Ophiolatreia
Chapter 5
Quetzalcoatl is, therefore, but an incarnation of the "Serpent Sun" Tonacatlecoalt, and, as is indicated by his name, the feathered serpent was his recognised symbol. He was thus symbolized in accordance with a practice which (says Gama) prevailed in Mexico, of associating or connecting with the representatives of a god or goddess, the symbols of the other deities from whom they are derived, or to whom they sustain some relation. His temples were distinguished as being circular, and the one dedicated to his worship in Mexico, was, according to Gomera, entered by a door "like unto the mouth of a serpent, which was a thing to fear by those who went in thereat, especially by the Christians, to whom it represented very hell."
The Mayas of Yucatan had a demi-god corresponding entirely with Quetzalcoatl, if he was not the same under a different name---a conjecture very well sustained by the evident relationship between the Mexican and Mayan mythologies. He was named Itzamna or Zamna, and was the only son of the principal God, Kinchanan. He arrived from the East, and instructed the people in all that was essential to their welfare. "He," says Cogolludo, "invented the characters which they use as letters, and which are called after him, Itzamna, and they adore him as a god."
There was another similar character in Yucatan, called Ku Kulcan or Cuculcan, another in Nicaragua named Theotbilake, son of their principal god Thomathoyo, and another in Colombia bearing the name of Bochia. Peru and Guatemala furnish similar traditions, as do also Brazil, the nations of the Tamanac race, Florida, and various savage tribes of the West.
The serpent, as we show elsewhere, was an emblem both of Quetzalcoatl and of Ku Kulcan---a fact which gives some importance to the statement of Cabrera that Votan of Guatemala as above was represented to be a serpent, or of serpent origin.
Torquemada states that the images of Huitzlipochtli of Mexico, Quetzalcoatl, and Tlaloc were each represented with a golden serpent, bearing different symbolical sacrificial allusions. He also assures us that serpents often entered into the symbolical sacrificial ceremonies of the Mexicans, and presents the following example:---
"Among the many sacrifices which these Indians made, there was one which they performed in honour of the mountains, by forming serpents out of wood or of the roots of the trees, to which they affixed serpents' heads, and also dolls of the same, which they called Ecatotowin, which figures of serpents and fictitious children they covered with dough, named by them Tzoalli, composed of the seeds of Bledos, and placed them on supports of wood, carved in the representation of hills or mountains, on the tops of which they fixed them. This was the kind of offering which they made to the mountains and high hills.
The mother of Huitzlipochtli was a priestess of Tezcatlipoca (a cleanser of the temple, says Gama) named Coatlantona, Coatlcué, or Coatlcyue (serpent of the temple or serpent woman). She was extremely devoted to the gods, and one day when walking in the temple, she beheld, descending in the air, a ball made of variously coloured feathers. She placed it in her girdle, became at once pregnant, and afterwards was delivered of Mexith or Huitzlipochtli, full armed, with a spear in one hand, a shield in the other, and a crest of green feathers on his head. He became, according to some, their leader into Anahuac, guiding them to the place where Mexico is built. His statue was of gigantic size, and covered with ornaments each one of which had its significance. He was depicted placed upon a seat, from the four corners of which issued four large serpents. "His body," says Gomeza, "was beset with pearls, precious stones and gold, and for collars and chains around his neck ten hearts of men made of gold. It had also a counterfeit vizard, with eyes of glass, and in its neck death painted, all of which things had their considerations and meanings." It was to him in his divine character of the destroyer that the bloodiest sacrifices of Mexico were performed. His wife, Teoyaomiqui (from Teo, sacred or divine; Yaoyotl, war; and Miqui, to kill) was represented as a figure bearing the full breats of a woman, literally enveloped in serpents, and ornamented with feathers, shells, and the teeth and claws of a tiger. She had a necklace composed of six hands. Around her waist is a belt to which death's heads are attached. One of her statues, a horrible figure, still exists in the city of Mexico. It is carved from a solid block of basalt, and is nine feet in height and five and a half in breadth.
