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Popol Vuh: The Definitive Edition Of The Mayan Book Of The Dawn Of Life And The Glories Of Paperback – Illustrated, Jan. 31 1996
by
Dennis Tedlock
(Author)
Dennis Tedlock
(Author)
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Product details
- Publisher : Touchstone; Revised ed. edition (Jan. 31 1996)
- Language : English
- Paperback : 384 pages
- ISBN-10 : 0684818450
- ISBN-13 : 978-0684818450
- Item weight : 370 g
- Dimensions : 15.56 x 2.29 x 23.5 cm
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#47,857 in Books (See Top 100 in Books)
- #1 in Popol Vuh
- #1 in Guatemalan History
- #6 in Aztec History
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Product description
Review
"Popol Vuh is one of the great books about the creation of the world. It is the Mayan Bible." –Carlos Fuentes
"The volume is required reading for everyone seriously interested in Native American literature or in Meso-American cultural history. Its publication is a major event." –The Los Angeles Times
"Dennis Tedlock's splendid version...[is] the work of a brilliant anthropologist who is also a true 'poet of performance,' himself trained by a native Quiché master....Superb notes and glossary...An event of quite exceptional importance." –William Arrowsmith, Robert W. Woodruff Professor of Classics and Comparative Literature, Emory University
"Tedlock's translation is sensitive, precise, and illuminating. It will greatly help the Popol Vuh achieve its rightful place as a masterpiece of religious writing, familiar to all those who seek a message that transcends ordinary concerns." –Vine Deloria, Jr., author of Custer Died for Your Sins
"The volume is required reading for everyone seriously interested in Native American literature or in Meso-American cultural history. Its publication is a major event." –The Los Angeles Times
"Dennis Tedlock's splendid version...[is] the work of a brilliant anthropologist who is also a true 'poet of performance,' himself trained by a native Quiché master....Superb notes and glossary...An event of quite exceptional importance." –William Arrowsmith, Robert W. Woodruff Professor of Classics and Comparative Literature, Emory University
"Tedlock's translation is sensitive, precise, and illuminating. It will greatly help the Popol Vuh achieve its rightful place as a masterpiece of religious writing, familiar to all those who seek a message that transcends ordinary concerns." –Vine Deloria, Jr., author of Custer Died for Your Sins
From the Back Cover
Popol Vuh, the Quiche Mayan book of creation, is not only the most important text in the native languages of the Americas, it is also an extraordinary document of the human imagination. It begins with the deeds of Mayan gods in the darkness of a primeval sea and ends with the radiant splendor of the Mayan lords who founded the Quiche kingdom in the Guatemalan highlands. Originally written in Mayan hieroglyphs, it was transcribed into the Roman alphabet in the sixteenth century. This new edition of Dennis Tedlock's unabridged, widely praised translation includes new notes and commentary, newly translated passages, newly deciphered hieroglyphs, and over forty new illustrations.
About the Author
Dennis Tedlock is McNulty Professor of English and Research Professor of Anthropology at the State University of New York at Buffalo. He is the coeditor of American Anthropologist and the author of several books.
Excerpt. © Reprinted by permission. All rights reserved.
Chapter 1
This is the beginning of the Ancient Word, here in this place called Quiché. Here we shall inscribe, we shall implant the Ancient Word, the potential and source for everything done in the citadel of Quiché, in the nation of Quiché people.
And here we shall take up the demonstration, revelation, and account of how things were put in shadow and brought to light by
the Maker, Modeler,
named Bearer, Begetter,
Hunahpu Possum, Hunahpu Coyote,
Great White Peccary, Coati,
Sovereign Plumed Serpent,
Heart of the Lake, Heart of the Sea,
plate shaper, bowl shaper, as they are called,
also named, also described as
the midwife, matchmaker
named Xpiyacoc, Xmucane,
defender, protector,
twice a midwife, twice a matchmaker,
as is said in the words of Quiché. They accounted for everything -- and did it, too -- as enlightened beings, in enlightened words. We shall write about this now amid the preaching of God, in Christendom now. We shall bring it out because there is no longer
a place to see it, a Council Book,
a place to see "The Light That Came from Beside the Sea,"
the account of "Our Place in the Shadows."
a place to see "The Dawn of Life,"
as it is called. There is the original book and ancient writing, but the one who reads and assesses it has a hidden identity. It takes a long performance and account to complete the lighting of all the sky-earth:
the fourfold siding, fourfold cornering,
measuring, fourfold staking,
halving the cord, stretching the cord
in the sky, on the earth,
the four sides, the four comers, as it is said,
by the Maker, Modeler,
mother-father of life, of humankind,
giver of breath, giver of heart,
bearer, upbringer in the light that lasts
of those born in the light, begotten in the light;
worrier, knower of everything, whatever there is:
sky-earth, lake-sea.
This is the account, here it is:
Now it still ripples, now it still murmurs, ripples, it still sighs, still hums, and it is empty under the sky.
Here follow the first words, the first eloquence:
There is not yet one person, one animal, bird, fish, crab, tree, rock, hollow, canyon, meadow, forest. Only the sky alone is there; the face of the earth is not clear. Only the sea alone is pooled under all the sky; there is nothing whatever gathered together. It is at rest; not a single thing stirs. It is held back, kept at rest under the sky.
Whatever there is that might be is simply not there: only the pooled water, only the calm sea, only it alone is pooled.
Whatever might be is simply not there: only murmurs, ripples, in the dark, in the night. Only the Maker, Modeler alone, Sovereign Plumed Serpent, the Bearers, Begetters are in the water, a glittering light. They are there, they are enclosed in quetzal feathers, in blue-green.
Thus the name, "Plumed Serpent." They are great knowers, great thinkers in their very being.
And of course there is the sky, and there is also the Heart of Sky. This is the name of the god, as it is spoken.
And then came his word, he came here to the Sovereign Plumed Serpent, here in the blackness, in the early dawn. He spoke with the Sovereign Plumed Serpent, and they talked, then they thought, then they worried. They agreed with each other, they joined their words, their thoughts. Then it was clear, then they reached accord in the light, and then humanity was clear, when they conceived the growth, the generation of trees, of bushes, and the growth of life, of humankind, in the blackness, in the early dawn, all because of the Heart of Sky, named Hurricane. Thunderbolt Hurricane comes first, the second is Newborn Thunderbolt, and the third is Sudden Thunderbolt.
So there were three of them, as Heart of Sky, who came to the Sovereign Plumed Serpent, when the dawn of life was conceived:
"How should the sowing be, and the dawning? Who is to be the provider, nurturer?"
"Let it be this way, think about it: this water should be removed, emptied out for the formation of the earth's own plate and platform, then should come the sowing, the dawning of the sky-earth. But there will be no high days and no bright praise for our work, our design, until the rise of the human work, the human design," they said.
And then the earth arose because of them, it was simply their word that brought it forth. For the forming of the earth they said "Earth." It arose suddenly, just like a cloud, like a mist, now forming, unfolding. Then the mountains were separated from the water, all at once the great mountains came forth. By their genius alone, by their cutting edge alone they carried out the conception of the mountain-plain, whose face grew instant groves of cypress and pine.
And the Plumed Serpent was pleased with this:
"It was good that you came, Heart of Sky, Hurricane, and Newborn Thunderbolt, Sudden Thunderbolt. Our work, our design will turn out well," they said.
And the earth was formed first, the mountain-plain. The channels of water were separated; their branches wound their ways among the mountains. The waters were divided when the great mountains appeared.
Such was the formation of the earth when it was brought forth by the Heart of Sky, Heart of Earth, as they are called, since they were the first to think of it. The sky was set apart, and the earth was set apart in the midst of the waters.
Such was their plan when they thought, when they worried about the completion of their work.
Now they planned the animals of the mountains, all the guardians of the forests, creatures of the mountains: the deer, birds, pumas, jaguars, serpents, rattlesnakes, fer-de-lances, guardians of the bushes.
A Bearer, Begetter speaks:
"Why this pointless humming? Why should there merely be rustling beneath the trees and bushes?"
"Indeed -- they had better have guardians," the others replied. As soon as they thought it and said it, deer and birds came forth.
And then they gave out homes to the deer and birds:
"You, the deer: sleep along the rivers, in the canyons. Be here in the meadows, in the thickets, in the forests, multiply yourselves. You will stand and walk on all fours," they were told.
So then they established the nests of the birds, small and great:
"You, precious birds: your nests, your houses are in the trees, in the bushes. Multiply there, scatter there, in the branches of trees, the branches of bushes," the deer and birds were told.
When this deed had been done, all of them had received a place to sleep and a place to stay. So it is that the nests of the animals are on the earth, given by the Bearer, Begetter. Now the arrangement of the deer and birds was complete.
And then the deer and birds were told by the Maker, Modeler, Bearer, Begetter:
"Talk, speak out. Don't moan, don't cry out. Please talk, each to each, within each kind, within each group," they were told -- the deer, birds, puma, jaguar, serpent.
"Name now our names, praise us. We are your mother, we are your father. Speak now:
'Hurricane,
Newborn Thunderbolt, Sudden Thunderbolt,
Heart of Sky, Heart of Earth,
Maker, Modeler,
Bearer, Begetter,'
speak, pray to us, keep our days," they were told. But it didn't turn out that they spoke like people: they just squawked, they just chattered, they just howled. It wasn't apparent what language they spoke; each one gave a different cry. When the Maker, Modeler heard this:
"It hasn't turned out well, they haven't spoken," they said among themselves. "It hasn't turned out that our names have been named. Since we are their mason and sculptor, this will not do," the Bearers and Begetters said among themselves. So they told them:
"You will simply have to be transformed. Since it hasn't turned out well and you haven't spoken, we have changed our word:
"What you feed on, what you eat, the places where you sleep, the places where you stay, whatever is yours will remain in the canyons, the forests. Although it turned out that our days were not kept, nor did you pray to us, there may yet be strength in the keeper of days, the giver of praise whom we have yet to make. Just accept your service, just let your flesh be eaten.
"So be it, this must be your service," they were told when they were instructed -- the animals, small and great, on the face of the earth.
And then they wanted to test their timing again, they wanted to experiment again, and they wanted to prepare for the keeping of days again. They had not heard their speech among the animals; it did not come to fruition and it was not complete.
And so their flesh was brought low: they served, they were eaten, they were killed -- the animals on the face of the earth.
Again there comes an experiment with the human work, the human design, by the Maker, Modeler, Bearer, Begetter:
"It must simply be tried again. The time for the planting and dawning is nearing. For this we must make a provider and nurturer. How else can we be invoked and remembered on the face of the earth? We have already made our first try at our work and design, but it turned out that they didn't keep our days, nor did they glorify us.
"So now let's try to make a giver of praise, giver of respect, provider, nurturer," they said.
So then comes the building and working with earth and mud. They made a body, but it didn't look good to them. It was just separating, just crumbling, just loosening, just softening, just disintegrating, and just dissolving. Its head wouldn't turn, either. Its face was just lopsided, its face was just twisted. It couldn't look around. It talked at first, but senselessly. It was quickly dissolving in the water.
"It won't last," the mason and sculptor said then. "It seems to be dwindling away, so let it just dwindle. It can't walk and it can't multiply, so let it be merely a thought," they said.
So then they dismantled, again they brought down their work and design. Again they talked:
"What is there for us to make that would turn out well, that would succeed in keeping our days and praying to us?" they said. Then they planned again:
"We'll just tell Xpiyacoc, Xmucane, Hunahpu Possum, Hunahpu Coyote, to try a counting of days, a counting of lots," the mason and sculptor said to themselves. Then they invoked Xpiyacoc, Xmucane.
Then comes the naming of those who are the midmost seers: the "Grandmother of Day, Grandmother of Light," as the Maker, Modeler called them. These are names of Xpiyacoc and Xmucane.
When Hurricane had spoken with the Sovereign Plumed Serpent, they invoked the daykeepers, diviners, the midmost seers:
"There is yet to find, yet to discover how we are to model a person, construct a person again, a provider, nurturer, so that we are called upon and we are recognized: our recompense is in words.
Midwife, matchmaker,
our grandmother, our grandfather,
Xpiyacoc, Xmucane,
let there be planting, let there be the dawning
of our invocation, our sustenance, our recognition
by the human work, the human design,
the human figure, the human form.
So be it, fulfill your names:
Hunahpu Possum, Hunahpu Coyote,
Bearer twice over, Begetter twice over,
Great Peccary, Great Coati,
lapidary, jeweler,
sawyer, carpenter,
plate shaper, bowl shaper,
incense maker, master craftsman,
Grandmother of Day, Grandmother of Light.
You have been called upon because of our work, our design. Run your hands over the kernels of corn, over the seeds of the coral tree, just get it done, just let it come out whether we should carve and gouge a mouth, a face in wood," they told the daykeepers.
And then comes the borrowing, the counting of days; the hand is moved over the corn kernels, over the coral seeds, the days, the lots.
Then they spoke to them, one of them a grandmother, the other a grandfather.
This is the grandfather, this is the master of the coral seeds: Xpiyacoc is his name.
And this is the grandmother, the daykeeper, diviner who stands behind others: Xmucane is her name.
And they said, as they set out the days:
"Just let it be found, just let it be discovered,
say it, our ear is listening,
may you talk, may you speak,
just find the wood for the carving and sculpting
by the builder, sculptor.
Is this to be the provider, the nurturer
when it comes to the planting, the dawning?
You corn kernels, you coral seeds,
you days, you lots:
may you succeed, may you be accurate,"
they said to the corn kernels, coral seeds, days, lots. "Have shame, you up there, Heart of Sky: attempt no deception before the mouth and face of Sovereign Plumed Serpent," they said. Then they spoke straight to the point:
"It is well that there be your manikins, woodcarvings, talking, speaking, there on the face of the earth."
"So be it," they replied. The moment they spoke it was done: the manikins, woodcarvings, human in looks and human in speech.
This was the peopling of the face of the earth:
They came into being, they multiplied, they had daughters, they had sons, these manikins, woodcarvings. But there was nothing in their hearts and nothing in their minds, no memory of their mason and builder. They just went and walked wherever they wanted. Now they did not remember the Heart of Sky.
And so they fell, just an experiment and just a cutout for humankind. They were talking at first but their faces were dry. They were not yet developed in the legs and arms. They had no blood, no lymph. They had no sweat, no fat. Their complexions were dry, their faces were crusty. They flailed their legs and arms, their bodies were deformed.
And so they accomplished nothing before the Maker, Modeler who gave them birth, gave them heart. They became the first numerous people here on the face of the earth.
Again there comes a humiliation, destruction, and demolition. The manikins, woodcarvings were killed when the Heart of Sky devised a flood for them. A great flood was made; it came down on the heads of the manikins, woodcarvings.
The man's body was carved from the wood of the coral tree by the Maker, Modeler. And as for the woman, the Maker, Modeler needed the hearts of bulrushes for the woman's body. They were not competent, nor did they speak before the builder and sculptor who made them and brought them forth, and so they were killed, done in by a flood:
There came a rain of resin from the sky.
There came the one named Gouger of Faces: he gouged out their eyeballs.
There came Sudden Bloodletter: he snapped off their heads.
There came Crunching Jaguar: he ate their flesh.
There came Tearing Jaguar: he tore them open.
