1 2 5 6 9 10 13 14
3 4 7 8 11 12 15 16.
These four parts, however, form a whole, inasmuch as they all relate to
making fire, as it is also represented in the Troano 6, 19 and 14*c. Hence
the upper row of hieroglyphs contains signs which are repeated. 1, 5 and 9
are the same head, the last two cases have the sign for darkness (Akbal);
this Akbal appears again in the parallel passages of the Tro. and in 13 it
is somewhat enlarged simply owing to the absence of a head. The act of
making fire seems to be denoted here rather by the second sign (2, 6, 10,
14), which I designate by _k_ and which, originally, doubtless consisted of
two hands (double Manik sign); the prefix is the same in 6 and 14, and
different in 2 and 10.
The eight lower hieroglyphs are merely the monograms of the four gods
making the fire. The first deity is F, the second either A or one of the
black deities L or M, the third D and the fourth apparently F again, but
conceived as feminine. In the third picture there is a second object,
apparently a head (of D?), below the piece of wood in which the fire-stick
is being whirled. Hieroglyph 11 belonging to this deity has an Akbal as a
prefix.
Pages 6b--7b.
X 13 X 13 X 13 X 13 X
Kan
Cib
Lamat
Ahau
Eb.
This Tonalamatl is divided, by way of exception, into four equal parts,
which all begin with the same week day X.
Here too, as in the preceding Tonalamatl, there are four subdivisions, and
also 16 hieroglyphs arranged in the same way. And here too the upper line
is a condensation of the whole, the same two signs being repeated four
times. The first of these is _q_, which is still a problem and which occurs
inverted also on Cort. 20d-21d (where there are figures with bird-heads);
there too it is the characteristic hieroglyph. The second, however, is
again the double Manik sign referring to activity of some kind, as in the
preceding Tonalamatl. But the occupation of the four deities represented
here is of very different kinds and altogether problematical. E, conceived
as feminine, occupies the first place, with a Kan sign on her head and
holding in her hand a vessel exactly like the one held by the figure just
above on the same page. The third hieroglyph is hers and the fourth is the
sign a.
The second figure is A with a hook-shaped object hanging around his neck.
His hands also seem to be deformed, as are those of the third and fifth
figures of the great Tonalamatl (on pages 4 and 5). His two hieroglyphs are
among those usually belonging to him.
The third god is D sitting, by way of exception, on some object (stone?).
Something resembling the pestle of an ordinary mortar is hanging down in
front of his headdress, and he is holding a very similar object to his
mouth. His two hieroglyphs are also those which usually refer to him.
The most striking figure is that of the fourth god, whom I do not
recognize. He seems to be attracting to himself a bird flying down from
above, whose bill almost touches his mouth. His hieroglyph has the sign Yax
(strength) for a prefix and the fourth hieroglyph is c.
Page 8b.
VIII 26 VIII 26 VIII
Manik
Cauac
Chuen
Akbal
Men.
Again we have a Tonalamatl divided into equal parts, this time, however,
into but two, and it seems thus to be closely connected with the preceding.
While hitherto four hieroglyphs have usually belonged to each figure, we
find here ten in all and in the following order:--
1 2 5 6
3 4 7 8
9
10.
There are two figures here, which stand in some relation to one
another,--two persons sitting facing each other. The one at the left is
certainly D, the one at the right can hardly be the old woman, whom
Schellhas designates with O, but rather N, the old god of the Uayeyab days.
The former seems to be about to take something from the hand of the latter.
I surmise that it is one of the prophetic weaving implements. which we
found on page 2. The two hieroglyphs _e_ and _h_ must refer to this; they
are repeated, as usual, in the two groups, _e_ in places 2 and 8, and _h_
in 1 and 6.
Signs 3 and 4 refer unquestionably to D and hence 5 and 7 (the first _q_
with Ben-Ik, and the latter unknown) must be the designation of the person
sitting on the right. We shall meet the latter sign again on pages 15b and
18a, with the same person, and on pages 27a and 39b with entirely different
persons. Sign 7 is an object, which also appears on 15b and 18a, held in
the hands of women and may denote some special sacrificial offering; on 9b
Kan-Imix appears in place of this sign, and on 39b beside it. It should be
noted that sign 7 stands here in exactly the same proximity to 1 and 6 as
on page 27a.
The hieroglyphs 9 and 10 stand outside the two groups, and since, as we
know, they belong to the god A, this prophecy must concern death, as is
more clearly indicated by the corresponding hieroglyphs on page 9b.
Page 9b.
Here, for the first time in this manuscript, we have a Tonalamatl in which
the 260 days are not divided into five fifths of 52 days each, but into
four quarters of 65 days. This may be represented as follows, if we supply
the III, which is wanting at the beginning:--
III 33 X 32 III
Muluc
Ix
Cauac
Kan.
In the first place, the close connection of this Tonalamatl with that
recorded on page 8b, just now discussed, is striking, for
1. Here too we find a division into two equal parts is intended, but
which, of course, as the number is 65, cannot be mathematically exact.
2. Here too we not only find 10 hieroglyphs, but we find them in the
same order as on page 8b, and here too the sign _e_ stands in places 2
and 8, and _h_ in 1 and 6; again 3, 4 and 9 are exactly the same
hieroglyphs here as there, so that only 5, 7 and 10 are different.
3. The picture is again that of two persons sitting facing each other.
Here D sits on the right and facing him is the grain deity E. D is
speaking to E as is indicated by the sign before his face and by the
position of his right hand. The signs belonging to E are Hieroglyphs 5
and 7, while those of D are 3 and 4. It seems, therefore, that D is
announcing to E the prophecy contained in the preceding Tonalamatl.
4. Two hieroglyphs, 9 and 10, are again added, both relating to
death--9 to god A and 10 to F.
Now what especially distinguishes this passage from the preceding one, is
the fact that the four days are the so-called regents of the year, Muluc,
Ix, Cauac and Kan, above which, perhaps to emphasize this circumstance,
there is a particularly elaborate Ahau. Seler ("Einiges mehr über die
Monumente von Copan und Quiriguá," p. 210), however, thinks that this sign
is the hieroglyph for the numeral three, which should stand here.
The fact that the tenth sign, which is the last, is 13 Moan in the
preceding Tonalamatl, while here it is 11 F, will be of special
significance in deciding the interpretation.
Page 10b.