Organizational Behavior Improving Performance and Commitment in the Workplace Colquitt 4th E

Organizational Behavior Improving

Performance and Commitment in the
Workplace Colquitt 4th Edition Test
Bank
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Organizational Behavior Improving Performance and Commitment in the

Workplace Test Bank
Organizational Behavior Improving Performance and Commitment in the
Workplace Colquitt LePine Wesson 4th Edition Test Bank

Chapter 3

1. Organizational commitment is the desire on the part of an employee to remain

a member of the
organization.
True False
2. The three types of organizational commitment are continuance, normative, and
affective.
True False
3. Affective commitment is defined as a desire to remain a member of an
organization due to an emotional
attachment to, and involvement with, that organization.
True False
4. Continuance commitment is defined as a desire to remain a member of an
organization due to a feeling of
obligation.
True False
5. Employees who feel a sense of continuance commitment identify with the
organization, accept that
organization’s goals and values, and are more willing to exert extra effort on
behalf of the organization.
True
False
6. The erosion model suggests that employees who have direct linkages with
“leavers” will themselves
become more likely to leave.
True False
7. The social influence model of withdrawal behavior suggests that employees
with fewer bonds will be
most likely to quit the organization.
True False
8. A lack of employment alternatives is one of the factors that increase
continuance commitment.
True False
9. Continuance commitment tends to create more of a passive form of loyalty.
True False
10. Embeddedness summarizes a person’s links to the organization and the
community, his/her sense of fit
with that organization and community, and what he/she would have to sacrifice
for a job change.
True False
11. Jack grew up in Peoria. Both his family and his wife’s family live there. This
family background would
create a high level of affective commitment.
True False
12. Continuance commitment focuses on personal and family issues more than
affective and normative
commitment.
Another random document with
no related content on Scribd:
(From Codex Borgia, sheet 25.)
 (From Codex Magliabecchiano, 3 folio, sheet 42.)

FORMS OF MIXCOATL.

ASPECT AND INSIGNIA

Codex Vaticanus B.—Sheet 25: In this manuscript Mixcoatl’s almost nude body is striped with white, as
in the case of some of the stellar deities, and he has the half-mask stellar face-painting about the eye.
His hair curls up above the brow, is covered with downy white feathers, and he wears a forked heron-
feather tuft on the head. On sheet 37 his effigy is accompanied by the symbolical weapons of war.

Codex Borgia.—Sheet 50; right-hand corner, lower portion: The representation in this place is almost
identical with that in Codex Vaticanus B, sheet 25. On sheet 15 the god has the implements of war and
a small hand-flag, and wears a blue metal breast-plate set in gold, from which depends a chalchihuitl
jewel.

Codex Fejérváry-Mayer.—Sheet 41: Mixcoatl is here depicted with body-colour half-blue, half-red, the
black domino-stellar painting about the eye, his hair puffed up above the brow and surmounted by the
warrior’s adornment. The body-painting in this place is merely a variant [311]of the striped colour,
perhaps indicating the twilight. As god of the hunting tribes, he is naked like the hunter, and has an ear-
plug made from a deer’s foot. He is armed with a throwing-stick (atlatl).
 (From a wall-painting at Mitla, Palace I.)

(From Codex Vaticanus B,

(From Codex Borgia, sheet 80.) sheet 70.)
 Iztac Mixcoatl. (From Codex Borgia.)

FORMS OF MIXCOATL.

WALL-PAINTINGS

On the west side of the court of Palace I at Mitla are certain fragments, some of which undoubtedly
represent Mixcoatl in his different phases. In the first of these he is represented as wearing a white wig
surmounted by tufts of down in which arrows are stuck. On his face he has the familiar “domino-
painting,” he is bearded, and his nose-plug is of a peculiar character, somewhat unfamiliar and
expressing a serpentine motif. He wears a collar with sharp stellar edges. The fifth figure to the right
from this once more represents him in the same guise, only that in his left hand he holds the atlatl, or
spear-thrower. His peculiarly stellar character has not been lost upon the artist who executed these
paintings, as the stellar eye-motif decorates the top of the frieze on which they appear. Not far away is
seen the deer usually associated with him.

STATUARY AND PAINTINGS

An interesting stone figure of Mixcoatl was discovered in the ruins of the Castillo de Teayo, to the west
of the pyramid. It is made of sandstone, and the frontal aspect shows the god wearing a high panache
of feathers, a headdress flanked by tufts or puffings of some textile material from which feathers
depend, and an elaborate necklace. The skirt, the upper part of which is V-shaped, hangs down to the
ankles, and is tied up behind in a double knot. In his left hand he carries the bag which holds obsidian
arrow-heads, his invariable symbol, and in the right the S-formed lightning symbol, with which he is often
represented, as in the Codex Magliabecchiano. Another relief from the same site shows him carrying the
same symbols. His hair is decorated with feather-balls, as in the Codex Magliabecchiano and Duran’s
[312]illustration. In a painting from Teopancaxo he wears a peculiar headdress from which falls behind a
large panache of feathers, and which seems to be decorated with down; a horizontal band crosses the
face beneath the eye and covers the whole of the nose. In one hand he carries the lightning symbol,
from which spring serpentine streaks of lightning, and in the other a small shield like a sunflower and
three arrows with blunt ends.

[Contents]

AS IZTAC MIXCOATL = “WHITE CLOUD SERPENT”

Minor Names: Ce eecatl = “One Wind.”

Relationship:
Husband of Ilancuêyê and progenitor of the Xelhua national ancestors, Tenoch, Ulmecatl,
Xicalancatl, Mixtecatl, Otomitl.
Husband of a second wife, Chimamatl, by whom he had a son, Quetzalcoatl.
Compass Direction: Upper region.

ASPECT AND INSIGNIA

Codex Fejérváry-Mayer.—Sheet 32: He has the head of a deer. He carries for a staff the neck of a long-
billed, white bird, a heron. Before him stands a dish containing an eye and a feather ornament,
reproducing in form and colour the warrior’s forked heron-feather adornment. Sheet 6: He is painted a
yellow colour, thin and with wrinkled skin, his face looking out of the open throat of a bird, which has a
feather crest curling up and a variegated rosette on its beak. In one hand he holds a bone dagger, in the
other a staff tied round with a white-fringed cloth. As hieroglyph is shown beside him the day ce eecatl,
“one wind.”

