History of Human Society

by Frank W. Blackmar

Gradually picture-writing became so systematized that an expression of continuous thought might be recorded and transferred from one to another through the observation of the symbols universally recognized. But these pictures on rocks and ivory, and later on tablets, have been preserved, and are expressive of the first steps of man in the art of written language. The picture-writing so common to savages and barbarians finally passes from a simple rebus to a very complex written language, as in the case of the Egyptian or Mexican. The North American Indians used picture-writing in describing battles, or an expedition across a lake, or an army on a march, or a buffalo hunt. A simple picture shows that fifty-one warriors, led by a chief and his assistant, in five canoes, took three days to cross a lake and land their forces on the other side.

The use of pictographs is the next step in the process of written language. It represents a generalized form of symbols which may be put together in such a way as to express complete thoughts. Originally they were merely symbols or signs of ideas, which by being slightly changed in form or position led to the expression of a complete thought.

Following the pictograph is the ideograph, which is but one more step in the progress of systematic writing. Here the symbol has become so generalized that it has a significance quite independent of its origin. In other words, it becomes idealized and conventionalized, so that a specific symbol stood for a universal idea. It could be made specific by changing its form or position. All that was necessary now was to have a sufficient number of general symbols representing ideas, to build up a constructive language. The American Indian and the Chinese have apparently passed through all stages of the picture-writing, the use of the pictograph and of the ideograph. In fact, the Chinese language is but an extension of these three methods of expression. The objects were originally designated by a rude drawing, and then, to modify the meaning, different characters were attached to the picture. Thus a monosyllabic language was built up, and the root word had many meanings by the modification of its form and sometimes by the change of its position. The hieroglyphic writings of the Egyptians, Moabites, Persians, and Assyrians went through these methods of language development, as their records show to this day.

Phonetic Writing Was a Step in Advance of the Ideograph.—The difference between the phonetic writing and the picture-writing rests in the fact that the symbol representing the object is expressive of an idea or a complete thought, while in phonetic writing the symbol represents a sound which combined with other sounds expresses an idea called a word and complete thoughts through combination of words. The discovery and use of a phonetic alphabet represent the key to modern civilization. The invention of writing elevated man from a state of barbarism to a state of civilization. About the tenth century before Christ the Phoenicians, Hebrews, and other allied Semitic races began to use the alphabet. Each letter was named from a word beginning with it. The Greeks learned the alphabet from the Phoenicians, and the Greeks, in turn, passed it to the Romans. The alphabet continually changed from time to time. The old Phoenician was weak in vowel sounds, but the defect was remedied in the Greek and Roman alphabets and in the alphabets of the Teutonic nations. Fully equipped with written and spoken speech, the nations of the world were prepared for the interchange of thought and ideas and for the preservation of knowledge in an accurate manner. History could be recorded, laws written and preserved, and the beginnings of science elaborated.

The Use of Manuscripts and Books Made Permanent Records.—At first all records were made by pen, pencil, or stylus, and manuscripts were represented on papyrus paper or parchment, and could only be duplicated by copying. In Alexandria before the Christian era one could buy a copy of the manuscript of a great author, but it was at a high price. It finally became customary for monks, in their secluded retreats, to spend a good part of their lives in copying and preserving the manuscript writings of great authors. But it was not until printing was invented that the world of letters rapidly moved forward. Probably about the sixth century A.D. the Chinese began to print a group of characters from blocks, and by the tenth century they were engaged in keeping their records in this way. Gutenberg, Faust, and others improved upon the Chinese method by a system of movable type. But what a wonderful change since the fourteenth century printing! Now, with modern type-machines, fine grades of paper made by improved machinery, and the use of immense steam presses, the making of an ordinary book is very little trouble. Looking back over the course of events incident to the development of the modern complex and flexible language we observe, first, the rude picture scrawled on horn or rock. This was followed by the representation of the sound of the name of the picture, which passed into the mere sound sign. Finally, the relation between the figure and the sound becomes so arbitrary that the child learns the a, b, c as pure signs representing sounds which, in combination, make words which stand for ideas.

