manner. Yacatecutli, “the lord who guides,” seems to me a mere deification of the merchant’s staff, an artificial deity invented as the patron of a caste in an environment where it was not difficult to invent gods. By this I do not mean to convey the impression that the staff was necessarily his earliest form, but that, whatever his primitive shape, the merchant’s stick came to symbolize him.
The names of Yacatecutli’s brothers and sister seem to me to allegorize the circumstances of the travelling merchant’s career in the same manner as the names of the companions of a folk-tale hero may have a bearing upon his story.
Thus Chiconquiauitl (“Seven-rains” or “All-weathers”) may portend the varied climatic conditions which the chapman has to face; Xomocuitl (“Caught-drake”) the kind of fare he may expect in an unfrequented country; Naxtit (“Four-feet”) may typify endurance in walking; Cochimetl, (Sleeping-maguey) may apply to the leaves of the maguey-plant which shaded the traveller from the heat during his noonday siesta, or from the wind if he used them to construct a temporary shelter, as was often done; Yacapitzanac (“Sharp-nose”) needs little explanation in connection with the peddler’s calling, and the name of the one goddess of the series, Chalmecaciuatl, is evidently that of a tribal deity of the Chalmeca, with whom the Mexicans traded.