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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/38352-8.txt b/38352-8.txt new file mode 100644 index 0000000..7203cad --- /dev/null +++ b/38352-8.txt @@ -0,0 +1,860 @@ +The Project Gutenberg EBook of The Ancient Phonetic Alphabet of Yucatan, by +Daniel G. Brinton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Ancient Phonetic Alphabet of Yucatan + +Author: Daniel G. Brinton + +Release Date: December 20, 2011 [EBook #38352] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK ANCIENT PHONETIC ALPHABET--YUCATAN *** + + + + +Produced by Julia Miller and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + +Transcriber's Note + +A number of typographical errors have been maintained in this version +of this book. They have been marked with a [TN-#], which refers to a +description in the complete list found at the end of the text. + + + + THE + + Ancient Phonetic Alphabet + + OF + + YUCATAN. + + BY D. G. BRINTON, M. D. + + [Illustration] + + New York: + + J. SABIN & SONS, No. 84 NASSAU STREET. + 1870. + + + + +[Illustration] + +THE + +ANCIENT PHONETIC ALPHABET + +OF + +YUCATAN. + + +Most readers are quite familiar with the fact that a well-developed +method of picture writing, or "didactic painting," as it has been +appropriately named, prevailed through Mexico and Central America for +centuries before the conquest. But that, in the latter country, there +was a true phonetic alphabet, is one of the more recent discoveries of +American archæology, and certainly one of the most interesting, as it +promises to restore to us the records of the most cultivated nation of +ancient America for a number of centuries previous to the advent of the +white man. + +It is well-known that the forests of Yucatan conceal the ruins of cities +and palaces built of stones covered with inscribed characters. All +travelers who had seen these characters were convinced that they were +intended to perpetuate ideas, but the key seemed to be irrevocably lost. +Fortunately, within the last few years (to be exact, in December, 1863), +a diligent antiquarian, the Abbé Brasseur de Bourbourg, unearthed in a +library in Madrid--that of the Royal Academy of History--a copy of an +unpublished description of Yucatan composed by Diego de Landa, the first +bishop of the country. In this was contained the phonetic alphabet +employed by the aboriginal Mayas, with a tolerably full, but an +intolerably obscure, explanation of their mode of using it. As De +Landa's words are so important, and also not a little difficult to +comprehend, we cannot do better than transcribe them exactly as they +appear in the copy of his work published at Paris, in 1864. + +He premises his remarks by saying that the natives used certain +characters or letters with which they wrote in books their ancient +histories and sciences, and by means of these letters, and figures, and +certain signs in the figures, they could understand and teach from these +manuscripts. The missionaries found very many of them, all of which, the +good bishop informs us, proved on examination to contain more lies and +superstitions, and were consequently burned, which pained the natives in +the most marvelous manner (lo qual a maravilla sentian, y les dava +pena). + +He then continues:-- + + "De sus letras porné aqui un _a_, _b_, _c_, que no permite su + pesadumbre mas, porque usan para todas las aspiraciones de las + letras de un caracter, y despues, al puntar de las partes otro, y + assi viene a hazer _in infinitum_, como se podra ver en el + siguiente exemplo. _Lé_ quière dezir laço y caçar con el; para + escrivirle con sus caracteres, haviendolos nosotros hecho entender + que son dos letras, lo escrivian ellos con tres, poniendo a la + aspiracion de la _l_ la vocal _é_, que antes de si trae, y en esto + no hierran, aunque usense, si quisieron ellos de su curiosidad. + Exemplo:-- + +[Illustration] + + Dèspues al cabo le pegan la parte junta. _Ha_ que quiere dezir + agua, porque la _haché_ tiene _a_, _h_, antes de si la ponen ellos + al principio con _a_, y al cabo desta manera:-- + +[Illustration] + + Tambien lo escriben a partes, pero de la una y otra manera, yo no + pusiera aqui ni trétara dello sino por dar cuenta entera de las + cosas desta gente. _Ma in kati_ quiere decir no quiero, ellos lo + escriben a partes desta manera:-- + +[Illustration] + +This is all on the subject the bishop vouchsafes us. Let us now attempt +a free translation of his words, premising that they are so obscure in +parts, and the composition so careless and provincial, that we shall not +take it at all amiss if any reader thinks he can improve our rendering: + +"Of their letters, I shall place here an A, B, C, their clumsiness not +allowing more; for they employ one character for all the aspirations of +the letters, and another to denote their repetitions, and so they go on +_in infinitum_, as one may see in the following example: _Le_ means a +lasso and to hunt with one. In order to write with their characters, +although we told them it contains but two letters, they make use of +three, giving to the aspiration of the _l_ the vowel _é_, which is +before it, and in this they are not in error, if they wish to write it +in their curious manner. Example: + + e l e lé + +Afterwards they put at the end the part which is joined. Again in _ha_, +which means water, because the letter _h_ contains the sounds a, h, they +place the _a_ both at the beginning and at the end, in this manner:-- + + a h a + +They can write it either with separate letters or united together. I +would not have inserted nor have mentioned this but that I wished to +give a complete description of this people. _Ma in kati_ means _I do not +wish_; they write it in separate letters in this way:-- + + ma i n ka ti ." + +From these valuable though too scanty hints we learn that the letters +were employed connected together in a manner somewhat analogous to, +though more intimately than our cursive shrift, and also separately, +as in the Roman alphabet. When the latter was the case, they were +repeated apparently in their connected form. Further, the vowel sound +which is necessarily associated with the enunciation of every consonant +(_la aspiracion_), and which in the Maya language of Yucatan is so +pronounced as to have been called by the Abbé de Bourbourg, "_une +certaine affectation gutturale_," was taken account of, and expressed +in writing. Then there were a number of arbitrary signs, figures, and +symbols, with syllabic values, as we see in the last example given. These +peculiarities, of course, make the system clumsy, but are by no means +insurmountable difficulties in the way of elucidating it. + +Immediately at the close of the foregoing extract Bishop Landa gives the +alphabet subjoined, which has been carefully copied on wood, by Mr. +Edward Bensell, of Philadelphia, the arrangement of the letters being +slightly altered:-- + + +[Illustration: 1 _a_] + +[Illustration: 2 _a_] + +[Illustration: 3 _a_] + +[Illustration: 4 _a_] + +[Illustration: 5 _b_] + +[Illustration: 6 _b_] + +[Illustration: 7 _c_] + +[Illustration: 8 _ca_] + +[Illustration: 9] + +[Illustration: 10 _t_] + +[Illustration: 11 _è_] + +[Illustration: 12 _h_] + +[Illustration: 13 _h_] + +[Illustration: 14 _ha_] + +[Illustration: 15 _i_] + +[Illustration: 16 _k_] + +[Illustration: 17 _ku_] + +[Illustration: 18 _l_] + +[Illustration: 19 _l_] + +[Illustration: 20 _m_] + +[Illustration: 21 _n_] + +[Illustration: 22 _o_] + +[Illustration: 23 _o_] + +[Illustration: 24 _p_] + +[Illustration: 25 _pp_] + +[Illustration: 26 _x_] + +[Illustration: 27 _x_] + +[Illustration: 28 _u_] + +[Illustration: 29 _u_] + +[Illustration: 30 _z_] + +Besides these elementary sounds, he gives twenty arbitrary signs, one +for each day of the Maya month, which signs seem also to be used at +their syllabic value in writing words. All of them have the same +peculiar rounded or circular form which is observable in most of the +letters, and which has induced some writers to call this the +"Calculiform" alphabet. + +But returning to the A, B, C, let us inquire the meanings of the figures +adopted. Knowing these, we shall be in better position to recognise +their variations on existing inscriptions and manuscripts--for these, as +we expect, are considerable; but not more so, perhaps, than the +variations in the forms of the Roman letters. + +_a._ Nos. 1, 2, and 4, are representations of the heads of some animals, +No. 2 being evidently the head of a bird with a long curved beak, +probably a species of parrot. No. 3 has been supposed to represent a leg +or a boot of some kind, but is probably also a rude figure of a head, +(See Plate XXXVI. of the _manuscrit[TN-1] Troano_.) + +_b._ Both these letters are supposed to represent a path or way bearing +the marks of foot prints, indicated by the small figures inside the +circle. + +_c._ This letter should probably be pronounced _ka_ (_a_ as in mate), +and is imagined to represent a mouth displaying sharp teeth. + +_ca._ This sign is explained as the jaw of an animal thickly set with +teeth; but a careful examination of its variations leads to the belief +that it is a representation of the eye lashes. (See the _Etudes sur le +Manuscrit Troano_, p. 55.) + +_cu._ This has not been identified. + +_t._ As there is no d in Maya this character stands for both t and d. It +signifies space, the four marks leading towards the center representing +the four cardinal points, and the phonetic base being the Maya, +preposition _ti_, in, toward, at, in space. + +_e._ Probably a front view of the human face, surmounted by the hair, +the dots marking the eyes, nose and mouth. + +_k._ Nos. 12 and 13, variations of the same, represent a joint of +bamboo. No. 14 is the guttural h, pronounced _ha_, which word in Maya +means water. The figure represents a stream flowing around some objects. + +_i._ This letter stems formed after the analogy of c, but no +satisfactory analysis has yet been offered. + +_k, ku._ The k is beyond doubt derived from a head seen in profile. The +upper figure within the circle is the closed eye with its lashes +(compare No. 8); that below on the right is the ear (compare No. 28); +that on the left the mouth. (See the variations in the _Etudes sur le +Manuscrit Troano_, p. 55.) The ku is supposed to be a drawing of the +sacred "medicine bag." + +_l._ Neither of these has been resolved. + +_m._ This also, is the figure of a head. It is distinguished from the k +by the eye being open, from the p by the absence of dots around the +mouth. + +_n._ Possibly the figure of a serpent. + +_o._ Variations of the same, of uncertain origin. + +_p, pp._ Again the face in profile. + +_x._ The first figure is easily recognised as the human hand, the second +as a face in profile, emitting breath from the mouth. + +_u._ The first sign represents the ear, the second is of uncertain +derivation. + +_z._ This seems to be a vase of some kind. + +It is evident that many of these signs have received abbreviated and +conventional forms quite remote from their original figures, precisely +as we know occurred in the Phenician and derived alphabets. The +variations are numerous and puzzling. + +It will be observed that the basis of most of them is a head seen in +front or in profile. Bearing this in mind, and fixing definitely the +differential marks, which alone were deemed of importance by the native +artists, we could venture with considerable confidence on the +interpretation of manuscripts and inscriptions, did we not meet with +very serious obstacles in other directions. + +One of these is the resolution of the groups referred to by Landa as +_las partes juntas_. In these the rounded "Calculiform" letters are +arranged in quadrilateral masses, each representing a phrase, name, or +title. We may seek the origin of this arrangement in what philologists +call the incorporative, or "polysynthetic" character of the Maya in +common with all other American tongues, which tends to the expression of +an idea with all its modifications, in one intricate grammatical +synthesis. These groups must first be separated in their component +parts, and then arranged in proper order. Some of them read from right +to left, and alternately from top to bottom and bottom to top; or, to +illustrate by a diagram, as if we were to write the word _marvelous_, +thus:-- + + O L M + U E A + S V R + +But the artist had no hesitation in changing this arrangement, if +another would allow him to compose a neater group. Especially is this +the case on the sculptures, where the love of ornamentations constantly +obscures the design and renders the letters almost unrecognisable, +precisely as the fashion is at the present day to adorn the walls of our +churche[TN-2] with inscriptions in ornamental and Gothic characters, +hardly legible to unpracticed eyes. + +There is also an obstacle in the very limited number of manuscripts in +this character which have been preserved. Of the vast number found among +the natives at the conquest, only three or four are known to be in +existence. One of these is the "Dresden Manuscript," another the +"Manuscript Troano," the third the "Manuscrit Mexican, No. 2," of the +Bibliothéque Impériale; and perhaps the "Pesth Manuscript" is in the +same shrift. Of these the Dresden Manuscript may be seen in the large +collection of Lord Kingsborough on Mexican Antiquities, and the +Manuscript Troano was published in fac simile by the French government +under the editorship of M. Brasseur de Bourbourg. (_Mission Scentifique +au Mexique et a l'Amérique Centrale, Linguistique._ Paris, 1869. +Imprimeire Imperiale.) There is, however, material almost inexhaustible +in the inscriptions preserved upon the stone temples, altars, and +pillars of Yucatan, which we may with great confidence look to see +deciphered before many years. + +The only serious difficulty which is at present in the way is our want +of knowledge of the ancient Maya language. All the published grammars +and vocabularies are extremely deficient and incomplete, and quite +inadequate to serve us in interpreting the inscriptions. But even this +alarming obstacle is only temporary. There exists in manuscript a most +complete and carefully composed dictionary of the Maya, written about +1650, two copies of which are in this country, one in the hands of the +Smithsonian Institution, and which we earnestly hope will shortly be +published under the efficient superintendence of Dr. Hermann Berendt, +the most accomplished Maya scholar living. With it in hand, the +deciphering of the inscriptions of Palenque, Uxmal, Itza, and the other +ruined cities of Yucatan, and of the manuscripts already mentioned, will +become certainly a less serious task than that of translating the +cuneiform inscriptions of Ninevah. + +Even without other aids than the limited vocabularies already published, +some antiquarians have boldly set to work on the Yucatecan writings. +Most conspicuous of them is M. Brasseur de Bourbourg, who first +published Diego de Landa's work containing the alphabet. (_Relation des +choses de Yucatan de Diego de Landa. Texte espagnol et traduction +francaise en regard, comprenant les signes du calendrier, et de +l'Alphabet hiéroglyphique de la langue Maya._ Paris, 1864.