The sign made by the Dakota, Hidatsa, and several other tribes, for tree is made by holding the right hand before the body, back forward, fingers and thumb separated, then pushing it slightly upward, Fig. 112. That for grass is the same made near the ground; that for grow is made like grass, though instead of holding the back of the hand near the ground the hand is pushed upward in an interrupted manner, Fig. 113. For smoke, the hand (with the back down, fingers pointing upward as in grow) is thrown upward several times from the same place instead of continuing the whole motion upward. Frequently the fingers are thrown forward from under the thumb with each successive upward motion. For fire, the hand is employed as in the gesture for smoke, but the motion is frequently more waving, and in other cases made higher from the ground.
The sign for rain, made by the Shoshoni, Apache, and other Indians, is by holding the hand (or hands) at the height of and before the shoulder, fingers pendent, palm down, then pushing it downward a short distance, Fig. 114. That for heat is the same, with the difference that the hand is held above the head and thrust downward toward the forehead; that for to weep is made by holding the hand as in rain, and the gesture made from the eye downward over the cheek, back of the fingers nearly touching the face.
The common sign for sun is made by bringing the tips of the thumb and index together so as to form a circle; remaining fingers closed. The hand is then held toward the sky, Fig. 115. The motion with the same circular position of index and thumb is for want, by bringing the hand backward toward the mouth, in a curve forming a short arch between the origin and termination of the gesture.
For drink the gesture by several tribes is the same as for want, with the slight difference in the position of the last three fingers, which are not so tightly clinched, forming somewhat the shape of a cup; and that for money is made by holding out the hand with the same arrangement of fingers in front of the hips, at a distance of about twelve or fifteen inches.
Another sign for sun, made by the Cheyennes, is by placing the tips of the partly separated thumb and index of one hand against those of the other, approximating a circle, and holding them toward the sky, Fig. 116, and that for various things, observed among the Brulé Sioux with the same position of the hands, is made by placing the circle horizontal, and moving it interruptedly toward the right side, each movement forming a short arch. Compare also the sign for village, described on page 386.
The Arikara sign for soldier is by placing the clinched hands together before the breast, thumbs touching, then drawing them horizontally outward toward their respective sides, Fig. 117. That for done, made by the Hidatsa, is shown below in this paper, see Fig. 334, page 528. That for much (Cheyenne I, Comanche III), see Fig. 274, page 447, is to be correlated with the above.
The sign for to be told or talked to, and for the reception of speech, by the tribes generally, is made by placing the flat right hand, palm upward, about fifteen inches in front of the right side of the face or breast, fingers pointing to the left, then drawing the hand toward the bottom of the chin, and is illustrated in Fig. 71, page 291. The Comanche sign for give or asking is shown in Fig. 301, page 480 (Comanche III), and is made by bringing the hand toward the body but a short distance, and the motion repeated, the tips of the fingers indicating the outline of a circle.
The tribal sign for Kaiowa, illustrated in its place among the Tribal Signs, is made by holding the hand with extended and separated fingers and thumb near the side of the head, back outward, and giving it a rotary motion. This gesture is made in front of the face by many tribes. The generic sign for deer, made by the Dakota and some others, is by holding the hand motionless at the side of the head, with extended and separated thumb and fingers, representing the branched antlers. That for fool, reported from the same Indians, is the same as above described for Kaiowa, which it also signifies, though frequently only one or two fingers are used.
The tribal sign both for the Sahaptin or Nez Percés and for Caddo (see Tribal Signs) is made by passing the extended index, pointing under the nose from right to left. When the second finger is not tightly closed it strongly resembles the sign often made for lie, falsehood, by passing the extended index and second fingers separated toward the left, over the mouth.
The tribal sign for Cheyenne (see Tribal Signs) differs from the sign for spotted only in the finger (or hand) in the latter being alternately passed across the upper and lower sides of the left forearm.
