The first is that the figure of the supposed deity seems to have more indications of being the conventional representation of an idol than of a deity. The lines of the head are precisely the same as those on the heads of the carved idols.[365-1]
We also find it in connection with the wood symbol (marginal No. 6) at the only points where the latter is found in the Cortesian Codex, and, what is significant, in wholly inappropriate places unless connected with an idol figure. These are found in the lower division of Plates 10 and 11, two on the top of thatched roofs and another on the head of the deity called the "G.o.d with the old man"s face," the head in the latter case being apparently carved from a block of wood.
The second is to the same effect, the symbol being found over each of the figures of the lower division of Plates 26, 27, and 28 of the Cortesian Codex and the middle division of Plates x.x.xI* and x.x.xII* of the Ma.n.u.script Troano, where there appear to be processions of the different deities. It is also significant that in the latter case each deity is bearing in his hands what seems to be a block of wood from which in all probability an idol is to be carved.
Third, we find rows or lines composed entirely of this symbol, as in the so-called t.i.tle page of the Ma.n.u.script Troano.
DISCUSSION AS TO PHONETIC FEATURES OF THE CHARACTERS.
It must be admitted, as heretofore intimated, that this question has not as yet been satisfactorily answered. Whether what is here presented will suffice to settle this point in the minds of students of American paleography is doubtful; nevertheless, it is believed that it will bring us one step nearer the goal for which we are so earnestly striving.
Something is said on this subject in my former work,[365-2] which need not be repeated here.
As it is evident from the preceding list of characters that conventional signs and symbols, often nothing more than abbreviated pictographs, were used in many cases to designate objects and persons, the inference to be drawn, unless other evidence is adduced, is, that this method prevailed throughout. Nevertheless there is some evidence that at the date when these ma.n.u.scripts were written Maya culture was in a transition state; that is to say, conventional symbols were pa.s.sing into true ideographs[366-1] and possibly into phonetic characters.
The lack of any satisfactory key to a.s.sist us in deciphering them makes it exceedingly difficult to decide how far this change had progressed. We are therefore left wholly to deductions to be drawn from the facts obtained by laborious comparisons of the various relations in which the characters are found and the uses which appear to be made of them in the ma.n.u.script.
It will be admitted without question that a large number of these characters are ideographs or conventional symbols, as distinguished from pictures, as, for example, most of those denoting the days, months, and cardinal points. I say most of these, as it is yet possible to learn from some of them the objects they were intended to represent, the characteristic features not being entirely lost, as the symbol for the day Cimi, the "death"s head" or skull; that of the day Ymix, "the grain of maize;" that of the month Moan, "the head of the moo or ara," a species of parrot, &c.
It is also possible to show from the ma.n.u.scripts themselves evidences of the changes from conventional pictographs to true or mnemonic symbols.
Take, for instance, the bird symbols on Plates 16, 17, and 18 of the Dresden Codex, presented in the preceding marginal figures numbered 24, 25, 26, 27, 28, and 33. If the determination be correct as given, it is apparent that, while one of the birds is indicated by the head as a symbol, the others are denoted by ideographs, or by phonetic characters bearing no resemblance to their forms or peculiar features. That numerous examples of this kind are to be found in these ma.n.u.scripts will be admitted by all who have carefully studied them.
Another fact bearing upon this point is the difference between the Dresden Codex and the Ma.n.u.script Troano in regard to marking with symbols the things represented in the pictures. We fail to find in the former (unless that on Plate 30 be a possible exception) the earth or soil represented by any symbol, though frequently occurring in the latter and also occasionally in the Cortesian Codex. The symbol for wood or that appearing so often on wooden articles in the latter, and occasionally in the Cortesian Codex, is wanting in the Dresden Codex, though wooden articles are several times represented. From this we infer that the Ma.n.u.script Troano is a more recent production than the Dresden Codex, notwithstanding the evidences of greater skill in drawing and higher mathematical attainments shown in the latter.
Before discussing the question of phonography we ask attention to one or two facts regarding Landa"s alphabet which do not appear to have been previously noticed, yet have an important hearing on the subject.
