American Folk-lore_, September, 1894, and stated to have been read
before the American Association the preceding month, entitled “A
Comparative Study of the Graven Glyphs of Copan and Quirigua,”
observes of the design of the _paxche_ that it “is probably a drum.”
No expression to this effect was in the paper as read before the
Association, and in the following number of the Journal Mr. Saville
concedes that I was the first to offer this identification.
Footnote 119:
Duran: _Hist. de las Indias_, Trat. I, Lam. 29; Trat. II, Lam. 6.
Footnote 120:
I quote the explanation from the _Dicc. de Motul_,—“_Paxaan_: cosa que
esta quebrada, como vasija, cabeza, barco, etc.; cosa que esta
desparecida; _paaxan in cab_, huido se me han mis abejas; _paaxan in
cuchtel_, _paaxan in cahal_, despoblado se me ha el pueblo, ido se me
ha mi gente. Y asi se puede decir de muchachos, de hormigas, humo,
niebla, nublados, dolor de cabeza, de la voluntad, etc., anadiendose
al _paaxan_ el nombre de la cosa.” In a similar sense the phrases
_paaxal yit caan_, “the edge of the sky is broken,” _paaxal u chun
caan_, “the beginning of the sky is broken,” are translated, “reir el
alba, venir el dia, ò amanecer asi.”
Footnote 121:
In the Tzental dialect the drum entirely of wood was called _culinte_;
that with a skin stretched across it, _cayob_. Lara, _Vocabulario
Tzental_, MS.
Footnote 122:
A similar design is found on Mexican shields, _e. g._, _Lienzo de
Tlascala_, plate 12, _Cod. Porf. Diaz._, lam. s. and on the curious
sculptures at Monte Alvan, Oaxaca, figured in Captain Dupaix’s Second
Expedition, plate 21, in Kingsborough’s _Mexican Antiquities_.
Footnote 123:
Probably the “morriones de madera,” to which early writers allude as
part of the armor of a Maya warrior.
Footnote 124:
“Torcer hilo con huso; _chich kuch_. Hilo torcido; _chichin bil
kuch_.” _Dicc. de Motul._ Meanings of _chich_, are: “strong, swift,
hard, violent,” also “grandmother.”
Footnote 125:
Father Ximenes speaks of the “asiento del rey;” “tenia un docel de
pluma; sobre el guarda polvo, tenia cielos de diversos colores, tres,
dos, etc.” _Origen de los Indios de Guatemala_, p. 196. The symbol is
therefore one of power and authority, rather than of a mere inanimate
object.
Footnote 126:
See Antonio Peñafiel, _Nombres Geograficos de Mexico; Estudio
Jeroglifico_, passim (Mexico, 1885). I would especially recommend this
easily obtainable work to the student who would familiarize himself
with the method of “ikonomatic” writing as it was used by the ancient
Mexicans. Another series of admirable examples are in the “Lienzo de
Tlascala,” published by the Junta Colombina (Mexico, 1892), under the
editorship of the distinguished antiquary, Don Alfredo Chavero.
Footnote 127:
_Nagualism; a Study in Native American Folk-lore and History_, p. 20,
note. Sometimes water was used, when the word in Maya is _puhaa_, “to
blow water,” and is translated in the dictionaries, “rociar con la
boca.”
Footnote 128:
Mallery: _Picture Writing of the American Indians_, p. 700. The double
curves that we see on the snake, Cod. Cort., p. 15, etc., I construe
as the sign of the sky. The expression in Maya was _u nak caan_, “la
boveda del cielo;” literally, the “belly” of the sky.
Footnote 129:
The transformation of the human into the arboreal form and its
opposite are frequently referred to in the myths and pictography of
the red race. Some interesting observations upon this point, by the
Rev. S. D. Peet, may be found in the _American Antiquarian_, for
September, 1894.
Footnote 130:
See the Codex Borgia, plates 8, 16, 17, 18, 19; Cod. Vaticanus, plate
65; Cod. Colomb., Lam. 5, 17; Cod. Vienna, pp. 18, 37, etc.; and
consult Pousse in _Arch. de la Soc. Amer._, 1887, p. 102; Schellhas,
_Zeitschrift für Ethnologie_, 1886, p. 53.
Footnote 131:
Dr. Harrison Allen: _An Analysis of the Life Form in Art_, p. 37
(Philadelphia, 1875); A. P. Maudslay: _Biol. Cent. Amer. Archæology_,
Part II, plate 23, etc.
Footnote 132:
Mr. E. P. Dieseldorff, in a description of a very beautiful decorated
vase from the vale of Chamá, Guatemala, says that fans were not in use
among the natives, and that the object in the paintings usually
identified as such is a “soplador,” or fire-blower, made of woven palm
leaves, and still found in every house. _Verhand. der Berliner
Anthrop. Gesell._, 1894, p. 374.
Footnote 133:
“Tenian cierto azofar blando y con alguna poca mezcla de oro, de que
hazian las hachuelas de fundicion y unos cascabelejos con que vaylavan
y una cierta manera de escoplillos con que hazian los idolos.”
_Relacion de Yucatan_, p. 107. (Madrid edition.)
Footnote 134:
_U hadz muyal_, literally, “its blow, the cloud.” Another figure which
seems to indicate the same is the broad, pointed object seen in the
hands of deities. Cod. Cort., p. 28; Cod. Tro., pp. 29, 30, 38, 39. It
is the same as the Nahuatl _tlauitequiliztli_, portrayed in the hands
of Tlaloc, in plate 70, of Boban’s _Catalogue Raisonné_ of the Goupil
collection.
Footnote 135:
The name is from _lil_, to sprinkle, _haa_, water, and _bal_, the
instrumental termination. The _Relacion de la Villa de Valladolid_,
1579, cap. xiv, says: “el ahkin llevaba un hisopo, atado en el muchas
colas de vibora y culebras ponzoñosas.”
Footnote 136:
The _Atlatl or Spear Thrower of the Ancient Mexicans_. By Zelia
Nuttall (Cambridge, Mass., 1891).
Footnote 137:
See Cod. Dres., p. 50. Precisely the same design recurs in the
(Mexican) Codex Borgia, published in Kingsborough’s _Mexican
Antiquities_. No. 11 is also a Mexican calendar sign (Gama).
Footnote 138:
I hesitated some time to assign the flint knife to the East, but
believe the evidence is in its favor. As Chavero has pointed out
(_Antiguedades Mexicanas_, p. xxxv), in Mexican symbolism, the
_tecpatl_ belongs decidedly to the West.
Footnote 139:
_The Native Calendar of Mexico and Central America_, p. 4
(Philadelphia, 1893).
Footnote 140:
“_Kan_: cuzcas ò piedras que servian à los indios de moneda y de
adorno al cuello.” _Dicc. de Motul._ I owe this identification to my
late friend, Dr. C. H. Berendt, a profound Maya scholar. Its
correctness will be confirmed by examining Cod. Cort., p. 12. Cod.
Dres., p. 48, etc. This circulating medium of the Mayas is mentioned
in the _Relacion de Valladolid_, 1579, cap. 33. In purchasing a wife
the expression was _ah coy kan_, “he who must pay _kans_,” as these
were the consideration. (_Dicc. Motul._) Other meanings of _kan_ are:
yellow, and hence ripe fruit, the yolk of an egg, cooked maize, etc.;
anything precious or valuable; a measure of length; a set task; a net,
and to fish or hunt with one.
Footnote 141:
Variants of the _chuen_ are extremely frequent in the mural
inscriptions, and its correct interpretation, therefore, highly
important. As stated in the text, I believe they generally stand for
_chun_, which means “the foundation, the beginning, the first, the
cause.” We find such expressions as _tu chun che_, “at the foot of the
tree;” _tu chun uitz_, “at the base of the hill,” etc. In Tzental,
_chu_ is the teat or mamma, _chunel_, to suck the teat. In many
inscriptions the position of the _chun_ is antithetic to the _pax_,
the one indicating the beginning, the other the end of a series.
Footnote 142:
Nuñez de la Vega, _Constituciones Diocesanas_, p. 10. The story was
that Been inscribed his own name upon them. I have not ascertained
that this locality has been examined by modern travelers. It might
offer valuable material.
Footnote 143:
E. Pineda, _Descripcion Geografica de Chiapas_, pp. 7, 8.
Footnote 144:
See Förstemann, _Entzifferung_, IV, S. 15.
Footnote 145:
Seler observes, on doubtful premises,—“_Tzec_ scheint der Zermalmer zu
bedeuten.”
Footnote 146:
“_Mac_, tapa de vasija.” The opinion of Allen that the sign represents
the extended arms, the “great span,” is inappropriate. The measure
called _mac_ was much greater (doce brazas, Pio Perez). Another
meaning of _mac_ is the sea turtle and its shell (galapago y concha
del).