The sign for steal, theft, see Fig. 75, page 293, is but slightly different from that for bear, see Fig. 239, page 413, especially when the latter is made with one hand only. The distinction, however, is that the grasping in the latter sign is not followed by the idea of concealment in the former, which is executed by the right hand, after the motion of grasping, being brought toward and sometimes under the left armpit.
Cold and winter, see Tendoy-Huerito Dialogue, page 486, may be compared with love, see Kin Chē-ĕss' speech, page 521, and with prisoner. In these the difference consists in that cold and winter are represented by crossing the arms with clinched hands before the breast; love by crossing the arms so as to bring the fists more under the chin, and prisoner by holding the crossed wrists a foot in front of the breast.
Melon, squash, muskmelon, used by the Utes and Apaches, is made by holding the hand arched, fingers separated and pointing forward, and pushing the hand forward over a slight curve near the ground, and the generic sign for animals by the Apaches is made in the same manner at the height intended to represent the object.
The sign for where?, and to search, to seek for, made by the Dakota (IV), is by holding the back of the hand upward, index pointing forward, and carrying it from left to right about eight inches, raising and lowering it several times while so doing, as if quickly pointing at different objects. That for some of them, a part of a number of things or persons, made by the Kaiowa, Comanche, Wichita, and Apache Indians is nearly identical, the gesture being made less rapidly.
These may be divided into (1) its practical application, (2) its aid to philologic researches in general with (3) particular reference to the grammatic machinery of language, and (4) its archæologic relations.
The most obvious application of Indian sign language will for its practical utility depend, to a large extent, upon the correctness of the view submitted by the present writer that it is not a mere semaphoric repetition of motions to be memorized from a limited traditional list, but is a cultivated art, founded upon principles which can be readily applied by travelers and officials, so as to give them much independence of professional interpreters—as a class dangerously deceitful and tricky. This advantage is not merely theoretical, but has been demonstrated to be practical by a professor in a deaf mute college who, lately visiting several of the wild tribes of the plains, made himself understood among all of them without knowing a word of any of their languages; nor would it only be experienced in connection with American tribes, being applicable to intercourse with savages in Africa and Asia, though it is not pretended to fulfill by this agency the schoolmen's dream of an ecumenical mode of communication between all peoples in spite of their dialectic divisions.
It must be admitted that the practical value of signs for intercourse with the American Indians will not long continue, their general progress in the acquisition of English or of Spanish being so rapid that those languages are becoming, to a surprising extent, the common medium, and signs are proportionally disused. Nor is a systematic use of signs of so great assistance in communicating with foreigners, whose speech is not understood, as might at first be supposed, unless indeed both parties agree to cease all attempt at oral language, relying wholly upon gestures. So long as words are used at all, signs will be made only as their accompaniment, and they will not always be ideographic. An amusing instance in which savages showed their preference to signs instead of even an onomatope may be quoted from Wilfred Powell's Observations on New Britain and neighboring Islands during Six Years' Exploration, in Proc. Roy. Geog. Soc., vol. iii, No. 2 (new monthly series), February, 1881, p. 89, 90: "On one occasion, wishing to purchase a pig, and not knowing very well how to set about it, being ignorant of the dialect, which is totally different from that of the natives in the north, I asked Mr. Brown how I should manage, or what he thought would be the best way of making them understand. He said, 'Why don't you try granting?' whereupon I began to grunt most vociferously. The effect was magical. Some of them jumped back, holding their spears in readiness to throw; others ran away, covering their eyes with their hands, and all exhibited the utmost astonishment and alarm. In fact, it was so evident that they expected me to turn into a pig, and their alarm was so irresistibly comic, that Mr. Brown and I both burst out laughing, on which they gradually became more reassured, and those that had run away came back, and seeing us so heartily amused, and that I had not undergone any metamorphosis, began to laugh too; but when I drew a pig on the sand with a piece of stick, and made motions of eating, it suddenly seemed to strike them what was the matter, for they all burst out laughing, nodding their heads, and several of them ran off, evidently in quest of the pig that was required."