They were pounded down to the bones and tendons, smashed and pulverized even to the bones. Their faces were smashed because they were incompetent before their mother and their father, the Heart of Sky, named Hurricane. The earth was blackened because of this; the black rainstorm began, rain all day and rain all night. Into their houses came the animals, small and great. Their faces were crushed by things of wood and stone. Everything spoke: their water jars, their tortilla griddles, their plates, their cooking pots, their dogs, their grinding stones, each and every thing crushed their faces. Their dogs and turkeys told them:
"You caused us pain, you ate us, but now it is you whom we shall eat." And this is the grinding stone:
"We were undone because of you.
Every day, every day,
in the dark, in the dawn, forever,
r-r-rip, r-r-rip,
r-r-rub, r-r-rub,
right in our faces, because of you.
This was the service we gave you at first, when you were still people, but today you will learn of our power. We shall pound and we shall grind your flesh," their grinding stones told them.
And this is what their dogs said, when they spoke in their turn:
"Why is it you can't seem to give us our food? We just watch and you just keep us down, and you throw us around. You keep a stick ready when you eat, just so you can hit us. We don't talk, so we've received nothing from you. How could you not have known? You did know that we were wasting away there, behind you.
"So, this very day you will taste the teeth in our mouths. We shall eat you," their dogs told them, and their faces were crushed.
And then their tortilla griddles and cooking pots spoke to them in turn:
"Pain! That's all you've done for us. Our mouths are sooty, our faces are sooty. By setting us on the fire all the time, you burn us. Since we felt no pain, you try it. We shall burn you," all their cooking pots said, crushing their faces.
The stones, their hearthstones were shooting out, coming right out of the fire, going for their heads, causing them pain. Now they run for it, helter-skelter.
They want to climb up on the houses, but they fall as the houses collapse.
They want to climb the trees; they're thrown off by the trees.
They want to get inside caves, but the caves slam shut in their faces.
Such was the scattering of the human work, the human design. The people were ground down, overthrown. The mouths and faces of all of them were destroyed and crushed. And it used to be said that the monkeys in the forests today are a sign of this. They were left as a sign because wood alone was used for their flesh by the builder and sculptor.
So this is why monkeys look like people: they are a sign of a previous human work, human design -- mere manikins, mere woodcarvings.
This was when there was just a trace of early dawn on the face of the earth, there was no sun. But there was one who magnified himself; Seven Macaw is his name. The sky-earth was already there, but the face of the sun-moon was clouded over. Even so, it is said that his light provided a sign for the people who were flooded. He was like a person of genius in his being.
"I am great. My place is now higher than that of the human work, the human design. I am their sun and I am their light, and I am also their months.
"So be it: my light is great. I am the walkway and I am the foothold of the people, because my eyes are of metal. My teeth just glitter with jewels, and turquoise as well; they stand out blue with stones like the face of the sky.
"And this nose of mine shines white into the distance like the moon. Since my nest is metal, it lights up the face of the earth. When I come forth before my nest, I am like the sun and moon for those who are born in the light, begotten in the light. It must be so, because my face reaches into the distance," says Seven Macaw.
It is not true that he is the sun, this Seven Macaw, yet he magnifies himself, his wings, his metal. But the scope of his face lies right around his own perch; his face does not reach everywhere beneath the sky. The faces of the sun, moon, and stars are not yet visible, it has not yet dawned.
And so Seven Macaw puffs himself up as the days and the months, though the light of the sun and moon has not yet clarified. He only wished for surpassing greatness. This was when the flood was worked upon the manikins, woodcarvings.
And now we shall explain how Seven Macaw died, when the people were vanquished, done in by the mason and sculptor.
Copyright © 1985, 1996 by Dennis Tedlock
This is the beginning of the Ancient Word, here in this place called Quiché. Here we shall inscribe, we shall implant the Ancient Word, the potential and source for everything done in the citadel of Quiché, in the nation of Quiché people.
And here we shall take up the demonstration, revelation, and account of how things were put in shadow and brought to light by
the Maker, Modeler,
named Bearer, Begetter,
Hunahpu Possum, Hunahpu Coyote,
Great White Peccary, Coati,
Sovereign Plumed Serpent,
Heart of the Lake, Heart of the Sea,
plate shaper, bowl shaper, as they are called,
also named, also described as
the midwife, matchmaker
named Xpiyacoc, Xmucane,
defender, protector,
twice a midwife, twice a matchmaker,
as is said in the words of Quiché. They accounted for everything -- and did it, too -- as enlightened beings, in enlightened words. We shall write about this now amid the preaching of God, in Christendom now. We shall bring it out because there is no longer
a place to see it, a Council Book,
a place to see "The Light That Came from Beside the Sea,"
the account of "Our Place in the Shadows."
a place to see "The Dawn of Life,"
as it is called. There is the original book and ancient writing, but the one who reads and assesses it has a hidden identity. It takes a long performance and account to complete the lighting of all the sky-earth:
the fourfold siding, fourfold cornering,
measuring, fourfold staking,
halving the cord, stretching the cord
in the sky, on the earth,
the four sides, the four comers, as it is said,
by the Maker, Modeler,
mother-father of life, of humankind,
giver of breath, giver of heart,
bearer, upbringer in the light that lasts
of those born in the light, begotten in the light;
worrier, knower of everything, whatever there is:
sky-earth, lake-sea.
This is the account, here it is:
Now it still ripples, now it still murmurs, ripples, it still sighs, still hums, and it is empty under the sky.
Here follow the first words, the first eloquence:
There is not yet one person, one animal, bird, fish, crab, tree, rock, hollow, canyon, meadow, forest. Only the sky alone is there; the face of the earth is not clear. Only the sea alone is pooled under all the sky; there is nothing whatever gathered together. It is at rest; not a single thing stirs. It is held back, kept at rest under the sky.
Whatever there is that might be is simply not there: only the pooled water, only the calm sea, only it alone is pooled.
Whatever might be is simply not there: only murmurs, ripples, in the dark, in the night. Only the Maker, Modeler alone, Sovereign Plumed Serpent, the Bearers, Begetters are in the water, a glittering light. They are there, they are enclosed in quetzal feathers, in blue-green.
Thus the name, "Plumed Serpent." They are great knowers, great thinkers in their very being.
And of course there is the sky, and there is also the Heart of Sky. This is the name of the god, as it is spoken.
And then came his word, he came here to the Sovereign Plumed Serpent, here in the blackness, in the early dawn. He spoke with the Sovereign Plumed Serpent, and they talked, then they thought, then they worried. They agreed with each other, they joined their words, their thoughts. Then it was clear, then they reached accord in the light, and then humanity was clear, when they conceived the growth, the generation of trees, of bushes, and the growth of life, of humankind, in the blackness, in the early dawn, all because of the Heart of Sky, named Hurricane. Thunderbolt Hurricane comes first, the second is Newborn Thunderbolt, and the third is Sudden Thunderbolt.
So there were three of them, as Heart of Sky, who came to the Sovereign Plumed Serpent, when the dawn of life was conceived:
"How should the sowing be, and the dawning? Who is to be the provider, nurturer?"
"Let it be this way, think about it: this water should be removed, emptied out for the formation of the earth's own plate and platform, then should come the sowing, the dawning of the sky-earth. But there will be no high days and no bright praise for our work, our design, until the rise of the human work, the human design," they said.
And then the earth arose because of them, it was simply their word that brought it forth. For the forming of the earth they said "Earth." It arose suddenly, just like a cloud, like a mist, now forming, unfolding. Then the mountains were separated from the water, all at once the great mountains came forth. By their genius alone, by their cutting edge alone they carried out the conception of the mountain-plain, whose face grew instant groves of cypress and pine.
And the Plumed Serpent was pleased with this:
"It was good that you came, Heart of Sky, Hurricane, and Newborn Thunderbolt, Sudden Thunderbolt. Our work, our design will turn out well," they said.
And the earth was formed first, the mountain-plain. The channels of water were separated; their branches wound their ways among the mountains. The waters were divided when the great mountains appeared.
Such was the formation of the earth when it was brought forth by the Heart of Sky, Heart of Earth, as they are called, since they were the first to think of it. The sky was set apart, and the earth was set apart in the midst of the waters.
Such was their plan when they thought, when they worried about the completion of their work.
Now they planned the animals of the mountains, all the guardians of the forests, creatures of the mountains: the deer, birds, pumas, jaguars, serpents, rattlesnakes, fer-de-lances, guardians of the bushes.
A Bearer, Begetter speaks:
"Why this pointless humming? Why should there merely be rustling beneath the trees and bushes?"
"Indeed -- they had better have guardians," the others replied. As soon as they thought it and said it, deer and birds came forth.
And then they gave out homes to the deer and birds:
"You, the deer: sleep along the rivers, in the canyons. Be here in the meadows, in the thickets, in the forests, multiply yourselves. You will stand and walk on all fours," they were told.
So then they established the nests of the birds, small and great:
"You, precious birds: your nests, your houses are in the trees, in the bushes. Multiply there, scatter there, in the branches of trees, the branches of bushes," the deer and birds were told.
When this deed had been done, all of them had received a place to sleep and a place to stay. So it is that the nests of the animals are on the earth, given by the Bearer, Begetter. Now the arrangement of the deer and birds was complete.
And then the deer and birds were told by the Maker, Modeler, Bearer, Begetter:
"Talk, speak out. Don't moan, don't cry out. Please talk, each to each, within each kind, within each group," they were told -- the deer, birds, puma, jaguar, serpent.
"Name now our names, praise us. We are your mother, we are your father. Speak now:
'Hurricane,
Newborn Thunderbolt, Sudden Thunderbolt,
Heart of Sky, Heart of Earth,
Maker, Modeler,
Bearer, Begetter,'
speak, pray to us, keep our days," they were told. But it didn't turn out that they spoke like people: they just squawked, they just chattered, they just howled. It wasn't apparent what language they spoke; each one gave a different cry. When the Maker, Modeler heard this:
"It hasn't turned out well, they haven't spoken," they said among themselves. "It hasn't turned out that our names have been named. Since we are their mason and sculptor, this will not do," the Bearers and Begetters said among themselves. So they told them:
"You will simply have to be transformed. Since it hasn't turned out well and you haven't spoken, we have changed our word:
"What you feed on, what you eat, the places where you sleep, the places where you stay, whatever is yours will remain in the canyons, the forests. Although it turned out that our days were not kept, nor did you pray to us, there may yet be strength in the keeper of days, the giver of praise whom we have yet to make. Just accept your service, just let your flesh be eaten.
"So be it, this must be your service," they were told when they were instructed -- the animals, small and great, on the face of the earth.
And then they wanted to test their timing again, they wanted to experiment again, and they wanted to prepare for the keeping of days again. They had not heard their speech among the animals; it did not come to fruition and it was not complete.
And so their flesh was brought low: they served, they were eaten, they were killed -- the animals on the face of the earth.
Again there comes an experiment with the human work, the human design, by the Maker, Modeler, Bearer, Begetter:
"It must simply be tried again. The time for the planting and dawning is nearing. For this we must make a provider and nurturer. How else can we be invoked and remembered on the face of the earth? We have already made our first try at our work and design, but it turned out that they didn't keep our days, nor did they glorify us.
"So now let's try to make a giver of praise, giver of respect, provider, nurturer," they said.
So then comes the building and working with earth and mud. They made a body, but it didn't look good to them. It was just separating, just crumbling, just loosening, just softening, just disintegrating, and just dissolving. Its head wouldn't turn, either. Its face was just lopsided, its face was just twisted. It couldn't look around. It talked at first, but senselessly. It was quickly dissolving in the water.
"It won't last," the mason and sculptor said then. "It seems to be dwindling away, so let it just dwindle. It can't walk and it can't multiply, so let it be merely a thought," they said.
So then they dismantled, again they brought down their work and design. Again they talked:
"What is there for us to make that would turn out well, that would succeed in keeping our days and praying to us?" they said. Then they planned again:
"We'll just tell Xpiyacoc, Xmucane, Hunahpu Possum, Hunahpu Coyote, to try a counting of days, a counting of lots," the mason and sculptor said to themselves. Then they invoked Xpiyacoc, Xmucane.
Then comes the naming of those who are the midmost seers: the "Grandmother of Day, Grandmother of Light," as the Maker, Modeler called them. These are names of Xpiyacoc and Xmucane.
When Hurricane had spoken with the Sovereign Plumed Serpent, they invoked the daykeepers, diviners, the midmost seers:
"There is yet to find, yet to discover how we are to model a person, construct a person again, a provider, nurturer, so that we are called upon and we are recognized: our recompense is in words.
Midwife, matchmaker,
our grandmother, our grandfather,
Xpiyacoc, Xmucane,
let there be planting, let there be the dawning
of our invocation, our sustenance, our recognition
by the human work, the human design,
the human figure, the human form.
So be it, fulfill your names:
Hunahpu Possum, Hunahpu Coyote,
Bearer twice over, Begetter twice over,
Great Peccary, Great Coati,
lapidary, jeweler,
sawyer, carpenter,
plate shaper, bowl shaper,
incense maker, master craftsman,
Grandmother of Day, Grandmother of Light.
You have been called upon because of our work, our design. Run your hands over the kernels of corn, over the seeds of the coral tree, just get it done, just let it come out whether we should carve and gouge a mouth, a face in wood," they told the daykeepers.
And then comes the borrowing, the counting of days; the hand is moved over the corn kernels, over the coral seeds, the days, the lots.
Then they spoke to them, one of them a grandmother, the other a grandfather.
This is the grandfather, this is the master of the coral seeds: Xpiyacoc is his name.
And this is the grandmother, the daykeeper, diviner who stands behind others: Xmucane is her name.
And they said, as they set out the days:
"Just let it be found, just let it be discovered,
say it, our ear is listening,
may you talk, may you speak,
just find the wood for the carving and sculpting
by the builder, sculptor.
Is this to be the provider, the nurturer
when it comes to the planting, the dawning?
You corn kernels, you coral seeds,
you days, you lots:
may you succeed, may you be accurate,"
they said to the corn kernels, coral seeds, days, lots. "Have shame, you up there, Heart of Sky: attempt no deception before the mouth and face of Sovereign Plumed Serpent," they said. Then they spoke straight to the point:
"It is well that there be your manikins, woodcarvings, talking, speaking, there on the face of the earth."
"So be it," they replied. The moment they spoke it was done: the manikins, woodcarvings, human in looks and human in speech.
This was the peopling of the face of the earth:
They came into being, they multiplied, they had daughters, they had sons, these manikins, woodcarvings. But there was nothing in their hearts and nothing in their minds, no memory of their mason and builder. They just went and walked wherever they wanted. Now they did not remember the Heart of Sky.
And so they fell, just an experiment and just a cutout for humankind. They were talking at first but their faces were dry. They were not yet developed in the legs and arms. They had no blood, no lymph. They had no sweat, no fat. Their complexions were dry, their faces were crusty. They flailed their legs and arms, their bodies were deformed.
And so they accomplished nothing before the Maker, Modeler who gave them birth, gave them heart. They became the first numerous people here on the face of the earth.
Again there comes a humiliation, destruction, and demolition. The manikins, woodcarvings were killed when the Heart of Sky devised a flood for them. A great flood was made; it came down on the heads of the manikins, woodcarvings.
The man's body was carved from the wood of the coral tree by the Maker, Modeler. And as for the woman, the Maker, Modeler needed the hearts of bulrushes for the woman's body. They were not competent, nor did they speak before the builder and sculptor who made them and brought them forth, and so they were killed, done in by a flood:
There came a rain of resin from the sky.
There came the one named Gouger of Faces: he gouged out their eyeballs.
