Ikhtisar Sejarah/Bab 18

WRITING

§ 1. Picture Writing. § 2. Syllable Writing. § 3. Alphabet Writing. § 4. The Place of Writing in Human Life.

§ 1

IN the five preceding chapters (XIII to XVII) we have sketched in broad outline the development of the chief human communities from the primitive beginnings of the heliolithic culture to the great historical kingdoms and empires in the sixth century b.c. We must now study a little more closely the general process of social change, the growth of human ideas, and the elaboration of human relationships that were going on during these ages between 10,000 b.c. and 500 b.c. What we have done so far is to draw the map and name the chief kings and empires, to define the relations in time and space of Babylonia, Assyria, Egypt, Phœnicia, Cnossos, and the like; we come now to the real business of history, which is to get down below these outer forms to the thoughts and lives of individual men.

By far the most important thing that was going on during those fifty or sixty centuries of social development was the invention of writing and its gradual progress to importance in human affairs. It was a new instrument for the human mind, an enormous enlargement of its range of action, a new means of continuity. We have seen how in later Palæolithic and early Neolithic times the elaboration of articulate speech gave men a mental handhold for consecutive thought and a vast enlargement of their powers of co-operation. For a time this new acquirement seems to have overshadowed their earlier achievement of drawing, and possibly it checked the use of gesture. But drawing presently reappeared again, for record, for signs, for the joy of drawing. Before real writing came picture-writing, such as is still practised by the Amerindians, the Bushmen, and savage and barbaric people in all parts of the world. It is essentially a drawing of things and acts, helped out by heraldic indications of proper names, and by strokes and dots to represent days and distances and such-like quantitative ideas.

Quite kindred to such picture-writing is the pictograph that one finds still in use to-day in international railway time-tables upon the continent of Europe, where a little black sign of a cup indicates a stand-up buffet for light refreshments; a crossed knife and fork, a restaurant; a little steamboat, a transfer to a steamboat; and a postilion's horn, a diligence. Similar signs are used in the well-known Michelin guides for automobilists in Europe, to show a post-office (envelope) or a telephone (telephone receiver). The quality of hotels is shown by an inn with one, two, three, or four gables, and so forth. Similarly, the roads of Europe are marked with wayside signs representing a gate, to indicate a level crossing ahead, a sinuous bend for a dangerous curve, and the like. From such pictographic signs to the first elements of Chinese writing is not a very long stretch.

In Chinese writing there are still traceable a number of pictographs. Most are now difficult to recognize. A mouth was originally written as a mouth-shaped hole and is now, for convenience of brushwork, squared; a child, originally a recognizable little mannikin, is now a hasty wriggle and a cross; the sun, originally a large circle with a dot in the centre, has been converted, for the sake of convenience of combination, into a crossed oblong, which is easier to make with a brush. By combining these pictographs, a second order of ideas is expressed. For example, the pictograph for mouth combined with pictograph for vapour expressed "words."

From such combinations one passes to what are called ideograms: the sign for "words" and the sign for "tongue" combine to make "speech"; the sign for "roof" and the sign for "pig" make "home"—for in the early domestic economy of China the pig was as important as it used to be in Ireland. But, as we have already noted earlier, the Chinese language consists of a comparatively few elementary monosyllabic sounds, which are all used in a great variety of meanings, and the Chinese soon
Templat:Cursive
No. 1, painted on a rock on the shore of Lake Superior, records an expedition across the lake, in which five canoes took part. The upright strokes in each indicate the number of the crew, and the bird represents a chief, "The Kingfisher." The three circles (suns) under the arch (of heaven) indicate that the voyage lasted three days, and the tortoise, a symbol of land, denotes a safe arrival. No. 2 is a petition sent to the United States Congress by a group of Indian tribes, asking for fishing rights in certain small lakes. The tribes are represented by their totems, martens, bear, manfish, and catfish, led by the crane. Lines running from the heart and eye of each animal to the heart and eye of the crane denote that they are all one mind; and a line runs from the eye of the crane to the lakes, shown in the crude little "map" in the lower left-hand corner. discovered that a number of these pictographs and ideographs could be used also to express other ideas, not so conveniently pictured, but having the same sound. Characters so used are called phonograms. For example, the sound fang meant not only "boat," but "a place," "spinning," "fragrant," "inquire," and several other meanings according to the context. But while a boat is easy to draw, most of the other meanings are undrawable. How can one draw "fragrant" or "inquire"? The Chinese, therefore, took the same sign for all these meanings of fang, but added to each of them another distinctive sign, the determinative, to show what sort of fang was intended. A "place" was indicated by the same sign as for "boat" (fang) and the determinative sign for "earth"; "spinning" by the sign for fang and the sign for "silk"; "inquire" by the sign for fang and the sign for "words," and so on.

