A Study of the Manuscript Troano/Chapter 6

by Cyrus Thomas

 

CHAPTER VI.

THE WRITTEN CHARACTERS OF THE MANUSCRIPT.

It is not my intention at present to enter into a general discussion of the ancient Maya writings, as this will be found in the introduction by Dr. Brinton. On the contrary, I shall confine myself as strictly as possible to an examination of the characters found in this, occasional reference to the Dresden Codex and the inscriptions on the ruins being made only for comparison and illustration.

The interpretation of these written characters is, as a matter of course, the chief, though not the only object of our research and examination. Although my progress in this direction has been limited, yet I trust the result will show that I have made some positive advance. In discussing these characters there are some preliminary questions to be considered, which, if satisfactorily answered, may aid us in the attempt to decipher them:

First. The direction in which they are to be read.

Second. The order in which the parts of the compound characters are to be taken.

Third. Whether they are, in any sense, phonetic.

THE DIRECTION IN WHICH THEY ARE TO BE READ.

Brasseur de Bourbourg, influenced by the direction in which the figures appear to be moving and in which the faces are turned, which, in nearly all cases, is toward the left, concludes that the writing must be read by lines from right to left, and by columns from the bottom upward. His attempt at deciphering was made upon this theory, which I believe he subsequently confessed to be an error, although still retaining his theory in reference to a great geological cataclysm.

Mr. Bolloert^[1] followed the same method, reading from the bottom upwards and from right to left. Dr. Brinton^[2] suggested reading by columns, first down, then up, commencing with the right-hand column.

Rosny believes the characters should be read from left to right.

Wilson believed the inscriptions were to be read in columns from top to bottom, and the manuscripts from left to right.

Mr. Holden appears to have arrived at the conclusion, by his method of examination, that the inscriptions are to be read from left to right.

It is probable that no conclusion on this point will be entirely satisfactory until the characters are interpreted; still I think we can find means of determining it with reasonable, if not absolute, certainty without waiting for them to be deciphered.

The large character at the upper left-hand corner of the Palenque tablet we may safely assume is there used much in the same way as we use capital letters, and hence that the inscription is to be read either in columns, from the top downwards, or in lines, from left to right.

But we find more direct evidence on the point in the Manuscript itself. I have shown, as I think conclusively, that the day columns, at least, are to be read from the top downwards. The natural inference, therefore, would be that the other characters are to be read in the same way. But there are good reasons for believing that, although the usual method of writing was in columns, horizontal lines were by no means uncommon. Turning to Plate XIV (our Fig. 16) we find, in the middle and lower divisions, a series of columns composed of the same characters, except the ones at the top and at the bottom. Three of these columns may be represented by letters, thus:

 

It is hardly possible that this should be read in lines, as in this case entire lines would consist of a single character repeated. If we suppose these groups to be ritualistic formulas, as they probably are, and to be read in columns, the change in the first and last characters would be consistent with this idea.

Turning to the lower division of Plate XV, shown In Fig. 47, we find

Fig. 47.

the characters arranged as here represented. Here are two short columns on the right and two on the left (day column not counted), evidently shortened to allow space for the figures of deer which are inserted there. Using letters to illustrate, repeating those that represent similar characters, and placing as in the plate, we have this arrangement. In order to

make my meaning clear I have used real words: First, barn; second, harp; third, lark; fourth, mart; fifth, wars; a corresponding with the character 1, and r with the character 2. In the middle and lower divisions of Plate XIX we have also examples of this method of changing columns into lines. As I will have occasion to refer to this plate for

Fig. 48.

 

other purposes the two divisions are copied entire in Fig. 48. In each division (not counting the day columns) there are four groups, each of four compound characters, the first and second being alike. If we represent them by letters, and arrange the letters in the same order as the characters.

they would stand thus in the middle division (the upper one in our figure). We see by this that the first and third columns being shortened are changed into two lines, just as the first and last in Fig. 47, so that what followed downwards in the column follow from left to right in the lines. Plates VI*, XI*, XV*, and some others furnish similar examples.

Although we cannot claim that this furnishes absolute proof of the direction in which these lines and columns are to be read, yet it will probably satisfy any reasonable mind that the columns are to be read from the top downwards, following each other from left to right, and that the lines are to be read from left to right, following each other from the top downwards; also that the usual method is in columns.

THE ORDER IN WHICH THE PARTS OF COMPOUND CHARACTERS ARE TO BE TAKEN.

This and the other question, "Are these characters in any sense phonetic?" are so intimately connected that I will not attempt to discuss them separately.

The day and numeral characters have already been given, and so often referred to that by this time the reader must be familiar with them. The characters for the months, as found in Landa's work, have also been given, and it only remains for us, therefore, to present Landa's hieroglyphics of the Maya letters (Fig. 49) in order that the reader may have before him the entire key with which we have to work in our attempt to decipher the Maya manuscripts.