Sign language, being the mother utterance of nature, poetically styled by Lamartine the visible attitudes of the soul, is superior to all others in that it permits every one to find in nature an image to express his thoughts on the most needful matters intelligently to any other person. The direct or substantial natural analogy peculiar to it prevents a confusion of ideas. It is to some extent possible to use words without understanding them which yet may be understood by those addressed, but it is hardly possible to use signs without full comprehension of them. Separate words may also be comprehended by persons hearing them without the whole connected sense of the words taken together being caught, but signs are more intimately connected. Even those most appropriate will not be understood if the subject is beyond the comprehension of their beholders. They would be as unintelligible as the wild clicks of his instrument, in an electric storm, would be to the telegrapher, or as the semaphore, driven by wind, to the signalist. In oral speech even onomatopes are arbitrary, the most strictly natural sounds striking the ear of different individuals and nations in a manner wholly diverse. The instances given by Sayce are in point. Exactly the same sound was intended to be reproduced in the "bilbit amphora" of Nævius, the "glut glut murmurat unda sonans" of the Latin Anthology, and the "puls" of Varro. The Persian "bulbul," the "jugjug" of Gascoigne, and the "whitwhit" of others are all attempts at imitating the note of the nightingale. Successful signs must have a much closer analogy and establish, a consensus between the talkers far beyond that produced by the mere sound of words.
Gestures, in the degree of their pantomimic character, excel in graphic and dramatic effect applied to narrative and to rhetorical exhibition, and beyond any other mode of description give the force of reality. Speech, when highly cultivated, is better adapted to generalization and abstraction; therefore to logic and metaphysics. The latter must ever henceforth, be the superior in formulating thoughts. Some of the enthusiasts in signs have contended that this unfavorable distinction is not from any inherent incapability, but because their employment has not been continued unto perfection, and that if they had been elaborated by the secular labor devoted to spoken language they might in resources and distinctiveness have exceeded many forms of the latter. Gallaudet, Peet, and others maybe right in asserting that man could by his arms, hands, and fingers, with facial and bodily accentuation, express any idea that could be conveyed by words.
The combinations which can be made with corporeal signs are infinite. It has been before argued that a high degree of culture might have been attained by man without articulate speech and it is but a further step in the reasoning to conclude that if articulate speech had not been possessed or acquired, necessity would have developed gesture language to a degree far beyond any known exhibition of it. The continually advancing civilization and continually increasing intercourse of countless ages has perfected oral speech, and as both, civilization and intercourse were possible with signs alone it is to be supposed that they would have advanced in some corresponding manner. But as sign language has been chiefly used during historic time either as a scaffolding around a more valuable structure to be thrown aside when the latter was completed, or as an occasional substitute, such development was not to be expected.
The process of forming signs to express abstract ideas is only a variant from that of oral speech, in which the words for the most abstract ideas, such as law, virtue, infinitude, and immortality, are shown by Max Müller to have been derived and deduced, that is, abstracted, from sensuous impressions. In the use of signs the countenance and manner as well as the tenor decide whether objects themselves are intended, or the forms, positions, qualities, and motions of other objects which are suggested, and signs for moral and intellectual ideas, founded on analogies, are common all over the world as well as among deaf-mutes. Concepts of the intangible and invisible are only learned through percepts of tangible and visible objects, whether finally expressed to the eye or to the ear, in terms of sight or of sound.