Footnote 147:
Dr. Seler, in _Zeitschrift für Ethnologie_, 1891, p. 111, gives
another monogram for Kin ich—the _cauac_, with the “blowing” prefix
(see p. 98) and the “machete” subfix.
V. Specimens of Texts.
In the selection of the following texts I have been guided principally
by the desire to illustrate Mayan palæography as presented on different
surfaces, paper, stone, earthenware, etc., and as it is found in the
various regions occupied by tribes of Mayan culture and affinity. Some
of the examples have not been previously published, and for this reason
have a special value.
[Illustration: FIG. 68.—The God of Time brings in the Dead Year. (From
the Dresden Codex.)]
Fig. 68 I would explain as the god of time bringing in the dead year. It
is part of the ceremonies depicted as belonging to the close of the
year. That the wolf-headed figure represents time, the Devourer, I infer
from its relations in the early pages of the Ferjevary Codex, where it
is shown eating a string of days, etc. (in Kingsborough’s _Mexican
Antiquities_).
These ceremonies are represented in the Cod. Troano, pp. 20–23, and the
Cod. Dres., pp. 25–28. The recognition of their significance is
principally due to Prof. Cyrus Thomas.
The god arrives in the vase of the heavenly waters. In his left hand he
holds the rattle, in his right the magic wand, or magician’s staff,
_caluac_, and the medicine bag (Maya _chimil_, Nahuatl, _xiquipilli_);
around his waist is the broad carrying-band, in the loop of which he has
the dying year, _kan_.
[Illustration: FIG. 69.—A Sacrifice at the Close of the Year. (From the
Dresden Codex.)]
In Fig. 69 is another scene from the same ceremonies. The person on the
right is the celebrant, holding a beheaded fowl in his right hand, while
his left strews grain. Before him is a haunch of venison and a turkey.
Above the latter is the moon symbol with the number 15. To the left of
these stands the statue of Mam, the Grandfather, a log folded in a robe
and surmounted by the leaves of the Tree of Life.[148] In front are seen
the serpent’s head, the sign of Time; below this are footprints, to
indicate that time is gone; and beneath the form of the god is the sign
_pax_, with the meaning, “it is ended.”
[Illustration: FIG. 70.—Symbolic Representation of the Close of one
Time-Period and the Beginning of another. (From the Cortesian Codex.)]
In interesting contrast to these two is Fig. 70, showing the beginning
of a time-period. On the left, two dogs, back to back beneath the same
canopy, indicate the closing of one period and the beginning of another.
On the right, the serpent of time, resting on the earth, brings to the
heavens the new sun. The youthful god between the serpent’s jaws carries
the world-sign for an eye, and holds in his hand the symbol _yax kin_,
“new sun.” Above are appropriate hieroglyphs, the tenor of which the
diligent student of my previous pages will have little difficulty in
catching.
In Fig. 71 the God of Growth and Fertility holds an elaborate _caluac_
surmounted by a bird, its apertures filled with shells. Behind him is
seated the God of Death, his _caluac_ tipped with a formidable
spear-head. The God of Growth has not his own monogram, but that of the
old Cuculcan.
When we recall that the shell is the sign for “nought,” the indication
seems that the God of Death with his spear will bring to nought the
efforts of the God of Fertility.
We see in Fig. 72 the North Star in a series of relations to other
celestial bodies or divinities. Beginning at the left, he is seated on
his own sign which is surrounded by rays; next, he is upon the sign of
the four winds and four quarters of the earth; in the third he is
suspended in a sling from the “constellation band” between the sun and a
planet; and fourth, he is above the clouds, which rest upon a canopy
protecting a pile of _kans_, money or food emblems.
The three figures in Fig. 73 present the beneficent deities, each
bearing in the hand the food symbol, _kan_.
The group copied in Fig. 74, show the God of Death followed by Kin ich,
who seems remonstrating with him, who in turn is followed by the God of
War with a wrathful visage. The positions of the hands are especially
noteworthy. The sign _mol_ leads each of the cartouches.
In Fig. 75 Cuculcan is making fire from the friction of two pieces of
wood. On his head is the _moan_ symbol, on his thigh the _kin_. Each of
the three cartouches begins with the drum sign. His own monogram is the
third member of the second cartouche.
In Fig. 76 the text is the same in each of the three cartouches except
the monograms of the three divinities represented.