A comparison of the three groups of characters (days, months, and letters), using the significations given by Landa, will suffice to convince any one that it is impossible to form the day from the letter characters, even allowing the widest latitude in the representation of sounds.

Take, for example, the character for Muluc, as compared with those for m and l; Ahau, as compared with those for a, h, and u; Kan, Fig. 49.—Landa's Maya Alphabet. Sign of Aspiration. as compared with k and n; Chicchan, as compared with c, h, and n; Ezanab, as compared with e, z, n, and b, &c.

But it does not necessarily follow from this that Landa was wholly mistaken. The days may have retained their characters as symbols from more ancient times, before any approach to phonetic elements had been made, and hence might not present any of these elements.

As we find some of these day symbols on the Palenque Tablet, which is probably much older than the Manuscript, we have some foundation for this supposition. Another ground for this supposition is that we have good reason for believing that some at least of these characters are used in the Manuscript and Codex as denoting something quite different from the days they represent, or that which the name of the day signifies.

Notwithstanding this, there are some of the day and month characters in which we can detect, beyond doubt, some of the letter elements, showing them to be to a certain degree at least phonetic. For example, the character for Cauac differs but slightly from that for cu (qu?); Chuen and Tzec contain the main elements of c; Cimi (Kimi) those of k; in Pop or Poop (Poob) we see the character for b; in Zac, both z and cu; in Cumhu, cu and some elements of m; in Kayeb, k; &c.

Comparing the days and months with each other, we can occasionally detect similar elements where there are similar sounds. In both Chicchan and Pax we see the interlacing, or cross-hatching, and in both the sound ch; in Manik and Men the three parallel strokes, possibly m or n; we also observe similar strokes in Ymix.

After we have carried this comparison to its utmost extent the number of cases where we find such resemblances in form where there is a similarity in sound are so few, compared with those in which we do not, that we are forced to abandon, at least to a great extent, the attempt to decipher the writings of the Manuscript by the use of these letter characters upon the theory that they are phonetic. I say "to a great extent," because, as we have seen, there is some evidence that phonetic elements were introduced to a limited degree.

I may be permitted to remark in this connection that in all the attempts to decipher these documents which have thus far been made, one very essential part of Landa's statement has been too lightly passed over, and not sufficiently considered. Speaking of the Maya writing, he says: "The people made use of certain characters or letters with which they wrote down in their books their ancient affairs and their sciences, and by means of these and by certain figures, and by particular signs in these figures, they understood their affairs, made others understand them, and taught them."^[3]

It is evident, as I think, from this language that Landa does not wish to convey the idea that the native writing had reached such a degree of perfection that by means of phonetic characters alone—or, in other words, writing in the true sense—they could record historical facts and communicate with each other. And his attempt to give the characters for their letter sounds is, to a certain extent, a contradiction of his own statement. He has undertaken to pick out of their compound or syllabic characters the letter elements; hence it is, that while we find it impossible to decipher the manuscripts by using them, yet we find such frequent resemblances as to compel us to admit a fundamental relationship. This theory I think is borne out by his attempt at explaining their method of spelling, which does not correspond with anything to be found either in the Troano Manuscript or the Dresden Codex, nor with his previous statement, which I have quoted. Moreover, his own language, taken in connection with his alphabet, implies that the natives with whom he was consulting found it impossible to recombine the elements he had picked out so as to form words.

This I believe to be the true explanation of his letter characters and the only one that will enable us to understand why it is impossible to read the manuscripts by means of them, and yet finding them so often agreeing with the characters we meet with in these works.

The day-characters we know he found in their books, as we see abundant evidence of this in those yet in existence.

Although the month-characters appear to be wanting in the Troano Manuscript they are to be found repeatedly in the Dresden Codex, not always in the form given by Landa, yet substantially the same, and accompanied by numerals or other particulars by which we can readily determine them. We have, then, as our only positive guide to start with, in our attempts at deciphering the written characters of the Maya manuscripts, the day and month symbols, and with no assurance that these are phonetic.

If there are any phonetic elements in this writing they must be discovered with but little reliance on Landa's letter characters.

As it is extremely doubtful whether the day and month characters in all cases correspond with the modern names applied to them, we must bring every other possible test to bear in determining the meaning and corresponding word. We have also to proceed upon the assumption that the language of the Manuscript is the same as that found in the Maya lexicons which have been given to the world, when it is possible that it is in a dialect of the Maya varying from that in the lexicons.

