Latin-American Mythology. Hartley Burr Alexander
Читать онлайн книгу.
was also a lunar deity. In her honour a harvest-home was celebrated in which her Huastec priests (for she probably hailed from the eastern coast) bore phallic emblems.
Closely connected with the earth goddesses are their children, the vegetation-deities. Of these the maize-spirits are the most important, maize being the great cereal of the highland region, and, indeed, so much the "corn" of primitive America that the latter word has come to mean maize in the English-speaking parts of the New World. Cinteotl was the maize-god, and Chicomecoatl ("Seven Snakes"), also known as Xilonen, was his female counterpart, their symbol being the young maize-ear. Because of the use of maize as the staff of life, a crown filled with this grain was the symbol of Tonacatecutli ("Lord of our Flesh"), creator-god and food-giver. Pedro de Rios says38 of him that he was "the first Lord that the world was said to have had, and who, as it pleased him, blew and divided the waters from the heaven and from the earth, which before him were all intermingled; and he it is who disposed them as they now are, and so they called him 'Lord of our Bodies' and 'Lord of the Overflow'; and he gave them all things, and therefore he alone was pictured with the royal crown. He was further called 'Seven Flowers' [Chicomexochitl], because they said that he divided the principalities of the world. He had no temple of any kind, nor were offerings brought to him, because they say he desired them not, as it were to a greater Majesty." This god was also identified with the Milky Way.
Of all Mexican vegetation-deities, however, at once the most important and the most horrible was Xipe Totec ("Our Lord the Flayed"), represented as clad in a human skin, stripped from the body of a sacrificed captive. He was the god of the renewal of vegetation—the fresh skin which Earth receives with the recurrent green—and his great festival, the Feast of the Man-Flaying, was held in the spring when the fresh verdure was appearing. At this time, men, women, and children captives were sacrificed, their bodies eaten, and the skins flayed from them to be worn by personators of the god. That there was a kind of sacrament in this rite is evident from Sahagun's statement that the captor did not partake of the flesh of his own captive, regarding it as part of his own body. Again, youths clad in skins flayed from sacrificed warriors were called by the god's own name, and they waged mimic warfare with bands pitted against them; if a captive was made, a mock sacrifice was enacted. The famous sacrificio gladiatorio was also celebrated in the god's honour, the victim, with weak weapons, being pitted against strong warriors until he succumbed. The magic properties of the skins torn from victims' bodies is shown by the fact that persons suffering from diseases of the skin and eye wore these trophies for their healing, the period being twenty days. Xipe Totec was clad in a green garment, but yellow was his predominant colour; his ornaments were golden, and he was the patron of gold-workers—a symbolism probably related to the ripening grain, for with all that is horrible about him Xipe Totec is at bottom a simple agricultural deity. At his festival were stately areitos, and songs were chanted, one of which is preserved:39
"Thou night-time drinker, why dost thou delay?
Put on thy disguise—thy golden garment, put it on! "My Lord, let thine emerald waters come descending! Now is the old tree changed to green plumage— The Fire-Snake is transformed into the Quetzal! "It may be that I am to die, I, the young maize-plant; Like an emerald is my heart; gold would I see it be; I shall be happy when first it is ripe—the war-chief born! "My Lord, when there is abundance in the maize-fields, I shall look to thy mountains, verily thy worshipper; I shall be happy when first it is ripe—the war-chief born!"
PLATE X.
Stone mask of Xipe Totec. The face is represented as covered by the skin of a sacrificed victim, flaying being a rite with which this god was honored. The reverse of the mask bears an image of the god in relief. The original is in the British Museum.
