Experimento

The narratological analysis indicates a coherent interpretation when it comes to the function of the pages 29 to 46 of the Codex Borgia. Here the interpretations of the various scholars will be discussed in comparison with these results in order to form a more specific conclusion about what the pages seem to be used for, and, accordingly, to give a more thorough evaluation of the interpretations.

According to the interpretations discussed in the previous chapters the scholars believed that the pages of the Codex Borgia represent either a Venus year (Seler 1906), a sequence of historical events in one solar year (Milbrath 1989), a story of creation (Boone 2007), a series of ceremonies to be undertaken by a king-to-be (Byland 1993), or various separate rituals carried out in specific places (Anders, Jansen, and Reyes García 1993a; Batalla Rosado 2008; Nowotny 1961). It is expected that if the whole sequence of pages was related to a Venus year, the dates would indicate such a time span consisting of 584 days. If the pages showed specific historical events then it is expected that specific dates are given. If it would be a story of creation it would be likely to see that there is a series of events depicted that relate chronologically, or at least that the time indicators follow a linear timeframe. In the case of a predetermined series of rites for a king-to-be the same holds true, because Byland and Pohl argue that the events are presented as a specific series of ceremonies. As for the separate rituals in a ceremonial precinct the timeframe may be relatively unrelated between various rites. As is known from the order of time depicted in other almanacs in the codex, the rituals could alternate each other throughout a year. The rituals could then have taken place at various moments in time, when it was thought that it was necessary. When we compare this to the results of the narratological analysis above it becomes clear that we are not dealing with a sequence of events that follows a linear timeframe. The dates are not fixed to certain years and may thus indicate a cyclical reoccurrence of events. This fits the interpretation of

123 | An Analysis of Narrative Structure Nowotny and Anders, Jansen, and Reyes García best as this would be a likely timeframe for various rituals in a ceremonial centre.

As for space the interpretations also differed. The events take place either in the underworld (Batalla Rosado 2008; Seler 1906), in a ceremonial precinct (Anders, Jansen, and Reyes García 1993a; Byland 1993; Milbrath 1989; Nowotny 1961), or in primordial times before and during creation (Boone 2007). For the underworld it is to be expected that the nine layers of the underworld are indicated sequentially, as the sequence would indicate the path of either Venus or the Sun through the underworld. We would see different places each time and a main figure (the Sun or Venus) who would move from one space to the next. As for a ceremonial precinct it is expected that various places of historical or archaeologically found places in a ceremonial centre are shown within which people may or may not move to other places within the precinct. For primordial times the spaces are expected to follow the line of creation. Boone argues that first all was in darkness and then the creator gods started to make things. However this creation part is difficult to analyse as Boone indicates that the creation which she thinks is depicted in the Codex Borgia largely involves concepts like sacrifice instead of the creation of the earth. Therefore, no real specific place can be expected. The results above show that most of the places shown in the pages were present in ceremonial centres in various places in Central Mexico. Furthermore, various places reoccur like the Temples of Heaven. Therefore it seems unlikely that we are dealing with the layers of the underworld here. All of this considered, the results of this aspect compare best with the argumentation of Milbrath, Nowotny, Anders, Jansen, and Reyes García, and Byland. For the interpretation of Boone this part remains inconclusive.

The aspect of events is important for analysing the presence of a narrative or rather separate events. Seler, Byland, Boone, and Batalla Rosado have all argued for the presence of a sequence of events, implying that there is at least some loose narrative present in the whole sequence of pages. Milbrath, Nowotny, and Anders, Jansen, and Reyes García argue for separate events. Milbrath does argue that there is sequentiality involved in time, but she did indicate that the events might stand separate. However, her interpretations cannot be analysed much further on the aspect of events since she did not give a full interpretation of what she thinks is depicted on the pages. As shown above, sequentiality is not that apparent between the scenes, but mostly within the scenes.

Apart from sequentiality, there are various foci of the events indicated by the scholars: a journey of Venus (Seler 1906), historical astronomical events (Milbrath 1989),

124 | An Analysis of Narrative Structure various rituals of priests (Anders, Jansen, and Reyes García 1993a; Batalla Rosado; Nowotny 1961), ceremonial rites of a king-to-be (Byland 1993), or acts of creation (Boone 2007). The results of the narratological analysis again seem to support the interpretations of Nowotny, and Anders, Jansen, and Reyes García. The events are led by priests as the acts performed are ones that would be part of priestly duties. They may involve various states of consciousness. The main priests in the rituals are largely related to a specific temple (the Temple of Dark Wind). Again, importance is given to the sequentiality of events in the scenes, but not between the scenes. There the Cihuacoatl figure seems to form an obstacle. Next to that, no roads are shown between the scenes. Furthermore, the figures moving through the body of Cihuacoatl do not always relate to figures that were present in the previous or subsequent scene. Therefore the idea of sequentiality between the scenes does not seem to hold up very often. Overall then, it seems more likely that the scenes involve separate events or rituals that are not necessarily performed in the specific sequence in which they occur in the pages. The sequence of the events within the scenes, however, seems to be very important and it makes the whole descriptive or prescriptive in nature.

Then the actors. Although scholars generally agree on which gods the characters relate to in the events, there is not so much agreement about their roles in the events. Seler sees the main actors as linked to Venus. Milbrath thinks the same while other celestial bodies also play a big role. However, she did not identify the other actors in the scenes. Nowotny, and Anders, Jansen, and Reyes García, and Batalla Rosado saw the main actors as Quetzalcoatl priests; Byland saw the main actor(s) as a king-to-be; and Boone saw the main actors as gods of creation. The analysis of the actors showed that they all wear aspects of Ehecatl which may or may not be combined with the wind aspect of Tezcatlipoca. Although Tlahuizcalpantecuhtli also wears these wind aspects on page 33 the main actors do not seem to relate to him that much or to Venus in general. Furthermore, the actors do not necessarily relate to celestial bodies in all cases. The celestial bodies also do not appear on every page. Therefore the results do not fit the interpretations of Seler and Milbrath on this aspect. The interpretation of Byland that it is about a king, is not really supported by the analysis as well, as Stripe Eye, which he calls the king-to-be, does not appear in every scene. Furthermore, the attire does not really say anything about the status of a king. The idea of Boone that the actors represent creator gods does not seem to be very likely as well, as the duties the actors perform are mostly rituals in a ceremonial centre. Nevertheless, it may very well be the case that these actors

125 | An Analysis of Narrative Structure have a relation with creator gods. In that sense there is this double layer of meaning present. However, only further research may give more insights in this.

As for the aspect of focalization, again the results of the narratological analysis show that the events are focalized externally, and not following one actor. This external focalizor is probably a priest; probably the one who would consult these pages. When compared to the interpretations, however, this function could fit any of them as priests took care of rituals, but they were also intermediaries between people and the gods. Therefore, they would have tremendous knowledge of the workings of the cosmos. The movement of Venus, the observation of astronomical events, a creation story, a hallucinatory journey, and rituals for various causes might all have been part of the knowledge and practices of priests. Therefore the scholars would probably all agree that these pages were used by a priest.

All in all then, for what could be analysed using narratology, the results of the analysis seem to fall together best with the interpretation of Nowotny, but also of Anders, Jansen, and Reyes García. However, the idea of Batalla Rosado, building on the interpretation of Anders, Jansen, and Reyes García, that there is a possible presence of a trance state in the pages, may be valid as well as an addition to this, although this should be researched further.

126 | Conclusions