[TN-3] + +His recent edition of the Manuscript Troano is prefaced by an _Etude_ in +which he attempts to interpret several of its pages. It is painful to be +unable to say a single word in favor of his views. They are thoroughly +untenable and groundless. The Abbé Brasseur deserves the highest praise +for his ardor and devotion to archæological studies, but his theories do +not bear a moment's examination. They are so utterly wild that we are +almost afraid to state them. He imagines that these inscriptions and +manuscripts all contain geological reminiscences, chiefly concerning the +submersion of a portion of the American continent and the consequent +formation of the West India Islands. He explains all the letters as +"expressive images of the cataclysm of which they are the phonetic +expression." The culture of the Mayas and Aztecs he regards as the +debris of a far higher civilization, which once extended over most of +the American continent, and _from which_ that of ancient Egypt (!) was +derived. He insists on the identity of the ancient Maya and Aztec +tongues, for which there is not a shadow of proof, and going further, +claims that they are both derived from _Germanic_ roots. Of course, with +such notions as these, his "interpretation" of the Manuscript is an +absurdity, and can never obtain a serious hearing in scientific circles. + +A very different student is M. H. de Charencey, long favorably known for +his researches into the Basque language, the dialects of Central +America, and other critical publications. In the first volume of the +_Actes la Société Philologique_ (Paris, 1870) he has an "_Essai de +Déchiffrement d'un Fragment d'Inscription Palenquienne_." He takes for +his subject the famous "bas-relief of the Cross," found on the back of +the great altar at Palenque. It is portrayed in Stephens's Travels in +Central America,[TN-4] and more carefully in the work of Cabrera on the +ruins of Palenque, from a drawing by M. de Waldeck. It seems to +represent the ceremony of baptism, or something analogous to it. The +central figures are surrounded by inscriptions. Immediately above the +bird which surmounts the cross is found this character:-- + +[Illustration] + +This he analyses as follows, commencing at the right: h (variation of +No. 13 of the alphabet), o (variation of No. 22 enclosed in a circle), +nab (the Maya word for the palm of the hand which supports the middle +letter), ku (variation of No. 17),=_honabku_. This, in the orthography +_hunabku_, a discrepancy of no great moment, is a familiar Maya name of +divinity, and means _the only_, or _the one God_. The course of argument +by which he supports this analysis is careful and judicious. + +The second group which M. de Charencey analyses is this:-- + +[Illustration] + +This he resolves, commencing at the right hand upper figure, proceeding +from above downward, and from right to left, into the following letters +of Landa's alphabet: + + u, ku, ku, l, ca, nab, + +meaning "it, or those, of the Kukulcan." Kukulcan, however was the name +of the hero god of the Mayas, corresponding to the Quetzalcoatl of the +Aztecs. His worship was introduced into Yucatan subsequent to the ninth +century of the Christian era, and his name means in Maya precisely what +Quetzalcoatl does in Aztec, namely, "the serpent with quetzal feathers," +the quetzal being a species of parrot with bright green plumage. This +interpretation, therefore, if admitted, fixes an important date in +Central American history; for it proves that the erection of the +extraordinary monuments of Palenque, which were found in ruins at the +conquest, took place subsequent to the ninth century of our era. + +It is not our object at present to go into the details of these +remarkable investigations, still less to criticise them at length, but +simply to give their outlines and results. They should excite an earnest +interest in this country, and stimulate our scholars to turn their +attention to the antiquities of our own continent, which thus acquire an +importance quite equal to those on the banks of the Euphrates and the +Nile, which have commanded such profound study from European scholars. + +[Illustration] + + + + +Transcriber's Note + + +The following typographical errors were maintained in this version of the +book. + + Page Error + TN-1 5 _manuscrit Troano_ should read _Manuscrit Troano_ + TN-2 7 churche should read churches + TN-3 7 Paris, 1864. should read Paris, 1864.) + TN-4 7 Travels in Central America should read _Travels in Central + America_ + +The following words were inconsistently spelled: + + Impériale / Imperiale + + + + + +End of the Project Gutenberg EBook of The Ancient Phonetic Alphabet of +Yucatan, by Daniel G. 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G. Brinton. + </title> + <style type="text/css"> + + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + text-indent: 1em; + } + p.noindent {text-indent: 0em;} + p.titlepage {text-indent: 0em; text-align: center; } + p.centertop2 {text-indent: 0em; text-align: center; margin-top: 2em;} + + h1,h2 { + text-align: center; /* all headings centered */ + clear: both; + } + .chapterhead {font-weight: normal;} + .maintitle {margin-top: 4em; font-weight: normal;} + + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + .chapbreak {width: 65%; } + .declong {width: 8em; border: solid black 1px; margin-top: 2em; margin-bottom: 2em;} + + table {margin-left: auto; margin-right: auto;} + td {padding-left: 0.5em; padding-right: 0.5em; vertical-align: top;} + .tntable {margin-left: 0; } + + body{margin-left: 10%; + margin-right: 10%; + } + + a:focus, a:active { outline:#ffee66 solid 2px; background-color:#ffee66;} + a:focus img, a:active img {outline: #ffee66 solid 2px; } + + img {border: 0;} + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + font-style: normal; + font-weight: normal; + font-variant: normal; + text-align: right; + text-indent: 0em; + } /* page numbers */ + + blockquote {font-size: smaller; margin-left: 0; margin-right: 0; } + + .smcap {font-variant: small-caps;} + .smrom {font-size: smaller; } + .upper {text-transform: uppercase; } + .hide {display: none; } + .size50per {font-size: 50%; } + .correction {text-decoration:none; border-bottom: thin dotted gray;} + + .figcenter {margin: auto; text-align: center;} + + .dropcapm {float: left; + height: 100px; width: 73px; + margin: 0 0.5em 0.5em 0; + background: url("images/illus-003-2.jpg") no-repeat top left;} + + .tn {background-color: #EEE; padding: 0.5em 1em 0.5em 1em;} + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Ancient Phonetic Alphabet of Yucatan, by +Daniel G. Brinton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Ancient Phonetic Alphabet of Yucatan + +Author: Daniel G. Brinton + +Release Date: December 20, 2011 [EBook #38352] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK ANCIENT PHONETIC ALPHABET--YUCATAN *** + + + + +Produced by Julia Miller and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + +</pre> + + +<div class="tn"> +<p class="titlepage"><b>Transcriber's Note</b></p> + +<p class="noindent">A number of typographical errors have been maintained in this version of +this book. They are <span class="correction" title="correction">marked</span> and the corrected text is shown in the popup. +A description of the errors is found in the <a href="#trans_note">list</a> at the end of the text.</p> +</div> + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> + + + +<h1 class="maintitle"><span class="size50per">THE</span><br /> + +Ancient Phonetic Alphabet<br /> + +<span class="size50per">OF</span><br /> + +YUCATAN.</h1> + +<p class="centertop2"><span class="smcap">By</span> D. G. BRINTON, <span class="smrom">M. D.</span></p> + +<div class="figcenter" style="width: 128px;"> +<img src="images/colophon.jpg" width="128" height="150" alt="Colophon"/> +</div> + +<p class="centertop2"><b>New York:</b><br /> + +J. SABIN & SONS, No. 84 NASSAU STREET.<br /> +1870.</p> +<p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p> + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p> + + + + +<div class="figcenter" style="width: 400px;"> +<img src="images/illus-003-1.jpg" width="400" height="93" alt="Decorative border"/> +</div> + +<h2 class="chapterhead"><span class="size50per">THE</span><br /> + +Ancient Phonetic Alphabet<br /> + +<span class="size50per">OF</span><br /> + +YUCATAN.</h2> + +<hr class="declong" /> + + +<p class="noindent"><span class="dropcapm"><span class="hide">M</span></span><span class="upper">ost</span> readers are quite familiar with the fact that a well-developed +method of picture writing, or "didactic painting," as it has been +appropriately named, prevailed through Mexico and Central America for +centuries before the conquest. But that, in the latter country, there +was a true phonetic alphabet, is one of the more recent discoveries of +American archæology, and certainly one of the most interesting, as it +promises to restore to us the records of the most cultivated nation of +ancient America for a number of centuries previous to the advent of the +white man.