Coto describes it as having green plumage, and a very large and
curved bill, apparently a kind of parrot. Elsewhere in the myth
(page 70) it is said to be the messenger of Hurakan, resting
neither in the heaven nor in the underworld, but in a moment flying
to the sky, to Hurakan, who dwells there.
This is unquestionably the wind symbolized as a bird. The name for wind
in Malay is _bayu_, and _Vayu_ is a Wind god in Hindu mythology. Garud,
the Bird deity of the Hindu Pantheon, who plays such an important role
in the Mahabharata, and is so frequently termed therein "the foremost
ranger of the skies," is apparently the Storm god, the equivalent of the
Maya _Hurukan_.
We may remark incidentally that a curious coincidence is found in the
fact that there appears to be a relation between the wind and monkeys in
the mythology both of the Hindu and of the natives of Central America,
or at least of Mexico. Hanuman, the Monkey god, who plays such an
important part in the Ramayana, was the son of Pavana, the chief Wind
deity. According to Brasseur, in his introductory essay to the _Popol
Vuh_, it is stated in the Codex Chimalpopoca that the men were, on a day
_Ehecatl_, changed by the wind into monkeys. On what peculiar
mythological conception this idea is based I am unable to state.
THE THIRD DAY
Maya, _akbal_; Tzental, _votan_; Quiche-Cakchiquel, _akbal_; Zapotec,
_guela_; Nahuatl _calli_.
The form of the Maya character as given by Landa is shown in plate LXIV,
35; those usually found in the codices are presented in figures 36 and
37 of the same plate. A slight variation which sometimes occurs in the
Dresden Codex is given in plate LXIV, 38. In figure 39 of this plate
circular dots take the place of the teeth. In another variant, shown in
figure 40, there is a row of dots immediately below the broken cross
line. The forms shown in figures 41 and 42 are from the inscriptions. As
will be seen by comparing figures 36 and 38 with plate LXV, 64, this
glyph, in some of its forms, resembles somewhat closely the _chuen_
symbol, but is generally readily distinguished from it by the wavy line
across the face and the absence of the little divided oblong at the top,
which is mostly present in the _chuen_ symbol. The lower triangle is
usually sharp and extends to the top in the _akbal_ symbol, while that
in the _chuen_ glyph is broad or rounded and does not extend to the top.
The signification of the Maya and Cakchiquel names, and also of the
Zapotec, is "night" or "darkness." The Tzental name is that of a
celebrated hero, which, according to Dr Brinton, is derived from the
Tzental word _uotan_, "heart" or "breast." This explanation is accepted
by Seler, as Bishop Nunez de la Vega, the principal authority regarding
this mythological personage, says that "in every province he was held to
be the heart of the village." Dr Seler also adds that "'heart of the
village' is in Mexican called _tepeyollotl_, and that is the name of the
deity of the third day character, _calli_" (plate LXIV, 46).
The Mexican name _calli_ signifies house. The method by which Dr Brinton
brings this and the Tzental names into harmony with the idea of darkness
or night is as follows:
The house is that which is within, is dark, shuts out the light,
etc. Possibly the derivation was symbolic. Votan was called "the
heart of the nation," and at Tlazoaloyan, in Soconusco, he
constructed, by breathing or blowing, a "dark house," in which he
concealed the sacred objects of his cult. In this myth we find an
unequivocal connection of the idea of "darkness" and "house."
Dr Seler's explanation is substantially the same; he differs somewhat,
however, from Dr Brinton in regard to the derivation of the word _votan_
(or _uotan_), as he obtains it from the Maya _ol_, _uol_, "heart, soul,
will, etc," and _tan_, "in the midst," also "surface, level, extent,
front." He concludes, therefore, if _uo_ signifies heart, that _uotan_
denotes "the inmost heart" or "heart of the expanse." It is proper,
however, to call attention to the fact that Dr Brinton's derivation of
the name in his "American Hero Myths" is slightly different from that
given in his "Native Calendar," above mentioned. In the former he says
_uotan_ "is from the pure Maya root word _tan_, which means primarily
'the breast,' or that which is in the front or in the middle of the
body; with the possessive prefix it becomes _utan_. In Tzental this word
means both 'breast' and 'heart.'" It must be admitted that these
explanations are apparently somewhat strained, yet it is possible they
are substantially correct, as they appear to receive some support from
the figures in the Mexican codices.
