It has been advocated by some that man first learned to talk by imitating the sounds of nature. It is sometimes called the "bow-wow"

theory of the origin of language. Words are used to express the meaning of nature. Thus the purling of the brook, the lowing of the cow, the barking of the dog, the moaning of the wind, the rushing of water, the cry of animals, and other expressions of nature were imitated, and thus formed the root words of language. This theory was very commonly upheld by the philosophers of the eighteenth century, but is now regarded as an entirely inadequate explanation of the process of the development of language. It is true that every language has words formed by the imitation of sound, but these are comparatively few, and as languages are traced toward their origin, such words seem to have continually less importance. Nothing conclusive has been proved concerning the origin of any language by adopting this theory.

Another theory is that the exclamations and interjections suddenly made have been the formation of root words, which in turn give rise to the complex forms of language. This can scarcely be considered of much force, for the difference between sudden explosive utterance and words expressing full ideas is so great as to be of little value in determining the real formation of language. These sudden interjections are more of the nature of gesture than of real speech.

The theologians insisted for many years that language was a gift of G.o.d, but failed to show how man could learn the language after it was given him. They tried to show that man was created with his full powers of speech, thought, and action, and that a vocabulary was given him to use on the supposition that he would know how to use it. But, in fact, nothing yet has been proved concerning the first beginnings of language. There is no reason why man should be fully equipped in language any more than in intellect, moral quality, or economic condition, and it is shown conclusively that in all these {123} characteristics he has made a slow evolution. Likewise the further back towards its origin we trace any language or any group of languages the simpler we find it, coming nearer and yet nearer to the root speech. If we could have the whole record of man, back through that period into which historical records cannot go, and into which comparative philology throws but a few rays of light, doubtless we should find that at one time man used gesture, facial expression, and signs, interspersed with sounds at intervals, as his chief means of expression. Upon this foundation mankind has built the superstructure of language.

Some philosophers hold that the first words used were names applied to familiar objects. Around these first names cl.u.s.tered ideas, and gradually new words appeared. With the names and gestures it was easy to convey thought. Others, refuting this idea, have held that the first words represented general notions and not names. From these general notions there were gradually inst.i.tuted the specific words representing separate ideas. Others have held that language is a gift, and springs spontaneously in the nature of man, arising from his own inherent qualities. Possibly from different standpoints there is a grain of truth in each one of these theories, although all combined are insufficient to explain the whole truth.

No theory yet devised answers all the questions concerning the origin of language. It may be truly a.s.serted that language is an acquisition, starting with the original capacity for imperfect speech found in the physiological structure of man. This is accompanied by certain tendencies of thought and life which furnish the psychical notion of language-formation. These represent the foundations of language, and upon this, through action and experience, the superstructure of language has been built. There has been a continuous evolution from simple to complex forms.

_Language Is an Important Social Function_.--Whatever conjectures may be made by philosophers or definite knowledge determined by philologists, it is certain that language has been {124} built up by human a.s.sociation. Granted that the physiological function of speech was a characteristic of the first beings to bear the human form, it is true that its development has come about by the mental interactions of individuals. No matter to what extent language was used by a given generation, it was handed on through social heredity to the next generation. Thus, language represents a continuous stream of word-bearing thought, moving from the beginning of human a.s.sociation to the present time. It is through it that we have a knowledge of the past and frame the thoughts of the present. While it is easy to concede that language was built up in the attempt of man to communicate his feelings, emotions, and thoughts to others, it in turn has been a powerful coercive influence and a direct social creation. Only those people who could understand one another could be brought into close relationships, and for this purpose some generally accepted system of communicating ideas became essential. Moreover, the tribes and a.s.similated nations found the force of common language in the coherency of group life. Thus it became a powerful instrument in developing tribal, racial, or national independence. If the primal force of early family or tribal organization was that of s.e.x and blood relationship, language became a most powerful ally in forcing the group into formal social action, and in furnishing a means of defense against the social encroachments of other tribes and nations.

