The Project Gutenberg eBook of Rig Veda Americanus by Daniel G. Brinton, editor

In accordance with the general object of this series of volumes—which is to furnish materials for study rather than to offer completed studies—I have prepared for this number the text of the most ancient authentic record of American religious lore. From its antiquity and character, I have ventured to call this little collection the Rig Veda Americanus, after the similar cyclus of sacred hymns, which are the most venerable product of the Aryan mind.

As for my attempted translation of these mystic chants I offer it with the utmost reserve. It would be the height of temerity in me to pretend to have overcome difficulties which one so familiar with the ancient Nahuatl as Father Sahagun intimated were beyond his powers. All that I hope to have achieved is, by the aid of the Gloss—and not always in conformity to its suggestions—to give a general idea of the sense and purport of the originals.

The desirability of preserving and publishing these texts seems to me to be manifest. They reveal to us the undoubtedly authentic spirit of the ancient religion; they show us the language in its most archaic form; they preserve references to various mythical cycli of importance to the historian; and they illustrate the alterations in the spoken tongue adopted in the esoteric dialect of the priesthood. Such considerations will, I trust, attract the attention of scholars to these fragments of a lost literature.

In the appended Vocabulary I have inserted only those words and expressions for which I can suggest correct—or, at least, probable—renderings. Others will have to be left to future investigators.

Contents.

List of Illustrations.

Introduction.

As in a previous number of the Library of Aboriginal American Literature I have discussed in detail the character of the ancient Mexican poetry, I shall confine myself at present to the history of the present collection. We owe its preservation to the untiring industry of Father Bernardino de Sahagun, one of the earliest missionaries to Mexico, and the author of by far the most important work on the religion, manners and customs of the ancient Mexicans.

By long residence and close application Sahagun acquired a complete mastery of the Nahuatl tongue. He composed his celebrated Historia de las Cosas de la Nueva España primarily in the native language, and from this original wrote out a Spanish translation, in some parts considerably abbreviated. This incomplete reproduction is that which was published in Spanish by Lord Kingsborough and Bustamente, and in a French rendering with useful notes by Dr. Jourdanet and M. Rémi Simeon.

So far as I know, the only complete copy of the Nahuatl original now in existence is that preserved in the Bibliotheca Laurentio-Mediceana in Florence, where I examined it in April, 1889. It is a most elaborate and beautiful MS., in three large volumes, containing thirteen hundred and seventy-eight illustrations, carefully drawn by hand, mostly colored, illustrative of the native mythology, history, arts and usages, besides many elaborate head and tail pieces to the chapters.

There is another Nahuatl MS. of Sahagun’s history in the private library of the King of Spain at Madrid, which I examined in May, 1888, and of which I published a collation in the Mémoires de la Sociétè Internationale des Américanistes, for that year. It is incomplete, embracing only the first six books of the Historia, and should be considered merely as a borrador or preliminary sketch for the Florentine copy. It contains, however, a certain amount of material not included in the latter, and has been peculiarly useful to me in the preparation of the present volume, as not only affording another reading of the text, valuable for comparison, but as furnishing a gloss or Nahuatl paraphrase of most of the hymns, which does not appear in the Florentine MS. As evidently the older of the two, I have adopted the readings of the Madrid MS. as my text, and given the variants of the Florentine MS. at the end of each hymn.

Neither MS. attempts any translation of the hymns. That at Madrid has no Spanish comment whatever, while that at Florence places opposite the hymns the following remarks, which are also found in the printed copies, near the close of the Appendix of the Second Book of the Historia:—

Lord Kingsborough says in a note in his voluminous work on the Antiquities of Mexico that this portion of Sahagun’s text was destroyed by order of the Inquisition, and that there was a memorandum to that effect in the Spanish original in the noble writer’s possession. This could scarcely have referred to a translation of the hymns, for none such exists in any MS. I have consulted, or heard of; and Sahagun intimates in the passage quoted above that he had made none, on account of the obscurity of the diction. Neither does any appear in the Florentine MS., where the text of the hymns is given in full, although the explanatory Gloss is omitted. This last-mentioned fact has prevented me from correcting the text of the Gloss, which in some passages is manifestly erroneous; but I have confined myself to reproducing it strictly according to the original MS., leaving its correction to those who will make use of it.

The Florentine MS. has five colored illustrations of the divinities, or their symbols, which are spoken of in the chants. These are probably copied from the native hieroglyphic books in which, as we learn from Sahagun, such ancient songs were preserved and transmitted. These illustrations I had copied with scrupulous fidelity and reproduced by one of the photographic processes, for the present work.

Such is the history of this curious document, and with this brief introduction I submit it to those who will have the patience and skill to unravel its manifold difficulties.

I. Vitzilopochtli icuic.

Gloss.

Translation.
The Hymn of Huitzilopochtli.

Huitzilopochtli is first in rank, no one, no one is like unto him: not vainly do I sing (his praises) coming forth in the garb of our ancestors; I shine; I glitter.
He is a terror to the Mixteca; he alone destroyed the Picha-Huasteca, he conquered them.
The Dart-Hurler is an example to the city, as he sets to work. He who commands in battle is called the representative of my God.
When he shouts aloud he inspires great terror, the divine hurler, the god turning himself in the combat, the divine hurler, the god turning himself in the combat.
Amanteca, gather yourselves together with me in the house of war against your enemies, gather yourselves together with me.
Pipiteca, gather yourselves together with me in the house of war against your enemies, gather yourselves together with me.

Notes.

Huitzilopochtli was the well-known war-god of the Azteca, whose functions are described by Sahagun (Historia, Lib. I., cap. 1) and many other writers. The hymn here given is probably the tlaxotecuyotl, which was chanted at the celebration of his feast in the fifteenth month of the Mexican calendar (see Sahagun, Historia, Lib. II., cap. 34). The word means “his glory be established.” It was commenced at sunset and repeated till sunrise.

1. “In the garb of our ancestors” (to-citli-quemitl). The high priest appeared in the insignia of Quetzalcoatl, which, says Sahagun, “were very gorgeous.” (Hist., Lib. II., Appendix.)

2. Mixteca, plural of Mixtecatl, an inhabitant of Mixtecapan, near the Pacific. The Huasteca, a nation of Maya lineage, lived on the Gulf coast.

3. The god was called the Hurler, as he was believed to hurl the lightning serpent (the xiuhcoatl).

5. Sahagun recites the legends about the Amanteca (Historia, Lib. IX., cap. 18). Here the name refers to the inhabitants of the quarter called Amantlan.

6. Pipiteca, a nomen gentile, referring doubtless to a certain class of the hearers.

This hymn may be compared to another, descriptive of the same divinity, preserved in Sahagun’s MS. in Madrid. It is as follows, with my translation by its side.

Vitzilopuchtli	Huitzilopochtli,
Can maceualli	Only a subject,
Can tlacatl catca.	Only a mortal was.
Naualli	A magician,
Tetzauitl	A terror,
Atlacacemelle	A stirrer of strife,
Teixcuepani	A deceiver,
Quiyocoyani in yaoyotl	A maker of war,
Yautecani	An arranger of battles,
Yautlatoani;	A lord of battles;
Ca itechpa mitoaya	And of him it was said
Tepan quitlaza	That he hurled
In xiuhcoatl	His flaming serpent,
Immamalhuaztli	His fire stick;
Quitoznequi yaoyotl	Which means war,
Teoatl tlachinolli.	Blood and burning;
Auh iniquac ilhuiq’xtililoya	And when his festival was celebrated,
Malmicouaya	Captives were slain,
Tlaaltilmicoaya	Washed slaves were slain,
Tealtilaya impochteca.	The merchants washed them.
Auh inic mochichiuaya:	And thus he was arrayed:
Xiuhtotonacoche catca	With head-dress of green feathers,
Xiuhcoanauale	Holding his serpent torch,
Xiuhtlalpile	Girded with a belt,
Matacaxe	Bracelets upon his arms,
Tzitzile	Wearing turquoises,
Oyuvale.	As a master of messengers.

When in Florence, in 1889, I had an accurate copy made of the Nahuatl text and all the figures of the first book of Sahagun’s History. The colored figure of Huitzilopochtli is in accordance with the above description.

II. Uitznaoac yautl icuic.

The War Song of the Huitznahuac.