One may perhaps make this development of pictographs, ideographs, and phonograms a little clearer by taking an analogous case in English. Suppose we were making up a sort of picture-writing in English, then it would be very natural to use a square with a slanting line to suggest a lid, for the word and thing box. That would be a pictograph. But now suppose we had a round sign for money, and suppose we put this sign inside the box sign, that would do for "cash-box" or "treasury." That would be an ideogram. But the word "box" is used for other things than boxes. There is the box shrub which gives us boxwood. It would be hard to draw a recognizable box-tree distinct from other trees, but it is quite easy to put our sign "box," and add our sign for shrub as a determinative to determine that it is that sort of box and not a common box that we want to express. And then there is "box," the verb, meaning to fight with fists. Here, again, we need a determinative; we might add the two crossed swords, a sign which is used very often upon maps to denote a battle. A box at a theatre needs yet another determinative, and so we go on, through a long series of phonograms.

Now it is manifest that here in the Chinese writing is a very peculiar and complex system of sign-writing. A very great number of characters have to be learnt and the mind habituated to their use. The power it possesses to carry ideas and discussion is still ungauged by western standards, but we may doubt whether with this instrument it will ever be possible to establish such a wide, common mentality as the simpler and swifter alphabets of the western civilizations permit. In China it created a special reading-class, the mandarins, who were also the ruling and official class. Their necessary concentration upon words and classical forms, rather than upon ideas and realities, seems, in spite of her comparative peacefulness and the very high individual intellectual quality of her people, to have greatly hampered the social and economic development of China. Probably it is the complexity of her speech and writing, more than any other imaginable cause, that has made China to-day politically, socially, and individually a vast pool of backward people rather than the foremost power in the whole world.

§ 2

But while the Chinese mind thus made for itself an instrument which is probably too elaborate in structure, too laborious in use, and too inflexible in its form to meet the modern need for simple, swift, exact, and lucid communications, the growing civilizations of the west were working out the problem of a written record upon rather different and, on the whole, more advantageous lines. They did not seek to improve their script to make it swift and easy, but circumstances conspired to make it so. The Sumerian picture-writing, which had to be done upon clay and with little styles, which made curved marks with difficulty and inaccurately, rapidly degenerated by a conventionalized dabbing down of wedged-shaped marks (cuneiform = wedge-shaped) into almost unrecognizable hints of the shapes intended. It helped the Sumerians greatly to learn to write, that they had to draw so badly. They got very soon to the Chinese pictographs, ideographs, and phonograms, and beyond them.

Most people know a sort of puzzle called a rebus. It is a way of representing words by pictures, not of the things the words represent, but by the pictures of other things having a similar sound. For example, two gates and a head is a rebus for Gateshead; a little streamlet (beck), a crowned monarch, and a ham, Beckingham. The Sumerian language was a language well adapted to this sort of representation. It was apparently a language of often quite vast polysyllables, made up of very distinct inalterable syllables; and many of the syllables taken separately were the names of concrete things. So that this cuneiform writing developed very readily into a syllabic way of writing, in which each sign conveys a syllable just as each act in a charade conveys a syllable. When presently the Semites conquered Sumeria, they adapted the syllabic system to their own speech, and so this writing became entirely a sign-for-a-sound writing. It was so used by the Assyrians and by the Chaldeans. But it was not a letter-writing, it was a syllable-writing. This cuneiform script prevailed for long ages over Assyria, Babylonia, and the Near East generally; there are vestiges of it in some of the letters of our alphabet to-day.

§ 3

But, meanwhile, in Egypt and upon the Mediterranean coast another system of writing grew up. Its beginnings are probably to be found in the priestly picture-writing (hieroglyphics) of the Egyptians, which also in the usual way became partly a sound-sign system. As we see it on the Egyptian monuments, the hieroglyphic writing consists of decorative but stiff and elaborate forms, but for such purpose as letter-writing and the keeping of recipes and the like, the Egyptian priests used a much simplified and flowing form of these characters, the hieratic script. Side by side with this hieratic script rose another, probably also derivative from the hieroglyphs, a script now lost to us, which was taken over by various non-Egyptian peoples in the Mediterranean, the Phœnicians, Libyans, Lydians, Cretans, and Celt-Iberians, and used for business purposes. Possibly a few letters were borrowed from the later cuneiform. In the hands of these foreigners this writing was, so to speak, cut off from its roots; it lost all but a few traces of its early pictorial character. It ceased to be pictographic or ideographic; it became simply a pure sound-sign system, an alphabet.