Sign language is so faithful to nature, and so essentially living in its expression, that it is not probable that it will ever die. It may become disused, but will revert. Its elements are ever natural and universal, by recurring to which the less natural signs adopted dialectically or for expedition can always, with, some circumlocution, be explained. This power of interpreting itself is a peculiar advantage, for spoken languages, unless explained by gestures or indications, can only be interpreted by means of some other spoken language. When highly cultivated, its rapidity on familiar subjects exceeds that of speech and approaches to that of thought itself. This statement may be startling to those who only notice that a selected spoken word may convey in an instant a meaning for which the motions of even an expert in signs may require a much longer time, but it must be considered that oral speech is now wholly conventional, and that with the similar development of sign language conventional expressions with hands and body could be made more quickly than with the vocal organs, because more organs could be worked at once. Without such supposed development the habitual communication between deaf-mutes and among Indians using signs is perhaps as rapid as between the ignorant class of speakers upon the same subjects, and in many instances the signs would win at a trial of speed. At the same time it must be admitted that great increase in rapidity is chiefly obtained by the system of preconcerted abbreviations, before explained, and by the adoption of arbitrary forms, in which naturalness is sacrificed and conventionality established, as has been the case with all spoken languages in the degree in which they have become copious and convenient.
There is another characteristic of the gesture speech that, though it cannot be resorted to in the dark, nor where the attention of the person addressed has not been otherwise attracted, it has the countervailing benefit of use when the voice could not be employed. This may be an advantage at a distance which the eye can reach, but not the ear, and still more frequently when silence or secrecy is desired. Dalgarno recommends it for use in the presence of great people, who ought not to be disturbed, and curiously enough "Disappearing Mist," the Iroquois chief, speaks of the former extensive use of signs in his tribe by women and boys as a mark of respect to warriors and elders, their voices, in the good old days, not being uplifted in the presence of the latter. The decay of that wholesome state of discipline, he thinks, accounts partly for the disappearance of the use of signs among the modern impudent youth and the dusky claimants of woman's rights.
An instance of the additional power gained to a speaker of ordinary language by the use of signs, impressed the writer while dictating to two amanuenses at the same moment, to the one by signs and the other by words, on different subjects, a practice which would have enabled Cæsar to surpass his celebrated feat. It would also be easy to talk to a deaf and blind man at once, the latter being addressed by the voice and the former in signs.
The aid to be derived from the study of sign language in prosecuting researches into the science of language was pointed out by Leibnitz, in his Collectanea Etymologica, without hitherto exciting any thorough or scientific work in that direction, the obstacle to it probably being that scholars competent in other respects had no adequate data of the gesture speech of man to be used in comparison. The latter will, it is hoped, be supplied by the work now undertaken.
In the first part of this paper it was suggested that signs played an important part in giving meaning to spoken words. Philology, comparing the languages of earth in their radicals, must therefore include the graphic or manual presentation of thought, and compare the elements of ideography with those of phonics. Etymology now examines the ultimate roots, not the fanciful resemblances between oral forms, in the different tongues; the internal, not the mere external parts of language. A marked peculiarity of sign language consists in its limited number of radicals and the infinite combinations into which those radicals enter while still remaining distinctive. It is therefore a proper field for etymologic study.
From these and other considerations it is supposed that an analysis of the original conceptions of gestures, studied together with the holophrastic roots in the speech of the gesturers, may aid in the ascertainment of some relation between concrete ideas and words. Meaning does not adhere to the phonic presentation of thought, while it does to signs. The latter are doubtless more flexible and in that sense more mutable than words, but the ideas attached to them are persistent, and therefore there is not much greater metamorphosis in the signs than in the cognitions. The further a language has been developed from its primordial roots, which have been twisted into forms no longer suggesting any reason for their original selection, and the more the primitive significance of its words has disappeared, the fewer points of contact can it retain with signs. The higher languages are more precise because the consciousness of the derivation of most of their words is lost, so that they have become counters, good for any sense agreed upon and for no other.
It is, however, possible to ascertain the included gesture even in many English words. The class represented by the word supercilious will occur to all readers, but one or two examples may be given not so obvious and more immediately connected with the gestures of our Indians. Imbecile, generally applied to the weakness of old age, is derived from the Latin in, in the sense of on, and bacillum, a staff, which at once recalls the Cheyenne sign for old man, mentioned above, page 339. So time appears more nearly connected with τεινω, to stretch, when information is given of the sign for long time, in the Speech of Kin Chē-ĕss, in this paper, viz., placing the thumbs and forefingers in such a position as if a small thread was held between the thumb and forefinger of each hand, the hands first touching each other, and then moving slowly from each other, as if stretching a piece of gum-elastic.
