III. Remarks on the Martian Language
Provided the reader has given some attention to the foregoing texts, if only to the two first, he undoubtedly will have been easily satisfied as to the pretended language of the planet Mars, and perhaps will be astonished that I have spent so much time upon it. But, as many of the habitués of the seances of Mlle. Smith—and, naturally, Mlle. Smith herself—hold seriously to its authenticity, I cannot absolve myself from stating why the “Martian” is, in my opinion, only an infantile travesty of French. Even in default of the astronomical importance which is claimed for it on the authority of Leopold, this idiom preserves all the psychological interest which attaches to automatic products of subconscious activities of the mind, and it well deserves some minutes of examination.
It is necessary at the start to render this justice to the Martian (I continue to designate it by that name, for the sake of convenience)—namely, that it is, indeed, a language and not a simple jargon or gibberish of vocal noises produced at the hazard of the moment without any stability. It cannot be denied the following characteristics—First: It is a harmony of clearly articulated sounds, grouped so as to form words. Secondly: These words when pronounced express definite ideas. Thirdly, and finally: Connection of the words with the ideas is continuous; or, to put it differently, the signification of the Martian terms is permanent and is maintained (apart from slight inconsistencies, to which I will return later on) from one end to the other of the texts which have been collected in the course of these three years.[21] I will add that in speaking fluently and somewhat quickly, as Hélène sometimes does in somnambulism (texts 4, 11, 15, etc.), it has an acoustic quality altogether its own, due to the predominance of certain sounds, and has a peculiar intonation difficult to describe. Just as one distinguishes by ear foreign languages which one does not understand, the whole dialect possessing a peculiar accent which causes it to be recognized, so in this case one perceives, from the first syllables uttered, whether Hélène is speaking Hindoo or Martian, according to the musical connection, the rhythm, the choice of consonants and vowels belonging to each of the two idioms. In this the Martian, indeed, bears the stamp of a natural language. It is not the result of a purely intellectual calculation, but influences of an æsthetic order, emotional factors, have combined in its creation and instinctively directed the choice of its assonances and favorite terminations. The Martian language has certainly not been fabricated in cold blood during the normal, habitual, French (so to speak) state of Mlle. Smith, but it bears in its characteristic tonalities the imprint of a peculiar emotional disposition, of a fixed humor or psychical Orientation, of a special condition of mind, which may be called, in one word, the Martian state of Hélène. The secondary personality, which takes pleasure in linguistic games, seems, indeed, to be the same, at its source, as that which delights in the exotic and highly colored visual images of the planet of red rocks, and which animates the personages of the Martian romance.
A glance at the ensemble of the foregoing texts shows that Martian, as compared with French, is characterized by a superabundance of é, ê, and i’s, and a scarcity of diphthongs and the nasal sounds. A more accurate statistical table of sounded vowels which strike the ear in reading aloud the Martian texts on the one hand, and their translation into French on the other, gives me the percentages of Table I., which follows. But it is well known that the vowels are distinguished, from the acoustic point of view, by certain fixed characteristic sounds, and that they are distributed at different heights in the musical scale.
Table I.—Statistics of Vowel Sounds
| Martian | French | ||
|---|---|---|---|
| a | % | 16.3 | 13.7 |
| e mute (like those of casemate) | “ | 3.6 | 20.8 |
| e closed or half-closed (like those of hébété, rêvé) | “ | 36.9 | 14.3 |
| e open (like that of aloès) | “ | 2.1 | 4.6 |
| i | “ | 34.3 | 13.4 |
| o | “ | 2.3 | 5.7 |
| u | “ | 2.3 | 3.1 |
| Diphthongs and nasals (ou, oi, eu, an, in, on, un) | “ | 2.1 | 24.5 |
Table II.—Grouping from Point of View of Height
| Martian | French | ||
|---|---|---|---|
| Vowels, high (i and e sounded) | % | 73.3 | 32.3 |
| Vowels, middle (a and o) | “ | 18.6 | 19.4 |
| Vowels, low or hollow (u; diphthongs and nasals; e mute) | “ | 8.0 | 48.4 |
i and é are the highest, a and o occupy the middle place, u and ou are found in the lower part of the scale. In adding to the latter, therefore, the nasals, which are always hollow, and also e mute, Table I. divides itself into the three groups of Table II. from the point of view of height and sonorousness. It is, therefore, clear that the Martian is of a general tonality much higher than the French; since, while the two languages have almost the same proportion of middle vowels, the low, hollow, or mute sounds, which constitute almost one-half of the French vowels, amount to scarcely one-twelfth in Martian, in which the high sounds, on the contrary, represent in bulk three-quarters of the vowels, against one-third only in the French. On the other hand, researches in the field of colored audition have demonstrated that a close psychological connection exists, based on certain emotional analogies and an equivalence of organic reactions, between the high sounds and the bright or vivid colors, and the low or hollow sounds and the sombre colors. But this same correlation is found in the somnambulistic life of Mlle. Smith, between the brilliant, luminous, highly colored visions which characterize her Martian cycle and the language of the high and sonorous vowels which gushes forth in the same cycle. It is allowable to conclude from this that it is really the same emotional atmosphere which bathes and envelops these varied psychological products, the same personality which gives birth to these visual and phonetic automatisms. The imagination cannot, however, as is easily understood, create its fiction out of nothing; it is obliged to borrow its materials from individual experience. The Martian tableaux are, therefore, only a reflection of the terrestrial world, but of that part of it which possesses the most warmth and brilliancy—the Orient; in the same way, the Martian language is only French metamorphosed and carried to a higher diapason.