It must be observed, however, that the social boundaries of races are not coincident with the divisions of language. In general the tendency is for a race to develop an independent language, for racial development was dependent upon isolation from other groups. But from the very earliest a.s.sociations to the present time there has been a tendency for a.s.similation of groups even to the extent of direct amalgamation of those occupying contiguous territory, or through conquest. In the latter event, the conquered group usually took the language of the conquerors, although this has not always followed, as eventually the stronger language becomes the more important {125} through use. For instance, for a time after the Norman Conquest, Norman French became, in the centres of government and culture at least, the dominant language, but eventually was thrown aside by a more useful language as English inst.i.tutions came to the front. As race and language may not represent identical groups, it is evident that a cla.s.sification of language cannot be taken as conclusive evidence in the cla.s.sification of races. However, in the main it is true. A cla.s.sification of all of the languages of the Indians of North America would be a cla.s.sification of all the tribes that have been differentiated in physical structure and other racial traits, as well as of habits and customs. Yet a tribe using a common language may be composed of a number of racial elements.

When it comes to the modern state, language does not coincide with natural boundaries. Thus, in Switzerland German is spoken in the north and northeast, French in the southwest, and Italian in the southeast.

However, in this case, German is the dominant language taught in schools and used largely in literature. Also, in Belgium, where one part of the people speak Flemish and the other French, they are living under the same national unity so far as government is concerned, although there have always remained distinctive racial types. In Mexico there are a number of tribes that, though using the dominant Spanish language, called Mexican, are in their closer a.s.sociations speaking the primitive languages of their race or tribe which have come down to them through long ages of development. Sometimes, however, a tribe shows to be a mosaic of racial traits and languages, brought about by the complete amalgamation of tribes. A very good example of this complete amalgamation would be that of the Hopi Indians of New Mexico, where distinctive group words and racial traits may be traced to three different tribes. But to refer to a more complete civilization, where the Spanish language is spoken in Spain, we find the elements of Latin, Teutonic, Arabic, and Old Iberian speech, which are suggestive of different racial traits pointing to different racial origins.

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Regardless of origin and tradition, language gradually conforms to the type of civilization in existence. A strong, vigorous industrial nation would through a period of years develop a tendency for a vigorous language which would express the spirit and life of the people, while a dreamy, conservative nation would find little change in the language. Likewise, periods of romance or of war have a tendency to make changes in the form of speech in conformity to ideals of life.

On the other hand, social and intellectual progress is frequently dependent upon the character of the language used to the extent that it may be said that language is an indication of the progress of a people in the arts of civilized life. It is evident in comparing the Chinese language with the French, great contrasts are shown in the ease in which ideas are represented and the stream of thought borne on its way.

The Chinese language is a clumsy machine as compared with the flexible and smooth-gliding French. It appears that if it were possible for the Chinese to change their language for a more flexible, smooth-running instrument, it would greatly facilitate their progress in art, science, and social life.

_Written Language Followed Speech in Order of Development_.--Many centuries elapsed before any systematic writing or engraving recorded human events. The deeds of the past were handed on through tradition, in the cave, around the campfire, and in the primitive family. Stories of the past, being rehea.r.s.ed over and over, became a permanent heritage, pa.s.sing on from generation to generation. But this method of descent of knowledge was very indefinite, because story-tellers, influenced by their environment, continually built the present into the past, and so the truth was not clearly expressed.

Slowly man began to make a permanent record of deeds and events, the first beginnings of which were very feeble, and were included in drawings on the walls of caves, inscriptions on bone, stone, and ivory, and symbols woven in garments. All represented the first beginnings of the representative art of language.

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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 pa.s.ses 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 a.s.sistant, 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 pa.s.sed 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 {128} 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 a.s.syrians 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, pa.s.sed 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 Ma.n.u.scripts and Books Made Permanent Records_.--At first all records were made by pen, pencil, or stylus, and ma.n.u.scripts 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 ma.n.u.script 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 {129} the ma.n.u.script 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 pa.s.sed 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 {130} 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 coa.r.s.e, 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 {131} 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 surpa.s.sed 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 {132} 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:

"The great Koonak mountain, over there-- I see it; The great Koonak mountain, over there-- I am looking at it; The bright shining in the South, over there-- I admire it; The other side of Koonak-- It stretches out-- That which Koonak-- Seaward encloses.

