, and
are among the most important characters in the language. Objections have been raised in some quarters to this account of the phonetic development of Chinese. It is argued that the primitives and sub-primitives, whereby is meant any character which is capable of entering into combination with another, have really had some influence on the meaning, and do not merely possess a phonetic value. But insufficient evidence has hitherto been advanced in support of this view.
The whole body of Chinese characters, then, may conveniently be divided up, for philological purposes, into pictograms, ideograms and phonograms. The first are pictures of objects, the second are composite symbols standing for abstract ideas, the third are compound characters of which the more important element simply represents a spoken sound. Of course, in a strict sense, even the first two classes do not directly represent either objects or ideas, but rather stand for sounds by which these objects and ideas have previously been expressed. It may, in fact, be said that Chinese characters are “nothing but a number of more or less ingenious devices for suggesting spoken words to a reader.” This definition exposes the inaccuracy of the popular notion that Chinese is a language of ideographs, a mistake which even the compilers of the Oxford English Dictionary have not avoided. Considering that all the earliest characters are pictorial, and that the vast majority of the remainder are constructed on phonetic principles, it is absurd to speak of Chinese characters as “symbolizing the idea of a thing, without expressing the name of it.”
The Chinese themselves have always been diligent students of their written language, and at a very early date (probably many centuries B.C.) evolved a sixfold classification of characters, The “Six Scripts.” the so-called
liu shu, very inaccurately translated by the Six Scripts, which may be briefly noticed:—
1.
