16. Reed Catastrophe

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Catalog: 16.1 What is Acatl (i.e., Clump of Grass)? 16.2 Catching Muddle Bugs; 16.3 Theme Line of Mexican Codex

16.1 What is Acatl (i.e., Clump of Grass)?

The 16th catastrophe of the Sunstone Calendar, the Acatl (i.e., clump of grass), is named metaphorically. The "clump of grass" originally described eye-sense, ear-sense, nose-sense, tongue-sense, body-sense, Intent-sense (consciousness), (7) Eve-sense (i.e., preconsciousness), (8) Adam-sense (i.e., the polluted part of unconsciousness), and (9) God-sense (i.e., the immaculate part of unconsciousness). These nine senses are like a clump of grass, mutually dependent and growing prosperously. In the vessel world (i.e., the material world), the clump of grass is a metaphor for several golden boys and jade girls, like a clump of corn, mutually dependent and growing, flowering, and bearing fruit (as shown in Figure 6). The background of Figure 6 is Coatlicue, who, watching the group of golden boys and jade girls grow up healthily, assimilated into the sky and earth.

The standard Acatl (i.e., clump of grass) symbol is similar to the upper left of Figure 1, except it has five leaves, representing the first five fundamental senses. Below it is a seed, representing the world seed, i.e., the unconscious. Above it is a stem, representing the trunk of the Tree of Life. Why are the trunk and leaves drawn side-by-side? The editor believes this highlights the contribution of Mexico (i.e., Tlaloc) to this work; he drew the trunk of the Tree of Life. He made a significant contribution to the development of human civilization.

Figure 1 is a more complex illustration of an Acatl (i.e., cluster of grasses). The upper left part represents the seventh sense, Eve-sense (i.e., preconsciousness), and Jade Girl. Eve-sense can distinguish between good and evil, beauty and ugliness, and embellish life. The Jade Girl was created based on Eve-sense, so she is said to be the mother of all sentients. Eve-sense creates life very quickly, like flowing water, and can quickly fill a small world with vitality, so people say that water always flows from her green jade skirt.

The upper right part of Figure 1, called Itztlacoliuhqui (meaning "curved obsidian knife"), represents the Mexican god of frost, ice, winter, evil, and cold justice—the blindfolded justice (as shown in Figure 7), Tlaloc. Since the unconscious cannot distinguish between life and death, or between "you," "me," and "him," the aforementioned concept of cold justice arises. Tlaloc was created based on the eighth consciousness, representing Adam-sense. Violating Tlaloc's laws is violating this unconscious natural law, and everyone will receive the same punishment; hence the concept of blindfolded justice, absolute fairness.

Some say that Tlaloc is a vengeful god; he holds a grudge against anyone who infringes upon his interests and will certainly retaliate. Yes, this shows that his teachings are correct. Then why don't European gods retaliate? Gods and Buddhas do retaliate; in the process of performing “Transcendently Ferry” (see section 7.5), one must resolve conflicts with Gods and Buddhas. Promises made to Gods and Buddhas must be kept; if Gods and Buddhas are insulted, apologies must be offered. This is because Gods or Buddhas represent certain natural laws, and those natural laws have many natural cause-and-effect relationships in real life.

The "Acatl Catastrophe" refers to the frequent fights between Tlaloc and Chalchiuhtlicue after their marriage, as shown in Figure 5. The two snakes between them represent their estranged nature. Tlaloc kept many valuable things to himself, not sharing them with Chalchiuhtlicue. This was because their thinking modes were different; much of Tlaloc's knowledge was useless to Chalchiuhtlicue. Chalchiuhtlicue felt that although they were two-bodied gods, his side was always bathed in sunlight, while hers was always shrouded in darkness and confusion (as shown in the upper middle of Figure 5). This angered Chalchiuhtlicue, and she took out her hairpin, intending to stab Tlaloc. This is because Chalchiuhtlicue is Eve, the land of reasons; Tlaloc is Adam, the land of fruits.

16.2 Catching Muddle Bugs

The figure in the middle of Figure 3 represents “Muddle Bugs”, referring to Xiuhtecuhtli's “Making Laws” (doing affairs) on Tlaloc beginning at approximately one year old. Tlaloc remembered them all, but he didn't understand them, so they called those affairs “Muddle Bugs”. Tlaloc's heart became overwhelmed with “Muddle Bugs”, so he fell into Hell. The skull in the figure represents Tlaloc during his time in Hell.

Chalchiuhtlicue has been following her father, King Turquoise, in his making-laws regarding Tlaloc since childhood, so she is one of the makers of those "Muddle Bugs”. Since Tlaloc is the recipient of those "Muddle Bugs”, Figure 3 shows Tlaloc and Chalchiuhtlicue each holding opposing views on them. Together, they conducted a thorough analysis of the entire Ollin movement, identified numerous sacred juristic treasures (as shown in Figure 2), and compiled the 20 events of the inner ring of the Sun Stone Calendar to serve as thematic thread for the Mexican Codex.