There came Sudden Bloodletter: he snapped off their heads.
There came Crunching Jaguar: he ate their flesh.
There came Tearing Jaguar: he tore them open.
They were pounded down to the bones and tendons, smashed and pulverized even to the bones. Their faces were smashed because they were incompetent before their mother and their father, the Heart of Sky, named Hurricane. The earth was blackened because of this; the black rainstorm began, rain all day and rain all night. Into their houses came the animals, small and great. Their faces were crushed by things of wood and stone. Everything spoke: their water jars, their tortilla griddles, their plates, their cooking pots, their dogs, their grinding stones, each and every thing crushed their faces. Their dogs and turkeys told them:
"You caused us pain, you ate us, but now it is you whom we shall eat." And this is the grinding stone:
"We were undone because of you.
Every day, every day,
in the dark, in the dawn, forever,
r-r-rip, r-r-rip,
r-r-rub, r-r-rub,
right in our faces, because of you.
This was the service we gave you at first, when you were still people, but today you will learn of our power. We shall pound and we shall grind your flesh," their grinding stones told them.
And this is what their dogs said, when they spoke in their turn:
"Why is it you can't seem to give us our food? We just watch and you just keep us down, and you throw us around. You keep a stick ready when you eat, just so you can hit us. We don't talk, so we've received nothing from you. How could you not have known? You did know that we were wasting away there, behind you.
"So, this very day you will taste the teeth in our mouths. We shall eat you," their dogs told them, and their faces were crushed.
And then their tortilla griddles and cooking pots spoke to them in turn:
"Pain! That's all you've done for us. Our mouths are sooty, our faces are sooty. By setting us on the fire all the time, you burn us. Since we felt no pain, you try it. We shall burn you," all their cooking pots said, crushing their faces.
The stones, their hearthstones were shooting out, coming right out of the fire, going for their heads, causing them pain. Now they run for it, helter-skelter.
They want to climb up on the houses, but they fall as the houses collapse.
They want to climb the trees; they're thrown off by the trees.
They want to get inside caves, but the caves slam shut in their faces.
Such was the scattering of the human work, the human design. The people were ground down, overthrown. The mouths and faces of all of them were destroyed and crushed. And it used to be said that the monkeys in the forests today are a sign of this. They were left as a sign because wood alone was used for their flesh by the builder and sculptor.
So this is why monkeys look like people: they are a sign of a previous human work, human design -- mere manikins, mere woodcarvings.
This was when there was just a trace of early dawn on the face of the earth, there was no sun. But there was one who magnified himself; Seven Macaw is his name. The sky-earth was already there, but the face of the sun-moon was clouded over. Even so, it is said that his light provided a sign for the people who were flooded. He was like a person of genius in his being.
"I am great. My place is now higher than that of the human work, the human design. I am their sun and I am their light, and I am also their months.
"So be it: my light is great. I am the walkway and I am the foothold of the people, because my eyes are of metal. My teeth just glitter with jewels, and turquoise as well; they stand out blue with stones like the face of the sky.
"And this nose of mine shines white into the distance like the moon. Since my nest is metal, it lights up the face of the earth. When I come forth before my nest, I am like the sun and moon for those who are born in the light, begotten in the light. It must be so, because my face reaches into the distance," says Seven Macaw.
It is not true that he is the sun, this Seven Macaw, yet he magnifies himself, his wings, his metal. But the scope of his face lies right around his own perch; his face does not reach everywhere beneath the sky. The faces of the sun, moon, and stars are not yet visible, it has not yet dawned.
And so Seven Macaw puffs himself up as the days and the months, though the light of the sun and moon has not yet clarified. He only wished for surpassing greatness. This was when the flood was worked upon the manikins, woodcarvings.
And now we shall explain how Seven Macaw died, when the people were vanquished, done in by the mason and sculptor.
Copyright © 1985, 1996 by Dennis Tedlock
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Reviewed in Canada on November 27, 2011
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The text is nicely translated, and it does have a certain poetic touch to it. One also notes that the stories interrelate with the Mayan Calendar, which was apparently developed for astronomy purposes. The description of the Maya calendar and the interaction to Popol Vuh is well done in the foot notes to the text. The foot notes generally are provide an informative insight behind the text. I did find some of the names that Maya used, strange, and unusual, and that made it hard to follow the stories at times. I found that the text had interesting echos and differences to say Greek Myths and Genesis account of the bible. For example, the Maya belief that original humans were not one pair, but four couples. Overall anyone interested in mythology of the Mayan Civilization or early civilizations in general will want to read this book.
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Reviewed in Canada on June 26, 2014
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I heard some people refering to this book in a mayan history video,soI had to check it out.I picked up from amazon and started reading.I noticed a parallel to the story of the Israelites,and as I did a little more research on the matter,The Mayans are in fact one of the 12 tribes of Israel.Their language is very similar to ancient phoenician hebrew.This makes it even more interesting to read.I recommend this book to anyone who is into native american history.
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Reviewed in Canada on August 8, 2019
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interested in Mayan Mythology ? then this is the book for you!!
Reviewed in Canada on July 2, 2020
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Since i have Mayan ancestors i am excited to own a piece of their history thank u
Reviewed in Canada on January 17, 2016
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great book
Reviewed in Canada on September 2, 2018
We could definitely compare some motifs or patterns in the story with those of the Bible or the Quran, but the patterns only have the meaning the general architecture in which they are cast provide them with and this meaning is not the same in the three books concerned here.
First of all, this book does not state at any time there is only one God. There are many Gods in this story even if maybe Quetzalcoatl is the main one, even if we could consider this is the beginning of the emergence of monotheism in this book, but really nothing but a sketchy beginning, especially when we know Quetzalcoatl is dead, he was sacrificed for the Maya world to stabilize and develop, though it is not clear whether it is a self-sacrifice or a formal heart-rending sacrifice performed by a priest of some kind. Note this sacrificed God, not son of God, of course, is supposed to come back from the East.
The second element is about the creation of the world, or rather the creation of the human species. The least we can say is that the creator who is maybe one, maybe several, was or were very sloppy and had to start all over again several times. These gods are not almighty far from it. But the most surprising element is that God appears to have many qualities, or names, and at times these qualities or names are seen as separate maybe even over several entities. Over the total watery world, “in the dark, in the night” (translation problem or fair translation? The dark is a clear characteristic that is defined easily as the absence of light, but the night is nothing but the other side of the day, night implying day from which it has been discriminated: so how can it be before daylight has been provided to differentiate day from night),
“only the Maker, Modeler alone, Sovereign Plumed Serpent, the Bearers, Begetters are in the water, a glittering light. They are there, they are enclosed in quetzal feathers, in blue-green.” (p. 64
This is a beautiful story but is the Maker one or many? But is darkness defined as opposed to already existing light? But how come quetzal feathers exist before the creation of life? And the next sentence is even more mysterious:
“Thus the name, ‘Plumed Serpent.’ They are great knowers, great thinkers in their very being.” (p. 64)
We then come to an essential element of the cosmic vision of the Mayas. Their cosmos, their universe is vertical and going up you get into the sky and you consider the Heart of the Sky which is the Sovereign Plumed Serpent again. We will find later an underworld, Xibalba, and the emergence of humanity will come from a rebellion of the first humans against the lords of this underworld with the support of the Gods of the Sky, of the Heart of the Sky. And this Heart of the Sky has many names:
“named Hurricane. Thunderbolt Hurricane comes first, the second is Newborn Thunderbolt, and the third is Sudden Thunderbolt. So they were three of them at Heart of Sky who came to the Sovereign Plumed Serpent.” (p. 65)
This ternary pattern is typical of all religions before Judaism (a binary vision: “God and his Spirit” of Genesis) and Islam (God is one and only one and Mohammed is only his Prophet). Judaism emerged from various religions whose pattern was ternary. Christianity reintroduced the trinity but we can wonder if it was a reintroduction by Jesus himself or if it was a rewriting of the Jewish reference of Jesus to his Father and the Holy Spirit (only two, and father is a normal metaphor for God in Judaism), a rewriting introduced later by some disciples, apostles or not. What is interesting is that this book cannot be reduced to a single numerical pattern. Note however that Hurricane refers to the wind and in the Maya tradition, there are four winds corresponding to the four cardinal directions. We will find them later represented as a crossroads of four roads with four colors, “red, black, white, yellow,” (p. 95). Traditionally they are red for east, black for west, white for north, and yellow for south, and along with the upwards (Sky) and downward (Xibalba) directionality of the center, then heart, brings the cosmic vision to six, though traditionally again this center is reduced to a point, and then the four directions and the center form a “quincunx,” the oldest glyph found in Mesoamerica, similar to the eighth day, Lamat/Rabbit, and the eighteenth day, Flint/Etz’nab, of the Tzolk’in calendar. It is also an aerial view of a pyramid. The full six-directional vision is that of a textile shuttle, and note this vision will be recaptured by William Blake though Blake will redesign it inside out and outside in. But that’s another story.
Note here that the “heart” is really sacred, divine, and that must bring in our minds two remarks. Blood is sacred and divine and blood is the best offering to this Heart of the Sky with self-sacrifice generally by puncturing one’s penis with a jade sacrificial knife. No women can do that. Women are side-tracked. At best you can also puncture your tongue or your ears, but that is a second choice. This simple fact is a sign of a post-Ice-Age agricultural society that has pushed women out of the picture, or at best on its side. The second remark is that the heart itself is sacred and divine and the best act of subservience and obedience to the Gods is to offer one’s heart to him or them with ritual sacrifice. This centering cult on self-sacrifice and sacrifice is the very starting point and center of the vision. God is not seen as going along with his Spirit, but as the heart of the sky and we have to take this word literally. And this multiple-facetted god is redefined again this time as a nonary entity: “Hurricane, Newborn Thunderbolt, Sudden Thunderbolt, Heart of Sky, Heart of Earth, Maker, Modeler, Bearer, Begetter.” This male figure is all-male up to its seventh characteristic. But his last two features are female. A male cannot bear or cannot beget any child. Note though, in spite of what some may think, this Plumed Serpent is not the first creator in this cosmos because he is himself a newborn and to be born he has to come from a bearer, and this bearer has to be impregnated with the future newborn. Of course, we are working on a translation but these are intriguing and there is no possible comparison with the Bible. In the Bible, God is introduced as existing in the watery dark world along with his spirit without any mention or allusion to any origin at all. Here the main multiple-facetted god has been born to existence and is himself the bearer and begetter, hence he is both the newborn and the bearer, or shouldn’t it be the bearer and the newborn. He is the mother, the father and the son all in one multiple facetted God we are dealing with here.
This chaotic creation starts a series of pairs of humans. In a group of four, Xpiyacoc, Xmucane, Hunahpu Possum and Hunahpu Coyote. The mason and sculptor who invoke the first two, ask them to count days and to count lots, meaning to attach fate and the future to the days of the calendar. But at once they enter that very future. Xpiyacoc and Xmucane are declared to be respectively the grandfather and the grandmother (note the text gives the other order first and then specifies the order the way I have just given it. They invoke then the other two, Hunahpu Possum and Hunahpu Coyote with a long series of pairs of words ending with “Grandmother of Day, Grandmother of Light. Yet these people were manikins, woodcarvings and “there was nothing in their hearts and nothing in their minds.” (p. 70) So the decision was taken to destroy them. And yet Seven Macaw survives in his vanity: “I am their sun and I am their light, and I am also their months.” (p. 73) That’s when the manikins were destroyed by a flood, the famous flood that is the rising of the water after the Ice Age: 120 meters altogether submerging the coastal platform that had been open, inhabited and covered with vegetation for more than 20,000 years. It pushed humans away from the eastern coast (a fundamental migration stated in this book, and later on recalled as an initiating rite to the rising sun, to dawn as a metaphor for the development of modern humanity.
Seven Macaw survives, but not for long. I will jump now to the second part, the story of Seven Macaw and his descendants. This Seven Macaw has a wife, Chimalmat and they had two sons, Zipacna and Earthquake. Let them define themselves
“Here I am: I am the sun,” said Seven Macaw. “Here I am: I am the maker of the earth,” said Zipacna. “As for me, I bring down the sky, I make an avalanche of all the earth,” said Earthquake.” (p. 77-78)
That’s when Hunahpu and Xbalanque come into the picture. The first encounter with Seven Macaw makes Hunahpu lose one arm, ripped off by Seven Macaw. Then the two boys invoke a grandfather and a grandmother, Great White Peccary and Great White Coati, to approach Seven Macaw. He and his wife die because the grandfather and grandmother take care of his broken jaw and teeth and they deprive him of his metal. His wife dies too.
Zipacna during that time is bathing on the coast when 400 boys come along. He helps them carry a log but they are suspicious. So they make him dig a deep hole and they bury him in it though they are mistaken as for his death and he kills them all. But he then encounters the two boys and these trick him into chasing a crab in some cave or crack in the mountain and he is turned into stone. During that time Earthquake is enjoying his earth-quaking power. He comes across the two boys who pretend they are going hunting in the mountains. He joins them and they get some birds. The two boys prepare one for him with gypsum on top. Earthquake eats it but after that, he cannot walk anymore and the boys bury him. That’s how Hunahpu and Xbalanque defeated Seven Macaw and his two sons.
What is interesting here is the pattern of two sons against two sons. The first pair have a father and they are a triad of bad people, the mother being totally marginal. The second pair invoke two grandparents when necessary but they are not really part of this quartet because the grandparents are there to kill Seven Macaw, thus saving the mission of the two boys. We assume they are twins. But it is not said that clearly.
That binary pattern is going to continue. Xpivacoc and Xmucane have two sons, One Hunahpu and Seven Hunahpu. One Hunahpu has two sons too, One Monkey and One Artisan. Seven Hunahpu has no children, he remains a boy. One Hunahpu and Seven Hunahpu just throw dice and play ball every day in pairs, we assume with One Monkey and One Artisan. The triple God Hurricane-Newborn-Thunderbolt-Sudden-Thunderbolt sends a falcon as a messenger. The four of them go on playing but along the road to Xibalba, the underworld. They are met by One Death and Seven Death, two lords of Xibalba. This underworld is governed by twelve Lords that go in pairs. By their names and by their functions they are entirely dedicated to killing people and making them suffer. The six pairs are One and Seven Death; Scab Stripper and Blood Gatherer; Demon of Pus and Demon of Jaundice; Bone Scepter and Skull Scepter; Demon of Filth and Demon of Woe; and Wing and Packstrap (who make people die in the road, meaning by sudden death). One and Seven Hunahpu go on to Xibalba, whereas One Monkey and One Artisan stay behind. The latter pair will be defeated by Hunahpu and Xbalanque later.
The Lords of Xibalba send four messengers, four owls: Shooting Owl, One-Legged Owl, Macaw Owl and Skull Owl. One and Seven Hunahpu accept to follow them. They are submitted to extreme tests, when they arrive, in the Dark House, Rattling House, Jaguar House, Bat House, Razor House. They had received a lit up cigar and torch and they were supposed to bring them back at the end in the same original state they had received them, which of course they could not do. So they were sacrificed and buried. One Hunahpu’s head is hanged in a tree along the road.
Then we have the story of Blood Moon, a maiden whose father is Blood Gatherer. She gets pregnant from the skull/head of One Hunahpu by just talking to it. Her father who is connected to the Lords of Xibalba wants to know the father. She refuses to tell. She is sent to sacrifice by her father. The Military Keepers of the Mat have to do the sacrifice, but Blood Moon reveals the identity of the father to them. So they cheat and she finds refuge with the grandmother of One Monkey and One Artisan. Blood Moon explains her situation to the woman who is now her grandmother-in-law. After a first refusal, she accepts the grandchildren who are Hunahpu and Xbalanque. These get into some rivalry with their brothers, One Monkey and One Artisan. The two older ones climb in a tree but can’t get down. The two younger ones tell them to let the tail of their loincloth hand behind and they are turned into monkeys and they skip away in the forest. The mother-in-law asks the younger ones to call the older ones back by playing the song Hunahpu Monkey. They come back three times but the grandmother laughs each time. They try a fourth time to call them back but they do not come back. They became animals. Hunahpu and Xbalanque, while trying to cultivate a garden unsuccessfully, capture and torture a rat who tell them they have to recuperate what belongs to their father One Hunahpu. And that is the last leg of this binary story. Their descent to Xibalba and their vengeance. Having learned from their predecessors the tricks of the Lords of Xibalba, they can respond, mostly with magic, to the various houses
Their grandmother sends them a message via a louse that is swallowed by a toad that is swallowed by a snake and that is swallowed by a falcon who delivers those it has swallowed to the two boys who can thus get the message. This quaternary pattern is emphasized by the swallowing process and then by the delivering spitting out or vomiting. Before leaving, they plant two ears of corn in the middle of the grandmother’s house for them to dry to show their death in due time. They cross the two rivers Pus River and Blood River on their blowguns. They came to the crossroads of the four roads, Black Road, White Road, Red Road, Green Road. There they summoned a mosquito spy who went first to bite the people he met there in order to make the Lords of Xibalba who were there speak their names. The first two people were wooden manikins and they did not respond, but then the twelve Lords responded to the bites and from one to the last they reveal their names. So when the boys meet them they can greet them by names, the twelve of them. They refuse to sit on the cooking stone slab presented as a bench. Then they defeat every house they enter. Dark House first where they accept to deliver, after letting themselves be defeated in the ballgame, four bowls full of red petals, white petals, yellow petals, and whole flowers before the end of the night. Then Razor House where they pacify all the knives and call for the ants which get into One and Seven Death’s garden and steal the petals and the flowers they deliver in four bowls as requested.
In Cold House, they simply shut the cold out and survive. In Jaguar House they pacify the jaguars by giving them a pile of bones. In the Midst of the Fire, in a house of fire, they are only toasted and simmered, not burned. Inside Bat House they sleep in their blowguns. Hunahpu though sticks his head out to see if dawn is coming and a bat snapped his head off. Xbalanque then summons all the animals and ask them to bring their food. They bring rotten wood, leaves, stones, earth, and then unspecified food till the last one brought by the coati: a squash that becomes the simulated head of Hunahpu with brains provided by the Heart of Sky, Hurricane. To finish the simulated head a possum makes four streaks that make the early dawn red and blue. In the ball game then the rabbit is supposed to lure the Xibalbans away after Hunahpu’s real head is kicked into the game as if it were a ball that, after two rebounds, ends up among the ball bags. The rabbit runs away after the ball suppposedly, the Xibalbans run after him and Hunahpu can recuperate his real head. The squash becomes the ball and the game can start again and they make equal plays on both sides. But two knowers are called in, Xulu and Pecam who describes the death of the two brothers in an oven. The two brothers walk hand in hand into the oven and die there together. Their bones are ground and spilled in the river.
“They just sank to the bottom of the water. They became handsome boys; they looked just the same as before when they reappeared.” (p. 132)
And yet on the fifth day they reappear. Seen in the river as two catfish first, then they become two vagabonds dressed in rags. They dance, the Dance of the Poorwill, the Dance of the Weasel and Armadillos, Swallowing Swords and Walking on Stilts, performing miracles. They mutually sacrifice themselves one for the other, and yet get back to life. The Lords of Xibalba invite them and ask them to perform a show for them. To entertain the Lords, the two vagabonds sacrifice a dog that comes back to life after dying. They set fire to the home of the lord, with all the Lords inside. They are not burned and the house is reconstructed. Then they perform a human sacrifice, hold up the human heart and then bring the person back to life. Then Xbalanque sacrifices Hunahpu. Legs and arms are cut off. The head is decapitated. The heart is dug out and presented in a leaf to the Xibalbans. Xbalanque dances and orders his brother to come back to life and he does. That’s when the trap works. One and Seven Death ask them to sacrifice them both. Which they do but this time the two Lords do not come back to life. Then all the Lords submit and accept their defeat. And the two vagabonds reveal their names, Hunahpu and Xbalanque. They reveal their fathers’ names, One Hunahpu, killed by the Xibalbans who then lose their greatness and brilliance.
During that time the ears of green corn they left in their grandmother’s house dried up when they died in the oven but then the corn plants grew again.
“Then the ears were deified by their grandmother, and she gave them names: Middle of the House, Middle of the Harvest, Living Ears of Green Corn, and Bed of Earth.” (p. 139)
Note the binary quartet. That’s the mention of a Maize God who is in fact associated to the resurrected father of the two brothers, a father who is one but as a member of a pair since he is One Hunahpu and is associated to Seven Hunahpu. This One-Seven pair that appears too in One and Seven Death, is mysterious, except that 1 + 7 = 8, bringing us back into the binary pattern 2-4-8. But this final renascence is concluded by a last miracle:
“And then the Four Hundred Boys climbed up, the ones who were killed by Zipacna.” (p. 142)
We have to note that this 400 is the only mention of the vigesimal counting base of the Mayas in the form of 20 x 20 = 400. The writing of numbers by the Mayas would clearly show this complexity. So in a way we have to consider the resurrection of the 400 Boys is the institution of Mayan mathematics which is also the basis of the Mayan Calendar. Note here the second figure of this calendar, 13, has never appeared in this story. The closest was the set of twelve lords in Xibalba emphasized when the two brothers met the Lords for the first time by the revelation of their names by the mosquito and then by the twelve personal greetings addressed to them. But thirteen remains a mystery. It will only appear in the next part as the “thirteen allied tribes” but it will never be clear specified who they are in the next sections of this book.
I will stop here because in the next sections it is rather the history of the establishment of the Maya nation or empire and we are no longer dealing with a myth but rather a mythologized real history. In this historical description, the Quiche (should be Cauec) Lords are attributed fourteen generations with nine lineages, great houses, and nine rulers. The Greathouses’ generations are counted up to eleven with two addenda that are not clear, and nine declared lords of the great houses but only eight listed, though a note clarifies this discrepancy as being the result of the translator cutting off the sixth lord because he is identical to the fourth (Chief of the Reception House) though the note says that this sixth lord should have been Chief Yeoltux Emissary, thus bringing the number of lords back to the announced number of nine. The third lineage is called again the Lord Quichés (which is correct) and have nine lords but no generations at all. In the same way, the next chapters present four Founders or four humans who are the fathers of the Maya people: Jaguar Quitze, Jaguar Night, Not Right Now and Dark Jaguar, who have four wives, respectively, Red Sea Turtle, Prawn House, Water Hummingbird and Macaw House. But these four main lines in the Maya people only have three gods for the first three lines: Tohil, Auilix, and Hacauitz. Dark Jaguar does not have a god. And this Dark Jaguar will more or less be sidetracked little by little and the four original humans only give three separate lineages: Jaguar Quitze and the nine great houses of the Cauecs, Jaguar Night and the nine great houses of the Greathouses and Not Right Now and the four great houses of the Lord Quichés. Note this list (p. 149) is in contradiction with the listing of the generations that calls the first lineage the Quiché lords. But one thing is clear. The fasting and penance doing of the Lords are based on the twenty days of the calendar, here translated as “scores” and they fast and do penance during multiple scores of days:
“For nine score days they would fast, and for nine they would do penance and burn offerings. Thirteen score was another of their fasts, and for thirteen they could do penance and burn offerings before Tohil and their other gods. They would only eat zapotes, matasanos, jocotes; there was nothing made of corn [it would be better to say “maize”] for their meals. Even if they did penance for seventeen scores, then for seventeen they fasted, they did not eat. They achieve truly great abstinence. This was a sign that they had the being of true lords. And there weren’t any women with them when they slept.” (p. 192)
If you follow the progression we have 9 scores, then 13 scores and then 17 scores. 9 is not as such part of the calendar but 9 is present in many sections when speaking of the houses and their lords. 13 is the number of scores (the basic sets of twenty days) of the Tzolk’in calendar. But 17 is nothing at all: I did not find it anywhere in this book. The second calendar is the Haab and it counts 18 scores of days plus five. So this book remains mysterious and does not solve some problems. We can see the Mayan counting system emerging and we can see the Tzolk’in calendar emerging but many other numerical elements are mysterious.
I will conclude with the last sentence of Part Three:
“And so they [the Four Hundred Boys] came to accompany the two of them [Hunahpu and Xbalanque], they became the sky’s own stars.” (p. 142)
And that conclusion makes Hunahpu and Xbalanque be like the sun and the moon, at least in symbolic treatment. The illustrations are absolutely amazing and beautiful.
Dr. Jacques COULARDEAU
Some compare this book to the Christian or Jewish Bible. I guess some compare it too to the Quran. Such comparisons are unfair to this book because they cast it into a mold that has little to do with the Mayas and Mayan religion, mythology or culture.
We could definitely compare some motifs or patterns in the story with those of the Bible or the Quran, but the patterns only have the meaning the general architecture in which they are cast provide them with and this meaning is not the same in the three books concerned here.
First of all, this book does not state at any time there is only one God. There are many Gods in this story even if maybe Quetzalcoatl is the main one, even if we could consider this is the beginning of the emergence of monotheism in this book, but really nothing but a sketchy beginning, especially when we know Quetzalcoatl is dead, he was sacrificed for the Maya world to stabilize and develop, though it is not clear whether it is a self-sacrifice or a formal heart-rending sacrifice performed by a priest of some kind. Note this sacrificed God, not son of God, of course, is supposed to come back from the East.
The second element is about the creation of the world, or rather the creation of the human species. The least we can say is that the creator who is maybe one, maybe several, was or were very sloppy and had to start all over again several times. These gods are not almighty far from it. But the most surprising element is that God appears to have many qualities, or names, and at times these qualities or names are seen as separate maybe even over several entities. Over the total watery world, “in the dark, in the night” (translation problem or fair translation? The dark is a clear characteristic that is defined easily as the absence of light, but the night is nothing but the other side of the day, night implying day from which it has been discriminated: so how can it be before daylight has been provided to differentiate day from night),
“only the Maker, Modeler alone, Sovereign Plumed Serpent, the Bearers, Begetters are in the water, a glittering light. They are there, they are enclosed in quetzal feathers, in blue-green.” (p. 64
This is a beautiful story but is the Maker one or many? But is darkness defined as opposed to already existing light? But how come quetzal feathers exist before the creation of life? And the next sentence is even more mysterious:
“Thus the name, ‘Plumed Serpent.’ They are great knowers, great thinkers in their very being.” (p. 64)
We then come to an essential element of the cosmic vision of the Mayas. Their cosmos, their universe is vertical and going up you get into the sky and you consider the Heart of the Sky which is the Sovereign Plumed Serpent again. We will find later an underworld, Xibalba, and the emergence of humanity will come from a rebellion of the first humans against the lords of this underworld with the support of the Gods of the Sky, of the Heart of the Sky. And this Heart of the Sky has many names:
“named Hurricane. Thunderbolt Hurricane comes first, the second is Newborn Thunderbolt, and the third is Sudden Thunderbolt. So they were three of them at Heart of Sky who came to the Sovereign Plumed Serpent.” (p. 65)
This ternary pattern is typical of all religions before Judaism (a binary vision: “God and his Spirit” of Genesis) and Islam (God is one and only one and Mohammed is only his Prophet). Judaism emerged from various religions whose pattern was ternary. Christianity reintroduced the trinity but we can wonder if it was a reintroduction by Jesus himself or if it was a rewriting of the Jewish reference of Jesus to his Father and the Holy Spirit (only two, and father is a normal metaphor for God in Judaism), a rewriting introduced later by some disciples, apostles or not. What is interesting is that this book cannot be reduced to a single numerical pattern. Note however that Hurricane refers to the wind and in the Maya tradition, there are four winds corresponding to the four cardinal directions. We will find them later represented as a crossroads of four roads with four colors, “red, black, white, yellow,” (p. 95). Traditionally they are red for east, black for west, white for north, and yellow for south, and along with the upwards (Sky) and downward (Xibalba) directionality of the center, then heart, brings the cosmic vision to six, though traditionally again this center is reduced to a point, and then the four directions and the center form a “quincunx,” the oldest glyph found in Mesoamerica, similar to the eighth day, Lamat/Rabbit, and the eighteenth day, Flint/Etz’nab, of the Tzolk’in calendar. It is also an aerial view of a pyramid. The full six-directional vision is that of a textile shuttle, and note this vision will be recaptured by William Blake though Blake will redesign it inside out and outside in. But that’s another story.
Note here that the “heart” is really sacred, divine, and that must bring in our minds two remarks. Blood is sacred and divine and blood is the best offering to this Heart of the Sky with self-sacrifice generally by puncturing one’s penis with a jade sacrificial knife. No women can do that. Women are side-tracked. At best you can also puncture your tongue or your ears, but that is a second choice. This simple fact is a sign of a post-Ice-Age agricultural society that has pushed women out of the picture, or at best on its side. The second remark is that the heart itself is sacred and divine and the best act of subservience and obedience to the Gods is to offer one’s heart to him or them with ritual sacrifice. This centering cult on self-sacrifice and sacrifice is the very starting point and center of the vision. God is not seen as going along with his Spirit, but as the heart of the sky and we have to take this word literally. And this multiple-facetted god is redefined again this time as a nonary entity: “Hurricane, Newborn Thunderbolt, Sudden Thunderbolt, Heart of Sky, Heart of Earth, Maker, Modeler, Bearer, Begetter.” This male figure is all-male up to its seventh characteristic. But his last two features are female. A male cannot bear or cannot beget any child. Note though, in spite of what some may think, this Plumed Serpent is not the first creator in this cosmos because he is himself a newborn and to be born he has to come from a bearer, and this bearer has to be impregnated with the future newborn. Of course, we are working on a translation but these are intriguing and there is no possible comparison with the Bible. In the Bible, God is introduced as existing in the watery dark world along with his spirit without any mention or allusion to any origin at all. Here the main multiple-facetted god has been born to existence and is himself the bearer and begetter, hence he is both the newborn and the bearer, or shouldn’t it be the bearer and the newborn. He is the mother, the father and the son all in one multiple facetted God we are dealing with here.
This chaotic creation starts a series of pairs of humans. In a group of four, Xpiyacoc, Xmucane, Hunahpu Possum and Hunahpu Coyote. The mason and sculptor who invoke the first two, ask them to count days and to count lots, meaning to attach fate and the future to the days of the calendar. But at once they enter that very future. Xpiyacoc and Xmucane are declared to be respectively the grandfather and the grandmother (note the text gives the other order first and then specifies the order the way I have just given it. They invoke then the other two, Hunahpu Possum and Hunahpu Coyote with a long series of pairs of words ending with “Grandmother of Day, Grandmother of Light. Yet these people were manikins, woodcarvings and “there was nothing in their hearts and nothing in their minds.” (p. 70) So the decision was taken to destroy them. And yet Seven Macaw survives in his vanity: “I am their sun and I am their light, and I am also their months.” (p. 73) That’s when the manikins were destroyed by a flood, the famous flood that is the rising of the water after the Ice Age: 120 meters altogether submerging the coastal platform that had been open, inhabited and covered with vegetation for more than 20,000 years. It pushed humans away from the eastern coast (a fundamental migration stated in this book, and later on recalled as an initiating rite to the rising sun, to dawn as a metaphor for the development of modern humanity.
Seven Macaw survives, but not for long. I will jump now to the second part, the story of Seven Macaw and his descendants. This Seven Macaw has a wife, Chimalmat and they had two sons, Zipacna and Earthquake. Let them define themselves
“Here I am: I am the sun,” said Seven Macaw. “Here I am: I am the maker of the earth,” said Zipacna. “As for me, I bring down the sky, I make an avalanche of all the earth,” said Earthquake.” (p. 77-78)
That’s when Hunahpu and Xbalanque come into the picture. The first encounter with Seven Macaw makes Hunahpu lose one arm, ripped off by Seven Macaw. Then the two boys invoke a grandfather and a grandmother, Great White Peccary and Great White Coati, to approach Seven Macaw. He and his wife die because the grandfather and grandmother take care of his broken jaw and teeth and they deprive him of his metal. His wife dies too.
Zipacna during that time is bathing on the coast when 400 boys come along. He helps them carry a log but they are suspicious. So they make him dig a deep hole and they bury him in it though they are mistaken as for his death and he kills them all. But he then encounters the two boys and these trick him into chasing a crab in some cave or crack in the mountain and he is turned into stone. During that time Earthquake is enjoying his earth-quaking power. He comes across the two boys who pretend they are going hunting in the mountains. He joins them and they get some birds. The two boys prepare one for him with gypsum on top. Earthquake eats it but after that, he cannot walk anymore and the boys bury him. That’s how Hunahpu and Xbalanque defeated Seven Macaw and his two sons.
What is interesting here is the pattern of two sons against two sons. The first pair have a father and they are a triad of bad people, the mother being totally marginal. The second pair invoke two grandparents when necessary but they are not really part of this quartet because the grandparents are there to kill Seven Macaw, thus saving the mission of the two boys. We assume they are twins. But it is not said that clearly.
That binary pattern is going to continue. Xpivacoc and Xmucane have two sons, One Hunahpu and Seven Hunahpu. One Hunahpu has two sons too, One Monkey and One Artisan. Seven Hunahpu has no children, he remains a boy. One Hunahpu and Seven Hunahpu just throw dice and play ball every day in pairs, we assume with One Monkey and One Artisan. The triple God Hurricane-Newborn-Thunderbolt-Sudden-Thunderbolt sends a falcon as a messenger. The four of them go on playing but along the road to Xibalba, the underworld. They are met by One Death and Seven Death, two lords of Xibalba. This underworld is governed by twelve Lords that go in pairs. By their names and by their functions they are entirely dedicated to killing people and making them suffer. The six pairs are One and Seven Death; Scab Stripper and Blood Gatherer; Demon of Pus and Demon of Jaundice; Bone Scepter and Skull Scepter; Demon of Filth and Demon of Woe; and Wing and Packstrap (who make people die in the road, meaning by sudden death). One and Seven Hunahpu go on to Xibalba, whereas One Monkey and One Artisan stay behind. The latter pair will be defeated by Hunahpu and Xbalanque later.
The Lords of Xibalba send four messengers, four owls: Shooting Owl, One-Legged Owl, Macaw Owl and Skull Owl. One and Seven Hunahpu accept to follow them. They are submitted to extreme tests, when they arrive, in the Dark House, Rattling House, Jaguar House, Bat House, Razor House. They had received a lit up cigar and torch and they were supposed to bring them back at the end in the same original state they had received them, which of course they could not do. So they were sacrificed and buried. One Hunahpu’s head is hanged in a tree along the road.
Then we have the story of Blood Moon, a maiden whose father is Blood Gatherer. She gets pregnant from the skull/head of One Hunahpu by just talking to it. Her father who is connected to the Lords of Xibalba wants to know the father. She refuses to tell. She is sent to sacrifice by her father. The Military Keepers of the Mat have to do the sacrifice, but Blood Moon reveals the identity of the father to them. So they cheat and she finds refuge with the grandmother of One Monkey and One Artisan. Blood Moon explains her situation to the woman who is now her grandmother-in-law. After a first refusal, she accepts the grandchildren who are Hunahpu and Xbalanque. These get into some rivalry with their brothers, One Monkey and One Artisan. The two older ones climb in a tree but can’t get down. The two younger ones tell them to let the tail of their loincloth hand behind and they are turned into monkeys and they skip away in the forest. The mother-in-law asks the younger ones to call the older ones back by playing the song Hunahpu Monkey. They come back three times but the grandmother laughs each time. They try a fourth time to call them back but they do not come back. They became animals. Hunahpu and Xbalanque, while trying to cultivate a garden unsuccessfully, capture and torture a rat who tell them they have to recuperate what belongs to their father One Hunahpu. And that is the last leg of this binary story. Their descent to Xibalba and their vengeance. Having learned from their predecessors the tricks of the Lords of Xibalba, they can respond, mostly with magic, to the various houses
Their grandmother sends them a message via a louse that is swallowed by a toad that is swallowed by a snake and that is swallowed by a falcon who delivers those it has swallowed to the two boys who can thus get the message. This quaternary pattern is emphasized by the swallowing process and then by the delivering spitting out or vomiting. Before leaving, they plant two ears of corn in the middle of the grandmother’s house for them to dry to show their death in due time. They cross the two rivers Pus River and Blood River on their blowguns. They came to the crossroads of the four roads, Black Road, White Road, Red Road, Green Road. There they summoned a mosquito spy who went first to bite the people he met there in order to make the Lords of Xibalba who were there speak their names. The first two people were wooden manikins and they did not respond, but then the twelve Lords responded to the bites and from one to the last they reveal their names. So when the boys meet them they can greet them by names, the twelve of them. They refuse to sit on the cooking stone slab presented as a bench. Then they defeat every house they enter. Dark House first where they accept to deliver, after letting themselves be defeated in the ballgame, four bowls full of red petals, white petals, yellow petals, and whole flowers before the end of the night. Then Razor House where they pacify all the knives and call for the ants which get into One and Seven Death’s garden and steal the petals and the flowers they deliver in four bowls as requested.
In Cold House, they simply shut the cold out and survive. In Jaguar House they pacify the jaguars by giving them a pile of bones. In the Midst of the Fire, in a house of fire, they are only toasted and simmered, not burned. Inside Bat House they sleep in their blowguns. Hunahpu though sticks his head out to see if dawn is coming and a bat snapped his head off. Xbalanque then summons all the animals and ask them to bring their food. They bring rotten wood, leaves, stones, earth, and then unspecified food till the last one brought by the coati: a squash that becomes the simulated head of Hunahpu with brains provided by the Heart of Sky, Hurricane. To finish the simulated head a possum makes four streaks that make the early dawn red and blue. In the ball game then the rabbit is supposed to lure the Xibalbans away after Hunahpu’s real head is kicked into the game as if it were a ball that, after two rebounds, ends up among the ball bags. The rabbit runs away after the ball suppposedly, the Xibalbans run after him and Hunahpu can recuperate his real head. The squash becomes the ball and the game can start again and they make equal plays on both sides. But two knowers are called in, Xulu and Pecam who describes the death of the two brothers in an oven. The two brothers walk hand in hand into the oven and die there together. Their bones are ground and spilled in the river.
“They just sank to the bottom of the water. They became handsome boys; they looked just the same as before when they reappeared.” (p. 132)
And yet on the fifth day they reappear. Seen in the river as two catfish first, then they become two vagabonds dressed in rags. They dance, the Dance of the Poorwill, the Dance of the Weasel and Armadillos, Swallowing Swords and Walking on Stilts, performing miracles. They mutually sacrifice themselves one for the other, and yet get back to life. The Lords of Xibalba invite them and ask them to perform a show for them. To entertain the Lords, the two vagabonds sacrifice a dog that comes back to life after dying. They set fire to the home of the lord, with all the Lords inside. They are not burned and the house is reconstructed. Then they perform a human sacrifice, hold up the human heart and then bring the person back to life. Then Xbalanque sacrifices Hunahpu. Legs and arms are cut off. The head is decapitated. The heart is dug out and presented in a leaf to the Xibalbans. Xbalanque dances and orders his brother to come back to life and he does. That’s when the trap works. One and Seven Death ask them to sacrifice them both. Which they do but this time the two Lords do not come back to life. Then all the Lords submit and accept their defeat. And the two vagabonds reveal their names, Hunahpu and Xbalanque. They reveal their fathers’ names, One Hunahpu, killed by the Xibalbans who then lose their greatness and brilliance.
During that time the ears of green corn they left in their grandmother’s house dried up when they died in the oven but then the corn plants grew again.
“Then the ears were deified by their grandmother, and she gave them names: Middle of the House, Middle of the Harvest, Living Ears of Green Corn, and Bed of Earth.” (p. 139)
Note the binary quartet. That’s the mention of a Maize God who is in fact associated to the resurrected father of the two brothers, a father who is one but as a member of a pair since he is One Hunahpu and is associated to Seven Hunahpu. This One-Seven pair that appears too in One and Seven Death, is mysterious, except that 1 + 7 = 8, bringing us back into the binary pattern 2-4-8. But this final renascence is concluded by a last miracle:
“And then the Four Hundred Boys climbed up, the ones who were killed by Zipacna.” (p. 142)
We have to note that this 400 is the only mention of the vigesimal counting base of the Mayas in the form of 20 x 20 = 400. The writing of numbers by the Mayas would clearly show this complexity. So in a way we have to consider the resurrection of the 400 Boys is the institution of Mayan mathematics which is also the basis of the Mayan Calendar. Note here the second figure of this calendar, 13, has never appeared in this story. The closest was the set of twelve lords in Xibalba emphasized when the two brothers met the Lords for the first time by the revelation of their names by the mosquito and then by the twelve personal greetings addressed to them. But thirteen remains a mystery. It will only appear in the next part as the “thirteen allied tribes” but it will never be clear specified who they are in the next sections of this book.
I will stop here because in the next sections it is rather the history of the establishment of the Maya nation or empire and we are no longer dealing with a myth but rather a mythologized real history. In this historical description, the Quiche (should be Cauec) Lords are attributed fourteen generations with nine lineages, great houses, and nine rulers. The Greathouses’ generations are counted up to eleven with two addenda that are not clear, and nine declared lords of the great houses but only eight listed, though a note clarifies this discrepancy as being the result of the translator cutting off the sixth lord because he is identical to the fourth (Chief of the Reception House) though the note says that this sixth lord should have been Chief Yeoltux Emissary, thus bringing the number of lords back to the announced number of nine. The third lineage is called again the Lord Quichés (which is correct) and have nine lords but no generations at all. In the same way, the next chapters present four Founders or four humans who are the fathers of the Maya people: Jaguar Quitze, Jaguar Night, Not Right Now and Dark Jaguar, who have four wives, respectively, Red Sea Turtle, Prawn House, Water Hummingbird and Macaw House. But these four main lines in the Maya people only have three gods for the first three lines: Tohil, Auilix, and Hacauitz. Dark Jaguar does not have a god. And this Dark Jaguar will more or less be sidetracked little by little and the four original humans only give three separate lineages: Jaguar Quitze and the nine great houses of the Cauecs, Jaguar Night and the nine great houses of the Greathouses and Not Right Now and the four great houses of the Lord Quichés. Note this list (p. 149) is in contradiction with the listing of the generations that calls the first lineage the Quiché lords. But one thing is clear. The fasting and penance doing of the Lords are based on the twenty days of the calendar, here translated as “scores” and they fast and do penance during multiple scores of days:
“For nine score days they would fast, and for nine they would do penance and burn offerings. Thirteen score was another of their fasts, and for thirteen they could do penance and burn offerings before Tohil and their other gods. They would only eat zapotes, matasanos, jocotes; there was nothing made of corn [it would be better to say “maize”] for their meals. Even if they did penance for seventeen scores, then for seventeen they fasted, they did not eat. They achieve truly great abstinence. This was a sign that they had the being of true lords. And there weren’t any women with them when they slept.” (p. 192)
If you follow the progression we have 9 scores, then 13 scores and then 17 scores. 9 is not as such part of the calendar but 9 is present in many sections when speaking of the houses and their lords. 13 is the number of scores (the basic sets of twenty days) of the Tzolk’in calendar. But 17 is nothing at all: I did not find it anywhere in this book. The second calendar is the Haab and it counts 18 scores of days plus five. So this book remains mysterious and does not solve some problems. We can see the Mayan counting system emerging and we can see the Tzolk’in calendar emerging but many other numerical elements are mysterious.
I will conclude with the last sentence of Part Three:
“And so they [the Four Hundred Boys] came to accompany the two of them [Hunahpu and Xbalanque], they became the sky’s own stars.” (p. 142)
And that conclusion makes Hunahpu and Xbalanque be like the sun and the moon, at least in symbolic treatment. The illustrations are absolutely amazing and beautiful.
Dr. Jacques COULARDEAU
We could definitely compare some motifs or patterns in the story with those of the Bible or the Quran, but the patterns only have the meaning the general architecture in which they are cast provide them with and this meaning is not the same in the three books concerned here.
First of all, this book does not state at any time there is only one God. There are many Gods in this story even if maybe Quetzalcoatl is the main one, even if we could consider this is the beginning of the emergence of monotheism in this book, but really nothing but a sketchy beginning, especially when we know Quetzalcoatl is dead, he was sacrificed for the Maya world to stabilize and develop, though it is not clear whether it is a self-sacrifice or a formal heart-rending sacrifice performed by a priest of some kind. Note this sacrificed God, not son of God, of course, is supposed to come back from the East.
The second element is about the creation of the world, or rather the creation of the human species. The least we can say is that the creator who is maybe one, maybe several, was or were very sloppy and had to start all over again several times. These gods are not almighty far from it. But the most surprising element is that God appears to have many qualities, or names, and at times these qualities or names are seen as separate maybe even over several entities. Over the total watery world, “in the dark, in the night” (translation problem or fair translation? The dark is a clear characteristic that is defined easily as the absence of light, but the night is nothing but the other side of the day, night implying day from which it has been discriminated: so how can it be before daylight has been provided to differentiate day from night),
“only the Maker, Modeler alone, Sovereign Plumed Serpent, the Bearers, Begetters are in the water, a glittering light. They are there, they are enclosed in quetzal feathers, in blue-green.” (p. 64
This is a beautiful story but is the Maker one or many? But is darkness defined as opposed to already existing light? But how come quetzal feathers exist before the creation of life? And the next sentence is even more mysterious:
“Thus the name, ‘Plumed Serpent.’ They are great knowers, great thinkers in their very being.” (p. 64)
We then come to an essential element of the cosmic vision of the Mayas. Their cosmos, their universe is vertical and going up you get into the sky and you consider the Heart of the Sky which is the Sovereign Plumed Serpent again. We will find later an underworld, Xibalba, and the emergence of humanity will come from a rebellion of the first humans against the lords of this underworld with the support of the Gods of the Sky, of the Heart of the Sky. And this Heart of the Sky has many names:
“named Hurricane. Thunderbolt Hurricane comes first, the second is Newborn Thunderbolt, and the third is Sudden Thunderbolt. So they were three of them at Heart of Sky who came to the Sovereign Plumed Serpent.” (p. 65)
This ternary pattern is typical of all religions before Judaism (a binary vision: “God and his Spirit” of Genesis) and Islam (God is one and only one and Mohammed is only his Prophet). Judaism emerged from various religions whose pattern was ternary. Christianity reintroduced the trinity but we can wonder if it was a reintroduction by Jesus himself or if it was a rewriting of the Jewish reference of Jesus to his Father and the Holy Spirit (only two, and father is a normal metaphor for God in Judaism), a rewriting introduced later by some disciples, apostles or not. What is interesting is that this book cannot be reduced to a single numerical pattern. Note however that Hurricane refers to the wind and in the Maya tradition, there are four winds corresponding to the four cardinal directions. We will find them later represented as a crossroads of four roads with four colors, “red, black, white, yellow,” (p. 95). Traditionally they are red for east, black for west, white for north, and yellow for south, and along with the upwards (Sky) and downward (Xibalba) directionality of the center, then heart, brings the cosmic vision to six, though traditionally again this center is reduced to a point, and then the four directions and the center form a “quincunx,” the oldest glyph found in Mesoamerica, similar to the eighth day, Lamat/Rabbit, and the eighteenth day, Flint/Etz’nab, of the Tzolk’in calendar. It is also an aerial view of a pyramid. The full six-directional vision is that of a textile shuttle, and note this vision will be recaptured by William Blake though Blake will redesign it inside out and outside in. But that’s another story.