[Illustration: FIG. 71.—The God of Growth and the God of Death. (From
the Cortesian Codex.)]
[Illustration: FIG. 72.—Auguries from the North Star. (Cortesian
Codex.)]
[Illustration: FIG. 73.—Itzamna, the Serpent Goddess, and Kin ich.
(Dresden Codex.)]
[Illustration: FIG. 74.—The God of Death, Kin ich, and the God of War.
(Dresden Codex.)]
[Illustration: FIG. 75.—Cuculcan Makes New Fire. (Codex Troano.)]
[Illustration: FIG. 76.—The Gods of Death, of Growth, and the North
Star. (Dresden Codex).]
In Fig. 77 each cartouche begins with _mol_, and is immediately followed
by the monogram of the god. The lower glyphs differ materially.
[Illustration: FIG. 77.—The God of Growth, Kin ich, and Itzamna.
(Dresden Codex.)]
All the above specimens of texts have been photographed from the
Codices, without restoration. They show, therefore, not only the general
character of those documents, but also their state of preservation. In
many instances the pages have been defaced, and portions of the
inscriptions upon them injured. Sometimes it is possible to restore the
obliterations by a comparison of parallel passages, and this has been
done successfully by various scholars.
The extracts have been selected also with the object of showing the
representations of the most prominent deities, Itzamna, Kin ich,
Cuculcan, the God of Death, etc., in the manner in which we find them in
the Codices.
[Illustration: FIG. 78.—The Inscription of Kabah.]
In this interesting inscription from Central Yucatan, we recognize
familiar signs, as the medicine-drum and the cloud-signs at the bottom,
and _cauac_, _chikin_, _yax_, etc., within the square area. It is
sufficient to prove that at Kabah the same writing was in use.[149]
There is some reason to suppose, however, that in this part of the Mayan
territory there had been a development of this writing until it had
become conventionalized into a series of lines and small circles
enclosed in the usual square or oval of the katun. I have seen several
examples of this remarkable script, and give one, Fig. 79, part of an
inscription on a vase from Labna, Yucatan, now in the Peabody
Museum.[150]
[Illustration: FIG. 79.—Linear Inscription from Yucatan.]
The tablets at Palenque are too extensive a study for me to enter upon
in the present work. The engraving, Fig. 80, is merely to show the
character of the writing and to present the “initial glyphs,” upon
which, in Copan and elsewhere, Mr. Maudslay lays so much stress (see
above, p. 23).
Incidentally, they seem to me to prove that the proper reading of the
tablet is to begin at the top of the two right-hand columns, read them
together downward (as Thomas suggested), then the next two to the left
in a similar manner; but the last two on the left, those headed by the
great _pax_, should be read from below upward. This differs from any
scheme yet proposed, but alone corresponds with the natural sequences of
the groups of glyphs. The terminal (upper left) glyph shows the _pax_
surmounted by the _xihuitl_ and this by the “trinal” signs. The student
of the preceding pages will not be at a loss to explain their purport.
[Illustration: FIG. 80.—The “Initial Series” of the Tablet of the Cross,
Palenque.]
I have already referred (above, p. 54) to the singular “bas-reliefs of
Chiapas.” They are covered with elaborate designs carved in low relief
on the argillaceous slate of which they consist. Nearly all have
hieroglyphics of a decorative Mayan character. For the sake of
comparison I add Fig. 81, a tracing of the four glyphs which are placed
in front of the tapir on the “tapir tablet.”
[Illustration: FIG. 81.—Inscription on the “Tapir Tablet,” Chiapas.]
The interesting group, Fig. 82, is the most complete example of the
ancient writing I know of, from the region of the Zotzils. The original,
formerly in the possession of Don Secundino Orantes, in the city of
Chiapas, measures 26 by 17 inches. The front is badly injured, but the
back well preserved. We find in this cartouche of twenty glyphs enough
familiar forms to convince us of the identity of the graphic method.
_Pax_, _chuen_, the iguana, etc., are soon recognized. The copy was made
by the late Dr. C. H. Berendt.
[Illustration: FIG. 82.—Inscription on a Tablet from Toniná, Chiapas.]
Toniná is about 80 miles south of Palenque and near Ococingo, whence Mr.
Squier obtained the amulet bearing the neat inscription shown in Fig.
83. The original is now in the American Museum of Natural History, New
York City.
[Illustration: FIG. 83.—Inscription on an Amulet from Ococingo,
Chiapas.]
