"In the ceremonies of the Zunis the complete terrestrial sphere is symbolized by pointing or blowing the smoke to the four cardinal points, to the zenith and nadir, the individual himself making the seventh number.
When the celestial is also symbolized, only the six directions are added to this seven, because the individual remains the same, so that the number typifying the universe, terrestrial and celestial, becomes 13. When, on the other hand, in their ceremonies, the rite requires the officiant to typify the supra- and intra-terrestrial spheres, that is, the upper and lower worlds [the Above and the Below], the same number 13 results, as it is held that in each the sun stands for the individual, being in turn the day sun and night sun, the light and dark sun, but ever the same and therefore counts but once."
After having gained this knowledge of native speculative philosophy, let us penetrate still further into their modes of thinking by studying, first of all, a series of symbols of the earth-mother taken from one of the most valuable of Mexican MSS., the Vienna Codex (fig. 31). In these the idea of the vase, bowl or receptacle and of the serpent predominates. It is instructive of native thought to find the vase represented as containing a child (no. 1), an agave plant (no. 7), a fire, denoting warmth (no. 3), a flower (no. 12), and a bunch of hair, the numerical symbol for multiplicity=the number 400 (no. 5). In no. 2, the hollow between two recurved peaks conveys the idea of a central vase; a band with eyes rests upon the peaks and denotes the heaven. No. 4 shows a double vase, enclosed in a similar representation of the nocturnal heaven-the idea to be conveyed being evidently that of a receptacle hidden in darkness. No. 9 displays an open jaw, two claws, a human heart and a stream of blood issuing from it. Nos. 10 and 11 present different shapes of the serpent"s jaw, the symbol of the earth.
The double-headed serpent forming a vase containing a flower (no. 12) is particularly interesting because the flower=xoch-itl in Nahuatl, seems to suggest an intentional likeness to the Maya word for "vase, vessel or cup in general," ho-och (Arte de la lengua Maya, Fray Pedro Beltran de Santa Rosa, ed. Espinosa, Merida, 1859) as well as hoch or o-och="food and maintenance." The symbolical vase-like opening in the core of the agave plant, (no. 8) is such as is made to this day, in order to collect the juice, which, when fermented, const.i.tutes the sacred wine of the ancient Mexicans, octli, now better known as pulque.(8) As will be shown the Mexicans considered this as "the drink of life." Its use was rigidly regulated and supervised by the "octli-lords" or "rain-priests" who distributed it at certain dances, in order to induce a state of mild intoxication amongst the partic.i.p.ants.
As in the case of the Zunis and Tarahumari Indians of the present day, referred to by W J McGee, in his valuable and instructive article on "The beginning of Marriage" (the American Anthropologist, vol. IX, no. 11, p.
371), "certain ceremonials typifying the fecundity of the earth and of the leading people thereof" were performed by the ancient Mexicans. These public ceremonials had also been "apparently developed to the end that the tribes and peoples might be encouraged to increase and multiply and possess the fecund earth." They took place at the period of the year when the heaven and earth were also supposed to unite, _i. e._, at the beginning of the rainy season. During this the ordinary out-door occupations of the agriculturist and hunter were forcibly interrupted and the regular and periodical transportations of produce and tribute to the capital became impossible, owing to torrential rain, swollen rivers and impa.s.sable roads. This period of enforced shelter and confinement indoors seems to have become the definite mating season of the aborigines. At the same time the union of the s.e.xes had obviously a.s.sumed a sort of consecration since it was intimately a.s.sociated with the cosmical, philosophical and religious ideas and coincided with what was regarded as the annual union of the elements or of the Above and Below, the heaven and earth.
