5.The Hieroglyphs of the Days.

Fig. 53.—Signs for Union.

No. 1, Fig.53, occurs with great frequency. Allen explains it as “the radical of the mouth,” others as “falling water,” etc., but I accept without hesitation Brasseur’s identification of it as the side view of the joint of a reed or maize stalk, with the meaning “union.” In the writing it is probably among other things the conjunctive conjunction,yetal, “and,” which explains its frequency. It is common in the form No. 2, in the Vienna Codex, signifying the union of day series (pp. 58, 61, 64, etc.); it may imply sexual union, as in the “Tableau des Bacabs” (see above, p. 50.)

Fig. 54.—The Knotted Head Dress.

Other signs for union are No. 3, which is a knotted head-dress common on males, and No. 4, from the Cod. Troano, p. 5, whichperhaps indicates the union of two month periods, or the new and old moons, in relation. The middle design between the two crescents is frequent as an affix (e. g., Cod. Tro., p. 7, etc.).

Fig. 55.—The “Tree of Life.”

I have already hinted at the significance of the “tree of life” in Mayan mythology. It is shown in the Codices under two forms, Fig.55, Nos. 1 and 2. In the former it seems to be growing from a bottle-shaped vase. The leaves (omitted in this instance) are well shown in Cod. Tro., p. 17*. They are cordate and pendent.

No. 2 is taken from the Cod. Peres., p. 3; it beautifully shows the sacred tree, here distinctly anthropomorphic,[129]in the vase of the heavenly waters, lifting its fourfold branches. In the original, the god of the north star is resting upon them. Usually the tree is associated with Itzamna. Both forms are frequent in the Mexican manuscripts, and the myths relating to them have been subjects of study by various writers.[130]

Fig. 56.—The “Machete” and Similar Signs.

Forms like Nos. 1 and 2, Fig.56, and perhaps No. 3, are usually taken to represent a chopper ormachete. The representation of this weapon or implement is seen in Cod. Tro., p. 17, where a man is killing a snake with one. In the conventional and negligent manner in which these characters are often written, it is not easy to distinguish them from others of different origin and meaning. Nos. 2 and 3 may be feather signs. Seler explains the machete as the symbol of striking or wounding (“Ausdruck des Schlagens”).

Fig. 57.—Supposed Bird Signs.

Characters like the above recur in all the forms of writing. No. 1 has been called by Seler the representation of “man,” but this is doubtful. It may be a variant of No. 2, which is a “closing hand” from Fig.31, No. 3. Nos. 3 and 4, from Copan and Guatemalan pottery, follow closely the Codices. With a “comb affix,” Förstemann calls No. 4 “a well-known form ofmoan,” meaning the Pleiades (Entziff.IV); while Dr. Seler explains it as an owl symbol. The design enclosed is held to depict the bill of a bird.

The “Crotalean curve,” the outline of the jaws of the rattlesnake,Crotalus horridus, has been dwelt upon with emphasis by Allen and Maudslay as one of the most notable emblems inMaya art.[131]Fig.58, Nos. 1, 2, 3, 4, show some of its forms in the Codices, and No. 5, from Stephens, illustrates its radical. As a graphic element, it is less prominent than in architecture.

Fig. 58.—The “Crotalean Curve.”

Fig.59, Nos. 1–4, are outlines of objects often seen in the Codices. No. 1, which looks like a carriage-wrench, is in fact a serpent wand, as can readily be seen by comparing Cod. Tro., pp. 6, 7, 31*, with Cod. Dres., pp. 40, 42, 43.

Fig. 59.—Objects Held in the Hand.

No. 2 is the “medicine rattle.” Sometimes it was a gourd, at others of earthenware, as we see by the “pottery decoration” in Cod. Tro., 34, 35, etc. Sometimes it looks like a fan or a mirror.[132]

No. 3 is the hatchet, and No. 4 the chisel. The peculiar shape and mode of use of the latter are seen Cod. Tro., 34, etc. Both of these implements were made of metal obtained from Tabasco, and Landa especially says that the latter was that with which they carved their idols, exactly as we see in the MSS.[133]

The word for the tomahawk in Maya wasbat; and from the same root comebatul, “to fight;”batab, “a chief;”batan, “first or in front of;”bat, “hail;” for any of which ideas the weapon might be a symbol or a rebus. It is of frequent occurrence in the texts. One of its uses, I am persuaded, was to indicate a thunderbolt or stroke of lightning. The name for this in Maya was “the blow of the cloud,”[134]and in the group of themoansign and the tomahawk we have this well expressed.