Plate 75 of the Borgian Codex, which is in fact the lower part of the
figure on plate 76, heretofore alluded to, although having reference to
the underworld, appears to be in part a delineation of night. The large
black figure probably represents night, the smaller star-like figures
denoting stars, and the large one the night sun, or moon. The house in
the lower right-hand corner, with the black lining, is the house of
darkness. The wind symbol above the roof indicates relationship with the
winds. Dr Seler interprets these star-like figures as sun symbols, but
the number found together on this plate forbids the supposition that
they represent suns. Moreover, the association with the dark figure
renders it probable that they are here used to denote stars.
There is, however, a lack in these explanations of a connecting link,
which seems necessary to render them entirely satisfactory. The name
appears to be intimately associated with that for serpent; or perhaps it
would be more correct to say that this mythological personage appears to
be intimately connected in some way with the serpent. The title of the
Tzental manuscript containing the myth was, according to Cabrera, "Proof
that I am a Chan," which signifies "serpent." His chief city was
_Nachan_, "the house of the serpent;" his treasure house was a cavern.
Simply designating him by "the heart of the nation," "heart of the
village," does not appear to furnish a full explanation of his
attributes or characteristics.
As the symbol of this day is frequently connected with cloud and
rain-storm series, as in Tro. 25a, where it appears to be that from
which rain is falling, its signification in these places would appear to
be "cloud," which carries with it the idea of shade, shadow, and
darkness. This being true, the most likely supposition in regard to the
origin of the symbol is, that it was designed to represent the cloud
breaking into drops and falling as rain--in other words, the weeping
cloud. Such appears beyond question to be its signification in Tro. 25a
and in other places in the same and other codices. This supposition is
also consistent with the fact that some of the symbols, especially those
of the inscriptions (plate LXIV, 42), have dots along the broken line,
which may indicate the raindrops into which the cloud is breaking. I am
therefore not inclined to accept Dr Seler's supposition that it is
intended to represent the opening to a cavern, after the conventional
method adopted by the Mexican artists. It is improbable, though not
impossible, that the older system may have adopted some features from
the younger. Moreover, this supposition on the part of Dr Seler is in
direct conflict with his statement in the immediately preceding
paragraph. He says:
It is to be observed as applying chiefly to the manuscripts and the
reliefs, that the two side points which project like teeth from the
inner circle of the character could in no wise have signified
teeth. Such an interpretation is contradicted by the occasional
change of their position [plate LXIV, 47] and the fact that they
also appear now and then exactly like eyes [plate LXIV, 39].
Now the Mexican cavern symbol, as shown in his figures and as given in
Penafiel's "Nombres Geograficos," appears to be the open serpent mouth
with teeth and fangs. It is therefore more probable that the symbol was
derived as above indicated. Among the Indian pictographs given by
Colonel Mallery[223-1] as representing clouds are those shown in plate
LXIV, 43 and 44. An Ojibwa cloud symbol[223-2] is shown in plate LXIV,
45, in which the circular outline denotes the sky. It seems quite likely
that the Maya symbol is intended to convey precisely the same idea. On
the left (bottom) of plate 70, Borgian Codex, is a curved or arch-like
figure somewhat on the same order as those given. It appears to
represent the sky--but darkened sky, indicating night or obscurity. On
its upper surface are nine heads, which probably signify the "Nine Lords
of the Night." Below it is a black figure. On each side are two figures,
the color of the four differing--one blue, another yellow, another
black, and the other red. These are probably the regents of the cardinal
points.
If this supposition be correct, the symbol is purely ideographic and not
phonetic or ikonomatic; but this does not forbid the idea that when used
in other combinations it is used phonetically to give the chief sound
element of the word indicated by the ideograph. Dr Seler claims, as
corroborative of his supposition, that "all symbols which are combined
with the name of the third character are to be fully explained through
the word 'cavern.'" But it is far more likely that this (so far as it
holds good) is due to the fact that the symbol is used because of its
phonetic value or its chief phonetic element, _ak_, which is the same as
the chief element of the Maya name for cavern--_actun_, _actan_, _aktan_
(Henderson, MS. Lexicon).