At that period of its history, when the Aztec race was jointly governed by a priest, personifying the heaven and a priestess, "his wife and sister,"
who personified the earth, some form of sacred marriage rite must have been annually performed. The consecrated character of their union must have naturally caused their offspring to be regarded as of a holy and almost divine origin. It is easy to realize, therefore, how, in ancient Mexico, the artificial idea of "superior birth" came into existence, how a family or caste of rulers gradually developed, the members of which were ent.i.tled "teotl"=divine, whilst the men were regarded as "the sons of Heaven" and the women "the daughters of Earth." It is obvious from this that the periodical union of the s.e.xes, accompanied as it was, by sacred dances and the distribution of sacred wine, must have gradually a.s.sumed a semi-religious character, whilst the ritual nuptials of the "divine"
rulers, typifying, as it obviously did, the grand and impressive phenomenon of the rainy season, must have caused this marriage to a.s.sume the character of a hallowed rite and surrounded it with the most elevated and intense religious sentiments of which the native mind was capable.
After this recognition of the diverging influences which guided the development of primitive marriage inst.i.tutions, we will return to the rain-priests or "octli-lords," of whom it is repeatedly stated that there were four hundred, a number corresponding to an a.s.signment of 100 or 520 to each of the four provinces or divisions of the commonwealth. Their emblem was the sacred vase or receptacle and in the "Lyfe of the Indians"
this will be seen figured on their mantas and shields (no. 6_a_). A small gold plate, of the same shape, is represented as worn by these "lords,"
attached to the nose (no. 6_b_); and, in the same MS., the symbolical ornament is also carried by the "sister of Tlaloc." It was evidently worn, like similar ornaments in other countries, hanging from the septum of the nose, and seems to have indicated a consecration of the breath as the substance of life. As an inference, merely based on an insight gained into the native modes of thought, I suggest that the explanation for the adoption of this ornament may have been the religious idea that the breath of life, dividing itself as it issues through the nostrils and uniting when inhaled, appeared to the native thinkers as a marvellous ill.u.s.tration of unity and duality, both ideas having constantly been present in their minds.
[Ill.u.s.tration.]
Figure 32.
In the Vienna Codex there is a remarkable picture of the earth-vase resting on a slab with five divisions. A profusion of puffs or breaths of air or vapor issue from it and, branching off in two directions, form what is like the conventional tree of life, also met with in Maya bas-reliefs and doc.u.ments. At the extremities of the branches which turn downwards, a serpent"s eye is visible and a forked-tongue issues above the middle (fig.
32, no. 1). The intention to express an exuberant vitality and growth issuing from the symbolical vase in the centre of the earth, seems obvious. This idea is still more clearly conveyed, however, in two symbolic pictures on pp. 21 and 29 of the Codex Borgia, which are reproduced as nos. 1 and 4 in fig. 1 of this publication. The first represents the vase overflowing with water and containing a flint-knife, the generator of the vital spark. The central group is surrounded by water and by sun-rays and obviously symbolizes the union of air, light and water, const.i.tuting the Above, with the flint the emblem of the earth-mother and of Tezcatlipoca, the lord of the Under-world. Fig. 1, no.
4, represents the vase overflowing with a liquid, which is designated as being the sacred octli or earth-wine by the presence of the rabbit, which expresses the sound of its name=tochtli. This rebus is surrounded by the nocturnal heaven strewn with stars and the reference to the union of rain or earth-wine with earth and darkness is evident. It has been generally a.s.sumed that these images of the vase, containing the rabbit or flint-knife, represented the moon. As the latter was intimately a.s.sociated with the cult of night, of the earth-mother and ideas of growth, it is not impossible that by an extension of symbolism, this was the case, but only in the same way as the sun was the emblem of the cult of the Above. On the other hand the native drawings of the moon in Sahagun"s Academia MS.
represent it as a crescent with a human profile on the inner side, and in a specimen preserved at the Trocadero Museum, Paris, it is similarly carved in rock crystal.
Before proceeding to investigate the symbol further, I would point out the general resemblance of the vase, especially as a conventionalized serpent"s jaw, to the "horse-shoe" shape of the problematical stone "yokes" which have been so thoroughly studied by Dr. Hermann Strebel of Hamburg (Studien ueber Steinjoche aus Mexico and Mittel-Amerika.