Codex Borgia.—Sheet 60: Here he is represented as having heron-feather hair and beard, and a ring-
shaped appendage below the upper lip indicative of age. He is dressed as a priest, with tobacco-
calabash on back and red patch on temple. He holds in one hand a staff bent like a heron’s neck, and in
the other a bunch of malinalli grass. Sheet 24: The representation here is almost identical, except that
the staff has a heron’s head and that a bone piercer [313]is worn behind the ear. In both pictures he
wears a curious back device, recalling that on the rattle-staff of Quetzalcoatl. In some places he wears a
helmet-mask like the head of a deer.

[Contents]

AS CAMAXTLI

Area of Worship: Tlaxcallan and Huexotzinco.

Festival: Ce tecpatl (movable feast).
Relationship: Brother of Uitzilopochtli, and probably a local variant of him.

ASPECT AND INSIGNIA

Face-paint.—He wears the domino face-paint, like Uitzilopochtli and Mixcoatl, and a nose-plug.
The body is striped with red and white, in which circumstance he agrees with Mixcoatl and
Tlauizcalpantecutli, the morning star. He wears a headdress seemingly of feathers, and in Duran his hair
is long and he wears a knitted loin-cloth. A dead rabbit, or its skin, is slung across his breast. In the
Humboldt MS. (Roy. Lib. of Berlin) his headdress perhaps represents the symbol of hieroglyphic
expression for the phrase atl tlachinolli (water and fire) used in the sense of “war.”

Weapons, etc.—He carries the atlatl, or spear-thrower, and net-bag of the wild hunting tribes, bow and
arrows, sometimes tipped with down, also a bag or pouch, in which he carries his arrowheads of
obsidian. Like Mixcoatl he is sometimes clothed in the device of the two-headed deer, in which he went
to war.

MYTHS

Mixcoatl has already been alluded to in the précis of the early chapters of the Historia de los Mexicanos
por sus Pinturas given in the chapter on Cosmogony, where the circumstances of his birth are touched
upon. In chapter x of the same work he is identified with Amimitl, another Chichimec deity, seemingly
without reason. The Anales de Quauhtitlan speaks of him as one of the three who “sought [314]the
hearth-stone,” and as one of the priests of the Fire-god. As Iztac Mixcoatl, according to Motolinia, 3 he
dwelt with his wife, Ilancuêyê, in Chicomoztoc, the “Land of the Seven Caves,” the primeval land of the
tribes, and from them sprang the forefathers of the natives. By a second wife, Chimamatl, he begot the
god Quetzalcoatl. In the Tlaxcaltec legend reproduced in the Historia de los Mexicanos por sus
Pinturas, 4 mention is made of a two-headed deer which fell from heaven and was honoured as a god by
the people of Cuitlauac, and it is told how, clothed in its form or disguise, Camaxtli or Mixcoatl subdued
the surrounding tribes.

Iztac Mixcoatl was, indeed, the Chichimec Adam, the father of the tribe. A hymn to the gods of the hunt,
of whom Mixcoatl was the chief, is as follows:

Song of the Cloud-serpents

Out of the seven Caverns he sprung (was born).

II

Out of the land of the prickly plant he sprung.

III

I came down (was born)

I came down
With my spear made of the prickly plant
I came down
 I came down
With my spear of the prickly plant.

IV

I came down
I came down
With my net bag.

I seize him
I seize him
And I seize him, and he is seized.

[315]

FESTIVAL

The great festival of Mixcoatl was the hunt-drive in the month quecholli. Sahagun says of this
observance 5:

“Quecholli was the name of the fourteenth month, Mixcoatl being honoured with festivals. Arrows and
darts for use in war were made, and many slaves were slaughtered in honour of this god. During the five
days spent in making the arrows, everyone slit their ears and rubbed their temples with the blood thus
drawn. Penance was supposed to be thus performed before the deer-hunting commenced. Those who
did not slit themselves were deprived of their cloaks as tribute. During these days no man cohabited with
his wife, and the aged abstained from the use of pulque, as penance was being performed. The four
days employed in the making of arrows and darts being ended, smaller arrows were made and tied in
bundles of four to which were added four pine torches. These were placed as offerings upon the graves
of the dead, besides two tamalli to each bundle. These remained for a day upon the tombs and were
then burned during the night, other ceremonies being held as well in honour of the dead.

“On the tenth day of this month the Mexicans and the Tlatelulca resorted together to the mountain of
Cacatepec, which they called their mother. On reaching it they constructed thatched huts, lighted large
fires, and spent the day in absolute idleness.

Next morning they breakfasted and went out together into the country. There they spread themselves
out in a circular line, in which were enclosed a large number of animals—deer, rabbits, and others; they
gradually approached them so as to enmesh them in a small space, and the hunt then began, each one
taking what he could.

“After the hunt, captives and slaves were slaughtered in the temple called Tlamatzinco. They were
bound hand and foot and were carried up the temple stairs in the same fashion as a deer is carried by
its four legs when taken to the butcher. They were put to death with great ceremony. The man and the
woman who represented the image of [316]Mixcoatl and his companion were slain in another temple,
which was called Mixcoateopan. Several other rites were performed.”

