L L M N O O P
PP CU KU X X U(?) U
Z HA MA TO Sign of
Aspiration.
Respecting this alphabet Landa adds: "this language lacks the letters that are missing here; and has others added from ours for other necessary things; and they already make no use of these characters, especially the young who have learned ours." It will be noticed that there are several varying characters for the same letter, and several syllabic signs.
The characters of Landa's alphabet, and the calendar signs can be identified more or less accurately and readily with some of those of the hieroglyphic inscriptions in stone, the Manuscript Troano, and the Dresden Codex. The resemblance in many cases is clear, in others very vague and perhaps imaginary, while very many others cannot apparently be identified. Although Landa's key must be regarded as fragmentary, I believe there is no reason to doubt its authenticity. But one attempt has been made to practically apply this key to the work of deciphering the Maya documents, that of the Abbé Brasseur de Bourbourg. This writer, after a profound study of the subject, devotes one hundred and thirty-six quarto pages to a consideration of the Maya characters and their variations, and fifty-seven pages to the translation of a part of the Manuscript Troano. The translation must be pronounced a failure, especially after the confession of the author in a subsequent work that he had begun his reading at the wrong end of the document,[1122]—a trifling error perhaps in the opinion of the enthusiastic Abbé, but a somewhat serious one as it appears to scientific men. His preliminary examinations doubtless contain much valuable information which will lighten the labors and facilitate the investigations of future students; but unfortunately, such is their nature that condensation is impracticable. A long chapter, if not a volume, would be required to do them anything like justice, and they must be omitted here.
Brasseur de Bourbourg devoted his life to the study of American primitive history. In actual knowledge of matters pertaining to his chosen subject, no man ever equaled or approached him. Besides being an indefatigable student he was an elegant writer. In the last decade of his life he conceived a new and complicated theory respecting the origin of the American people, or rather the origin of Europeans and Asiatics from America, made known to the world in his Quatre Lettres. His attempted translation of the Manuscript Troano was made in support of this theory. By reason of the extraordinary nature of the views expressed, and the author's well-known tendency to build magnificent structures on a slight foundation, his later writings were received for the most part by critics, utterly incompetent to understand them, with a sneer or, what seems to have grieved the writer more, in silence. Now that the great Américaniste is dead, while it is not likely that his theories will ever be received, his zeal in the cause of antiquarian science and the many valuable works from his pen will be better appreciated. It will be long ere another shall undertake with equal devotion and ability the well nigh hopeless task.
INTERPRETATION OF MAYA RECORDS.
I close the chapter with a few quotations from modern writers respecting the Maya hieroglyphics and their interpretation. Tyler says "there is even evidence that the Maya nation of Yucatan, the ruins of whose temples and palaces are so well known from the travels of Catherwood and Stephens, not only had a system of phonetic writing, but used it for writing ordinary words and sentences."[1123] Wuttke suggests that Landa's alphabet originated after the Conquest, a suggestion, as Schepping observes, excluded by Mendieta's statement, but "otherwise very probable in consideration of the phoneticism developed in Mexico shortly after the Conquest."[1124] And finally Wilson says, "while the recurrence of the same signs, and the reconstruction of groups out of the detached members of others, clearly indicate a written language, and not a mere pictorial suggestion of associated ideas, like the Mexican picture-writing." "In the most complicated tablets of African hieroglyphics, each object is distinct, and its representative significance is rarely difficult to trace. But the majority of the hieroglyphics of Palenque or Copan appear as if constructed on the same polysynthetic principle which gives the peculiar and distinctive character to the languages of the New World. This is still more apparent when we turn to the highly elaborate inscriptions on the colossal figures of Copan. In these all ideas of simple phonetic signs utterly disappear. Like the bunch-words, as they have been called, of the American languages, they seem each to be compounded of a number of parts of the primary symbols used in picture-writing, while the pictorial origin of the whole becomes clearly apparent. In comparing these minutely elaborated characters with those on the tables, it is obvious that a system of abbreviation is employed in the latter. An analogous process seems dimly discernible in the abbreviated compound characters of the Palenque inscription. But if the inference be correct, this of itself would serve to indicate that the Central American hieroglyphics are not used as phonetic, or pure alphabetic signs; and this idea receives confirmation from the rare recurrence of the same group.... The Palenque inscriptions have all the characteristics of a written language in a state of development analogous to the Chinese, with its word-writing; and like it they appear to have been read in columns from top to bottom. The groups of symbols begin with a large hieroglyphic on the left-hand corner; and the first column occupies a double space. It is also noticeable that in the frequent occurrence of human and animal heads among the sculptured characters they invariably look toward the left; an indication, as it appears to me, that they are the graven inscriptions of a lettered people, who were accustomed to write the same characters from left to right on paper or skins. Indeed, the pictorial groups on the Copan statues seem to be the true hieroglyphic characters; while the Palenque inscriptions show the abbreviated hieratic writing. To the sculptor the direction of the characters was a matter of no moment; but if the scribe held his pen, or style, in his right hand, like the modern clerk, he would as naturally draw the left profile as we slope our current hand to the right. Arbitrary signs are also introduced, like those of the phonetic alphabets of Europe. Among these the T repeatedly occurs: a character which, it will be remembered, was also stamped on the Mexican metallic currency."[1125]