What ho! my work is in the hall of arms, I listen to no mortal, nor can any put me to shame, I know none such, I am the Terror, I know none other, I am where war is, my work is said to be in the hall of arms, let no one curse my children.
Our adornment comes from out the south, it is varied in color as the clothing of the eagle.
Ho! ho! abundance of youths doubly clothed, arrayed in feathers, are my captives, I deliver them up, I deliver them up, my captives arrayed in feathers.
Ho! youths for the Huitznahuac, arrayed in feathers, these are my captives, I deliver them up, I deliver them up, arrayed in feathers, my captives.
Youths from the south, arrayed in feathers, my captives, I deliver them up, I deliver them up, arrayed in feathers, my captives.
The god enters, the Huitznahuac, he descends as an example, he shines forth, he shines forth, descending as an example.
Adorned like us he enters as a god, he descends as an example, he shines forth, he shines forth, descending as an example.

Notes.

There is no Gloss to this hymn, but its signification seems clear. Huitznahuac was a name applied to several edifices in the great temple at Tenochtitlan, as we are informed at length by Sahagun. The word is a locative from huitznahua. This term means “magicians from the south” or “diviners with thorns,” and was applied in the Quetzalcoatl mythical cyclus to the legendary enemies of Huitzilopochtli, whom he is said to have destroyed as soon as he was born. (See my discussion of this myth in Proceedings of the American Philosophical Society for 1887.) Apparently to perpetuate the memory of this exploit, the custom was, at the festival of Huitzilopochtli, for the slaves who were to be sacrificed to form two bands, one representing the Huitznahua and the other the partisans of the god, and to slaughter each other until the arrival of the god Paynal put an end to the combat (Sahagun, Historia, Lib. II., cap. 34). The song here given belongs to this portion of the ancient rite.

1. The tlacochcalli, “house of arrows” (tlacochtli, arrow, calli, house), was a large hall in the temple of Huitzilopochtli where arrows, spears and other arms were kept (Sahagun, Lib. VIII., cap. 32).

2. The “adornment from the south” refers to the meaning of the name Huitznahua. (See Glossary.)

3. Sahagun (ubi sup.) informs us that the slaves condemned to die fought against free warriors, and when any of the latter were captured they were promptly put to death by their captors.

III. Tlalloc icuic.

Gloss.

The Hymn of Tlaloc.

In Mexico the god appears; thy banner is unfolded in all directions, and no one weeps.
I, the god, have returned again, I have turned again to the place of abundance of blood-sacrifices; there when the day grows old, I am beheld as a god.
Thy work is that of a noble magician; truly thou hast made thyself to be of our flesh; thou hast made thyself, and who dare affront thee?
Truly he who affronts me does not find himself well with me; my fathers took by the head the tigers and the serpents.
In Tlalocan, in the verdant house, they play at ball, they cast the reeds.
Go forth, go forth to where the clouds are spread abundantly, where the thick mist makes the cloudy house of Tlaloc.
There with strong voice I rise up and cry aloud.
Go ye forth to seek me, seek for the words which I have said, as I rise, a terrible one, and cry aloud.
After four years they shall go forth, not to be known, not to be numbered, they shall descend to the beautiful house, to unite together and know the doctrine.
Go forth, go forth to where the clouds are spread abundantly, where the thick mist makes the cloudy house of Tlaloc.

Notes.

The god Tlaloc shared with Huitzilopochtli the highest place in the Mexican Pantheon. He was the deity who presided over the waters, the rains, the thunder and the lightning. The annual festival in his honor took place about the time of corn-planting, and was intended to secure his favor for this all-important crop. Its details are described at great length by Diego Duran, Historia de Nueva España, cap. 86, and Sahagun, Historia, Lib. II., cap. 25, and elsewhere. His name is derived from tlalli, earth. Tlalocan, referred to in v. 5, “the place of Tlaloc,” was the name of a mountain east of Tenochtitlan, where the festival of the god was celebrated; but it had also a mythical meaning, equivalent to “the earthly Paradise,” the abode of happy souls.

It will be observed that v. 10 is a repetition of v. 6. The word ayauicalo refers to the ayauhcalli, “house of mist,” the home of the rain god, which Sahagun informs us was represented at the annual festival by four small buildings near the water’s edge, carefully disposed to face the four cardinal points of the compass (Sahagun, ubi supra).

In v. 8 the expression tetzauhpilli (tetzauhqui, to frighten) may be explained by the figure of Tlaloc, whose statue, says Duran, was that of un espantable monstruo, la cara muy fea (ibid.).

