Charm of the Ancient Enchantress: Circe and the Glamour of Independence

“Circe and Her Guests”, by ROOSDY

“There was a time when divine Calypso kept me within her arching caverns and would have had me to be her husband, and another time subtle Circe confined me in her palace and would have had me for husband also. Yet neither of them could win the heart within me.” Odysseus says to King Alcinous.

The thing that I like about Circe is how self-sufficient she is. She has her own house which she manages to her liking, she is surrounded by her books and potions and she turns rude guests into animals. She manages this while still letting Odysseus believe that he was the one who dumps her and that she is the one who is not good enough to win his heart – thus keeping his heroic ego intact.

Like Calypso, Circe is also “a goddess with braided hair, with human speech and with strange powers”. She is the daughter of Helios, the sun-god and Perse, Oceanus’ daughter. Odysseus and his men brings the ship to the shore of her island, disembark and for two days and nights lay there “eating out our hearts with sorrow and weariness,” Odysseus says.


On the third day, Odysseus takes his weapons and hastens up to a vantage-point, hoping to see some human handiwork or to catch the sound of some human speech. “I climbed a commanding crag, and from where I stood had a glimpse of smoke rising from the ground. There were gleams of fire through the smoke, and at sight of this I wondered inwardly whether to go and look. But as I pondered, it seemed a wiser thing to return first to my vessel on the beach, give my men a meal and then send them out to spy.”
Later, Odysseus divides his crew into two companies, and gives each its own leader. He captains one and Eurylochus the other. Then they shake the lots in a bronze helmet, and the lot that leaps out was that of Eurylochus. So he goes on his way with twenty-two men with him. In the glades they found the palace of Circe, built of smooth stones on open ground. Outside, there were lions and mountain wolves that she had bewitched by giving them magic drugs.

From the outer doors, the men can hear Circe singing with her beautiful voice “delicate, gleaming, delectable, as a goddess’ handiwork needs must be – a goddess or a woman, moving to and fro at her wide web and singing a lovely song that the whole floor re-echoes with.”

Then the peeping men made themselves heard and Circe invites them in. The all enter except for Eurylochus. After playing the role of a good hostes, Circe turns the men into pigs. “And now the men had the form of swine – the snout and grunt and bristles; only their minds were left unchanged. They shed tears as they were shut in.” However, Circe is not going to let them starve. She still feeds them.

Eurylochus comes back to tell the others what happened. Odysseus gets his sword and bow, and asks him to guide him back by the same path. But Eurylochus is too scared. So Odysseus allows him to stay on the ship while he goes to see the woman.

“And with that,” Odysseus says, “I left the ship and shore and took the path upward; but as I traversed those haunted glades, as I came close to Circe’s house and neared the palace of the enchantress, I was met by golden-wanded Hermes; … He seized my hand and spoke thus to me : ‘Luckless man, why are you walking thus alone over these hills, in country you do not know?” Hermes helps Odysseus by giving him a magic herb. “She will brew a potion for you, but with good things she will mingle drugs as well. Yet even so, she will not be able to enchant you; my gift of the magic herb will thwart her. I will tell you the rest, point by point. When Circe strikes you with the long wand she has, draw the keen sword from beside your thigh, rush upon her and make as if to kill her. She will shrink, back, and then ask you to lie with her. At this you must let her have her way; she is a goddess; accept her bed, so that she may release your comrades and make you her cherished guest.” In short: trick her, threaten her and sleep with her.

Later, after Odysseus follows all Hermes’ advice, he is treated by Circe’s hospitality. “She bade me eat, but my heart was not on eating, and I sat with my thoughts elsewhere and my mind unquiet.” Odysseus says, because “what man of righteous thoughts could bring himself to taste food or drink before winning liberty for his friends and seeing the men before his eyes?”

Circe then releases Odysseus’ men and send them all off on their way. Perhaps noticing that since they arrive they have done nothing but eating her food and demand things from her.

