It would seem that the earliest of all written language consisted of
actual drawings of the forms of animals or things; rudely sketched,
indeed, by the hands of our rude forefathers, but sufficiently plain to
mark the object designed. This mode appears the more natural, because
the representation of sounds, which express the names of things, by
certain characters or alphabets, which is the mode now most extensively
in use, must necessarily require some previous concert between two
parties, the one of whom suggests, and the other agrees, that a
particular mark or form on paper shall be the symbol for a particular
sound. But if we suppose a savage separated from his friend, and wishing
to communicate with him, without having had this previous consultation,
and supposing that he has lent his distant acquaintance some articles of
furniture, such as his bow and arrows, or his knife, which he is anxious
to have returned, without the knowledge of his messenger, it seems
highly probable, that his first impulse would be to make a rude sketch
of these articles, and transmit the impression to his friend. Were the
latter an acute man he would probably understand the allusion; and, were
he not intelligent enough for this purpose, it is clear he would not be
nearly sufficiently so to comprehend the symbols to denote sounds. So
that the simplicity of this mode of writing might suggest the
probability of its being the first resorted to, without alluding to the
hieroglyphics yet remaining on the Egyptian tombs, which, from our want
of acquaintance with the manners, customs, and general objects with
which the Egyptians were conversant, are very difficult to decipher, if
we may judge from the learning expended in explaining them. As a modern
specimen of this kind of writing, it may not be uninteresting to
describe a letter which M. Martinez received from an inhabitant of the
Caroline Islands, in the Eastern Ocean. The following is the drawing of
the letter alluded to, and the description is taken from FREYCINET and
ARAGO’S _Voyage_.
[Illustration]
“This was written to M. Martinez, at Rotta, who had commissioned a Tamor
of Sathoual to send him some shells, promising in exchange a few pieces
of iron. The captain gave him the sheet of paper, the original of which
is in my possession, and is in red characters. The figure at the top of
the letter was placed there as the bearer of compliments: the branch
under him is the type of peace and amity: the marks in the column on the
left hand indicate the sort of shells the Carolinian had sent to M.
Martinez. In the column on the right, are placed the objects he desired
in exchange; namely, three large fishing hooks, four small ones, two
pieces of iron of the shape of axes, and two pieces a little longer.”
This curiously-expressed request was gratified, and many handsome shells
obtained in return.
This is, perhaps, as clear an instance as can be found, of the mode in
which an unlettered people would endeavour to convey the expression of
their wishes to their friends at a distance, and forms a striking
contrast to the elegant though complicated process of our own method of
writing.
In the written language of the Chinese, a great proof of its having
originated in this picture-writing, may yet be seen by a little
attention to the forms of their characters, and is, perhaps, the only
language now generally in practice, in which these early symbols are
discernible, though some have attempted to explain the Hebrew language
in the same way, by maintaining that the letters composing the Alphabet
were at first characters or drawings of things. In the modern Chinese,
however, much of the early rude formation of the characters has been
altered, arising, probably, in some degree, from a greater improvement
in taste inducing the nation to alter these rough to more elegant forms,
and partly from the facility of writing requiring the scribe, in some
cases, to strike off, and in others to connect, various parts of the
original figure. Thus, the present Chinese character for ‘a man,’ is
[Illustration] which was originally drawn [Illustration] or
[Illustration] or [Illustration]; here it is plain that, by lopping
off some of the limbs of this rude representative of the human species,
we leave something like the form of the present character, though it
would appear, that a long succession of ages must have polished the
rough material to the improved shape which it now possesses. Again, the
character to denote ‘the ear,’ was formerly drawn [Illustration] which
is now softened into the present form, thus [Illustration]. ‘A range of
hills,’ or ‘mound,’ at first drawn [Illustration] has now become
[Illustration]. ‘The sun,’ [Illustration] is now [Illustration]. The
reader’s ingenuity may be exercised and amused, and he will be enabled
to see how far the preceding remarks are well-grounded, if we present
him with a few of the original drawings, placed side by side with the
characters into which they have been gradually altered, and which are
now in general use.