Language Is an Instrument of Culture.—Culture areas always spread beyond the territory of language groups. Culture depends upon the discovery and utilization of the forces of nature through invention and adaptation. It may spread through imitation over very large human territory. Man has universal mental traits, with certain powers and capacities that are developed in a relative order and in a degree of efficiency; but there are many languages and many civilizations of high and low degree. Through human speech the life of the past may be handed on to others and the life of the present communicated to one another. The physiological power of speech which exists in all permits every human group to develop a language in accordance with its needs and as influenced by its environment. Thus language advanced very rapidly as an instrument of communication even at a very early period of cultural development. A recent study of the languages of the American Indians has shown the high degree of the art of expression among people of the Neolithic culture. This would seem to indicate that primitive peoples are more definite in thought and more observant in the relation of cause and effect than is usually supposed. Thus, definite language permits more precise thought, and definite thought, in turn, insists on more exact expression in language. The two aid each other in development of cultural ideas, and invention and language move along together in the development of the human race. It becomes a great human invention, and as such it not only preserves the thoughts of the past but unlocks the knowledge of the present.

Not only is language the means of communication, and the great racial as well as social bond of union, but it represents knowledge, culture, and refinement. The strength and beauty of genuine artistic expression have an elevating influence on human life and become a means of social progress. The drama and the choicest forms of prose and poetry in their literary aspects furnish means of presenting great thoughts and high ideals, and, thus combined with the beauty of expression, not only furnish the best evidence of moral and intellectual progress but make a perennial source of information in modern social life. Hence it is that language and culture in all of their forms go hand in hand so closely that a high degree of culture is not attained without a dignified and expressive language.

Art as a Language of Aesthetic Ideas.—The development of aesthetic ideas and aesthetic representations has kept pace with progress in other phases of civilization. The notion of beauty as entertained by the savage is crude, and its representation is grotesque. Its first expression is observed in the adornment of the body, either by paint, tattooing, or by ornaments. The coarse, glaring colors placed upon the face or body, with no regard for the harmony of color, may attract attention, but has little expression of beauty from a modern standard. The first adornment in many savage tribes consisted in tattooing the body, an art which was finally rendered useless after clothing was fully adopted, except as a totemic design representing the unity of the tribe. This custom was followed by the use of rude jewelry for arms, neck, ears, nose, or lips. Other objects of clothing and ornament were added from time to time, the bright colors nearly always prevailing. There must have been in all tribes a certain standard of artistic taste, yet so low in many instances as to suggest only the grotesque. The taste displayed in the costumes of savages within the range of our own observation is remarkable for its variety. It ranges all the way from a small piece of cloth to the elaborate robes made of highly colored cotton and woollen goods. The Celts were noted for their highly colored garments and the artistic arrangement of the same. The Greeks displayed a grace and simplicity in dress never yet surpassed by any other nation. Yet the dress of early Greeks, Romans, and Teutons was meagre in comparison with modern elaborate costumes. All of this is a method of expression of the emotions and ideas and, in one sense, is a language of the aesthetic.

Representative art, even among primitive peoples, carries with it a distinctive language. It is a representation of ideas, as well as an attempt at beauty of expression. The figures on pottery and basketry frequently carry with them religious ideas for the expression and perpetuation of religious emotion and belief. Even rude drawings attempt to record the history of the deeds of the race. Progress is shown in better lines, in better form, and a more exquisite blending of colors. That many primitive people display a high degree of art and a low degree of general culture is one of the insoluble problems of the race. Perhaps it may be attributed primarily to the fact that all artistic expression originally sprang from the emotional side of life, and, in addition, may be in part attributed to the early training in the acute observation of the forms of nature by primitive people upon which depended their existence.

Music Is a Form of Language.—Early poetry was a recital of deeds, and a monotonous chant, which finally became recorded as language developed. The sagas and the war songs were the earliest expressions which later were combined with dramatic action. The poetry of primitive races has no distinguishing characteristics except metre or rhythm. It is usually an oft-recurring expression of the same idea. Yet there are many fragmentary examples of lyric poetry, though it is mostly egoistic, the individual reciting his deeds or his desires. From the natives of Greenland we have the following about the hovering of the clouds about the mountain: