K-579—An Interesting Defeat

K-579 God N being blinded by The Hero Twin; Hunahpú near the Cosmic Tree
Commonly known as the Milky Way.

          This defeat will encompass the whole corpus of codices, manuscripts and glyphs that when combined will answer more questions than are asked. In other words, no one really wants to know why god N is being threatened by Hunahpú.  It is so much more useful to one's 'Intellect' to leave a question unanswered and to give others a chance to guess. It makes conversations more lively and much more interesting.

           In looking at the above scene, I came to a conclusion that there might be a real connection between God L and God N. They might be the exact same god with a set of word glyphs from the other side of the mountain, or from across the border where the languages are more or even less explicit. Such spoken language differences can be duplicated in a glyph language base also. The reference points for one area can evolve to a different set of referrals using a local animal or bird to explain the very same star event.

          The above is only one example of a star event that refers to an event that occurred in the ocean (conch shell) on land (the serpent) and in the sky (Hunahpú) as a blazing comet. that came too near a dying star, the Great Star.

         Here we will call the old god, God L.  The vulture at the end of the name glyph  means only that the eyes of God N. This is illustrated clearly in the Dresden Codex on Lamina #03. A victim of the vulture is losing his eyes at the same time that the Cosmic Tree is being split down the middle. The text with the dates have been conveniently deleted so that future generations will never know if it could happen again.  if one has a time line of some sort, a trajectory of a comet can be calculated and the time it might return would be expected.

         Once the vulture did blind God N, he then appeared  with the Jaguar of the Night Sky on Lamina M-39c of the Madrid Codex.  One must also take note of the 'radish' ear spool   of the one blindedand the two fireball dots on both sides of the Jaguar. Other codices run the gamut of displaying the Cosmic Tree split in half,  broken or fallen. Gods emerge from the Tree, or there is a dragon at its roots.

          The 'radish' took on a life of celebration in the Noche de los Rabanos in Oaxaca near the Christmas Holidays. And it also went south of the Equator to the mountain tops of Peru, where two 'radishes' the same shape of the one in the Madrid, are displayed on the Nasca plains in the Andes.

          The "venus" glyph is in the side panel and in the title,of the above vase so one can expect that the Great Star will destroy God N, not with a lancet, but with a good strong fiery spear coming from the Great Star [mentioned by  Sahagún, Vol. II, Book VII, chapter III]  with a second reference to its actual location as found in a modismo:  ''el signo del toro'  in Chapter IV, number IV  as the wagon or Carro. Again, one can see from other illustrations of this event, a scorpion below the Cosmic Tree, a bird high in the tree and Hunahpú getting ready to use his blowgun to dislodge the bird. Behind the tree Xbalenque is probably hiding, but he shows his jaguar  paw on the trunk. Is he waiting to collect the debris from the  bird?

          At the end of the next chapter,  [Chapter IV page 264)]  the 'Carro'  (Wagon] has a defined identification as:

A aquellas estrellas, que en algunas partes se llaman el Carro, esta gente las llama Escorpión, porque tienen figura de escorpión o alacrán, y así se llaman en muchas partes del mundo.                    [ Ibid (1982, 178)]

          It reads: "those stars that en some parts are called, the Cart, the people call it Scorpio instead. because they have a figure similar to the  name scorpion [or alacrán]. so in this terminology in many other parts of the world."

           Not only is this story continued within the Maya, the Aztec, the Mixtec worlds, but even the Olmecs had the same tale to tell.  Quite frankly, the story went clear around the world at different latitudes and longitudes, with a plethera of strange new words to describe the event.

A vase with God L, the Rabbit in the arms of the Moon

          God L is half kneeling/half sitting in front of the rabbit being held by the Moon.  In Kaye Almera Read's(1998) book,  Time and Sacrifice in the Aztec Cosmos. Dr. Read included the poem about the Birth of the Fifth Sun.  In it the sky is blazing red for quite some time, and finally, a human, took a rabbit and threw it at the Tezcatlipoca, wrecking his face. (1998, 55. V, 55to- VI, 20)

          Somewhere in the Maya High and Lowlands, the story changed from a male Moon god to a female Moon goddess, that we now see in Justin Kerr's vase K-5166. It is God L who has had his jaw broken, but not as a Moon, instead, as Seven Macaw had his jaw damaged by Hunahpú's blowgun. So here, he seems to have acquired three names, not two: Tezcatlipoca, God L, Seven Macaw  and God N.

        Since Hunahpú and his brother, Xbalenque, not only damaged Seven Macaw's jaw with the blowgun, they were also instrument at his death, when they removed his metallic eye decorations as in K-0579 and his turquoise teeth in K-5166 above. So there is no conflict between God L and God N.

         The Moor Goddess has now taken over the markings of the blazing Sun god temporarily. She is now spotted lke Nanahuatzin  who peels off her diseased skin in Kaye Almere Read's version of The Birth of the Fifth Sun in her book: Time and Sacrifice in the Aztec Cosmos. The "tossed away flesh" is akin to the sun flares that shoot out from the sun periodically today.

           The Moon glyph under the arm of the Moon Goddess has two or three circles in the curve of the moon insignia on her shoulder. The first warrior behind God L is a very red man {of fire] with a moon glyph on his shoulder. He has no circles in the curve of that moon glyph. It is possible to say there, that the event of the arrival of the Rabbit and the sun spots on the moon are in the process of occurring since it was because of a red sky that  a human tossed the rabbit at Tezcatlipoca, as he became  a dirty sooty Moon God, second to the Sun Nanahuatzin.

         The next Moon glyph carrier to the left, is a moon face  which whistles. It is similar to a bird at Rio Blanco with one raptor head facing forward and another just below on its neck, facing backwards as Ehécatl's great [comet] wind. He has four circles in the curve of his Moon glyph.

         The next man has  half of his face blackened. An indication of the burning turpentine or resin that fell as rain from the sky.  His Moon Glyph contains three circles on the curve of his Moon glyph.

         The last figure in line is a complete and happy-looking skeleton. His Moon Glyph contains seven or eight circles on the curve of his Moon glyph.

Conclusion

            Each moon glyph has a fixed number of circle on their curves. I might indicate the number of moons that occurred during the time, that particular entity was active in the sky. 

               The most surprising part of this blog spot is that God L acquired so many different names as the sky passed from one set of moon appearances to the next. It is appropriate that artists of that era were also allowed free expressions in their art styles. The modern world yet has to achieve the Maya art systems.