Of this festival Acosta gives a slightly different version:

“The feast they made was pleasant and in this sort: They sounded a trumpet at break of day, at the
sound whereof they all assembled with their bows, arrows, nets, and other instruments for hunting; then
they went in procession with their idol, being followed by a great number of people to a high mountain,
upon the top whereof they had made a bower of leaves, and in the middest thereof an altar richly
decked, whereupon they placed the idol. They marched with a great bruit of trumpets, cornets, flutes
and drums, and being come unto the place they environed this mountain on all sides, putting fire to it on
all parts: by means of which many beasts flew forth, as stags, conies, Hares, foxes and Woolves, which
went to the top flying from the fire. These hunters followed after with great cries and noise of divers
instruments, hunting them to the top before the idol, whither flew such a great number of beasts, in so
great a press, that they leaped one upon another, upon the people, and upon the altar, wherein they
took great delight. Then took they a great number of these beasts, and sacrificed them before the idol,
as stags and other great beasts, pulling out their hearts as they use in the sacrifice of men, and with the
like ceremony: which done they took all their prey upon their shoulders, and retired with their idol in the
same manner as they came, and entered the city laden with all these things, very joyfully with great
store of music, trumpets, and drums until they came to the temple where they placed their idol with great
reverence and solemnity. They presently went to prepare their venison wherewith they made a banquet
to all the people; and after dinner they made their plays, representations and dances before the idol.”

TEMPLES

Mixcoatl’s temples in Mexico were the Mixcoapan tzompantli and the Mixcoateopan. In the first were
preserved the heads [317]of the victims sacrificed to the god. The ceremony of quecholli was
commenced in the latter.

NATURE AND STATUS

Mixcoatl was primarily the great god of the Chichimecs and the Otomies, a god of the wild hunting tribes
of the plains to the north. Numbers of these had settled in Mexico City and elsewhere within Anahuac, to
which they had carried his worship with them. The tribal legends connected with him seem to imply that
he was regarded in one of his phases, that of Iztac Mixcoatl, as the Chichimec Adam or Abraham, and
he is even alluded to as the “father” of Quetzalcoatl and “brother” of Uitzilopochtli. The probabilities are
that he was the god of a section of the Nahua who entered Mexico proper before the advent of the
worshippers of Uitzilopochtli, and as he had similar characteristics to the latter deity, he became
connected with him in the popular imagination.

Mixcoatl seems to me one of that large class of conceptions which recur so frequently in all mythologies
—the rain- and lightning-bearing cloud, which in the mind of the savage takes the form of a great
monster, a dragon or serpent, vomiting fire and discharging water. The name Mixcoatl means “Cloud-
serpent” and serves to substantiate this conception of him. But in the eyes of a hunting people he came,
like other deities of the kind, to be regarded as the great hunter who casts the thunderbolt, the lightning-
arrow, and therefore as the god-like prototype of the savage sportsman. Mixcoatl’s possession of the
obsidian arrow-head, which became personified in Itzpapalotl, gives further weight to this idea.

Because he partook of the attributes of a sky-god, Mixcoatl almost inevitably became identified with the
stellar deities dwelling in the heavens above. He is, indeed, Chief of the Centzon Mimixcoa, which has
been translated “The Four Hundred Northerners,” the host of stars to the north of the Equator, in
contradistinction to the Centzon Uitznaua, or “Four Hundred Southerners,” who were scattered by
Uitzilopochtli immediately after his birth. But here a question of some difficulty arises. Uitznaua may
correctly [318]be translated “southerners,” whereas Mimixcoa can scarcely be rendered otherwise than
as the plural of “cloud-serpent.” The insignia of these latter deities, however, are certainly stellar. They
wear the stellar face-mask and are in every way to be connected with the stars. It is clear, too, that
Mixcoatl in one of his manifestations must be connected with the morning star. But I take this
connection, as in the case of Quetzalcoatl, to have arisen at a period comparatively late. Again, we
frequently find in Mexican myth that the stars are regarded as serpentine in character, and indeed, as in
the case of the Tzitzimimê, partake of insect characteristics.

“Mixcoatl” is the expression in use at the present time among the natives of Mexico for the tropical
whirlwind 6—obviously a much later conception of his nature, and one more intimately connected with
that of Tezcatlipocâ, as I have attempted to show in the passages relating to that god, and to
Quetzalcoatl. There is, indeed, a strong resemblance between Mixcoatl and Tezcatlipocâ, both of whom
are connected with obsidian, and carry the hunter’s bag of obsidian darts.

Mixcoatl’s festival is obviously one of considerable antiquity. As practised in Mexico-Tenochtitlan it was

obviously a reminiscence of the great communal hunt. Its sacrifice of women in the place of deer, the
victims being “carried up the temple stairs in the same fashion as a deer is carried by its four legs when
taken to the butcher,” is obviously a substitution in more civilized times of human for deer sacrifice,
either because the animals of the hunt were not so easily obtained or for the reason that the idea of
human sacrifice had so thoroughly interpenetrated Mexican religious usage as to render the older form
unacceptable, merely retaining its broader characteristics. It has also a strong resemblance to those
medicine-hunts until recently practised by the Indians of North America, and in the Zuñi mysteries of to-
day, a procuring of magical virtue for the arrows which were made during the first five days of the
festival, and smaller models of which were offered up on the graves of the dead. Mixcoatl’s [319]wife
Itzcuêyê is a deer and, as we have seen, the deer was the disguise of his surrogate, Camaxtli. The deer
is the animal connected in the barbarian mind with the quest for water or food. Where the deer migrated
in search for these the savage must follow. The animals which compose the staple food-supply of
savages are frequently regarded as their gods. In America, on the introduction of later anthropomorphic
deities, the animal forms are frequently conceived of as the mates of these—perhaps one explanation of
the belief in descent from animal forms.

Because of his connection with the lightning Mixcoatl was also god of the fire-twirler, the apparatus with
which fire was made, and he appears in this character during the fire festival.

[Contents]

TLAUIZCALPANTECUTLI = “LORD OF THE HOUSE OF THE DAWN”

Area of Worship: Mexico; Toltec (?).

Calendar Place: With the Fire-god, lord of the ninth week, ce coatl. Twelfth of the thirteen lords of
the day-hours.
Compass Direction: West.
Relationship: Variant of Quetzalcoatl.