Internationales Archiv, bd. III, 1890). Mr. Francis Parry has advanced a view concerning the meaning of these curious "sacred stones."(9) This is somewhat corroborated, as will be shown, by my recent studies, which seem to indicate pretty clearly that these symbolical objects pertained to the cult of the earth-mother. A fact of unquestionable importance, cited by Mr. Parry, is the certified existence and use, amongst southern Californian Indians of the present day, of a rudely worked stone of the same shape, in a native religious rite. The owner of one of these stones, Mr. Horatio Rust, a pioneer resident of Pasadena, southern California, exhibited it in the Anthropological Section of the World"s Columbian Exposition, at Chicago, 1893, and informed me how he had observed that, occasionally, a native a.s.sembly took place at a certain spot on a mountain side, during which invocations and offerings were made. He ascertained that the ceremony on one occasion was the equivalent of the p.u.b.erty-dances of similar California tribes. Having visited and examined the spot after one of these celebrations, in which six young girls, decorated with garlands of flowers, were the chief partic.i.p.ants, he found the "sacred stone," concealed and surrounded by offerings of corn, meal and pieces of money. The version published by Mr. Parry is slightly different to this account, which was given me by Mr. Rust himself.
In order fully to appreciate the close a.n.a.logy between the Californian ceremonial offering of maize and meal to the emblematic stone and the ancient Mexican ritual offerings of seeds to an idol, holding a bowl or vase, it is necessary to read the following data. At the same time I would like to mention here that amongst the Hupa Indians of California, who have been termed "the Romans of Northern California by reason of their valour and far reaching dominions," we find that "flakes or knives of obsidian or jasper, sometimes measuring 15 inches or more in length, are employed for sacred purposes and are carried aloft in the hand in certain ceremonial dances, wrapped with skin or cloth. Such knives are esteemed so sacred that the Indians would on no account part with them, and Mr. Stephen Powers found that they could not be purchased at any price."(10)
It is scarcely necessary to recall here that the flint-knife was a well-known ancient Mexican emblem, nor to point out the importance of the conclusion that two well-defined symbols which played an important role in the Mexican and Mayan cult of the Below and of the Earth-mother, are actually found in use amongst Californian Indians at the present day.
A whole flood of light is thrown upon native symbolism, however, by the information obtained from the Zuni Indians by Mr. F. H. Cushing. The following pa.s.sage, from their Creation myth, affords the most positive confirmation of the foregoing conclusion, that the bowl or vase was the native emblem of the earth-mother. The Zuni speaker said: "Is not the bowl the emblem of the Earth, our Mother? For from her we draw both food and drink, just as the babe draws nourishment from the breast of its mother.
And round, as is the rim of the bowl, so is the horizon...."(11) Interesting as this explanation of the native symbolism undoubtedly is, it becomes most important when its full significance is realized and we recognize that originally earthenware bowls themselves were looked upon as sacred emblems formed indeed out of the material of the earth itself. This fact places the invention and manufacture of earthen vessels in an entirely new light and enables us to conjecture and understand why, quite apart from their utility, so much care and decoration were lavished upon them and why, indeed, they were constantly buried with the dead. They obviously served as sacred emblems of the earth-mother, to whose care the dead body was confided, and originally the intention probably was to propitiate her by the beauty of the sacred vessels, which, to be symbolical of her bounty, necessarily contained food and drink.
