1 2 5 6 9 10 13 14 17 18 21 22
3 4 7 8 11 12 15 16 19 20 23 24.
Of these the upper row again contains the comprehensive signs, and the
lower the discriminating characters. The closed eye in 1, 5, 9, 13, 17 and
21 suggests A, who also appears below as the first of the six gods, and the
superfix of these signs suggests the south. 2, 6, 10, 14, 18 and 22 are the
Kan sign, and we also find this sign in the hand of each of the six gods.
Thus the subject of this passage seems strictly speaking to be harvest or
food.
The six gods are A, E, C, L, F and D; the second, third fourth and fifth
have a bird on their heads. The first and fourth birds are eating, as on
pages 11a and 12b, and thus probably represent enemies of the harvest. The
first is of a different species from the other two. The four gods in the
centre have the copal pouch about their necks. Signs 3 and 4 are the common
hieroglyphs for A; 7 that for E, to which _o_ is added as a determinative;
11 is C's hieroglyph with an _a_ added to it, and L is undoubtedly denoted
by sign 15; 16 is _r_ (equal to 13 days; it is meant here for the day III
Cib). F appears quite according to rule in 19, which is appropriately
followed by the sign _c_ in 20. Finally the hieroglyphs for D in 23 and 24
are the usual ones.
We come now to the large section extending to page 23, which, owing to the
numerous pictures of women, forms a section quite by itself. It is not
likely that this contains anything else than oracles relating to pregnancy;
in fact, the period of 260 days represented here with great frequency is in
excellent accord with this subject. In the Codex Tro-Cort. there is also a
section devoted to women, which corresponds to this chapter and
particularly page 19* of the Troano affords remarkable parallels to the
Dresdensis, even in details.
Pages 13c--14c.
II II 7 IX 3 XII 3 II 13 II
Men Chicchan
Imix Chuen
Manik Caban
Ben Akbal
Cauac Muluc.
The second of the two vertical rows on the left should be considered as
immediately joined to the first. Thus we have here the second example in
this manuscript of a Tonalamatl of ten parts; the first was on page 9c.
The entire representation on 13c and 14c looks like an introduction to the
following section, as though treating in general of the relation to one
another of pairs of animals, of human beings and of deities. Corresponding
with the Tonalamatl, there are four pairs of this kind represented.
The hieroglyphs belonging to these pictures are distributed among the four
sections as follows:--
1 2 5 6 9 10 11 15 16 17
3 4 7 8 12 13 14 18 19 20.
Apparently, the first two pictures have only 4 signs each, and the other
two 6, but this is equalized by the fact, that hieroglyphs 1, 3, 5, and 7
are clearly each composed of two signs. The comprehensive sign appearing in
2, 6, 9 and 16, is, properly speaking, the sign _t_, which may denote
coition, and, not unsuitably, contains in its centre two black figures side
by side.
Passing now to the separate four groups, I think the male figure is always
on the right and the female on the left. In the first and second groups the
two face each other, and in the other two groups the male is behind the
female.
1. The female figure is an animal, perhaps a deer, the male is a black and
white spotted deity having a human form and his head appropriately
embellished with horns. The hieroglyphs belonging to these are:--1, a
combination of Manik and Chuen with a prefixed 4, just as on page 21b; 3,
likewise a compound sign, with a prefixed 7, which occurs also on page 46c
on the left, and which I do not venture to explain, but which seems to
denote horns, and lastly the hieroglyph c.
2. The female figure is an animal (on page 19a the female is represented
more in resemblance to the human form) with a bird-head, to which belongs
the compound sign _s_, still unexplained; the male figure is a barking (or
howling?) dog, as on page 21b. Hieroglyph 7 is composite and contains first
the sign generally belonging to the dog and suggesting a skeleton, which
also represents the 14th month, and secondly, a Cimi closely related to it,
precisely the same as in the parallel passage 21b. The well-known _q_
follows in the 8th place.
