retain. Its signification was first explained by Schellhas. The orbs are
suspended from the “constellation band” by curious bearings, which seem
to be developments from a form very common in the Mexican MSS., and
which is shown in Fig. 63, No. 1, which, however, I have copied from a
potsherd brought from Copan. Figs. Nos. 2 and 3, from the same source,
also seem of astronomical intent, though No. 3 may be a variant of the
_ik_ (comp. Cod. Dres., pp. 56, 57).
[Illustration: FIG. 63.—Designs from Copan Potsherds.]
After considerable discussion the signs for the cardinal points have
been definitely determined to be as in Fig. 64, reading from left to
right, East, North, West, South. The East sign is composed of the _kin_
(sun) sign with the _ahau_ as a superfix and the “claw” postfix; the
North has the north star god’s monogram with the lunar prefix; the West
the _kin_ sign with the _mach_ as a superfix (see p. 83) and the “claw”
postfix; the South has the _yax_ with the _mac_ superfix and sometimes
an augment. Space will not permit a further analysis of these important
composites, but each is highly significant. These signs never occur
isolated, but always together; where one is found, the others may
confidently be looked for.
[Illustration: FIG. 64.—The Signs for the Cardinal Points.]
Another series of signs are intimately associated with these. They are
shown Fig. 65, and read from left to right, South, East, North, West.
[Illustration: FIG. 65.—The “Directive Signs.”]
[Illustration: FIG. 66.—The “Cuceb.”]
The precise purpose of these has remained obscure. Dr. Seler has
suggested that they indicate the colors which were assigned to the four
directions. This is true as far as it goes, but does not explain many of
their uses. My own studies have led me to believe they are primarily
“directive signs,” intended to guide the learner in the use of the
calendar wheel. This was somewhat intricate, made by the superposition
of two surfaces, the lower marked with the cardinal points, etc., the
upper, I take it, with these directive signs. That any quarter in the
native astrology could be transferred into any other, explains why they
are all found with all the signs of the cardinal points.[138] My view is
borne out by the Books of Chilan Balam. In this work the rotation of the
time-periods is called _cuceb_, “the squirrel,” and their beginning is
marked with the Fig. 66. This is identical with several variants of the
North “directive sign” above; and the reason it was called _cuceb_ was
that the verb _cucul_ means “to move round and round” as they did their
calendar wheels.
These four directive signs occur repeatedly as affixes. They may be
read, (1) ideographically: either as directions, south, east, north,
west; or for colors, yellow, red, white, black; or, (2) ikonomatically:
for the homonyms of the names of these colors, that is, for the other
meanings of the color names. These are numerous. Thus, _kan_, yellow,
also means “jewels, money, food, abundance, a rope, a hamac;” _chac_,
red, may also signify “strong, water, rain, the rain god, a tempest;”
_zac_, white, is also an intensive particle, “much, very,” and is close
to _zacal_, to weave, a web, and _zacan_, bread; while _ek_, black, may
also be translated “dark, darkness, a star, dyewood, the fat of meat.”
The sign for the East, the flint knife, may as such have the values
assigned above to that object (see p. 89). This, however, does not make
the method so complicated as one may think, for in all rebus-writing we
find the ordinary signs employed are limited to a few recognized
meanings.
5. _The Hieroglyphs of the Days._
In my work on “The Native Calendar of Central America” I pointed out
that the hieroglyphs of the names of the days are to be looked upon as
rebuses, and therefore do not tell us the real meaning of the name given
the day. They are merely the pictures of some familiar visible object or
objects, the name of which has more or less similarity to the name of
the day, and would serve by an ocular representation to recall it to
mind. To repeat what I there said on this essential point: “It is quite
misleading to seek the real meaning or derivation of a day-name or other
word from the figure which represents it in the hieroglyphic writing.
The latter usually stands for a word of an entirely different meaning,
the only connection being a more or less similarity of sound.”[139]
It should be remembered, therefore, that some of these hieroglyphics of
the day-names recur as independent characters with other than calendar
significations.