</p> + +<p>It is well-known that the forests of Yucatan conceal the ruins of cities +and palaces built of stones covered with inscribed characters. All +travelers who had seen these characters were convinced that they were +intended to perpetuate ideas, but the key seemed to be irrevocably lost. +Fortunately, within the last few years (to be exact, in December, 1863), +a diligent antiquarian, the Abbé Brasseur de Bourbourg, unearthed in a +library in Madrid—that of the Royal Academy of History—a copy of an +unpublished description of Yucatan composed by Diego de Landa, the first +bishop of the country. In this was contained the phonetic alphabet +employed by the aboriginal Mayas, with a tolerably full, but an +intolerably obscure, explanation of their mode of using it. As De +Landa's words are so important, and also not a little difficult to +comprehend, we cannot do better than transcribe them exactly as they +appear in the copy of his work published at Paris, in 1864.</p> + +<p>He premises his remarks by saying that the natives used certain +characters or letters with which they wrote in books their ancient +histories and sciences, and by means of these letters, and figures, and +certain signs in the figures, they could understand and teach from these +manuscripts. The missionaries found very many of them, all of which, the +good bishop informs us, proved on examination to contain more lies and +superstitions, and were consequently burned, which pained the natives in +the most marvelous manner (lo qual a maravilla sentian, y les dava +pena).</p> + +<p>He then continues:—</p> + +<blockquote><p>"De sus letras porné aqui un <i>a</i>, <i>b</i>, <i>c</i>, que no permite su +pesadumbre mas, porque usan para todas las aspiraciones de las +letras de un caracter, y despues, al puntar de las partes otro, y +assi viene a hazer <i>in infinitum</i>, como se podra ver en el +siguiente exemplo. <i>Lé</i> quière dezir laço y caçar con el; para +escrivirle con<span class="pagenum" style="font-size: 91%;"><a name="Page_4" id="Page_4">[4]</a></span> sus caracteres, haviendolos nosotros hecho entender +que son dos letras, lo escrivian ellos con tres, poniendo a la +aspiracion de la <i>l</i> la vocal <i>é</i>, que antes de si trae, y en esto +no hierran, aunque usense, si quisieron ellos de su curiosidad. +Exemplo:—</p></blockquote> + +<div class="figcenter" style="width: 121px;"> +<img src="images/illus-004-1.jpg" width="121" height="39" alt="Hieroglyphs"/> +</div> + +<blockquote><p>Dèspues al cabo le pegan la parte junta. <i>Ha</i> que quiere dezir +agua, porque la <i>haché</i> tiene <i>a</i>, <i>h</i>, antes de si la ponen ellos +al principio con <i>a</i>, y al cabo desta manera:—</p></blockquote> + +<div class="figcenter" style="width: 86px;"> +<img src="images/illus-004-2.jpg" width="86" height="56" alt="Hieroglyph"/> +</div> + +<blockquote><p class="noindent">Tambien lo escriben a partes, pero de la una y otra manera, yo no +pusiera aqui ni trétara dello sino por dar cuenta entera de las +cosas desta gente. <i>Ma in kati</i> quiere decir no quiero, ellos lo +escriben a partes desta manera:—</p></blockquote> + +<div class="figcenter" style="width: 158px;"> +<img src="images/illus-004-3.jpg" width="158" height="43" alt="Hieroglyphs"/> +</div> + +<p>This is all on the subject the bishop vouchsafes us. Let us now attempt +a free translation of his words, premising that they are so obscure in +parts, and the composition so careless and provincial, that we shall not +take it at all amiss if any reader thinks he can improve our rendering:</p> + +<p>"Of their letters, I shall place here an A, B, C, their clumsiness not +allowing more; for they employ one character for all the aspirations of +the letters, and another to denote their repetitions, and so they go on +<i>in infinitum</i>, as one may see in the following example: <i>Le</i> means a +lasso and to hunt with one. In order to write with their characters, +although we told them it contains but two letters, they make use of +three, giving to the aspiration of the <i>l</i> the vowel <i>é</i>, which is +before it, and in this they are not in error, if they wish to write it +in their curious manner. Example:</p> + +<p class="titlepage">e l e lé</p> + +<p class="noindent">Afterwards they put at the end the part which is joined. Again in <i>ha</i>, +which means water, because the letter <i>h</i> contains the sounds a, h, they +place the <i>a</i> both at the beginning and at the end, in this manner:—</p> + +<p class="titlepage">a h a</p> + +<p class="noindent">They can write it either with separate letters or united together. I +would not have inserted nor have mentioned this but that I wished to +give a complete description of this people. <i>Ma in kati</i> means <i>I do not +wish</i>; they write it in separate letters in this way:—</p> + +<p class="titlepage">ma i n ka ti ."</p> + +<p>From these valuable though too scanty hints we learn that the letters +were employed connected together in a manner somewhat analogous to, +though more intimately than our cursive shrift, and also separately, as +in the Roman alphabet. When the latter was the case, they were repeated +apparently in their connected form. Further, the vowel sound which is +necessarily associated with the enunciation of every consonant (<i>la +aspiracion</i>), and which in the Maya language of Yucatan is so pronounced +as to have been called by the Abbé de Bourbourg, "<i>une certaine +affectation gutturale</i>," was taken account of, and expressed in writing. +Then there were a number of arbitrary signs, figures, and symbols,<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span> with +syllabic values, as we see in the last example given. These +peculiarities, of course, make the system clumsy, but are by no means +insurmountable difficulties in the way of elucidating it.</p> + +<p>Immediately at the close of the foregoing extract Bishop Landa gives the +alphabet subjoined, which has been carefully copied on wood, by Mr. +Edward Bensell, of Philadelphia, the arrangement of the letters being +slightly altered:—</p> + + +<div class="figcenter" style="width: 593px;"> +<img src="images/illus-005.jpg" width="593" height="596" alt="Table of hieroglyphs with phonetic values"/> +</div> + +<p>Besides these elementary sounds, he gives twenty arbitrary signs, one +for each day of the Maya month, which signs seem also to be used at +their syllabic value in writing words. All of them have the same +peculiar rounded or circular form which is observable in most of the +letters, and which has induced some writers to call this the +"Calculiform" alphabet.</p> + +<p>But returning to the A, B, C, let us inquire the meanings of the figures +adopted. Knowing these, we shall be in better position to recognise +their variations on existing inscriptions and manuscripts—for these, as +we expect, are considerable; but not more so, perhaps, than the +variations in the forms of the Roman letters.</p> + +<p><i>a.</i> Nos. 1, 2, and 4, are representations of the heads of some animals, +No. 2 being evidently the head of a bird with a long curved beak, +probably a species of parrot. No. 3 has been supposed to represent a leg +or a boot of some kind, but is probably also a rude figure of a head, +(See Plate XXXVI. of the <i><a class="correction" title="Manuscrit" name="corr1" id="corr1">manuscrit</a> Troano</i>.)</p> + +<p><span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span></p> + +<p><i>b.</i> Both these letters are supposed to represent a path or way bearing +the marks of foot prints, indicated by the small figures inside the +circle.</p> + +<p><i>c.</i> This letter should probably be pronounced <i>ka</i> (<i>a</i> as in mate), +and is imagined to represent a mouth displaying sharp teeth.</p> + +<p><i>ca.