I will leave the story there. But this is what we can learn from Circe. She lives alone happily and makes herself a wonderful home. Of course, men comes and go and she could have had them as her husband/companion. But she has standards. Odysseus’ men are noisy and greedy so she turns them into swines. Even then she still treats them kindly by giving them food and letting them live. Odysseus only manages to get close to her with Hermes’ help, but even then she quickly realises that she is giving Odysseus much more than what he could ever offer her in return. So she says “… is your mind then set on further perils, fresh feats of war?” and sends him on his way.

Advertisements

Charm of the Ancient Enchantress: Calypso and the Magic of Good Housekeeping

“Calypso” by ROOSDY

From Calypso, the solitary enchantress of the Odyssey, we learn the power of creating a beautiful environment. Calypso was the goddess-nymph of the mythical island of Ogygia and a daughter of the Titan Atlas. She “detained” Odysseus for many years in the course of his wanderings after the fall of Troy but was eventually commanded by Zeus to release him.

Odysseus’ ship was destroyed by the whirlpool of Charybdis and he escaped on floating wreckage. Odysseus drifted for nine days until the gods led him to the island of Ogygja where Calypso lives. Odysseus describes her as “the goddess of braided hair and of strange powers and of human speech; she welcomed me and tended me.”

While Odysseus was being mended, the gods assembled in divine council, and Athena began to recount to them the many distresses of Odysseus that again had come before her mind, “He is pent up in an island now,” she says, “overwhelmed with misery; he is in the domains of the Nymph Calypso, who is keeping him with her there perforce and thwarting return to his own country.” Thus to escape from a lone woman, the hero needs the gods to step in.

Zeus send Hermes over to Calypso’s place, and from Homer’s description of her home one can see why it takes Odysseus so long to leave. One may imagine Calypso to have some sort of supernatural power, but she is a nymph. Her powers, although she has some, are limited. So what could have stopped the powerful Odysseus from leaving? “… when he (Hermes) had reached that far-off island he left the violet ocean and took to the land until he came to a great cavern; in this the Nymph of the braided tresses had made her home, and inside this he found her now. On the hearth a great fire was burning, and far and wide over the island was wafted the smell of burning wood, cloven cedar and juniper.” Cozy, isn’t it? If one has a choice between a really long, tedious, uncomfortable and dangerous journey by sea or stay in a warm cavern smelling of burning wood, cloven cedar and juniper, what option would one take?

The vision continues, “In the space within was the goddess herself, singing with a lovely voice, moving to and fro at her loom and weaving with a shuttle of gold. Around the entrance a wood rose up in abundant growth–alder and aspen and fragrant cypress. Birds with long wings roosted there, owls and falcons and long-tongued sea-crows that have their business upon the waters. Trailing over the cavern’s arch was a garden vine that throve and clustered; and here four springs began near each other, then in due order ran four ways with their crystal waters. Grassy meadows on either side stood thick with violet and wild parsley.” – Calypso the enchantress is a fabulous homemaker. She makes sure that her environment is as beautiful as she is. This is important as a person’s home reflects them. By stepping into someone’s house, room or apartment, one can get some general idea of what kind of person is the master or mistress of the house.

And it is not just the home. We can do this with the simple things. We tend to associate certain pleasant feelings with people – from perfumes, flowers to good food. My family associate me with the smell of brownies as I would make a big batch of them every weekend and, to this day, I cannot walk past a landscape painting without thinking of my grandfather as he himself was a painter. You own your space not by “manspreading” as young people call it, but by understanding your own taste and what makes you special – this inspires confidence and confidence is irresistable even for the most virtuous heroes. So even by bringing a bit of sense of warmth and pleasant feeling with you when you walk into a room will make people feel that something is missing when you are gone. This has nothing to do with “catching” a man or a woman. It is about making you comfortable in your own world before sharing it with other people.