ASPECT AND INSIGNIA

General.—In the Codex Borgia (sheet 25) he is painted as having a white-and-red-striped body, and the
black face with white-spotted quincunx peculiar to him in his special form as evening star. The hair is
yellow, the locks rising in curls above the brow, and bound by a red fillet. We can probably recognize
him in the figure seen in sheet 19 of Codex Vaticanus B, which bears a strong resemblance to that
found on sheet 57 of the same MS., confronting the Fire-god; but in the first instance he is not shown
with the black “half-mask” painting about the eye. He has, however, the same warlike implements—
shield, spears, and atlatl—as in Codex Borgia, as well as a pouch for obsidian arrow-heads and a small
sacrificial flag. He is, however, almost universally represented with a white or white-and-red-striped body
and [320]face-painting, and the deep black “half-mask” edged with small white circles which is usually
shown in the pictures of Mixcoatl, Paynal, and Atlaua, and which is described as “the stellar face-
painting called darkness.” He frequently wears long, tapering oval ornaments attached to red leather
thongs in place of the chalchihuitl jewels which so often depend from the dress of the other gods, and
the band which supports these has four diverging ends terminating in a bunch of feathers, as with
Tonatiuh, Ueuecoyotl, and Xochipilli. The crown is generally composed of black feathers having white
spots, alternating with longer yellow or red plumes. On the breast is seen an ornament like that of
Tezcatlipocâ. In Codex Borbonicus and Borgia he is accompanied by the insignia of those warriors who
died by sacrifice, the blue crown with the three-cornered frontal plate, the axe-shaped blue ear-plug, the
blue nose-plug, the white paper shoulder-tie, and the small blue dog which accompanied the dead man
on his way to the region of Mictlan.

Tlauizcalpantecutli piercing Chalchihuitlicue.

(From Codex Borgia, sheet 53.)

 (From Codex Vaticanus B, sheet
37.)

FORMS OF TLAUIZCALPANTECUTLI.

On the five sheets of Codex Vaticanus B which indicate the periods of the planet Venus we observe
Tlauizcalpantecutli depicted five times, and have thus a most favourable opportunity for studying his
various attributes. All of these pictures represent him in the form of the evening star, with the quincunx of
white spots on the dark background of his face. He is depicted as half-black, half-white, the body, upper
arms, and knees being black, but the forearms, thighs, and lower part of the legs white and striped with
yellow longitudinal lines, like the striping on Uitzilopochtli’s body. Under the eye is a motif which recalls
the blue snake-band round the mouth of Tlaloc, but it is yellow in colour, and forms a kind of coil in the
middle of the face over the nose. A tassel or other ornament falls from it, the whole recalling certain
Maya types. The hair is flame-coloured, curls upward, and is bound with the usual fillet studded with
white slicings from mussel-shells, and the black, white-tipped feathers, previously alluded to, and
intermingled with eagle-plumes, crown the head. The breast is covered with the white eye-ring, also
described above, and which is characteristic [321]of Tezcatlipocâ. Accompanying the picture is the
emblem of the stellar eye, which in this place is almost certainly intended to depict the planet Venus.
The god holds in one hand the atlatl, or spear-thrower, and in the other a bundle of darts, to symbolize
his nature as a shooting god.

TLAUIZCALPANTECUTLI (left) AND VICTIM.

(From Codex Borgia, sheet 19.)

In those pictures in Codex Borgia where the god is represented as casting his spear at various
mythological figures, his insignia is in agreement with that portrayed in Codex Vaticanus B. But of the
five figures in which he is shown as the spear-thrower, in one only is he depicted with white, red-striped
limbs, the remaining figures being coloured green, yellow, brown, and blue. Nor has the face the
characteristic painting known as “stellar” and frequently described on those pages, but is skull-shaped,
and represented as swallowing blood and a human heart. He holds, however, the usual spear-thrower,
shield, hand-flag, and the hunter’s net-bag. The Codex Borgia pictures show, too, the incidence of the
god’s other attributes, the oval, egg-shaped ornaments and the white-tipped black feathers, which,
however, are here considerably shorter, and spread over the crown of the head only. Here also the first
of the five figures is red-striped, the others being blue, red, and yellow, and red-striped. Like the figures
in Codex Bologna, the first has the head of a skull painted with the face-paint of Tlauizcalpantecutli, with
the quincunx of five disks on a dark ground. The other four figures wear masks, that part of their faces
which is visible being coloured like the body and having the quincunx of five white disks. The second
figure wears an owl naual, or mask, the third that of a dog, the fourth a rabbit-mask, and the fifth, like the
first, a dead man’s skull, which, however, is portrayed in its natural colour and has no face-paint. The
owl-mask of the second figure and the skull-mask of the fifth show that they represent the sequence of
five periods of the planet Venus, five time-counts based on its period of visibility, and that, moreover,
these figures are to be referred respectively to the compass directions, east, north, west, south, below.
The Codex Fejérváry figure differs from the other representations, the face being painted white [322]with
yellow stripes, like the rest of the body and limbs. But that this figure is in reality identical with those of
the other manuscripts is proved by the quincunx of white spots disposed in the same manner as in the
Codex Vaticanus B figure, by the three curly locks on the brow, and by the star-like eye worn by the god
on his breast. In Codex Borgia are shown a sacrificial cord and two small paper flags. In Codex
Fejérváry we see a shield with feather appendage, and one paper flag, which is evidently intended to
appear in the ritual of the death by sacrifice. Tlauizcalpantecutli was for the Mexicans an indication of
the warrior’s death, that is, sacrificial death.

In Codex Telleriano-Remensis the hair is plastered with white downy feathers, and round the neck is
slung the aztemacatl, the heron-feather cord, the whole indicating the insignia of the victim about to be
sacrificed after ceremonial combat. He wears a skull as helmet-mask in this MS. In the Aubin-Goupil
tonalamatl Tlauizcalpantecutli wears a rod-shaped nose-plug and the blue breast-plate of the Fire-god.