As the safest basis on which to found my arguments, I select a few characters, the meaning of which, I think, can be ascertained with satisfactory certainty without having to decide whether they are phonetic or not. This character (Fig. 50) has already been referred to as occurring on Plates ZX-XXIII of the Manuscript and 25-28 of the Codex, and as being used to denote the "stone heap" on which the Uayeb idolsFig. 50. were placed. The reasons given for this belief I think warrant me in assuming it to be correct. Referring to the Lexicon we find that piz signifies "a stone serving to form the divisions in a Katun or cycle"; ppic, "stones placed one upon another, serving to count the intervals in a cycle"; ppiz, "a stone on a fishing line," and tun, stone in a general sense. As the connection in which it is found relates to the end and commencement of periods of time, I take for granted that if it represents a word it is either the first (piz) or second (ppic).

Fig. 51. This combination (Fig. 51) found on the back of the spotted dog in Plate XXI, appears from Landa's statement, as already shown, to represent "bread of maize." The usual form of the combination, Fig. 51. which is found very often, is given in Fig. 52, but the order in which the characters are placed is frequently the reverse of that given in the figure. I think I have presented good reasons for believing that the characters shown in Fig. 53 are used to denote -"east" and "west." Fig. 52.Fig. 53. The one marked a I have concluded denotes East—in Maya likin or lakin; the one marked b, West—chikin. Whether this conclusion be correct or not, I think there can be no doubt that one denotes one of these cardinal points, and the other the other cardinal point. Fig.55 . This being admitted, we are not left in doubt Fig. 54. as to the signification of the lower part of these compound characters, as it must be the hieroglyph for kin, "sun" or "day."

The characters for the other cardinal points—north and south—are given in Fig. 54. As there is yet some doubt as to their assignment I pass them for the present, allowing the conclusion heretofore reached in reference to them to stand.

The character shown in Fig. 55, when placed on a figure, denotes, sometimes at least, che, "wood" in a general sense, or some particular kind of wood.

As the character shown in Fig. 56 is placed on spear-heads, evidently for the purpose of indicating the Fig. 56. Fig. 57. substance of which they are composed, or the character of the substance, it must signify "silex," or hardness, as contrasted with the wood or material of Fig. 56. which the shaft was composed. Whether Ezanab was the Maya word denoted, is not certain.

Fig. 57 is found but once in the Manuscript—in the upper division of Plate IX. As it is above the figure of an armadillo, I presume it is the symbol used to denote that animal, and hence that it is not phonetic.

Fig. 58 is on the neck of most of the vases figured in the work. Fig. 58. Although very common in the written portion Fig. 59. as a prefix or suffix to other characters—as shown in Fig. 59, where it is probably used as a pronoun or article—when found on these vessels I take for granted that it is the hieroglyph for u, the Maya word for "vase," as also for "month" and certain pronouns.

Using these, together with the day and month characters as a key, I will proceed to discuss the nature of the written characters, in order to decide, if possible, whether they are phonetic, and, if so, to what extent. That some of them are but symbols, as, for example, that shown in Fig. 57, cannot be doubted. It is also quite probable, as will appear in the course of our discussion, that a few are simple pictographs.

As the one shown in Fig. 50 is, in one form or another, of frequent occurrence in both works, let us compare these on the supposition that they are in some degree phonetic, and see what the result will be. Fig. 60. Comparing with Landa's character for the month Pax (Fig. 60), Fig. 61. we observe here the two broad perpendicular bars, but in addition thereto three little rings, or ovals, at the bottom, and a cross-hatched appendage at the left. The bars, it is true, are not solid here, but, as will be presently seen, this difference does not appear to indicate a difference in the signification. On Plate 70 of the Codex the character shown in Fig. 61 occurs, accompanied, as here indicated, by the numeral character for "thirteen" in black. There is little, if any, room to doubt that this is here used to denote the month Pax. As it bears no resemblance to any of the day characters, the accompanying numerals would certainly lead us to believe it denoted one of the months, and, if so, the one named. Another reason for this belief is that on the same plate—in fact, in the next line—are the characters for Cumhu and Yaxkin, each accompanied by numerals. But in this case, that for the former (Cumhu) is given thus: and that for Yaxkin thus: , omitting the appendage added by Landa. Turning to Plate 69 of the same work, we observe what appears to be the same character in the form shown in Fig. 62. Another similar figure on the same plate has the little upper circle Fig. 62. Fig. 63. cross-hatched, but this is unaccompanied by numerals, though there is another by the side of it as in Fig. 63. In the same column we can detect without doubt the characters for the months Yaxkin, Poop, and Mac.