Now back to the brave hero. Where is he in Calypso’s magnificent home? In Homer’s words “bold Odysseus was not to be found within; as his custom was, he was sitting on the shore and weeping, breaking his heart with tears and sighs and sorrows.” So Odysseus, after days of drifting aimlessly at sea, almost dying with no food or shelter, is “forced” to stay in this heaven. And now he is crying because he doesn’t want food, shelter and a gentle woman caring for him. Of course, Odysseus sleeps with Calypo at night but, Homer assures us, “this was against his will; she was loving and he unloving.” How awful it must be to have to sleep with a beautiful woman every night to wake up in a lovely home and delicious food.

Odysseus’ reasons for crying is, I’m sure, heroic. However, by owning her space, Calypso also put herself in charge of the narrative. She’s the queen of the castle, Odysseus is just a guest – and a rather tedious guest at that. From Calypso’s point of view, she is a catch. She is beautiful, powerful and capable of giving Odysseus anything he asks. Clearly, she has a lot to give a man. But Odysseus is no match for her as he can do very little but cry and be miserable until he has to ask his friends (the gods) to break up with her on his behalf.

As it turns out, this is exactly what Calypso does. When Hermes tells her the purpose of his visit is to free Odysseus from her clutches, Calypso is understandably offended. “I saved him when he was all alone and astride his keel, when Zeus with his flashing thunderbolt had shattered and shivered his rapid vessel in the midst of wine-dark ocean. All his brave comrades perished then; he alone was borne on to this place by wind and wave. I welcomed him and tended him; I offered him immortality and eternal youth.” In short, Odysseus almost died in the ocean because of Zeus’ thunderbolt only to be saved and tended to by Calypso who was doing just fine living in her own little heaven until he comes along.

Calypso is much too secure in her own power to cry over this. She says to Hermes, handling the break up with class, “so let the man go–if such is the word and behest of Zeus–go where he will over the barren sea. I cannot help him to depart; I have no ships or oars or crew to speed him over the sea’s expanse; but gladly enough, without concealment, I will counsel him how best to reach his own land unscathed.”

Charm of the Ancient Enchantress: Sirens and the Art of Romance

sirens002 “Siren” by ROOSDY

Enchantresses of the ancient world are  commonly vilified and blamed for the hero’s misery. However, they are fascinating figures. The hero is usually a big, strong, manly man who has seen his share of war and violence. As he is perfectly capable to remove himself from the clutches of violent men, he would certainly be capable to get away from a delicate woman. The enchantress is usually depicted as a woman (the “weaker sex”) – delicate, sweet-voiced, fair. In short, she is hardly the type to force the physically strong hero to stay with her if he doesn’t want to do so. She must then attract the hero’s mind, will or heart somehow. Because we don’t want to ever think that the great Heracles, Aeneas or Odysseus are anything but virtuous, we prefer not to think of them as understandably weary warriors with a lot of demands being put on their shoulders looking for refuge from their difficult journeys. Instead, the enchantress must have had some special tricks or supernatural powers to attract these men, trapped them in her island against his will and stop them from continuing their travels. In the case of the Odyssey, the enchantresses never even leave their islands. It was Odysseus who comes to them.

Mythology is not all magic and incredible beings. There are perfectly reasonable explanations to the charms of the enchantress – most of which are still used today. The charms of the ancient enchantress is what I want to look at this month. Illustrator ROOSDY is going to help me with the visuals. For more of his work, you can find him on Instagram @roosdy01 . His paintings as well as merchandise for this series will be available on society6

 

We often hear that femme fatales such as Cleopatra, who managed to entrance not one but two Roman generals, was not beautiful. In fact, she was apparently quite homely in her appearance. However, she was powerful, intelligent and well-read – well-positioned to seduce a thinking man such as a scholar, a senator or an emperor.

The sirens in ancient Greek mythology were no supermodels either. In early Greek art, they were represented as birds with large women’s heads, bird feathers and scaly feet. Later, they were represented as female figures with the legs of birds, with or without wings, playing a variety of musical instruments. The tenth-century Byzantine encyclopedia Suda says that from their chests up, the sirens were little birds with women’s faces. 