</i> This sign is explained as the jaw of an animal thickly set with +teeth; but a careful examination of its variations leads to the belief +that it is a representation of the eye lashes. (See the <i>Etudes sur le +Manuscrit Troano</i>, p. 55.)</p> + +<p><i>cu.</i> This has not been identified.</p> + +<p><i>t.</i> As there is no d in Maya this character stands for both t and d. It +signifies space, the four marks leading towards the center representing +the four cardinal points, and the phonetic base being the Maya, +preposition <i>ti</i>, in, toward, at, in space.</p> + +<p><i>e.</i> Probably a front view of the human face, surmounted by the hair, +the dots marking the eyes, nose and mouth.</p> + +<p><i>k.</i> Nos. 12 and 13, variations of the same, represent a joint of +bamboo. No. 14 is the guttural h, pronounced <i>ha</i>, which word in Maya +means water. The figure represents a stream flowing around some objects.</p> + +<p><i>i.</i> This letter stems formed after the analogy of c, but no +satisfactory analysis has yet been offered.</p> + +<p><i>k, ku.</i> The k is beyond doubt derived from a head seen in profile. The +upper figure within the circle is the closed eye with its lashes +(compare No. 8); that below on the right is the ear (compare No. 28); +that on the left the mouth. (See the variations in the <i>Etudes sur le +Manuscrit Troano</i>, p. 55.) The ku is supposed to be a drawing of the +sacred "medicine bag."</p> + +<p><i>l.</i> Neither of these has been resolved.</p> + +<p><i>m.</i> This also, is the figure of a head. It is distinguished from the k +by the eye being open, from the p by the absence of dots around the +mouth.</p> + +<p><i>n.</i> Possibly the figure of a serpent.</p> + +<p><i>o.</i> Variations of the same, of uncertain origin.</p> + +<p><i>p, pp.</i> Again the face in profile.</p> + +<p><i>x.</i> The first figure is easily recognised as the human hand, the second +as a face in profile, emitting breath from the mouth.</p> + +<p><i>u.</i> The first sign represents the ear, the second is of uncertain +derivation.</p> + +<p><i>z.</i> This seems to be a vase of some kind.</p> + +<p>It is evident that many of these signs have received abbreviated and +conventional forms quite remote from their original figures, precisely +as we know occurred in the Phenician and derived alphabets. The +variations are numerous and puzzling.</p> + +<p>It will be observed that the basis of most of them is a head seen in +front or in profile. Bearing this in mind, and fixing definitely the +differential marks, which alone were deemed of importance by the native +artists, we could venture with considerable confidence on the +interpretation of manuscripts and inscriptions, did we not meet with +very serious obstacles in other directions.</p> + +<p>One of these is the resolution of the groups referred to by Landa as +<i>las partes juntas</i>. In these the rounded "Calculiform" letters are +arranged in quadrilateral masses, each representing a phrase, name, or +title. We may seek the origin of this arrangement in what philologists +call the incorporative, or "polysynthetic" character of the Maya in +common with all other American tongues, which tends to the expression of +an idea with all its modifications, in one intricate grammatical +synthesis. These groups must first be separated in their component +parts, and then arranged in proper order. Some of them read from right +to left, and alternately from top to bottom and bottom to top; or, to +illustrate by a diagram, as if we were to write the word <i>marvelous</i>, +thus:—</p> + +<p class="titlepage">O L M<br /> +U E A<br /> +S V R</p> + +<p>But the artist had no hesitation in changing this arrangement, if +another would allow him to compose a neater group. Especially is this +the case on the sculptures, where the love of ornamentations constantly +obscures the design and renders the letters almost <span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span>unrecognisable, +precisely as the fashion is at the present day to adorn the walls of our +<a class="correction" title="churches" name="corr2" id="corr2">churche</a> with inscriptions in ornamental and Gothic characters, +hardly legible to unpracticed eyes.</p> + +<p>There is also an obstacle in the very limited number of manuscripts in +this character which have been preserved. Of the vast number found among +the natives at the conquest, only three or four are known to be in +existence. One of these is the "Dresden Manuscript," another the +"Manuscript Troano," the third the "Manuscrit Mexican, No. 2," of the +Bibliothéque Impériale; and perhaps the "Pesth Manuscript" is in the +same shrift. Of these the Dresden Manuscript may be seen in the large +collection of Lord Kingsborough on Mexican Antiquities, and the +Manuscript Troano was published in fac simile by the French government +under the editorship of M. Brasseur de Bourbourg. (<i>Mission Scentifique +au Mexique et a l'Amérique Centrale, Linguistique.</i> Paris, 1869. +Imprimeire Imperiale.) There is, however, material almost inexhaustible +in the inscriptions preserved upon the stone temples, altars, and +pillars of Yucatan, which we may with great confidence look to see +deciphered before many years.</p> + +<p>The only serious difficulty which is at present in the way is our want +of knowledge of the ancient Maya language. All the published grammars +and vocabularies are extremely deficient and incomplete, and quite +inadequate to serve us in interpreting the inscriptions. But even this +alarming obstacle is only temporary. There exists in manuscript a most +complete and carefully composed dictionary of the Maya, written about +1650, two copies of which are in this country, one in the hands of the +Smithsonian Institution, and which we earnestly hope will shortly be +published under the efficient superintendence of Dr. Hermann Berendt, +the most accomplished Maya scholar living. With it in hand, the +deciphering of the inscriptions of Palenque, Uxmal, Itza, and the other +ruined cities of Yucatan, and of the manuscripts already mentioned, will +become certainly a less serious task than that of translating the +cuneiform inscriptions of Ninevah.</p> + +<p>Even without other aids than the limited vocabularies already published, +some antiquarians have boldly set to work on the Yucatecan writings. +Most conspicuous of them is M. Brasseur de Bourbourg, who first +published Diego de Landa's work containing the alphabet. (<i>Relation des +choses de Yucatan de Diego de Landa. Texte espagnol et traduction +francaise en regard, comprenant les signes du calendrier, et de +l'Alphabet hiéroglyphique de la langue Maya.</i> Paris, <a class="correction" title="1864.)" name="corr3" id="corr3">1864.</a></p> + +<p>His recent edition of the Manuscript Troano is prefaced by an <i>Etude</i> in +which he attempts to interpret several of its pages. It is painful to be +unable to say a single word in favor of his views. They are thoroughly +untenable and groundless. The Abbé Brasseur deserves the highest praise +for his ardor and devotion to archæological studies, but his theories do +not bear a moment's examination. They are so utterly wild that we are +almost afraid to state them. He imagines that these inscriptions and +manuscripts all contain geological reminiscences, chiefly concerning the +submersion of a portion of the American continent and the consequent +formation of the West India Islands. He explains all the letters as +"expressive images of the cataclysm of which they are the phonetic +expression." The culture of the Mayas and Aztecs he regards as the +debris of a far higher civilization, which once extended over most of +the American continent, and <i>from which</i> that of ancient Egypt (!) was +derived. He insists on the identity of the ancient Maya and Aztec +tongues, for which there is not a shadow of proof, and going further, +claims that they are both derived from <i>Germanic</i> roots. Of course, with +such notions as these, his "interpretation" of the Manuscript is an +absurdity, and can never obtain a serious hearing in scientific circles.