by Spence,Lewis
From its accompaniment of a figure known to be a deity of the four cardinal points, whence all American tribes believed the wind to come, the symbol entitled “wind” has been determined.
Methods of Study
The method employed by those engaged in the elucidation of these hieroglyphs is typical of modern science. The various signs and symbols are literally “worn out” by a process of indefatigable examination. For hours the student sits staring at a symbol, drinking in every detail, however infinitesimal, until the drawing and all its parts are wholly and separately photographed upon the tablets of his memory. He then compares the several portions of the symbol with similar portions in other signs the value of which is known. From these he may obtain a clue to the meaning of the whole. Thus proceeding from the known to the unknown, he advances logically toward a complete elucidation of all the hieroglyphs depicted in the various manuscripts and inscriptions.
The method by which Dr. Seler discovered the hieroglyphs or symbols relating to the various gods of the Maya was both simple and ingenious. He says: “The way in which this was accomplished is strikingly simple. It amounts essentially to that which in ordinary life we call ‘memory of persons,’ and follows almost naturally from a careful study of the manuscripts. For, by frequently looking tentatively at the representations, one learns by degrees to recognise promptly similar and familiar figures of gods by the characteristic impression they make as a whole or by certain details, and the same is true of the accompanying hieroglyphs.”
The Maya Numeral System
If Bishop Landa was badly hoaxed regarding the alphabet of the Maya, he was successful in discovering and handing down their numeral system, which was on a very much higher basis than that of many civilised peoples, being, for example, more practical and more fully evolved than that of ancient Rome. This system employed four signs altogether, the point for unity, a horizontal stroke for the number 5, and two signs for 20 and 0. Yet from these simple elements the Maya produced a method of computation which is perhaps as ingenious as anything which has ever been accomplished in the history of mathematics. In the Maya arithmetical system, as in ours, it is the position of the sign that gives it its value. The figures were placed in a vertical line, and one of them was employed as a decimal multiplier. The lowest figure of the column had the arithmetical value which it represented. The figures which appeared in the second, fourth, and each following place had twenty times the value of the preceding figures, while figures in the third place had eighteen times the value of those in the second place. This system admits of computation up to millions, and is one of the surest signs of Maya culture.
Much controversy has raged round the exact nature of the Maya hieroglyphs. Were they understood by the Indians themselves as representing ideas or merely pictures, or did they convey a given sound to the reader, as does our alphabet? To some extent controversy upon the point is futile, as those of the Spanish clergy who were able to learn the writing from the native Maya have confirmed its phonetic character, so that in reality each symbol must have conveyed a sound or sounds to the reader, not merely an idea or a picture. Recent research has amply proved this, so that the full elucidation of the long and painful puzzle on which so much learning and patience have been lavished may perhaps be at hand.
DESIGN ON A VASE FROM CHAMÁ REPRESENTING MAYA DEITIES
By permission of the Bureau of American Ethnology
Mythology of the Maya
The Maya pantheon, although it bears a strong resemblance to that of the Nahua, differs from it in so many respects that it is easy to observe that at one period it must have been absolutely free from all Nahua influence. We may, then, provisionally accept the theory that at some relatively distant period the mythologies of the Nahua and Maya were influenced from one common centre, if they were not originally identical, but that later the inclusion in the cognate but divided systems of local deities and the superimposition of the deities and rites of immigrant peoples had caused such differentiation as to render somewhat vague the original likeness between them. In the Mexican mythology we have as a key-note the custom of human sacrifice. It has often been stated as exhibiting the superior status in civilisation of the Maya that their religion was free from the revolting practices which characterised the Nahua faith. This, however, is totally erroneous. Although the Maya were not nearly so prone to the practice of human sacrifice as were the Nahua, they frequently engaged in it, and the pictures which have been drawn of their bloodless offerings must not lead us to believe that they never indulged in this rite. It is known, for example, that they sacrificed maidens to the water-god at the period of the spring florescence, by casting them into a deep pool, where they were drowned.