The first design in Fig.60shows the aspersorium,lilābal, with which the high priest sprinkled the holy water (which was the dew collected in the early morning) during the ceremonies. To it were attached the rattles of the rattlesnake and tails ofpoisonous serpents.[135]It is often portrayed in the Codices and inscriptions.

The second design is the throwing-stick, in Nahuatl,atlatl. The admirable monograph of Mrs. Zelia Nuttall explains its important symbolic uses.[136]Examples where it is well portrayed are: Cod. Dres., p. 60, 65; Cod. Tro., pp. 21* and 22*.

Fig. 60.—The Aspersorium, the Atlatl, and the Mimosa.

The third design in Fig.60is what Seler calls a broom (Spanish,escobilla, Nahuatl,mallinalli,) and Schellhas, a feather. But that it is, as Brasseur said, a mimosa, seems clear from Cod. Tro., p. 29, where it is shown growing. In id., p. 32*c, where it is above the turtle, it has an astronomic significance.

Other objects sometimes depicted are fans,ualorpicit; mirrors,nen; shields,chimal; and planting sticks,xul.

The designs shown in Fig.61recur in all the Codices, and I agree with Dr. Förstemann that they must refer to the celestial bodies and their relative motions (contrary to the view of Dr. Seler). That they have not all been identified is perhaps because none of the students of the subject has been astronomer enough to understand the lessons they convey.

A few we are certain about. No. 1 is the sun, No. 2 the moon; No. 13 must be “the rope of the moon” (see above p. 36)indicating its conjunction;[137]No. 12, from the Cod. Peres., might reasonably indicate its opposition; No. 14 is the pole star, occurring in Cod. Tro., pp. 20, 22, 23. Dr. Förstemann has offered certain reasons, reaching a moderate probability, that Nos. 3 and 4 symbolize the planet Mercury; Nos. 5 and 6 the planet Venus; No. 7, Jupiter; No. 8, Mars; and No. 11, Saturn; No. 15 I have seen only on the casts from Sastanquiqui, Peten, at the World’s Columbian Exposition.

Fig. 61.—The “Constellation Band.”

These designs are arranged in rows of three or more, forming ribbons or bands, and therefore I shall refer to the series as “the constellation band.” Some members of it usually are placed above the representation of the sun and moon (day and night), frequent in the Codices and represented in Fig.62.

Fig. 62.—The “Heavenly Shield.”

This has been called “the heavenly shield,” a designation I shall retain. Its signification was first explained by Schellhas. The orbs are suspended from the “constellation band” by curious bearings, which seem to be developments from a form very common in the Mexican MSS., and which is shown in Fig.63, No. 1, which, however, I have copied from a potsherd brought from Copan. Figs. Nos. 2 and 3, from the same source, also seem of astronomical intent, though No. 3 may be a variant of theik(comp. Cod. Dres., pp. 56, 57).

Fig. 63.—Designs from Copan Potsherds.

After considerable discussion the signs for the cardinal points have been definitely determined to be as in Fig.64, reading from left to right, East, North, West, South. The East sign is composed of thekin(sun) sign with theahauas a superfix and the “claw” postfix; the North has the north star god’s monogram with the lunar prefix; the West thekinsign with themachas a superfix(see p. 83) and the “claw” postfix; the South has theyaxwith themacsuperfix and sometimes an augment. Space will not permit a further analysis of these important composites, but each is highly significant. These signs never occur isolated, but always together; where one is found, the others may confidently be looked for.

Fig. 64.—The Signs for the Cardinal Points.

Another series of signs are intimately associated with these. They are shown Fig.65, and read from left to right, South, East, North, West.

Fig. 65.—The “Directive Signs.”

Fig. 66.—The “Cuceb.”