On Plates VII*, IX*, and XIX* of the Manuscript, what appears to be the same symbol occurs in the form shown in Fig. 64, with the numeral character for five annexed in two cases Fig. 64. (Plates VII* and IX*). In one instance four bars are distinctly shown, but in the one on Plate IX* the bar to the right is solid; the one on Plate Fig. 64. VII* is as represented in Fig. 64, proving, as I think, that this difference has no material significance. Can this be used here as the symbol of the month? If so, it is the only month symbol I have been able to detect in the Manuscript. The inference is therefore strongly against this assumption. The first two (Plates VII* and IX*) occur in that part of the Manuscript which, according to my interpretation, relates to 'the festival of the Bee-keepers, and in the middle division, along the lower margin of which we see what are evidently intended to denote offerings. Among them in one place immediately below the character there are two groups, one of three and the other of two red Kans in vases; in another place the leg of a deer. We also find the figure of a deer's leg in immediate connection with our character on Plate VII*. The Maya name for a tortilla of maize is pecuah (according to Perez), or ppecuah (according to Brasseur). May we not, therefore, with strong probability of being correct, interpret this character as above given—"five tortillas of maize"—supposing it to refer to an offering? If so, then we have three characters, denoting the three words ppec or pec, Pax, and pecuah or ppecuah, in which the double bars occur, which doubtless represent the labial element p, or pp, if they are phonetic. It is worthy of notice, in this connection, that pacach, according to Perez, also signifies "a tortilla of maize," and pakach, "to make tortillas of maize." It is probable, therefore, that pecuah, when spoken, terminated with the sound of ch.

Turning to Plate XXXI, first and second divisions, where the method of planting maize is indicated, we find this character (Fig. 65) forming a part of the Fig. 65. Fig. 66. head-dress worn. As I have already suggested, this is probably the hieroglyph for the Maya ppoc, "hat" or "head-covering."

Assuming that I am correct in these interpretations, we have then the characters for four words—ppec or pec, Pax, pecuah or ppecuah, and ppoc— in which the two perpendicular bars occur, which, in all probability, represent the labial element p or pp, if they are phonetic. The typical form of the whole character probably represents the syllable p'c or p'ch.

Fig. 66 represents the interlaced or cross-hatched character. The character for Chicchan, as given by Landa, is represented in Fig. 67. Fig. 67. Fig. 68. In the Manuscript it is most frequently of the form shown in Fig. 68.

These, as will be seen, consist of two parts, the checkered portion and the loops or blocks, and the word of two principal phonetic elements, ch and n.

Referring again to the symbol for Pax(or Pash, as the Maya x has the sound of sh, or ch, in machine), we see that the checkered portion is at the left, while in that for Chicchan it is at the right. As ch is the only phonetic element common to both words, and the cross-hatching the only portion common to both figures, we may assume as probable that this character represents the hissing, or ch, sound of the two words. Turning now to the Maya lexicon, we find that chichan signifies "little," "slender," "thin," &c.; tzi, which has a slightly harder hissing sound, signifies "anything that is very little, slender, thin, or slim"; tzil, "divided, separated, torn, rent," &c.; tzulche, "trellis, lattice-work, barred," &c.; tzic, "to part, cut, divide," &c.; tzack, "to cut fine, to hash," &c; dzil, "to work mosaic, to weave, plait," &c.; all of which are words that have the hissing sound as their chief phonetic element.

On Plates II, III, VI, and elsewhere we see the figure of the redmouthed god, which we can scarcely doubt is Chicchac-chob. On the headdress in the three plates designated is this same interlaced figure. On Plate XXV, lower division, is the figure of a serpent with rattles, to which allusion has heretofore been made, which is marked with checkered or cross-hatched spots; tzabcan, in Maya, signifies "a serpent with rattles"; see also the serpent in the lower division of Plate V. We also see that the apron, and appendage hanging between the limbs, is marked in the same way, possibly denoting, as heretofore suggested, zihil, "birth," as the design appears to be to symbolize the birth of the storm-cloud.

I suggest as possible that the characters in the hand of the left figure, upper division, Plate XXX*, one of which is the reticulated figure, Fig. 69. Fig. 70. the other that of Gauac, may denote cauche, the cultivated cocoanut. One reason for this supposition is that the figure in the other hand (Fig. 69) appears to be the hieroglyphic for omal, "bread," especially a certain kind of flat tortilla, used in sacrificial offerings.

In the middle and lower divisions of Plate XIX we find the character shown in Fig. 70, occurring several times.

The figures in the spaces appear to be grinding paint in stone andearthenware mortars. The pestle is straight, rather slender, and cylindrical in form, and is grasped by both hands. I venture the suggestion that the circle of dots with the little oval in the center, indicates that the pestle is to be turned or whirled round, and the changed direction of the curves denotes to the right and left, or first one way and then the other. The cross-hatching indicates a word with the sound of ch, tz, or z. As tending to confirm this suggestion, we find, by reference to the Maya lexicon, that dzic and dzical (adjectives) signify "left," and dziical, "left hand." (See Fig. 48, p. 139.) Referring to Plate XXIII*, we find in the middle compartment of the upper division the figure and characters represented in Fig. 71. Fig. 71. The lower line of the inscription over the figure consists of three characters, which I interpret as follows:

Chehzic u cahal: "Consumes (or destroys) his (or the) dwelling."