Their reputation also doesn’t help. “They sit in a meadow; men’s corpses lie heaped up all round them, mouldering upon the bones as the skin decays.” Circe warns Odysseus. As later painters depicted sirens as beautiful naked women instead of scary singing bird ladies, we then assume that they seduce the travellers with their magnificent beauty. If they’re not physically beautiful, well then they must have really divine voices.

To put this simply, what Cleopatra and the Sirens offered the men are romance. A quick google search for the definition of Romance will give you this result: a quality or feeling of mystery, excitement, and remoteness from everyday life. Romance is synonymous with the words mystery, glamour,  excitement, mystique. The sirens do more than just sing the travellers to their deaths. They promise romance. They promise something different, an escape for the weary and, at this point, very bored travellers who have been stuck on their ship after being at war for 10 years. For a long time, the lives of these men would have been as far as they could be from anything comfortable, beautiful or artistic. They would have had to find their way home to wives who may have remarried and families who may have moved on and forgotten all about them. In short, whatever journey they experienced were far from over. The sirens provide them respite, with music and the arts. Perhaps their voices are divine, but it is their artistic intelligence that enchants the travellers. As Pausanias says, “Down to the present day men are wont to liken to a Seiren (Siren) whatever is charming in both poetry and prose.”

Reflecting on the Ancient Wisdom of the Deer

Deer, Antlers, Wildlife, Buck, Mammal

The deer’s antlers are possibly the most visible characteristics that have made it the figure of a spiritual superiority Like a crown, the antlers grow beyond its body, bringing it closer to the sky. In many cultures, the deer is a symbol of spiritual authority. During a deer’s life the antlers fall off and grow again and the animal is also a symbol of regeneration.

Roe Deer, Capreolus Capreolus, Doe

The deer’s fleetness of foot and its longevity are also often commemorated in different cultures. Out of the shin-bone of the fawn, flutes (tibiae) were made which seem to have given forth feeble sounds — whereas Sardinians used to make good ones out of the leg-bones of flamingoes; Pindar’s lyre is described as outringing all the others, even as the Etruscan trumpet outblares this flute. The skins of deer were worn at Bacchic festivals, and one of the five performers holds the body of a stag aloft.

In one of the Jataka tale, Buddha has reincarnated into the form of a deer. The story originated in India around the 4th century BCE, hailing the merits of compassion, empathy and Karma.


Ossian playing his harp, by François Pascal Simon Gérard, 1801

In some Scottish and Irish tales deer are seen as “fairy cattle” and are herded and milked by a benevolent otherworldly woman such as a bean idhe or the goddess Flidais who can shapeshift into the form of a red or white deer. In Ireland, The Cailleach Bheara (“The Old Woman of Beare”), who lives on an island off the coast of County Cork, takes the form of a deer to avoid capture and herds her deer down by the shore. The Beare peninsula is also associated with the islands in the western sea that are the lands of the dead. Other Celtic mythological figures also have connections to deer. The name of the legendary poet Oisin literally means “young deer” or fawn. His mother, Sadhbh, was turned into a deer by a druid, Fear Doirche. When hunter-warrior Fionn was hunting he caught her but did not kill her, and she returned to human form. Fionn gave up hunting to settle down with Sadhbh. Sadhbh was soon pregnant, but Fer Doirich turned her back into a deer and she returned to the wild. Seven years later Fionn found his child. Cernunnos, the Celtic god of fertility, life, animals, wealth and the underworld, has deer or stag antlers.

In the Poetic Edda  poem Grimnismal, the four stags of Yggdrasil are described as feeding on the world tree. Early suggestions for interpretations of the stags included connecting them with the four elements, the four seasons or the phases of the moon.

File:Artemis with a Stag, Louvre May 2010.jpg

Artemis with a Stag. (Diana of Versailles). 1st – 2nd Century, C. E. (Discovered in 1792 in Rome).

In Greek mythology, the deer is particularly associated with Artemis, the virginal huntress. Callimachus, in “Hymn III to Artemis”, mentions the deer that drew the chariot of Artemis:

in golden armor and belt, you yoked a golden chariot, bridled deer in gold.

For the Huichol people of Mexico, the “magical deer” represents both the power of maize to sustain the body and of the peyote cactus to feed and enlighten the spirit. Animals such as the eagle, jaguar, serpent and deer are of great importance to the Mexican indigenous cultures. For each group, however, one of these animals is of special significance and confers some of its qualities to the tribe.

For the Huichol it is the deer that holds this intimate role. The Huichol hunt and sacrifice deer in their ceremonies. They make offerings to the Deer of the Maize to care for their crops, and to the Deer of the Peyote to bring them spiritual guidance and artistic inspiration.

The stag is one of the most common motifs in Scythian art as the swift animal was believed to speed the spirits of the dead on their way.


The “Cernunnos” type antlered figure or “horned god”, on the Gundestrup Cauldron

There are two epigrams about the death of deer, one more strange than the other. The first, by Apollonides, relates how a herd of deer sought refuge from their snow-clad mountains in the moist warmth of a river and were held fast there, to the delight of the country-folk, by a sudden frost which covered the river with ice. Tiberius Illustrius tells the fate of a dorkas which, escaping from hounds into the sea, is drawn to land by fishermen in their nets ; and in Didot III  is an epitaph on a hind which was captured in similar fashion. Xenophon says that one can sometimes drive stags into the sea, an occurence which is frequently observed, since deer are excellent swimmers. Macedonius has a quatrain about a certain Codrus who caught a swift deer out of the waves of the sea. The myth of Saron is connected with a stag which took to the water of what was afterwards the Saronic Gulf; he pursued it into the waves and was drowned.

Reflecting on the Ancient Power of the Wolf

The wolf’s nature as a predator makes it both a symbol of the warrior and the devil. The popular trope of the ”Big Bad Wolf” is a development of this while the identification of the warrior with the wolf through totemism gave rise to the notion of lycanthropy, the mythical or ritual identification of man and wolf.

In Proto-Indo-European mythology, the wolf was presumed to be associated with the warrior class, who would “transform into wolves” upon their initiation. In some northern European and Native American cultures, wolves were sometimes associated with witchcraft. In Norse mythology the volva (witch) Hyndla and the giantess Hyrrokin are both portrayed as using wolves as mounts, while in Navajo culture, wolves were feared as witches in wolf’s clothing. The Tsilhqot’in believed that contact with wolves could cause mental illness and death.

Norse mythology has at least three prominently malevolent wolves, in particular the giant Fenrir and his children, Sköll and Hati. Fenrir is bound by the gods, but is ultimately destined to grow too large for his bonds and devour Odin during the course of Ragnarok.  Fenrir’s two offspring devour the sun and moon at Ragnarök. The wolves Geri and Freki, Odin’s faithful pets,  were alluded to in the kenning “Vidrir’s hounds” in Helgakviða Hundingsbana I, verse 13, where it is related that they roam the field “greedy for the corpses of those who have fallen in battle”.

The warriors went to the trysting place of swords,

which they had appointed at Logafiöll.

Broken was Frodi’s peace between the foes:

Vidrir’s hounds went about the isle slaughter-greedy.

In Ancient Greece, mount Lykaion is a mountain in Arcadia where an altar of Zeus was located. It was the home of Pelasgus  and his son Lycaon, who founded the ritual of Zeus practiced on its summit. This seems to have involved a human sacrifice, and a feast in which the man who received the portion of a human victim was changed to a wolf, as Lycaon had been after sacrificing a child. The sanctuary of Zeus played host to athletic games held every four years, the Lykaia.