The compound in v. 10, nauhxiuhtica, “after four years,” appears to refer to the souls of the departed brave ones, who, according to Aztec mythology, passed to the heaven for four years and after that returned to the terrestrial Paradise,—the palace of Tlaloc. (See my paper, The Journey of the Soul, in Proceedings of the Numismatic and Antiquarian Society of Philadelphia, 1883.)

IV. Teteuynan ycuic.

Gloss.

Hymn to the Mother of the Gods.

Hail to our mother, who caused the yellow flowers to blossom, who scattered the seeds of the maguey, as she came forth from Paradise.
Hail to our mother, who poured forth flowers in abundance, who scattered the seeds of the maguey, as she came forth from Paradise.
Hail to our mother, who caused the yellow flowers to blossom, she who scattered the seeds of the maguey, as she came forth from Paradise.
Hail to our mother, who poured forth white flowers in abundance, who scattered the seeds of the maguey, as she came forth from Paradise.
Hail to the goddess who shines in the thorn bush like a bright butterfly.
Ho! she is our mother, goddess of the earth, she supplies food in the desert to the wild beasts, and causes them to live.
Thus, thus, you see her to be an ever-fresh model of liberality toward all flesh.
And as you see the goddess of the earth do to the wild beasts, so also does she toward the green herbs and the fishes.

Notes.

The goddess to whom this hymn is devoted was called Teteoinan, the Mother of the Gods, Toçi, our Mother (maternal ancestor), and also by another name which signified “the Heart of the Earth,” the latter being bestowed upon her, says Duran, because she was believed to be the cause of earthquakes. Her general functions were those of a genius of fertility, extending both to the vegetable and the animal world. Thus, she was the patroness of the native midwives and of women in childbirth (Sahagun). Her chief temple at Tepeyacac was one of the most renowned in ancient Mexico, and it was a felicitous idea of the early missionaries to have “Our Lady of Guadalupe” make her appearance on the immediate site of this ancient fane already celebrated as the place of worship of the older female deity. The Codex Ramirez makes her a daughter of the first King of Culhuacan.

1. Tamoanchan. This word Sahagun translates “we seek our homes,” while the Codex Telleriano-Remensis gives the more intelligible rendering “there is their home whither they descend,” and adds that it is synonymous with Xochitlycacan, “the place where the flowers are lifted.” It was the mystical Paradise of the Aztecs, the Home of the Gods, and the happy realm of departed souls. The Codex just quoted adds that the gods were born there, which explains the introduction of the word into this hymn.

5. For teucontli (see Glossary) I should suggest teocomitl, a species of ornament, (cf. Sahagun, Historia, Lib. II., cap. 37.)

V. Chimalpanecatl icuic ioan tlaltecaua (nanotl).

Gloss.

Hymn to Chimalipan in Parturition.

Notes.

The goddess Chimalipan is not mentioned by the authorities at my command; but from the tenor of the hymn it is evident that the name is a synonym for the virgin mother of Huitzilopochtli, who is distinctly referred to by his title Yautlatoani (see ante, p. 18). In the myth, she dwelt upon the Coatepetl, the Serpent Mountain, on the site of Tulan. For a full discussion of this myth I refer to my inquiry, “Were the Toltecs an Historic Nationality?” in Proceedings of the Amer. Phil. Soc. for Sept. 1887, and American Hero-Myths, chap. 11. (Phila., 1881).

The Gloss distinctly states that the mother of Huitzilopochtli is referred to in the hymn. We must regard Chimalipan therefore as identical with Chimalman, who, according to another myth dwelt in Tula as a virgin, and was divinely impregnated by the descending spirit of the All-father in the shape of a bunch of feathers.

In other myths she is mentioned as also the mother of the Huitznahua, the enemies and the brothers of Huitzilopochtli, referred to in the second of this collection of chants.

VI. Ixcoçauhqui icuic.

Gloss.

Hymn to Ixcoçauhqui.

In the Hall of Flames let me not put to shame my ancestors; descending there, let me not put you to shame.
I fasten a rope to the sacred tree, I twist it in eight folds, that by it I, a magician, may descend to the magical house.
Begin your song in the Hall of Flames; begin your song in the Hall of Flames; why does the magician not come forth? Why does he not rise up?
Let his subjects assist in the Hall of Flames; he appears, he appears, let his subjects assist.
Let the servants never cease the song in the Hall of Flames; let them rejoice greatly, let them dance wonderfully.
Call ye for the woman with abundant hair, whose care is the mist and the rain, call ye for her.