3. The god D holds in front of himself an animal, which may be a rabbit.
His signs are hieroglyphs 11 and 12, while 13, the principal part of which
is a grasping hand, clutching a Moan sign, seems to refer to the animal in
the picture. 10 is _b_ and 14 is a.
4. Lastly, two beings in human guise, showing thus a closer connection with
what follows. They are the black god L with his hieroglyph in 18 enlarged
by an Imix, and a woman holding a Kan sign in her hand, hieroglyph 20
likewise showing the ordinary combination of Imix-Kan. Sign 15, however,
refers to the woman, and lastly 17 and 19 are the signs _m_ and _r_; I note
that _r_ ends a period of 13 days.
The contents of the following seem to suggest that we should first read
page 15 (including the middle section of 16) from top to bottom, then pages
16-23, partly from left to right and partly from top to bottom, according
to the subject.
Page 15a.
V 34 XIII 18 V
Ahau
Eb
Kan
Cib
Lamat.
There are two pictures with 4 hieroglyphs each.
The two pictures represent D and A, the latter probably as feminine. Both
are falling headfirst, and both have leaves about them as if they were
falling from a tree and a cry is issuing from A's mouth. The common element
is given in hieroglyphs 2, 3 and 7, which are all signs of D. Further, 4 is
the Chuen sign, the ape (as the animal living on trees?), its prefix is
hieroglyph _r_, which I regard as denoting the week of 13 days and which
falls here exactly on the day XIII. And the same Chuen sign is repeated in
the second group as the first part of sign 6, the second part of which is
illegible. 8 is the sign of A and 1 is effaced.
Pages 15b--16b.
I 13 I 31 VI 8 I 13 I
Ik
Manik
Eb
Caban
Ik.
That is 4 × 65 = 260 days. Hence the sign of Ik repeated at the bottom, as
is usual in such cases, is superfluous.
The Tonalamatl contains 4 figures, of which 1 and 2 form one pair and 3 and
4 another.
As on page 15a, the pair at the left are falling down and also have leaves
about them. They are god B, who holds a Kan sign in his hand, and a woman,
whose eyes are closed and who holds the sign of death before her breast. B
is falling down in a similar fashion in Cort. 17. Hieroglyphs 1-8 belong to
this pair. Of these, 1, 5 and 8 and also 7 refer to death, 3 with the
determinative sign, 4, added (which is the sign _q_ with a Ben-Ik), refers
to B, while signs 2 and 6 belonging to god D, who occurred in the preceding
Tonalamatl, should be noted.
The pair at the right on the other hand is _seated_, the woman apparently
on the curved handle of a vessel. The head-ornament and hieroglyph of the
female figure prove that she is the serpent deity H, while the male figure
is the rare black deity M, whom we find again with his sign on page 43a for
example; he holds a bone in his hand. Hieroglyphs 9 and 13 agree. The lower
part of these hieroglyphs is the fist with the thumb unfolded, the sign at
the top seeming to be merely an empty outline (Muluc?) and thus, like 1 and
5 of the preceding group, they seem to refer to a sacrifice offered to the
death-god. 10 and 14 are again, strange to say, like 2 and 6 of the
preceding group, the sign of D. 11 is the hieroglyph of H, who is
represented below as feminine, and that 12 is a complement of 11 is proved
by the upper part of this uncommon hieroglyph, which corresponds to the
object in H's hand, and which is repeated on page 18a with the same figure;
compare also page 8b. 15 is surely the hieroglyph of M, who is pictured
below, as in the Tro. 2a and 22*a where the same M appears with the same
hieroglyph, and to him belongs in 16 the sign _r_, which I am inclined to
consider the week of 13 days, and which here, as on 14c, ends a section of
13 days.
Page 15c.
III III 12 II 14 III
Lamat Ix
Ahau Cimi
Eb Ezanab
Kan Oc
Cib Ik.