The failure to reach any satisfactory results with this alphabet proves, beyond a reasonable doubt, that this author was mistaken as to the character of the Maya writing; yet the frequent occurrence in the ma.n.u.scripts of most, if not all, of the elements he presents renders it certain that there is a basis of truth on which it rests. It is probable, therefore, if we can find the key to his method, we may, after all, obtain some satisfactory results by means of his alphabet.
I have already stated as my belief that--
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 ma.n.u.scripts by using them, yet we find such frequent resemblances as to compel us to admit a fundamental relationship.[367-1]
This opinion I still believe to be correct, but was, until very recently, unable to get any positive evidence as to his method of obtaining these elements.
While examining the Cortesian Codes I came across (on Plate 17) the symbol for a turtle (the different varieties of which are shown in marginal figure No. 4), which is nothing more or less than an attempt to represent the head of the animal. In the more abbreviated form (_b_) I at once recognized Landa"s A (compare with _c_ and _d_, No. 4). As the Maya name of the turtle is _Ac_ or _Aac_ it is apparent that in this instance the old Spanish priest selected a symbol representing an object the name of which contains a single syllable having, as its chief letter element, A. As this symbol is simply a representation of the animal"s head there is no reason to infer that it is phonetic; on the contrary, it is more reasonable to a.s.sume that it was used only as a conventional sign. It is possible that after long usage it may have been adopted as a phonetic character, though its exceedingly rare occurrence in the ma.n.u.scripts (being found only in the Cortesian Codex and with the turtle figure) and the fact that it is seldom, if ever, used as part of a compound character would seem to forbid this idea.
Precisely the same method was adopted in obtaining his B, which is given in two forms, first as a foot print and second as a circle inclosing four circular dots. The first, as all are aware, is only a conventional sign and presumably not phonetic. The second may be phonetic, though apparently but an abbreviation of the first. In Plate 65_c_ (see marginal No. 20) and Plate 41_c_ the two forms are brought into such relation to each other as to show that the latter is used as a symbol to represent the idea conveyed by the first. The proof in these cases is too strong to admit of doubt and explains Landa"s method of obtaining his B, which, as before stated, was by selecting the symbol of that which is denoted by a Maya word of one syllable having B as its chief letter element, _Be_ being the Maya word for "way," "journey," "walking," &c.
The symbol for the cacao given above in marginal No. 22 contains his eleventh letter _Ca_ twice and is probably that from which it was taken; likewise that of the _Kukuitz_ or Quetzal (marginal No. 26) and of the _Kuch_ or vulture (marginal No. 27_a_), each of which contains his _Ku_, being double in the former and single in the latter. I am as yet unable to trace these two symbols to their origin; we might suppose, from Landa"s figure of the latter, that it was intended to represent a bird"s nest containing eggs, but an examination of the symbol as found in the ma.n.u.script renders this conclusion doubtful.
The evidences of phonography are few and, as must be admitted, not entirely satisfactory; yet they are apparently sufficient to justify the somewhat general belief that the writing of the Mayas had reached that stage where characters are sometimes used to indicate sounds. That comparatively little advance had been made in this direction at the time of the conquest is possible; moreover there is nothing to justify the belief that they made use of true letters as Landa supposed. If they had a phonographic system of any kind it was very imperfect and was only in that primary stage in which syllables are represented by single characters and words of more than one syllable by compound characters.
Judging by the changes observed in the relation of the parts of compound characters to one another, we conclude that the order of arranging these parts was not uniform or essential. It is also doubtful, if any of these characters are phonetic, whether the parts of the longer words were always written out in full. I am led to believe, from a few slight indications, that, in forming words of more than one syllable, they often used only the leading phonetic elements of the single words of which they are composed; in other words, that they followed the rebus method of the Mexicans.
