Maya, akbal; Tzental, votan; Quiche-Cakchiquel, akbal; Zapotec, guèla; Nahuatl calli.
The form of the Maya character as given by Landa is shown in plate [LXIV], 35; those usually found in the codices are presented in figures 36 and 37 of the same plate. A slight variation which sometimes occurs in the Dresden Codex is given in plate [LXIV], 38. In figure 39 of this plate circular dots take the place of the teeth. In another variant, shown in figure 40, there is a row of dots immediately below the broken cross line. The forms shown in figures 41 and 42 are from the inscriptions. As will be seen by comparing figures 36 and 38 with plate [LXV], 64, this glyph, in some of its forms, resembles somewhat closely the chuen symbol, but is generally readily distinguished from it by the wavy line across the face and the absence of the little divided oblong at the top, which is mostly present in the chuen symbol. The lower triangle is usually sharp and extends to the top in the akbal symbol, while that in the chuen glyph is broad or rounded and does not extend to the top.
The signification of the Maya and Cakchiquel names, and also of the Zapotec, is “night” or “darkness.” The Tzental name is that of a celebrated hero, which, according to Dr Brinton, is derived from the Tzental word uotan, “heart” or “breast.” This explanation is accepted by Seler, as Bishop Nuñez de la Vega, the principal authority regarding this mythological personage, says that “in every province he was held to be the heart of the village.” Dr Seler also adds that “‘heart of the village’ is in Mexican called tepeyollotl, and that is the name of the deity of the third day character, calli” (plate [LXIV], 46).
The Mexican name calli signifies house. The method by which Dr Brinton brings this and the Tzental names into harmony with the idea of darkness or night is as follows:
The house is that which is within, is dark, shuts out the light, etc. Possibly the derivation was symbolic. Votan was called “the heart of the nation,” and at Tlazoaloyan, in Soconusco, he constructed, by breathing or blowing, a “dark house,” in which he concealed the sacred objects of his cult. In this myth we find an unequivocal connection of the idea of “darkness” and “house.”
Dr Seler’s explanation is substantially the same; he differs somewhat, however, from Dr Brinton in regard to the derivation of the word votan (or uotan), as he obtains it from the Maya ol, uol, “heart, soul, will, etc,” and tan, “in the midst,” also “surface, level, extent, front.” He concludes, therefore, if uo signifies heart, that uotan denotes “the inmost heart” or “heart of the expanse.” It is proper, however, to call attention to the fact that Dr Brinton’s derivation of the name in his “American Hero Myths” is slightly different from that given in his “Native Calendar,” above mentioned. In the former he says uotan “is from the pure Maya root word tan, which means primarily ‘the breast,’ or that which is in the front or in the middle of the body; with the possessive prefix it becomes utan. In Tzental this word means both ‘breast’ and ‘heart.’” It must be admitted that these explanations are apparently somewhat strained, yet it is possible they are substantially correct, as they appear to receive some support from the figures in the Mexican codices.
Plate 75 of the Borgian Codex, which is in fact the lower part of the figure on plate 76, heretofore alluded to, although having reference to the underworld, appears to be in part a delineation of night. The large black figure probably represents night, the smaller star-like figures denoting stars, and the large one the night sun, or moon. The house in the lower right-hand corner, with the black lining, is the house of darkness. The wind symbol above the roof indicates relationship with the winds. Dr Seler interprets these star-like figures as sun symbols, but the number found together on this plate forbids the supposition that they represent suns. Moreover, the association with the dark figure renders it probable that they are here used to denote stars.
There is, however, a lack in these explanations of a connecting link, which seems necessary to render them entirely satisfactory. The name appears to be intimately associated with that for serpent; or perhaps it would be more correct to say that this mythological personage appears to be intimately connected in some way with the serpent. The title of the Tzental manuscript containing the myth was, according to Cabrera, “Proof that I am a Chan,” which signifies “serpent.” His chief city was Nachan, “the house of the serpent;” his treasure house was a cavern. Simply designating him by “the heart of the nation,” “heart of the village,” does not appear to furnish a full explanation of his attributes or characteristics.
As the symbol of this day is frequently connected with cloud and rain-storm series, as in Tro. 25a, where it appears to be that from which rain is falling, its signification in these places would appear to be “cloud,” which carries with it the idea of shade, shadow, and darkness. This being true, the most likely supposition in regard to the origin of the symbol is, that it was designed to represent the cloud breaking into drops and falling as rain—in other words, the weeping cloud. Such appears beyond question to be its signification in Tro. 25a and in other places in the same and other codices. This supposition is also consistent with the fact that some of the symbols, especially those of the inscriptions (plate [LXIV], 42), have dots along the broken line, which may indicate the raindrops into which the cloud is breaking. I am therefore not inclined to accept Dr Seler’s supposition that it is intended to represent the opening to a cavern, after the conventional method adopted by the Mexican artists. It is improbable, though not impossible, that the older system may have adopted some features from the younger. Moreover, this supposition on the part of Dr Seler is in direct conflict with his statement in the immediately preceding paragraph. He says: