Commentary Upon the Maya-Tzental Perez Codex Part 2

Upon turning over the Codex, we find that whereas on the side we have been considering the scribe limited himself to the conventional red numerals and backgrounds, with here and there a touch of brown, upon this other side we have a wealth of color united with a harmony of composition and structure that marks a very high degree of artistic skill. It is not alone the accuracy of the drawing and the writing, such as we have noted in connexion with the study of the glyphs, but the whole ma.n.u.script as it lies open before us shows that sense of proportion, that ability to unify without seeming effort a mult.i.tude of details into a perfectly balanced whole, which is the positive mark of developed and genuine culture. When we remember the exceeding difficulty of combining primary colors into a brilliancy that is not garish, and the equal difficulty of achieving artistic mastery in a conventional treatment of forms, we are simply forced to recognize that we have here the evidence of an advanced school of art with full rights of independent citizenship. If the figures look strange and sometimes distorted, we must remember that our whole training has been in the realistic school, by which we are p.r.o.ne to judge all others, but by which they must not be judged. We have no more right to weigh these compositions in the scales of our art motifs than we have to weigh Greek rhythm of quant.i.ty or Saxon of alliteration against our weights by which we measure rhythm of rhyme and stress. In fact it is impossible for us even to judge concerning the true harmonic effect of these other measures, and it may well be doubted whether the very soul itself of our meter is not empty and tinny as compared with these others--quality for quality.

There is one great broad line that divides the nations and civilizations of the earth, past and present, in all their arts of expression. We may call it that of the ideographic as against the literal. It controls the inner form of language and of languages; it manifests in the pa.s.sage of thought from man to man; it determines whether the writing of the people shall be hieroglyphic or alphabetic; it gives both life and form to the ideals of their art. It is a distinction that was clearly recognized by Wilhelm von Humboldt, when he laid down that the incorporative characteristic essential to all the American languages is the result of the exaltation of the imaginative over the ratiocinative elements of mind.

The time has pa.s.sed when we think that the absence of our perspective drawing in j.a.panese pictures is due to the fact that these "children of nature" never happened to recognize that a thing looks smaller in proportion to its distance, so that they ought to come to us to learn.

We have come, in some measure if not yet fully, to recognize that whereas we show a thing to the eye, these other peoples suggest a thought to the mind, by their pictures. And we should remember, and remember always, that while our modern art having won its technical and artistic skill within the past few hundred years, is now beginning to emanc.i.p.ate itself from the materialism of the eye by efforts towards the "impressionist" methods, these ancient peoples had long since arrived at the ability to convey "impressions" through the medium of harmonious compositions of the most rigid conventional elements--an artistic achievement which those who know its difficulties can alone begin to appreciate.

It may be quite easily forgiven to one trained with Western, modern eyes, who at first sight of these monuments, in total ignorance of their meanings, sees them as strange or grotesque. But when, as their strangeness wears away, one comes to see the unfailing accuracy with which the glyphs are drawn, one's opinion of their makers has to change.

And when, with this familiarity gained, one advances to an appreciation of the work in its bearings as a whole, one has to acknowledge himself facing the production of craftsmen who had the inheritance of not only generations, but ages of training. Such a combination of complete mastery in composition, perfect control of definite and fixed forms, and hand technique, can grow up from barbarism in no few hundred years. I would hesitate to think it could even come in a few thousands, unless they were years of greater settledness and peaceful civilization than our two thousand years of disturbed and warring European Christendom have yet had an example of to show us. It is easy enough in the absence of definite historical records, and in our general ignorance of human evolution, to theorize and speculate about it all; but the commonly accepted picture in our minds of a few savage wandering tribes settling and growing up in this country some several hundred or a thousand years after the Christian era, simply will not fit in with the fact of their ability to produce such works a few hundred years later. Had we nothing but the Perez Codex and Stela P at Copan, the merits of their execution alone, weighed simply in comparison with observed history elsewhere, would prove that we have to do not with the traces of an ephemeral, but with the remains of a wide-spread, settled race and civilization, worthy to be ranked with or beyond even such as the Roman, in its endurance, development and influence in the world, and the beginnings of whose culture are still totally unknown. As to the Codex before us, we can only imagine what the beauty, especially of the pages we now come to discuss, must have been when the whole was fresh and perfect.