</p> + +<p>A very different student is M. H. de Charencey, long favorably known for +his researches into the Basque language, the dialects of Central +America, and other critical publications. In the first volume of the +<i>Actes la Société Philologique</i> (Paris, 1870) he has an "<i>Essai de +Déchiffrement d'un Fragment d'Inscription Palenquienne</i>." He takes for +his subject the famous "bas-relief of the Cross," found on the back of +the great altar at Palenque. It is portrayed in Stephens's <a class="correction" title="The title should be italicized" name="corr4" id="corr4">Travels in +Central America</a>, and more carefully in the work of Cabrera on the +ruins of Palenque, from a drawing by M. de Waldeck. It seems to +represent the ceremony of baptism, or something analogous to it. The +central<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> figures are surrounded by inscriptions. Immediately above the +bird which surmounts the cross is found this character:—</p> + +<div class="figcenter" style="width: 80px;"> +<img src="images/illus-008-1.jpg" width="80" height="71" alt="Hieroglyph"/> +</div> + +<p>This he analyses as follows, commencing at the right: h (variation of +No. 13 of the alphabet), o (variation of No. 22 enclosed in a circle), +nab (the Maya word for the palm of the hand which supports the middle +letter), ku (variation of No. 17),=<i>honabku</i>. This, in the orthography +<i>hunabku</i>, a discrepancy of no great moment, is a familiar Maya name of +divinity, and means <i>the only</i>, or <i>the one God</i>. The course of argument +by which he supports this analysis is careful and judicious.</p> + +<p>The second group which M. de Charencey analyses is this:—</p> + +<div class="figcenter" style="width: 80px;"> +<img src="images/illus-008-2.jpg" width="80" height="71" alt="Hieroglyph"/> +</div> + +<p>This he resolves, commencing at the right hand upper figure, proceeding +from above downward, and from right to left, into the following letters +of Landa's alphabet:</p> + +<p class="titlepage">u, ku, ku, l, ca, nab,</p> + +<p class="noindent">meaning "it, or those, of the Kukulcan." Kukulcan, however was the name +of the hero god of the Mayas, corresponding to the Quetzalcoatl of the +Aztecs. His worship was introduced into Yucatan subsequent to the ninth +century of the Christian era, and his name means in Maya precisely what +Quetzalcoatl does in Aztec, namely, "the serpent with quetzal feathers," +the quetzal being a species of parrot with bright green plumage. This +interpretation, therefore, if admitted, fixes an important date in +Central American history; for it proves that the erection of the +extraordinary monuments of Palenque, which were found in ruins at the +conquest, took place subsequent to the ninth century of our era.</p> + +<p>It is not our object at present to go into the details of these +remarkable investigations, still less to criticise them at length, but +simply to give their outlines and results. They should excite an earnest +interest in this country, and stimulate our scholars to turn their +attention to the antiquities of our own continent, which thus acquire an +importance quite equal to those on the banks of the Euphrates and the +Nile, which have commanded such profound study from European scholars.</p> + +<div class="figcenter" style="width: 169px;"> +<img src="images/illus-008-3.jpg" width="169" height="101" alt="Decorative"/> +</div> + + +<div class="tn"> +<p class="titlepage"><a name="trans_note" id="trans_note"></a><b>Transcriber's Note</b></p> + +<p class="noindent">The following errors have been maintained.</p> + +<table class="tntable" summary="typos"> +<tr> + + <td>Page</td> + <td>Error</td> + <td>Correction</td> +</tr> +<tr> + <td><a href="#corr1">5</a></td> + <td><i>manuscrit Troano</i></td> + <td><i>Manuscrit Troano</i></td> +</tr> +<tr> + <td><a href="#corr2">7</a></td> + <td>churche</td> + <td>churches</td> +</tr> +<tr> + <td><a href="#corr3">7</a></td> + <td>Paris, 1864.</td> + <td>Paris, 1864.)</td> +</tr> +<tr> + <td><a href="#corr4">7</a></td> + <td>Travels in Central America</td> + <td><i>Travels in Central America</i></td> +</tr> +</table> + +<p class="noindent">The following words were inconsistently spelled:</p> + +<p>Impériale / Imperiale</p> +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Ancient Phonetic Alphabet of +Yucatan, by Daniel G. 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Brinton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Ancient Phonetic Alphabet of Yucatan + +Author: Daniel G. Brinton + +Release Date: December 20, 2011 [EBook #38352] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK ANCIENT PHONETIC ALPHABET--YUCATAN *** + + + + +Produced by Julia Miller and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + +Transcriber's Note + +A number of typographical errors have been maintained in this version +of this book. They have been marked with a [TN-#], which refers to a +description in the complete list found at the end of the text. + + + + THE + + Ancient Phonetic Alphabet + + OF + + YUCATAN. + + BY D. G. BRINTON, M. D. + + [Illustration] + + New York: + + J. SABIN & SONS, No. 84 NASSAU STREET. + 1870. + + + + +[Illustration] + +THE + +ANCIENT PHONETIC ALPHABET + +OF + +YUCATAN. + + +Most readers are quite familiar with the fact that a well-developed +method of picture writing, or "didactic painting," as it has been +appropriately named, prevailed through Mexico and Central America for +centuries before the conquest. But that, in the latter country, there +was a true phonetic alphabet, is one of the more recent discoveries of +American archaeology, and certainly one of the most interesting, as it +promises to restore to us the records of the most cultivated nation of +ancient America for a number of centuries previous to the advent of the +white man. + +It is well-known that the forests of Yucatan conceal the ruins of cities +and palaces built of stones covered with inscribed characters. All +travelers who had seen these characters were convinced that they were +intended to perpetuate ideas, but the key seemed to be irrevocably lost. +Fortunately, within the last few years (to be exact, in December, 1863), +a diligent antiquarian, the Abbe Brasseur de Bourbourg, unearthed in a +library in Madrid--that of the Royal Academy of History--a copy of an +unpublished description of Yucatan composed by Diego de Landa, the first +bishop of the country. In this was contained the phonetic alphabet +employed by the aboriginal Mayas, with a tolerably full, but an +intolerably obscure, explanation of their mode of using it. As De +Landa's words are so important, and also not a little difficult to +comprehend, we cannot do better than transcribe them exactly as they +appear in the copy of his work published at Paris, in 1864. + +He premises his remarks by saying that the natives used certain +characters or letters with which they wrote in books their ancient +histories and sciences, and by means of these letters, and figures, and +certain signs in the figures, they could understand and teach from these +manuscripts. The missionaries found very many of them, all of which, the +good bishop informs us, proved on examination to contain more lies and +superstitions, and were consequently burned, which pained the natives in +the most marvelous manner (lo qual a maravilla sentian, y les dava +pena). + +He then continues:-- + + "De sus letras porne aqui un _a_, _b_, _c_, que no permite su + pesadumbre mas, porque usan para todas las aspiraciones de las + letras de un caracter, y despues, al puntar de las partes otro, y + assi viene a hazer _in infinitum_, como se podra ver en el + siguiente exemplo. _Le_ quiere dezir laco y cacar con el; para + escrivirle con sus caracteres, haviendolos nosotros hecho entender + que son dos letras, lo escrivian ellos con tres, poniendo a la + aspiracion de la _l_ la vocal _e_, que antes de si trae, y en esto + no hierran, aunque usense, si quisieron ellos de su curiosidad. + Exemplo:-- + +[Illustration] + + Despues al cabo le pegan la