NATURE AND STATUS

This god, as Seler indicates, 7 is a variant of the planet Venus, the morning star, who was regarded as
the shooting god and who was perhaps identical with Mixcoatl. The Anales de Quauhtitlan says that:
“When he appears he strikes various classes of people with his rays, shoots them, sheds his light on
them,” and these several types of people thus shot are clearly to be seen in Codex Borgia, and in the
corresponding places of the other manuscripts, where their sequence is, however, varied. That they
stand in relation to the quarters of the heavens there can be no doubt, but these quarters vary with the
several codices. Thus in Codex Borgia we find the jaguar occupying the north, while in Vaticanus B and
Bologna we find it occupying the fifth or downward direction, and in this varying arrangement we
probably see differences [323]of local conception. The deities or figures at which the god hurled his spear
are the jaguar, or Tezcatlipocâ, Chalchihuitlicue, the black Tezcatlipocâ (probably as Tepeyollotl),
Cinteotl, the Tlatouani, or King, and the Yayotl, or the symbol of war; but these do not agree with the
“classes of people” shot by the god as given by the Anales de Quauhtitlan, which states “that in the sign
cipactli he shoots old men and women, in the sign coatl he shoots the rain, for it will not rain, in the sign
atl, the universal drought, in the sign acatl, kings and rulers, and in the sign olin, youths and maidens.”
This seems to me to indicate not so much that the god was identical with Mixcoatl, as Seler states,
although he may have had connections with this deity, but that he typifies in some manner the evil
influences of the rays of the planet Venus at certain times of the year. We know that the Mexicans, like
many other peoples, believed that the stars emanated influences good and bad, and as Seler himself
states in his essay on “The Venus Period in Picture-Writing,” 8 “it is possible that we have on these
pages simply an astrological speculation arising from superstitious fear of the influence of the light of
this powerful planet. By natural association of ideas the rays of light emitted by the sun or other
luminous bodies are imagined to be darts or arrows which are shot in all directions by the luminous
body. The more the rays are perceived to be productive of discomfort or injury, so much the more
fittingly does this apply. In this way the abstract noun miotl or meyotli with the meaning ‘ray of light’ is
derived from the Mexican word mitl, ‘arrow’ … thus miotli is the arrow which belongs by nature to a body
sending forth arrows, a luminous body.… When the planet appeared anew in the heavens, smoke-vents
and chimneys were stopped up lest the light should penetrate into the house.… It is hardly possible to
see anything else in these figures struck by the spear than augural speculations regarding the influence
of the light from the planet suggested by the initial signs of the period.” Seler also points out that we
possess the analogy of the periods in which [324]the Ciuateteô, or “spectre women,” send down similar
baleful influences from above.

[Contents]

COYOLXAUHQUI = “PAINTED WITH BELLS”

Relationship: Daughter of Coatlicue, sister of Uitzilopochtli and the Centzonuitznaua.

ASPECT AND INSIGNIA

Stone-head from Great Temple of Mexico.—This represents her as having on both cheeks the sign for
“gold” and “bells,” hence the face of this head is really painted (xauhqui) with bells (coyolli). As a nose-
ornament she has a peculiar pendant, consisting of a trapezoidal figure and a ray, the motif of which is
partially repeated in her earrings. Her headdress is a small, close-fitting cap, the front of which is
embroidered in a downy feather-ball pattern.

MYTHS

The myth which describes her enmity to her mother, Coatlicue, and her slaughter by her brother
Uitzilopochtli, has already been recounted in the section dealing with the latter god.

NATURE AND STATUS

Coyolxauhqui’s insignia, as seen in the stone head of her from the great Temple of Mexico, is
unquestionably that of a lunar goddess. Moreover, the terms of the myth referred to above make it plain
that she represented the moon, who is “slain” by the first blow of the xiuhcoatl, or fire-snake (the dawn).
The fact that she was the only sister of the four hundred stars, Centzonuitznaua, probably implies her
lunar significance.

[Contents]

TZITZIMIMÊ = “MONSTERS DESCENDING FROM ABOVE”

Minor Name: Petlacotzitzquique = “Upholders of the Cane Carpet.”

[325]

ASPECT AND INSIGNIA

Certain wall-paintings at Mitla afford a good representation of the Tzitzimimê, who are represented as
pulling the sun out of his cave by a rope. In this case their character as stellar deities or demons is well
exemplified. The face often resembles that of a death’s-head and the hair is puffed up in wig fashion. In
Codex Borgia the Tzitzimimê are represented as female figures with death’s-heads and jaguar-claws.

The insects pictured in the Codex Borbonicus are unquestionably representations of the Tzitzimimê
gods in their demon forms.

MYTHS

The interpreter of the Codex Vaticanus A equates them with the gods of Mictlampa, or Hades, but his
contemporary who edited the Codex Telleriano-Remensis says of them:

“The proper signification of this name is the fall of the demons, who, they say, were stars; and even still
there are stars in heaven called after their names, which are the following: Yzcatecaztli, Tlahvezcal
pantecuvtli, Ceyacatl, Achitumetl, Xacupancalqui, Mixauhmatl, Tezcatlipocâ, and Contemoctli. These
were their appellations as gods before they fell from heaven, but they are now named Tzitzimitli, which
means something monstrous or dangerous.”

Tezozomoc mentions them in his Cronica Mexicana in connection with the building of the great temple
at Mexico. He states that their images were at one period still necessary for the completion of the
building, and alludes to them as “angels of the air, holding up the sky,” and “the gods of the air who draw
down the rains, waters, clouds, thunders and lightnings, and who are placed round Uitzilopochtli.” He
further says that these “gods of the signs and planets” were brought to the sacred edifice and placed
round the idol of Uitzilopochtli.