The beautiful inscription, Fig. 84, hitherto unpublished, is on a burial
vase from the Quiche district of Guatemala, near Huehuetenango. It is
not only the longest and most perfect example known of Quiche
palæography, but it is also the most extensive inscription I have seen
on pottery from any part of the Mayan territory. The original, a vase of
high artistic merit, is in the Museum of the University of Pennsylvania.
Again we see familiar signs, the _imix_, the _pax_, the numerals, the
bean subfix, etc.
[Illustration: FIG. 84.—Inscription on a Vase from a Quiche Tomb,
Guatemala.]
* * * * *
The limits which I have prescribed for this work do not permit me to add
further comparisons in Mayan palæography. Fortunately, the student can
find ready access to abundant examples. The inscriptions of Copan and
Quiriguá, of Chichen Itza, and Palenque, are or will be represented with
admirable fidelity in Mr. Maudslay’s work already referred to; others
from Tikal have been made accessible by the labors of Berendt, Charnay
and de Rosny; and we are justified in believing that before many years
the intelligent explorations of competent archæologists will add
hundreds of texts from the relics in stone, clay, and wood which still
exist to attest the character of ancient Mayan literature.
* * * * *
The most urgent duty resting upon the present generation of students
interested in this subject is to collect and accurately reproduce as
many of these texts as possible, before they are destroyed or lost.
Extended comparisons will ultimately reveal their meaning, as will
readily be seen from the advances in that direction chronicled in the
preceding pages.
-----
Footnote 148:
See Cogolludo: _Historia de Yucatan_, Tom. I, p. 317.
Footnote 149:
This inscription, painted on stucco, was copied by H. F. Becker and
printed in the _Archives de la Société Américaine de France_. See de
Rosny, _L’Interpretation des anciens Textes_ Mayas, p. 12., note
(Paris, 1875).
Footnote 150:
Another example is in the Thompson collection, and a third, somewhat
similar, also from a vase from Yucatan (now in Berlin), has been
published by Dr. Schellhas, _Internat. Archiv. für Ethnographie_, 1890
(p. 3 of his separatum).
I. INDEX-VOCABULARY OF MAYA WORDS.
(T. _signifies the Tzental dialect_.)
_ac_, a tortoise, or turtle, 35, 74
_acan_, mead, 42
_ac ek_, a constellation, 35
_aghan_, T., young ear of maize, 62
_ahau_, ruler, lord, 41; a day name, 115
_ahau can_, rattlesnake, 68, 75
_ahau can mai_, chief priest, 68
_ahau katun_, 22
_ahau tzab can_, the rattlesnake, 75
_ah-caluac_, the staff bearer, the mayordomo, 52
_ah-ch’om_, a vulture, 73
_ah-chun can_, high priest, 68
_ah-coy-can_, v. p. 110, note
_ah-cunal than_, word-conjurer, 68
_ah-kin_, priest, 68
_ah-kin-mai_, chief priest, 68
_ah koh-keuel_, a masked priest, 69
_ahlo_, the macaw, 73
_ah-mac ik_, wind conjurer, 68
_ah-poou_, the milky way, 35
_ah-pul_, a conjurer, 68
_ah-uai-chac_, rain conjurer, 68
_ah-uai xibalba_, conjurer of departed souls, 68
_ah-zahcab_, Venus, 34
_akbal_, night, darkness, 56; a day name, 116
_alau_ (64,000,000), 19
_anhel_, to stand erect, 46
_bacab_, 40
_bac-baquetic_, a numeral, 19
_balam_, the jaguar, 72
_bak_, four hundred, 19
_bat_, an axe; hail, 104
_batab_, a chief, 104
_batul_, to fight, 104
_be_, footprints, 88
_be che_, a bridge, 113
_ben_, or _been_, a day name, 91, 113
_ben-ik_, a graphic sign, 90, 123
_bolon_, nine, 25
_bolon paxche_, a large drum, 92