In Rome, the she-wolf that nursed Romulus and Remus is commemorated in the last of the Cyzicene epigrams, and Ion mentions the wolf-hounds which were traditionally, responsible for the death of Euripides. Strato, on a certain disreputable occasion, compares himself to a wolf that finds a lamb standing at the door and waiting for him. As to its voracity, Diphilus, an early comic poet, calls the inhabitants of Argos wolves; Lucilius accuses one Gamus of having the appetite of five wolves.

A Baltic legend says that the establishment of the Lithuanian capital Vilnus began when the grand duke Gediminas dreamt of an iron wolf howling near the hill. Lithuanian goddess Medeina was described as a single, voluptuous and beautiful huntress who was unwilling to get married. She was depicted as a she-wolf with an escort of wolves.

The existence of a ritual that provides one with the ability to turn into a wolf. Such a transformation may be related either to lycantrhopy itself, a widespread phenomenon, but attested especially in the Balkans-Carpathian region, or a ritual imitation of the behavior and appearance of the wolf. Such a ritual was presumably a military initiation, potentially reserved to a secret brotherhood of warriors. To become formidable warriors they would assimilate behavior of the wolf, wearing wolf skins during the ritual. Traces related to wolves as a cult or as totems were found in this area since the Neolithic period, including the Vinča culture artifacts: wolf statues and fairly rudimentary figurines representing dancers with a wolf mask. The items could indicate warrior initiation rites, or ceremonies in which young people put on their seasonal wolf masks. The element of unity of beliefs about werewolves and lycanthropy exists in the magical-religious experience of mystical solidarity with the wolf by whatever means used to obtain it. But all have one original myth, a primary event.

Wolves were generally revered by Aboriginal Canadians that survived by hunting, but were thought little of by those that survived through agriculture. Some Alaska Natives including the Nunamiut of both northern and northwestern Alaska respected the wolf’s hunting skill and tried to emulate the wolf in order to hunt successfully. First Nations such as Naskapi as well as Squamish and Lil’wat view the wolf as a daytime hunting guide. The Naskapis believed that the caribou afterlife is guarded by giant wolves that kill careless hunters who venture too near. The Netsilik Inuit and Takanaluk-arnaluk believed that the sea-woman Nuliayuk’s home was guarded by wolves.

According to the Pawnee creation myth, the wolf was the first creature to experience death. The Wolf Star, enraged at not having been invited to attend a council on how the earth should be made, sent a wolf to steal the whirlwind bag of The storm that comes out of the west, which contained the first humans. Upon being freed from the bag, the humans killed the wolf, thus bringing death into the world. the “birth” and “death” of the Wolf Star (Sirius) was to them a reflection of the wolf’s coming and going down the path of the Milku Way known as Wolf Road.

The Man of the Sun: The Story of Quetzalcoatl

“[Men] lived like gods without sorrow of heart, remote and free from toil and grief: miserable age rested not on them; but with legs and arms never failing they made merry with feasting beyond the reach of all devils. When they died, it was as though they were overcome with sleep, and they had all good things; for the fruitful earth unforced bare them fruit abundantly and without stint. They dwelt in ease and peace.” – Hesiod.

File:Siemiginowski Allegory of Summer (detail).jpg
“Allegory of Summer”, by Jerzy Szymonowicz (c. 1660 – 1711)

In Greek mythology, Astraea was the goddess of innocence. She was the  daughter of the Titans Astraeus, god of dusk, and Eos, goddess of dawn. Her name meant “star-maiden” and she was on the earth alongside humans during the Golden Age of Man. When the Iron Age dawned, bringing along misery and wickedness, Astraea sadly abandoned the earth and went to the skies where she transformed into the constellation virgo. When Astraea returns to Earth one day, she will once again bring the utopia that was during the Golden Age, bringing an end to human suffering.

File:Quetzalcoatl magliabechiano.jpg

Quetzalcoatl, as depicted in the Codex Magliabechiano (16th century).

In Aztec mythology, Quetzalcoatl was regarded as “The Father of the Toltecs,” and, legend says, was the seventh and youngest son of the Toltec Abraham, Iztacmixcohuatl. Quetzalcoatl became the ruler of Tollan and, by his enlightened sway and his encouragement of the liberal arts, did much to further the advancement of his people.