Descending to particulars and examples, the following are, perhaps, the strongest proofs which can be presented on this point:
As there can no longer be any doubt that the symbols for the cardinal points have been ascertained and that those relating to the polar points are distinguishable from those relating to the equatorial points, we are justified in referring to them in this discussion. As each of the two a.s.signed to the equatorial points contains the symbol for "sun" or "day"
and as the two Maya words for these points--_Likin_ or _Lakin_ and _Chikin_--contain the Maya term for sun or day ("kin"), there is some reason for believing that the characters are phonetic. There is to be added to this evidence the fact that the symbol of the month _Yaxkin_ contains the same sun symbol. It would be somewhat remarkable to find the same single character in three different combinations, representing three different ideas expressed by words containing the same sound, yet having no reference to the sound.
It is now generally admitted by students of American paleography, on what appears to be satisfactory evidence, that symbol No. 7 of the preceding list, _Cab_, is used to signify "earth" or "land" and "honey," both of which are designated by the same Maya term, _Cab_. As there is no similarity in the things denoted the character is probably phonetic. The "bee" appears also to be frequently indicated by the same character with an affix, as may be seen by reference to the lower divisions of Plates III*--X* of the Ma.n.u.script Troano.
The symbol No. 9 (U) of the preceding list is found repeatedly on vases and also as a prefix to both simple and compound characters. As _U_ in Maya signifies "moon," "vase," and certain p.r.o.nouns and is also used as a euphonic particle before vowels, we are perhaps justified in concluding that the symbol is phonetic and denotes the word _U_. I am aware that neither Perez nor Dr. Brinton gives "vase" as one of the meanings of this word, yet its constant appearance on vessels seems to leave no doubt that Bra.s.seur is correct. Even admitting that he is mistaken and that we are in error as to the signification of the symbol, its various uses justify the belief that it is phonetic.
The symbol No. 34 of the preceding list, which is supposed to be that of the G.o.d Ekchuah, is probably phonetic. The name of this deity is composed of two Maya words, _ek_, "black," and _chu_, "calabash," and hence signifies "the black calabash," and the form and coloring of the symbol are apparently intended to denote this signification. If this interpretation be correct it is phonetic, as there is nothing in or pertaining to the figure of the deity which corresponds with it, except the color.
If the interpretation given of the preceding symbols Nos. 22, 24, 26, 27_a_, and 33 be correct, there can be scarcely a doubt that they are phonetic. In the first--_cacau_, _cacauak_, or _cacauche_, the "cacao"--we see Landa"s letter _Ca_, which is doubled in each of the three forms taken from the different codices. In the twenty-sixth--_Kukuitz_, the Quetzal--Landa"s _Ku_ is duplicated, as it should be if phonetic, while in 27_a_, _Kuch_, it appears but once. There is here also an additional evidence of phoneticism in the fact that, while one of the symbols used to denote this bird shows simply its head, and is surely not phonetic, the other is entirely different and bears no resemblance whatever to any feature or characteristic of the bird. Moreover, both parts of it are used in other combinations referring to entirely different things.
If my interpretation of No. 14 (_Xamach_ or _Chimix_) be right, it is probably phonetic also. It is composed, as will be seen by reference to the figure, of two symbols closely resembling that for the day Ymix, except that the top portion of one is omitted. The resemblance in sound to a duplication of Ymix is apparent. The slight but permanent variation of the right hand portion from the usual Ymix symbol and the omission of the top portion of the left hand one are scarcely explainable on the supposition that they form simply a conventional sign; but if phonetic the reason is apparent, as the _m_ sound is not repeated in the Maya name. This conclusion is strengthened by the fact that the month _Mac_, found in the last or bottom line of Plate 49, is precisely the same as the right portion of No. 14, with Landa"s symbol for _Ca_ added. This probably justifies us in concluding that the true name of this month is _Camach_, "the jaw" or "jaws," and that Landa"s figure is simply a rude representation of the lips or mouth.
I have expressed the opinion[370-1] that the chief phonetic element of No. 8 (the stone symbol), if used to represent sound, is _p_ or _pp_.