_budz ek_, a comet, 35
_bul_, a bean; all, the whole, 89
_bulcabal_, a destruction, 46
_caan_, the sky, 52
_cab_, down, downward, etc., 60, 99, 114
_caban_, a day name, 114
_cac_, to pull out, 86
_calab_ (160,000), 19
_calacal_, perforated, 52
_caluac_, the “staff of office,” 52, 128, 130
_camach_, a jaw bone, 85
_canan_, a sentinel, guardian, 34
_canan chulchan_, Venus, 34
_canzicnal_, serpent being, 41
_cauac_, a day name, 115
_cayob_, T., a drum, 93
_ceh_, a deer; a month name, 119
_chaam_, the (molar) teeth, 43
_chac_, red, strong; water, etc., 34, 40, 109
_chac ek_, Venus, 34
_chacal ik_, strong wind, 40
_cham_, a jaw bone, 85
_chamal dzutan_, shooting stars, 35
_che_, tree, wood, 45
_chebel_, to paint; a paint brush, 42
_chel_, the rainbow, 40
_ch’en_, a month name; a well, 118
_chi_, to bite, 89; a mouth, 112
_chibil kin_, a solar eclipse, 36
_chibil u_, a lunar eclipse, 36
_chicchan_, a day name, 111
_chich_, strong, powerful, swift, hard, 96
_chich kuch_, to twist thread, 96
_chimal_, shield, 34
_chimal ek_, the north star, 34
_chimal ik_, the north wind, 34
_chimil_, a medicine bag, 128
_chinax_, T., a knife, 89
_chu_, a calabash, 112
_chuen_, a day name, 23, 112
_chulchan_, the sky or heavens, 34
_chun_, the first, the beginning, 23, 113
_ci_, to trickle, 114
_cib_, a day name, 114
_cicil_, a knife, 84
_cimi_, a day name, 111
_coz_, an owl, 73
_cuceb_, a squirrel, 109
_cucul_, covered; revolving, 56, 109
_culinte_, T., a drum of wood, 93
_cum_, a vase, 41, 48
_cum ku_, a month name, 121
_cun_, to conjure, 44
_cuzaan_, or _cuzam_, a swallow, 42
_dzacab_, a generation, 25
_dzacah_, to heal by magic rites, 93
_dzacatan_, a medicine drum, 93
_dzicnial_, 39
_dzip_, to skin animals, 42
_dziz_, coolness, cold, 42
_eb_, a day name, 113
_eb-che_, a ladder, 77
_ebtun_, a stone stairway, 113
_ebzah_, to sharpen, 113
_ek_, star; black, 34; dyewood, fat, 109
_ek chuh_, scorpion, 67
_ezanab_, a day name, 114
_ghan_, T., maize, 62
_haycabal_, a destruction, 46
_hobnil_, hollow; the belly, 40
_hozan_, disembowelled, 41
_hub_, a snail, 75
_hun_, one, 25
_hunab_, only, sole, 37
_hunbalan u_, the moon in conjunction, 36
_ibach_, an armadillo, 72
_ical_, or _ic_, T., black, 67
_ich_, an eye; a face; twins, 84
_ik_, wind, breath, life, soul, etc., 50, 115
_ik_, a day name, 91, 115
_ikomne_, a comet, 35
_imix_, a day name, 115
_itz_, fluid, 52
_ix_, feminine prefix, 40
_ix-bouat_, a prophetess, 68
_ix chel_, the rainbow, 40
_ix-cunal than_, a conjuress, 68
_ix kan leom_, a spider-web, 40
_ix kin_, priestess, 68
_ix nuc_, old woman, 43
_kaax_, a knot; a harvest-field, 41
_kab_, a hand, arm, finger, juice, sap, tears, 83
_kaba_, a name, 83
_kabil_, his hand, 38
_kak_, fire, 42, 120
_kak mo_, a bird, 39
_kal_, twenty, 19
_kan_, money, food, etc., 109
_kan kin_, a month name, 120
_katun_, 11, 22, 28
_kax_ or _kaax_, a knot, 91
_kax pol_, the tress of the hair, 91
_kaxala_, to rain; the rain, 91
_kayab_, a month name, 120
_kin katun_, 28
_kin_, }
_kinal_, } see p. 87
_kinam_, }
_kinchil_ (3,200,000), 19
_kin ich_ (deriv.), 39
_koh_, a mask, 69
_ku_, a god; divine, 37
_kuch_, a vulture, 46, 73
_kul_, divine, 95
_kukum_, a feather, 95
_kup_, to sacrifice, to cut, 69
_lakin chan_ (deriv.), 38
_lamat_, a day name, 111
_licil dzicil_, a knife, 89
_lilābal_, a sprinkler, 104
_lom_, a lance, 43
_lum_, the earth, 48
_maax_, a monkey, 72
_mac_, to extinguish; a cover; a turtle; a month name, 119