In the languages of North America, which have not become arbitrary to the degree exhibited by those of civilized man, the connection between the idea and the word is only less obvious than, that still unbroken between the idea and the sign, and they remain strongly affected by the concepts of outline, form, place, position, and feature on which gesture is founded, while they are similar in their fertile combination of radicals.
Indian language consists of a series of words that are but slightly differentiated parts of speech following each other in the order suggested in the mind of the speaker without absolute laws of arrangement, as its sentences are not completely integrated. The sentence necessitates parts of speech, and parts of speech are possible only when a language has reached that stage where sentences are logically constructed. The words of an Indian tongue, being synthetic or undifferentiated parts of speech, are in this respect strictly analogous to the gesture elements which enter into a sign language. The study of the latter is therefore valuable for comparison with the words of the former. The one language throws much light upon the other, and neither can be studied to the best advantage without a knowledge of the other.
Some special resemblances between the language of signs and the character of the oral languages found on this continent may be mentioned. Dr. J. Hammond Trumbull remarks of the composition of their words that they were "so constructed as to be thoroughly self-defining and immediately intelligible to the hearer." In another connection the remark is further enforced: "Indeed, it is a requirement of the Indian languages that every word shall be so framed as to admit of immediate resolution to its significant elements by the hearer. It must be thoroughly self-defining, for (as Max Müller has expressed it) 'it requires tradition, society, and literature to maintain words which can no longer be analyzed at once.'... In the ever-shifting state of a nomadic society no debased coin can be tolerated in language, no obscure legend accepted on trust. The metal must be pure and the legend distinct."
Indian languages, like those of higher development, sometimes exhibit changes of form by the permutation of vowels, but often an incorporated particle, whether suffix, affix, or infix, shows the etymology which often, also, exhibits the same objective conception that would be executed in gesture. There are, for instance, different forms for standing, sitting, lying, falling, &c., and for standing, sitting, lying on or falling from the same level or a higher or lower level. This resembles the pictorial conception and execution of signs.
Major J.W. Powell, with particular reference to the disadvantages of the multiplied inflections in Indian languages, alike with the Greek and Latin, when the speaker is compelled, in the choice of a word to express his idea, to think of a great multiplicity of things, gives the following instance:
"A Ponca Indian in saying that a man killed a rabbit, would have to say: the man, he, one, animate, standing, in the nominative case, purposely killed, by shooting an arrow, the rabbit, he, the one, animate, sitting, in the objective case; for the form of a verb to kill would have to be selected, and the verb changes its form by inflection and incorporated particles to denote person, number, and gender as animate or inanimate, and gender as standing, sitting, or lying, and case; and the form of the verb would also express whether the killing was done accidentally or purposely, and whether it was by shooting or by some other process, and, if by shooting, whether by bow and arrow, or with a gun; and the form of the verb would in like manner have to express all of these things relating to the object; that is, the person, number, gender, and case of the object; and from the multiplicity of paradigmatic forms of the verb to kill, this particular one would have to be selected." This is substantially the mode in which an Indian sign talker would find it necessary to tell the story, as is shown by several examples given below in narratives, speeches, and dialogues.
Indian languages exhibit the same fondness for demonstration which is necessary in sign language. The two forms of utterance are alike in their want of power to express certain words, such as the verb "to be," and in the criterion of organization, so far as concerns a high degree of synthesis and imperfect differentiation, they bear substantially the same relation to the English language.
It may finally be added that as not only proper names but nouns, generally in Indian languages are connotive, predicating some attribute of the object, they can readily be expressed by gesture signs, and therefore among them, if anywhere, it is to be expected that relations may be established between the words and the signs.