Note here that the “heart” is really sacred, divine, and that must bring in our minds two remarks. Blood is sacred and divine and blood is the best offering to this Heart of the Sky with self-sacrifice generally by puncturing one’s penis with a jade sacrificial knife. No women can do that. Women are side-tracked. At best you can also puncture your tongue or your ears, but that is a second choice. This simple fact is a sign of a post-Ice-Age agricultural society that has pushed women out of the picture, or at best on its side. The second remark is that the heart itself is sacred and divine and the best act of subservience and obedience to the Gods is to offer one’s heart to him or them with ritual sacrifice. This centering cult on self-sacrifice and sacrifice is the very starting point and center of the vision. God is not seen as going along with his Spirit, but as the heart of the sky and we have to take this word literally. And this multiple-facetted god is redefined again this time as a nonary entity: “Hurricane, Newborn Thunderbolt, Sudden Thunderbolt, Heart of Sky, Heart of Earth, Maker, Modeler, Bearer, Begetter.” This male figure is all-male up to its seventh characteristic. But his last two features are female. A male cannot bear or cannot beget any child. Note though, in spite of what some may think, this Plumed Serpent is not the first creator in this cosmos because he is himself a newborn and to be born he has to come from a bearer, and this bearer has to be impregnated with the future newborn. Of course, we are working on a translation but these are intriguing and there is no possible comparison with the Bible. In the Bible, God is introduced as existing in the watery dark world along with his spirit without any mention or allusion to any origin at all. Here the main multiple-facetted god has been born to existence and is himself the bearer and begetter, hence he is both the newborn and the bearer, or shouldn’t it be the bearer and the newborn. He is the mother, the father and the son all in one multiple facetted God we are dealing with here.
This chaotic creation starts a series of pairs of humans. In a group of four, Xpiyacoc, Xmucane, Hunahpu Possum and Hunahpu Coyote. The mason and sculptor who invoke the first two, ask them to count days and to count lots, meaning to attach fate and the future to the days of the calendar. But at once they enter that very future. Xpiyacoc and Xmucane are declared to be respectively the grandfather and the grandmother (note the text gives the other order first and then specifies the order the way I have just given it. They invoke then the other two, Hunahpu Possum and Hunahpu Coyote with a long series of pairs of words ending with “Grandmother of Day, Grandmother of Light. Yet these people were manikins, woodcarvings and “there was nothing in their hearts and nothing in their minds.” (p. 70) So the decision was taken to destroy them. And yet Seven Macaw survives in his vanity: “I am their sun and I am their light, and I am also their months.” (p. 73) That’s when the manikins were destroyed by a flood, the famous flood that is the rising of the water after the Ice Age: 120 meters altogether submerging the coastal platform that had been open, inhabited and covered with vegetation for more than 20,000 years. It pushed humans away from the eastern coast (a fundamental migration stated in this book, and later on recalled as an initiating rite to the rising sun, to dawn as a metaphor for the development of modern humanity.
Seven Macaw survives, but not for long. I will jump now to the second part, the story of Seven Macaw and his descendants. This Seven Macaw has a wife, Chimalmat and they had two sons, Zipacna and Earthquake. Let them define themselves
“Here I am: I am the sun,” said Seven Macaw. “Here I am: I am the maker of the earth,” said Zipacna. “As for me, I bring down the sky, I make an avalanche of all the earth,” said Earthquake.” (p. 77-78)
That’s when Hunahpu and Xbalanque come into the picture. The first encounter with Seven Macaw makes Hunahpu lose one arm, ripped off by Seven Macaw. Then the two boys invoke a grandfather and a grandmother, Great White Peccary and Great White Coati, to approach Seven Macaw. He and his wife die because the grandfather and grandmother take care of his broken jaw and teeth and they deprive him of his metal. His wife dies too.
Zipacna during that time is bathing on the coast when 400 boys come along. He helps them carry a log but they are suspicious. So they make him dig a deep hole and they bury him in it though they are mistaken as for his death and he kills them all. But he then encounters the two boys and these trick him into chasing a crab in some cave or crack in the mountain and he is turned into stone. During that time Earthquake is enjoying his earth-quaking power. He comes across the two boys who pretend they are going hunting in the mountains. He joins them and they get some birds. The two boys prepare one for him with gypsum on top. Earthquake eats it but after that, he cannot walk anymore and the boys bury him. That’s how Hunahpu and Xbalanque defeated Seven Macaw and his two sons.
What is interesting here is the pattern of two sons against two sons. The first pair have a father and they are a triad of bad people, the mother being totally marginal. The second pair invoke two grandparents when necessary but they are not really part of this quartet because the grandparents are there to kill Seven Macaw, thus saving the mission of the two boys. We assume they are twins. But it is not said that clearly.
That binary pattern is going to continue. Xpivacoc and Xmucane have two sons, One Hunahpu and Seven Hunahpu. One Hunahpu has two sons too, One Monkey and One Artisan. Seven Hunahpu has no children, he remains a boy. One Hunahpu and Seven Hunahpu just throw dice and play ball every day in pairs, we assume with One Monkey and One Artisan. The triple God Hurricane-Newborn-Thunderbolt-Sudden-Thunderbolt sends a falcon as a messenger. The four of them go on playing but along the road to Xibalba, the underworld. They are met by One Death and Seven Death, two lords of Xibalba. This underworld is governed by twelve Lords that go in pairs. By their names and by their functions they are entirely dedicated to killing people and making them suffer. The six pairs are One and Seven Death; Scab Stripper and Blood Gatherer; Demon of Pus and Demon of Jaundice; Bone Scepter and Skull Scepter; Demon of Filth and Demon of Woe; and Wing and Packstrap (who make people die in the road, meaning by sudden death). One and Seven Hunahpu go on to Xibalba, whereas One Monkey and One Artisan stay behind. The latter pair will be defeated by Hunahpu and Xbalanque later.
The Lords of Xibalba send four messengers, four owls: Shooting Owl, One-Legged Owl, Macaw Owl and Skull Owl. One and Seven Hunahpu accept to follow them. They are submitted to extreme tests, when they arrive, in the Dark House, Rattling House, Jaguar House, Bat House, Razor House. They had received a lit up cigar and torch and they were supposed to bring them back at the end in the same original state they had received them, which of course they could not do. So they were sacrificed and buried. One Hunahpu’s head is hanged in a tree along the road.
Then we have the story of Blood Moon, a maiden whose father is Blood Gatherer. She gets pregnant from the skull/head of One Hunahpu by just talking to it. Her father who is connected to the Lords of Xibalba wants to know the father. She refuses to tell. She is sent to sacrifice by her father. The Military Keepers of the Mat have to do the sacrifice, but Blood Moon reveals the identity of the father to them. So they cheat and she finds refuge with the grandmother of One Monkey and One Artisan. Blood Moon explains her situation to the woman who is now her grandmother-in-law. After a first refusal, she accepts the grandchildren who are Hunahpu and Xbalanque. These get into some rivalry with their brothers, One Monkey and One Artisan. The two older ones climb in a tree but can’t get down. The two younger ones tell them to let the tail of their loincloth hand behind and they are turned into monkeys and they skip away in the forest. The mother-in-law asks the younger ones to call the older ones back by playing the song Hunahpu Monkey. They come back three times but the grandmother laughs each time. They try a fourth time to call them back but they do not come back. They became animals. Hunahpu and Xbalanque, while trying to cultivate a garden unsuccessfully, capture and torture a rat who tell them they have to recuperate what belongs to their father One Hunahpu. And that is the last leg of this binary story. Their descent to Xibalba and their vengeance. Having learned from their predecessors the tricks of the Lords of Xibalba, they can respond, mostly with magic, to the various houses
Their grandmother sends them a message via a louse that is swallowed by a toad that is swallowed by a snake and that is swallowed by a falcon who delivers those it has swallowed to the two boys who can thus get the message. This quaternary pattern is emphasized by the swallowing process and then by the delivering spitting out or vomiting. Before leaving, they plant two ears of corn in the middle of the grandmother’s house for them to dry to show their death in due time. They cross the two rivers Pus River and Blood River on their blowguns. They came to the crossroads of the four roads, Black Road, White Road, Red Road, Green Road. There they summoned a mosquito spy who went first to bite the people he met there in order to make the Lords of Xibalba who were there speak their names. The first two people were wooden manikins and they did not respond, but then the twelve Lords responded to the bites and from one to the last they reveal their names. So when the boys meet them they can greet them by names, the twelve of them. They refuse to sit on the cooking stone slab presented as a bench. Then they defeat every house they enter. Dark House first where they accept to deliver, after letting themselves be defeated in the ballgame, four bowls full of red petals, white petals, yellow petals, and whole flowers before the end of the night. Then Razor House where they pacify all the knives and call for the ants which get into One and Seven Death’s garden and steal the petals and the flowers they deliver in four bowls as requested.
In Cold House, they simply shut the cold out and survive. In Jaguar House they pacify the jaguars by giving them a pile of bones. In the Midst of the Fire, in a house of fire, they are only toasted and simmered, not burned. Inside Bat House they sleep in their blowguns. Hunahpu though sticks his head out to see if dawn is coming and a bat snapped his head off. Xbalanque then summons all the animals and ask them to bring their food. They bring rotten wood, leaves, stones, earth, and then unspecified food till the last one brought by the coati: a squash that becomes the simulated head of Hunahpu with brains provided by the Heart of Sky, Hurricane. To finish the simulated head a possum makes four streaks that make the early dawn red and blue. In the ball game then the rabbit is supposed to lure the Xibalbans away after Hunahpu’s real head is kicked into the game as if it were a ball that, after two rebounds, ends up among the ball bags. The rabbit runs away after the ball suppposedly, the Xibalbans run after him and Hunahpu can recuperate his real head. The squash becomes the ball and the game can start again and they make equal plays on both sides. But two knowers are called in, Xulu and Pecam who describes the death of the two brothers in an oven. The two brothers walk hand in hand into the oven and die there together. Their bones are ground and spilled in the river.
“They just sank to the bottom of the water. They became handsome boys; they looked just the same as before when they reappeared.” (p. 132)
And yet on the fifth day they reappear. Seen in the river as two catfish first, then they become two vagabonds dressed in rags. They dance, the Dance of the Poorwill, the Dance of the Weasel and Armadillos, Swallowing Swords and Walking on Stilts, performing miracles. They mutually sacrifice themselves one for the other, and yet get back to life. The Lords of Xibalba invite them and ask them to perform a show for them. To entertain the Lords, the two vagabonds sacrifice a dog that comes back to life after dying. They set fire to the home of the lord, with all the Lords inside. They are not burned and the house is reconstructed. Then they perform a human sacrifice, hold up the human heart and then bring the person back to life. Then Xbalanque sacrifices Hunahpu. Legs and arms are cut off. The head is decapitated. The heart is dug out and presented in a leaf to the Xibalbans. Xbalanque dances and orders his brother to come back to life and he does. That’s when the trap works. One and Seven Death ask them to sacrifice them both. Which they do but this time the two Lords do not come back to life. Then all the Lords submit and accept their defeat. And the two vagabonds reveal their names, Hunahpu and Xbalanque. They reveal their fathers’ names, One Hunahpu, killed by the Xibalbans who then lose their greatness and brilliance.
During that time the ears of green corn they left in their grandmother’s house dried up when they died in the oven but then the corn plants grew again.
“Then the ears were deified by their grandmother, and she gave them names: Middle of the House, Middle of the Harvest, Living Ears of Green Corn, and Bed of Earth.” (p. 139)
Note the binary quartet. That’s the mention of a Maize God who is in fact associated to the resurrected father of the two brothers, a father who is one but as a member of a pair since he is One Hunahpu and is associated to Seven Hunahpu. This One-Seven pair that appears too in One and Seven Death, is mysterious, except that 1 + 7 = 8, bringing us back into the binary pattern 2-4-8. But this final renascence is concluded by a last miracle:
“And then the Four Hundred Boys climbed up, the ones who were killed by Zipacna.” (p. 142)
We have to note that this 400 is the only mention of the vigesimal counting base of the Mayas in the form of 20 x 20 = 400. The writing of numbers by the Mayas would clearly show this complexity. So in a way we have to consider the resurrection of the 400 Boys is the institution of Mayan mathematics which is also the basis of the Mayan Calendar. Note here the second figure of this calendar, 13, has never appeared in this story. The closest was the set of twelve lords in Xibalba emphasized when the two brothers met the Lords for the first time by the revelation of their names by the mosquito and then by the twelve personal greetings addressed to them. But thirteen remains a mystery. It will only appear in the next part as the “thirteen allied tribes” but it will never be clear specified who they are in the next sections of this book.
I will stop here because in the next sections it is rather the history of the establishment of the Maya nation or empire and we are no longer dealing with a myth but rather a mythologized real history. In this historical description, the Quiche (should be Cauec) Lords are attributed fourteen generations with nine lineages, great houses, and nine rulers. The Greathouses’ generations are counted up to eleven with two addenda that are not clear, and nine declared lords of the great houses but only eight listed, though a note clarifies this discrepancy as being the result of the translator cutting off the sixth lord because he is identical to the fourth (Chief of the Reception House) though the note says that this sixth lord should have been Chief Yeoltux Emissary, thus bringing the number of lords back to the announced number of nine. The third lineage is called again the Lord Quichés (which is correct) and have nine lords but no generations at all. In the same way, the next chapters present four Founders or four humans who are the fathers of the Maya people: Jaguar Quitze, Jaguar Night, Not Right Now and Dark Jaguar, who have four wives, respectively, Red Sea Turtle, Prawn House, Water Hummingbird and Macaw House. But these four main lines in the Maya people only have three gods for the first three lines: Tohil, Auilix, and Hacauitz. Dark Jaguar does not have a god. And this Dark Jaguar will more or less be sidetracked little by little and the four original humans only give three separate lineages: Jaguar Quitze and the nine great houses of the Cauecs, Jaguar Night and the nine great houses of the Greathouses and Not Right Now and the four great houses of the Lord Quichés. Note this list (p. 149) is in contradiction with the listing of the generations that calls the first lineage the Quiché lords. But one thing is clear. The fasting and penance doing of the Lords are based on the twenty days of the calendar, here translated as “scores” and they fast and do penance during multiple scores of days:
“For nine score days they would fast, and for nine they would do penance and burn offerings. Thirteen score was another of their fasts, and for thirteen they could do penance and burn offerings before Tohil and their other gods. They would only eat zapotes, matasanos, jocotes; there was nothing made of corn [it would be better to say “maize”] for their meals. Even if they did penance for seventeen scores, then for seventeen they fasted, they did not eat. They achieve truly great abstinence. This was a sign that they had the being of true lords. And there weren’t any women with them when they slept.” (p. 192)
If you follow the progression we have 9 scores, then 13 scores and then 17 scores. 9 is not as such part of the calendar but 9 is present in many sections when speaking of the houses and their lords. 13 is the number of scores (the basic sets of twenty days) of the Tzolk’in calendar. But 17 is nothing at all: I did not find it anywhere in this book. The second calendar is the Haab and it counts 18 scores of days plus five. So this book remains mysterious and does not solve some problems. We can see the Mayan counting system emerging and we can see the Tzolk’in calendar emerging but many other numerical elements are mysterious.