It is not improbable that the serpent-mother of Huitzlipochti was an impersonation of the great female serpent Cinacohuatl, the wife of Tonacatlecoatl, the serpent-father of Quetzalcoatl. However this may be, it is clear that a more intimate connection exists between the several principal divinities of Mexico, than appears from the confused and meagre accounts which have been left us of their mythology. Indeed, we have seen that the Hindu Triad, Brahma, Vishnu, and Siva, has very nearly its counterpart in Tezcatlipoca, Tlaloc, and the celestial Huitzlipochtli, the Creator, Preserver, and Destroyer and Reproducer. In the delineations of Siva or Mahadeo, in his character of the destroyer, he is represented as wrapped in tiger skins. A hooded snake is twisted around him and lifts its head above his shoulder, and twisted snakes form his head-dress. In other cases he holds a spear, a sword, a serpent, and a skull, and has a girdle of skulls around his waist. The bull Nandi (emblem of generative force), as also the lingham, are among his emblems. To him were dedicated the bloodiest sacrifices of India. Durga, or Kali (an impersonation of Bhavin, goddess of nature and fecundity) corresponds with the Mexican Tesyaomiqui, and is represented in a similar manner. She is a war goddess and her martial deeds give her a high position in the Hindu pantheon. As Kali, her representatives are most terrible. The emblems of destruction are common to all; she is entwined with serpents; a circlet of flowers surrounds her head; a necklace of skulls; a girdle of dissevered human hands; tigers crouching at her feet---indeed every combination of the horrible and the loathsome is invoked to portray the dark character which she represents. She delights in human sacrifices and the ritual prescribes that, previous to the death of the victim, she should be invoked as follows: "Let the sacrificer first repeat the name of Kali thrice, Hail, Kali! Kali! Hail, Devi! Hail, Goddess of Thunder! iron-sceptered, hail, fierce Kali! Cut, slay, destroy! bind, secure! Cut with the axe, drink blood, slay, destroy!" "She has four hands," says Patterson, "two of which are employed in the destruction which surrounds her, and the other upwards, which seems to promise the regeneration of nature by a new creation. "On her festivals," says Coleman, "her temples literally stream with blood." As Durga, however, she is often represented as the patroness of Virtue and her battles with evil demons form the subject of many Hindu poems. She is under this aspect the armed Phallas.
We have seen that the Creator of the World, the Great Father of the Aztecs, Tonacatlecoatl or Tezcatlipoca, and his wife Cihuacohuatl, were not only symbolized as the Sun and Moon, but also that they were designated as the male and female serpent, and that in the mythological pictures the former was represented as a feather-headed snake. We have also seen that the incarnate or human representative of this deity Quetzalcoatl, was also symbolized as a feathered serpent. This was in accordance with the system of the Aztecs, who represented cognate symbols, and invested the impersonations or descendants of the greater gods with their emblems.
These facts being well established, many monuments of American antiquity, otherwise inexplicable, become invested with significance. In Mexico, unfortunately, the monumental records of the ancient inhabitants have been so ruthlessly destroyed or obliterated that now they afford us but little aid in our researches. Her ancient paintings, although there are some which have escaped the general devastation, are principally beyond our reach and cannot be consulted particularly upon these points. In Central America, however, we find many remains which, although in a ruined state, are much more complete and much more interesting than any others concerning which we possess any certain information.
The researches and explorations of Messrs. Stephens and Catherwood have placed many of these before us in a form which enables us to detect their leading features. Ranking first among the many interesting groups of ruins discovered by these gentlemen, both in respect to their extent and character, are those of Chichen-itza. One of the structures comprising this group is described as follows:---"The building called the Castillo is the first which we saw, and is, from every point of view, the grandest and most conspicuous object that towers above the plain. The mound upon which it stands measures one hundred and ninety-seven feet at the base, and is built up, apparently solid, to the height of seventy-five feet. On the west side is a stairway thirty-seven feet wide; on the north another, forty-four feet wide, and containing ninety steps. On the ground at the foot of the stairway, forming a bold, striking, and well-conceived commencement, are two colossal serpents' heads (feathered) ten feet in length, with mouths wide open and tongues protruding."
"No doubt they were emblematic of some relgious belief, and, in the minds of the imaginative people passing between them, must have excited feelings of solemn awe. The platform on the mound is about sixty feet square and is crowned by a building measuring forty-three by forty-nine feet. Single doorways face the east, south and west, having massive lentils of zapote wood, covered with elaborate carvings, and the jambs are ornamented with sculptured figures. The sculpture is much worn, but the head-dress of feathers and portions of the rich attire still remain. The face is well preserved, and has a dignified aspect. All the other jambs are decorated with sculptures of the same general character, and all open into a corridor six feet wide, extending around three sides of the building. The interior of this building was ornamented with very elaborate but much obliterated carvings.
"The sacred character of this remarkable structure is apparent at the first glance, and it is equally obvious that the various sculptures must have some significance. The entrance between the two colossal serpents' heads remind us at once of Gomera's description of the entrance to the temple of Quetzalcoatl in Mexico, which 'was like unto the mouth of a serpent and which was a thing to fear by those who entered in thereat.'"
The circumstance that these heads are feathered seems further to connect this temple with the worship of that divinity. But in the figures sculptured upon the jambs of the entrances, and which, Mr. Stephens observes, were of the same general character throughout, we have further proof that this structure was dedicated to a serpent divinity. Let it be remembered that the dignified personage there represented is accompanied by a feathered serpent, the folds of which are gracefully arrayed behind the figure and the tail of which is marked by the rattles of the rattle-snake---the distinguishing mark of the monumental serpent of the continent, whether represented in the carvings of the mounds or in the sculptures of Central America. This temple, we may therefore reasonably infer, was sacred to the benign Quetzalcoatl, or a character corresponding to him, whose symbolical serpent guarded the ascent to the summit, and whose imposing representations was sculptured on its portals. This inference is supported by the fact that in Mexican paintings the temples of Quetzalcoatl are indicated by a serpent entwined around or rising above them, as may be seen in an example from the Codex Borgianus in Kingsborough.
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