He wears the symbol of night upon his forehead; he is the moon, ruler of the night, the wizard who veils himself behind the clouds; he bears the severed arm of a woman who has died in childbed, as a magical instrument, as did the naualli of old Mexico. From him all ominous and uncanny sounds proceed: the howl of the jaguar (in which we perceive Tezcatlipocâ as the wizard metamorphosed into the wer-animal), and the foreboding cry of the uactli bird, the voc, the bird of Hurakan in the Popol Vuh. Tezcatlipocâ was undoubtedly connected with the wind, and this leads me to suspect that in the course of his evolution he came to be thought of as among that class of magical stones which in some mysterious manner is considered capable of raising a tempest under the spell of the sorcerer. [137] Of such a belief world-wide examples exist. In the Irish island of Fladdahuan such a stone was anointed when the fisher desired a wind [138] and was kept in wool wrappings. A piece of pumice-stone drifted to Puka-Puka, says Lang, [139] and was regarded as a god of winds and waves, to which offerings were made during hurricanes. Tezcatlipocâ is none other than the original “hurricane,” for he has been identified with the Hurakan of the Quiches of Guatemala alluded to in the Popol Vuh, from whose name the meteorological expression has been borrowed. Whether or not he came to be looked upon as the wind of night which ravined through the empty streets and deserted countryside by virtue of the train of thought suggested above, many aspects of Tezcatlipocâ are eloquent of his boreal attributes. Thus, he is invisible and capricious, the object of mistrust among the people, who discerned in tempestuous weather a manifestation of his freakish bad temper. The myth in which he was described as pursuing Quetzalcoatl in tiger-form will, in the section which deals with that god, be indicated as an allegory of the clashing of the hurricane with the rain-bringing trade-wind. Lastly, as patron of war, of the warrior’s club and dance-house, he is, as the boisterous storm, emblematic of strife and discord. Seats of stone over-arched with green branches were provided for him throughout the city so that he might rest from his wanderings if he thought good. In the Aztec mind stone was symbolic of sin. Thus Tezcatlipocâ in his variant, Itzlacoliuhqui, is the just avenger, who punishes evil swiftly and terribly, for obsidian as the sacrificial knife was the instrument of justice. [140] The coldness of stone, its hardness and dryness, seem also to have given rise to the conception of him as god of the Toxcatl festival in the fifth month of the year, the dry season, when the sun stood at the zenith above Tenochtitlan. Thus, as the prayers to him eloquently affirm, he was the god of drought, of sereness, and barrenness.