NATURE AND STATUS

The Tzitzimimê are obviously stellar deities. A myth [326]seems to have existed that they had been cast
out of heaven, and may perhaps be equated with that relating to Xochiquetzal. I think, too, that it had a
connection with the myth which told how Uitzilopochtli routed the Centzonuitznaua, his brothers, who
were also stellar deities or demons of darkness. That the Tzitzimimê were so regarded was probably
because they were seen during the night, or perhaps during eclipses. The list of them includes many of
the great gods, especially those who had an uncanny significance, as Tepeyollotl, Mictlantecutli,
Tlazolteotl, Tezcatlipocâ, and Itzpapalotl. The Tzitzimimê are equated by Seler with the Sky Supporters. 9
[327]

1 See Sahagun, bk. vii, cs. x–xiii, for a much more detailed description. ↑
2 See Sahagun, bk. iii, Appendix, c. iv. ↑
3 Historia de los Indios de la Nueva España, Preface, in Izcazbalceta, vol. i, 1858, pp. 7, 10. ↑
4 Izcazbalceta, vol. iii, 1891, p. 237. ↑
5 Appendix to bk. i, c. xiv. ↑
6 Brinton, Myths of the New World, p. 190. ↑
7 Commentary on Codex Vaticanus B, p. 287. ↑
8 Bulletin 28 of U.S. Bureau of Ethnology, pp. 355 ff. ↑
9 See Commentary on the Codex Vaticanus B, p. 90. It seems to me that, as Tezozomoc says, these were gods of the
“signs and planets,” i.e. of the tonalamatl in its augural or astrological sense. If so, the definitely astrological nature of the
tonalamatl might be argued therefrom. ↑
[Contents]
CHAPTER X
 GODS OF DEATH, EARTH, AND THE UNDERWORLD

[Contents]

MICTLANTECUTLI = “LORD OF MICTLAMPA” (REGION OF THE

DEAD)

Area of Worship: Mexican Plateau.

Calendar Places:
Lord of the tenth day-count, ce tecpatl, and of the tenth week.
Eleventh of the thirteen lords of the day and fifth of the nine lords of the night.
Symbol: Skull, or bunch of malinalli grass.
Compass Direction: North.
Relationship: Husband of Mictecaciuatl; one of the Tzitzimimê.

ASPECT AND INSIGNIA

Codex Borgia.—Sheet 14: This is one of the most striking representations of the
Death-god which has come down to us. Here he is depicted as a skeleton with a
skeleton’s thorax and a skull for head, the arms and legs painted white with yellow
spots picked with red, to symbolize the bones of a newly flayed person. He has a large
rosette at the occiput and a flag, both painted in alternate white and red cross-bands,
and this motif is carried out in the ends of the loin-cloth, and in the extremities of other
bands and stripes. He presents a burnt-offering. The symbolic crossways and the owl
are figured before him, the death-bird being surrounded with paper flags, the
decoration of corpses prepared for cremation. Sheet 15: On this sheet he wears the
death-symbols. At the nape of the neck he has a paper rosette, decorated with red
and white cross-bands, the paper flag painted in the same way, broken in the middle
and bent, and an ear-plug consisting of a human hand. His symbol in this place [328]is
a bunch of malinalli grass. Sheet 79: In this representation of the Death-god we find
the invariable skeleton head, but the body is painted, like that of the priests, in black.
The nape-ornament is of paper, and the ear-plug is a human hand. The screech owl’s
wing also appears. Opposite him is a corpse wrapped up in a cloth and corded with
strings, a paper flag, used in the decoration of corpses prepared for cremation, and a
cross, apparently made of knotted sheets of cloth or paper. His hair or wig is black and
curly, some of the curls ending in eye-like circles with red centres. In this picture he
sits opposite Tonatiuh, the Sun-god, and thus, perhaps, represents night in its black
aspect, the eyes in his wig, as elsewhere, symbolizing the stars. Sheet 57: Here he is
placed opposite the Death-goddess and wears the usual insignia. The ground on
which their seats are placed is not simply yellow, as in the other sections, but consists
of alternate fields of malinalli grass and fragments of skulls in the style of the
hieroglyph of arable land. Both present each other with a naked human figure,
symbolic of human sacrifice. Between them stands a receptacle painted black and
studded with eyes, with red bands in the middle and yellow border. On the left of this
stands a dish filled with blood and smoking hearts, on which the goddess is pouring
fire from a vessel. On the right projects the body and tail of a dragon, which is seized
by the god. In the centre is seen a skull swallowing a man who is falling headforemost
into its throat, and above all is pictured the moon, without, however, the usual rabbit
appearing in its circumference.

MICTLANTECUTLI.

(From Codex Borgia, sheet 13.)

 Tepeyollotl.

(From Codex Nuttall, sheet 70.) (See page

332.)

FORMS OF THE UNDERWORLD DEITIES.

(See also under Quetzalcoatl, facing p. 119.)

Codex Fejérváry-Mayer.—Sheet 37: Here Mictlantecutli is placed opposite the Death-

goddess. He has the usual insignia, but wears black garments, decorated with eyes
and crossbones. His seat is made of ribs and a piece of skull, and he holds a dragon
in both hands. Between him and his mate a man sinks into the yawning jaws of the
earth, and above it is a dish with a stone sacrificial knife.

Codex Vaticanus B.—Sheet 21: He has the usual skeleton head, but in the arms and
legs the bony structure is merely [329]indicated by a yellow colour and a black design.
He is clothed with a jacket of green malinalli blades and wears in his ear a strip of
unspun cotton. He has as back-device a pot, in which three flags are stuck. Sheet 34:
In this sheet he is represented much as in Codex Borgia, sheet 15. Sheet 58: Here he
is pictured as a black god, with a skull for head and seated on a chair made of blood,
bones, and malinalli grass. He has the nape-shield and the flag inclining forward, and
a nose like a sacrificial stone knife.

STATUE OF AN OCTLI (DRINK) GOD.

Found near Vera Cruz.