See how they in the South Move and change-- See how in the South They beautify one another; While it toward the sea Is veiled--by changing clouds Veiled toward the sea Beautifying one another."

The emotional nature of savages varies greatly in different tribes.

The lives of some seem to be moved wholly through the emotions, while others are stolid or dull. The variations in musical ability and practice of savage and barbarous races are good evidence of this. Many of the tribes in Africa have their rude musical instruments, and chant their simple, monotonous music. The South Sea Islanders beat hollow logs with clubs, marking time and creating melody by these notes. The Dahomans use a reed fife, on which they play music of several notes.

In all primitive music, time is the chief element, and this is not always kept with any degree of accuracy. The {133} chanting of war songs, the moaning of the funeral dirge, or the sprightly singing with the dance, shows the varied expression of the emotional nature.

No better ill.u.s.tration of the arts of pleasure may be observed than the practices of the Zuni Indians and other Pueblo Indians of New Mexico.

The Zuni melodies are sung on various festival occasions. Some are sacred melodies, used in worship; others are on the occasion of the celebration of the rabbit hunt, the rain dances, and the corn dances.

Among the Pueblo Indians the cachina dance is for the purpose of invoking bountiful rains and good harvests. In all of their feasts, games, plays, and dances there are connected ceremonies of a religious nature. Religion occupies a very strong position in the minds of the people. Possessed of a superst.i.tious nature, it was inevitable that all the arts of pleasure should partake somewhat of the religious ceremony. The song and the dance and the beating of the drums always accompanied every festival.

_The Dance as a Means of Dramatic Expression_.--Among primitive peoples the dance, poetry, and music were generally introduced together, and were parts of one drama. As such it was a social inst.i.tution, with the religious, war, or play element fully represented. Most primitive dances were conducted by men only. In the celebrated _Corroboree_ of the Australians, men danced and the women formed the orchestra.[1]

This gymnastic dance was common to many tribes. The dances of the Moros and Igorrotes at the St. Louis Exposition partook, in a similar way, of the nature of the gymnastic dance. The war dances of the plains Indians of America are celebrated for their grotesqueness. The green-corn dance and the cachina of the Pueblos and the snake dance of the Moqui all have an economic foundation. In all, however, the play element in man and the desire for dramatic expression and the art of mimicry are evident. The chief feature of the dance of the primitive people is the regular time beat. This is more prominent than the grace of movement. Yet this agrees with {134} the nature of their music, for in this the time element is more prominent than the tune. Rhythm is the strong element in the primitive art of poetry, music, or the dance, but all have an immense socializing influence. The modern dance has added to rhythm the grace of expression and developed the social tendencies. In it love is a more prominent feature than war or religion.

Catlin, in his _North American Indians_, describes the buffalo dance of the Mandan Indians, which appears to be more of a service toward an economic end than an art of pleasure. After an unsuccessful hunt the returned warriors bring out their buffalo masks, made of the head and horns and tail of the buffalo. These they don, and continue to dance until worn out. Ten or fifteen dancers form a ring and, accompanied by drumming, yelling, and rattling, dance until the first exhausted one goes through the pantomime of being shot with the bow and arrow, skinned, and cut up; but the dance does not lag, for another masked dancer takes the place of the fallen one. The dance continues day and night, without cessation, sometimes for two or three weeks, or until a herd of buffaloes appears in sight; then the warriors change the dance for the hunt.

The dancing of people of lower culture was carried on in many instances to express feelings and wishes. Many of the dances of Egypt, Greece, and other early civilizations were of this nature. Sacred hymns to the G.o.ds were chanted in connection with the dancing; but the sacred dance has become obsolete, in Western civilization its place being taken by modern church music.

_The Fine Arts Follow the Development of Language_.--While art varied in different tribes, we may a.s.sume in general that there was a continuity of culture development from the rude clay idol of primitive folk to the Venus de Milo or the Winged Victory; from the pictures on rocks and in caves to the Sistine Madonna; from the uncouth cooking bowl of clay to the highest form of earthenware vase; and from the monotonous {135} strain of African music to the lofty conception of Mozart. But this is a continuity of ideas covering the whole human race as a unit, rather than the progressive development of a single branch of the race.