Notes.

Ixcoçauhqui, “the Yellow Faced,” was the Mexican God of Fire. Torquemada gives as his synonyms Xiuhtecutli, “Lord of Fire,” and Huehueteotl, “the Ancient God” (Monarquia Indiana, Lib. VI., cap. 28). Elsewhere he identifies him with the Sun-god (Ibid., Lib. XIV., cap. 4). Sahagun describes his annual festival (Hist., Lib. II., cap. 38), and gives another of his names, Cueçaltzin, a reverential form of cuezalotl, flame (Hist., Lib. I., cap. 13).

The tzonmolco so often referred to in this hymn was the sixty-fourth edifice in the great temple of Tenochtitlan, and was devoted to the worship of Ixcoçauhqui (Sahagun). The word literally means “the place of spreading hairs,” the rays or ornaments spreading from the head of the statue of the god representing flames (Sahagun).

The reference in v. 6 seems to be to one of the women who were sacrificed at the festival, as related by Sahagun (Lib. II., App.).

“The Chichimecs,” says Sahagun (Hist., Lib. VI., cap. 7), “worshipped only one god, called Mixcoatl.” The Anales de Cuauhtitlan speaks of Mixcoatl as one of the leaders of the ancient Nahuas from their primitive home Chicomoztoc, the land of the Seven Caves. This is what is referred to in the above hymn. In later times Mixcoatl became god of hunting and of the tornado, and his worship extended to the Otomis.

Tzihuactitlan, “the land of the tzihuac bushes,” I have not found mentioned by any of the Spanish authorities, but it is named in connection with Chicomoztoc in an ancient war-song given in my Ancient Nahuatl Poetry, pp. 88 and 140.

The hymn appears to be in memory of the leadership of Mixcoatl in conducting the ancestors of the Nahua on their long wanderings after leaving their pristine seats. It should be read in connection with the earlier pages of the Annals of Cuauhtitlan.

The reduplicated form of the name, Mimixcoatl, is not found elsewhere, and appears to be a poetic license.

VIII. Xochipilli icuic.

Gloss.

Hymn to Xochipilli.

Notes.

IX. Xochiquetzal icuic.

Gloss.

Hymn to Xochiquetzal.

Notes.

Xochiquetzal, “plumage of flowers,” was the deity of the artists, the painters, weavers, engravers on metal, silver and goldsmiths, and of all who dealt in fine colors. Her figure was that of a young woman with gay garments and jewelry (Duran, Historia, cap. 94). In the Codex Telleriano-Remensis she is assigned as synonyms Ichpochtli, the Virgin, and Itzpapalotl, literally “the obsidian butterfly,” but which was probably applied to a peculiar ornament of her idol.

On Tamoanchan see notes to Hymn IV.

The term atlayauican, which I have translated “the dancing place by the water,” appears to refer to the “jar dance,” baile de las jicaras, which took place at the festival of the goddess, in the month of October. Duran informs us this was executed at a spot by the shore of the lake. Ceremonial bathing was carried on at the same festival, and these baths were considered to cleanse from sin, as well as from physical pollution.

X. Amimitl icuic.

Gloss.

In amimitl icuic yuh mitoa in ueli chichimeca cuic amo uel caquizti in quein quitoa in tonauatlatol ypa.

Hymn to Amimitl.

Notes.

The brief Gloss to this Hymn states that it is of ancient Chichimec origin and that it cannot well be rendered in Nahuatl. Its language is exceedingly obscure, but it is evidently a dancing song.

Amimitl, “the water-arrow,” or “fish-spear,” was, according to Torquemada, especially worshipped at Cuitlahuac. He was god of fishing, and visited the subjects of his displeasure with diseases of a dropsical or watery character (Monarquia Indiana, Lib. VI., cap. 29). On slender and questionable grounds Clavigero identifies him with Opochtli, the god of net makers and fishers with nets (Storia Antica del Messico, Tom. II., p. 20).

The four noble ones referred to in vv. 3 and 4 probably refer to those characters in the Mexican sacred dances called “the four auroras,” four actors clothed respectively in white, green, yellow and red robes. See Diego Duran, Historia, cap. 87.

XI. Otontecutli icuic.

Hymn of Olontecutli.

Notes.

XII. Ayopechtli icuic.

Gloss.