The eye and snout in the left-hand character, translated "consumes," I presume imply that this is done by the Chac. The parts of this compound character are taken in the same order as the others heretofore interpreted; that is, from right to left; those of the third, translated "dwelling," from below upwards.

It is possible that the left-hand character should be rendered zatzic, which has the same signification as chehzic, and also has the two hissing sounds, indicated by the interlaced portion.

If I am correct in my rendering of the right-hand character, it will pi-obably enable us to determine this one (Fig. 72), which is often used in the Manuscript. I suggest okoltba, "prayer," and, with the numeral, Fig. 72. "three prayers." But it is possible that the true rendering is ocol which, according to Perez, signifies, when joined to a number, the course or order, as of priesthood.

Adopting these suggestions, we would translate the characters in the upper right-hand corner of the middle division, Plate VII, Fig. 73, thus:

Fig. 73.

a.	b.	c.	d.
ppecuah	okoltba	hau	(?)

"Five tortillas of maize, three prayers, the leg of a deer,?", or, "Five tortillas of maize, the third priest (or priest of the third order?), the leg of a deer." I prefer the first rendering, as the character marked b frequently occurs without the numeral where the second interpretation would not apply.

Fig. 74, which is precisely like that for Caban as usually given in the Manuscript, is found on several plates and also frequently in the Codex; sometimes on the bench or form on which persons are seated or lying—see Plates XXXII, XXXIII, XXV*, XXXIV*, &c.; on the blocks or square figures on Plates II* to X* which relate to the festival of the apiarists; on the foundation or substance Fig. 74. which plants and vines arise, I as on Plates XXXII and XXXIII; Fig. 74. and as a character into which the machete or hatchet is thrust (Plate XXIV*). In the Codex it is found on the wall and base of what appears to be a kind of house, or a niche in a temple (Plates 30 and 67); on seats or benches, and in one instance on something laid on a pyramidal altar, on which a human head is placed, having the "dead eye," as though representing the act of cremation. It is evident that no one substance can be indicated in all these places.

On the plates relating to the bee-keepers' festival, where it is figured thus (Fig. 75), as on Plate VIII*, the block or vessel is red, or marked with a red border, is suspended by cords, and a bee is placed across it. Fig. 75. Here it is probable that it should be interpreted cab, "honey," or cabnal, "bee-hive." But this explanation will not answer in one out of a hundred of the other places where it is used.

Where it marks the substance out of which plants arise, as on Plates XXXII and XXXIII, it is probably used to signify the earth or soil. We find by reference to the lexicons that cab has also as one of its significations "earth" or "soil," and that cabal signifies "at the foot," "at the foundation," "at or on the ground," &c. This will furnish explanation of all those cases where "earth," "ground," or "soil" is applicable, or where it is on that out of which plants grow and on which persons are seated or lying. In the lower division of Plate XXXII are the figures of four seats or forms similar in outline to that, shown at a, Fig. 74,; two are marked with the character interpreted ppec, or "stone," and two with the character represented at a, Fig. 74. If two are stone, as we have good reason for believing, the others must be wood or earth. The fact that persons are represented lying down at full length upon this character furnishes a strong reason for believing it should in such cases be rendered "earth."

Turning to Plate XXIV*, we observe, in the third division, the figure of a large brown tree, and a person standing by with hatchet in hand in the act of cutting; in the inscription immediately above is Fig. 76. There can be little, if any, doubt that this refers to cutting into the tree. The Caban character may signify a particular species, but I think it more than probable the word denoted Fig. 76. is cabal, "at the foot or base," "at the ground"; and that the proper rendering is "cut with a hatchet at the base," or "at the ground." The cut or opening at the base of the brown tree appears to correspond with this interpretation, especially as the tree to the right in the same division is severed at a short distance above the base.

If my rendering of this character, in the different uses to which it is applied, be correct, it must be to some extent at least phonetic.

On the wall and base of the dwelling, or whatsoever it may be, on Plate (30) of the Codex, it is probably used to denote that it is earthen, or plastered.

This character is closely allied to the symbol for the day Cib (Kib), which is usually given thus in the Manuscript (Fig. 77). In each of the words we have the sound of Fig. 77. k and b, but one of the characters has a line of dots that is wanting in the other. The inner line and the little cross-marks usually found in Cib in the Manuscript, and represented in Fig. 77, do not appear to be essential.

The character represented in Fig. 78 occurs in the middle division of Plate V. Fig. 78. As the figures in the spaces probably represent traveling merchants, it is possible that this should be rendered u beom—the "traveler" or "merchant."