Consider for a moment the mental and physical environment of the ancient cave or forest dweller. The skies to him were marked only as they affected his bodily comfort in sunshine or storm; the trees invited his attention as they furnished him food or shelter; the roaring torrent was nothing to him except as it obstructed his journey; the sun and the moon and the stars in the heavens filled him with portentous awe, and the spirits in the invisible world worked for his good or for his evil. Beyond his utilitarian senses no art emotion stirred in these signs of creation. Perhaps the first art emotion was aroused in contemplation of the human body. Through vanity, fear, or love he began to decorate it. He scarifies or tattoos his naked body with figures upon his back, arms, legs, and face to represent an idea of beauty. While the tribal or totemic design may have originated the custom, he wishes to be attractive to others, and his first emotions of beauty are thus expressed. The second step is to paint his face and body to express love, fear, hate, war, or religious emotions. This leads on to the art of decorating the body with ornaments, and subsequently to the ornamentation of clothing.

The art of representation at first possessed little artistic beauty, though the decorations on walls of caves show skill in lines and color.

The first representations sought only intelligence in communicating thought. The bas-reliefs of the ancients showed skill in representation. The ideal was finally developed until the aesthetic taste was improved, and the Greek sculpture shows a high development of artistic taste. In it beauty and truth were harmoniously combined.

The arts of sculpture and painting are based upon the imagination.

Through its perfect development, and the improvement in the art of execution, have been secured the aesthetic products of man. Yet there is always a mingling of the emotional nature {136} in the development of fine arts. The growth of the fine arts consists in intensifying the pleasurable sensations of eye and ear. This is done by enlarging the capacity for pleasure and increasing the opportunity for its satisfaction. The beginnings of the fine arts were small, and the capacity to enjoy must have been slowly developed. Of the arts that appeal to the eye there may be enumerated sculpture, painting, drawing, landscape-gardening, and architecture. The pleasure from all except the last comes from an attempt to represent nature. Architecture is founded upon the useful, and combines the industrial and the fine arts in one. The attempt to imitate nature is to satisfy the emotions aroused in its contemplation.

_The Love of the Beautiful Slowly Develops_.--There must have developed in man the desire to make a more perfect arrow-head, axe, or celt for the efficiency of service, and later for beauty of expression. There must early have developed an idea of good form and bright colors in clothing. So, too, in the mixing of colors for the purpose of expressing the emotions there gradually came about a refinement in blending. Nor could man's attention be called constantly to the beautiful plants and flowers, to the bright-colored stones, metals, and gems found in the earth without developing something more than mere curiosity concerning them. He must early have discovered the difference between objects which aroused desire for possession and those that did not. Ultimately he preferred a more beautifully finished stone implement than one crudely constructed--a more beautiful and showy flower than one that was imperfect, and likewise more beautiful human beings than those that were crude and ugly.

The pleasure of sound manifested itself at an earlier stage than the pleasure of form, although the degree of advancement in music varies in different tribes. Thus the inhabitants of Africa have a much larger capacity for recognizing and enjoying the effect of harmonious sounds than the aborigines of America. While all nations have the faculty of obtaining pleasure from harmonious sounds, it varies greatly, yet not more {137} widely than between separate individuals. It may be considered quite a universal faculty. The love of the beautiful in form, color, and in harmonious sound, is a permanent social force, and has much to do in the progress of civilization. Yet it is not an essential force, for the beginnings of civilization could have been made without it. However, it gives relief to the cold business world; the formal a.s.sociation of men is softened and embellished by painting, poetry, and music. Thus considered, it represents an important part of the modern social development. Art culture, which represents the highest expression of our civilization, has its softening influences on human life.

SUBJECTS FOR FURTHER STUDY

1. The importance of language in the development of culture.

2. Does language always originate the same way in different localities?

3. Does language develop from a common centre or from many centres?