The second side of the Codex has to be treated in four divisions or chapters, the first of which includes pages 15 to 18. For numerical reasons which will appear, this chapter must probably have begun, however, at least one page further to the left.

These four pages are laid out with three main divisions, upper, middle and lower. Too much of the upper section is erased for any comment other than that its arrangement seems to have been parallel in all respects with the middle section. This latter shows three subsections, the backgrounds in some cases being red,[24-*] containing each a picture (probably of a G.o.d or a human figure in every instance), surmounted by a black and a red numeral and by six glyphs, in double column. This gives 12 subsections for the four pages, which we may refer to respectively as 15-_a_, _b_, _c_, etc. Of the initial pairs of glyphs in each subsection many are complete, and no section is left without the correct traces of the corresponding glyph for one or other of the positions; so that although 5 of the 24 glyphs are totally erased, we may safely restore them all. Other features of the comparative use and frequency of the glyphs on these pages have already been given.

At the top of each picture is found a black and a red numeral. These form the consecutive black "counters" or interval numbers, and the corresponding red day numbers of subdivided tonalamatls, so common in Dres. and Tro.-Cort. It is customary to find these tonalamatls divided into fifths or fourths, 52 or 65 days respectively--four or five trecenas. At the 53rd or 66th day the initial red number is again reached, and the calculation is (by hypothesis) repeated, starting again at the left with a new day-sign below the first. Such a column is seen in the lower part of page 17, where we find 6 Oc, Ik, Ix; these are to be completed by restoring below an erased Cimi and Ezanab, completing the 260 days and bringing us around again to 6 Oc. The total of all the black "counters" in any series must always be some multiple of 13, usually 52 or 65, as stated. And since each "counter" is the interval between its adjoining red numbers, wherever a red and a black number are given, the other red number, whether before or after, can always be filled in.

No traces of this initial column appear for the series in the middle division, and several of the numerals are also erased. Two obscurities must be cleared up before trying to fill out the series. On page 16 right is a partly erased black numeral, which from the traces may be either 10 or 11. Taking it as 10, we have 13 plus 10 equals an erased red 10; plus 5 (on page 17) equals the red 2 below the 5. This verifies so far. But we next find--plus 5 equals 8, which is of course incorrect.

An inspection of the MS. and the photographs reveals a reddish spot (or perhaps even _three_ such spots) in the extreme upper right corner of the picture s.p.a.ce, 17-a, and also a dark spot _under_ the black 5 in 17-b. It is possible that the separated red dots (one doubtful) are to be read together as 3; or that the red dots under the 5 are to be disregarded in the count (just as is the red 8 on the next page, 18-a), and the red number for 17-a found in the upper right, above the seated figure. If the red number in 17-a is 3, the two numbers in 16-c must be 11. Or it may be a.s.sumed that the spot under the 5 in 17-b belongs to it, making 6 instead of 5, which figures out. The final result is the same, as we have either 10 and 6, or 11 and 5, in these two places, and either reaches properly the clear red 8 in 17-b.

In 18-a we find black 26, with a small red 8 below, and a large red 13 in the usual place at the side. The red 8 will have to be disregarded, as not part of the series, which requires 13, and nothing else.

We may now possibly set down the series as follows, using small figures above the the[TN-2] line for the black counters, and putting in parentheses all numbers restored:

(6)^{3}9^{(6)}(2)^{5}7^{6}13^{11}(11)^{5}3^{5}8^{5}(13)^{26}13^{10}10, or else (6)^{3}9^{(6)}(2)^{5}7^{6}13^{10}(10)^{5}2^{6}8^{5}(13)^{26}13^{10}10

This leaves us the black number at the beginning, in 15-a, and both numbers at the end, 18-c, still not filled in. Adding together all the counters we get 82, plus at least the two missing black numbers, one at each end. If the total were 104, we might expect it to have been comprised within the four subsections 15-a to 18-a. But 104 is not a tonalamatl fraction. 130 days, although a tonalamatl half, is an unknown division, and would hardly get into the s.p.a.ce. If we begin the series in the upper division of the page (as occurs in Dres.) and come around to the middle division, the probabilities would require that it displayed a full series of 260 days, and again also that it began _to the left_ of page 15. The probabilities of this series as it is, therefore, indicate at least a page 14 to the left, arranged like the other four, and forming one chapter with them.

