Latin-American Mythology. Hartley Burr Alexander

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СКАЧАТЬ in their haste they replaced it badly, with the result that "there ran so much water from it as overflowed all the country, and with it came out abundance of fish, and hence they believe the sea had its origin." Fray Ramon goes on to tell how, the four brothers being hungry, one of them begged cassaba bread of a certain man, but was struck by him with tobacco. Thereupon his shoulder swelled up painfully; and when it was opened, a live female tortoise issued forth—"so they built their house and bred up the tortoise."

      "I understood no more of this matter, and what we have writ signifies but little," continues the friar; yet to the modern reader the tales have all the marks of a primitive cosmogony, a cosmogony having many analogues in similar tales from the two Americas. The notion of a cave or caves from which the parents of the human race and of the animal kinds issue to people the world is ubiquitous in America; so, too, is the notion of an age of transformations, in which beings were altered from their first forms. Peter Martyr, who tells the same stories in résumé, as he says, of Pane's manuscript, adds a number of interesting details; as that after the metamorphosis of Marocael, or Machchael, as Martyr calls him, the First Race were refused entrance into the caves when the sun rose "because they sought to sin," and so were transformed—a moral element which recalls similar motifs in Pueblo myths. But perhaps the most striking analogies are with the cosmogonies of the Algonquian and Iroquoian stocks. The four Caracarols (caracol, "shell," plural cacaracol, is the evident derivation), one of whom was called "Mangy," recall the Stone Giants, and again recall the twins or (as in a Potawatomi version) quadruplets whose birth causes their mother's death, while the tortoise cut from the shoulder (Martyr says it was a woman by whom the brothers successively became fathers of sons and daughters) is at least suggestive of the cosmogonic turtle of North American myth. In the flood-legend, the idea of fishes being formed from bones is remotely paralleled by the Eskimo conception of the creation of fishes from the finger-bones of the daughter of Anguta; and Benzoni tells how, in his day, the Haitians still had a pumpkin as a relic, "saying that it had come out of the sea with all the fish in it."

      In the order of his narrative—though not, apparently, in the order in which he deemed the events ought to lie—Fray Ramon follows the story of the emergence of the First People from caves with the adventures of a hero whom he calls Guagugiana, but whom Peter Martyr terms Vagoniona. It is easy to recognize in this hero an example of the demiurgic Trickster-Transformer so common in American myth. Like the Trickster elsewhere, he has a servant or comrade, Giadruvava, and the first story that Pane tells is one of which we would fain have a fuller version, for even the fragmentary sketch of it is full of poetic suggestion. Guagugiana, it seems, was one of the cave-dwellers of the First Race. One day he sent forth his servant to seek a certain cleansing herb, but, as Pane has it, "the sun took him by the way, and he became a bird that sings in the morning, like the nightingale"; to which Peter Martyr adds that "on every anniversary of his transformation he fills the night air with songs, bewailing his misfortunes and imploring his master to come to his help."

      In this tale, slender as it is, there is an element of unusual interest, fortified by various other allusions to Antillean beliefs. It would appear that the First People, the cave-dwellers, were of the nature of spirits or souls, and that the Sun was the true Transformer, whose strength-giving rays gave to each, as it emerged to light, the form which it was to keep. The disembodied soul (opia) haunts the night, moreover, as if night were its native season; in the day it is powerless, and men have no fear of it. Surely it is a beautiful myth which makes of the night-bird's song a longing for the free life of the spirit, or at least an expression of the feeling of kinship with the spirit-world.

      The tale goes on to tell how Guagugiana, lamenting his lost comrade, resolved to go forth from the cave in which the First People dwelt. Yet he went not alone, for he called to the women: "Leave your husbands! Let us go into other countries, where we shall get jewels enough! Leave your children; we will come again for them; carry only herbs with you." The women, abandoning all save their nursing children (as Peter Martyr tells), followed Guagugiana to the island of Matenino, and there he left them; but the children he took away and abandoned them beside a brook—or perhaps, as Martyr implies, he brought them back and left them on the shore of the sea—where, starving, they cried, "Toa, toa," which is to say, "Milk, milk!" "And they thus crying and begging of the earth, saying, 'toa, toa,' like one that very earnestly begs a thing, they were transformed into little creatures like dwarfs, and called tona, because of their begging the earth." Martyr's more prosaic version says that they were transformed into frogs; but both authorities agree that this is how the men came to be left without wives; and doubtless it is this myth from which Columbus gained at least a part of his notion of the Amazon-like women "who dwell alone in the island of Matenino."

      Other episodes in the career of Guagugiana, which Pane recounts in a confused way, are his going to sea with a companion whom he tricked into looking for precious shells and then threw overboard; his finding of a woman of the sea who taught him a cure for the pox; this woman's name was Guabonito, and she taught him the use of amulets and of ornaments of white stone and of gold. Peter Martyr's variant says: "He is supposed to go to meet a beautiful woman, perceived in the depths of the sea, from whom are obtained the white shells called by the natives cibas, and other shells of a yellowish colour called guianos, of both of which they make necklaces; the caciques, in our own time, regard these trinkets as sacred." In this there is a striking suggestion of the Pueblo myths of the White-Shell Woman of the East and of the sea-dwelling Guardian of the yellow shells of the West; and it is quite to be inferred that the regard in which the caciques held these objects was due to a ritual and magical significance analogous to that which we know in the Pueblos.

      V. THE AREITOS

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"The Spaniards," says Peter Martyr,¹⁷ "lived for some time in Hispaniola without suspecting that the islanders worshipped anything else than the stars, or that they had any kind of religion,... but after mingling with them for some years ... many of the Spaniards began to notice among them divers ceremonies and rites." These ceremonies are called areitos, or areytos, by the Spanish writers; and from the early descriptions it is obvious that they were rites of the typical American kind, dramatic dances or mysteries performed in the great crises of national and personal life, or in the changes and climaxes of that course of the seasons, which is the life of Nature. As in the case of myths, so in the case of rites, it is chiefly those of Haiti which are described for us; but there is little reason to doubt that these are typical of all the Greater Antilles.

      Birth, marriage, death, going to war, curing the sick, initiation, and puberty rites all seem to have had their appropriate ceremonies. Songs played an important part in these ceremonies; indeed, the word areito is frequently restricted to funeral chants, or elegies in praise of heroes. But the chief rite known to us, and, we may feel assured, the chief rite of the whole Taïno culture, was the ceremony in honour of the Earth Goddess. This ceremony, as celebrated by the Haitians, is described by both Benzoni and Gómara with some detail. Gómara's account is as follows:¹⁸

      "When the cacique celebrated the festival in honour of his principal idol, all the people attended the function. They decorated the idol very elaborately; the priests arranged themselves like a choir about the king, and the cacique sat at the entrance of the temple with a drum at his side. The men came painted black, red, blue, and other colours or covered with branches and garlands of flowers, or feathers and shells, wearing shell bracelets and little shells on their arms and rattles on their feet. The women also came with similar rattles, but naked, if they were maids, and not painted; if married, wearing only breechcloths. They approached dancing, and singing to the sound of the shells, and as they approached the cacique he saluted them with a drum. Having entered the temple, they vomited, putting a small stick into their throat, in order to show the idol that they had nothing evil in their stomach. They seated themselves like tailors and prayed with a low voice. Then there approached many women bearing baskets and cakes on their heads and many roses, flowers, and СКАЧАТЬ