[Illustration]
1. _Kan._ The object represented is a polished stone, shell pendant, or
bead, in Maya, _kan_. It was their circulating medium, and it stands for
_money_, and all which that magic word conveys,—food, prosperity,
abundance.[140] The dot or eye in the upper portion is the perforation
by which it was strung on a cord. Others explain it as an eye (Seler); a
tooth (Brasseur); a grain of maize (Schellhas).
[Illustration]
2. _Chicchan._ The allusive design to suggest the name is supplied by
the twisted threads _chich kuch_. See above, p. 96. Brasseur sees in it
a petticoat, Seler a serpent’s skin, etc.
[Illustration]
3. _Cimi._ Represented either by an eye closed as in death, _cimil_; or
by the maggot (see above p. 65).
[Illustration]
4. _Manik._ Correctly explained by Brasseur as a hand in the act of
grasping, “une main qui se ferme.” Its phonetic value is not _kab_,
hand, but _mach_, “to grasp” (see above p. 83).
[Illustration]
5. _Lamat._ The figures bear a close resemblance to some of the sun
signs. See Fig. 37. They seem to show the orb partly below a line—the
horizon—which would give as a rebus _lamal kin_, the sunsetting; enough
to recall the day name.
[Illustration]
6. _Muluc._ The day sign _muluc_ and the month sign _mol_ have a
resemblance, as do the words. The root _mol_ or _mul_ means a coming
together, or piling up. The hurricane is called _molay ik_, “the winds
united;” the word for religion is _umolay_, literally, “a congregation
or meeting.” Both signs seem to portray one thing inside of another of
the same kind, with a probable reference to the sense of the root.
[Illustration]
[Illustration: FIG. 67.—A Cartouche.]
7. _Oc._ Among its various meanings this word signifies “a trail” and
“footprints.” Such seems the design in the first variant. Brasseur, and,
following him, Seler, think that the others portray the ears of a dog,
as in some Mayan dialects the dog is called _oc_. The full glyph is
thus: [Illustration] It is of frequent occurrence in such a cartouche as
shown in Fig. 67, where _a_ is the strengthened _pax_; (See p. 92), _b_,
the dog sign; _c_, the haunch of venison; and _d_, the monogram of
Xmucane with a vigesimal or personal prefix.
[Illustration]
8. _Chuen._ The figure is that of a mouth, _chi_, with fangs; but as
that was not very near in sound, a calabash, _chu_, is sometimes
portrayed at the bottom of the circle, within. The mouth of no
particular animal is intended, as is evident from allied designs; though
Brasseur and Seler claim that it is of a monkey, Schellhas, of a snake,
etc. The day name is close in sound to _chun_, the first, the beginning,
and appears occasionally as a numeral (see above, p. 23). Piles of
_chuen_ are shown as offerings, _e. g._, Cod. Dres., pp. 26, 42; Cod.
Cort., p. 3. Do they mean “first fruits?”[141]
[Illustration]
9. _Eb._ The face of an old man with a peculiar pointed ear mark. The
word _eb_ means “ladder;” _ebtun_, a stone stairway; _ebzah_, to sharpen
or point a flint; this last may explain the sharpened ear and dots.
[Illustration]
10. _Ben_, or _Been_. Explained by Brasseur as showing a path, _be_; by
Seler, as a mat and a straw roof. To me, it looks like a _be che_, a
wooden bridge, the two supports of which are shown and which was
sometimes covered with a straw mat. This rebus gives the first syllable
of the name. In Tzental tradition _Been_ was the ancient hero who
erected the inscribed stelæ (piedras paradas) at Quixté, near
Comitan,[142] which the natives still decorate at certain times with
garlands of flowers, etc.[143]
11. _Ix._ The usual figure contains a number of black dots. These
suggest the word _xiix_, scattered grain husks. Seler thinks it shows
“the round hairy ear and spotted skin of the jaguar.” Brasseur proposed
that it conventionally portrays the feminine parts, as _ix_ is the
feminine prefix in Maya.
[Illustration]
[Illustration]
12. _Men._ The head of an aged person, supposed by Brasseur and Seler to
be Mother Earth. Sometimes it is extended worm-like, as in Fig. 43, No.