There can be no attempt in the present limits to trace the etymology of any large number of words in the several Indian languages to a gestural origin, nor, if the space allowed, would it be satisfactory. The signs have scarcely yet been collected, verified, and collated in sufficient numbers for such comparison, even with the few of the Indian languages the radicals of which have been scientifically studied. The signs will, in a future work, be frequently presented in connection with the corresponding words of the gesturers, as is done now in a few instances in another part of this paper. For the present the subject is only indicated by the following examples, introduced to suggest the character of the study in which the students of American linguistics are urgently requested to assist:
The Dakota word Shante-suta—from shante, heart, and suta, strong—brave, not cowardly, literally strong-hearted, is made by several tribes of that stock, and particularly by the Brulé Sioux, in gestures by collecting the tips of the fingers and thumb of the right hand to a point, and then placing the radial side of the hand over the heart, finger tips pointing downward—heart; then place the left fist, palm inward, horizontally before the lower portion of the breast, the right fist back of the left, then raise the right and throw it forcibly over and downward in front of the left—brave, strong. See Fig. 242, page 415.
The Arikaras make the sign for brave by striking the clinched fist forcibly toward the ground in front of and near the breast.
Brave, or "strong-hearted," is made by the Absaroka, Shoshoni, and Banak Indians by merely placing the clinched fist to the breast, the latter having allusion to the heart, the clinching of the hand to strength, vigor, or force.
An Ojibwa sign for death, to die, is as follows:
Place the palm of the hand at a short distance from the side of the head, then withdraw it gently in an oblique downward direction, inclining the head and upper part of the body in the same direction.
The same authority, The Very Rev. E. Jacker, who contributes it, notes that there is an apparent connection between this conception and execution and the etymology of the corresponding terms in Ojibwa. "He dies," is nibo; "he sleeps," is niba. The common idea expressed by the gesture is a sinking to rest. The original significance of the root nib seems to be "leaning;" anibeia, "it is leaning"; anibekweni, "he inclines the head sidewards." The word niba or nibe (only in compounds) conveys the idea of "night," perhaps as the falling over, the going to rest, or the death of the day.
Ogima, the Ojibwa term for chief, is derived from a root which signifies "above" (Ogidjaii, upon; ogidjina, above; ogidaki, on a hill or mountain, etc.). Ogitchida, a brave, a hero (Otawa, ogida), is probably from the same root.
Sagima, the Ojibwa form of sachem, is from the root sag, which implies a coming forth, or stretching out. These roots are to be considered in connection with several gestures described under the head of Chief, in Extracts from Dictionary, infra.
Onijishin, it is good (Ojibwa), originally signifies "it lies level." This may be compared with the sign for good, in the Tendoy-Huerito Dialogue, Fig. 309, page 487, and also that for happy, contentment, in the Speech of Kin Chē-ĕss, page 523.
In Klamath the radix lam designates a whirling motion, and appears in the word láma, "to be crazy, mad," readily correlated with the common gesture for madman and fool, in which the hand is rotated above and near the head.
Evening, in Klamath, is litkhí, from luta, to hang down, meaning the time when the sun hangs down, the gesture for which, described elsewhere in this paper (see Nátci's Narrative, page 503), is executive of the same conception, which is allied to the etymology usually given for eve, even, "the decline of the day." These Klamath etymologies have been kindly contributed by Mr. A.S. Gatschet.
The Very Rev. E. Jacker also communicates a suggestive excursus exegeticus upon the probable gestural origin of the Ojibwa word tibishko, "opposite in space; just so; likewise:"
"The adverb tibishko (or dibishko) is an offshoot of the root tib (or dib), which in most cases conveys the idea of measuring or weighing, as appears from the following samples: dibaige, he measures; dibowe, he settles matters by his speech or word, e.g., as a juryman; dibaamage, he pays out; dibakonige, he judges; dibabishkodjige, he weighs; dibamenimo, he restricts himself, e.g., to a certain quantity of food; dibissitchige, he fulfills a promise; dibijigan, a pattern for cutting clothes.