I admit, then, that Martian is a language, and a natural language, in the sense that it is automatically brought forth in the emotional state, or by the secondary personality, which is the source of all the remainder of the cycle without the conscious participation of Mlle. Smith. It remains for me now to mention some of the characteristics which seem to indicate that the inventor of this subliminal linguistic work had never known any idiom other than French, that it is much more sensible to verbal expression than to logical connection of ideas, and that it possesses in an eminent degree that infantile and puerile character which I have already pointed out in the author of the Martian romance. It now becomes necessary to examine rapidly this unknown language, from the point of view of its phonetics and its writing, its grammatical form, its syntax, and its vocabulary.
1. Martian Phonetics and Handwriting.—Martian is composed of articulate sounds, all of which, consonants as well as vowels, exist in French. While on this globe languages geographically our neighbors (not to mention those farther away) differ each from the other by certain special sounds—ch, German, th, English, etc.—the language of the planet Mars does not permit of similar phonetic originalities. It seems, on the contrary, poorer in this respect than the French. As yet I have not found in it the hissing j or ge (as in juger), nor the double sound x. Martian phonetics, in a word, are only an incomplete reproduction of French phonetics.
The Martian alphabet, compared with ours, suggests a remarkable analogy. The graphic form of the characters is certainly novel, and no one would divine our letters in these designs of exotic aspect. Nevertheless, each Martian sign (with the single exception of that of the plural) corresponds to a French sign, although the inverse is not the case, which indicates that here again we are in the presence of a feeble imitation of our system of handwriting.
The twelve written texts upon which I base my comparison comprise about 300 words (of which 160 are different) and 1200 signs. There are altogether twenty-one different letters, all of which have their exact equivalents in the French alphabet, which also has five others which Martian lacks; j and x, of which the sounds themselves have not been observed, and q, w, and y, of which there is a double use, with k, v, and i. This reduction of graphic material manifests itself in two other details. First, there are neither accents nor punctuation marks, with the exception of a certain sign, resembling the French circumflex, used sometimes in the shape of a point at the end of phrases. In the second place, each letter has only one form, the diversity of capitals and small letters not seeming to exist in Martian. Of ciphers we know nothing.
There are still three small peculiarities to notice:
1. In default of capitals, the initials of proper names are often distinguished by a point placed above the ordinary character.
2. In the case of double letters the second is replaced by a point situated at the right of the first.
3. Finally, there exists, in order to designate the plural of substantives and of some adjectives, a special graphic sign, answering to nothing in the pronunciation and having the form of a small vertical undulation, which reminds one a little of an amplification of the French s, the usual mark of the plural in French. These peculiarities, outside the ordinary form of the letters, constitute the sum total of ingenuity displayed in Martian handwriting.
It must be added that this handwriting, which is not ordinarily inclined, goes from left to right, like the French. All the letters are of nearly the same height, except that the i is much smaller, and that they remain isolated from each other; their assembly into words and phrases offers to the eye a certain aspect of Oriental hieroglyphic inscriptions.
The Martian alphabet never having been revealed as such, we are ignorant of the order in which the letters follow each other. It would seem as though the letters had been invented by following the French alphabet, at least in great part, if one may judge according to the analogies of form of the Martian characters corresponding to certain series of French letters: compare a and b; g and h; s and t; and also the succession k, l, m, n.
It is in the phonetic value of the letters—that is to say, in the correspondence of the articulated sounds with the graphic signs—that the essentially French nature of the Martian may be seen. The only notable difference to be pointed out here between the two languages is the much greater simplicity of the Martian orthography, resulting in the employment of no useless letters. All are pronounced, even the final consonants, such as s, n, z, etc., which are generally silent in French. This gives the impression that the Martian handwriting is moulded on the spoken language, and is only the notation of the articulated sounds of the latter by the most economical means. In so far it realizes the type of a handwriting truly phonetic—that is to say, where each sign corresponds to a certain elementary articulation, constant and invariable, and vice versa. It is full, on the other hand, of equivocations, of exceptions, of irregularities, which make one and the same letter to have very different pronunciations, according to circumstances, and, reciprocally, which causes the same sound to be written in different ways without our being able to perceive any rational explanation for all these ambiguities—were it not for the fact that the very same thing is to be found in French!