This is a Tonalamatl of ten parts, the days are to be read in the following
order:--Lamat, Ix, Ahau, Cimi, etc.
There are two figures, A probably conceived as feminine and D with the same
head-ornament as on page 10; both hold in their hands a Kin = sun.
Hieroglyphs 2 and 6 are also the Kin sign, while 1 and 5 have the closed
eye of A, but differ in their secondary parts, the sign suggesting the
south being a suffix in 1 and a superfix in 5; 1, however, has an affix,
while 5 has as a prefix a sign differing from the affix in 1. 3 and 4 are
the signs of A, 7 that of D, next to which in 8 one would expect to see an
Ahau, but instead of this there is again the sign of H (borrowed from page
15b?).
This seems to end the subject of coition; now, in natural course, follows
the subject of pregnancy, to which I believe the following Tonalamatl is
exclusively devoted.
Page 16a.
Kan 21 31
Cib
Lamat
Ahau
Eb.
There are no red numerals, hence the Tonalamatl seems to apply to any one
of the initial week days.
Two women are portrayed, both of whom are stretching a hand forward and
upward. There are 8 hieroglyphs of which, however, the top row is almost
entirely obliterated; 3 and 7 in the lower row are just alike, being the
usual sign for woman.
There is a decided contrast between the two figures, which might suggest
barrenness and fruitfulness. Observation of their physical differences
would give us that idea. Furthermore, the first carries on her back an
unfamiliar head, perhaps A's, while the second has the Ahau, Imix and Kan
signs, from which plants seem to be sprouting. The first is represented in
the fourth hieroglyph by the sign _c_, which is closely allied to the death
deities, while the second woman is denoted by hieroglyph 8 which is the
sign of the deity E, the grain-god.
Pages 16a--17a.
In the following I will group together all the pages from page 16-23 as
follows:--First, I shall discuss the top thirds, then the middle and lastly
the lower thirds. The sense, however, often seems to require that the first
third should connect with the second, and the second with the third; but I
find it impossible to determine exactly the intended order.
On pages 16a-17a, we find for the first time in this manuscript not a
Tonalamatl, but in its stead all the twenty days arranged in four columns,
each of which ends with one of the regents of the year:--
Men Ahau Chicchan Oc
Cib Imix Cimi Chuen
Caban Ik Manik Eb
Ezanab Akbal Lamat Ben
Cauac Kan Muluc Ix.
This seems to establish the fact that the day of its birth was of
importance to a new-born child.
Between each column and the next there is a picture and above each picture
four hieroglyphs, which, however, are mostly destroyed, so that much of the
meaning of this passage is lost to us.
The first is an old man walking, who beyond doubt is N, the Uayeyab god,
with a staff in his hand and the signs Imix and Kan on his back. He is
looking upward and is also pointing upward with his right hand. Of his
hieroglyphs only enough of the fourth is visible to enable us to recognize
in it the regular sign of N, 5 Zac. The second picture is again an old man
walking with a stick, he is baldheaded and hence is probably also N, as on
page 12c. His hieroglyph might be the fourth of those written above him,
the other three are entirely unrecognizable. He has a carrying-frame on his
back, but it is uncertain whether he is carrying anything upon it.
The third figure is a woman who is pointing upward with one hand and with
the other holding the bundle on her back, which I am unable to explain
(does it refer to the 14th Uinal--the end of pregnancy?) and from which
rises an object resembling a flame. Her sign is in the fourth place and _q_
is in the third. 1 and 2 are not legible and perhaps may be supplemented by
the third picture on page 19c. Finally, the fourth figure is F, who is
sitting and has a Cimi sign on his back. His monogram is the second of the
hieroglyphs above him, the third is very appropriately _b_ and the other
two are not very clear to me.
The first two pictures might designate a male birth, the first indicating
wealth and the second poverty, the third might denote a female birth and
the fourth a still birth. But who can positively assert this!
Pages 18a--19a.
