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initiated, however, it is evident that Atlantis is simply a symbolic figure in which is set
forth the mystery of origins.

Concerned primarily with the problems of mystical anatomy, Mr. Pryse relates the
various symbols described in the Popol Vuh to the occult centers of consciousness in the
human body. Accordingly, he sees in the elastic ball the pineal gland and in Hunahpu and
Xbalanque the dual electric current directed along the spinal column. Unfortunately, Mr.
Pryse did not translate that portion of the Popol Vuh dealing directly with the initiatory
ceremonial. Xibalba he considers to be the shadowy or etheric sphere which, according to
the Mystery teachings, was located within the body of the planet itself. The fourth book
of the Popol Vuh concludes with an account of the erection of a majestic temple, all
white, where was preserved a secret black divining stone, cubical in shape. Gucumatz (or
Quetzalcoatl) partakes of many of the attributes of King Solomon: the account of the
temple building in the Popol Vuh is a reminder of the story of Solomon's Temple, and
undoubtedly has a similar significance. Brasseur de Bourbourg was first attracted to the
study of religious parallelisms in the Popol Vuh by the fact that the temple together with
the black stone which it contained, was named the Caabaha, a name astonishingly similar
to that of the Temple, or Caaba, which contains the sacred black stone of Islam.

The exploits of Hunahpu and Xbalanque take place before the actual creation of the
human race and therefore are to be considered essentially as spiritual mysteries. Xibalba
doubtless signifies the inferior universe of Chaldean and Pythagorean philosophy; the
princes of Xibalba are the twelve Governors of the lower universe; and the two dummies
or manikins in their midst may be interpreted as the two false signs of the ancient zodiac
inserted in the heavens to make the astronomical Mysteries incomprehensible to the
profane. The descent of Hunahpu and Xbalanque into the subterranean kingdom of
Xibalba by crossing over the rivers on bridges made from their blowguns has a subtle
analogy to the descent of the spiritual nature of man into the physical body through
certain superphysical channels that may be likened to the blowguns or tubes. The
sabarcan is also an appropriate emblem of the spinal cord and the power resident within
its tiny central opening. The two youths are invited to play the "Game of Life" with the
Gods of Death, and only with the aid of supernatural power imparted to them by the
"Sages" can they triumph over these gloomy lords. The tests represent the soul wandering
through the sub-zodiacal realms of the created universe; their final victory over the Lords
of Death represents the ascension of the spiritual and illumined consciousness from the
tower nature which has been wholly consumed by the fire of spiritual purification.

That the Quichés possessed the keys to the mystery of regeneration is evident from an
analysis of the symbols appearing upon the images of their priests and gods. In Vol. II of
the Anales del Museo Nacional de México is reproduced the head of an image generally
considered to represent Quetzalcoatl. The sculpturing is distinctly Oriental in character
and on the crown of the head appear both the thousand-petaled sunburst of spiritual
illumination and the serpent of the liberated spinal fire. The Hindu chakra is
unmistakable and it frequently appears in the religious art of the three Americas. One of
the carved monoliths of Central America is adorned with the heads of two elephants with
their drivers. No such animals have existed in the Western Hemisphere since prehistoric