Quetzalcoatl’s reign had lasted for a long enough period for the cultivated arts to develop to a satisfactory level when his country was visited by Tezcatlipoca. Tezcatlipoca gave him a draught of pulque, which intoxicated him. The doom pronounced upon him was banishment, and he was compelled to leave Anahuac.

As a new age dawned Astraea left earth, taking away the last remaining innocence known to mankind, leaving behind only emptiness. Quetzalcoatl’s exile brought about more peculiar changes upon the country. He threw away his treasures, burned his palaces, transformed the cacao-trees into mosquitoes, and banished all the birds from Tollan. His people, nonplussed at these unexpected happenings, begged him to return, but he refused. He proceeded to Tabasco, the fabled land of Tlapallan and, leaving on a raft made of serpents, floated away to the east. In the native pinturas it is noticeable that the solar disc and semidisc are almost invariably found in connection with the feathered serpent as the symbolical attributes of Quetzalcoal. The Hopi people of Mexico symbolise the sun as a serpent, tail in mouth.

A slightly different version of this myth is perhaps closer to Astraea’s story. It says that, in sadness, Quetzalcoatl threw himself upon a funeral pyre. His spirit rose  upward and were changed into birds of brilliant plumage. His heart also soared into the sky, and became the morning star. As Quetzalcoatl died when the star became visible, the ancient Mexicans gave him the title “Lord of the Dawn.” When he died he was invisible for four days, and for eight days he wandered in the underworld, after which time the morning star appeared and he achieved resurrection. He then ascended his throne as a god.

Perhaps the most important aspect of Quetzalcoatl is that which regards Quetzalcoatl as a god of the air. He is connected with the cardinal points, and wears the insignia of the cross which symbolises them. He has a protruding, trumpet-like mouth, for the wind-god blows. His figure suggests whirls and circles. His temples were built in circular form.

American archaeologist and ethnologist Daniel Garrison Brinton (1837 – 1899) perceived in Quetzalcoatl a similar dual nature. “He is both lord of the eastern light and of the winds,” he writes (Myths of the New World) “Like all the dawn heroes, he too was represented as of white complexion, clothed in long, white robes, and, as many of the Aztec gods, with a full and flowing beard. . . . He had been overcome by Tezcatloca, the wind or spirit of night, who had descended from heaven by a spider’s web, and presented his rival with a draught supposed to confer immortality, but in fact producing an intolerable longing for home. For the wind and the light both depart when the gloaming draws near, or when the clouds spread their dark and shadowy webs along the mountains, and pour the vivifying rain upon the fields.”

An explanation of the origin of Quetzalcoatl is that which would regard him as the Man of the Sun, who has quitted his abode for a season for the purpose of teaching mankind arts which represent the first steps in civilisation. He fulfilled his mission and was displaced by new, invading, deities. Quetzalcoatl was represented as a traveller with staff in hand and, under his rule, the fruits of the earth flourished more abundantly than at any subsequent period.

Several tribes tributary to the Aztecs were in the habit of imploring Quetzalcoatl in prayer to return and free them from the intolerable bondage of the conqueror. Notable among them were the Totonacs, who passionately believed that the sun, their father, would send a god who would free them from the Aztec yoke. On the coming of the Spaniards the European conquerors were hailed as the servants of Quetzalcoatl, thus in the eyes of the natives fulfilling the tradition that he would return.

The titles bestowed upon Quetzalcoatl by the Nahua show that in his solar significance he was god of the vault of the heavens, as well as merely son of the sun. He was alluded to as Ehecatl (“The Air”), Yolcuat (“The Rattlesnake”), Tohil (“The Rumbler”), Nanihehecatl (“Lord of the Four Winds”) and Tlauizcalpantecutli (“Lord of the Light of the Dawn”). The whole heavenly vault was his, together with all its phenomena.