Chapter 3

It is difficult to determine the original idea of this character. Figure 210 [our plate LXIV, 24] and the forms on the reliefs--if we have correctly interpreted these--lead us to think that the wind cross, or the figure of the Tau resulting from it, was the origin of the character. However, the forms of the Cod. Tro. are not easily reconciled with this.

Dr Brinton[219-1] asserts, without heeding Dr Seler's caution, that it is the sign of the four directions or four winds--the wind cross--evidently alluding to the sharp-corner square seen in our plate LXVI, 28. But he seems to have overlooked the fact that it is never thus represented in the day symbol. Moreover, no satisfactory proof has been presented showing that this form has this signification. Seler gives it in some places, as above stated, the signification "fire," "flame;" and if his interpretation of plate LXVI, 29 by _Kinich-kakmo_ be correct, as Brinton seems to think it is, his interpretations are consistent. However, Seler's assertion that "the forms of the Cod. Tro. are not easily reconciled with this" must be admitted. In the codices this glyph, as this author remarks, "rather brings to mind the idea of hanging," often resembling a bunch of grapes.

I take for granted the symbol, when standing for the day, is not pictorial or ideographic, but is adopted for its sound value. If this supposition be correct, then it must be a conventional representation of something the Maya name of which is _ik_ or that has substantially this phonetic value. The form of the Mexican symbol, as above indicated, shows that in selecting it reference was had to the bird bill, to which possibly may have been added the idea of blowing forcibly from the mouth, a common method of indicating wind. (See for example the bird-mouth female, Tro. 25b, where the _Ik_ symbol is present.) But it seems impossible to find in the symbol any reference to the bird, bird bill, or the act of blowing, or in fact anything indicating, even by a conventionalized figure, wind, air, spirit, or breath. Hence it is reasonable to conclude that it has been selected only because of the resemblance in sound of the thing it represents to the name _Ik_. I would be inclined to believe that the most usual form is the representation of a tooth or two teeth, the name being used for its phonetic value only, but for the very troublesome fact that I can find no name for tooth in Maya to sustain this view. If we could suppose it to be a conventionalized ideogram of an insect, we would obtain the desired sound, as Perez explains _ikel_ by "bicho, insecto, polilla, gorgojo." It must, however, be confessed that none of these suggestions are satisfactory.

The following additional references to the bird as a symbol of the wind are appropriate at this point.

Not only is the day _Ehecatl_ represented in the Mexican codices by a bird's head, but we see a bird perched upon a tree at each of the cardinal points on plate 44 of the Fejervary Codex. Birds are also perched on three of the four trees representing the cardinal points on plate 65 of the Vatican Codex.

In speaking of the myths of the Muyscas, Dr Brinton[220-1] says:

In the cosmogonical myths of the Muyscas, this [alluding to a certain name] was the home or source of light, and was a name applied to the demiurgic force. In that mysterious dwelling, so their account ran, light was shut up and the world lay in primeval gloom. At a certain time the light manifested itself, and the dawn of the first morning appeared, the light being carried to the four quarters of the earth by great black birds, who blew the air and winds from their beaks.

The Javanese also assigned a bird to each of the cardinal points, doubtless with substantially the same mythological concept.

Commenting on a passage of the Popol Vuh, in which the name _Voc_ is mentioned, the same author[220-2] says:

The name _Voc_ is that of a species of bird (Cakchiquel _Vaku_). 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.

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.