VIII 12 VII 12 VI 9 II 10 XII 9 VIII
Ik
Ix
Cimi
Ezanab
Oc.
This is a Tonalamatl of five parts with 20 hieroglyphs, which unfortunately
are so much injured that no signs comprehending the whole can be
distinguished.
There are five women in a sitting attitude.
The first woman corresponds exactly to the third figure on page 15b. She is
sitting on a bench, the same implement is in her hand and there is also a
serpent on her head, for which reason she likewise reminds us of H. The
third hieroglyph is hers, and the 4th sign is an Ahau.
The second woman holds in her hand the Kin sign; above it is the Yax sign
and above this a little cross between two dots (the numeral 18?). Compare
pages 18c, 19c and 27b, and in the second part, 46b and 50c. I shall
venture no opinion regarding the hieroglyphs.
The third woman with the copal pouch hanging from her neck has nothing in
her hand. She is pointing upward with her right hand. Her hair seems to be
wound in the shape of an 8 in horizontal position and above her is a sign
denoting the union of two parts. The hieroglyphs are entirely destroyed.
Does this represent the birth of twins?
The eyes of the fourth woman are closed, she is pointing forward with her
hand and there is a bird on her head. Nothing is left of the hieroglyphs.
Finally, the fifth is distinguished by a large nose-peg, which, as on 12b,
resembles a flower. Her hand is extended forward. The fourth of the
hieroglyphs above her is her sign. There is nothing to be said regarding
the three others. Are these five women engaged here in presenting their
thankofferings and prayers of thanksgiving for the birth which has taken
place?
Pages 19a--21a.
XI 13 XI 13 XI 13 XI 13 XI 13 XI
Ahau
Chicchan
Oc
Men
Ahau.
Instead of Men the Manuscript has incorrectly Eb. Ahau in the fifth place
is superfluous, since we have here a Tonalamatl divided into four equal
parts.
The hieroglyphs are so nearly obliterated that we can no longer distinguish
a common sign. There were in all six signs for the first picture, of which
the first two are above the day-signs, while the figures from the second to
the fifth have only four signs each, as follows:--
1 2 5 7 8 11 12 15 16 19 20
3 4 6 9 10 13 14 17 18 21 22.
All that can be distinguished here is that the 4th and 13th have the same
cross _b_ and that 6 and 10 probably contain the same head.
Each of the five pictures contains a woman sitting. In the first
representation she sits opposite a male figure, who bends down to her with
his bird-head, which we have already seen on page 13c. In the other four
pictures the woman is holding the figure of a god on her lap. I do not
recognize the god in the first picture on page 20. In the second and third
pictures he is related to A or the Moan and the first figure on page 21 may
represent the god D. These can only be new-born children represented by the
gods under whose signs they were born. It should also be noted that the
second woman on page 20 has a serpent on her head and the third a bird. The
bird's head resembles that on page 16c.
Pages 21a--22a.
The Cimi and Eb of the second column have changed places in the Manuscript.
Instead of the X there is an erroneous 2 and there is no initial VII.
VII VII 3 X 2 XII 7 VI 9 II 3 V 2 VII
Oc Ahau
Cib Cimi
Ik Eb
Lamat Ezanab
Ix Kan.
We have here a Tonalamatl consisting of 10 × 26 days, and the 26 days are
subdivided into six parts. I have just assumed that the 2 is wrong and the
initial VII is wanting over the first column, yet the 2 followed by the
laterally elongated head _q_ might here, perhaps, be explained in some
manner as the sign of the day VII Oc.
Apart from this sign which occupies an entirely exceptional position, we
have here 24 hieroglyphs, _i.e._, 4 for each of the six groups.
The fourth sign in the first five groups is in each case a Chuen combined
with the cross _b_ and the suffix, which seems to be a knife, and also with
a numeral, which, however, is not recognizable in the first group; in the
second it is a 3, in the third a 7, in the fourth a 5 and in the fifth a 3.