If this supposition be correct, it may furnish a clue to the name of the
deity whose symbol is shown in plate LXIV, 48. Here the left-hand
character is the _akbal_ symbol (though not complete) surrounded by a
circle of dots. This circle, Dr Seler contends, often indicates flames
which consume the object it surrounds, or light which emanates from that
object. If the whole is but a simple ideogram, it must be taken, as a
whole, as indicating a particular mythological personage; otherwise it
is in part phonetic, or given after the Mexican rebus method of denoting
names. If not a simple ideogram, this prefix is most probably used in
some sense phonetically with reference chiefly to the _k_ sound. The
circle of dots is used here probably to indicate the vowel sound _u_ or
_o_. But in making this suggestion I do not by any means intend to
suggest that the Maya scribes had reached that stage of advancement
where they could indicate each sound by a character. All I wish to
assert is that I find in numerous cases characters accompanied by this
circle of dots where the proper interpretation appears to be a word
having as its prominent vowel element _u_ or _o_. Hence the inference
that there is some relation between this circle and these vowel
sounds--this and nothing more.
In Dres. 16c is the symbol shown in plate LXIV, 49. This, as I have
shown elsewhere,[224-1] represents the _kukuitz_ or Quetzal figured
below the text. Here are encircling lines of dots, and in the Maya name
the _u_ sound repeated; and here also is Landa's _ku_. In Dres. 47c the
symbol for the month _Mol_ is given as shown in plate LXIV, 50. Here
again is seen the circle of dots, and the vowel appears to hold good in
other places. We see it in Landa's first _o_. It will also assist us in
giving at least a consistent interpretation to the strange character
shown in plate LXIV, 51, which occurs repeatedly on plate 19 of the Tro.
Codex. In the pictures below are individuals apparently, and as
interpreted by most authorities, engaged in grinding paint or other
substance or in making fire. The right half of the glyph, including the
circle of dots and crosshatching might, according to the value
heretofore given these elements, be rendered by _huck_, "to rub, grind,
pound, pulverize;" which certainly agrees with the interpretation
usually given the pictures below. Possibly the whole glyph maybe
interpreted by _cecelhuchah_, "to triturate." While this, so far as it
relates to the left portion of the glyph, is a mere suggestion, it
agrees with the fact that the ornamented or crossbarred border is found
in the symbol for _Cib_, and the three dots with Landa's _e_.[224-2]
In Tro. 11*d is the character shown in plate LXIV, 52. As the right
portion is the upper part of the symbol for _chikin_, "west" (see plate
LXIV, 53), its phonetic value may be a derivative of _kuch_, _kuchnahi_,
_kuchah_, "to spin, to draw out into threads." Henderson gives _chuch_
as an equivalent. As the subfix in plate LXIV, 48, is the character I
have usually interpreted by _u_, this would give us some of the elements
of the name _Kukulcan_ and not _Itzamna_, as Seler and Schellhas
suppose. Possibly, however, the deity represented may be _Baklum-Chaam_,
the god adored at Ti-ho and usually considered, though without apparent
justification, as the Maya Priapus.
The somewhat similar character, plate LXIV, 55, from Tro. 18*c, which Dr
Seler considers synonymous, is probably essentially distinct, as it
bears a somewhat stronger resemblance to the _chuen_ than to the _akbal_
symbol. In character 54, plate LXIV, from Dres. 17b, which denotes the
vulture or rapacious bird figured below the text, it probably indicates
the _c_ sound, as the most reasonable interpretation of the symbol is
_hchom_, "the sopilote" (Perez), or _hchuy_, "a hawk or eagle." If the
character shown in plate LXIV, 54, is intended to indicate the bird
figured below, and is neither of those mentioned, it is probably one the
name of which begins with _ch_.
The symbol of the month _Zo[c]_ (_Tsoz_ or _Zotz_) also contains this
supposed _akbal_ glyph, but in the varied form last above mentioned,
which, as we have said, bears a strong resemblance to the _chuen_
symbol. This, as will be seen by comparing, bears a very close
resemblance to glyph LXIV, 54. If phonetic, we must assume that the _ch_
(if the interpretation of the former be correct) has been hardened to
_z_ or _tz_.[225-1]
The same character is also found in the symbol for the month _Xul_ (see
plate LXIV, 56, from Dres. 49c). As Dr Seler refuses to accept the
theory that the characters are either phonetic or ikonomatic, he
concludes, in the following words, that resemblance in the forms of the
symbols indicates relationship in the subject-matter:
_Xul_ signifies the end, the point; _xuulul_, to end; _xulah_,
_xulezah_, to bring to an end; _xulub_ (that with, which anything
ends), horns, or he who has horns, the devil; _xulbil_, jests,
tricks, deviltry. We see, therefore, that this word contains
doubtless a reference to something unholy, uncanny, demoniac. To
the Central Americans the bat was not merely a nocturnal animal.
