Maiz [sic] Tostado y Las Varonil

     How should one investigate the written manuscript by Sahagún called the Florentine Codex? It is known that the top of the original codex had been cut off. This was thought to infer that it was to fit into a certain format

      However, after reading Book VII, Chapter III and IV, I feel that Sahagún, along with other monks in their monasteries, were actually trying to give scholars information that was  methodically being destroyed.

     I looked for another word or explanation and discovered Xonecuilli that led me on a merry chase through all twelve books of the Florentine. The following information was my preliminary  notes regarding the Warrior Women called Cihuapilli, who were ceremonially honored with such bread. Bread? Was that all it was? And "celebrated," not only in the temples, but also at crossroads? Why?

Sahagún, IV 1956 p. 50, Xonecuilli:  “Pie torcido” Pan en forna de zigzag, usado en ciertas fiestas I, 10, 4. 50)  Y por esto las hacían fíesta y en esta fíesta ofreían en su templo, o en la encruijadas de los caminos, pan hecho de diversas figuras. Unos, como maríposas, otros de figura del rayo que cae del cielo, que se llaman Xonecuilli, y también unos tamalejos que se llaman xucuichtlamatzoalli, y maíz  [sic] tostado que llaman ellos izquitl [or popcorn.] :  (I, X, 1, 49): 

 Estas diosas llamadas Cihuapipíltin, (IV, 370) eran todas las mujeres que morían del primer parto, a las cuales canonizaban por diosas, según, esta escrito en el sexto libro, en el Capitula XXVIII; allí se cuenta de las ceremonias que hacían a su muerte, y de la canonización por diosas; allí se verá a la larga. (II, VI, XXVIII, 5, 178):

Una Oración:   Hija mía muy amada, mira que eres mujer fuerte, esfuerzate, y haz como mujer "varonil," haz como hizo aquilla diosa que parió primero que se llamaba Cihuacoatl, y Quilaztli---esta es Eva, que es la MuJer que primero parió---- (IV, 326) 

Cihuapilli = Mujer, noble, reina [I VI, 1, 46: Se llamaba Cihuacóatl or Serpent Woman y también Tonántzin, que quiere decir nuestra Madre. Se da este nombre a las mujeres muertas de parto, y deificadas, y a ciertas deidades femeninas, diferentes de ellas.

     My Note here: Varonil in this prayer does not mean a Lesbian. It means a woman who acquired the strength of a man during the process of giving birth, [but who died during the event] hence has the right of being a "warrior" that the gods would accept. . . . . in the heaven of Tamoanchan.

     The women, in question, may have held the hands of their curanderas, [their midwives]. Maybe one or more may have broken the bones of a hand or two.

     There are reports that a woman might, during the birthing, pull on a rope hung from the rafters of her home. If the rafter had not been set into the framework properly, or had not been thick enough,or even that the rope may have been frayed a bit, the woman could very well have either broken the rope, or broken the rafter, with her birthing exertions. A primer parto [first birth] for any woman is usually the most difficult since the bones of the pelvis have to adjust to the stretch necessary to accommodate the passage of the emerging baby.

     Anyone who assumes that such actions of being a "female warrior in death" comes from being a man-woman has never had the wrenching experience of childbirth. To that they should say: "Thank Heavens" for it is a difficult time for a pregnant woman.

The Bird/Flower "god" of 2012

Knotted Seven Macaw, dying with Meteorite Shower and Flaming Comets

        A long time ago, in 1986, Linda Quist did a dictionary of sorts about the various Maya glyphs and where they were to be found. It was a very extensive list with several sub-chapters.(1) Bolon Yokte' [K'uh] was cross-referenced with Baklel Wai (page four)  and on page three, Baklel Wai was translated as "Bird-Flower" from a Copan location. Bruce Bowers wrote three different papers which included the glyph Baklel Wai or "Bird-Flower."

      The blanket design above is a bird tied neck and feet to a bar-b-que spit. The 'bird," maybe a turkey, but it is represented in the Polol Vuh, he is being cooked over an open fire. In the above glyph-picture, it is being roasted from below by the fires from the "oven of the gods." A rain of burning stones [meteorites and burning ash] fall upon it from above. It is screaming in fury from the pain. 