The third division of Plate XXIX (the lower of the two shown in Fig. 79), is divided into four compartments, each with its figure and superscription, the latter consisting of four compound characters in each case. Commencing with the upper extreme left-hand character, let us

Fig. 79.

complete it (as the lower part—the loop—appears to be imperfect) thus:

This will make the whole character the same as the third and fourth to the right in the same line. The order in which they are to be taken I presume is as follows: First, the upper line over one figure, from left to right, then the next line below in the same order; next, the group over the next figure in the same way; and so on, counting the groups from left to right.

We observe that the lower left-hand character of the first or left-hand group is the head of a bird, and also that a bird is in the figure below; that the lower right-hand compound character also contains a distorted head, somewhat human in appearance, but which may be intended to denote the quadruped in the figure below; that the lower right-hand character of the third group, although showing teeth, may be intended as the symbol of the worm-like figure beneath.

In view of these facts, and also of the additional facts that the right-hand group contains no animal head, nor is there below the figure of any animal, I am inclined to believe that these three heads are but symbols of the animals below them. We also observe that the figures are placed on Caban characters, and that each group of the superscription contains a Caban character, all doubtless having reference here to the earth or soil. If the figures with the two-colored face denote growing maize, as the attacks of the bird and quadruped indicate, we then have strong reasons for believing that the characters refer to the figures beneath them. I may also add here, what is stated elsewhere, that as a rule animals, persons, and deities, or at least idols, appear to be generally represented among the characters by the head; hence such characters cannot be phonetic.

A study of the two groups similarly arranged on the right of the lower division of Plate III* satisfies me that they relate to the method of dealing with a swelling on the hand, caused probably by the sting of a bee or some other insect, or the bite of a serpent (observe the serpent's head on the figure below). We see here the figure of a hand in two places, and on each a protuberance or swelling distinctly marked (Fig. 80.) By the side of each is Fig. 81, Fig. 80.Fig. 82.Fig. 82. which is probably the hieroglyph for the Maya words u-mo, "a swelling of the flesh," or "tumor." The next character in order is the one shown in Fig. 82, which may be interpreted u-cab-poc, "bathe or wash it with honey." The character in the hand of the figure Fig. 83.Fig. 84.Fig. 85. immediately under the inscription appears to agree with this interpretation (see Fig. 83): Cabmen (min or mon). Min signifies that which diminishes or causes to grow less; mon, the same; and moncab (same as momcab), a cooling or soothing wash.^[4] The hand here figured I take to be simply a pictorial representation.

The characters in the right-hand compartment of the middle division of the same plate, I think probably relate to the offerings of honey and tortillas for the dead.

Fig. 86.

The character represented in Fig. 84, found so frequently on Plates I* to X* and elsewhere, may denote pieces of honey-comb, or a kind of drink made of honey, as Brasseur says (note in Landa's Relacion), "honey that has passed into the state of hydromel, which was their ordinary wine." As heretofore stated, I have concluded that Fig. 85 signifies likin, "east," "eastward," "at or toward the east"; literally "the rising sun.". If this is correct, then, as before intimated, the lower character with the alar appendage must represent the latter syllable kin, "sun" or "day"; and the upper, the first, li, derived from likil, "to arise," "to be lifted up or elevated."

Turning to Plate XX* we see in the third division the figures of four females, each apparently engaged in sprinkling water on a child in front of her (Fig. 86). Above them are two rows of characters, apparently grouped by fours (counting each compound character as one), two of the upper and two of the lower line to each female figure. In the first group to the left is the character I have heretofore interpreted as signifying west; immediately to the right of it, in the same group, is this character (Fig. 87). In the second group is the character heretofore interpreted as signifying north, but with an Fig. 87. arm-like appendage; immediately below it, in the same group, is the character shown in Fig. 87; the third group has the character for east and this also; and the fourth or Fig. 87. last group to the right the same character (Fig. 87), and that heretofore interpreted as denoting south.

As we find the same character in Fig. 87 as in Fig. 85, we may assume it stands for the same sound, li, and accepting Brasseur's interpretation of the lower left-hand character as signifying ha or haa, "water," and the added character to the right as Landa's i, we have li-ha-i or lila-i, "to sprinkle the child with water," lila meaning "to sprinkle with water," and i child. As lil signifies "to shake," "to toss," &c., a better rendering may be haa-lil i, "the water shake (or dash) on the child."

Commencing with the left-hand group and taking the four characters in the order heretofore adopted, the upper two from left to right and then the lower two in the same way, and taking the groups from left to right, I obtain the following result:

First group: "Toward the west; sprinkle water on the child; (———?); tortillas."

Second group: "Toward the north; (———?); sprinkle water on the child; (———?)." Third group: "Toward the east; sprinkle water on the child; (———?); tortillas."

Fourth group: "Toward the south, (ichintzah) give a bath; (———?); sprinkling water on the child."