parte junta. _Ha_ que quiere dezir + agua, porque la _hache_ tiene _a_, _h_, antes de si la ponen ellos + al principio con _a_, y al cabo desta manera:-- + +[Illustration] + + Tambien lo escriben a partes, pero de la una y otra manera, yo no + pusiera aqui ni tretara dello sino por dar cuenta entera de las + cosas desta gente. _Ma in kati_ quiere decir no quiero, ellos lo + escriben a partes desta manera:-- + +[Illustration] + +This is all on the subject the bishop vouchsafes us. Let us now attempt +a free translation of his words, premising that they are so obscure in +parts, and the composition so careless and provincial, that we shall not +take it at all amiss if any reader thinks he can improve our rendering: + +"Of their letters, I shall place here an A, B, C, their clumsiness not +allowing more; for they employ one character for all the aspirations of +the letters, and another to denote their repetitions, and so they go on +_in infinitum_, as one may see in the following example: _Le_ means a +lasso and to hunt with one. In order to write with their characters, +although we told them it contains but two letters, they make use of +three, giving to the aspiration of the _l_ the vowel _e_, which is +before it, and in this they are not in error, if they wish to write it +in their curious manner. Example: + + e l e le + +Afterwards they put at the end the part which is joined. Again in _ha_, +which means water, because the letter _h_ contains the sounds a, h, they +place the _a_ both at the beginning and at the end, in this manner:-- + + a h a + +They can write it either with separate letters or united together. I +would not have inserted nor have mentioned this but that I wished to +give a complete description of this people. _Ma in kati_ means _I do not +wish_; they write it in separate letters in this way:-- + + ma i n ka ti ." + +From these valuable though too scanty hints we learn that the letters +were employed connected together in a manner somewhat analogous to, +though more intimately than our cursive shrift, and also separately, +as in the Roman alphabet. When the latter was the case, they were +repeated apparently in their connected form. Further, the vowel sound +which is necessarily associated with the enunciation of every consonant +(_la aspiracion_), and which in the Maya language of Yucatan is so +pronounced as to have been called by the Abbe de Bourbourg, "_une +certaine affectation gutturale_," was taken account of, and expressed +in writing. Then there were a number of arbitrary signs, figures, and +symbols, with syllabic values, as we see in the last example given. These +peculiarities, of course, make the system clumsy, but are by no means +insurmountable difficulties in the way of elucidating it. + +Immediately at the close of the foregoing extract Bishop Landa gives the +alphabet subjoined, which has been carefully copied on wood, by Mr. +Edward Bensell, of Philadelphia, the arrangement of the letters being +slightly altered:-- + + +[Illustration: 1 _a_] + +[Illustration: 2 _a_] + +[Illustration: 3 _a_] + +[Illustration: 4 _a_] + +[Illustration: 5 _b_] + +[Illustration: 6 _b_] + +[Illustration: 7 _c_] + +[Illustration: 8 _ca_] + +[Illustration: 9] + +[Illustration: 10 _t_] + +[Illustration: 11 _e_] + +[Illustration: 12 _h_] + +[Illustration: 13 _h_] + +[Illustration: 14 _ha_] + +[Illustration: 15 _i_] + +[Illustration: 16 _k_] + +[Illustration: 17 _ku_] + +[Illustration: 18 _l_] + +[Illustration: 19 _l_] + +[Illustration: 20 _m_] + +[Illustration: 21 _n_] + +[Illustration: 22 _o_] + +[Illustration: 23 _o_] + +[Illustration: 24 _p_] + +[Illustration: 25 _pp_] + +[Illustration: 26 _x_] + +[Illustration: 27 _x_] + +[Illustration: 28 _u_] + +[Illustration: 29 _u_] + +[Illustration: 30 _z_] + +Besides these elementary sounds, he gives twenty arbitrary signs, one +for each day of the Maya month, which signs seem also to be used at +their syllabic value in writing words. All of them have the same +peculiar rounded or circular form which is observable in most of the +letters, and which has induced some writers to call this the +"Calculiform" alphabet. + +But returning to the A, B, C, let us inquire the meanings of the figures +adopted. Knowing these, we shall be in better position to recognise +their variations on existing inscriptions and manuscripts--for these, as +we expect, are considerable; but not more so, perhaps, than the +variations in the forms of the Roman letters. + +_a._ Nos. 1, 2, and 4, are representations of the heads of some animals, +No. 2 being evidently the head of a bird with a long curved beak, +probably a species of parrot. No. 3 has been supposed to represent a leg +or a boot of some kind, but is probably also a rude figure of a head, +(See Plate XXXVI. of the _manuscrit[TN-1] Troano_.) + +_b._ Both these letters are supposed to represent a path or way bearing +the marks of foot prints, indicated by the small figures inside the +circle. + +_c._ This letter should probably be pronounced _ka_ (_a_ as in mate), +and is imagined to represent a mouth displaying sharp teeth. + +_ca._ This sign is explained as the jaw of an animal thickly set with +teeth; but a careful examination of its variations leads to the belief +that it is a representation of the eye lashes. (See the _Etudes sur le +Manuscrit Troano_, p. 55.) + +_cu._ This has not been identified. + +_t._ As there is no d in Maya this character stands for both t and d. It +signifies space, the four marks leading towards the center representing +the four cardinal points, and the phonetic base being the Maya, +preposition _ti_, in, toward, at, in space. + +_e._ Probably a front view of the human face, surmounted by the hair, +the dots marking the eyes, nose and mouth. + +_k._ Nos. 12 and 13, variations of the same, represent a joint of +bamboo. No. 14 is the guttural h, pronounced _ha_, which word in Maya +means water. The figure represents a stream flowing around some objects. + +_i._ This letter stems formed after the analogy of c, but no +satisfactory analysis has yet been offered. + +_k, ku._ The k is beyond doubt derived from a head seen in profile. The +upper figure within the circle is the closed eye with its lashes +(compare No. 8); that below on the right is the ear (compare No. 28); +that on the left the mouth. (See the variations in the _Etudes sur le +Manuscrit Troano_, p. 55.) The ku is supposed to be a drawing of the +sacred "medicine bag." + +_l._ Neither of these has been resolved. + +_m._ This also, is the figure of a head. It is distinguished from the k +by the eye being open, from the p by the absence of dots around the +mouth. + +_n._ Possibly the figure of a serpent. + +_o._ Variations of the same, of uncertain origin. + +_p, pp._ Again the face in profile. + +_x._ The first figure is easily recognised as the human hand, the second +as a face in profile, emitting breath from the mouth. + +_u._ The first sign represents the ear, the second is of uncertain +derivation. + +_z._ This seems to be a vase of some kind. + +It is evident that many of these signs have received abbreviated and +conventional forms quite remote from their original figures, precisely +as we know occurred in the Phenician and derived alphabets. The +variations are numerous and puzzling. + +It will be observed that the basis of most of them is a head seen in +front or in profile. Bearing this in mind, and fixing definitely the +differential marks, which alone were deemed of importance by the native +artists, we could venture with considerable confidence on the +interpretation of manuscripts and inscriptions, did we not meet with +very serious obstacles in other directions. + +One of these is the resolution of the groups referred to by Landa as +_las partes juntas_. In these the rounded "Calculiform" letters are +arranged in quadrilateral masses, each representing a phrase, name, or +title. We may seek the origin of this arrangement in what philologists +call the incorporative, or "polysynthetic" character of the Maya in +common with all other American tongues, which tends to