The Myths of the New World | Page 6

of a single sheet, twelve to fifteen inches wide, and often sixty or seventy feet long, and is not rolled, but folded either in squares or zigzags in such a manner that on opening it there are two pages exposed to view. Thin wooden boards are fastened to each of the outer leaves, so that the whole presents as neat an appearance, remarks Peter Martyr, as if it had come from the shop of a skilful bookbinder. They also covered buildings, tapestries, and scrolls of parchment with these devices, and for trifling transactions were familiar with the use of slates of soft stone from which the figures could readily be erased with water.[11-1] What is still more astonishing, there is reason to believe, in some instances, their figures were not painted, but actually printed with movable blocks of wood on which the symbols were carved in relief, though this was probably confined to those intended for ornament only.
In these records we discern something higher than a mere symbolic notation. They contain the germ of a phonetic alphabet, and represent sounds of spoken language. The symbol is often not connected with the idea but with the word. The mode in which this is done corresponds precisely to that of the rebus. It is a simple method, readily suggesting itself. In the middle ages it was much in vogue in Europe for the same purpose for which it was chiefly employed in Mexico at the same time--the writing of proper names. For example, the English family Bolton was known in heraldry by a tun transfixed by a bolt. Precisely so the Mexican emperor Ixcoatl is mentioned in the Aztec manuscripts under the figure of a serpent coatl, pierced by obsidian knives ixtli, and Moquauhzoma by a mouse-trap montli, an eagle quauhtli, a lancet zo, and a hand maitl. As a syllable could be expressed by any object whose name commenced with it, as few words can be given the form of a rebus without some change, as the figures sometimes represent their full phonetic value, sometimes only that of their initial sound, and as universally the attention of the artist was directed less to the sound than to the idea, the didactic painting of the Mexicans, whatever it might have been to them, is a sealed book to us, and must remain so in great part. Moreover, it is entirely undetermined whether it should be read from the first to the last page, or vice versa, whether from right to left or from left to right, from bottom to top or from top to bottom, around the edges of the page toward the centre, or each line in the opposite direction from the preceding one. There are good authorities for all these methods,[12-1] and they may all be correct, for there is no evidence that any fixed rule had been laid down in this respect.
Immense masses of such documents were stored in the imperial archives of ancient Mexico. Torquemada asserts that five cities alone yielded to the Spanish governor on one requisition no less than sixteen thousand volumes or scrolls! Every leaf was destroyed. Indeed, so thorough and wholesale was the destruction of these memorials now so precious in our eyes that hardly enough remain to whet the wits of antiquaries. In the libraries of Paris, Dresden, Pesth, and the Vatican are, however, a sufficient number to make us despair of deciphering them had we for comparison all which the Spaniards destroyed.
Beyond all others the Mayas, resident on the peninsula of Yucatan, would seem to have approached nearest a true phonetic system. They had a regular and well understood alphabet of twenty seven elementary sounds, the letters of which are totally different from those of any other nation, and evidently original with themselves. But besides these they used a large number of purely conventional symbols, and moreover were accustomed constantly to employ the ancient pictographic method in addition as a sort of commentary on the sound represented. What is more curious, if the obscure explanation of an ancient writer can be depended upon, they not only aimed to employ an alphabet after the manner of ours, but to express the sound absolutely like our phonographic signs do.[13-1] With the aid of this alphabet, which has fortunately been preserved, we are enabled to spell out a few words on the Yucatecan manuscripts and fa?ades, but thus far with no positive results. The loss of the ancient pronunciation is especially in the way of such studies.
In South America, also, there is said to have been a nation who cultivated the art of picture writing, the Panos, on the river Ucayale. A missionary, Narcisso Gilbar by name, once penetrated, with great toil, to one of their villages. As he approached he beheld a venerable man