This character (Fig. 88), found in the first, second, and fourth groups, I am unable to interpret. Fig. 88. Fig. 89. The larger right-hand portion may be a variant of chicchan, and the whole stand for the words a or u chichan, "a little," or ha-chen, "water from the senote or well"

The third character in the third group (Fig. 89) is also one I have been unable to interpret. The smaller figures to the left may possibly denote the words ca-chuc, "a cuff" or "blow." The peculiar eye in the right portion I think refers to some particular deity.

I am aware that this interpretation of these groups hangs on a very slender thread which, if broken, lets the whole thing fall to the ground, and hence have given it with a feeling of considerable doubt. But the four similar figures and the symbols of the cardinal points agree very well with this conclusion.

As I have already intimated, there are good reasons for believing that the compound character shown in Fig. 90 denotes "bread of maize" or "corn bread." Fig. 90. Fig. 91. As will be seen, this consists of the characters for Imix (or Ymix) and Kan; as ixim signifies "maize," we may assume, without great liability of being in error, that this is the equivalent of Imix. But I am inclined to believe the latter symbol (that for Kan) is used not only to denote bread (tortillas), but that in the pictorial portion it is also frequently given to represent corn (maize).

The combination shown in Fig. 91, and found so frequently on the plates of the Manuscript and Codex, probably denotes "cakes" or "two cakes," or "tortillas of maize." The two are found combined as in Fig. 90 and with the accompanying characters on Plate III*.

Turning to Plates VIII* and IX* of the Manuscript, we notice along the lower border of the middle division what are evidently offerings: some are pictorial representations and some perhaps symbols; among these we see vessels of different kinds, on which are Kan symbols of a reddish or orange color. As heretofore stated, we find over one of the groups (left side of Plate IX*), a character accompanied by the numeral five, which I have supposed denotes the Maya word ppecuah, pecuah, or pacach, "a tortilla of maize." That these symbols could have no legitimate signification, if interpreted by any of the meanings of Kan found in the lexicon, is apparent to any one. The fact that they are in vessels—in one case a vase with the usual vase mark, in another a kind of platter, &c.—indicates that they are offerings that can be appropriately presented in vessels of this kind.

In the lower division of Plate XXI we observe a bird in the act of eating one of. these Kan characters. Although this is probably a symbolic representation relating to time, still the figure itself is intended as a representation of that which is used as the symbol—a bird eating something, doubtless corn or bread.

On Plate XXVIII, second and fourth divisions, we notice, as I have previously stated, the figure of a deity, which probably signifies the earth, looking up in a supplicating manner, bearing in his hands, or in the hands of the little figures he holds, Kan symbols. As there is good reason for believing these are symbolic representations of the parched earth pleading for rain, it is more than probable that the Kan characters here denote corn or maize. This supposition is rendered almost certain by the fact that the one in the right hand of the lower figure presents a little opening blade or leaf, showing that it has been planted and is sprouting; in the other hand is the bread symbol.

The two combined, or the Kan singly, are of frequent occurrence in the hands of the priests in the Manuscript, where apparently engaged in religious ceremonies. The kans in the baskets carried by females (lower divisions of Plates XIX* and XX*) I have already alluded to; there can be scarcely any doubt that here they signify corn or bread, more likely the former. I think it quite likely that here, and where not in the written portion, these figures have more the character of pictographs than hieroglyphics, as they are both tolerably fair representations of a grain of maize. Fig. 92, copied from the upper division of Plate IX, is, I think, beyond doubt the symbol Fig. 92. for the armadillo figured in the same division. There are characters somewhat closely resembling it found in other parts of the Manuscript, but none of them have the posterior border of scale-marks, and at the same time the peculiar eye that is used throughout the Manuscript to mark quadrupeds.

Fig. 93, which has for its only characteristic the same figure as Landa's ca, is found frequently in the Manuscript, so placed as to lead me to believe it represents some fruit or vegetable product that is useful as food, or in some other way in domestic life, Fig. 93. and that was also considered an appropriate offering to the gods.

"For, example, we see it carried in baskets by women—lower division of Plates XIX* and XX*; in the hand of the bird figure—middle division, Plate II; in the hands of the priest, apparently as an offering, on a number of plates; on the back of figures representing persons traveling—Plate V; marked on (as though denoting something in) a vase—lower division, same plate; in the symbol of the day Cimi; and also in Landa's character for k.

I presume from these facts that, if phonetic, the word or syllable it represents has as its chief phonetic element the sound of k. As the Maya word ca signifies a species of squash or calabash used for food in Yucatan, I presume this is what it denotes in these pictorial representations, especially as this interpretation does not appear to be inconsistent with its use in any of them. But that it also has other significations is evident from the fact that it is found in Cimi, and also as an eye-mark. The same idea is doubtless embraced in both, that is, "death," and the chief phonetic element k.