The Popol-Vuh speaks of a Zo'tzi-ha, "bat house," one of the five
regions of the underworld. There dwells the Cama-zo'tz, "the
death-bat," the great beast that brings death to all who approach
it, and also bites off the head of Hunapu.
Instead of having to surmise this fancied relation, I think the
explanation is to be found in the fact that similarity in the form of
the glyph is indicative of a similarity in the sounds of the words
represented. Here the _ch_ becomes _x_ (sh).
Dr Seler also calls attention in this connection to the animal figures
in Dres. 36a and elsewhere, which are "represented as plunging down
from heaven with torches in their paws, and fire also issuing from the
tassel-like ends of their tails, which doubtless denote the lightning,
the death-dealing servant of the Chac." By the mention of this last
word--_chac_--Dr Seler has shown that correct reasoning by a different
line leads to precisely the same result as that which appeals to the
phonetic or ikonomatic character of the symbol. Here again the _ch_
sound appears as the chief element of the character. The rain or field
deities, the chacs, are usually represented in the codices as dog or
panther like animals; and _chuac_, "the tempest," and, according to
Henderson, _chac_ also, signifies lightning. But the relation of figures
and phonetic value includes also the animal; _chacbolay_, "a savage
tiger, a young lion" (Perez); _chacboay_, "a leopard" (Henderson);
_chacoh_, "a leopard;" _chacekel_, "a tiger, jaguar;" _chac-ikal_, "the
storm, the tempest." The similar figures in Tro. 32c probably symbolize
the dry burning season which parches and withers the corn. The word is
probably _choco_, _chocou_, or some related form.
THE FOURTH DAY
Maya, _kan_ or _kanan_; Tzental, _ghanan_; Quiche-Cakchiquel, _k'at_
(_k'ate_, _k'atic_, _gatu_); Zapotec, _guache_ or _gueche_; Nahuatl,
_cuetzpallin_.
The Maya symbol of this day is subject to but few and slight variations.
The principal forms are shown in plates LXIV, 57, to LXV, 3. That given
by Landa is presented in plate LXIV, 57. The forms in the codices are
shown in plates LXIV, 58; LXV, 1, 2, 3, that with the eye (LXV, 3) being
the usual form given in Peresianus; LXV, 4 represents it as found on the
right slab of the Palenque tablet.
The significations of the Maya word _kan_ are various, as "yellow,"
"rope," "hamac," etc, and, according to Dr Brinton, the Tzental _ghanan_
is the same word under a slightly different form. However, he contends
that the original sense is to be found in the Cakchiquel word _k'an_, as
given by Guzman (in a manuscript work in his possession), who says it is
the name applied to the female iguana, or tree lizard. This, it is true,
brings the signification into close correspondence with that of the
Nahuatl term, but it is more than probable that the Maya and Tzental
terms were in use before the application mentioned by Guzman was made by
the Cakchiquel. It is noticeable, however, that in the list from
Taylor's "Te-Ika-a-Maui," presented in the appendix, "lizards" are given
as symbolic of one of the New Zealand days.
[Illustration: PL. LXV COPIES OF GLYPHS FROM THE CODICES]
This interpretation, however, savors too much of an effort to bring the
signification into harmony with the Mexican name. Moreover, it is
difficult to explain the use of the Maya symbol on this theory, as it is
undoubtedly frequently employed to denote the grain of maize. For
example, it represents the seed from which a corn plant is springing, as
on Tro. 29b (see plate LXIV, 32); and one figure in the same division
represents a bird plucking it up, while another shows some small
quadruped seizing it. It is also frequently represented in all the
codices as on a platter or vessel placed as an offering to some
deity, and is often given a yellowish tint in these places. That the
plant which arises from the symbol in these instances is the maize stalk
is admitted by Drs Schellhas and Seler, although they do not seem to
recognize the fact that the symbol represents the grain of maize which
gives birth to the stalk. However, Dr Seler, in his subsequent paper
above referred to, concludes that it refers to the seed, dropping his
former interpretation. Both seem to recognize the whole glyph as a
symbol of the stalk. Concerning this, Dr Seler says:
Indeed, we see in Cod. Mendoza the maize shoot employed to express
the word _acatl_, "reed." I believe that the character _kan_
repeats the Mexican idea, the maize stalk. This explains for us the
reason why the character _kan_, as above pointed out, always
appears among the sacrifices.
I fail to understand why this authority applies the symbol to the
"stalk," when it is the fruit, the ear, the grain, which furnishes food,
and may therefore be very properly used as the symbol of food.
In plate LXV, 5, is presented a copy of one of these corn offerings as
found on Tro. 9*b. As the vessel containing the offering appears to be a
vase, pot, or olla, it seems improbable that the offering it contains
should consist of maize stalks. It is true, however, that instances
occur, as on plates 21-23, Troano, where the stalk rises from the _kan_
symbols contained in a vessel, but these are evidently given in a
figurative sense, as the vessel rests on a serpent. But even here there
is evidence that the symbol denotes the grain or ear, and not the stalk,
as in the lower right-hand corner of plate 21 a human figure is
represented as feeding a bird with the symbol, which can not be
construed in this instance as representing the stalk.[227-1]
Ximenes, who gives the Cakchiquel name as _cat_, says it refers to a net
used for carrying maize, but means "lizard." Dr Seler, referring to this
statement, says he strongly suspects that "the Mexican equivalent of
this character has furnished him with this interpretation." He adds
further that, in his opinion, "it has no connection with the Maya root
_kan_, _kaan_, 'rope,' 'cord,' 'mat-cord,' and _kan_--Quiche-Cakchiquel,
_k'an_ (_gan_)--'yellow.'" He believes the Maya term is derived from
_kaanan_, _kanan_, which signifies "to be superfluous," "overflow," "to
abound."
Dr Brinton thinks that the Zapotec _guache_, translated by Seler "frog
or toad," is more likely a variant of _gurache_ or _gorache_, "iguana."
It is apparent from these widely different opinions that the
signification of none of the names, save that of the Mexican
calendar--_cuetzpallin_, "lizard"--has been satisfactorily determined.
In attempting to ascertain the signification of the names of the day,
exclusive of the Mexican calendar, it is best to exclude from
consideration at first the signification of the latter, and allow it to
have no influence in arriving at a conclusion. The attempt by Dr Brinton
to force agreement with the latter appears to be unsatisfactory.
I am inclined to agree with Dr Seler that the Maya symbol for the day
_kan_ and the Mexican symbol for _tecpatl_, "flint," are based on the
same fundamental concept, if the flint-like symbols on plate 12 of the
Borgian Codex, one of which is shown in plate LXV, 6, are _tecpatl_
figures; of this, however, there is considerable doubt. Seler's opinion
is based on those of this type. There can be no doubt that here this
spindle-shape figure represents the shooting plant, the central stock or
stem, or, what is far more likely, the seed which gives birth to the
plant. Although they occupy the position of the stock or stem, yet from
the form, the fact that some of them have the eye, and that from them
the roots stretch downward, I am inclined to believe they are intended
to denote the seed. The _kan_ symbol, as above stated, is also
represented in the codices as that which gives birth to the plant, as
that from which the sprouting plant springs. It is probable, therefore,
that it was originally taken from the grain of maize, which it fairly
represents.
Now it is well known that "yellow" is one of the primary meanings of
_kan_, and that the word is closely associated with fruit, the "yellow"
referring in a large degree to the ripening fruit, especially of the
maize plant. According to Henderson one signification of _kan_ is "ripe,
as fruit, timber," and, according to Perez, _kankanil_ is "sazon en
[que] las frutas, aunque no esten maduras por estar las mas tomando el
color amarillo." In Cakchiquel _kan_ (_gan_) signifies "yellow, ripe,
rich." According to Otto Stoll, _vuich_ (or _vuach_), which is almost
identical with the Zapotec name of the day, is the word for "fruit" in
several of the Maya dialects. According to the vocabulary of Cordova, as
given by Ternaux-Compans, "yellow" in Zapotec is _nagache_, and in
Fuller's MS. Vocabulary it is _na-gutchi_, the _na_ being a prefix
signifying "thing." The anonymous author, however, writes it _brechii_.
We also notice that "gold" in this language is _yache_, probably
referring to the color. It is likely, therefore, that the Zapotec name
of this day signifies "yellow, ripe, mature," referring to fruits,
especially maize.