3.
[Illustration]
13. _Cib._ Brasseur and Seler believe the enclosed spiral represents the
fermented liquor, _ci_, trickling down. The “pottery decoration” (see p.
58) certainly indicates a jar or vase.
[Illustration]
14. _Caban._ The design is that of the “cork-screw curl” of a woman, and
stands for _cab_ (see p. 99).
[Illustration]
15. _Ezanab._ The picture is of the sacrificial knife of flint, which
closely corresponds with the name.
[Illustration]
16. _Cauac._ The design shows a side face, with pendent clouds for the
eye, the “windcross” for the ear, and, perhaps, as Seler thinks, the
hairy mouth of the _moan_ bird. On the other hand, Rosny explains it as
“the plan of a building,” and Thomas as “the sign for wood.”
[Illustration]
17. _Ahau._ Usually considered to be the conventional drawing of a full
face.
[Illustration]
18. _Imix._ Generally regarded as representing a mammary gland, though
it is not quite like those shown in the Codices. It is typical of
prosperity and is often attached to the _kan_ sign. In the calendar it
indicated the beginning of a time-period.[144]
[Illustration]
19. _Ik._ The word means air, wind, breath, spirit, soul, and life. The
design is a katun enclosing the sign of the four directions or four
winds, the “wind-cross.” Brasseur calls it a flower, because it is
sometimes shown with what looks like leaves emerging from it (Cod Tro.,
pp. 5*, 6*, etc.). This indicates, however, the spirit of life coming
forth (or, as Seler thinks, is a sign of sacrifice; the same superfix
occurs on the _kan_, Cod. Cort., p. 37, etc.).
[Illustration]
20. _Akbal._ The word resembles _akab_, night, and is probably derived
from it. The design may be that of a mouth with teeth (Brasseur, Seler),
or the rays of the sun after sinking below the horizon. As a general
glyph it is frequent with the signification of night and darkness, not
necessarily in a bad sense.
6. _The Hieroglyphs for the Months._
These are more intricate than those of the days, and show wider
variation. In the designs given below, the first on the line is from
Landa’s work, the second and third are from the Dresden Codex.
[Illustration]
1. _Pop._ The word means “a mat.” The principal element in the glyph is
the south or yellow sign, referring perhaps to the color of a mat, with
the alar subfix. The prefix to the first variant shows the “windcross.”
[Illustration]
2. _Uo._ The usual meaning of this term is a prickly pear; also, a
species of frog; _uooh_, a written character or letter. The prefix
indicating speech (see p. 98) seems to indicate the latter. The chief
element is the _mol_ sign with the night sun as a subfix.
[Illustration]
3. _Zip._ The design shows the sun below the flint knife, that is, the
slain or departed sun, a play on the phrase, _zipik kin_, the sun set
(ponerse el sol, _Dicc. Motul_). The idea is strengthened by the _mac_
as a prefix, signifying “to extinguish.”
[Illustration]
4. _Zodz._ The word means “bat,” and the design shows the head of one
with the _kin_ as a superfix.
[Illustration]
5. _Zec_, or _Tzec_. The design is explained by Brasseur as a death’s
head, Maya, _tzekel_; by others, as an open mouth with teeth (compare
_chuen_, p. 112). The projecting curved lines above the head are
supposed by Schellhas to represent a peculiar mode of wearing the hair.
But as _tzec_ means “scorpion,” they may depict conventionally the claws
of that animal.[145]
[Illustration]
6. _Xul._ The three signs are quite unlike. The first presents the
conical bill of a bird of the finch or sparrow family; the second, the
horned owl or the falcon (?); the third, a conventionalized bird’s head.
The second may be ikonomatic for _xulub_, horns. The word _xul_ means to
end or to finish; and, the end, limit, or extremity.
[Illustration]
7. _Yaxkin._ This means “new sun” or “strong sun.” The glyph expresses
this by the _yax_ sign, “new” or “strong;” the _kin_ (sun) sign and the
dotted postfix, _ual_, month. According to the Dicc. Motul, the phrase
_dze yax kin_ was applied by the Mayas to the hottest part of the
summer.