Codex Magliabecchiano.—Mictlantecutli is represented more than once in this codex,

importantly on pages 73 and 79. In the first instance he is depicted with blue-grey
body and enormous claws on hands and feet, the head plastered with the yellow
patches and bloodstains he frequently shows. The head is that of a skull, with
protruding yellow nasal-bone, but the ground-colour is blue, not bone-colour. He wears
the “night-hair” occasionally associated with him, and his coiffure is decorated with
small, black, festal bannerets, interspersed with what appear to be stellar eye-motifs.
His maxtli appears to consist of a rope or twisted piece of cotton, and he wears
wristlets and anklets of bright red cotton. The necklace is reminiscent of that worn by
several of the Maya deities. He sits in the portal of a temple, and before him squat a
number of men and women, regaling themselves on human flesh from several earthen
vessels containing a head, a leg, and an arm. The second picture exhibits the
penance done before him. In this place he is painted brown, with the same enormous
talons, the death’s-head face, “night-hair” and bannerets (yellow), without, however,
the accompaniment of the stellar eye-ornaments. These, however, appear to be
reproduced upon the wrists, knees, and one ankle, and, perhaps, make this phase of
the god a parallel to the Greek Argus, the “eye-spotted” night. On the breast depends
an ornament which is not sufficiently clear to justify its description. On page 82 the god
is depicted as wearing a garment covered with crosses, and on page 88 as standing
on the skull-altar (see Tezcatlipocâ). His wavy hair is surrounded by a red and yellow
cotton fillet, [330]and he is being anointed by a priest from a vessel of blood, whilst
other priests stand before him with pots full of blood and human hearts. He wears a
curious blue necklace almost of the “masonry” type seen in Egyptian, Greek, and
Asiatic deific ornaments, and a cotton garment with red bows. A cotton web depends
from his blue ear-plug.

MYTHS

The interpreter of Codex Vaticanus A says of Mictlantecutli: “He descends for souls as
a spider lowers itself with its head downwards from the web.” Later on he states that
“he is the great lord of the dead below in hell, who alone after Tonacatecutli was
painted with a crown.… They painted this demon near the sun, for in the same way as
they believed that the one conducted souls to heaven, so they supposed that the other
carried them to hell. He is here represented [that is in the codex] with his hands open
and stretched towards the sun to seize on any soul that might escape from him.” Later
he states that Ixcuina, “the goddess of salt, dirt, and immodesty,” was the wife of
Mictlantecutli. The commentator of Codex Telleriano-Remensis seems to regard
Mictlantecutli as rescuing souls from the realm of the dead. He says: “They place him
opposite to the sun to see if he can rescue any of those seized upon by the lord of the
dead.” The two interpretative codices were almost certainly edited, if not copied one
from the other, by the same hand, and it is such passages as this which show the
great dubiety existing in the minds of the priestly commentators regarding the precise
nature of the Mexican deities.

Sahagun in the Appendix to his third book, the first chapter of which treats of burial,
gives a prayer or address to the dead which mentions Mictlantecutli, and which states
that he and his wife Mictecaciuatl await the deceased, who goes to dwell among the
shadows, “where there is no light or window.” It is further explained that when he
arrived in the realm of the god of the dead (which has already been described in the
chapter on Cosmogony), he makes him an offering of the papers which he carries, of
faggots or torches [331]of pinewood, and of perfumed reeds, cotton, mantles, and
costly apparel.

Boturini and Brasseur give a great deal of matter regarding this god which is
absolutely worthless, as does Leon y Gama, and the deity has been in some manner
confounded with a god Teoyaomiqui, who seems to be quite supposititious in
character and never to have had no other existence in the minds of Gama and his
copyists.

NATURE AND STATUS

Mictlantecutli, it would seem, is neither more nor less than a god of the dead, that is,
his original conception was probably that of a prince of Hades, a ruler of the realm of
the departed, who in time came to possess the terrific aspect and the punitive
attributes of a deity whose office it was to torment the souls of the erring. The fact that
he presides over the eleventh hour—the hour of sunset—shows that he was in a
measure identified with the night, as certain aspects of his insignia would appear to
show. In a manner he must be regarded as the earth, which in its form of the grave,
yawns or gapes insatiably for the bodies of the dead. (See Mictecaciuatl.) He appears
to have analogies with the Lords of Xibalba, or the Place of the Dead, alluded to in the
Popol Vuh, of the Quiches of Guatemala. 1

[Contents]

MICTECACIUATL = “LADY OF THE PLACE OF THE DEAD”

Area of Worship: Mexican Plateau.

Minor Name: Chicunaui cipactli = “Nine Earth-monster.”
Relationship: Wife of Mictlantecutli.
Calendar Place:
Ruler of the tenth day-count, itzcuintli.
Fourth of the four guardians of the Third Venus Period, denoting the north.

ASPECT AND INSIGNIA

Codex Vaticanus B.—Sheet 90: She has a skull for head, with round eye and marked
supraciliary arch, tousled, dark [332]hair studded with eyes symbolizing night and stars.
The skull and body are painted yellow, and one breast is showing. Her wig has eyes
for ornaments, and she wears the nape-ornament of paper usually placed on corpses.
Her earring is also fashioned after the eye-motif. The feather balls at her wrists are set
with eye-like jewels. She is engaged in thrusting a mummy-pack into the yawning jaws
of the earth.

Codex Bologna (Cospi).—Sheet 27: The date “nine earth-monster” (chicunaui cipactli)
stands here beside Mictecaciuatl as her hieroglyphic name.

Codex Borgia.—Sheet 57: Here she is represented opposite Mictlantecutli. She has a
wig decorated with stars. The face is human, but the fleshless lower jaw resembles
the sign malinalli. Her nape ornament of paper is painted red and white, and her
costume is red with white cotton borders and an upper border of variegated white and
yellow.

NATURE AND STATUS

See Mictlantecutli.

[Contents]

TEPEYOLLOTL = “HEART OF THE MOUNTAINS”

Area of Worship: Tierras Calientes.

Relationship: One of the Tzitzimimê.
Symbols:
A cave (see Codex Borgia, sheet 2).
A marine shell (Codex Borbonicus). See also Seler, Gesammelte
Abhandlungen, vol. i, p. 606, for glyph in Codex Bologna (Cospi).
Calendar Place: Eighth of the lords of the night; ruler of the third day, and of the
third week, ce mazatl.
Compass Direction: South.

ASPECT AND INSIGNIA

In Codices Fejérváry-Mayer and Vaticanus B the face-paint of this god is red, and in
the latter MS. has the alternate red and yellow cross-bars of the red Tezcatlipocâ. In
Codex Borgia the body is painted black, but in this MS., as well as in the Aubin
tonalamatl, the upper part of the face resembles that of Quetzalcoatl in its decoration,
the profile being of a [333]light colour, while the temporal region is painted differently,
these colours in the Aubin tonalamatl being separated by a black line. But whereas the
temporal colouring in the Vienna MS. is green, in Codex Borgia it shows the alternate
black and yellow of Tezcatlipocâ’s face-paint. In Codex Borgia, sheet 14, a beard is
worn and a plug is in the nostrils. The region of the mouth has the painting of a
jaguar’s skin. The hair is puffed up in two pads, symbolic, perhaps, of the mountainous
region with which the god is connected. In Codex Telleriano-Remensis he wears the
broad necktie of the rain-gods, only painted in green and not in blue, and in Codex
Borgia shows Tlaloc’s colours in the loin-cloth, fillet, and neck-ornament. In this MS.,
too, he is represented as blowing the conch-shell, and here, as well as in Codex
Fejérváry-Mayer, he stands before a building which has the cone-shaped, high-
pitched straw roof of the houses in the tierras calientes, crowned with a jagged motif.
As ruler of the third day-sign and third week he is represented as a jaguar pure and
simple in the Aubin tonalamatl, Telleriano-Remensis and Borbonicus codices, which is
merely a disguise for the personality of Tezcatlipocâ, as is shown by the face of that
god looking out from the jaguar’s head in Telleriano-Remensis.

In Codex Borbonicus he is more unmistakably represented as Tezcatlipocâ, for the

hands and feet projecting from underneath the jaguar skin are striped like those of that
god, and one of the feet wears Tezcatlipocâ’s sandal, the itzcoatl (or obsidian snake),
whilst the other is torn off and replaced by his smoking mirror. The jaguar of Codex
Borbonicus has other portions of the insignia of Tezcatlipocâ about him, such as the
aztaxelli, or feather head-ornament, and the anauatl, or white mussel-shell ring. In the
Codex Borbonicus a large marine shell or conch-shell appears to be symbolical of
Tepeyollotl. The god is alluded to by Sahagun as among the unlucky symbols. He
figures as one of the faces of the double-headed Quaxolotl.

MYTHS

The interpreter of the Codex Vaticanus A says: [334]

“They considered Tepeyolotli the lord of these thirteen signs in which they celebrated
his festival, during the four last of which they fasted, out of reverence, on account of
the earth’s having remained after the deluge. But as its conditions were disordered or
filthy, they did not consider the sacrifices of these signs as good or clean, but, on the
contrary, as unclean, and they applied to them an appellation which in common
phraseology we might explain by the term ‘sacrifices of filth.’ These last four signs in
which they fasted were likewise out of reverence and in honour of Suguequezal
(Xochiquetzal), the wife of Tonacatecotle, whose name signifies the lifting up or raising
up of the Roses, for they say that goddess caused the earth to flourish. This proper
name might be written Tiscuelutli, which is the Heart of the Mountain, which means the
echo.”

The interpreter of the Codex Telleriano-Remensis says:

“The name refers to the manner in which the earth was preserved after the deluge.
The sacrifices of these thirteen days were not deemed good; they might be interpreted
in Spanish ‘sacrifices of dung.’

“The sign under which number one is written caused paralysis and evil humours. Two
was appropriated to drunkards; and three was applied to the earth. Tepeolotlec
presided over those thirteen days in which they celebrated a festival; and during the
last four days of which (where the hands are marked) they fasted. Tepeolotlec means
Lord of Animals.

“The four days of the fast were in honour of Suciquecal, who was the man who
remained in the earth which we now inhabit. Tepeolotlec is the same as the echo of
the voice when it reverberates in a valley from one mountain to another. They
bestowed the appellation of the tiger on the earth because the tiger is a very
courageous animal, and they say that the deluge ceased at the reverberation caused
by the echo in the mountains.”

NATURE AND STATUS

The commentators of the Interpretative Codices briefly [335]explain Tepeyollotl as

“echo” and “earth.” As Seler states, 2 it is most probable that he is a cave-god, an alien
barbaric deity, perhaps identical with the god whom the Maya tribes of Chiapas called
Votan or “heart.” Seler also believes him to be Tezcatlipocâ in his form as an
apparition. 3 It is strange that it is only in the works of the interpreters that he is
mentioned at all, and we can discover no precise locality where his worship was
celebrated. The interpreters also designate him “Lord of the Animals,” and add that the
name of jaguar is given to the earth, because the jaguar is the wildest of beasts. It
may be as Seler declares, that “in order to understand and explain this figure we have
to start from the jaguar (ocelotl).” The Indians of the Vera Paz district in Guatemala,
when they met this beast, instead of attacking him or running away, knelt down and
began to confess their sins, 4 and it is probable that some such species of worship was
paid Tepeyollotl, who by his mouth-painting, and as ruler of the third day-sign and third
week, in the Codex Borgia, is certainly depicted as a jaguar. But it seems possible,
too, that this beast, perhaps because it dwelt in caves, and because of its terrible
nightly roaring, may have symbolized for the Mexicans the earth itself in its dangerous
aspect of earthquake. 5 The Nagualists, a politico-religious secret society of post-
Conquest origin, paid especial reverence to the jaguar, whom they regarded as a
beast-patron or totemic guardian. It is clear that their conception of him arose out of
that of Tepeyollotl. [336]

1 See L. Spence, The Popol Vuh. London, 1908. ↑

2 Commentary on Codex Fejérváry-Mayer, p. 43. ↑
3 See Section on Tezcatlipocâ. ↑
4 Las Casas, Apologetica, c. cxcix; Herrera, 4, 10, c. xiii. ↑
5 Seler (Commentary on Codex Vaticanus B, p. 102) sees in a passage in Sahagun (bk. v, c. 1) an
association between the omen of a jaguar roaring in the mountains by night and the echo thereof
and Tepeyollotl. ↑
[Contents]
CHAPTER XI
 VARIANTS OF THE GREAT GODS

[Contents]

ITZTLI = “STONE KNIFE” (OBSIDIAN)

Area of Worship: Mexico.

Calendar Place: Second of the nine lords of the night.
Compass Direction: East.

A tepitoton or model of
Tlazolteotl.

Yacatecutli.

(From the Sahagun

MS.)