It is to be observed as applying chiefly to the manuscripts and the reliefs, that the two side points which project like teeth from the inner circle of the character could in no wise have signified teeth. Such an interpretation is contradicted by the occasional change of their position [plate [LXIV], 47] and the fact that they also appear now and then exactly like eyes [plate [LXIV], 39].
Now the Mexican cavern symbol, as shown in his figures and as given in Peñafiel’s “Nombres Geográficos,” appears to be the open serpent mouth with teeth and fangs. It is therefore more probable that the symbol was derived as above indicated. Among the Indian pictographs given by Colonel Mallery[223-1] as representing clouds are those shown in plate [LXIV], 43 and 44. An Ojibwa cloud symbol[223-2] is shown in plate [LXIV], 45, in which the circular outline denotes the sky. It seems quite likely that the Maya symbol is intended to convey precisely the same idea. On the left (bottom) of plate 70, Borgian Codex, is a curved or arch-like figure somewhat on the same order as those given. It appears to represent the sky—but darkened sky, indicating night or obscurity. On its upper surface are nine heads, which probably signify the “Nine Lords of the Night.” Below it is a black figure. On each side are two figures, the color of the four differing—one blue, another yellow, another black, and the other red. These are probably the regents of the cardinal points.
If this supposition be correct, the symbol is purely ideographic and not phonetic or ikonomatic; but this does not forbid the idea that when used in other combinations it is used phonetically to give the chief sound element of the word indicated by the ideograph. Dr Seler claims, as corroborative of his supposition, that “all symbols which are combined with the name of the third character are to be fully explained through the word ‘cavern.’” But it is far more likely that this (so far as it holds good) is due to the fact that the symbol is used because of its phonetic value or its chief phonetic element, ak, which is the same as the chief element of the Maya name for cavern—actun, actan, aktan (Henderson, MS. Lexicon).
If this supposition be correct, it may furnish a clue to the name of the deity whose symbol is shown in plate [LXIV], 48. Here the left-hand character is the akbal symbol (though not complete) surrounded by a circle of dots. This circle, Dr Seler contends, often indicates flames which consume the object it surrounds, or light which emanates from that object. If the whole is but a simple ideogram, it must be taken, as a whole, as indicating a particular mythological personage; otherwise it is in part phonetic, or given after the Mexican rebus method of denoting names. If not a simple ideogram, this prefix is most probably used in some sense phonetically with reference chiefly to the k sound. The circle of dots is used here probably to indicate the vowel sound u or o. But in making this suggestion I do not by any means intend to suggest that the Maya scribes had reached that stage of advancement where they could indicate each sound by a character. All I wish to assert is that I find in numerous cases characters accompanied by this circle of dots where the proper interpretation appears to be a word having as its prominent vowel element u or o. Hence the inference that there is some relation between this circle and these vowel sounds—this and nothing more.
In Dres. 16c is the symbol shown in plate [LXIV], 49. This, as I have shown elsewhere,[224-1] represents the kukuitz or Quetzal figured below the text. Here are encircling lines of dots, and in the Maya name the u sound repeated; and here also is Landa’s ku. In Dres. 47c the symbol for the month Mol is given as shown in plate [LXIV], 50. Here again is seen the circle of dots, and the vowel appears to hold good in other places. We see it in Landa’s first o. It will also assist us in giving at least a consistent interpretation to the strange character shown in plate [LXIV], 51, which occurs repeatedly on plate 19 of the Tro. Codex. In the pictures below are individuals apparently, and as interpreted by most authorities, engaged in grinding paint or other substance or in making fire. The right half of the glyph, including the circle of dots and crosshatching might, according to the value heretofore given these elements, be rendered by huck, “to rub, grind, pound, pulverize;” which certainly agrees with the interpretation usually given the pictures below. Possibly the whole glyph maybe interpreted by cecelhuchah, “to triturate.” While this, so far as it relates to the left portion of the glyph, is a mere suggestion, it agrees with the fact that the ornamented or crossbarred border is found in the symbol for Cib, and the three dots with Landa’s e.[224-2]
In Tro. 11*d is the character shown in plate [LXIV], 52. As the right portion is the upper part of the symbol for chikin, “west” (see plate [LXIV], 53), its phonetic value may be a derivative of kuch, kuchnahi, kuchah, “to spin, to draw out into threads.” Henderson gives chuch as an equivalent. As the subfix in plate [LXIV], 48, is the character I have usually interpreted by u, this would give us some of the elements of the name Kukulcan and not Itzamna, as Seler and Schellhas suppose. Possibly, however, the deity represented may be Baklum-Chaam, the god adored at Ti-ho and usually considered, though without apparent justification, as the Maya Priapus.
The somewhat similar character, plate [LXIV], 55, from Tro. 18*c, which Dr Seler considers synonymous, is probably essentially distinct, as it bears a somewhat stronger resemblance to the chuen than to the akbal symbol. In character 54, plate [LXIV], from Dres. 17b, which denotes the vulture or rapacious bird figured below the text, it probably indicates the c sound, as the most reasonable interpretation of the symbol is hchom, “the sopilote” (Perez), or hchuy, “a hawk or eagle.” If the character shown in plate [LXIV], 54, is intended to indicate the bird figured below, and is neither of those mentioned, it is probably one the name of which begins with ch.
The symbol of the month Zoɔ (Tsoz or Zotz) also contains this supposed akbal glyph, but in the varied form last above mentioned, which, as we have said, bears a strong resemblance to the chuen symbol. This, as will be seen by comparing, bears a very close resemblance to glyph [LXIV], 54. If phonetic, we must assume that the ch (if the interpretation of the former be correct) has been hardened to z or tz.[225-1]
The same character is also found in the symbol for the month Xul (see plate [LXIV], 56, from Dres. 49c). As Dr Seler refuses to accept the theory that the characters are either phonetic or ikonomatic, he concludes, in the following words, that resemblance in the forms of the symbols indicates relationship in the subject-matter:
Xul signifies the end, the point; xuulul, to end; xulah, xulezah, to bring to an end; xulub (that with, which anything ends), horns, or he who has horns, the devil; xulbil, jests, tricks, deviltry. We see, therefore, that this word contains doubtless a reference to something unholy, uncanny, demoniac. To the Central Americans the bat was not merely a nocturnal animal. The Popol-Vuh speaks of a Zo’tzi-ha, “bat house,” one of the five regions of the underworld. There dwells the Cama-zo’tz, “the death-bat,” the great beast that brings death to all who approach it, and also bites off the head of Hunapu.