mountain of Atzlan described by the Aztecs.
THE
MOUNTAIN
THE
SUN
GOES
BEHIND
AT
NIGHT
CHAPTER V
THE DELUGE LEGENDS OF AMERICA.
“It is a very remarkable fact,” says Alfred Maury, “that we find in America traditions of the Deluge coming infinitely nearer to that of the Bible and the Chaldean religion than among any people of the Old World.
It is difficult to suppose that the emigration that certainly took place from Asia into North America by the Kourile and Aleutian Islands, and still does so in our day, should have brought in these memories, since no trace is found of them among those Mongol or Siberian populations which were fused with the natives of the New World. . . . The attempts that have been made to trace the origin of Mexican civilization to Asia have not as vet led to any sufficiently conclusive facts. Besides, had Buddhism, which we doubt, made its way into America, it could not have introduced a myth not found in its own scriptures. The cause of these similarities between the diluvian traditions of the nations of the New World and that of the Bible remains therefore unexplained.”
The cause of these similarities can be easily explained: the legends of the Flood did not pass into America by way of the Aleutian Islands, or through the Buddhists of Asia, but were derived from an actual knowledge of Atlantis possessed by the people of America.
Atlantis and the western continent had from an immemorial age held intercourse with each other: the great nations of America were simply colonies from Atlantis, sharing in its civilization, language, religion, and blood. From Mexico to the peninsula of Yucatan, from the shores of Brazil to the heights of Bolivia and Peru, from the Gulf of Mexico to the head-waters of the Mississippi River, the colonies of Atlantis extended; and therefore it is not strange to find, as Alfred Maury says, American traditions of the Deluge coming nearer to that of the Bible and the Chaldean record than those of any people of the Old World.
“The most important among the American traditions are the Mexican, for they appear to have been definitively fixed by symbolic and mnemonic paintings before any contact with Europeans. According to these documents, the Noah of the Mexican cataclysm was Coxcox, called by certain peoples Teocipactli or Tezpi. He had saved himself, together with his wife Xochiquetzal, in a bark, or, according to other traditions, on a raft made of cypress-wood (Cupressus disticha).
Paintings retracing the deluge of Coxcox have been discovered among the Aztecs, Miztecs, Zapotecs, Tlascaltecs, and Mechoacaneses. The tradition of the latter is still more strikingly in conformity with the story as we have it in Genesis, and in Chaldean sources. It tells how Tezpi embarked in a spacious vessel with his wife, his children, and several animals, and grain, whose preservation was essential to the subsistence of the human race. When the great god Tezcatlipoca decreed that the waters should retire, Tezpi sent a vulture from the bark. The bird, feeding on the carcasses with which the earth was laden, did not return.
Tezpi sent out other birds, of which the humming-bird only came back with a leafy branch in its beak. Then Tezpi, seeing that the country began to vegetate, left his bark on the mountain of Colhuacan.
“The document, however, that gives the most valuable information,” says Lenormant, “as to the cosmogony of the Mexicans is one known as ‘Codex Vaticanus,’ from the library where it is preserved. It consists of four symbolic pictures, representing the four ages of the world preceding the actual one. They were copied at Chobula from a manuscript anterior to the conquest, and accompanied by the explanatory commentary of Pedro de los Rios, a Dominican monk, who, in 1566, less than fifty years after the arrival of Cortez, devoted himself to the research of indigenous traditions as being necessary to his missionary work.”
There were, according to this document, four ages of the world. The first was an age of giants (the great mammalia?) who were destroyed by famine; the second age ended in a conflagration; the third age was an age of monkeys.
“Then comes the fourth age, Atonatiuh, ‘Sun of Water,’ whose number is 10 X 400 + 8, or 4008. It ends by a great inundation, a veritable deluge. All mankind are changed into fish, with the exception of one man and his wife, who save themselves in a bark made of the trunk of a cypress-tree. The picture represents Matlalcueye, goddess of waters, and consort of Tlaloc, god of rain, as darting down toward earth. Coxcox and Xochiquetzal, the two human beings preserved, are seen seated on a tree-trunk and floating in the midst of the waters. This flood is represented as the last cataclysm that devastates the earth.”
The learned Abbe Brasseur de Bourbourg translates from the Aztec language of the “Codex Chimalpopoca” the following Flood legend: “This is the sun called Nahui-atl, ‘4 water.’ Now the water was tranquil for forty years, plus twelve, and men lived for the third and fourth times. When the sun Nahui-atl came there had passed away four hundred years, plus two ages, plus seventy-six years. Then all mankind was lost and drowned, and found themselves changed into fish. The sky came nearer the water. In a single day all was lost, and the day Nahui- xochitl, ‘4
flower,’ destroyed all our flesh.
“And that year was that of ce-calli, ‘1 house,’ and the day Nahui-atl all was lost. Even the mountains sunk into the water, and the water remained tranquil for fifty-two springs.
“Now at the end of the year the god Titlacahuan had warned Nata and his spouse Nena, saying, ‘Make no more wine of Agave, but begin to hollow out a great cypress, and you will enter into it when in the month Tozontli the water approaches the sky.’
“Then they entered in, and when the god had closed the door, he said, ‘Thou shalt eat but one ear of maize, and thy wife one also.’
“But as soon as they had finished they went out, and the water remained calm, for the wood no longer moved, and, on opening it, they began to see fish.