Without pausing to discuss how easily this custom would have gradually given birth to the belief that the food and drink thus offered were intended for the use of the dead body itself, or its soul, I would point out that, in the absence of clay vessels, a stone, rough or worked, would have also served as an appropriate emblem of the earth-mother, being as it were, of her own substance. It is well known that in ancient Mexico this custom prevailed. There we also find that the bowl- or vase-shaped grave was employed, with a deeply religious and symbolical meaning. This is clearly revealed by a native drawing in the "Lyfe of the Indians,"
representing a native burial. The deceased, represented by his skull only, has been placed in a deep hole, figured as a large inverted horse-shoe, painted brown and covered with small "horse-shoe" marks. The same religious symbolism which led to the adoption of a definite form of sepulchre, typifying the element earth, would evidently account for the adoption for burial purposes, of large clay vessels into which the remains of the dead were placed. In some localities these clay burial urns were, as we know, made large enough to contain the dead body itself. The difficulty of manufacturing these would naturally have led to the general adoption of cremation, simply as a means of reducing the remains so that they could repose in the sacred image of the earth. Cremation would, moreover, be a rite full of meaning since, to the native mind, earth was inseparable from its twin element fire, and both together const.i.tuted the "Below."
It is significant to find, however, that the ashes of Montezuma"s predecessors had not been finally consigned to the earth. In strict accordance with their a.s.sociation with the Heaven and Above, their remains were never allowed to come in contact with the earth, but were usually preserved inside of a hollow wooden effigy of the deceased, which was dressed in his insignia and placed in a high tower, built for the express purpose. Cortes states that there were "forty very high towers" in the enclosure of the Great Temple of Mexico and that "all of these were sepulchres of the lords" (Historia de Nueva-Espana, ed. Lorenzana, pp. 105 and 106). Whilst it is evident that the remains of all lords and priests of heaven should thus be a.s.signed a place of rest high above the earth, it is equally intelligible that the bodies of the lords and priests of the Below and all women should be consigned to the interior of the earth and by preference in caves. The Codex Fejervary contains an interesting picture of the tied-up body of a woman, recognizable as such from the head-dress and her instrument of labor, the metlatl, on which the maize is ground. The mummy rests inside of a flat effigy of a serpent"s head, which seems to be carved in wood or stone and closely resembles fig. 31, no. 11.
It is worth considering whether the carved stone-yokes may not have served in connection with the funeral rites of the consorts of rulers or high priestesses or priests of the Below.
If investigations of the vase or earth symbols are extended to countries lying south of Mexico, traces of the existence of an a.n.a.logous cult are observable. There undoubtedly exists a striking resemblance between the form of the characteristic and peculiar stone "seats" which have been found in such numbers in Ecuador, to the vase, fig. 31, no. 3, for instance. The employment of these symbolical stones as a consecrated central altar or, possibly, as the throne of the living representative of the earth-mother, would have harmonized with the native ideas which have been traced on the preceding pages.
It was also extremely interesting to me to find the identical symbol in the Maya day-sign Caban, which has been identified by Dr. Sch.e.l.lhas and Geheimrath Forstemann as a symbol of the earth and is figured on p. 99 of Dr. Brinton"s Primer of Mayan Hieroglyphics. In the sign Caban, the horse-shoe mark is accompanied by a series of dots which seem to indicate liquid trickling from the receptacle and permeating the soil, an idea which is strictly a.n.a.logous to the much more elaborate Mexican images of the vase full of rain or "earth-wine," fig. 1, nos. 1 and 4, which, in cursive form, was employed as the emblem of the pulque, or octli lords, the priests of the earth. It is strikingly significant to find that in the Maya Codices the drops issuing from the horse-shoe are sometimes figured as trickling into the mouths of "divinities" whose faces also exhibit images of the sacred vase, a.n.a.logous to that of the Mexican "octli-lords."
These Maya divinities have been designated by Dr. Sch.e.l.lhas as G.o.d L, whose face is painted black and under whose eye a vase is painted, a peculiarity termed by Maya authorities "an ornamented eye" and which may be seen in fig. 33, iv; (2) as G.o.d M, "a second black G.o.d," whose eye is likewise enclosed in a vase and whose hieroglyph is a vase on a black ground; and (3) as G.o.d C, of whom I shall subsequently speak in detail.
(See Brinton"s Primer, pp. 122 and 124.) In the case of G.o.d L, the two horse-shoe marks from which drops are falling into the mouth of the G.o.d, are surmounted by the glyph imix, to which I shall revert.
[Ill.u.s.tration.]