[Illustration]
8. _Mol._ See remarks on the day sign _muluc_, p. 111. Dr. Förstemann
suggests that the above designs represent either (1) a snail in its
shell, or (2) an egg with its yolk, or (3) the sun after setting. Seler
holds that it shows the heart, Maya, _ol_, within the body, making a
rebus for _mol_.
[Illustration]
9. _Ch’en._ This means a spring or well of water. The second sign shows
a water jar bearing the sign of fluid, with reference to the sense of
the word. The first is more complex. The main element is a face with a
_moan_ mouth, referring to water; for an eye the infix _u_, for month;
and two prefixes, the sign of union (see p. 100), and above it what may
be a variant of _ben_ (see. 113).
[Illustration]
10. _Yax._ The feather sign _yax_ (see p. 94) is the superfix to the
_cauac_ sign, which carries the postfix _ual_, month.
[Illustration]
11. _Zac._ This word means “white,” and this is here expressed by the
_cauac_ sign carrying as a superfix the north directive sign (see p.
109), as white was the color sacred to the North.
[Illustration]
12. _Ceh._ The meaning of _ceh_ is “deer,” and the design shows the
flint knife used in slaughtering that animal, placed as a superfix to
the _cauac_ sign.
[Illustration]
13. _Mac._ The first glyph represents the cover of a jar, the name of
which in Maya is _mac_, thus making a perfect rebus.[146] The second,
not plain, is a variant of the _kan_ or _imix_, with the “comb” subfix.
In this month was celebrated the important rite of _tupp kak_, “the
extinguishing of the fire,” the aim of which was to secure rain for the
growing crops. The figure may refer to this.
[Illustration]
14. _Kan kin._ This expression means “the yellow sun.” The first glyph
is a perfect rebus, showing the sun sign, _kin_, and the south directive
sign (see Fig. 65), which means “yellow.” The second glyph is the sign
for a breast-bone, a shield, or dog (see p. 125).
[Illustration]
15. _Muan._ The head of the _muan_ bird, the crested falcon, with his
ears or horns, see p. 74.
[Illustration]
16. _Pax._ The only or main element is the drum, _pax che_, above
explained (see p. 91).
[Illustration]
17. _Kayab._ The main element was recognized by Schellhas as the head of
a turtle. In Landa’s alphabet this has the value _a_ or _ak_. It is
applied as a rebus to recall the first syllable of the name.
[Illustration]
18. _Cum ku._ The glyph in one case combines _kan_ and _cum_, with
prefixes of _cauac_ and _cib_. Dr. Förstemann fancifully explains it as
portraying “from one point two flashes of lightning or sun’s rays
striking the maize field.” Rather, we have here the rebus _cum kan_,
recalling the name, and the _cauac_ sign, which is repeated in a number
of the month signs.
7. _The Hieroglyphs of the Deities._
I have already mentioned that in the texts the gods are severally
represented by their signs or monograms. The credit of defining these in
a clear and satisfactory manner is due almost entirely to Dr. Schellhas,
and I shall here present the results of his careful studies, retaining
his alphabetic nomenclature, which has in some degree been accepted by
Dr. Förstemann and others.
_A._ The god of Death.
[Illustration]
His signs are clearly established and vary but little, Nos. 1–4. Two of
them are usually written. The prefix to 1 and 3 has been already
referred to (see p. 84). The bean (or flint) appears as a prefix in No.
2, as a subfix in No. 3. Frequently associated with his monogram is No.
5, which Seler explains as the sign of the owl. No. 6, from Cod. Dres.,
p. 50, with a skull for a head-dress, may be a priest of this divinity;
No. 7, from Dres., p. 22, may also be a priest or a companion.
_B._ Itzamna, or “the god with the snake-like tongue.”
[Illustration]
His hieroglyphs are, beyond mistake, Nos. 8 and 9. The directive sign,
No. 10, is occasionally associated with his monogram. In Cod. Dres., p.
33, one of his attributes is shown in No. 11, the hand closing on the
rattles of the crotalus. The food symbols, Nos. 12, 13, 14, 15, are
often connected with him. Some regard them as the four elements, etc.