"The original, meaning of tib, however, must be supposed to have been more comprehensive, if we would explain other (apparent) derivatives, such as: tibi, 'I don't know where, where to, where from,' &c.; tibik, night; dibendjige, he is master or owner; titibisse, it rolls (as a ball), it turns (as a wheel); dibaboweigan, the cover of a kettle. The notion of measuring does not very naturally enter into the ideas expressed by these terms.
"The difficulty disappears if we assume the root tib or dib to have been originally the phonetic equivalent of a gesture expressive of the notion of covering as well as of that of measuring. This gesture would seem to be the holding of one hand above the other, horizontally, at some distance, palms opposite or both downwards. This, or some similar gesture would most naturally accompany the above terms. As for tibik, night, compare (Dunbar): 'The two hands open and extended, crossing one another horizontally.' The idea of covering evidently enters into this conception. The strange adverb tibi ('I don't know where,' &c., or 'in a place unknown to me'), if derived from the same root, would originally signify 'covered.' In titibisse, or didibisse (it rolls, it turns), the reduplication of the radical syllable indicates the repetition of the gesture, by holding the hands alternately above one another, palms downwards, and thus producing a rotary motion.
"In German, the clasping of the hands in a horizontal position, expressive of a promise or the conclusion of a bargain, is frequently accompanied by the interjection top! the same radical consonants as in tib. Compare also the English tap, the French tape, the Greek, τυπτω the Sanscrit tup and tub, &c."
Though written characters are generally associated with speech, they are shown, by successful employment in hieroglyphs and by educated deaf-mutes to be representative of ideas without the intervention of sounds, and so also are the outlines of signs. This will be more apparent if the motions expressing the most prominent feature, attribute, or function of an object are made, or supposed to be made, so as to leave a luminous track impressible upon the eye separate from the members producing it. The actual result is an immateriate graphic representation of visible objects and qualities which, invested with substance, has become familiar to us as the rebus, and also appears in the form of heraldic blazonry styled punning or "canting."
Gesture language is, in fact, not only a picture language, but is actual writing, though dissolving and sympathetic, and neither alphabetic nor phonetic.
Dalgarno aptly says: "Qui enim caput nutat, oculo connivet, digitum movet in aëre, &c., (ad mentis cogitata exprimendum); is non minus vere scribit, quam qui Literas pingit in Charta, Marmore, vel ære."
It is neither necessary nor proper to enter now upon any prolonged account of the origin, of alphabetic writing. There is, however, propriety, if not necessity, for the present writer, when making any remarks under this heading and under some others in this paper indicating special lines of research, to disclaim all pretension to being a Sinologue or Egyptologist, or even profoundly versed in Mexican antiquities. His partial and recently commenced studies only enable him to present suggestions for the examination of scholars. These suggestions may safely be introduced by the statement that the common modern alphabetic characters, coming directly from the Romans, were obtained by them from the Greeks, and by the latter from the Phœnicians, whose alphabet was connected with that of the old Hebrew. It has also been of late the general opinion that the whole family of alphabets to which the Greek, Latin, Gothic, Runic, and others belong, appearing earlier in the Phœnician, Moabite, and Hebrew, had its beginning in the ideographic pictures of the Egyptians, afterwards used by them to express sounds. That the Chinese, though in a different manner from the Egyptians, passed from picture writing to phonetic writing, is established by delineations still extant among them, called ku-wăn, or "ancient pictures," with which some of the modern written characters can be identified. The ancient Mexicans also, to some extent, developed phonetic expressions out of a very elaborate system of ideographic picture writing. Assuming that ideographic pictures made by ancient peoples would be likely to contain representations of gesture signs, which subject is treated of below, it is proper to examine if traces of such gesture signs may not be found in the Egyptian, Chinese, and Aztec characters. Only a few presumptive examples, selected from a considerable number, are now presented in which the signs of the North American Indians appear to be included, with the hope that further investigation by collaborators will establish many more instances not confined to Indian signs.