The precise purpose of these has remained obscure. Dr. Seler has suggested that they indicate the colors which were assigned to the four directions. This is true as far as it goes, but does not explain many of their uses. My own studies have led me to believe they are primarily “directive signs,” intended to guide the learner in the use of the calendar wheel. This was somewhat intricate, made by the superposition of two surfaces, the lower marked with the cardinal points, etc., the upper, I take it, with these directive signs. That any quarter in the native astrology could be transferred into any other, explains why they are allfound with all the signs of the cardinal points.[138]My view is borne out by the Books of Chilan Balam. In this work the rotation of the time-periods is calledcuceb, “the squirrel,” and their beginning is marked with the Fig.66. This is identical with several variants of the North “directive sign” above; and the reason it was calledcucebwas that the verbcuculmeans “to move round and round” as they did their calendar wheels.

These four directive signs occur repeatedly as affixes. They may be read, (1) ideographically: either as directions, south, east, north, west; or for colors, yellow, red, white, black; or, (2) ikonomatically: for the homonyms of the names of these colors, that is, for the other meanings of the color names. These are numerous. Thus,kan, yellow, also means “jewels, money, food, abundance, a rope, ahamac;”chac, red, may also signify “strong, water, rain, the rain god, a tempest;”zac, white, is also an intensive particle, “much, very,” and is close tozacal, to weave, a web, andzacan, bread; whileek, black, may also be translated “dark, darkness, a star, dyewood, the fat of meat.” The sign for the East, the flint knife, may as such have the values assigned above to that object (see p. 89). This, however, does not make the method so complicated as one may think, for in all rebus-writing we find the ordinary signs employed are limited to a few recognized meanings.

In my work on “The Native Calendar of Central America” I pointed out that the hieroglyphs of the names of the days are to be looked upon as rebuses, and therefore do not tell us thereal meaning of the name given the day. They are merely the pictures of some familiar visible object or objects, the name of which has more or less similarity to the name of the day, and would serve by an ocular representation to recall it to mind. To repeat what I there said on this essential point: “It is quite misleading to seek the real meaning or derivation of a day-name or other word from the figure which represents it in the hieroglyphic writing. The latter usually stands for a word of an entirely different meaning, the only connection being a more or less similarity of sound.”[139]

It should be remembered, therefore, that some of these hieroglyphics of the day-names recur as independent characters with other than calendar significations.

1.Kan.The object represented is a polished stone, shell pendant, or bead, in Maya,kan. It was their circulating medium, and it stands formoney, and all which that magic word conveys,—food, prosperity, abundance.[140]The dot or eye in the upper portion is the perforation by which it was strung on a cord. Others explain it as an eye (Seler); a tooth (Brasseur); a grain of maize (Schellhas).

2.Chicchan.The allusive design to suggest the name is supplied by the twisted threadschich kuch. See above, p. 96. Brasseur sees in it a petticoat, Seler a serpent’s skin, etc.

3.Cimi.Represented either by an eye closed as in death,cimil; or by the maggot (see above p. 65).

4.Manik.Correctly explained by Brasseur as a hand in the act of grasping, “une main qui se ferme.” Its phonetic value is notkab, hand, butmach, “to grasp” (see above p. 83).

5.Lamat.The figures bear a close resemblance to some of the sun signs. See Fig.37. They seem to show the orb partly below a line—the horizon—which would give as a rebuslamal kin, the sunsetting; enough to recall the day name.

6.Muluc.The day signmulucand the month signmolhave a resemblance, as do the words. The rootmolormulmeans acoming together, or piling up. The hurricane is calledmolay ik, “the winds united;” the word for religion isumolay, literally, “a congregation or meeting.” Both signs seem to portray one thing inside of another of the same kind, with a probable reference to the sense of the root.

Fig. 67.—A Cartouche.

7.Oc.Among its various meanings this word signifies “a trail” and “footprints.” Such seems the design in the first variant. Brasseur, and, following him, Seler, think that the others portray the ears of a dog, as in some Mayan dialects the dog is calledoc. The full glyph is thus:It is of frequent occurrence in such a cartouche as shown in Fig.67, whereais the strengthenedpax; (See p. 92),b, the dog sign;c, the haunch of venison; andd, the monogram of Xmucane with a vigesimal or personal prefix.