Quetzalcoatl among the Maya
One of the most obvious of the mythological relationships between the Maya and Nahua is exhibited in the Maya cult of the god Quetzalcoatl. It seems to have been a general belief in Mexico that Quetzalcoatl was a god foreign to the soil; or at least relatively aboriginal to his rival Tezcatlipoca, if not to the Nahua themselves. It is amusing to see it stated by authorities of the highest standing that his worship was free from bloodshed. But it does not appear whether the sanguinary rites connected with the name of Quetzalcoatl in Mexico were undertaken by his priests of their own accord or at the instigation and pressure of the pontiff of Huitzilopochtli, under whose jurisdiction they were. The designation by which Quetzalcoatl was known to the Maya was Kukulcan, which signifies “Feathered Serpent,” and is exactly translated by his Mexican name. In Guatemala he was called Gucumatz, which word is also identical in Kiche with his other native appellations. But the Kukulcan of the Maya appears to be dissimilar from Quetzalcoatl in several of his attributes. The difference in climate would probably account for most of these. In Mexico Quetzalcoatl, as we have seen, was not only the Man of the Sun, but the original wind-god of the country. The Kukulcan of the Maya has more the attributes of a thunder-god. In the tropical climate of Yucatan and Guatemala the sun at midday appears to draw the clouds around it in serpentine shapes. From these emanate thunder and lightning and the fertilising rain, so that Kukulcan would appear to have appealed to the Maya more as a god of the sky who wielded the thunderbolts than a god of the atmosphere proper like Quetzalcoatl, though several of the stelæ in Yucatan represent Kukulcan as he is portrayed in Mexico, with wind issuing from his mouth.
An Alphabet of Gods
The principal sources of our knowledge of the Maya deities are the Dresden, Madrid, and Paris codices alluded to previously, all of which contain many pictorial representations of the various members of the Maya pantheon. Of the very names of some of these gods we are so ignorant, and so difficult is the process of affixing to them the traditional names which are left to us as those of the Maya gods, that Dr. Paul Schellhas, a German student of Maya antiquities, has proposed that the figures of deities appearing in the Maya codices or manuscripts should be provisionally indicated by the letters of the alphabet. The figures of gods which thus occur are fifteen in number, and therefore take the letters of the alphabet from A to P, the letter J being omitted.
Difficulties of Comparison
Unluckily the accounts of Spanish authors concerning Maya mythology do not agree with the representations of the gods delineated in the codices. That the three codices have a mythology in common is certain. Again, great difficulty is found in comparing the deities of the codices with those represented by the carved and stucco bas-reliefs of the Maya region. It will thus be seen that very considerable difficulties beset the student in this mythological sphere. So few data have yet been collected regarding the Maya mythology that to dogmatise upon any subject connected with it would indeed be rash. But much has been accomplished in the past few decades, and evidence is slowly but surely accumulating from which sound conclusions can be drawn.
The Conflict between Light and Darkness
We witness in the Maya mythology a dualism almost as complete as that of ancient Persia—the conf
lict between light and darkness. Opposing each other we behold on the one hand the deities of the sun, the gods of warmth and light, of civilisation and the joy of life, and on the other the deities of darksome death, of night, gloom, and fear. From these primal conceptions of light and darkness all the mythologic forms of the Maya are evolved. When we catch the first recorded glimpses of Maya belief we recognise that at the period when it came under the purview of Europeans the gods of darkness were in the ascendant and a deep pessimism had spread over Maya thought and theology. Its joyful side was subordinated to the worship of gloomy beings, the deities of death and hell, and if the cult of light was attended with such touching fidelity it was because the benign agencies who were worshipped in connection with it had promised not to desert mankind altogether, but to return at some future indefinite period and resume their sway of radiance and peace.