I will conclude with the last sentence of Part Three:
“And so they [the Four Hundred Boys] came to accompany the two of them [Hunahpu and Xbalanque], they became the sky’s own stars.” (p. 142)
And that conclusion makes Hunahpu and Xbalanque be like the sun and the moon, at least in symbolic treatment. The illustrations are absolutely amazing and beautiful.
Dr. Jacques COULARDEAU

5.0 out of 5 stars
So brilliantly Mesoamerican
By Dr Jacques COULARDEAU on September 2, 2018
Some compare this book to the Christian or Jewish Bible. I guess some compare it too to the Quran. Such comparisons are unfair to this book because they cast it into a mold that has little to do with the Mayas and Mayan religion, mythology or culture.By Dr Jacques COULARDEAU on September 2, 2018
We could definitely compare some motifs or patterns in the story with those of the Bible or the Quran, but the patterns only have the meaning the general architecture in which they are cast provide them with and this meaning is not the same in the three books concerned here.
First of all, this book does not state at any time there is only one God. There are many Gods in this story even if maybe Quetzalcoatl is the main one, even if we could consider this is the beginning of the emergence of monotheism in this book, but really nothing but a sketchy beginning, especially when we know Quetzalcoatl is dead, he was sacrificed for the Maya world to stabilize and develop, though it is not clear whether it is a self-sacrifice or a formal heart-rending sacrifice performed by a priest of some kind. Note this sacrificed God, not son of God, of course, is supposed to come back from the East.
The second element is about the creation of the world, or rather the creation of the human species. The least we can say is that the creator who is maybe one, maybe several, was or were very sloppy and had to start all over again several times. These gods are not almighty far from it. But the most surprising element is that God appears to have many qualities, or names, and at times these qualities or names are seen as separate maybe even over several entities. Over the total watery world, “in the dark, in the night” (translation problem or fair translation? The dark is a clear characteristic that is defined easily as the absence of light, but the night is nothing but the other side of the day, night implying day from which it has been discriminated: so how can it be before daylight has been provided to differentiate day from night),
“only the Maker, Modeler alone, Sovereign Plumed Serpent, the Bearers, Begetters are in the water, a glittering light. They are there, they are enclosed in quetzal feathers, in blue-green.” (p. 64
This is a beautiful story but is the Maker one or many? But is darkness defined as opposed to already existing light? But how come quetzal feathers exist before the creation of life? And the next sentence is even more mysterious:
“Thus the name, ‘Plumed Serpent.’ They are great knowers, great thinkers in their very being.” (p. 64)
We then come to an essential element of the cosmic vision of the Mayas. Their cosmos, their universe is vertical and going up you get into the sky and you consider the Heart of the Sky which is the Sovereign Plumed Serpent again. We will find later an underworld, Xibalba, and the emergence of humanity will come from a rebellion of the first humans against the lords of this underworld with the support of the Gods of the Sky, of the Heart of the Sky. And this Heart of the Sky has many names:
“named Hurricane. Thunderbolt Hurricane comes first, the second is Newborn Thunderbolt, and the third is Sudden Thunderbolt. So they were three of them at Heart of Sky who came to the Sovereign Plumed Serpent.” (p. 65)
This ternary pattern is typical of all religions before Judaism (a binary vision: “God and his Spirit” of Genesis) and Islam (God is one and only one and Mohammed is only his Prophet). Judaism emerged from various religions whose pattern was ternary. Christianity reintroduced the trinity but we can wonder if it was a reintroduction by Jesus himself or if it was a rewriting of the Jewish reference of Jesus to his Father and the Holy Spirit (only two, and father is a normal metaphor for God in Judaism), a rewriting introduced later by some disciples, apostles or not. What is interesting is that this book cannot be reduced to a single numerical pattern. Note however that Hurricane refers to the wind and in the Maya tradition, there are four winds corresponding to the four cardinal directions. We will find them later represented as a crossroads of four roads with four colors, “red, black, white, yellow,” (p. 95). Traditionally they are red for east, black for west, white for north, and yellow for south, and along with the upwards (Sky) and downward (Xibalba) directionality of the center, then heart, brings the cosmic vision to six, though traditionally again this center is reduced to a point, and then the four directions and the center form a “quincunx,” the oldest glyph found in Mesoamerica, similar to the eighth day, Lamat/Rabbit, and the eighteenth day, Flint/Etz’nab, of the Tzolk’in calendar. It is also an aerial view of a pyramid. The full six-directional vision is that of a textile shuttle, and note this vision will be recaptured by William Blake though Blake will redesign it inside out and outside in. But that’s another story.
Note here that the “heart” is really sacred, divine, and that must bring in our minds two remarks. Blood is sacred and divine and blood is the best offering to this Heart of the Sky with self-sacrifice generally by puncturing one’s penis with a jade sacrificial knife. No women can do that. Women are side-tracked. At best you can also puncture your tongue or your ears, but that is a second choice. This simple fact is a sign of a post-Ice-Age agricultural society that has pushed women out of the picture, or at best on its side. The second remark is that the heart itself is sacred and divine and the best act of subservience and obedience to the Gods is to offer one’s heart to him or them with ritual sacrifice. This centering cult on self-sacrifice and sacrifice is the very starting point and center of the vision. God is not seen as going along with his Spirit, but as the heart of the sky and we have to take this word literally. And this multiple-facetted god is redefined again this time as a nonary entity: “Hurricane, Newborn Thunderbolt, Sudden Thunderbolt, Heart of Sky, Heart of Earth, Maker, Modeler, Bearer, Begetter.” This male figure is all-male up to its seventh characteristic. But his last two features are female. A male cannot bear or cannot beget any child. Note though, in spite of what some may think, this Plumed Serpent is not the first creator in this cosmos because he is himself a newborn and to be born he has to come from a bearer, and this bearer has to be impregnated with the future newborn. Of course, we are working on a translation but these are intriguing and there is no possible comparison with the Bible. In the Bible, God is introduced as existing in the watery dark world along with his spirit without any mention or allusion to any origin at all. Here the main multiple-facetted god has been born to existence and is himself the bearer and begetter, hence he is both the newborn and the bearer, or shouldn’t it be the bearer and the newborn. He is the mother, the father and the son all in one multiple facetted God we are dealing with here.
This chaotic creation starts a series of pairs of humans. In a group of four, Xpiyacoc, Xmucane, Hunahpu Possum and Hunahpu Coyote. The mason and sculptor who invoke the first two, ask them to count days and to count lots, meaning to attach fate and the future to the days of the calendar. But at once they enter that very future. Xpiyacoc and Xmucane are declared to be respectively the grandfather and the grandmother (note the text gives the other order first and then specifies the order the way I have just given it. They invoke then the other two, Hunahpu Possum and Hunahpu Coyote with a long series of pairs of words ending with “Grandmother of Day, Grandmother of Light. Yet these people were manikins, woodcarvings and “there was nothing in their hearts and nothing in their minds.” (p. 70) So the decision was taken to destroy them. And yet Seven Macaw survives in his vanity: “I am their sun and I am their light, and I am also their months.” (p. 73) That’s when the manikins were destroyed by a flood, the famous flood that is the rising of the water after the Ice Age: 120 meters altogether submerging the coastal platform that had been open, inhabited and covered with vegetation for more than 20,000 years. It pushed humans away from the eastern coast (a fundamental migration stated in this book, and later on recalled as an initiating rite to the rising sun, to dawn as a metaphor for the development of modern humanity.
Seven Macaw survives, but not for long. I will jump now to the second part, the story of Seven Macaw and his descendants. This Seven Macaw has a wife, Chimalmat and they had two sons, Zipacna and Earthquake. Let them define themselves
“Here I am: I am the sun,” said Seven Macaw. “Here I am: I am the maker of the earth,” said Zipacna. “As for me, I bring down the sky, I make an avalanche of all the earth,” said Earthquake.” (p. 77-78)
That’s when Hunahpu and Xbalanque come into the picture. The first encounter with Seven Macaw makes Hunahpu lose one arm, ripped off by Seven Macaw. Then the two boys invoke a grandfather and a grandmother, Great White Peccary and Great White Coati, to approach Seven Macaw. He and his wife die because the grandfather and grandmother take care of his broken jaw and teeth and they deprive him of his metal. His wife dies too.
Zipacna during that time is bathing on the coast when 400 boys come along. He helps them carry a log but they are suspicious. So they make him dig a deep hole and they bury him in it though they are mistaken as for his death and he kills them all. But he then encounters the two boys and these trick him into chasing a crab in some cave or crack in the mountain and he is turned into stone. During that time Earthquake is enjoying his earth-quaking power. He comes across the two boys who pretend they are going hunting in the mountains. He joins them and they get some birds. The two boys prepare one for him with gypsum on top. Earthquake eats it but after that, he cannot walk anymore and the boys bury him. That’s how Hunahpu and Xbalanque defeated Seven Macaw and his two sons.
What is interesting here is the pattern of two sons against two sons. The first pair have a father and they are a triad of bad people, the mother being totally marginal. The second pair invoke two grandparents when necessary but they are not really part of this quartet because the grandparents are there to kill Seven Macaw, thus saving the mission of the two boys. We assume they are twins. But it is not said that clearly.
That binary pattern is going to continue. Xpivacoc and Xmucane have two sons, One Hunahpu and Seven Hunahpu. One Hunahpu has two sons too, One Monkey and One Artisan. Seven Hunahpu has no children, he remains a boy. One Hunahpu and Seven Hunahpu just throw dice and play ball every day in pairs, we assume with One Monkey and One Artisan. The triple God Hurricane-Newborn-Thunderbolt-Sudden-Thunderbolt sends a falcon as a messenger. The four of them go on playing but along the road to Xibalba, the underworld. They are met by One Death and Seven Death, two lords of Xibalba. This underworld is governed by twelve Lords that go in pairs. By their names and by their functions they are entirely dedicated to killing people and making them suffer. The six pairs are One and Seven Death; Scab Stripper and Blood Gatherer; Demon of Pus and Demon of Jaundice; Bone Scepter and Skull Scepter; Demon of Filth and Demon of Woe; and Wing and Packstrap (who make people die in the road, meaning by sudden death). One and Seven Hunahpu go on to Xibalba, whereas One Monkey and One Artisan stay behind. The latter pair will be defeated by Hunahpu and Xbalanque later.
The Lords of Xibalba send four messengers, four owls: Shooting Owl, One-Legged Owl, Macaw Owl and Skull Owl. One and Seven Hunahpu accept to follow them. They are submitted to extreme tests, when they arrive, in the Dark House, Rattling House, Jaguar House, Bat House, Razor House. They had received a lit up cigar and torch and they were supposed to bring them back at the end in the same original state they had received them, which of course they could not do. So they were sacrificed and buried. One Hunahpu’s head is hanged in a tree along the road.
Then we have the story of Blood Moon, a maiden whose father is Blood Gatherer. She gets pregnant from the skull/head of One Hunahpu by just talking to it. Her father who is connected to the Lords of Xibalba wants to know the father. She refuses to tell. She is sent to sacrifice by her father. The Military Keepers of the Mat have to do the sacrifice, but Blood Moon reveals the identity of the father to them. So they cheat and she finds refuge with the grandmother of One Monkey and One Artisan. Blood Moon explains her situation to the woman who is now her grandmother-in-law. After a first refusal, she accepts the grandchildren who are Hunahpu and Xbalanque. These get into some rivalry with their brothers, One Monkey and One Artisan. The two older ones climb in a tree but can’t get down. The two younger ones tell them to let the tail of their loincloth hand behind and they are turned into monkeys and they skip away in the forest. The mother-in-law asks the younger ones to call the older ones back by playing the song Hunahpu Monkey. They come back three times but the grandmother laughs each time. They try a fourth time to call them back but they do not come back. They became animals. Hunahpu and Xbalanque, while trying to cultivate a garden unsuccessfully, capture and torture a rat who tell them they have to recuperate what belongs to their father One Hunahpu. And that is the last leg of this binary story. Their descent to Xibalba and their vengeance. Having learned from their predecessors the tricks of the Lords of Xibalba, they can respond, mostly with magic, to the various houses
Their grandmother sends them a message via a louse that is swallowed by a toad that is swallowed by a snake and that is swallowed by a falcon who delivers those it has swallowed to the two boys who can thus get the message. This quaternary pattern is emphasized by the swallowing process and then by the delivering spitting out or vomiting. Before leaving, they plant two ears of corn in the middle of the grandmother’s house for them to dry to show their death in due time. They cross the two rivers Pus River and Blood River on their blowguns. They came to the crossroads of the four roads, Black Road, White Road, Red Road, Green Road. There they summoned a mosquito spy who went first to bite the people he met there in order to make the Lords of Xibalba who were there speak their names. The first two people were wooden manikins and they did not respond, but then the twelve Lords responded to the bites and from one to the last they reveal their names. So when the boys meet them they can greet them by names, the twelve of them. They refuse to sit on the cooking stone slab presented as a bench. Then they defeat every house they enter. Dark House first where they accept to deliver, after letting themselves be defeated in the ballgame, four bowls full of red petals, white petals, yellow petals, and whole flowers before the end of the night. Then Razor House where they pacify all the knives and call for the ants which get into One and Seven Death’s garden and steal the petals and the flowers they deliver in four bowls as requested.
In Cold House, they simply shut the cold out and survive. In Jaguar House they pacify the jaguars by giving them a pile of bones. In the Midst of the Fire, in a house of fire, they are only toasted and simmered, not burned. Inside Bat House they sleep in their blowguns. Hunahpu though sticks his head out to see if dawn is coming and a bat snapped his head off. Xbalanque then summons all the animals and ask them to bring their food. They bring rotten wood, leaves, stones, earth, and then unspecified food till the last one brought by the coati: a squash that becomes the simulated head of Hunahpu with brains provided by the Heart of Sky, Hurricane. To finish the simulated head a possum makes four streaks that make the early dawn red and blue. In the ball game then the rabbit is supposed to lure the Xibalbans away after Hunahpu’s real head is kicked into the game as if it were a ball that, after two rebounds, ends up among the ball bags. The rabbit runs away after the ball suppposedly, the Xibalbans run after him and Hunahpu can recuperate his real head. The squash becomes the ball and the game can start again and they make equal plays on both sides. But two knowers are called in, Xulu and Pecam who describes the death of the two brothers in an oven. The two brothers walk hand in hand into the oven and die there together. Their bones are ground and spilled in the river.