8.Chuen.The figure is that of a mouth,chi, with fangs; but as that was not very near in sound, a calabash,chu, is sometimes portrayed at the bottom of the circle, within. The mouth of no particular animal is intended, as is evident from allied designs; though Brasseur and Seler claim that it is of a monkey, Schellhas, of a snake, etc. The day name is close in sound tochun, the first, the beginning, and appears occasionally as a numeral (see above, p. 23). Piles ofchuenare shown as offerings,e. g.,Cod. Dres., pp. 26, 42; Cod. Cort., p. 3. Do they mean “first fruits?”[141]

9.Eb.The face of an old man with a peculiar pointed ear mark. The wordebmeans “ladder;”ebtun, a stone stairway;ebzah, to sharpen or point a flint; this last may explain the sharpened ear and dots.

10.Ben, orBeen. Explained by Brasseur as showing a path,be; by Seler, as a mat and a straw roof. To me, it looks like abe che, a wooden bridge, the two supports of which are shown and which was sometimes covered with a straw mat. This rebus gives the first syllable of the name. In Tzental traditionBeenwas the ancient hero who erected the inscribed stelæ (piedras paradas) at Quixté, near Comitan,[142]which the natives still decorate at certain times with garlands of flowers, etc.[143]

11.Ix.The usual figure contains a number of black dots.These suggest the wordxiix, scattered grain husks. Seler thinks it shows “the round hairy ear and spotted skin of the jaguar.” Brasseur proposed that it conventionally portrays the feminine parts, asixis the feminine prefix in Maya.

12.Men.The head of an aged person, supposed by Brasseur and Seler to be Mother Earth. Sometimes it is extended worm-like, as in Fig.43, No. 3.

13.Cib.Brasseur and Seler believe the enclosed spiral represents the fermented liquor,ci, trickling down. The “pottery decoration” (see p. 58) certainly indicates a jar or vase.

14.Caban.The design is that of the “cork-screw curl” of a woman, and stands forcab(see p. 99).

15.Ezanab.The picture is of the sacrificial knife of flint, which closely corresponds with the name.

16.Cauac.The design shows a side face, with pendent clouds for the eye, the “windcross” for the ear, and, perhaps, as Seler thinks, the hairy mouth of themoanbird. On the other hand, Rosny explains it as “the plan of a building,” and Thomas as “the sign for wood.”

17.Ahau.Usually considered to be the conventional drawing of a full face.

18.Imix.Generally regarded as representing a mammary gland, though it is not quite like those shown in the Codices. It is typical of prosperity and is often attached to thekansign. In the calendar it indicated the beginning of a time-period.[144]

19.Ik.The word means air, wind, breath, spirit, soul, and life. The design is a katun enclosing the sign of the four directions or four winds, the “wind-cross.” Brasseur calls it a flower, because it is sometimes shown with what looks like leaves emerging from it (Cod Tro., pp. 5*, 6*, etc.). This indicates, however, the spirit of life coming forth (or, as Seler thinks, is a sign ofsacrifice; the same superfix occurs on thekan, Cod. Cort., p. 37, etc.).

20.Akbal.The word resemblesakab, night, and is probably derived from it. The design may be that of a mouth with teeth (Brasseur, Seler), or the rays of the sun after sinking below the horizon. As a general glyph it is frequent with the signification of night and darkness, not necessarily in a bad sense.

These are more intricate than those of the days, and show wider variation. In the designs given below, the first on the line is from Landa’s work, the second and third are from the Dresden Codex.

1.Pop.The word means “a mat.” The principal element in the glyph is the south or yellow sign, referring perhaps to the color of a mat, with the alar subfix. The prefix to the first variant shows the “windcross.”

2.Uo.The usual meaning of this term is a prickly pear; also, a species of frog;uooh, a written character or letter. The prefix indicating speech (see p. 98) seems to indicate the latter. The chief element is themolsign with the night sun as a subfix.

3.Zip.The design shows the sun below the flint knife, that is, the slain or departed sun, a play on the phrase,zipik kin, the sun set (ponerse el sol,Dicc. Motul). The idea is strengthened by themacas a prefix, signifying “to extinguish.”

4.Zodz.The word means “bat,” and the design shows the head of one with thekinas a superfix.