Hymn to Ayopechcatl.

Notes.

XIII. Ciuacoatl icuic.

Gloss.

Hymn to Cihuacoatl.

Quilaztli, plumed with eagle feathers, with the crest of eagles, painted with serpents’ blood, comes with her hoe, beating her drum, from Colhuacan.
She alone, who is our flesh, goddess of the fields and shrubs, is strong to support us.
With the hoe, with the hoe, with hands full, with the hoe, with hands full, the goddess of the fields is strong to support us.
With a broom in her hands the goddess of the fields strongly supports us.
Our mother is as twelve eagles, goddess of drum-beating, filling the fields of tzioac and maguey like our lord Mixcoatl.
She is our mother, a goddess of war, our mother, a goddess of war, an example and a companion from the home of our ancestors (Colhuacan).
She comes forth, she appears when war is waged, she protects us in war that we shall not be destroyed, an example and companion from the home of our ancestors.
She comes adorned in the ancient manner with the eagle crest, in the ancient manner with the eagle crest.

Notes.

Cihuacoatl was the mythical mother of the human race. Her name, generally translated “serpent woman,” should be rendered “woman of twins” or “bearing twins,” as the myth related that such was her fertility that she always bore two children at one lying-in. (Torquemada, Monarquia Indiana, Lib. VI., cap. 31.) She was also known by the title Tonan or Tonantzin, “our mother,” as in v. 5 and 6. Still another of her appellations was Quilaztli, which is given her in v. 1. (Comp. Sahagun, Historia, Lib. VI., cap. 27.) She was essentially a goddess of fertility and reproduction. The name cihuacoatl was also applied to one of the higher magistrates and war chiefs in the Aztec army (Sahagun). Reference is made to this in v. 6. As a goddess of venerable antiquity, she is spoken of as coming from Colhuacan, “the place of the old men,” or of the ancestors of the tribe. This name is derived from coloa, to bend down, as an aged person, colli, an old man. (See my Ancient Nahuatl Poetry, pp. 172-3).

XIV. Izcatqui yn cuicatl chicuexiuhtica meuaya iniquac atamalqualoya.

This is the Hymn which they sang every eight years when they fasted on bread and water.

The flower in my heart blossoms and spreads abroad in the middle of the night.
Tonan has satisfied her passion, the goddess Tlazolteotl has satisfied her passion.
I, Cinteotl, was born in Paradise, I come from the place of flowers. I am the only flower, the new, the glorious one.
Cinteotl was born from the water; he came born as a mortal, as a youth, from the cerulean home of the fishes, a new, a glorious god.
He shone forth as the sun; his mother dwelt in the house of the dawn, varied in hue as the quechol bird, a new, a glorious flower.
I came forth on the earth, even to the market place like a mortal, even I, Quetzalcoatl, great and glorious.
Be ye happy under the flower-bush varied in hue as the quetzal bird; listen to the quechol singing to the gods; listen to the singing of the quechol along the river; hear its flute along the river in the house of the reeds.
Alas! would that my flowers would cease from dying; our flesh is as flowers, even as flowers in the place of flowers.
He plays at ball, he plays at ball, the servant of marvellous skill; he plays at ball, the precious servant; look at him; even the ruler of the nobles follows him to his house.
O youths! O youths! follow the example of your ancestors; make yourselves equal to them in the ball count; establish yourselves in your houses.
She goes to the mart, they carry Xochiquetzal to the mart; she speaks at Cholula; she startles my heart; she startles my heart; she has not finished, the priest knows her; where the merchants sell green jade earrings she is to be seen, in the place of wonders she is to be seen.
Sleep, sleep, sleep, I fold my hands to sleep, I, O woman, sleep.

Notes.

In default of a Gloss to this hymn, the indispensable Sahagun again comes to our aid. He informs us in the Appendix to the second book of his Historia that “When the Indians celebrated the festival called atamalqualiztli, which took place every eight years, certain natives called Mazateca swallowed living serpents and frogs, and received garments as a recompense for their daring.” We are not informed as to the purpose of the festival, and its name, which signifies “eating bread made with water,” is merely that of one of the regular systems of fasting in vogue in ancient Mexico. (See Sahagun, Lib. III., cap. 8.) The song before us appears to be a recitation calling on a number of the Nahua divinities.

1. “The flower in my heart” is a metaphorical expression for song.