This opinion seems to be confirmed by the fact that this character is found as a part of the symbol for the month _Pop_ on Plate 50 of the Dresden Codex. (See the second character in the first transverse line below the day columns in the preceding Fig. 362.) The method of determining the months referred to in these plates of the codex has been given in the preceding part of this paper.
The interpretation given above of symbol No. 24 (the moo or ara) will probably be accepted by all students of these ma.n.u.scripts, and if so its phonetic character must be conceded. That it is used in the place above alluded to (Dresden Codex, Plate 16_c_) to denote this bird is proved by the parallelism of the groups and the figure of the parrot under it. If we turn now to Plate 48 of this codex we observe that the second character of the first line below the day columns and the first character in the upper line of the lower group or square is, in each case, a bird"s head. It is easily proved by means of the numeral series with which these are connected that they denote, in both cases, the month Moan (from the moo), proving that Bra.s.seur"s surmise was correct.[370-2] If the same bird is represented by two symbols, one pictorial and the other having no resemblance to any feature or character of the thing denoted, it is probable the latter is phonetic. This conclusion is strengthened in this case by the strong resemblance of the first part of No. 24 to the symbol for the month Mol.
I have shown above that the right portion of No. 20 of the list is Landa"s letter B, and also that in the lower division of Plate 65, Dresden Codex (see Fig. 378), it signifies "footsteps" or the act of walking. As the Maya word _Be_ signifies "journey," "wood," "march," and also "journeying" and "marching," it is possible that this symbol is also phonetic, although apparently only a modified form of the footprint. This supposition is strongly supported by the fact that it is found in numerous and varied relations, single and in combination.
The symbol for 20 (_Kal_), No. 1 of the preceding list, is apparently phonetic. This view appears to be confirmed by its use otherwise than as a numeral symbol at several points in the text of the Ma.n.u.script Troano.
For example, in the third division of Plate XVII* it appears in this form, [Ill.u.s.tration: Hieroglyph] while immediately below is the representation of an idol head in a vessel covered with a screen or basket, as shown in Fig. 388. The Maya verb _Kal_ signifies to "imprison"
or "inclose," which is certainly appropriate to what we see in the figure. As the symbol is over each of the three similar figures in the division, it is probable that it is intended to denote something relating to or observable in them. In the second division of Plates XV* and XVI*, same codex, is this symbol, [Ill.u.s.tration: Hieroglyph] several times repeated, and below each the figure of a priest or deity at work, each carving, with a machete or hatchet, the head of an idol. The probable signification is "Give twice twenty strokes with a machete," and hence is but partially phonetic.
[Ill.u.s.tration: FIG. 388. Wooden idol in vessel with basket cover.]
Other examples bearing on this question may be found, but these are believed to be sufficient to warrant the belief that at the time these codices were written Maya culture had reached that stage where the idea of phoneticism was being introduced into the writing. Yet it is certain, and even susceptible of demonstration, that a large portion, perhaps the majority, of the characters are symbols. The more I study these characters the stronger becomes the conviction that they have grown out of a pictographic system similar to that common among the Indians of North America. The first step in advance appears to have been to indicate, by characters, the gesture signs.
FOOTNOTES:
[345-1] See Chapter VI, Study of the Ma.n.u.script Troano, by Cyrus Thomas.
[354-1] Unfortunately the scrolls were overlooked in preparing the cut.
[358-1] Relacion de las cosas de Yucatan, p. 308.
[365-1] See Plates XVI*_b_ and XVII*_c_, Ma.n.u.script Troano.
[365-2] Study of the Ma.n.u.script Troano, pp. 141-161.
[366-1] As the term "ideograph" is somewhat broad and comprehensive, it may be well enough to state that I use it as expressing that stage of symbolic writing where the picture characters have so changed that all resemblance to the objects they were originally intended to represent is lost, and therefore they can only be considered as mnemonic signs.
[367-1] Study of the Ma.n.u.script Troano, by Cyrus Thomas, pp. 142, 143.
[370-1] Study of the Ma.n.u.script Troano, p. 147.
[370-2] Landa"s Relacion, pp. 382, 383, Note 1.