5.Zec, orTzec. The design is explained by Brasseur as a death’s head, Maya,tzekel; by others, as an open mouth with teeth (comparechuen, p. 112). The projecting curved lines above the head are supposed by Schellhas to represent a peculiar mode of wearing the hair. But astzecmeans “scorpion,” they may depict conventionally the claws of that animal.[145]

6.Xul.The three signs are quite unlike. The first presentsthe conical bill of a bird of the finch or sparrow family; the second, the horned owl or the falcon (?); the third, a conventionalized bird’s head. The second may be ikonomatic forxulub, horns. The wordxulmeans to end or to finish; and, the end, limit, or extremity.

7.Yaxkin.This means “new sun” or “strong sun.” The glyph expresses this by theyaxsign, “new” or “strong;” thekin(sun) sign and the dotted postfix,ual, month. According to the Dicc. Motul, the phrasedze yax kinwas applied by the Mayas to the hottest part of the summer.

8.Mol.See remarks on the day signmuluc, p. 111. Dr. Förstemann suggests that the above designs represent either (1) a snail in its shell, or (2) an egg with its yolk, or (3) the sun after setting. Seler holds that it shows the heart, Maya,ol, within the body, making a rebus formol.

9.Ch’en.This means a spring or well of water. The second sign shows a water jar bearing the sign of fluid, with reference to the sense of the word. The first is more complex. The main element is a face with amoanmouth, referring to water; for an eye the infixu, for month; and two prefixes, the sign ofunion (see p. 100), and above it what may be a variant ofben(see. 113).

10.Yax.The feather signyax(see p. 94) is the superfix to thecauacsign, which carries the postfixual, month.

11.Zac.This word means “white,” and this is here expressed by thecauacsign carrying as a superfix the north directive sign (see p. 109), as white was the color sacred to the North.

12.Ceh.The meaning ofcehis “deer,” and the design shows the flint knife used in slaughtering that animal, placed as a superfix to thecauacsign.

13.Mac.The first glyph represents the cover of a jar, the name of which in Maya ismac, thus making a perfect rebus.[146]The second, not plain, is a variant of thekanorimix, with the“comb” subfix. In this month was celebrated the important rite oftupp kak, “the extinguishing of the fire,” the aim of which was to secure rain for the growing crops. The figure may refer to this.

14.Kan kin.This expression means “the yellow sun.” The first glyph is a perfect rebus, showing the sun sign,kin, and the south directive sign (see Fig.65), which means “yellow.” The second glyph is the sign for a breast-bone, a shield, or dog (see p. 125).

15.Muan.The head of themuanbird, the crested falcon, with his ears or horns, see p. 74.

16.Pax.The only or main element is the drum,pax che, above explained (see p. 91).

17.Kayab.The main element was recognized by Schellhas as the head of a turtle. In Landa’s alphabet this has the valueaorak. It is applied as a rebus to recall the first syllable of the name.

18.Cum ku.The glyph in one case combineskanandcum, with prefixes ofcauacandcib. Dr. Förstemann fancifully explains it as portraying “from one point two flashes of lightning or sun’s rays striking the maize field.” Rather, we have here the rebuscum kan, recalling the name, and thecauacsign, which is repeated in a number of the month signs.

I have already mentioned that in the texts the gods are severally represented by their signs or monograms. The credit of defining these in a clear and satisfactory manner is due almost entirely to Dr. Schellhas, and I shall here present the results of his careful studies, retaining his alphabetic nomenclature, which has in some degree been accepted by Dr. Förstemann and others.

A.The god of Death.

His signs are clearly established and vary but little, Nos. 1–4. Two of them are usually written. The prefix to 1 and 3 has been already referred to (see p. 84). The bean (or flint) appears as a prefix in No. 2, as a subfix in No. 3. Frequently associated with his monogram is No. 5, which Seler explains as the sign of the owl. No. 6, from Cod. Dres., p. 50, with a skullfor a head-dress, may be a priest of thisdivinity; No. 7, from Dres., p. 22, may also be a priest or a companion.

B.Itzamna, or “the god with the snake-like tongue.”