2. Tonan, “Our Mother”; Tlazolteotl, the goddess of lascivious love, Venus impudica. The verb yecoa appears to have its early signification, expressing carnal connection.

3. Centeotl, god of maize and fertility.

8. The flowers referred to are the youths and maidens who die young.

9. The house of the ball player is the tomb.

11. This verse is very obscure and is obviously corrupt. It contains the only Spanish word in the text of these hymns—obispo—a word including two letters, b and s, not in the Nahuatl alphabet.

12. The woman referred to is Xochiquetzal. See Hymn IX.

XV. Xippe icuic, Totec, yoallauana.

Gloss.

Hymn of the High Priest of Xipe Totec.

Notes.

There is slight mention of the deity Xipe Totec in the Spanish writers. He was the patron divinity of the silversmiths, and his festival, attended with peculiarly bloody rites, was celebrated in the first month of the calendar. (Duran, Historia, cap. 87; Sahagun, Lib. I., cap. 18, Lib. II., cap. 21, etc.) Totec is named as one of the companions of Quetzalcoatl, and an ancient divinity whose temple stood on the Tzatzitepec (see the Codex Vaticanus; Tab. XII., in Kingsborough’s Mexico). His high priest was called Youallauan, “the nocturnal tippler” (youalli, night, and tlauana, to drink to slight intoxication), and it was his duty to tear out the hearts of the human victims (Sahagun, u.s.). The epithet Yoatzin, “noble night-god,” bears some relation to the celebration of his rites at night.

XVI. Chicomecoatl icuic.

Gloss.

Hymn to Chicomecoatl.

Notes.

The goddess Chicomecoatl, “seven guests,” was the deity who presided over food and drink. Hence in the first verse she is referred to as Chicomolotl, “seven ears of corn,” and is spoken of as a guide to Tlalocan, or the home of abundance.

Father Duran, who gives a long chapter on this goddess (Historia, cap. 92), translates her name “serpent of seven heads,” and adds that she was also called Chalciucihuatl, “Lady of the Emerald,” and Xilonen, “goddess of the tender ears of maize.” Every kind of seed and vegetable which served for food was under her guardianship, and hence her festival, held about the middle of September, was particularly solemn. Her statue represented her as a girl of about twelve years old.

XVII. Totochtin incuic Tezcatzoncatl.

Gloss.

Hymn to Tezcatzoncatl Totochtin.

Notes.

Tezcatzoncatl was one of the chief gods of the native inebriating liquor, the pulque. Its effects were recognized as most disastrous, as is seen from his other names, Tequechmecaniani, “he who hangs people,” and Teatlahuiani, “he who drowns people.” Sahagun remarks, “They always regarded the pulque as a bad and dangerous article.” The word Totochtin, plural of tochtli, rabbit, was applied to drunkards, and also to some of the deities of special forms of drunkenness.

The first verse is merely a series of lamentations. The second speaks of the sad effects of the pulque in ancient times. (On Colhuacan see Notes to Hymn XIII.)

XIX. Macuilxochitl Icuic.

Gloss.

Hymn to Macuilxochitl.

Notes.

XX. Yacatecutli icuic.

Gloss.

Hymn to Yacatecutli.

Notes.

The god Yacatecutli, whose name means “lord of travelers,” or “the lord who guides,” was the divinity of the merchants. Sahagun (Historia, Lib. I, cap. 19) and Duran (Historia, cap. 90) furnish us many particulars of his worship.

The hymn is extremely obscure, containing a number of archaic words, and my rendering is very doubtful. The writer of the Gloss is, I think, also at fault in his paraphrase. The general purpose of the hymn seems to be that of a death-song, chanted probably by the victims about to be sacrificed. They were given the sacred food to eat, as described by Duran, and then prepared themselves to undergo death, hoping to go to “the beautiful house,” which the Gloss explains as Tlalocan, the Terrestrial Paradise.

Glossary.

Index.

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Xippe Totec, God of Silversmiths, in Full Costume,	Frontispiece
Priest of Xippe Totec, Drinking and Playing on a Drum,	Hymn XV
Chicomecoatl, Goddess of Food and Drink,	Hymn XVI
Totochtin, the Rabbits, Gods of the Drunkards,	Hymn XVII
Atlaua, Singing and Dancing,	Hymn XVIII

Mixteca	}	:	a nation, [A], [B].
Mixtecatl

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