We have now to deal with the puzzling numeral columns, in alternating colors, found to the left of each subsection of the upper and middle divisions--24 columns in all. These have been referred to at some length in the preliminary discussion of the colors, and there is little more that can be said. As there said, the entire reason for alternating the colors can not be certainly a.s.sumed. Alternation of color occurs not only where it is needed to distinguish bars, but also where we have only lines of dots, which are of course self-separating. And to say that it is only for artistic purposes is a mere begging of the question. Only four or five of these columns are complete, and a footing of the numbers in each gives us varying amounts from 113 to 153, and tells us nothing.

On the parts that are left we six times have a Chuen [Hieroglyph] with a black number apparently belonging to it (perhaps a multiplier), and also once a double Chuen, as in Tro.-Cort. The use of the red _kal_-sign, or 20, is frequent.

The lower division of these pages was also subdivided, into four sections on each, which we may refer to as _d_, _e_, _f_, _g_. Each contains a picture, with black and red numerals as above, surmounted by four glyphs only. The pictures are all quite incomplete; neither is there anything to add to what has been already said of the glyphs.

In the middle of page 17 one tonalamatl ends, with a red 6, and another begins, also with 6. The second starts with the day 6 Oc, is divided into fifths, and the initial column must have been in full: 6 Oc, Ik, Ix, Cimi, Ezanab. The restoration of the series gives: 6^{22}2^{(15 in two stages)}(4)^{10}1^{4}6. This however only gives a total of 51 for the black counters. There is s.p.a.ce to the right for another section, but whatever may have been written there has entirely disappeared. The last three numbers 1^{4}6 seem unmistakable, the [Hieroglyph] especially so.

If we regard the last 6 as an error for 5, and then restore ^{1}6 in section 18-g, it would give the necessary 52. This is the one pa.s.sage in the Codex where I can see no way but to a.s.sume a mistake in the writing; for 1 plus 4 does not equal 6, and unless for some entirely unknown reason the error is clear.

The preceding tonalamatl may have been divided either into 52- or 65-day periods. If the period was 52, it must have begun with an initial column on page 15, right side. In this event it would be restored as follows:

(initial 6)^{(19 in two stages)}(12)^{6}5^{7}12^{(12 in two stages)} (11)^{8}6,

giving 52. In this case a third tonalamatl must have begun somewhere to the left, and ended on the erased right side of page 15.

A different restoration would carry the initial column back to the extreme edge of page 15, when we would have this:

(initial 6)^{(2)}(8)^{8}3^{11}(1)^{(11 in two stages)}(12)^{6}5^{7} 12^{(12 two stages)}(11)^{8}6

giving 65.

To choose between these two would be mere guessing.

The well-known pages 19 and 20 come next. Together they make four compartments, up and down the full length of the pages, two with red and two with black backgrounds. Each is, or rather was, preceded by a column of 13 "year-bearers." The left column on each page I have restored, although no traces of it are left. But apart from its manifest necessity, as part of the series, if the width of the red ground on page 20 (see the photographs) is measured, it will be found to be just the correct proportion, and part of the straight left edge of the red can still be seen, just left of the rod in the hand of the mummy-figure, and leaving just room for the Ezanab column. In the colored plates I have only shown 12 instead of 13 day-signs in each column, but a measurement of the s.p.a.ce above and below shows that the missing four are to be placed at the top and not at the bottom. These two pages therefore have application in some way to 52 solar years, beginning with 1 Lamat and ending with 13 Akbal (Votan).