His hieroglyphs are, beyond mistake, Nos. 8 and 9. The directive sign, No. 10, is occasionally associated with his monogram. In Cod. Dres., p. 33, one of his attributes is shown in No. 11, the hand closing on the rattles of the crotalus. The food symbols, Nos. 12, 13, 14, 15, are often connected with him. Some regard them as the four elements, etc.

C.The North Star, or “the god with the ornamental face.”

It is easy to recognize his monogram, Nos. 16, 17, 18, 19, 21. I have already explained the “pottery decoration” (above, p. 58). As prefixes, we find the bean, No. 20; the crescent, as in 21; the number 13, indicating completeness or perfection; and the vase, as in 16 and 17.

D.Cuculcan, “the moon god, or night god.”

The complete hieroglyph is No. 22, generally followed by No. 23. He is “the old man god,” with one tooth, as in No. 24;sometimes connected with the moon symbol as in No. 25; and often holds in his hand the aspersorium, shown in Nos. 26 and 27. See p. 105.

E.Ghanan, “a male maize god.”

His usual monogram is No. 28. No. 29 is a picture of the maize plant from Cod. Tro., p. 29, from which Dr. Schellhas argues that the head-dresses of this divinity, as shown in Nos. 30–34, are conventional designs for growing maize. My own collations persuade me that the maize should here be understood as a general symbol for vegetable growth, fertility, and the harvests.

F.The god of War, or, “a companion of the god of death.”

His hieroglyphs, shown in Nos. 35–41, often contain the number 11. The black line is characteristic. His signs appear in connection with all four cardinal points.

G.Kin ich, “the sun god.”

His monogram is uniform No. 42. It is the sun with theben iksuperfix and alar postfix. (See p. 90). His nose ornament,No. 43, and the “flower,” No. 44, are usually distinctive of his portraits.[147]

I.“The serpent goddess.”

Her signs are not distinct. Dr. Schellhas believes them to be Nos. 49–51; but I cannot accept that they are intended for the same individual.

H.“The serpent god.”

The hieroglyph and the personage, No. 45, are doubtful. He is supposed to be shown in Cod. Dres., pp. 11, 12, 20, etc. Nos. 46 and 47, from Cod. Tro., p. 17, are also assigned him. The rattle, No. 48, appears as a hieroglyph in Cod. Dres., p. 61, and elsewhere. I doubt this deity.

K.“The god with the ornamented nose.”

The hieroglyph is No. 52, often accompanied by the “dog” sign, No. 53. I have already expressed the belief that this is merely one of the manifestations of Itzamna. (See p. 54.)

L.Ical Ahau, “a black god.”

Dr. Schellhas distinguishes between a divinity whose sign is No. 54, and “M,” “a second black god,” whose hieroglyph isNo. 55, 56, and whose face is shown No. 57. He appears in Cod. Dres., pp. 13, 16, 43, and is common in the Cod. Tro. The sign No. 58 is occasionally associated, as in Cod. Tro., p. 5, and Cod. Cort., p. 28.

N.“A god with the features of an old man.”

His sign is No. 59, which may be translated “5 Zac,” and may refer to his festival on that date (Seler). His face and peculiar head-dress, with thepaxsign, are shown No. 60. These do not strike me as representing divinity, but simply “old age.”

O.“A goddess with features of an old woman” (Xmucane?). Her hieroglyphs are shown Nos. 61, 62; the latter is more frequent.

P.“A figure with features of an old man.”

It is seen Cod. Dres., p. 21, with the sign No. 63. It is doubtful if a deity is intended.

Q.“An isolated deity.”

Shown Cod. Dres., p. 20, with the signs Nos. 64 and 65; probably a mere personage.

R.Themoanbird.

He is often associated with the god of death, and bears the hieroglyphs Nos. 66–69, sometimes with the 13.

S.No. 70 is the usual hieroglyph of the dog, andT, No. 71, is that of the vulture.

U.No. 72 is the sign of the jaguar, as seen in Cod. Tro., p. 17, and in Cod. Dres., pp. 8, 26.

V.The turtle or tortoise. Its monogram is seen Nos. 73, 74, 75. It is theaof Landa’s alphabet. There is no doubt but that the turtle’s head and not that of the parrot is intended, though some have thought otherwise.

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