The Calendar
Like that of the Nahua, the Maya mythology was based almost entirely upon the calendar, which in its astronomic significance and duration was identical with that of the Mexicans. The ritual year of twenty “weeks” of thirteen days each was divided into four quarters, each of these being under the auspices of a different quarter of the heavens. Each “week” was under the supervision of a particular deity, as will be seen when we come to deal separately with the various gods.
Traditional Knowledge of the Gods
The heavenly bodies had important representation in the Maya pantheon. In Yucatan the sun-god was known as Kinich-ahau (Lord of the Face of the Sun). He was identified with the Fire-bird, or Arara, and was thus called Kinich-Kakmo (Fire-bird; lit. Sun-bird). He was also the presiding genius of the north.
Itzamna, one of the most important of the Maya deities, was a moon-god, the father of gods and men. In him was typified the decay and recurrence of life in nature. His name was derived from the words he was supposed to have given to men regarding himself: “Itz en caan, itz en muyal” (“I am the dew of the heaven, I am the dew of the clouds”). He was tutelar deity of the west.
Chac, the rain-god, is the possessor of an elongated nose, not unlike the proboscis of a tapir, which of course is the spout whence comes the rain which he blows over the earth. He is one of the best represented gods on both manuscripts and monuments, and presides over the east. The black god Ekchuah was the god of merchants and cacao-planters. He is represented in the manuscripts several times.
Ix ch’el was the goddess of medicine, and Ix chebel yax was identified by the priest Hernandez with the Virgin Mary. There were also several deities, or rather genii, called Bacabs, who were the upholders of the heavens in the four quarters of the sky. The names of these were Kan, Muluc, Ix, and Cauac, representing the east, north, west, and south. Their symbolic colours were yellow, white, black, and red respectively. They corresponded in some degree to the four variants of the Mexican rain-god Tlaloc, for many of the American races believed that rain, the fertiliser of the soil, emanated from the four points of the compass. We shall find still other deities when we come to discuss the Popol Vuh, the saga-book of the Kiche, but it is difficult to say how far these were connected with the deities of the Maya of Yucatan, concerning whom we have little traditional knowledge, and it is better to deal with them separately, pointing out resemblances where these appear to exist.
Maya Polytheism
On the whole the Maya do not seem to have been burdened with an extensive pantheon, as were the Nahua, and their polytheism appears to have been of a limited character. Although they possessed a number of divinities, these were in a great measure only different forms of one and the same divine power—probably localised forms of it. The various Maya tribes worshipped similar gods under different names. They recognised divine unity in the god Hunabku, who was invisible and supreme, but he does not bulk largely in their mythology, any more than does the universal All-Father in other early faiths. The sun is the great deity in Maya religion, and the myths which tell of the origin of the Maya people are purely solar. As the sun comes from the east, so the hero-gods who bring with them culture and enlightenment have an oriental origin. As Votan, as Kabil, the “Red Hand” who initiates the people into the arts of writing and architecture, these gods are civilising men of the sun as surely as is Quetzalcoatl.
The Bat-God
A sinister figure, the prince of the Maya legions of darkness, is the bat-god, Zotzilaha Chimalman, who dwelt in the “House of Bats,” a gruesome cavern on the way to the abodes of darkness and death. He is undoubtedly a relic of cave-worship pure and simple. “The Maya,” says an old chronicler, “have an immoderate fear of death, and they seem to have given it a figure peculiarly repulsive.” We shall find this deity alluded to in the Popol Vuh, under the name Camazotz, in close proximity to the Lords of Death and Hell, attempting to bar the journey of the hero-gods across these dreary realms. He is frequently met with on the Copan reliefs, and a Maya clan, the Ah-zotzils, were called by his name. They were of Kakchiquel origin, and he was probably their totem.
The House of Bats
Gilbert James
Modern Research
We must now turn to the question of what modern research has done to elucidate the character of the various Maya deities. We have already seen that they have been provisionally named by the letters of the alphabet until such proof is forthcoming as will identify them with the traditional gods of the Maya, and we will now briefly examine what is known concerning them under their temporary designations.
God A
In the Dresden and other codices god A is represented as a figure with exposed vertebræ and skull-like countenance, with the marks of corruption on his body, and displaying every sign of mortality. On his head he wears a snail-symbol, the Aztec sign of birth, perhaps to typify the connection between birth and death. He also wears a pair of cross-bones. The hieroglyph which accompanies his figure represents a corpse’s head with closed eyes, a skull, and a sacrificial knife. His symbol is that for the calendar day Cimi, which means death. He presides over the west, the home of the dead, the region toward which they invariably depart with the setting sun. That he is a death-god there can be no doubt, but of his name we are ignorant. He is probably identical with the Aztec god of death and hell, Mictlan, and is perhaps one of those Lords of Death and Hell who invite the heroes to the celebrated game of ball in the Kiche Popol Vuh, and hold them prisoners in their gloomy realm.
God B is the deity who appears most frequently in the manuscripts. He has a long, truncated nose, like that of a tapir, and we find in him every sign of a god of the elements. He walks the waters, wields fiery torches, and seats himself on the cruciform tree of the four winds which appears so frequently in American myth. He is evidently a culture-god or hero, as he is seen planting maize, carrying tools, and going on a journey, a fact which establishes his solar connection. He is, in fact, Kukulcan or Quetzalcoatl, and on examining him we feel that at least there can be no doubt concerning his identity.
Concerning god C matter is lacking, but he is evidently a god of the pole-star, as in one of the codices he is surrounded by planetary signs and wears a nimbus of rays.
God D is almost certainly a moon-god. He is represented as an aged man, with sunken cheeks and wrinkled forehead on which hangs the sign for night. His hieroglyph is surrounded by dots, to represent a starry sky, and is followed by the number 20, to show the duration of the moon. Like most moon deities he is connected with birth, for occasionally he wears the snail, symbol of parturition, on his head. It is probable that he is Itzamna, one of the greatest of Maya gods, who was regarded as the universal life-giver, and was probably of very ancient origin.
The Maize-God
God E is another deity whom we have no difficulty in identifying. He wears the leafed ear of maize as his head-dress. In fact, his head has been evolved out of the conventional drawings of the ear of maize, so we may say at once without any difficulty that he is a maize-god pure and simple, and a parallel with the Aztec maize-god Centeotl. Brinton calls this god Gha
nan, and Schellhas thinks he may be identical with a deity Yum Kaax, whose name means “Lord of the Harvest Fields.”
A close resemblance can be noticed between gods F and A, and it is thought that the latter resembles the Aztec Xipe, the god of human sacrifice. He is adorned with the same black lines running over the face and body, typifying gaping death-wounds.
The Sun-God
In G we may be sure that we have found a sun-god par excellence. His hieroglyph is the sun-sign, kin. But we must be careful not to confound him with deities like Quetzalcoatl or Kukulcan. He is, like the Mexican Totec, the sun itself, and not the Man of the Sun, the civilising agent, who leaves his bright abode to dwell with man and introduce him to the arts of cultured existence. He is the luminary himself, whose only acceptable food is human blood, and who must be fed full with this terrible fare or perish, dragging the world of men with him into a fathomless abyss of gloom. We need not be surprised, therefore, to see god G occasionally wearing the symbols of death.
God H would seem to have some relationship to the serpent, but what it may be is obscure, and no certain identification can be made.
I is a water-goddess, an old woman with wrinkled brown body and claw-like feet, wearing on her head a grisly snake twisted into a knot, to typify the serpent-like nature of water. She holds in her hands an earthenware pot from which water flows. We cannot say that she resembles the Mexican water-goddess, Chalchihuitlicue, wife of Tlaloc, who was in most respects a deity of a beneficent character. I seems a personification of water in its more dreadful aspect of floods and water-spouts, as it must inevitably have appeared to the people of the more torrid regions of Central America, and that she was regarded as an agent of death is shown from her occasionally wearing the cross-bones of the death-god.
