They wrote their books on a large sheet doubled into folds, which was afterwards inclosed between two boards, which they decorated handsomely. They were written from side to side in columns, as they were folded. They manufactured this paper from the root of a tree and gave it a white surface on which one could write. Some of the principal nobles cultivated these sciences out of a taste for them, and although they did not make public use of them, as did the priests, yet they were the most highly esteemed for this knowledge.[1]
The first concern of the Spanish conquerors was to replace the native culture with their own, and it may be doubted if religion played a much less part in one than in the other. Hence, the Spaniards bent every effort to destroy the native priestcraft, and as the native literature was in its keeping, all books were destroyed at sight. Yet, the people could not be made to forget, and many manuscripts were written in secret. A number of these have been preserved under their native class name, The Books of Chilan Balam.[2] It is from this source alone that we get an inkling of what Maya literature was like. No doubt, back of it all was a wealth of unwritten verse and narrative of real artistic merit.
Outside of the areas we have just discussed, we find but the feeblest effort to record tribal literature; the skeleton-like year counts of the Plains Indians and the mnemonic song tablets of the Algonkin are about all that come to notice. Literature in all these areas is comprised in mythology, ritual, and song.
A naïve notion prevails among us that poetry and song belong to the most advanced states of culture, whereas, it is nearer the truth to say that they are the truly primitive modes of artistic expression. Modern Europe has a verse and song complex quite distinct from Asia and of very ancient origin. The scales of Bronze Age trumpets are said to prove its existence even at that early period. Versification must be as old as song, and both are found in all parts of the world. It is said, the languages of the New World do not have the vocalic quantities or accentuations of the classical world, so that aboriginal poetry is, in the main, made up of refrains of meaningless syllables and repetitions.[3] Yet, there is form and sentiment, often of great artistic merit.