_C._ The North Star, or “the god with the ornamental face.”
[Illustration]
It is easy to recognize his monogram, Nos. 16, 17, 18, 19, 21. I have
already explained the “pottery decoration” (above, p. 58). As prefixes,
we find the bean, No. 20; the crescent, as in 21; the number 13,
indicating completeness or perfection; and the vase, as in 16 and 17.
_D._ Cuculcan, “the moon god, or night god.”
[Illustration]
The complete hieroglyph is No. 22, generally followed by No. 23. He is
“the old man god,” with one tooth, as in No. 24; sometimes connected
with the moon symbol as in No. 25; and often holds in his hand the
aspersorium, shown in Nos. 26 and 27. See p. 105.
_E._ Ghanan, “a male maize god.”
[Illustration]
His usual monogram is No. 28. No. 29 is a picture of the maize plant
from Cod. Tro., p. 29, from which Dr. Schellhas argues that the
head-dresses of this divinity, as shown in Nos. 30–34, are conventional
designs for growing maize. My own collations persuade me that the maize
should here be understood as a general symbol for vegetable growth,
fertility, and the harvests.
_F._ The god of War, or, “a companion of the god of death.”
[Illustration]
His hieroglyphs, shown in Nos. 35–41, often contain the number 11. The
black line is characteristic. His signs appear in connection with all
four cardinal points.
_G._ Kin ich, “the sun god.”
[Illustration]
His monogram is uniform No. 42. It is the sun with the _ben ik_ superfix
and alar postfix. (See p. 90). His nose ornament, No. 43, and the
“flower,” No. 44, are usually distinctive of his portraits.[147]
_I._ “The serpent goddess.”
Her signs are not distinct. Dr. Schellhas believes them to be Nos.
49–51; but I cannot accept that they are intended for the same
individual.
_H._ “The serpent god.”
[Illustration]
The hieroglyph and the personage, No. 45, are doubtful. He is supposed
to be shown in Cod. Dres., pp. 11, 12, 20, etc. Nos. 46 and 47, from
Cod. Tro., p. 17, are also assigned him. The rattle, No. 48, appears as
a hieroglyph in Cod. Dres., p. 61, and elsewhere. I doubt this deity.
_K._ “The god with the ornamented nose.”
The hieroglyph is No. 52, often accompanied by the “dog” sign, No. 53. I
have already expressed the belief that this is merely one of the
manifestations of Itzamna. (See p. 54.)
_L._ Ical Ahau, “a black god.”
[Illustration]
Dr. Schellhas distinguishes between a divinity whose sign is No. 54, and
“_M_,” “a second black god,” whose hieroglyph is No. 55, 56, and whose
face is shown No. 57. He appears in Cod. Dres., pp. 13, 16, 43, and is
common in the Cod. Tro. The sign No. 58 is occasionally associated, as
in Cod. Tro., p. 5, and Cod. Cort., p. 28.
_N._ “A god with the features of an old man.”
[Illustration]
His sign is No. 59, which may be translated “5 Zac,” and may refer to
his festival on that date (Seler). His face and peculiar head-dress,
with the _pax_ sign, are shown No. 60. These do not strike me as
representing divinity, but simply “old age.”
_O._ “A goddess with features of an old woman” (Xmucane?). Her
hieroglyphs are shown Nos. 61, 62; the latter is more frequent.
_P._ “A figure with features of an old man.”
It is seen Cod. Dres., p. 21, with the sign No. 63. It is doubtful if a
deity is intended.
_Q._ “An isolated deity.”
Shown Cod. Dres., p. 20, with the signs Nos. 64 and 65; probably a mere
personage.
[Illustration]
_R._ The _moan_ bird.
He is often associated with the god of death, and bears the hieroglyphs
Nos. 66–69, sometimes with the 13.
_S._ No. 70 is the usual hieroglyph of the dog, and _T_, No. 71, is that
of the vulture.
_U._ No. 72 is the sign of the jaguar, as seen in Cod. Tro., p. 17, and
in Cod. Dres., pp. 8, 26.