Martian is only disguised French. I will mention only the most curious and striking coincidences, all the more striking from the fact that the field from which I have collected them is very limited, being confined to the dozen texts written and pronounced, which contain only 160 different words.
The simple vowels of the Martian alphabet correspond exactly to the five French vowels, a, e, i, o, u, and have the same shades of pronunciation.
The Martian c plays the triple part which it also fulfils in French. The s has the same capricious character as in our language. It is generally hard, but between two vowels it becomes soft, like z.
2. Grammatical Forms.—The ensemble of the texts which we possess does not as yet permit us to make a Martian grammar. Certain indications, however, warrant the prediction that the rules of that grammar, if it ever sees the light of day, will be only the counterpart of, or a parody upon, those of French.
Here, for example, is a list of personal pronouns, articles, possessive adjectives, etc., which have appeared hitherto:
| je cé | me lé, moi si | ton ché | ce tès, ces têsé | de ti |
| tu dé | te di, toi vi | ta chée | cette tês, têsée | des tié |
| il hed | se rès, lui pi | tes chi | le (pron.) zé | du té |
| nous nini | mon êzi | son bi | qui kâ, que ké | au ine |
| vous sini | ma êzé | sa bé | quel kiz, quelle kizé | |
| ils hed | mes éziné | ses bée | un mis, une misé | |
| on idé | notre iche | le, la, les (art.) zé, zi, zée. | ||
There are some texts where the feminine is derived from the masculine by the addition of an e mute, and the plural by the small, unpronounced sign, which has all the appearance of being a reminiscence of French s.
Between these two languages there is another order of points of contact, of a more special interest, because it shows the preponderating rôle which verbal images have often played in the making of Martian to the prejudice of the intrinsic, logical nature of the ideas. I should say that at all times the Martian translates the French word, allowing itself to be guided by auditive analogies without regard to the real meaning, in such a way that we are surprised to discover in the idiom of the planet Mars the same peculiarities of homonyms as in French. It is also the case that two vocables identical as to pronunciation, but of entirely heterogeneous signification, as the preposition à and the a of the verb avoir, are rendered in Martian by the same word, é.
Other curious coincidences are to be noted. In French the conjunction et only slightly differs, from the point of view of phonic images, from the verb est; in Martian also there is a great analogy, between ni and né, which translate these two words. Between the past participle nié of the verb to be and the conjunction ni there is only the difference of an é, just as between their French equivalents été and et.
It must be admitted that all these coincidences would be very extraordinary if they were purely fortuitous.
3. Construction and Syntax.—The order of the words is absolutely the same in Martian as in French. This identity of construction of phrases is pursued sometimes into the minutest details, such as the division or amputation of the negation ne ... pas (texts 15 and 17), and also the introduction of a useless letter in Martian to correspond to a French euphemistic t (see text 15), Kèvi bérimir m hed, quand reviendra-t-il? (“when will he return?”)
If it is admitted hypothetically that the succession of words, such as is given us in these texts, is not the natural ordering of the Martian language, but an artificial arrangement, like that of juxtalinear translations for the use of pupils, the very possibility of that correspondence absolutely word for word would remain an extraordinary fact without a parallel, since there is not a single language that I know of in which each term of the French phrase is always rendered by one term, neither more nor less, of the foreign phrase. The hypothesis referred to is, moreover, inadmissible, since the Martian texts, of which Esenale gives the literal translation, were not previously arranged by him with that end in view; they are the identical words which Mlle. Smith heard and noted in her visions, often weeks and months before Esenale repeats them for the purpose of translating them, and which constitute the conversation, as such, taken from life, of the Martian personages. We must conclude from this that these in their elocution follow step by step and word by word the order of the French language, which amounts almost to saying that they speak a French the sounds of which have simply been changed.
4. Vocabulary.—From an etymological point of view, I have not been able to distinguish any rule of derivation, even partial, that would permit the suspicion that the Martian words had come from French words, according to some law. Apart from the entire first text, where it is difficult to deny that the people of Mars have stolen French terms of politeness, at the same time distorting them, no clear resemblance is to be seen between Martian words and the French equivalents; at most, there are traces of borrowing, like merve, superbe, which might have been abridged from merveille (text 25), and vechi, an imitation of voir.
