the quetzal-tototl (tototl, bird) and is called by ornithologists Trogon splendens.
The latter part of the name, coatl, has in Aztec three entirely different meanings. It means a guest, also twins, and lastly, as a syncopated form of cohuatl, a serpent. Metaphorically, cohuatl meant something mysterious, and hence a supernatural being, a god. Thus Montezuma, when he built a temple in the city of Mexico dedicated to the whole body of divinities, a regular Pantheon, named it Coatecalli, the House of the Serpent.[5]
Through these various meanings a good defence can be made of several different translations of the name, and probably it bore even to the natives different meanings at different times. I am inclined to believe that the original sense was that advocated by Becerra in the seventeenth century, and adopted by Veitia in the eighteenth, both competent Aztec scholars.[6] They translate Quetzalcoatl as "the admirable twin," and though their notion that this refers to Thomas Didymus, the Apostle, does not meet my views, I believe they were right in their etymology. The reference is to the duplicate nature of the Light-God as seen in the setting and rising sun, the sun of to-day and yesterday, the same yet different. This has its parallels in many other mythologies.[7]
The correctness of this supposition seems to be shown by a prevailing superstition among the Aztecs about twins, and which strikingly illustrates the uniformity of mythological conceptions throughout the world. All readers are familiar with the twins Romulus and Remus in Roman story, one of whom was fated to destroy their grandfather Amulius; with Edipus and Telephos, whose father Laios, was warned that his death would be by one of his children; with Theseus and Peirithoos, the former destined to cause the suicide of his father Aigeus; and with many more such myths. They can be traced, without room for doubt, back to simple expressions of the fact that the morning and the evening of the one day can only come when the previous day is past and gone; expressed figuratively by the statement that any one day must destroy its predecessor. This led to the stories of "the fatal children," which we find so frequent in Aryan mythology.[8]
The Aztecs were a coarse and bloody race, and carried out their superstitions without remorse. Based, no doubt, on this mythical expression of a natural occurrence, they had the belief that if twins were allowed to live, one or the other of them would kill and eat his father or mother; therefore, it was their custom when such were brought into the world to destroy one of them.[9]
We shall see that, as in Algonkin story Michabo strove to slay his father, the West Wind, so Quetzalcoatl was in constant warfare with his father, Tezcatlipoca-Camaxtli, the Spirit of Darkness. The effect of this oft-repeated myth on the minds of the superstitious natives was to lead them to the brutal child murder I have mentioned.
It was, however, natural that the more ordinary meaning, "the feathered or bird-serpent," should become popular, and in the picture writing some combination of the serpent with feathers or other part of a bird was often employed as the rebus of the name Quetzalcoatl.
He was also known by other names, as, like all the prominent gods in early mythologies, he had various titles according to the special attribute or function which was uppermost in the mind of the worshipper. One of these was Papachtic, He of the Flowing Locks, a word which the Spaniards shortened to Papa, and thought was akin to their title of the Pope. It is, however, a pure Nahuatl word,[10] and refers to the abundant hair with which he was always credited, and which, like his ample beard, was, in fact, the symbol of the sun's rays, the aureole or glory of light which surrounded his face.
His fair complexion was, as usual, significant of light. This association of ideas was so familiar among the Mexicans that at the time of an eclipse of the sun they sought out the whitest men and women they could find, and sacrificed them, in order to pacify the sun.[11]
His opponent, Tezcatlipoca, was the most sublime figure in the Aztec Pantheon. He towered above all other gods, as did Jove in Olympus. He was appealed to as the creator of heaven and earth, as present in every place, as the sole ruler of the world, as invisible and omniscient.
The numerous titles by which he was addressed illustrate the veneration in which he was held. His most common name in prayers was Titlacauan, We are his Slaves. As believed to be eternally young, he was Telpochtli, the Youth; as potent and unpersuadable, he was Moyocoyatzin, the Determined Doer;[12] as exacting in worship, Monenegui, He who Demands Prayers; as the master of the race, Teyocoyani, Creator of Men, and Teimatini, Disposer of Men. As he was jealous and terrible, the god who visited on men plagues, and famines, and loathsome diseases, the dreadful deity who incited wars and fomented discord, he was named Yaotzin, the Arch Enemy, Yaotl necoc, the Enemy of both Sides, Moquequeloa, the Mocker, Nezaualpilli, the Lord who Fasts, Tlamatzincatl, He who Enforces Penitence; and as dark, invisible and inscrutable, he was Yoalli ehecatl, the Night Wind.[13]
He was said to be formed of thin air and darkness; and when he was seen of men it was as a shadow without substance. He alone of all the gods defied the assaults of time, was ever young and strong, and grew not old with years.[14] Against such an enemy who could hope for victory?
The name "Tezcatlipoca" is one of odd significance. It means The Smoking Mirror. This strange metaphor has received various explanations. The mirrors in use among the Aztecs were polished plates of obsidian, trimmed to a circular form. There was a variety of this black stone called tezcapoctli, smoky mirror stone, and from this his images were at times made.[15] This, however, seems too trivial an explanation.
Others have contended that Tezcatlipoca, as undoubtedly the spirit of darkness and the night, refers, in its meaning, to the moon, which hangs like a bright round mirror in the sky, though partly dulled by what the natives thought a smoke.[16]
I am inclined to believe, however, that the mirror referred to is that first and most familiar of all, the surface of water: and that the smoke is the mist which at night rises from lake and river, as actual smoke does in the still air.
As presiding over the darkness and the night, dreams and the phantoms of the gloom were supposed to be sent by Tezcatlipoca, and to him were sacred those animals which prowl about at night, as the skunk and the coyote.[17]
Thus his names, his various attributes, his sacred animals and his myths unite in identifying this deity as a primitive personification of the Darkness, whether that of the storm or of the night.[18]
This is further shown by the beliefs current as to his occasional appearance on earth. This was always at night and in the gloom of the forest. The hunter would hear a sound like the crash of falling trees, which would be nothing else than the mighty breathings of the giant form of the god on his nocturnal rambles. Were the hunter timorous he would die outright on seeing the terrific presence of the god; but were he of undaunted heart, and should rush upon him and seize him around the waist, the god was helpless and would grant him anything he wished. "Ask what you please," the captive deity would say, "and it is yours. Only fail not to release me before the sun rises. For I must leave before it appears."[19]
§2. Quetzalcoatl the God.
In the ancient and purely mythical narrative, Quetzalcoatl is one of four divine brothers, gods like himself, born in the uttermost or thirteenth heaven to the infinite and uncreated deity, which, in its male manifestations, was known as Tonaca tecutli, Lord of our Existence, and Tzin teotl, God of the Beginning, and in its female expressions as Tonaca cihuatl, Queen of our Existence, Xochiquetzal, Beautiful Rose, Citlallicue, the Star-skirted or the Milky Way, Citlalatonac, the Star that warms, or The Morning, and Chicome coatl, the Seven Serpents.[20]
The usual translation of Tonaca tecutli is "God of our Subsistence," to, our, naca, flesh, tecutli, chief or lord. It really has a more subtle meaning. Naca is not applied to edible flesh--that is expressed by the word nonoac--but is the flesh of our own bodies, our life, existence. See Anales de Cuauhtitlan, p. 18, note.]
Of these four brothers, two were the black and the red Tezcatlipoca, and the fourth was Huitzilopochtli, the Left handed, the deity adored beyond all others in the city of Mexico. Tezcatlipoca--for the two of the name blend rapidly into one as the myth progresses--was wise beyond compute;