No. 13
Like Memphian hieroglyphs, to stretch the span Of memory frail in momentary man.
Book II. Line 287.
We may reckon three stages of improvement in the graphic art, or the art of communicating our thoughts to absent persons and to posterity by visible signs. First, The invention of painting ideas, or representing actions, dates and other circumstances of historical fact, by the images of material things, drawn usually on a flat surface, or sometimes carved or moulded in a more solid form. This was the state at which the art had arrived in Egypt before the introduction of letters, and in Mexico before the arrival of the Spaniards. The Greeks in Egypt called it hieroglyphic.
Second, The invention of painting sounds, which we do by the use of letters, or the alphabet, and which we call writing. This was a vast improvement; as it simplified in a wonderful degree the communication of thought. For ideas are infinite in number and variety; while the simple sounds we use to convey them to the ear are few, distinct and easy to be understood. It would indeed be impossible to express all our ideas by distinct and visible images. And even if the writer were able to do this, not many readers could be made to understand him; since it would be necessary that every new idea should have a new image invented and agreed upon between the writer and the reader, before it could be used. Which preliminary could not be settled without the writer should see and converse with the reader. And he might as well, in this case, convey his ideas by oral speech; so that his writing could be of little use beyond a certain routine of established signs.
The number of simple sounds in human language, used in discourse, is not above eighteen or twenty; and these are so varied in the succession in which they are uttered, as to express an inconceivable and endless variety of thought and sentiment. Then, by the help of an alphabet of about twenty-six letters or visible signs, these sounds are translated from the ear to the eye; and we are able, by thus painting the sound, to arrest its fleeting nature, render it permanent, and talk with distant nations and future ages, without any previous convention whatever, even supposing them to be ignorant of the language in which we write. This is the present state of the art, as commonly practised in all the countries where an alphabet is used. It is called the art of writing; and to understand it is called reading.
Third, Another invention, which is still in its infancy, is the art of painting phrases, or sentences; commonly called shorthand writing. This is yet but little used, and only by a few dexterous persons, who make it a particular study. Probably the true principles on which it ought to be founded are yet to be discovered. But it may be presumed, that in this part of the graphic art there remains to the ingenuity of future generations a course of improvements totally inconceivable to the present; by which the whole train of impressions now made upon the mind by reading a long and well written treatise may be conveyed by a few strokes of the pen, and be received at a glance of the eye. This desideratum would be an abridgment of labor in our mental acquisitions, of which we cannot determine the consequences. It might make, in the progress of human knowledge, an epoch as remarkable as that which was made by the invention of alphabetical writing, and produce as great a change in the mode of transmitting the history of events.
One consequence of the invention of alphabetical writing seems to have been to throw into oblivion all previous historical facts; and it has thus left an immense void, which the imagination knows not how to fill, in contemplating the progress of our race. How many important discoveries, which still remain to our use, must have taken their origin in that space of time which is thus left a void to us! A vast succession of ages, and ages of improvement, must have preceded (for example) the invention of the wheel. The wheel must have been in common use, we know not how long, before alphabetical writing; because we find its image employed in painting ideas, during the first stage of the graphic art above described. The wheel was likewise in use before the mysteries of Ceres or those of Isis were established; as is evident from its being imagined as an instrument of punishment in hell, in the case of Ixion, as represented in those mysteries. The taming of the ox and the horse, the use of the sickle and the bow and arrow, a considerable knowledge of astronomy, and its application to the purposes of agriculture and navigation, with many other circumstances, which show a prodigious improvement, must evidently have preceded the date of the zodiac; a date fixed by Dupuis, with a great degree of probability, at about seventeen thousand years from our time. This epoch would doubtless carry us back many thousand years beyond that of the alphabet; the invention of which was sufficient of itself to obliterate the details of previous history, as the event has proved.
How far the loss of these historical details is to be regretted, as an impediment to our progress in useful knowledge, I will not decide; but in one view, which I am going to state, it may be justly considered as a misfortune.
The art of painting ideas, being arrested in the state in which the use of the alphabet found it, went into general disuse for common purposes; and the works then extant, as well as the knowledge of writing in that mode, being no longer intelligible to the people, became objects of deep and laborious study, and known only to the learned; that is, to the men of leisure and contemplation. These men consequently ran it into mystery; making it a holy object, above the reach of vulgar inquiry. On this ground they established, in the course of ages, a profitable function or profession, in the practice of which a certain portion of men of the brightest talents could make a reputable living; taking care not to initiate more than a limited number of professors; no more than the people could maintain as priests. This mode of writing then assumed the name of hieroglyphic, or sacred painting, to distinguish it from that which had now become the vulgar mode of writing, by the use of the alphabet. This is perhaps the source of that ancient, vast and variegated system of false religion, with all its host of errors and miseries, which has so long and so grievously weighed upon the character of human nature.
In noticing the distinction of the three stages in the graphic art above described, I have not mentioned the wonderful powers we derive from it in the language of the mathematics and the language of music. In each of these, though its effects are already astonishing, there is no doubt but great improvements are still to be made. Our present mode of writing in these, as in literature, belongs to the second or alphabetical stage of the graphic art. The ten ciphers, and the other signs used in the mathematical sciences, form the alphabet in which the language of those sciences is written. The few musical notes, and the other signs which accompany them, furnish an alphabet for writing the language of music.
The mode of writing in China is still different from any of those I have mentioned. The Chinese neither paint ideas nor sounds: but they make a character for every word; which character must vary according to the different inflections and uses of that word. The characters must therefore be insupportably numerous, and be still increasing as the language is enriched with new words by the augmentation and correction of ideas.
The English language is supposed to contain about twelve thousand distinct words, and the Italian about seventeen thousand, in the present state of our sciences. I know not how many the Chinese may contain; but if we were to write our languages in the Chinese method, it would be the business of a whole life for a man to learn his mother tongue, so as to read and write it for his ordinary purposes.
As the Chinese have not adopted an alphabet, but have adhered to an invariable state of the graphic art, which is probably more ancient by several thousand years than our present method, may we not venture to conjecture that the traces of their very ancient history have been, for that reason, better preserved? and that their pretensions to a very high antiquity, which we have been used to think extravagant and ridiculous, are really not without foundation? If so, we might then allow a little more latitude to ourselves, and conclude that we are in fact as old as they, and might have been as sensible of it, if we had adhered to our ancient method of writing; and not changed it for a new one which, while it has facilitated the progress of our science, has humbled our pride of antiquity, by obliterating the dates of those labors and improvements of our early progenitors, to which we are indebted for more of the rudiments of our sciences and our arts than we usually imagine.
It is much to be regretted, that the Spanish devastation in Mexico and Peru was so universal as to leave us but few monuments of the history of the human mind in those countries, which presented a state of manners so remarkably different from what can be found in any other part of the world. The pictorial writing of the Mexicans, tho sometimes called hieroglyphic, does not appear to merit that name, as it was not exclusively appropriated by the priests to sacred purposes. Indeed it could not be so appropriated till a more convenient method could be discovered and adopted for common purposes. For a thing cannot become sacred, in this sense of the word, until it ceases to be common.