Less unattractive is the group of deities of flowers and dancing, games and feasting—Xochipilli ("Flower Lord"), Macuilxochitl ("Five Blossoms"), and Ixtlilton ("Little Black-Face"). Xochipilli is in part a divinity of the young maize, probably as pollinating, and is sometimes viewed as a son of Cinteotl. As is natural, he and his brothers are occasionally associated with the pulque-gods, the Centzontotochtin, of whom there were a great number—among them Patecatl, lord and discoverer of the ocpatli (the peyote) from which liquor is made, Texcatzoncatl ("Straw Mirror"), Colhuatzincatl ("the Winged"), and Ometochtli ("Two Rabbit")—deities who were supposed to possess their worshippers and to be the real agents of the drunken man's mischief. The more especial associate of the flower-gods, however, is Xochiquetzal ("Flower Feather"), who is said to have been originally the spouse of Tlaloc, but to have been carried away by Tezcatlipoca and to have been established by him as the goddess of love. Her throne is described as being above the ninth heaven, and there is reason to think that in this rôle she is identical with Tonacaciuatl, the consort of the creator-god, Tonacatecutli.40 Her home was in Xochitlicacan ("Place of Flowers") in Itzeecayan ("Place of Cool Winds"), or in Tamoanchan, the Paradise of the West—the region whence came the Ciuateteo, the ghostly women who at certain seasons swooped down in eagles' form, striking children with epilepsy and inspiring men with lust. Xochiquetzal was, indeed, the patroness of the unmarried women who lived with the young bachelor warriors and marched to war with them, and who sometimes, at the goddess's festival, immolated themselves upon her altars. In a more pleasing aspect she was the deity of weaving and spinning and of making all beautiful and artistic fabrics, and she is portrayed in bright and many-coloured raiment, not forgetting the butterfly at her lips, emblem of life and of the seeker after sweets. In a hymn41 she is named along with her lover, Piltzintecutli ("Lord of Princes"), who is presumed to be the same as Xochipilli:
"Out of the land of water and mist, I come, Xochiquetzal—
Out of the land where the Sun enters his house, out of Tamoanchan.
"Weepeth the pious Piltzintecutli;
He seeketh Xochiquetzal.
Dark it is whither I must go."
Seler suggests that this lamentation is perchance the expression of a Proserpina myth—of the carrying off into the underworld of the bright goddess of flowers and of the quest for her by her disconsolate lover.
Of far darker hue is the goddess whom Sahagun42 calls "another Venus," Tlazolteotl ("Goddess of Uncleanliness"), the deity in particular of lust and sexual sin. To her priests confession was made of carnal sins and drunkenness, and by them penance was inflicted, including as a feature piercing the tongue with a maguey thorn and the insertion therein of straws and osier twigs. Sahagun remarks that the Indians awaited old age before confessing carnal sins, "a thing easy to comprehend, since, although they had committed their faults during youth, they would not confess before an advanced age in order not to find themselves obliged to cease from disorderly conduct before age came upon them; this, because of their belief that one who fell into a sin already once confessed could receive no absolution. From all of which," he continues, "it is natural to reach the conclusion that the Indians of New Spain believed themselves obliged to confess once in their lifetime, and that in lumine naturali, with no knowledge of the things of the faith." One of the titles of Tlazolteotl is "Heart of the Earth," and since she is represented in the same attire as the great mother of the gods, it is presumed that she is a special form of the Earth Mother, Teteoinnan, with emphasis upon her character as deity of fertility. Sometimes she is spoken of as Ixcuiname ("the Four-faced") and is regarded plurally as a group of four sisters who, according to Sahagun, represent four ages of woman's maturity. In the Annals of Quauhtitlan it is related that the Ixcuiname came to Tollan from Huasteca. "And in the place called Where-the-Huaxtec-weep they summoned their captives, whom they had taken in Huaxteca, and explained to them what the business was, telling them that, 'We go now to Tollan, we want to couple the Earth with you, we want to hold a feast with you: for till now no battle offerings have been made with men. We want to make a beginning of it, and shoot you to death with arrows.'" In Aztec paintings of the arrow sacrifice the victim is shown suspended from a ladder-like scaffold, whence the blood from the arrow wounds drips to earth. This blood was the emblem of the fertilizing seed, dropped into the womb of the goddess; and it is at least worthy of remark that the form of the Skidi Pawnee fertility sacrifice, in honour