the expression of +an idea with all its modifications, in one intricate grammatical +synthesis. These groups must first be separated in their component +parts, and then arranged in proper order. Some of them read from right +to left, and alternately from top to bottom and bottom to top; or, to +illustrate by a diagram, as if we were to write the word _marvelous_, +thus:-- + + O L M + U E A + S V R + +But the artist had no hesitation in changing this arrangement, if +another would allow him to compose a neater group. Especially is this +the case on the sculptures, where the love of ornamentations constantly +obscures the design and renders the letters almost unrecognisable, +precisely as the fashion is at the present day to adorn the walls of our +churche[TN-2] with inscriptions in ornamental and Gothic characters, +hardly legible to unpracticed eyes. + +There is also an obstacle in the very limited number of manuscripts in +this character which have been preserved. Of the vast number found among +the natives at the conquest, only three or four are known to be in +existence. One of these is the "Dresden Manuscript," another the +"Manuscript Troano," the third the "Manuscrit Mexican, No. 2," of the +Bibliotheque Imperiale; and perhaps the "Pesth Manuscript" is in the +same shrift. Of these the Dresden Manuscript may be seen in the large +collection of Lord Kingsborough on Mexican Antiquities, and the +Manuscript Troano was published in fac simile by the French government +under the editorship of M. Brasseur de Bourbourg. (_Mission Scentifique +au Mexique et a l'Amerique Centrale, Linguistique._ Paris, 1869. +Imprimeire Imperiale.) There is, however, material almost inexhaustible +in the inscriptions preserved upon the stone temples, altars, and +pillars of Yucatan, which we may with great confidence look to see +deciphered before many years. + +The only serious difficulty which is at present in the way is our want +of knowledge of the ancient Maya language. All the published grammars +and vocabularies are extremely deficient and incomplete, and quite +inadequate to serve us in interpreting the inscriptions. But even this +alarming obstacle is only temporary. There exists in manuscript a most +complete and carefully composed dictionary of the Maya, written about +1650, two copies of which are in this country, one in the hands of the +Smithsonian Institution, and which we earnestly hope will shortly be +published under the efficient superintendence of Dr. Hermann Berendt, +the most accomplished Maya scholar living. With it in hand, the +deciphering of the inscriptions of Palenque, Uxmal, Itza, and the other +ruined cities of Yucatan, and of the manuscripts already mentioned, will +become certainly a less serious task than that of translating the +cuneiform inscriptions of Ninevah. + +Even without other aids than the limited vocabularies already published, +some antiquarians have boldly set to work on the Yucatecan writings. +Most conspicuous of them is M. Brasseur de Bourbourg, who first +published Diego de Landa's work containing the alphabet. (_Relation des +choses de Yucatan de Diego de Landa. Texte espagnol et traduction +francaise en regard, comprenant les signes du calendrier, et de +l'Alphabet hieroglyphique de la langue Maya._ Paris, 1864.[TN-3] + +His recent edition of the Manuscript Troano is prefaced by an _Etude_ in +which he attempts to interpret several of its pages. It is painful to be +unable to say a single word in favor of his views. They are thoroughly +untenable and groundless. The Abbe Brasseur deserves the highest praise +for his ardor and devotion to archaeological studies, but his theories do +not bear a moment's examination. They are so utterly wild that we are +almost afraid to state them. He imagines that these inscriptions and +manuscripts all contain geological reminiscences, chiefly concerning the +submersion of a portion of the American continent and the consequent +formation of the West India Islands. He explains all the letters as +"expressive images of the cataclysm of which they are the phonetic +expression." The culture of the Mayas and Aztecs he regards as the +debris of a far higher civilization, which once extended over most of +the American continent, and _from which_ that of ancient Egypt (!) was +derived. He insists on the identity of the ancient Maya and Aztec +tongues, for which there is not a shadow of proof, and going further, +claims that they are both derived from _Germanic_ roots. Of course, with +such notions as these, his "interpretation" of the Manuscript is an +absurdity, and can never obtain a serious hearing in scientific circles. + +A very different student is M. H. de Charencey, long favorably known for +his researches into the Basque language, the dialects of Central +America, and other critical publications. In the first volume of the +_Actes la Societe Philologique_ (Paris, 1870) he has an "_Essai de +Dechiffrement d'un Fragment d'Inscription Palenquienne_." He takes for +his subject the famous "bas-relief of the Cross," found on the back of +the great altar at Palenque. It is portrayed in Stephens's Travels in +Central America,[TN-4] and more carefully in the work of Cabrera on the +ruins of Palenque, from a drawing by M. de Waldeck. It seems to +represent the ceremony of baptism, or something analogous to it. The +central figures are surrounded by inscriptions. Immediately above the +bird which surmounts the cross is found this character:-- + +[Illustration] + +This he analyses as follows, commencing at the right: h (variation of +No. 13 of the alphabet), o (variation of No. 22 enclosed in a circle), +nab (the Maya word for the palm of the hand which supports the middle +letter), ku (variation of No. 17),=_honabku_. This, in the orthography +_hunabku_, a discrepancy of no great moment, is a familiar Maya name of +divinity, and means _the only_, or _the one God_. The course of argument +by which he supports this analysis is careful and judicious. + +The second group which M. de Charencey analyses is this:-- + +[Illustration] + +This he resolves, commencing at the right hand upper figure, proceeding +from above downward, and from right to left, into the following letters +of Landa's alphabet: + + u, ku, ku, l, ca, nab, + +meaning "it, or those, of the Kukulcan." Kukulcan, however was the name +of the hero god of the Mayas, corresponding to the Quetzalcoatl of the +Aztecs. His worship was introduced into Yucatan subsequent to the ninth +century of the Christian era, and his name means in Maya precisely what +Quetzalcoatl does in Aztec, namely, "the serpent with quetzal feathers," +the quetzal being a species of parrot with bright green plumage. This +interpretation, therefore, if admitted, fixes an important date in +Central American history; for it proves that the erection of the +extraordinary monuments of Palenque, which were found in ruins at the +conquest, took place subsequent to the ninth century of our era. + +It is not our object at present to go into the details of these +remarkable investigations, still less to criticise them at length, but +simply to give their outlines and results. They should excite an earnest +interest in this country, and stimulate our scholars to turn their +attention to the antiquities of our own continent, which thus acquire an +importance quite equal to those on the banks of the Euphrates and the +Nile, which have commanded such profound study from European scholars. + +[Illustration] + + + + +Transcriber's Note + + +The following typographical errors were maintained in this version of the +book. + + Page Error + TN-1 5 _manuscrit Troano_ should read _Manuscrit Troano_ + TN-2 7 churche should read churches + TN-3 7 Paris, 1864. should read Paris, 1864.) + TN-4 7 Travels in Central America should read _Travels in Central + America_ + +The following words were inconsistently spelled: + + Imperiale / Imperiale + + + + + +End of the Project Gutenberg EBook of The Ancient Phonetic Alphabet of +Yucatan, by Daniel G. 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