Still less does the Martian lexicon betray the influence of other known languages (at least to my knowledge). A term which suggests such similarity is hardly ever met with—e.g., modé, mère (“mother”), and gudé bon (“good”), cause us to think of German or English words; animina (“existence”) is like anima; various forms of the verbs être and vivre (“to be” and “to live”), êvé, évaï, essat, recall the Latin esse or the Hebrew évé, and that passage of the Biblical story of the Creation where Eve is called the mother of all living beings. A linguist who happened to be at the same time a savant and a humorist would doubtless succeed in lengthening this list of etymologies, after the mode of the eighteenth century. But, cui bono? In that rarity of points of contact between the idioms of our terrestrial sphere and the Martian glossary, an argument might be found in favor of the extra-terrestrial origin of the latter, if, on the other hand, it did not seem to betray the influence of the French language from the fact that a notable proportion of its words reproduce in a suspicious manner the same number of syllables or letters as their French equivalents; note, for example, besides the terms of politeness already mentioned, the words tarvine, langage; haudan, maison; dodé, ceci; valini, visage, etc., and the great majority of the little words, such as cé, je; ké, que; ti, de; dé, tu; etc.
With the exception of such examples as these, it must be acknowledged that there is no trace of parentage, filiation, of any resemblance whatever between the Martian and French vocabularies, which forms a singular contrast to the close identity which we have established between the two languages in the preceding paragraphs.
This apparent contradiction carries its explanation in itself, and gives us the key to Martian. This fantastic idiom is evidently the naïve and somewhat puerile work of an infantile imagination, to which occurred the idea of creating a new language, and which, while giving to its lucubrations certain strange and unknown appearances, without doubt caused them to run in the accustomed moulds of the only real language of which it had cognizance. The Martian of Mlle. Smith, in other words, is the product of a brain or a personality which certainly has taste and aptitude for linguistic exercises, but which never knew that French takes little heed of the logical connection of ideas, and did not take the trouble to make innovations in the matter of phonetics, of grammar, or of syntax.
The process of creation of Martian seems to have consisted in simply taking certain French phrases as such and replacing each word by some other chosen at random. That is why, especially in the texts at the beginning, the structure of French words is recognized under the Martian. The author herself was undoubtedly struck by it, and from that time exerted herself to complicate her lexicon, to render her words more and more unrecognizable.
This research of originality—which, however, she has never extended beyond the purely material part of the language, never having an idea that there might be other differences in languages—represents an effort of imagination with which she must be credited. Homage must also be rendered to the labor of memorizing, which the making of a dictionary has necessitated. She has sometimes, indeed, fallen into errors; the stability of her vocabulary has not always been perfect. But, finally, after the first hesitation and independently of some later confusions, it gives evidence of a praiseworthy terminological consistency, and which no doubt in time, and with some suggestive encouragement, would result in the elaboration of a very complete language—perhaps even of several languages, as we may augur from text 33, to which we shall return in the following chapter.
5. Style.—It remains to investigate the style. If it is true that “manners make the man”—that is to say, not the impersonal and abstract understanding, but the concrete character, the individual temperament, the humor and emotional vibration—we ought to expect to find in the style of the Martian texts the same special stamp which distinguishes the visions, the sound of the language, the handwriting, the personages—in short, the entire romance, that is to say, the curious mixture of Oriental exoticism and of childish puerility of which the secondary personality of Mlle. Smith, at work in this cycle, seems to be composed. It is difficult to pronounce upon these matters of vague æsthetic impression rather than of precise observation; but, as well as I can judge, there seems to me to be in the phraseology of the texts collected an indefinable something which corresponds well with the general character of the entire dream. As these words are evidently first thought in French—then travesties in Martian by a substitution of sounds, the choice of which, as has been seen, apropos of the high tonality of this language, reflects the general emotional disposition—it is, naturally, under their French aspect that we ought to consider them in judging of their actual style. Unfortunately, we do not know how far the translation given by Esenale is identical with the primitive original; certain details seem to hint that there are divergences sometimes. However that may be, it is clearly to be perceived that the literary form of the majority of the texts (taken in French) is more akin to poetry than to prose. While no one of them is in verse, properly speaking, the large number of hemistiches which are met with, the frequency of inversion, the choice of terms, the abundance of exclamations and of broken phrases, betray a great intensity of sentimental and poetic emotion. The same character is found, with a strong shade of exotic and archaic originality, in the formulas of salutation and farewell (“be happy to-day,” “three adieux to thee,“ etc.), as well as in many expressions and terms of phrases which rather recall the obscure and metaphorical parlance of the Orient than the dry precision of our language of to-day (”il garde un peu de ton être; cet élément mystérieux, immense,” etc.)
If, now, it is recollected that everywhere in literary history poetry precedes prose, imagination comes before reason, and the lyric style before the didactic, a conclusion according with that of the preceding paragraphs is reached. Which is, that, by its figures and its style, the Martian language (or the French phrases which serve it for a skeleton) seems to bring to us the echo of a past age, the reflex of a primitive state of mind, from which Mlle. Smith to-day finds herself very far removed in her ordinary and normal states of mind.