There were a number of such alphabets in the Mediterranean differing widely from each other. It may be noted that the Phœnician alphabet (and perhaps others) omitted vowels. Possibly they pronounced their consonants very hard and had rather indeterminate vowels, as is said to be still the case with tribes of South Arabia. Quite probably, too, the Phœnicians used their alphabet at first not so much for writing as for single initial letters in their business accounts and tallies. One of these Mediterranean alphabets reached the Greeks, long after the time of the Iliad, who presently set to work to make it express the clear and beautiful sounds of their own highly developed Aryan speech. It consisted at first of consonants, and the Greeks added the vowels. They began to write for record, to help and fix their bardic tradition....

§ 4

So it was by a series of very natural steps that writing grew out of the life of man. At first and for long ages it was the interest and the secret of only a few people in a special class, a mere accessory to the record of pictures. But there were certain very manifest advantages, quite apart from the increased expressiveness of mood and qualification, to be gained by making writing a little less plain than straightforward pictures, and in conventionalizing and codifying it. One of these was that so messages might be sent understandable by the sender and receiver, but not plain to the uninitiated. Another was that so one might put down various matters and help one's memory and the memory of one's friends, without giving away too much to the common herd. Among some of the earliest Egyptian writings, for example, are medical recipes and magic formulæ. Accounts, letters, recipes, name lists, itineraries; these were the earliest of written documents. Then, as the art of writing and reading spread, came that odd desire, that pathetic desire so common among human beings, to astonish some strange and remote person by writing down something striking, some secret one knew, some strange thought, or even one's name, so that long after one had gone one's way, it might strike upon the sight and mind of another reader. Even in Sumeria men scratched on walls, and all that remains to us of the ancient world, its rocks, its buildings, is plastered thickly with the names and the boasting of those foremost among human advertisers, its kings. Perhaps half the early inscriptions in that ancient world are of this nature, if, that is, we group with the name-writing and boasting the epitaphs, which were probably in many cases prearranged by the deceased.

For long the desire for crude self-assertion of the name-scrawling sort and the love of secret understandings kept writing within a narrow scope; but that other, more truly social desire in men, the desire to tell, was also at work. The profounder possibilities of writing, the possibilities of a vast extension and definition and settlement of knowledge and tradition, only grew apparent after long ages. But it will be interesting at this point and in this connection to recapitulate certain elemental facts about life, upon which we laid stress in our earlier chapters, because they illuminate not only the huge value of writing in the whole field of man's history, but also the rôle it is likely to play in his future.

1. Life had at first, it must be remembered, only a discontinuous repetition of consciousness, as the old died and the young were born.

Such a creature as a reptile has in its brain a capacity for experience, but when the individual dies, its experience dies with it. Most of its motives are purely instinctive, and all the mental life that it has is the result of heredity (birth inheritance).

2. But ordinary mammals have added to pure instinct tradition, a tradition of experience imparted by the imitated example of the mother, and in the case of such mentally developed animals as dogs, cats, or apes, by a sort of mute precept also. For example, the mother cat chastises her young for misbehaviour. So do mother apes and baboons.

3. Primitive man added to his powers of transmitting experience, representative art and speech. Pictorial and sculptured record and verbal tradition began.

Verbal tradition was developed to its highest possibility by the bards. They did much to make language what it is to the world to-day.

4. With the invention of writing, which developed out of pictorial record, human tradition was able to become fuller and much more exact. Verbal tradition, which had hitherto changed from age to age, began to be fixed. Men separated by hundreds of miles could now communicate their thoughts. An increasing number of human beings began to share a common written knowledge and a common sense of a past and a future. Human thinking became a larger operation in which hundreds of minds in different places and in different ages could react upon one another; it became a process constantly more continuous and sustained....

5. For hundreds of generations the full power of writing was not revealed to the world, because for a long time the idea of multiplying writings by taking prints of a first copy did not become effective. The only way of multiplying writings was by copying one copy at a time, and this made books costly and rare. Moreover, the tendency to keep things secret, to make a cult and mystery of them, and so to gain an advantage over the generality of men, has always been very strong in men's minds. It is only nowadays that the great masses of mankind are learning to read, and reaching out towards the treasures of knowledge and thought already stored in books.

Nevertheless, from the first writings onward a new sort of tradition, an enduring and immortal tradition, began in the minds of men. Life, through mankind, grew thereafter more and more distinctly conscious of itself and its world. It is a thin streak of intellectual growth we trace in history, at first in a world of tumultuous ignorance and forgetfulness; it is like a mere line of light coming through the chink of an opening door into a darkened room; but slowly it widens, it grows. At last came a time in the history of Europe when the door, at the push of the printer, began to open more rapidly. Knowledge flared up, and as it flared it ceased to be the privilege of a favoured minority. For us now that door swings wider, and the light behind grows brighter. Misty it is still, glowing through clouds of dust and reek.

The door is not half open; the light is but a light new lit. Our world to-day is only in the beginning of knowledge.