The idea of the yearly renewal of nature is also connected with that of time forever young, and the Aztecs, therefore, encircle their cycle with a snake as the symbol of time. The more positive signification which the snake, placed by the side of the humming-bird, gives to Huitzilopochtli, is that of a soothsaying god, like the snake Python among the Greeks. The snake signified 'king' among the Egyptians, and this suits Huitzilopochtli also, who may properly enough be considered the real king of his people. If, as connected with Huitzilopochtli, the snake also represents the war god, on account of its spirited mode of attack, I cannot with certainty say, but the myth as well as the worship places it in this relation to the war goddess Athene. Although the idea of a national and a war god is not quite obscured in the snake attribute, yet the nature side is especially denoted by it, as in the southern countries, where snake worship prevailed; the reference to the southern nature of this god is quite evident in the snake attribute. In the north, moisture, represented by the snake, has never attained the cosmological import which it has in the hot countries of the south. There, the snake rather represents an anticosmogonic, or a bad principle.[VIII-15]
WINTER-SOLSTICE FESTIVAL.
Mr Tylor, without committing himself to any extent in details, yet agrees, as far as he goes, with Müller. He says: "The very name of Mexico seems derived from Mexitli, the national war-god, identical or identified with the hideous gory Huitzilopochtli. Not to attempt a general solution of the enigmatic nature of this inextricable compound parthenogenetic deity, we may notice the association of his principal festival with the winter solstice, when his paste idol was shot through with an arrow, and being thus killed, was divided into morsels and eaten, wherefore the ceremony was called the teoqualo, or 'god-eating.' This, and other details, tend to show Huitzilopochtli as originally a nature-deity, whose life and death were connected with the year's, while his functions of war-god may be of later addition."[VIII-16]
Of this festival of the winter solstice the date and further particulars are given by the Vatican Codex as follows:—
The name Panquetzaliztli, of the Mexican month that began on the first of December, means, being interpreted, 'the elevation of banners.' For, on the first day of December every person raised over his house a small paper flag in honor of this god of battle; and the captains and soldiers sacrificed those that they had taken prisoners in war, who, before they were sacrificed, being set at liberty, and presented with arms equal to their adversaries, were allowed to defend themselves till they were either vanquished or killed, and thus sacrificed. The Mexicans celebrated in this month the festival of their first captain, Vichilopuchitl. They celebrated at this time the festival of the wafer or cake. They made a cake of the meal of bledos, which is called tzoalli, and having made it, they spoke over it in their manner, and broke it into pieces. These the high priest put into certain very clean vessels, and with a thorn of maguey, which resembles a thick needle, he took up with the utmost reverence single morsels, and put them into the mouth of each individual, in the manner of a communion—and I am willing to believe that these poor people have had the knowledge of our mode of communion or of the preaching of the gospel; or perhaps the devil, most envious of the honor of God, may have led them into this superstition in order that by this ceremony he might be adored and served as Christ our Lord. On the twenty-first of December they celebrated the festival of this god—through whose instrumentality, they say, the earth became again visible after it had been drowned with the waters of the deluge: they therefore kept his festival during the twenty following days, in which they offered sacrifices to him.[VIII-17]
DECORATIONS OF TLALOC.
The deity Tlaloc, or Tlalocateuchtli, whom we have several times found mentioned as seated beside Huitzilopochtli in the great temple, was the god of water and rain, and the fertilizer of the earth. He was held to reside where the clouds gather, upon the highest mountain-tops, especially upon those of Tlaloc, Tlascala, and Toluca, and his attributes were the thunderbolt, the flash, and the thunder. It was also believed that in the high hills there resided other gods, subaltern to Tlaloc—all passing under the same name, and revered not only as gods of water but also as gods of mountains. The prominent colors of the image of Tlaloc were azure and green, thereby symbolizing the various shades of water. The decorations of this image varied a good deal according to locality and the several fancies of different worshipers: the description of Gama, founded on the inspection of original works of Mexican religious art, is the most authentic and complete. In the great temple of Mexico, in his own proper chapel, called epeoatl, adjoining that of Huitzilopochtli, this god of water stood upon his pedestal. In his left hand was a shield ornamented with feathers; in his right were certain thin, shining, wavy sheets of gold representing his thunderbolts, or sometimes a golden serpent representing either the thunderbolt or the moisture with which this deity was so intimately connected. On his feet were a kind of half-boots, with little bells of gold hanging therefrom. Round his neck was a band or collar set with gold and gems of price; while from his wrists depended strings of costly stones, even such as are the ornaments of kings. His vesture was an azure smock reaching to the middle of the thigh, cross-hatched all over with ribbons of silver forming squares; and in the middle of each square was a circle also of silver, while in the angles thereof were flowers, pearl-colored, with yellow leaves hanging down. And even as the decoration of the vesture so was that of the shield; the ground blue, covered with crossed ribbons of silver and circles of silver: and the feathers of yellow and green and flesh-color and blue, each color forming a distinct band. The body was naked from mid-thigh down, and of a grey tint, as was also the face. This face had only one eye of a somewhat extraordinary character: there was an exterior circle of blue, the interior was white with a black line across it and a little semi-circle below the line. Either round the whole eye or round the mouth was a doubled band, or ribbon of blue; this, although unnoticed by Torquemada, is affirmed by Gama to have been never omitted from any figure of Tlaloc, to have been his most characteristic device, and that which distinguished him specially from the other gods. In his open mouth were to be seen only three grinders; his front teeth were painted red, as was also the pendant, with its button of gold, that hung from his ear. His head-adornment was an open crown, covered in its circumference with white and green feathers, and from behind it over the shoulder depended other plumes of red and white. Sometimes the insignium of the thunderbolt is omitted with this god, and Ixtlilxochitl represents him, in the picture of the month Etzalli, with a cane of maize in the one hand, and in the other a kind of instrument with which he was digging in the ground. In the ground thus dug were put maize leaves filled with a kind of food, like fritters, called etzalli; from this the month took its name.[VIII-18]
PRAYER TO TLALOC.
PRAYER FOR RAIN.
A prayer to this god has been preserved by Sahagun, in which it will be noticed that the word Tlaloc is used sometimes in the singular and sometimes in the plural:—