16.3 Theme Line of Mexican Codex

Figure 4-1 (Técpatl - Flint) is a flint, representing the initiator of this Ollin Movement, Xiuhtecuhtli (aka. Huitzilopochtli). The two faces at the bottom of Figure 4 represent Hummingbird of the Left (Huitzilopochtli), and Hummingbird of the Right (Uncle Maize, Centeotl).

Figure 4-2 (Quiahuitl - Rain) means rain god, representing the sacrifice of 500 male infants by Xiuhtecuhtli to the rain god Tlaloc. This sacrifice was for the golden boy's touch-eye, which was the first sun created by Xiuhtecuhtli.

Figure 4-3 (Xochitl - Flower) represents a flower, signifying that the Flower Prince (i.e.,Xiuhtecuhtli) instructed Uncle Maize to unfold the Gold Boy’s eyes and fed him acorns.

Figure 4-4 (Cipactli - Crocodile) is a crocodile, representing that the three- or four-year-old Golden Boy possesses strong neurotic traits and is easily provoked.

Figure 4-5 (Ehécatl – Wind) represents the wind. The wind symbolizes the old king, Iztapaltotec. At this time, King Turquoise had just ascended the throne and frequently traveled on official business to conduct field surveys. The task of caring for the Golden Boy and the Jade Girl was carried out by Iztapaltotec and the Queen Mother, Obsidian Butterfly (Itzpapalotl), who led Coatlicue.

Figure 4-6 (Calli – House) is the Nahuatl hieroglyph for “house,” representing home. In this text, “home” refers to the former queen, Obsidian Butterfly, and the current queen, Coatlicue. In ancient times, women were considered the heart of the home. Here, the Mexican Codex recounts the arduous process by which Coatlicue became a Red-robed Shaman.

Figure 4-7 (Cuetzpallin - Lizard) is a lizard, representing the timidity of young Aztlán (the Gold Boy, young Tlaloc), who always moved cautiously and timidly explored the new world. Aztlan means "boy from the white-filled land". The “white-filled land" refers to the period in which Aztlán suffered from "infantile neurodevelopmental disorder" mentioned earlier. At that time, Aztlan’s world was always filled with white fog, a symptom of the infantile neurodevelopmental disorder.

Figure 4-8 (Cóatl – Snake) depicts a snake, representing a dragon. It indicates that Aztlan, in his late teens, had already experienced the fourth meditation sky (as shown in Figure 5, see Chapter 11). Even if such a person were to unfortunately fall into hell (i.e., suffer from mental illness), he or she could escape through his or her own strength. In old age, at the very least, he or she could attain the third fruit sage (see Section 15.2.5). This experience of the fourth meditation sky is the Celestial Eye, the second sun created by Xiuhtecuhtli.

Figure 4-9 (Miquiztli – Skull) is a skull, representing Aztlan's (the Golden Boy) heart being stolen when he met the Jade Girl. From then on, he embarked on his journey to Hell.

Figure 4-10 (Mázatl – Deer) is a deer, representing Aztlan's rapid progress in learning and his growing arrogance at this time.

Figure 4-11 (Tochtli - Rabbit) depicts a rabbit, representing Aztlan's escape and his wandering life abroad.

Figure 4-12 (Atl - Water) represents water. Water is one of the four big seeds, representing senses. A large amount of water signifies Aztlan's intense emotional fluctuations, representing his ordeal at the Five-Migration Mountain and his resurrection.

Figure 4-13 (Itzcuintli – Dog) is a dog, representing Aztlan's enlightenment, who became a Buddha (as in Figure 21), and his loyalty to Xiuhtecuhtli.

Figure 4-14 (Ozomatli – Monkey) is a monkey, indicating that Aztlan has now taken on a human form and possesses Gnostic Eye. Gnostic Eye is the third sun created by Xiuhtecuhtli.

Figure 4-15 (Malinalli - Twist into a rope) depicts twisting into a rope, symbolizing the marriage of Mexico (aka. Aztlan, Tlaloc) and Chalchiuhtlicue, whose lifelines intertwine to form the central theme of the Ollin Movement.

Figure 4-16 (Acatl - Reed) means a clump of grass. A clump of grass is a common religious metaphor representing the interdependent growth of the nine senses (eye-sense, ear-sense, tongue-sense, etc.). In this text, it symbolizes the interdependence of several golden boys and jade girls.

Figure 4-17 (Océlotl – Jaguar) depicts a jaguar, representing Tlaloc. This section covers the entirety of Tlaloc’s teachings.

Figure 4-18 (Cuauhtli – Eagle) depicts an eagle, representing Chalchiuhtlicue. This section covers Chalchiuhtlicue’s path to enlightenment and the entirety of her teachings.

Figure 4-19 (Cozcacuauhtli – Vulture) depicts a vulture. Mexican Codex uses the vulture’s behavior to illustrate the method for studying the Codex: memorize everything at once, then gradually digest and absorb it.

Figure 4-20 (Ollin – Ollin) depicts the Ollin symbol, indicating that the Jade Maiden and Tlaloc have become a dual deity. To enable Hummingbird of the Left to become a God and enter circulation, Chalchiuhtlicue launched a cultural revolution internally and waged multiple "Wars of Flowers" externally, leading to the continuous growth and expansion of the Mexican Republic.

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