“They just sank to the bottom of the water. They became handsome boys; they looked just the same as before when they reappeared.” (p. 132)
And yet on the fifth day they reappear. Seen in the river as two catfish first, then they become two vagabonds dressed in rags. They dance, the Dance of the Poorwill, the Dance of the Weasel and Armadillos, Swallowing Swords and Walking on Stilts, performing miracles. They mutually sacrifice themselves one for the other, and yet get back to life. The Lords of Xibalba invite them and ask them to perform a show for them. To entertain the Lords, the two vagabonds sacrifice a dog that comes back to life after dying. They set fire to the home of the lord, with all the Lords inside. They are not burned and the house is reconstructed. Then they perform a human sacrifice, hold up the human heart and then bring the person back to life. Then Xbalanque sacrifices Hunahpu. Legs and arms are cut off. The head is decapitated. The heart is dug out and presented in a leaf to the Xibalbans. Xbalanque dances and orders his brother to come back to life and he does. That’s when the trap works. One and Seven Death ask them to sacrifice them both. Which they do but this time the two Lords do not come back to life. Then all the Lords submit and accept their defeat. And the two vagabonds reveal their names, Hunahpu and Xbalanque. They reveal their fathers’ names, One Hunahpu, killed by the Xibalbans who then lose their greatness and brilliance.
During that time the ears of green corn they left in their grandmother’s house dried up when they died in the oven but then the corn plants grew again.
“Then the ears were deified by their grandmother, and she gave them names: Middle of the House, Middle of the Harvest, Living Ears of Green Corn, and Bed of Earth.” (p. 139)
Note the binary quartet. That’s the mention of a Maize God who is in fact associated to the resurrected father of the two brothers, a father who is one but as a member of a pair since he is One Hunahpu and is associated to Seven Hunahpu. This One-Seven pair that appears too in One and Seven Death, is mysterious, except that 1 + 7 = 8, bringing us back into the binary pattern 2-4-8. But this final renascence is concluded by a last miracle:
“And then the Four Hundred Boys climbed up, the ones who were killed by Zipacna.” (p. 142)
We have to note that this 400 is the only mention of the vigesimal counting base of the Mayas in the form of 20 x 20 = 400. The writing of numbers by the Mayas would clearly show this complexity. So in a way we have to consider the resurrection of the 400 Boys is the institution of Mayan mathematics which is also the basis of the Mayan Calendar. Note here the second figure of this calendar, 13, has never appeared in this story. The closest was the set of twelve lords in Xibalba emphasized when the two brothers met the Lords for the first time by the revelation of their names by the mosquito and then by the twelve personal greetings addressed to them. But thirteen remains a mystery. It will only appear in the next part as the “thirteen allied tribes” but it will never be clear specified who they are in the next sections of this book.
I will stop here because in the next sections it is rather the history of the establishment of the Maya nation or empire and we are no longer dealing with a myth but rather a mythologized real history. In this historical description, the Quiche (should be Cauec) Lords are attributed fourteen generations with nine lineages, great houses, and nine rulers. The Greathouses’ generations are counted up to eleven with two addenda that are not clear, and nine declared lords of the great houses but only eight listed, though a note clarifies this discrepancy as being the result of the translator cutting off the sixth lord because he is identical to the fourth (Chief of the Reception House) though the note says that this sixth lord should have been Chief Yeoltux Emissary, thus bringing the number of lords back to the announced number of nine. The third lineage is called again the Lord Quichés (which is correct) and have nine lords but no generations at all. In the same way, the next chapters present four Founders or four humans who are the fathers of the Maya people: Jaguar Quitze, Jaguar Night, Not Right Now and Dark Jaguar, who have four wives, respectively, Red Sea Turtle, Prawn House, Water Hummingbird and Macaw House. But these four main lines in the Maya people only have three gods for the first three lines: Tohil, Auilix, and Hacauitz. Dark Jaguar does not have a god. And this Dark Jaguar will more or less be sidetracked little by little and the four original humans only give three separate lineages: Jaguar Quitze and the nine great houses of the Cauecs, Jaguar Night and the nine great houses of the Greathouses and Not Right Now and the four great houses of the Lord Quichés. Note this list (p. 149) is in contradiction with the listing of the generations that calls the first lineage the Quiché lords. But one thing is clear. The fasting and penance doing of the Lords are based on the twenty days of the calendar, here translated as “scores” and they fast and do penance during multiple scores of days:
“For nine score days they would fast, and for nine they would do penance and burn offerings. Thirteen score was another of their fasts, and for thirteen they could do penance and burn offerings before Tohil and their other gods. They would only eat zapotes, matasanos, jocotes; there was nothing made of corn [it would be better to say “maize”] for their meals. Even if they did penance for seventeen scores, then for seventeen they fasted, they did not eat. They achieve truly great abstinence. This was a sign that they had the being of true lords. And there weren’t any women with them when they slept.” (p. 192)
If you follow the progression we have 9 scores, then 13 scores and then 17 scores. 9 is not as such part of the calendar but 9 is present in many sections when speaking of the houses and their lords. 13 is the number of scores (the basic sets of twenty days) of the Tzolk’in calendar. But 17 is nothing at all: I did not find it anywhere in this book. The second calendar is the Haab and it counts 18 scores of days plus five. So this book remains mysterious and does not solve some problems. We can see the Mayan counting system emerging and we can see the Tzolk’in calendar emerging but many other numerical elements are mysterious.
I will conclude with the last sentence of Part Three:
“And so they [the Four Hundred Boys] came to accompany the two of them [Hunahpu and Xbalanque], they became the sky’s own stars.” (p. 142)
And that conclusion makes Hunahpu and Xbalanque be like the sun and the moon, at least in symbolic treatment. The illustrations are absolutely amazing and beautiful.
Dr. Jacques COULARDEAU
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Reviewed in Canada on July 13, 2004
The "Popol Vuh," written in a Mayan language but a European script, is the most substantial surviving account of the Maya view of their own history, including that of their gods and divine ancestors, and has presented a host of problems for translators. The Tedlock translation of 1985 added new information to the work of many distinguished predecessors, and made substantial parts of the narrative clear (or at least much clearer).
The fact that a fairly extensively revised edition of this book was not only possible, but necessary, a decade after its first publication (in 1985) might have discouraged the publisher from calling the new version "Definitive." However, that seems to be the recent marketing buzzword. But how would a third edition be described? (Dennis Tedlock has recently -- 2003 -- returned to the writings of the post-Conquest Maya aristocrats who actually produced the existing "Popol Vuh," in "Rabinal Achi: A Mayan Drama of War and Sacrifice," so it is clear that his work in the area continues.)
In fact, the work of Dennis and Barbara Tedlock with living Quiche Maya ritualists (priests / diviners / shamans), which, in the first edition, added so much to understanding this early post-Conquest text, was part of a larger expansion of Maya studies, including a more complete decipherment of ancient inscriptions, and greatly improved studies of Maya art. It is now possible to recognize events, and even characters, of the "Popol Vuh" in art centuries older, and their even older prototypes a millennium earlierl. Meso-American cultures have been re-analyzed, and lost details recovered, as part of a major, and very rapid, shift in understanding.
As an example: a large part of the story of "Popol Vuh" involves games played in ball-courts, in this world and the world of the dead; a major collection of papers on this theme, in Mayan and other cultures, "The Mesoamerican Ballgame," was based on a conference held the same year the first edition of Tedlock's translation appeared (Scarborough and Wilcox, 1991).
Another change was the adoption of a new official system for writing Mayan languages in the Roman alphabet, one devised, for the first time, by native speakers of the various languages. This adds considerably to etymological and grammatical precision, but enormously complicates recognizing words and names in older systems. (Anyone familiar with the juggling of Wade-Giles and Pinyin transliterations of Chinese will be only too familiar with the kind of adjustment process for ordinary readers.)
Tedlock has attempted, with considerable success, to incorporate this new information, and the new transcription system, into the old structure of the book. In the process, besides adding fascinating illustrations and fine-tuning the translation, he has restructured the introduction and notes. Some interesting personal observations are gone, or greatly reduced. References to older literature, often with Tedlock's reconsiderations, have generally been replaced by citations of more recent studies. Once debatable points have been given firm answers, and new questions have been raised. Some material which, at a first glance, I assumed to be missing, turned out, on close examination (with copies of both editions open in front of me, and the help of a lot of post-it flags), to have been broken up or consolidated in different contexts. In a few places, however, the strain shows, as a once-clear line of argument is disrupted. The sheer complication of the material explicated, in which social, cosmic / astronomical, and agricultural references are constantly intertwined, probably made this inevitable.
Archeological and epigraphic material has somewhat eclipsed in prominence the modern Maya contribution to this edition, although for fuller information it was always necessary to turn to Barbara Tedlock's "Time and the Highland Maya."
Among more recent publications of considerable value for understanding the mythological and astronomical material, Susan Milbrath's "Star Gods of the Maya: Astronomy in Art, Folklore, and Calendars" (1999) is exhausting, but I found it particularly illuminating. A series of books of which the late Linda Schele was co-author or co-editor (The Blood of Kings," 1986; "The Forest of Kings," 1990; "Maya Cosmos: Three Thousand Years on the Shaman's Path," 1993; and "The Code of Kings," 1999) are more popular in style, and very rewarding; unfortunately, like everything else in Mayan studies, they have dated very quickly, and the reader should always keep the date of publication in mind. Technical studies -- linguistic, epigraphic, archeological, art-historical -- are now abundant, but also harder for me to judge.
The fact that a fairly extensively revised edition of this book was not only possible, but necessary, a decade after its first publication (in 1985) might have discouraged the publisher from calling the new version "Definitive." However, that seems to be the recent marketing buzzword. But how would a third edition be described? (Dennis Tedlock has recently -- 2003 -- returned to the writings of the post-Conquest Maya aristocrats who actually produced the existing "Popol Vuh," in "Rabinal Achi: A Mayan Drama of War and Sacrifice," so it is clear that his work in the area continues.)
In fact, the work of Dennis and Barbara Tedlock with living Quiche Maya ritualists (priests / diviners / shamans), which, in the first edition, added so much to understanding this early post-Conquest text, was part of a larger expansion of Maya studies, including a more complete decipherment of ancient inscriptions, and greatly improved studies of Maya art. It is now possible to recognize events, and even characters, of the "Popol Vuh" in art centuries older, and their even older prototypes a millennium earlierl. Meso-American cultures have been re-analyzed, and lost details recovered, as part of a major, and very rapid, shift in understanding.
As an example: a large part of the story of "Popol Vuh" involves games played in ball-courts, in this world and the world of the dead; a major collection of papers on this theme, in Mayan and other cultures, "The Mesoamerican Ballgame," was based on a conference held the same year the first edition of Tedlock's translation appeared (Scarborough and Wilcox, 1991).
Another change was the adoption of a new official system for writing Mayan languages in the Roman alphabet, one devised, for the first time, by native speakers of the various languages. This adds considerably to etymological and grammatical precision, but enormously complicates recognizing words and names in older systems. (Anyone familiar with the juggling of Wade-Giles and Pinyin transliterations of Chinese will be only too familiar with the kind of adjustment process for ordinary readers.)
Tedlock has attempted, with considerable success, to incorporate this new information, and the new transcription system, into the old structure of the book. In the process, besides adding fascinating illustrations and fine-tuning the translation, he has restructured the introduction and notes. Some interesting personal observations are gone, or greatly reduced. References to older literature, often with Tedlock's reconsiderations, have generally been replaced by citations of more recent studies. Once debatable points have been given firm answers, and new questions have been raised. Some material which, at a first glance, I assumed to be missing, turned out, on close examination (with copies of both editions open in front of me, and the help of a lot of post-it flags), to have been broken up or consolidated in different contexts. In a few places, however, the strain shows, as a once-clear line of argument is disrupted. The sheer complication of the material explicated, in which social, cosmic / astronomical, and agricultural references are constantly intertwined, probably made this inevitable.
Archeological and epigraphic material has somewhat eclipsed in prominence the modern Maya contribution to this edition, although for fuller information it was always necessary to turn to Barbara Tedlock's "Time and the Highland Maya."
Among more recent publications of considerable value for understanding the mythological and astronomical material, Susan Milbrath's "Star Gods of the Maya: Astronomy in Art, Folklore, and Calendars" (1999) is exhausting, but I found it particularly illuminating. A series of books of which the late Linda Schele was co-author or co-editor (The Blood of Kings," 1986; "The Forest of Kings," 1990; "Maya Cosmos: Three Thousand Years on the Shaman's Path," 1993; and "The Code of Kings," 1999) are more popular in style, and very rewarding; unfortunately, like everything else in Mayan studies, they have dated very quickly, and the reader should always keep the date of publication in mind. Technical studies -- linguistic, epigraphic, archeological, art-historical -- are now abundant, but also harder for me to judge.
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Steve Hammond
5.0 out of 5 stars
Charming, Dark, Beautiful.
Reviewed in the United Kingdom on June 18, 2018Verified Purchase
Absolutely loved it. It's not always an easy read due to the way the book is worded for an accurate translation but it really isn't that much of a hindrance if you read the introduction beforehand.The original Popol Vuh was written in secret after the Spanish conquest to record the history and belief of the Q'iche Maya, a late post-classic Maya Kingdom in what is today Guatemala.
It tells the tale of the creation of the world and the god's attempts to create intelligent life and ultimately doing TOO good of a job. It follows the adventures and plight of gods and & "monsters" and the eventual rise of humanity and the Q'iche Maya. It describes their practice of human sacrifice, chronicles their kings and their friends and enemies. It naturally ends somewhat briefly on their eventual conquest by the Spanish.
It is a wonderful example of mesoamerican literature, religion and history and a sad window into a world that was trying to preserve itself in a "New Spain"
It tells the tale of the creation of the world and the god's attempts to create intelligent life and ultimately doing TOO good of a job. It follows the adventures and plight of gods and & "monsters" and the eventual rise of humanity and the Q'iche Maya. It describes their practice of human sacrifice, chronicles their kings and their friends and enemies. It naturally ends somewhat briefly on their eventual conquest by the Spanish.
It is a wonderful example of mesoamerican literature, religion and history and a sad window into a world that was trying to preserve itself in a "New Spain"
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Ian
5.0 out of 5 stars
It's good
Reviewed in the United Kingdom on January 18, 2020Verified Purchase
The scope and depth are very good. The format makes for pleasant reading

N. J.
5.0 out of 5 stars
... could not access it through the libraries (accept at great cost). Then I came across this really good ...
Reviewed in the United Kingdom on March 8, 2017Verified Purchase
I wanted to read this book for so many years but could not access it through the libraries (accept at great cost). Then I came across this really good value for money edition and am glad I purchased it as it is not a 'one off read' and so I'll be able to read it, go back to refer to it, at my leisure.

heather charnley
3.0 out of 5 stars
Popol Vuh
Reviewed in the United Kingdom on December 1, 2016Verified Purchase
This book is often referenced by many ancient culture researchers, so it is a useful book to have if you wish to do your own research.

Linford Spring
5.0 out of 5 stars
Five Stars
Reviewed in the United Kingdom on April 2, 2018Verified Purchase
Excellent - no complaints