These "year-bearers" are those of the Tzental instead of the Yucatecan system, as described by Landa, and on these two pages rests, so far as regards known subject-matter, the a.s.signment of the Codex Perez to the Palenque rather than to the northern Maya district. It is thus to be considered with the Inscriptions of that region, and with the Dresden Codex.[28-*] And in accord with what is known of the state of the different parts of the country at the time of the Conquest, and of the history of the break-up and extinction of the Maya empire, it must be a.s.signed the greater antiquity on that account.

It is probable that pages 19 and 20 had no text pa.s.sages.

Pages 21 and 22 again, judging from the coloring and the arrangement, seem to form a pair. Each had on the upper part probably five rows of glyphs, some 70 in all, of which only 10 or 12 are at all recognizable.

Contrary to all the pages. .h.i.therto discussed, it may be that these glyphs are to be _read from right to left_. The faces in these all look to the right, and the customary prefixes are all on the right. In cla.s.sifying these glyphs, therefore, they must be all reversed.

The greater part of page 21 is framed in and divided up by green bands, evidently for water, two branches of which, after crossing a constellation band near the bottom, end one in falling torrents, the other in a circle surrounding a _kin_-sign, [Hieroglyph], the sun, and itself surrounded by four dragon's heads, all figured in the midst of the torrents. Below this symbol is the open mouth of a dragon, towards which is looking and pointing a black-faced figure, of the G.o.d D, the Ancient of Days, described by Sch.e.l.lhas as the moon and night G.o.d. To the left of the torrents is a figure, nearly erased, but with the wristlets characteristic of the G.o.d of death, and holding in the hand a torch. The glyph [Hieroglyph] occurs written in the torrents, at the left side.

The green bands divide the middle of the page into six compartments containing, so far as not totally erased, 65 day-signs, in columns of five. All my efforts to relate these signs either to each other or to any other series in the codices, have so far been fruitless. The upper seven columns have each a black numeral beneath, running from right to left, 1 2 3 3 5 6 and the dot of another 6.

Each of the columns of five day-signs forms a closed circuit returning into itself. In the upper row the 1st and 6th columns show successive days 8 apart in order; columns 2, 3, 4, 5 and 7 are 16 apart in order.

The 1st in the lower row is at intervals of 8, the 2nd and 5th at intervals of 16. The 3rd column is, with the 4th, an exception, the intervals being successively 8, 4, 4, 8, 16. That this is probably not a scribal error is shown by the fact that the same series, though beginning with different days, occurs in both columns. The 6th and possible 7th columns of the lower part are indeterminable.

We thus have three rounds of 5 times 8, or 40 days; seven rounds of 5 times 16, or 80 days; two irregular rounds of 40 days. These are not such columns as could form the beginning of a series of tonalamatl fifths, in which the successive days come 12 apart. So that this section must be left unexplained.[29-*]

At the right of page 21 begins a solid red background which probably extended right across page 22. Two standing spotted green figures appear on page 21; seven seated figures, one green spotted, on page 22.

Page 22 is crossed by a winding dragon whose body is covered by the "constellation band." A narrow green band also winds across the page, inclosing two of the upper figures. Below the dragon and this green band are seen, seated above the open mouths of two erect dragons, two figures in conversation, each bearing various insignia of the death G.o.d. A very curious cartouche outline, partly erased, at the lower right, incloses what seems to be 13 Ahau, 3, 6, the right hand dot of the 3 being erased.

On pages 23 and 24 the brilliant backgrounds of the preceding pages disappear, and we have two pages, to be read together, of glyphs, day-signs and small figures, finely and sparingly illuminated with the usual four colors. The body of the dragon is apparently continuous from page 21, and crosses these pages entirely with the constellation band, displayed along its full length.