      The eye of the bird has what appears to be jewels, some of which are blue. It makes a fair case that it is Seven Macaw in his final death throes after the Twins, Hunahpú and Xbalenqué remove his adornment of turquoise [blue] teeth and metallic decoration around his eye. It is part of the Popol Vuh story as an expanded glyph image of fire as Hunahpú cooks the bird for Kab'raqan" [Earthquake] that they covered with cal [lime]. When it was eaten it killed the giant who rocked the earth..

       Eric Boot, had his own Ideas about another god, God L and his court followers. He compared God L to both Baklel Wai K'uh and Uhuk Chapat Tz'ikin K'inich Ahaw, that he translated as "Seven Centipede Eagle Sun Lord." If Seven Macaw  instead of the "Centipede Eagle" is used for the bird, then one can read the Popol Vuh and understand why the macaw was thought a "genius in his being."  Seven Macaw claimed:

>>>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 nose is metal, it lights up the face of the earth. When I come forth before my nest, I am like the sun and moon or those who are  born in the light, begotten in the light. It must be so, because my face reaches into the distance." saids Seven Macaw.

[Yet] 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. . . .This was when the flood was worked upon the manikins, woodcarvings. [* Tedlock,  D. (1996, 73-74)] <<<

 The above named bird stars, either Eagle Sun or Seven Macaw, reminded me of Lamina 08 and Lamina 10 of the Magliabechiano Codex. It seems that in this case, a monastic copier translated the term for a “blanket" calling it a mari-posa [butterfly]. It has a single star glyph in its center. On a different blanket the original glyph writer created a similar blue insect-star glyph but with extra legs attached to small globes blazing in the sky .

      The same type butterfly-insect is also found in the Borgia Codex on a huge double page spread, while in the Codex Becker Colombina (Lamina 07) a butterfly is used as a temple adornment during the year Ten Flint. In fact most of the codices have a similar insect-creature, sometimes as a multiple element but usually without the star-eye in the center.

      Between Bolon Yokte' K'uh, the  Bird/Flower "god" [Quist, Linda (1996, 4- 3, top-left)] and the K'uh [god] who "will descend" during December 2012, a tentative concept suggested by David Stuart but that he felt was never really proven. (Stuart, David, 2011 315) (2) 

     Nevertheless, there is a series of blankets that tell different parts of the story. The main blanket  is at the beginning of this article,  and tells of the death of Seven Macaw as he is being cooked, as if he was a "turkey" on a spit. Symbols are usually visual and have little to do with the concept of the original name used for the main actor in the story, whether it be a bird, an animal or even a human entity.

      [A man said to be "Strong as an ox, does not have the face or body of an ox, or even of a bull."  Water that is considered "cold as ice" is not necessarily a chunk of ice."] Phrases such as these are analogies and meant to remind the person of an image or a sensation known to the listener during previous times.]

Magliabechiano Codex. Lam. 08 - 10

     The two blankets pictured above are excellent examples of a blazing star in two different stages of  its pending destruction. This leads one to recall the Hopi Prophecies that "a Blue Star will rock the earth to and fro.” The end-dates have changed over the centuries, but perhaps one can assume that this might refer now to December 21, 2012.  Surprisingly, there was an old comet confirmed by NASA that on May 8, 2006. It was then that a disintegrating blue comet had already passed by the Ring Nebula; (3)  [inferring it was once known as Tlaltecuhtli, the blue star]. It had no more power to hurt our world, just as the nebula had no more explosive qualities.

Comet Passing the Ring Nebula

A recent new bi-polar jet with a blue area at each pole, north and south can be seen swirling in the middle of another ring of stellar matter,** just as the Ring Nebula was once created. Without a double comet nearby, any debris expelled from this bi-polar jet should pass harmlessly into outer space. If a comet appears too close to this strange ring of stars with its bi-polar jet in its core, then NASA should be watching for it, unless the Hubble is now too distant from the Ring Nebula. None seem to be forming in the heavens at this time; which is a good thing.

