous to this, the greatest drought and torpidness reign; the plants appear feeble and drooping; nature is bare, the earth gray with dry, withered grass. After a few days of rain, however, the trees appear in a fresh green, the ground is covered with new herbs, all nature is reanimated. Trees, bushes, plants, develop their blossoms; a vapory fragrance rises over all. The fruit shoots from the cultivated field, the juicy, bright green of the maize refreshes the eye. Mühlenpfordt, who stayed a long time in these regions, gives this description of the season. Völker's statement that rain and water stand as fructifying principles in the first rank in ancient physics, and that they meet us in innumerable myths, holds doubly good for the tropics. It requires little imagination to understand what a powerful impression transformed nature, with all its beauty and blessings, must produce in the soul of the child of nature. It is on this account that the ancient Tlaloc came to enjoy so high a regard among the Aztecs, nor has Quetzalcoatl disdained to adorn his mantle with the crosses of a rain-god. And so Huitzilopochtli's first feast of the year, the festival of the arrival of the god, of the offering of incense, stands at the beginning of the season of the reinvigorating of nature by the rain. The pagan Germans used to say that Nerthus, Freya, Hulda, Bertha, Frieg, and other divinities, entered the country at this period. The Aztecs prepared especially for this feast an image of their chief god, made of edible plants and honey, of the same size as the wooden image; and the youths sang the deeds of their god before it, and hymns praying for rain and fertility. Offering of multitudes of quails, incense-burning, and the significant dance of priests and virgins, followed. The virgins, who on this day were called sisters of Huitzilopochtli, wore garlands of dry maize-leaves on their heads, and carried split reeds in their hands; by this representing the dry season. The priests, on the contrary, represented the quickened nature, having their lips smeared with honey.
Now although, according to Max von Wied, there were no bees in America before the arrival of the Europeans, the bees are here represented by humming-birds, also called honey or bee birds, which, hovering and humming like bees, gather their food from the tube-shaped flowers. This food consists of a small insect that lives on honey, and they feed their young by letting them suck at the tongue covered with this honey. The priests bore, further, another symbol of spring: each one held a staff in his hand, on which a flower of feathers was fixed, having another bunch of feathers fixed over it; thus too, Freya's hawk-plumage denoted the advent of the fine season. A prisoner had been selected a year in advance as a victim, and was called 'wise lord of the heaven,' for he personated the god, and had the privilege of choosing the hour of the sacrifice; he did not die, like the other prisoners, on the sacrifice stone, but on the shoulders of the priests. The little children were consecrated to the god of their country, at this festival, by a small incision on the breast.
So also Mars appears as god of spring, he to whom the grass and the sacred spring time of the birth of animals (ver sacrum) were dedicated, whose chief festival and whose month are placed at the commencement of spring, at which time the Salii also sang their old religious songs, and a man personated the god. The Tyrian festival of the awaking of Hercules fell also in spring, for the same reason. Thus, in the myth of the birth of Huitzilopochtli, and in his first festival, spring, or the energy that produces spring, is made the basis of his being. His warlike attributes are appendages of the anthropomorphized national and war god.
The second great festival of the deity takes place in the middle of August. The rains which have lasted and refreshed up to this time, become intermittent, and the fine season approaches, during which the azure sky of the tropics pours its splendor and its beneficial warmth upon men, animals, and plants, scattered over a plain situated 8500 feet above the level of the sea. This is the twelfth month there, the month of ripe fruits. The idols in all temples and dwellings are decorated with flowers. It is now no longer the rain which is the blessing, but the blue sky which cherishes the variegated flower-world. For this reason the image of Huitzilopochtli was blue, his head was wound round with an azure ribbon, in his right hand he held an azure staff or club, and he sat on an azure stool, which, according to ancient accounts, represents heaven as his dwelling-place. His arms and legs had also blue stripes, and costly blue stones hung round his neck. The Egyptian god of fertility, Khem, was also represented in blue.
DEATH OF VEGETATION.