A typical sign made by the Indians for no, negation, is as follows: The hand extended or slightly curved is held in front of the body, a little to the right of the median line; it is then carried with a rapid sweep a foot or more farther to the right. (Mandan and Hidatsa I.)
One for none, nothing, sometimes used for simple negation, is also given: Throw both hands outward toward their respective sides from the breast. (Wyandot I.)
With these compare the two forms of the Egyptian character for no, negation, Fig. 118, taken from Champollion, Grammaire Égyptienne, Paris, 1836, p. 519.
No vivid fancy is needed to see the hands indicated at the extremities of arms extended symmetrically from the body on each side.
Also compare the Maya character for the same idea of negation, Fig. 119, found in Landa, Relation des Choses de Yucatan, Paris, 1864, 316. The Maya word for negation is "ma," and the word "mak," a six-foot measuring rod, given by Brasseur de Bourbourg in his dictionary, apparently having connection with this character, would in use separate the hands as illustrated, giving the same form as the gesture made without the rod.
Another sign for nothing, none, made by the Comanches, is: Flat hand thrown forward, back to the ground, fingers pointing forward and downward. Frequently the right hand is brushed over the left thus thrown out.
Compare the Chinese character for the same meaning, Fig. 120. This will not be recognized as a hand without study of similar characters, which generally have a cross-line cutting off the wrist. Here the wrist bones follow under the cross cut, then the metacarpal bones, and last the fingers, pointing forward and downward.
The Arapaho sign for child, baby, is the forefinger in the mouth, i.e., a nursing child, and a natural sign of a deaf-mute is the same. The Egyptian figurative character for the same is seen in Fig. 121. Its linear form is Fig. 122, and its hieratic is Fig. 123 (Champollion, Dictionnaire Egyptien, Paris, 1841, p. 31.)
These afford an interpretation to the ancient Chinese form for son, Fig. 124, given in Journ. Royal Asiatic Society, I, 1834, p. 219, as belonging to the Shang dynasty, 1756, 1112 B.C., and the modern Chinese form, Fig. 125, which, without the comparison, would not be supposed to have any pictured reference to an infant with hand or finger at or approaching the mouth, denoting the taking of nourishment. Having now suggested this, the Chinese character for birth, Fig. 126, is understood as the expression of a common gesture among the Indians, particularly reported from the Dakota, for born, to be born, viz: Place the left hand in front of the body, a little to the right, the palm downward and slightly arched, then pass the extended right hand downward, forward, and upward, forming a short curve underneath the left, as in Fig. 127 (Dakota V). This is based upon the curve followed by the head of the child during birth, and is used generically. The same curve, when made with one hand, appears in Fig. 128.
It may be of interest to compare with the Chinese child the Mexican abbreviated character for man, Fig. 129, found in Pipart in Compte Rendu Cong. Inter. des Américanistes, 2me Session, Luxembourg, 1877, 1878, II, 359. The figure on the right is called the abbreviated form of that by its side, yet its origin may be different.
The Chinese character for man, is Fig. 130, and may have the same obvious conception as a Dakota sign for the same signification: "Place the extended index, pointing upward and forward before the lower portion of the abdomen."
The Chinese specific character for woman is Fig. 131, the cross mark denoting the wrist, and if the remainder be considered the hand, the fingers may be imagined in the position made by many tribes, and especially the Utes, as depicting the pudendum muliebre, Fig. 132.
The Egyptian generic character for female is semicircle (Champollion, Dict.,) believed to represent the curve of the mammæ supposed to be cut off or separated from the chest, and the gesture with the same meaning was made by the Cheyenne Titchkematski, and photographed, as in Fig. 133. It forms the same figure as the Egyptian character as well as can be done by a position of the human hand.