    Just to cover all bases, a little under two years ago, on February 19, 2008*** another comet came very close to our northwestern states and southern Canada. The report from those who saw the event early in the morning,was that it seemed like a humongous flash of an explosion over Oregon, Washington, Idaho, and southern Canada. Was this the trajectory of the original returning May 8tth comet. . .and the very same as the one described in the Popol Vuh  for the "birth of the Sun"? The one that came too close to the earth in its last orbit in the story, and had come pretty darn close recently on February 19th? The Maya astronomers did not have television news coverage or cell phones that could take pictures, but they did have eyes that could see and memories that could tell the story in a form that surviving native populations could remember as long as the story would be told. 

     They also recorded the difference between the first two passes of the original comet and the third on the stelae of Izapa: Numbers  22 and 67. Both of these glyphs, for that is what they indicate, even now, show the same boat. One is a side view and the other a full frontal and also the before and after view of our world with its new 23.5 degree tilt. Both boats contain the same entity with one tooth. Stela 22 has the turmoil in the sky, with the Milky Way underneath, but not as a separate sky element. (No wave action scrolls underneath the water, indicates that the Milky Way was in a different position at the time of the disaster.) 

     On the other hand, Stela 67 shows the rainbow that came after the disaster, together with the Milky Way wand its upside down wave action. This upside down view, is indicative of its new sky presence attributed to the sky god elephant seals, that control the new waters in the sky. The iconography of the elephant seals contain the crossed sky bands as proof of their new job titles.

    Conclusion: We need to stop ignoring our own surroundings. December 21 can well be the beginning of the end of our own destruction, but not from the stars. Our own mistakes are beginning to affect the whole of or lives. Look around!

______________________________

1  Quist, Linda (1996)  The Maya Glypher’s Companion: Maya- English; Phrases, People, and Places; Codex and Site References; Thompson Numbers. Revised. in the Chapter titled Cross-Referenced Names, "Bolon Yokte'" page 4, and page 3 Baklel Wai [Bird-Flower] in the  top left column.

2 Stuart, David (2011, 315)  The Order of Days, The Maya World and the Truth About 2012, New York; Harmony Books. 

Houston, Stephen D., and David Stuart  (1996)  Of Gods, Glyphs and Kings: Divinity and Rulership Among the Classic Maya, In Antiquity 70; 289-312.

3  NASA: A blue disintegrating comet identified as 73P/Schwassmann-Wachmann 3 passing the Ring Nebila (M-47) on 8 May, 2006. (Urquidi, D. M. 2011, 189.)

*  Tedlock, Dennis (1996) Popol Vuh: The Definitive Edition of the Mayan Book of the Dawn of Life and the Glories of Gods and Kings. New York: Simon and Schuster.

** www.nasa.goddardspace.com/100_0567 10.21.42 AM.MOV

***  KIROTV.com. The Associated Press UPDATED: 5:18 pm PST February 19, 2008 POSTED: 6:56 am PST February 19, 200. KIROTV.com. Since the story by the Associated Press "Meteor Seen Across Pacific Northwest " was contributed to this report. All rights reserved. This material may not be published, broadcast, rewritten or redistributed. [Nevertheless, there is no stopping anyone from looking it up on the web again.]

The "Fire Drill" Lady in the Madrid Codex

Madrid-M-38-B
The three star "face" is located din M-38B2 and M-38-C1,2
This view maybe metroites falling from that Laddy-Star

Madrid Codex: M-38-A, M-38-B and M-38-C 

     This page from the Madrid Codex has four variations of a glyph that appears to be a lady with a net headdress that indicates darkness, or night time. The very end of her “veil” contains a blazing star. 

     The eyes of this entity are not eyes, but three dots placed as a triangle in the center of the net drapery.[B-2, C-1-2 ]Could these three dots indicate the location of that extra-blazing star at the end of the net?

     

     The figures underneath both M-38-B and 38-C indicate that two gods are creating fire with a fire-drill. One of the night and one of the day, or if one prefers, one of the dark underworld, and one of daylight.

     If they are fire gods, there is no need to say that the lady (inferred) is a Fire Drill. Nor would she be an "oven."

     Yet, somewhere, a student or new PhD decided that the veiled lady represented more than one sky fire as blazing stars;  a Cimi (Kimi death glyph); a couple Ahaws [Lords]; one with a rainbow glyph, and a Dragon Eye, are clearly referred to in the two lower panels. All indicate a star war event.

     A cooking pot is not implied, but may be inferred. The black and white figures at the bottom of each panel are from the world above the Equator [daytime] and one from below [night time]. In Richard Allen' book (1963:194-5),  Star Names: Their Lore and Meaning , wrote:

While Cygnus is interesting in many respects,it is especially so in  possessing an unusual number of deeply colored stars, Birmingham writing of this said: “A space of the heavens including the Milky Way, between Aquila, Lyra, and Cygnus, seems so peculiarly favored by red and orange stars that it might not inaptly be called the Red Region, or the Red Region of Cygnus.” (Biblio: John Birminham (1816-1882) Irish astronomer.)

     The red region from long ago, may indicate the "oven of the gods," from the Popol Vuh where Hunahpú and Xbalenqué, holding hands [they were not cowards in  Maya] died in that fire or "oven."  (Tedlock, D. (1996, 131) 

     One other thing that is necessary to note with the Veiled Lady, is that she does not have a human face. Instead she has only three dots, placed in such a way that it may infer the hearthstones of a Maya house (from which the above person doing the research got his "aha" revelation. What s/he should have remembered is the story told in the Birth of the Fifth Sun, when Nanahuatzin or Tecuiçiztecatl is to be sacrificed to create a warmer sun. Before the event of the god sacrificing himself in the "oven," the sun was considered to be a half-sun and not very hot.

    The intent of the gods discussing the problem was very simple, raise the sky so that the sun could shine more fully. But since that was a major upheaval; in the heavens, there had to be a major sacrifice. The tale then switches to the other version [Aztec is presumed] "raising of the sky" in the Phillips Jr., Henry (1883) History of the Mexicans as Told by Their Paintings [Translated and edited by Henry Phillips Jr. Proceedings of the American Philosophical Society XXI:616-651, 1883. (edited for FAMSI by Alec Christensen)]. Tecuiçiztecatl was changed to Tezcatlipoca who had recognized that the sun was too dim [cold]. Because of this, he became the "warrior tree" and held up the sky [as Orion finally]. This is pretty obvious as the Milky Way [tree]. Nanahuatzin was probably changed into the Beautiful Rose tree and was to hold up the other end as the Milky Way.

     To make sure that the real Sun was included in this tale and that of the Codices, Nanahuatzin was said to have become the sun, since Tecuiçiztecatl was much too afraid to jump into "the oven of the gods." His original description was that he was scabby and unhealthy. He had a bad habit of peeling off the scabs of his illness and tossing them out. This is a very good example of our well-known "Sun Flares." [Read, Kaye Almere (1998). Time and Sacrifice in the Aztec Cosmos. Bloomington & Indianapolis, Indiana: Indiana University Press.]

    The Maya used every bit of information that our astronomers have today via huge Palomar-type telescopes, including that of a spinning bi-polar jet that can be found below on http://www.nasa.goddardspace.gov/100_0567.mov]; yet, they had no telescopes, so it has been said.

     A glyphic picture with proper iconography can be found in the Nuttall Codex at the bottom of page 34.
The Lady in this iconic figuration is Blood Moon, the mother-to-be of the Twins, Hunahpú and Xbalenqué. 
(Tedlock, D 1996, 73-74) Her name glyphs read Two Atl-atl,[Spear] and A star shape with many little stars surrounding it, with what appears to be a hand with a strange extension. Enlarged and turned 90°. it is a macaw with the star form at its neck. The star has the same components as the Bi-polar Jet seen in the film clip above. It also contains the blue area found in the film clip of the north and south poles of the star from where the long streams of gasses are coming. 
     
     As noted, the Bi-polar Jet was called a Toddler Star. The female here is already a grown woman, but she holds a spindle in her hand, a blue apron and two star forms in her headdress. The "spindle" is the key to her star status and form, that of the Bi-Polar Jet. However, since the star began to blaze a bright blue as a brilliant nova, with only the nebula area as red, poor Blood Moon had to lose her female status to become a MALE bird that was thereafter called Seven Macaw in the Popol Vuh. Why? 

     If the story teller of the Maya was in the process of telling the story, the listeners would complain because everyone knew that the female birds were more or less camouflaged since their job was to take care of their eggs. The male bird with his flashy colors could lead hunters away from the nest quickly; so the nest, the hen and the chicks would be safe. 

      Justin Kerr [of www.famsi.org] photographed a vase called K-7912 that actually shows a 2-year old female child—a toddler—being judged by Hunahpú and Xbalenqué for the Sky God on the throne. She is being held by the Guardian of the Stars and it is he who will place her among the stars if she is approved by the future twins as a comet.

     Her Mixtec/Aztec name was Tlaltecuhtli and her description is carved on the Moon Disk discovered by those digging the new Metro station in Mexico City. INAH gave her another name, that of the star called  Coyolxauhqui, sister of Huitzilopochtl, who wanted to kill their mother, Coatlique because she believed her to be a "loose" woman. 

     In their book, a dictionary of the Maya Gods, Mary Miller and Karl Taube gave a perfect description of her death and her final journey with the Twins to her resting place on earth. In between time, the twins had removed the turquoise teeth of Seven Macaw and made the nova [Taltecuhtli] a benign star for all eternity until its final destruction in a black hole, or as part of another nova in the far distant future.

     

The Northern Cross and Seven Macaw

     One would expect bees sealed into jars to be real in a history of primitive warfare. But could it not also be sky warfare as found on page 55, [top left] of the Nuttall Codex and noted in the previous Post?

Nuttall N-55-LT:  Seven Macaw with the insect like star at its ankle 
with the appearance of an eagled Warpath glyp on a cross.

     The bird is definitely placed on a crossed warpath glyph. Since a star is present at its ankle, [assuming that even birds have ankles], it is a sky event (near Vega ?). This is described in excellent detail, under the title Tlaltecuhtli by Mary Miller and Karl Taube in their 1993 book called, The Gods and Symbols of Ancient Mexico and the Maya, published in London by Thames and Hudson, Ltd.

     The Madrid Codex gives the story on pages 112 through 103, In this instance the Madrid has to be read from the last page to the earlier pages.  Instead of the female goddess, Tlaltecuhtli, this codex also goes into great detail, but about bees who live in straw houses with a sky-band in their abbreviated house/wall glyphs.In the Popol Vuh, it is the final destruction of the Manikins under Tohil's instructs. So instead of looking for bees that are used to attack human warriors, think in terms of sky warriors who attacked the earth and hurt both people and animals like burning turpentine or resin that fell from the sky and burned humans and animals alike with bee-like stings.

     If you want to embellish the story even more, one can say that the sky Sun warriors painted on a wall mural at Chichen Itza, are burning sun stones [meteorites], turpentine, ash, or resin on the roofs of Maya homes. The double comet is above with a bright star entity in the front and a lesser one at the tail. In this instance, then, the sky Sun warriors also burn the houses, just as inferred in the first chapter of the Popol Vuh.  It depends completely upon one's story-telling ability just how many different variations will be told at any given time or location.

     Even though the Popol Vuh had its own variations, that either the burning turpentine or the  hot resin fell from the sky [it is inferred that the "rains" "burned with bee-like stings"].  Since there are many hearth fires every day and milpa burnings during each pre-planting season, burning ashes from such ordinary fires were not even considered for this historic glyph story. The fires created by humans on the earth they walked upon was of no account to the PV story.

     Sure a forest fire might start from cooking fires, or untended milpas burnings. Related glyphs could be used for such glyphs, [as one author insisted, using D-6-8  (Kelley, 1976 pp. 146-47) and T- 341 (Gates 1931-32).  In the Madrid on M-38-B/C T-341 is used as fire-drilling implements. [See next blog] When such happened in the sky animals ran into houses or under the trees, . . . . until the earthquake that followed tumbled all the Maya houses. People were then hurt by falling metatls, and by pottery dishes kept on tables or hung on walls of those houses.

     So it said in the Popol Vuh——the stinging [bee-like] fires from the sky were followed by Maya houses that fell on their occupants——All because Jaguar  Quitze painted the Jaguar on one cloak; Then Jaguar Night painted an eagle on a second, while Not Right Now painted swarms of yellow jackets, and swarms of wasps on the third cloak.(Tedlock, 1996, p. 166). The latter chapter was just a filled-in version of what happened in the first chapter of the Popol Vuh.