Figure 33.
The horse-shoe mark with drops likewise occurs in the design resembling the akbal glyph, which has been interpreted as connected with akab=night.
It also occurs, in Maya Codices, on bands exhibiting cross-symbols, sometimes in an inverted position and hanging from above and sometimes standing on two of the three mounds which are a feature of these interesting glyphs. Postponing a detailed discussion of these, I will but emphasize here that, in the Maya Codices the vase, cursively drawn as a "horse-shoe" mark, is proved to be intimately connected with the ideas of liquid falling from above, and const.i.tuting the drink of divinities and symbols a.s.sociated with the sacred vase, night and darkness, all attributes of the Below. We shall next demonstrate that it was alternately placed, on the Maya Caban glyph, with a curious sign consisting of a pea-shaped black dot, to which a curved and wavy line is attached. This is always figured as issuing from above the dot, then extending downwards and half around it and terminating in a descending, undulating line.
I submit the following to the consideration of Maya specialists: It seems to me that this sign presents an extremely realistic drawing of the seed of a monocotyledonous plant, such as the maize or Indian corn, in its first stage of germination, when the radicle, having issued from the apex, turns downwards in characteristic fashion and penetrates into the earth.
Besides the realism of the native drawing there can be no doubt that the image of a sprouting maize-seed is the most expressive and appropriate accompaniment to the symbol of fertilizing rain, on an earth-symbol, and I am unable to understand how Drs. Cyrus Thomas, Seler, Sch.e.l.lhas and Brinton could have overlooked the realism in this image of a sprouting seed, and concluded that it was a portrayal of "fermented liquor trickling downward," a "nose-ornament," or a "twisted lock of hair," "a cork-screw curl." The latter interpretation was made by Dr. Sch.e.l.lhas because he found the sign in connection with female figures in the Codices, which undoubtedly is a fact of extreme interest, as it furnishes a valuable proof that the Mayas a.s.sociated the earth with the female principle.
Dr. Sch.e.l.lhas, however, records his observation that the sign caban occurs as a symbol of fruit-bearing earth, in the Codex Troano, as it is figured with leaves of maize (p. 33) or with climbing plants issuing from it and winding themselves around a pole (p. 32). Geheimrath Forstemann connects the day-name caban with "cab" to which Perez, in his dictionary, attaches the meaning of "earth, world and soil" (Die Tages gotter der Mayas.
Globus, vol. LXXIII, no. 9) and adds that the hieroglyph decidedly designates the earth. At the same time he interprets what I regard as the maize-grain and its radicle, as possibly representing a bird in its flight upwards, and he merely describes the accompanying inverted horse-shoe with dots, without attaching any positive meaning to it. It must be added that Dr. Forstemann himself states that he is not satisfied with his own interpretation of these two symbols, the first of which, the seed and radicle, likewise occurs in the day-sign cib, to which I shall recur.
If any doubt remains as to the signification of the day-sign cab, I think it will be dispelled when it is shown that the name cab, or caban is obviously related to the adjective, adverb and preposition cabal or cablil, which signifies low, below, on the earth, in, beneath and under.
The frequent a.s.sociation of the cab glyph with the image of a bee, as in the Codex Troano, is partially explained by the fact that the Maya word for honey is cab, for honey-bee is yikil-cab. It affords at all events, an instance, in Maya hieroglyphic writing, of a method of duplicating the sound of a word a.n.a.logous to that which I detected in Mexican pictography, and named complementary signs in my communication on the subject, published as an appendix to my essay on Ancient Mexican Shields (Internationales Archiv fur Ethnographie, Leyden, 1892). On the other hand the day name and sign cib, on which the sprouting grain is also figured, seems to be related to the verb cibah=to will, to occur, to happen, to take place. The allusion contained in both glyphs is obviously the same and signifies, in the first place, the hidden process of germination which takes place under the surface of the soil, and is a.s.sociated with the idea of the female principle in Nature.
The seed and radicle, horse-shoe and rain-drops, are also distinguishable on a vessel on page 35 of the Dresden Codex and on a small three-legged vase, which is figured by Doctor Brinton (Primer, 118) as the day sign ch"en. This vase is surmounted by two in-curving projections and offers a close a.n.a.logy to a sacred vase with superstructure (fig. 33, II) from which projects a peculiar open and double receptacle, into which a priest is sowing small seeds. The interior of this bowl is represented as hollow, and containing what I shall show further on to be a native symbol for Earth: three little mounds. On another bowl, in front of this one, a bird is sitting and presumably hatching. In another portion of the same MS. a similar bowl is figured containing three seed fruits and capsules, resembling pomegranates or poppy-heads (fig. 33, III).
The tree next to which the first two symbolical bowls are placed deserves to be carefully studied, for the trunk is crowned by four stems bearing single leaves and is encircled by a serpent, _can_, the h.o.m.onym for the numeral four=kan. A fringed mantle and a scroll hang from the coils of the serpent"s body, two footsteps are painted on the scroll and, pointing downwards, express "descent," as do also the falling drops of liquid on the stems of the tree which grows from a peculiar glyph with subdivisions, which has points of resemblance with the glyph under the footless divinity (fig. 33, I). An obsidian mirror, with cross bars, is painted in front of the latter, which displays the same descending footsteps on its mantle.
The head and eyes of a snail, the symbol of parturition, are above its face and a wreath of flowers crowns its head. Tedious as such a minute a.n.a.lysis may seem, it is nevertheless necessary, in order to gain a perception of the extent to which symbolism was practised in the picture writings found in the Maya MSS., accompanied by the cursive calculiform glyphs. It seems that, in no. II, we have a presentation of the Maya "tree of life," and that scrolls, on which descending footsteps are depicted, are intended to convey the meaning that life is descending from Above into the egg and seeds by virtue or decree of the celestial power. It should be noted here that the phenomenon of a living bird issuing from the hard and inanimate egg-sh.e.l.l had made as deep an impression upon the ancient philosophers in Mexico as elsewhere, and that the power "to form the chicken in the sh.e.l.l" was deemed one of the most marvellous attributes of "the divine Moulder or Former," as is further set forth in the "Lyfe of the Indians."
The foregoing ill.u.s.trations establish, at all events, that the Mayas, like the Mexicans, a.s.sociated the sacred vase with seeds and germination. The vase, ill.u.s.trated by Doctor Brinton, exhibits the seed and radicle; and this is also found on the symbol for earth, which, in the Cortesian Codex, is a.s.sociated with the image of a serpent, possibly the equivalent of the Mexican Cihuacoatl, or female serpent.
If, after mustering this close array of a.n.a.logies, we next examine the glyph cib, we find that it exhibits the seed and radicle in the centre of a square, three sides of which are decorated with what Doctor Brinton has termed the "pottery decoration(?)." This consists of short lines, such as are employed in Mexican pictography, in the well-known sign for tlalli, or land, which is usually surrounded on three sides by a fringe, presumably symbolizing plants and gra.s.s, a "fringe" of vegetation and verdure. In the glyph cib, already referred to, I am inclined to see but a cursive rendering of the same idea, with the seed and radicle in the centre and the fringed border barely indicated by a few short lines. The same border is found repeated on three sides of the head of a frequently recurring personage whom Doctor Sch.e.l.lhas designates as "G.o.d C, of the Ornamented face." In his extremely valuable work, Die Gottergestalten der Mayahandschriften, this careful investigator records the various combinations in which this G.o.d C occurs in the Codices and impartially weighs the possibilities of its meaning. Geheimrath Forstemann has made the important observation that the figure of G.o.d C occurs in combination with the day-sign, chuen, of the Maya calendar, which coincides with the Mexican day-sign azomatli=monkey.