The upper part of these two pages contained originally 91 glyphs, perhaps to be read _from right to left_, the same as 21 and 22. The faces look to the right, the usual _pre_fixes and the few numerals are also on the right of their respective compounds. Many of the glyphs are the same as those on pages 2 to 11, reversed right for left. Glyph 23-a-11 should be specially noted. At first sight the numeral prefix, 6, appears to belong, postfixed, to glyph 23-a-17. But on investigation we find the same compound, a _yax-chuen_ with [Hieroglyph] prefix, also at 21-a-8 and 24-a-26, in each case with the 6 attached. The [Hieroglyph]

affix just below this number 6 is also plainly a _pre_fix to glyph 23-a-12; so that glyph 23-a-ll must be read [Hieroglyph] and include the 6 as prefix. At 24-a-26, [Hieroglyph] the same glyph is written left to right.

There are also a few other glyphs on these pages which cannot be regarded as right to left. Such for instance, as [Hieroglyph] at 23-a-19 and 24-a-17. In this glyph the affix [Hieroglyph] at the side is properly a prefix (perhaps the possessive), and I do not recall any instance of its use as a postfix. In the affixes, the superfix and prefix positions may as a general rule be regarded as wholly identical; also the subfix and postfix positions. But also as a general rule the two pairs are I believe not to be interchanged, any more than we interchange prefixes and endings in English; this rule is not universal for all affixes, as some seem able to go anywhere, but it is one I have always regarded in my glyph cla.s.sifying. As to [Hieroglyph] it is to be noted that this is a symmetrical glyph and as there can be no doubt that these glyphs were equally legible to the Maya reader written in either direction, it may well be regarded as unimportant, and not to be rated even as an error. [Hieroglyph] is a still stronger similar case. Here the wing [Hieroglyph] affix to the right is certainly a postfix, the superfix is in the usual left to right order, [Hieroglyph] and the main element written left to right, as in all its other instances. And [Hieroglyph] is again in point.

The face-_tun_ compounds on these pages, and also on the opposite side of the ma.n.u.script, should be particularly noted.

Below the constellation band, inscribed on a wavy green band (the waters of s.p.a.ce?) are seven repet.i.tions of [Hieroglyph] or the sun glyph [Hieroglyph] within the shields.[31-*] Between each appeared probably two black 8's. The sun-shields are about to be seized by different animals, dragon, tortoise, bird, etc., a seeming evident suggestion of either an eclipse, or the pa.s.sage of the sun into some zodiacal sign.

Another series of seven sun-shields, on the green band, separated by numeral 8's, and attacked by animals and a skeleton, crosses the lower part of the pages.

Between these two bands we find a series of columns of five day-signs each preceded by red numerals. Allowing for the s.p.a.ce erased I have restored the last column to the right, and part of the preceding. This gives 12 columns only, whereas at least 13 are required. There may have been a 12th column to the left of page 23, where there is just the proper s.p.a.ce for this,[32-*] leaving the dragon's body to curve above the column so as to pa.s.s to page 22. The series may have continued on across page 25; 13 columns on pages 23, 24, and 7 more filling page 25, would make a full cycle of 20 columns. And in this connexion it should be noted that the dragon's body with constellation band goes almost to the edge of page 24 with no sign of ending or turning, such as might be expected if the chapter ends here. And if the constellation dragon continues over page 25, the column series may well have done the same.

Before discussing this series it will be of advantage to review what the Codex gives us on the question of reading left to right or right to left.

First, in both the Dresden and Tro.-Cort. the glyph faces look to the left; and, as shown by the calculations, reading is from left to right, with a very few possible exceptions, such as the tables on Dres. 24, 64, 69, etc.

In the Perez, as shown by the tonalamatls on 15 to 18, the 52 year-bearers on 19 and 20, and the katun-series on 2 to 12, the general direction of the reading is also left to right.

Above or below each of the red number columns of these pages 23, 24, is to be found a blue number. These numbers make a katun-series, starting with 4, decreasing by 2, if we read it left to right. It is not, to be sure, accompanied by the customary Ahau-sign, [Hieroglyph], but, taken in connexion with the marked parallelism of the glyphs, face-tun glyphs and also others, on these two pages with those on pages 2 to 11, already discussed, the possibility that a katun-series is a part of this subject-matter must be considered.