What can these numbers mean? 3 + 7 + 5 + 3 = 18, and Chuen with the meaning
of 20 (especially in the inscriptions) would be 18 × 20 = 360.
In the fourth place of the sixth group there is a compound character, the
main part of which (top, right) seems to be the sign for the thirteenth
month, Mac, and which may also, as we shall see on page 24, denote the
entire Tonalamatl. It is again compounded with a Chuen, an uplifted arm and
a kind of suffix, and hence might denote the end of a Tonalamatl.
The remaining 18 signs are in the main destroyed. In the second of the
fourth group we recognize the lock of hair denoting a woman, in the third
of the second group the superfix suggesting the south, which we find above
the Cimi sign, for example on page 13b. Lastly, the other third signs are
in the third group Imix-Kan, in the fourth group the head _q_, in the fifth
the bird c and in the sixth a Manik sign with prefix and superfix
resembling the sign _i_; in a few places (24, 39a, 53a, 56b, 58b, 61a, 61c,
68c) the prefix might have the meaning of 20.
Since the intention was to close this section on the next page, the space
had to be used as economically as possible, and instead of the six pictures
to be expected, there is only one and that is the first. It is a woman in
whom I observe nothing characteristic except that she has a kind of cloak,
which has fallen down over the lower part of her body, and who therefore
remains unexplained.
Pages 22a--23a.
II II II II 2 IV 8 XII 7 VI 10 III 12 II
Men Cib Caban Ezanab
Chuen Eb Ben Ix
Manik Lamat Muluc Oc
Akbal Kan Chicchan Cimi
The Tonalamatl is no doubt to be read in this way after the correction of a
few inaccuracies in the Manuscript.
The 20 days, all of which occur again here as on pages 16a-17a, should be
read from the right top to the left bottom, since they form but one series.
As a matter of fact Ezanab is distant 19 days from the future Caban, but 39
days distant from the desired weekday of the same name (see my
"Erläuterungen," p. 24). Thus we have here a period of 20 × 39 days = 780,
_i.e._, a three-fold Tonalamatl. The three Tonalamatls represented on the
pages between the preceding passage (pages 16a-17a), where all the 20 days
appear, and this, are of three _different_ kinds (5 × 52, 4 × 65, and 10 ×
26). This in itself is very remarkable. Furthermore a fourth kind of
Tonalamatl seems to be introduced here, which embraces, as it were, these
three Tonalamatls.
The hieroglyphs, which are mostly destroyed, were arranged in groups of
four for each subdivision, in the following order:--
II II II II
1 2 5 9 13 17
3 4 6 10 14 18
7 11 15 19
8 12 16 20.
Of the above the third hieroglyph of each group, _i.e._, 7, 11, 15, 19
(probably also 3) is always the same and is the sign of D, the moon and
night-god. In detail we should expect to find five pictures here, but owing
to lack of space only the first of these is given. It represents a deity
with a Kan sign in its hand and a serpent on its head, who is probably E,
and he is falling down here in exactly the same manner as the four deities
on page 15 at the beginning of this section.
Now, which were the other four deities? Signs 8, 12, 20 refer to A, H and
C. 16 is the laterally elongated head _q_, to which Seler is inclined to
refer the day Men, and Schellhas an undetermined deity I. On account of its
frequency this sign must have besides a more general significance. In
addition, however, we have in 14 and 18 the signs of F and B. 6 is
uncertain, 10 is probably C, and the top row is entirely illegible. If to
these deities is added the D repeated five times in the third row, it will
be seen that all the important gods are grouped together here on the last
page of this section.
Pages 16b--17b.
I will now attempt (for it cannot be more than an attempt) to separate into
three parts, according to their contents, the middle and lowest thirds of
pages 16 to 23. The first part, 16b to 18b and 16c to 20c, contains six
Tonalamatls with pictures of women, each of whom carries on her back the
figure or symbol of a deity. This deity can hardly be any other than the
one to which the horoscope of the child especially refers.