The numbers one, two, three, and four, remain the same, being the
simplest form which can be devised, to maintain the connexion of the
drawing with the idea conceived. [Illustration] One, [Illustration]
Two, [Illustration] Three, [Illustration] Four.
Ancient form. Present character.
[Illustration] the human face. [Illustration]
[Illustration] the moon. [Illustration]
[Illustration] rain. [Illustration]
[Illustration] the eye. [Illustration]
[Illustration] an arrow. [Illustration]
[Illustration] the mouth. [Illustration]
[Illustration] the tongue in the [Illustration]
midst of the mouth.
[Illustration] the teeth. [Illustration]
In order to save a multiplicity of characters, a single one is often
placed in various positions, to convey ideas which it would be very
difficult, and often impossible, to express by a simple drawing of the
object: for instance, how could the idea of ‘a corpse’ be represented on
paper; the figure of a man, it is easily seen, is not sufficient, since
we cannot tell, from looking at a picture so unfinished as the rapidity
of writing would demand, whether the breath be in or out of the body;
they, therefore, take the figure for man we have before seen, and lay it
prostrate, thus [Illustration]. The figure to represent a rock
[Illustration] is supposed to imply a rock jutting over, and affording
shelter, and from this was formed the following to denote ‘a stone,’
[Illustration], that is, as it were, a portion cut out of the rock;
hence, to imply a heap of stones, the form [Illustration] would readily
suggest itself. On the same principle it would be very difficult to
describe hail in a sketch; but, by considering it (if we may be allowed
the term) as hardened water, they add to the character denoting rain the
appearance of solid drops falling; thus, ‘rain’ is expressed by
[Illustration] and ‘hail’ thus [Illustration]. In representing the
forms of animals, or things, no further accomplishment was necessary
than accuracy of eye, and skill in delineating the various shapes; but
much greater ingenuity is required in order to represent intangible or
invisible substances, such as light, air, &c., or the qualities of
things which we call by the term adjectives, such as those implying
strength, weakness, or various actions, as to walk, to stop, to eat, to
desire, &c., in fact, all kinds of verbs. This difficult matter is
generally accomplished by the union of two or more simple forms, placed
together in such a way, that their combination may suggest the idea
required. To express brightness, the figures of the ‘sun’ and ‘moon’ are
placed together [Illustration]. In the character which they employ to
denote the adjective ‘aspiring,’ a man’s breath is represented as going
out of the body and ascending [Illustration]. To hanker after or desire
earnestly, is represented by this character of breath combined with
water, corresponding, in fact, with our somewhat common phrase
‘mouth-watering’ [Illustration]. The rather difficult character of a
king is described by ‘one,’ [Illustration]; and the character for land
[Illustration], or united [Illustration], implying the feudal idea of
sovereignty, all the land belonging to one. The adverbs ‘above’ and
‘below’ are very simply expressed, the former being [Illustration], and
the latter [Illustration]. Crafty and intriguing finds its
corresponding character in the little crooked symbol [Illustration].
The idea of a family is very happily and prettily expressed by the
symbol of a ‘house,’ under which three human beings are sheltered
[Illustration]. Many more instances, and some very remarkable ones,
might be adduced of this mode of representing complex ideas, by the
union of two or more characters for simple objects. In fact, most of the
words, perhaps, in common use in Chinese writing, might be divided, and
subdivided, till the original simple ideas had been traced out, and the
reason of their formation distinctly shown; but the progress of time and
refinement, has so moulded and altered even the most simple characters
in the language, that considerable research would be required to perform
such a task so many ages after their original formation. The inventor of
this species of writing amongst this singular nation is said to be
Tsang-hëĕ, of whom tradition or invention has preserved the portrait;
and, in order to convey to the mind of the spectator some idea of his
depth of intellect, and extent of mental vision, they have expressly
chosen to represent him as enjoying the privilege of _four_ eyes,
instead of the number possessed by ordinary mortals.