I am unable to agree with my venerable friend in identifying G.o.d C, with Polaris. As Doctor Sch.e.l.lhas rightly observes, the fact that G.o.d C is found in combination with the signs of all the four quarters disproves an identification with Polaris. What is more, G.o.d C is frequently represented as receiving in his mouth drops of liquid falling from a cursive vase placed above his head-a detail which clearly connects him with earth and the "earth-wine." In the Mexican MSS. we find the monkey intimately connected with the octli or earth-wine G.o.ds as, for instance, in the "Lyfe of the Indians." I therefore reserve a more detailed discussion of this subject for my notes on this MS. and return to the glyphs caban and kan or can.
Just as it has been shown that the first may signify cabal=the Below, so it is evident that the second is connected with the preposition and adverb ca.n.a.l, signifying "above, on top of, on high." Dr. Brinton sees in the kan symbol a presentation of a polished stone, or sh.e.l.l pendant, or bead, and cites the Maya dictionary of Motul which gives kan as the name for "beads or stones which served the Indians as money and neck ornaments." In connection with this important statement I revert to the carved sh.e.l.l-gorgets which have been found in the mounds and ancient graves in the Mississippi valley and exhibit Maya influence. The greater number of these exhibit a carved serpent (which in Maya is _kan_) in their centres and this fact affords a clue to the possible origin of the Maya name for a neck ornament given in the Motul dictionary. It is undeniable that all evidence unites in proving that the ancient peoples of the Mississippi valley were in traffic, if not more intimately connected, with a Maya-speaking people and came under the influence of the ideas and symbolism current in Yucatan.
Returning to the employment of the glyph kan in Maya Codices, for more reasons than I am able to enumerate here, I conclude it served as an indicative of the Above or Heaven. It is a curious fact that the Maya word for cord is kaan, whilst the name for sky is caan. I cannot but think, therefore, that a carved pendant with a serpent effigy=a kan, worn on a cord=kaan, must have been a.s.sociated by the Mayas with the Heaven or sky=caan, and that this linguistic coincidence must have been a strong factor in the development of the symbolism attached to the glyph can or kan.
An interesting fact, which I shall demonstrate by a large series of ill.u.s.tration from native Codices in a chapter of my forthcoming work on the ancient Calendar System, will show that in their hieratic writings, the ancient Mexican scribes represented the nocturnal heaven or sky as a circle composed of a cord, to which stars were attached, whilst the centre of the circle exhibited one or four stars. In my opinion the origin and explanation of the a.s.sociation of the cord with stars are clearly traceable to the above mentioned fact that in the Maya tongue the word for cord, kaan, closely resembles the sound of the word caan=sky. The presence of the cord in the Mexican symbols is, therefore, another indication of their Maya origin. A proof that the Mayas also employed the cord as a symbol of the sky, or heaven, is furnished by the much-discussed lentil-shaped stone altar found at Copan, a small outline of which is represented in fig. 21, no. 1. In order fully to understand the meaning expressed by this stone, it is necessary to bear in mind how indissolubly the idea of something circular was a.s.sociated by the Mayas and Mexicans with their conception of the vault of heaven resting on the horizon, and of the Above, consisting of the two fluid elements, air and water.
It is scarcely necessary to refer again here to more than one authority for the statement that the temples of the air (of the Above) were circular, and the reason given by the natives for this was that "just as the air circulates around the vault of the heaven, so its temple had to be of a round shape."(12) As a contrast to this conception, the influence of which is also obvious in the form of the round temples and towers of the ruined cities of Central America, I would cite the allusions to the solid earth contained in the sacred books of the Mayas, the Popol Vuh, as being "the quadrated earth, four-cornered, four-sided, four-bordered." These data establish the important fact, to which I shall recur, that the native philosophers a.s.sociated the Above, composed of air and water, with the rounded, and the Below, composed of fire and water, with the angular form.
The Copan stone altar exhibits the circular form and is surrounded by a sculptured cord which conveys the sound of its name kaan or caan=heaven.
