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