[Illustration]
_V._ The turtle or tortoise. Its monogram is seen Nos. 73, 74, 75. It is
the _a_ of Landa’s alphabet. There is no doubt but that the turtle’s
head and not that of the parrot is intended, though some have thought
otherwise.
-----
Footnote 101:
“The Ancient Phonetic Alphabet of Yucatan,” in the _American
Historical Magazine_, for 1870.
Footnote 102:
A notable exception to this, commented on by de Rosny, is seen on
pages 18 and 19 of the _Codex Peresianus_. Why the rule should be
reversed in those sections is still a problem.
Footnote 103:
_Study of the MS. Troano_, Preface, p. viii.
Footnote 104:
Alfredo Chavero, _Antiguedades Mexicanas_, p. xi (Mexico, 1892). The
_Codex Porfirio Diaz_ must be read from right to left.
Footnote 105:
D. G. Brinton, “The Alphabets of the Berbers” in _Proceedings of the
Oriental Club of Philadelphia_, p. 64 (Philadelphia, 1894).
Footnote 106:
For instances, the numerals in connection with the snakes in Cod.
Dres., pp. 61–64, and 69–73, are to be read from right to left, and
from below upward, beginning at the last page of the series, and
proceeding toward the left on the extended sheet. Förstemann,
_Entzifferung_, No. II, 1891.
Footnote 107:
In the _Archives de la Société Américaine de France_, for 1887, pp.
27, 28, 113, etc.
Footnote 108:
In this connection I would call the especial attention of students to
the article by Dr. Schellhas, “Vergleichende Studien auf dem Felde der
Maya-Alterthümer,” in the _Internationales Archiv für Ethnographie_,
1890. He there illustrates their methods of tattooing, wearing the
hair, personal ornaments, costumes, utensils, etc., as shown in the
Codices and other remains.
Footnote 109:
On the interpretation of these and allied signs the student should
consult Garrick Mallery, _Sign Language among the North American
Indians_, in _Rep. of the Bureau of Ethnology_, Vol. 1, and W. P.
Clark, _The Indian Sign Language_ (Philadelphia, 1885). It is not
possible for me here to give more than the most meager details on this
important topic.
Footnote 110:
Bird’s wing in Maya is _xik_. Close in sound is _xikal_, queen (señora
principal, _Dicc. Motul_). The first wing feather was also called “a
knife” (la primera pluma de la ala del halcon se llama “cuchillo
maestre,” “_u cicil ulum_.” _Dicc. de San Francisco_).
Footnote 111:
In the museum of the University of Pennsylvania there is a beautiful
vase from Guatemala, with a vitrified surface; on it a face and head,
with a necklace entirely of this sign, repeated in a pattern.
Footnote 112:
“_Tup_; ciertas arracadas de palo antiguas; y llamanse ahora las
arracadas ó zarcillos.” _Dicc. Motul._
Footnote 113:
In Maya a comb is _xel_. This as a verb means “to cut in two;” and as
a numeral prefix it divides in half unities less than 20; as _xel u
yox kinbe_, “two-and-a-half-day journeys.” Ikonomatically, the comb
sign may have these significations. Landa gives it as the sign for
_ca_, perhaps, as Valentini suggests, for _cac_, to pull out hair.
Footnote 114:
_Uil_ also means anything favorable or advantageous—“cosa provechosa,”
_Dic. Motul_. The word _u_ never means “vase,” as Prof. Thomas has
repeatedly stated, following the unreliable Brasseur.
Footnote 115:
“Los navajones para los sacrificios, de los quales tenian buen recaudo
los sacerdotes,” p. 107, Ed. Madrid.
Footnote 116:
_Relacion de la Villa de Valladolid_ (1579), Chap. XIV. I am aware
that some variants of this glyph have a striking resemblance to a
_penis flaccidus cum testiculis_; but after close comparison I have
rejected this rendering. Thomas sees in the two shells “tortillas.”
Footnote 117:
_Cosas de Yucatan_, p. 112 (Ed. Madrid). What looks like the _kan_
sign below it is the strap which fastens it.
Footnote 118: