Introduction
The opposition of the aspects of divine and earthly existence has long been one of the most critical topics in religion and philosophy. Some philosophers and cosmologists, such as Giordano Bruno, differentiated these concepts, while in religious texts, they, as a rule, represented a complex system of interaction. Moreover, this issue is often raised in the literature, and in sacred texts, it is most acute. This work evaluates the sacred and secular in Popol Vuh and Sundiata in the dynamics of relationships and the values embodied in this process. As the analysis shows, the harmonious manifestation of the divine and the worldly is impossible without each other in its pure form: each aspect is a necessary condition for the activity of the other.
Popul Vuh
The pantheon of the mountainous Maya has been less studied since the primary sources of their mythology are few, but Popul Vuh is the one that has survived. The plot begins with the universal calm, the serenity of the world, where nothing disturbs the thoughts of the divine sages. It is worth noting an essential detail of the difference with the Bible, the resemblance to which is often attributed to Popul Vuh. Peace in the Bible was born of primal fear and confusion, while in American legends, the earth did not need to be created – it rested on the bottom of the ocean, from where it had to be lifted (Tedlock 27). The triad of gods creates the earth, animals, and, finally, man, but the first attempt to create man from clay and without a pair is not crowned with success, and they destroy humanity. The same fate befell the second creation of people made of wood, and before the third attempt, they destroyed divine creatures that can be dangerous to humans.
In this interaction scene, either ironic or deliberate alienation of the wise gods from earthly affairs is noticeable: having created the earth, wood, and animals, the powerful deities were unable to get along with the creation of their future servants the first time. Intolerance and gradual learning from experience lead to conflict, which subsequently becomes more visible. In part about the divine twins, who by deception cope with Macau, the conflict of the closeness of the divine to worldly and low deeds are intertwined. Hunahpu means hunter, which reflects how high the status of a hunter was in ancient times and how noble his activities were (Tedlock 63). A skilled hunter carries prey into everyday life, being the breadwinner. In this regard, his actions, including cunning and deception, are interpreted as divine providence, placing the common good over potential victims, like the whole essence of the hunt.
The ball game epitomizes the excitement that attracts demons. In the third part, the game leads the second generation of gods, the identical brothers, to a death trap in the dungeon. Recklessly performing various tests for the demons’ amusement, the brothers, as they could not stand all the tests, were sacrificed. The elder’s head was separated from the body and hung on a pumpkin tree, which had never given fruit before, and suddenly, miraculously, it began to bear fruit so that the head was wholly lost among them. In fact, this story largely echoes the legends of dying and resurrecting gods known in the mythology of other peoples; Hun Hunahpu himself is currently identified with the young corn god, who annually dies under the reaper’s sickle and returns next spring.
It is not for nothing that the conflict is reflected precisely in this sequence: both in the second and the third parts, there is a deception and a lie, which leads to fatal consequences. Nevertheless, in the part where the brothers destroy the demons, the common good is the principal value of any activity, whatever its nature. Deception always leads victims, just as hunting is not without tricks and traps, but the common good requires such sacrifices. It turns out that the sacred and the secular are harmoniously connected, not devoid of weaknesses and the ability to deceive. Virtue in this text is not differentiated according to the individual qualities of a person but is a complex system of activities, which, as a result, brings benefit to everyone.
Sundiata
In Sundiata, divine providence is manifested through destiny, sorcery, and predictions. However, they do not carry the all-around unconditional power that the generations of the gods in Popol Vuh possessed. It was predicted to Nara Magann Konate that if he marries an ugly woman, she will give him a powerful son (Niane 5). Even though Konate was already married and raised a son, he extolled this prediction, and when he met Sogolon, an ugly girl, he married her. Sundiata was born weak and could hardly walk, and Konata was not destined to see his power.
As a result, the prediction comes true even though the first son Konate took the throne, and Sundiata was expected to be persecuted. Life difficulties strengthened the spirit of the character of the story, and he not only began to walk but also became the most powerful warrior over time. Towards the end of the piece, Sumoro Kante, the leader of the Sasso people, forces Dankarana Tumani to flee. Soumaoro personifies real evil, which overlooks obstacles and enjoys his deeds. Thus, the heads of all nine kings adorned his gloomy abode (Niane 41). He did not recognize any taboos and encouraged public punishment. The hatred and contempt of Dankaran Tumani led to the expulsion of Sundiata, but they did not resist the same hatred and contempt of Soumaoro.
As a result, the divine providence that appeared to Sundiata’s father saved the kingdoms from future cruelty from the king. The divine and sacred in this work are personified by humility, acceptance of fate, and fidelity. Sundiata and Sogolon, who remained faithful to the prediction, never resorted to hatred, aggression, and contempt. The mundane reflects human weakness, greed, lust for power, and hatred that is born against the background of greed. No wonder it is said that the house of Soumaoro was a stronghold of fetishism against the word of Allah (Niana 40). Deformity of spirit is opposed to physical deformity, and if the latter is not a conscious choice of a person, then each individual bears responsibility for his spirit. Sundiata’s father took a step towards a prophecy that, in fact, proclaimed the equality, peace, and beauty of every person. For these values , Sundiata fought, confronting the fear, aggression, and hatred that appeared in society after Tumani first came to power and then Soumaoro. As a result, the divine in this work is also aimed at the common good, and only strong personalities, subject to their fate, can overthrow the demons in the face of those who oppose them, no matter how powerful they might have been.
Works Cited
Niane, Djibril T. Sundiata: An Epic of Old Mali. London: Longman, 1979. Print.
Tedlock, Dennis. Popol Vuh: The Mayan book of the dawn of life. eBookIt.com, 2013.