In close relation to this, and which should be considered with it, is the character represented in Fig. 94. Brasseur has taken it throughout as one form of the Cimi symbol; but there are some reasons for believing there is, Fig. 94. at least, a slight difference in the signification of the two, as on Plates XIX* and XX*, in the basket of the woman at the left, we see characters. As the other burdens are represented by the duplication of one character, the bringing of these two together here shows their close relationship to each other. It is also worthy of notice that the relative position of the two is exactly the reverse on one plate from what it is on the other.

As the burdens of two of these females evidently consist of their household gods, it is possible that those of the two just alluded to may consist of the bones of their dead. If so, Fig. 94 may represent the skull and the Cimi symbol the other bones. In the inscription above the head of the left-hand female, lower division Plate XX*, we find this character (Fig. 95), which, according to the explanation of the parts so far as given, Fig. 95. should probably be interpreted (reading from right to left) cimen-ich, "the dead children." In this interpretation the right-hand character is given its usual signification; the reticulated portion, ch; and the two lines running upward from this, i. Still it is possible that this explanation is very wide of the mark, as these characters may represent certain fruits or other articles of food, perhaps different kinds of calabashes.

The character represented in Fig. 96 is very closely related to, if not a variant of, the Cimi symbol. Fig. 96. It is found very frequently throughout the Manuscript in the spaces containing the figures or pictorial representations. As in a large proportion of these cases the figures have some reference to death, the gods of death, or of the lower regions, and as the character appears to be a variant of Cimi, I have designated it the "death symbol."

It is found in connection with the supposed god of death in the following places: Lower division of XXXV (when joined with XXXIV); lower division of II*; upper division of VIII*; second and lower divisions of XI*; second division of XXII*; middle division of XXIX*, of XXX*, XXXI*, and XXXIV*. It is also found equally often with the god and goddess with this eye: . It is also found with the god that has the dark stripe across the face, as in the lower division of Plate III. Hence I am inclined to believe that this and the other two are to be classed with the deities of the underworld. We also find this character in several places where the idea of death or destruction is evidently intended to be conveyed. For example, in the upper division of Plates VII and XXV; second and third divisions of Plate XXXII; third division of XXXIII; upper division of VIII*, XX*, and XXIX*.

The next group I refer to is found in the upper division of Plate X, and consists of one perpendicular column and two transverse lines, as shown in Fig. 97. Taking the column at the left, proceeding from the top downwards,

Fig. 97.

I suggest the following interpretation of the four compound characers:

"South, tortilla of maize, vase, or pan, of burnt clay, turn 6 (times)." The characters here interpreted yam and xam, I am aware, are apparently identical; but the former, which is a part of that heretofore interpreted "south," is one in reference to which I have been, and still am, in great doubt, especially as it may well be interpreted xamin, "north." The two Imix characters here translated ixim are doubtless used more as symbols than as word characters. The vase, or u character, is, I think, simply added to render definite that to which it is attached. The lowest character (Landa's b) may be heb, "to turn over" or "revolve"; eb, "to elevate"; be, "to march"; or pe, also "to march."

The transverse lines reading from left to right, I would interpret thus: "West, tortilla of maize, pan of burnt clay, 7 (times), deer?." A free translation of the column would, then be about as follows:

"Facing the south, place the tortilla of maize on the pan of burnt clay and turn it six times (or elevate it, or march with it six times)."

The meaning of the transverse lines is similar, except as to direction, until we reach the last character, which I have reason to believe refers to the deer. But it also contains another element, represented by the circle at the lower margin inclosing little dots, probably the equivalent of the b- character of the column.

The line and column in the upper division of Plate XI appear to be of similar import, but varied in the cardinal points and in one of the characters. I am not prepared to attempt an interpretation of this group, but am inclined to believe, from the presence of the ik symbol, that it refers to exorcising the evil spirit.

The groups in the middle and lower divisions of Plate XIV (Fig. 16, p. 99), which are to be taken in columns, and read from the top downwards, are evidently of similar import.

Take, for example, the second (third, if the day column is counted) from the left of the middle division, I would suggest something like the following interpretation (reading from the top downwards):

Fig. 98.

The third compound or double character is possibly a pictograph to represent venison, or deer hams. Brasseur supposes it to be a variant of the Cimi character, but this I think very doubtful.

 

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1. Exam, of Cent. Am. Hier., p. 306.
2. Ancient Phonet. Alphabet of Yucatan, p. 6.
3. "Usavan tambien esta gente de ciertos carateres o letras con las quales escriviau en sus libros sus cosas antiguas, y sus sciencias, y con ellas, y figuras, y algunas señales en las figuras entendian sus cosas, y las davan a entender y enseñavan. Landa, Relacion do Cosas, p. 316.
4. I follow, in most cases, the interpretation given by Brasseur in his Maya lexicon, and make no attempt to give oblique forms, as my knowledge of the Maya language is too limited for this.