On it a cup-shaped depression=ho-och, marks the sacred centre of the heaven, the counterpart to the terrestrial bowl whence all life-giving force proceeded. Two curved lines diverge from this and divide the vaulted circle into two parts. The curve in the lines may be interpreted as conveying motion or rotation whilst the division of the sky may have been intended to signify the eastern or male and the western or female portion of the heaven, the whole being an abstract image of central rulership and of a dual principle incorporating the four elements. It is obvious that the meaning intended to be conveyed might also include the duality of the Heaven or Above, composed of the union of the elements air and water. By painting the stone in two or four colors either of these meanings could have been expressed. In either case it will be recognized, however, that much as Dr. Ernest Hamy"s deductions concerning this altar have been criticised, the learned director of the Trocadero Museum, Paris, was undoubtedly right in recognizing that the stone is a cosmical symbol, intended to convey the idea of a two-fold division and a.n.a.logous to the Chinese tae-keih which it resembles, with the difference that the Copan sign is more complex exhibiting, as it does, a central bowl-shaped depression. A glimpse at the other symbols in fig. 21 will show that the identical idea is expressed in the Mexican signs exhibiting a central circle, usually accompanied by a four-fold division.
An a.n.a.logous attempt to express the same native idea is recognizable in the peculiar mushroom-shaped stone figures, represented by a number of examples at the Central American exposition recently held at Guatemala,(13) and recently described by the distinguished geologist and ethnologist, Dr. Carl Sapper. The specimens had been collected in San Salvador and Guatemala and "resemble great stone mushrooms" inasmuch as each consists of three well-defined parts, a square pedestal from the midst of which rises an almost cylindrical "stem" supporting a large circular solid top, flat underneath and rounded above. The cylindrical support is carved in the rough semblance of a human form, which, in some instances, has rays issuing from its head.
An acquaintance with the fundamental ideas of native cosmogony enables us to recognize that the square stone base typifies the solid part of the universe, the Below, whilst the vaulted circle above typifies the heaven, the Above. The figure standing between both is evidently an image of a central lord and ruler, and the entire image is in accord with the native mode of thought as set forth in Mr. Frank H. Cushing"s report already cited and in the symbols which have been figured.
After reading Mr. Cushing"s account of the native American philosophy, preserved to the present day by the Zunis, it is impossible not to realize how clearly the mushroom-images materialize the identical ideas which const.i.tute, indeed, the keynote of native thought and can be traced in each centre of ancient American civilization. I am inclined to think that these stone images were, originally, painted with the colors a.s.signed to the four quarters, which would render the symbolism more apparent. The existence of these images in a restricted area of territory, seems, moreover, to indicate that they had been invented there, possibly under the influence of a religious and political creed with particular reference to the union, in a single individual, of the power and attributes of the Above and Below-an idea which strongly contrasts with Mexico and Yucatan, where the idea of duality prevailed to such an extent that, by creating two distinct religions and governments, it ultimately led to the disintegration of the greatest of native empires and its fall, from which it was only rallying at the time of the Conquest. It is also possible that the Guatemala images are the expression of the reversion to a more ancient form of philosophy or government when it had been realized that dual government led to dissensions and disintegration. At all events the rude mushroom figures testify that the conception of a single celestial or terrestrial ruler of the Above and the Below filled the minds of their makers at a time, the exact date of which it would be of utmost importance to determine, if this were only possible. It is also interesting to note the curious a.n.a.logy presented by these figures to the well-known statement by Confucius that, "the sage is united to Heaven and Earth so as to form a triad, consisting of Heaven, Earth and Man."
The a.s.sociation of the round form and of the peak with the Above and of the square and bowl with the Below can be also detected in the form of native American architecture, as exemplified, for instance, by the contrasting shapes of two temples figured on page 75, of the Borgian Codex (fig. 34) which were obviously dedicated to the two prevailing cults. One of these is surmounted by a tau-shaped thatched roof with a flat top and turned-down ends. The dedication of this temple to Night or star-cult is conveyed in this case, by the sign for star on a black ground inserted in the roof.(14)