It so happened that on the 9th of September, 1589, there was one of the three great outbreaks of the Mattmark See that have from time to time devastated the valley of Saas. {196} It is probable that the chapels were decided upon in consequence of some grace shown by the miraculous picture of the Virgin, which had mitigated a disaster occurring so soon after the anniversary of her own Nativity.

Tabachetti, arriving at this juncture, may have offered to undertake them if the Saas people would give him an asylum. Here, at any rate, I suppose him to have stayed till some time in 1590, probably the second half of it; his design of eventually returning home, if he ever entertained it, being then interrupted by a summons to Crea near Casale, where I believe him to have worked with a few brief interruptions thenceforward for little if at all short of half a century, or until about the year 1640. I admit, however, that the evidence for a.s.signing him so long a life rests solely on the supposed ident.i.ty of the figure known as "Il Vecchietto," in the Varallo Descent from the Cross chapel, with the portrait of Tabachetti himself in the Ecce h.o.m.o chapel, also at Varallo.

I find additional reason for thinking the chapels owe their origin to the inundation of 9th September, 1589, in the fact that the 8th of September is made a day of pilgrimage to the Saas-Fee chapels throughout the whole valley of Saas. It is true the 8th of September is the festival of the Nativity of the Virgin Mary, so that under any circ.u.mstances this would be a great day, but the fact that not only the people of Saas, but the whole valley down to Visp, flock to this chapel on the 8th of September, points to the belief that some special act of grace on the part of the Virgin was vouchsafed on this day in connection with this chapel. A belief that it was owing to the intervention of St. Mary of Fee that the inundation was not attended with loss of life would be very likely to lead to the foundation of a series of chapels leading up to the place where her miraculous picture was placed, and to the more special celebration of her Nativity in connection with this spot throughout the valley of Saas. I have discussed the subject with the Rev. Jos. Ant. Ruppen, and he told me he thought the fact that the great fete of the year in connection with the Saas-Fee chapels was on the 8th of September pointed rather strongly to the supposition that there was a connection between these and the recorded flood of 9th September, 1589.

Turning to the individual chapels they are as follows:--

1. The Annunciation. The treatment here presents no more a.n.a.logy to that of the same subject at Varallo than is inevitable in the nature of the subject. The Annunciation figures at Varallo have proved to be mere draped dummies with wooden heads; Tabachetti, even though he did the heads, which he very likely did, would take no interest in the Varallo work with the same subject. The Annunciation, from its very simplicity as well as from the transcendental nature of the subject, is singularly hard to treat, and the work here, whatever it may once have been, is now no longer remarkable.

2. The Salutation of Mary by Elizabeth. This group, again, bears no a.n.a.logy to the Salutation chapel at Varallo, in which Tabachetti's share was so small that it cannot be considered as in any way his. It is not to be expected, therefore, that the Saas chapel should follow the Varallo one. The figures, four in number, are pleasing and well arranged. St. Joseph, St. Elizabeth, and St.

Zacharias are all talking at once. The Virgin is alone silent.

3. The Nativity is much damaged and hard to see. The treatment bears no a.n.a.logy to that adopted by Gaudenzio Ferrari at Varallo.

There is one pleasing young shepherd standing against the wall, but some figures have no doubt (as in others of the chapels) disappeared, and those that remain have been so shifted from their original positions that very little idea can be formed of what the group was like when Tabachetti left it.

4. The Purification. I can hardly say why this chapel should remind me, as it does, of the Circ.u.mcision chapel at Varallo, for there are more figures here than s.p.a.ce at Varallo will allow. It cannot be pretended that any single figure is of extraordinary merit, but amongst them they tell their story with excellent effect.

Two, those of St. Joseph and St. Anna (?), that doubtless were once more important factors in the drama, are now so much in corners near the window that they can hardly be seen.

5. The Dispute in the Temple. This subject is not treated at Varallo. Here at Saas there are only six doctors now; whether or no there were originally more cannot be determined.

6. The Agony in the Garden. Tabachetti had no chapel with this subject at Varallo, and there is no resemblance between the Saas chapel and that by D'Enrico. The figures are no doubt approximately in their original positions, but I have no confidence that I have rearranged them correctly. They were in such confusion when I first saw them that the Rev. E. J. Selwyn and myself determined to rearrange them. They have doubtless been shifted more than once since Tabachetti left them. The sleeping figures are all good. St.

James is perhaps a little prosaic. One Roman soldier who is coming into the garden with a lantern, and motioning silence with his hand, does duty for the others that are to follow him. I should think more than one of these figures is actually carved in wood by Tabachetti, allowance being made for the fact that he was working in a material with which he was not familiar, and which no sculptor of the highest rank has ever found congenial.

7. The Flagellation. Tabachetti has a chapel with this subject at Varallo, and the Saas group is obviously a descent with modification from his work there. The figure of Christ is so like the one at Varallo that I think it must have been carved by Tabachetti himself.

The man with the hooked nose, who at Varallo is stooping to bind his rods, is here upright: it was probably the intention to emphasize him in the succeeding scenes as well as this, in the same way as he has been emphasized at Varallo, but his nose got pared down in the cutting of later scenes, and could not easily be added to. The man binding Christ to the column at Varallo is repeated (longo intervallo) here, and the whole work is one inspired by that at Varallo, though no single figure except that of the Christ is adhered to with any very great closeness. I think the nearer malefactor, with a goitre, and wearing a large black hat, is either an addition of the year 1709, or was done by the journeyman of the local sculptor who carved the greater number of the figures. The man stooping down to bind his rods can hardly be by the same hand as either of the two black-hatted malefactors, but it is impossible to speak with certainty. The general effect of the chapel is excellent, if we consider the material in which it is executed, and the rudeness of the audience to whom it addresses itself.

8. The Crowning with Thorns. Here again the inspiration is derived from Tabachetti's Crowning with Thorns at Varallo. The Christs in the two chapels are strikingly alike, and the general effect is that of a residuary impression left in the mind of one who had known the Varallo Flagellation exceedingly well.

9. Sta. Veronica. This and the next succeeding chapels are the most important of the series. Tabachetti's Journey to Calvary at Varallo is again the source from which the present work was taken, but, as I have already said, it has been modified in reproduction.

Mount Calvary is still shown, as at Varallo, towards the left-hand corner of the work, but at Saas it is more towards the middle than at Varallo, so that hors.e.m.e.n and soldiers may be seen coming up behind it--a stroke that deserves the name of genius none the less for the manifest imperfection with which it has been carried into execution. There are only three horses fully shown, and one partly shown. They are all of the heavy Flemish type adopted by Tabachetti at Varallo. The man kicking the fallen Christ and the goitred man (with the same teeth missing), who are so conspicuous in the Varallo Journey to Calvary, reappear here, only the kicking man has much less nose than at Varallo, probably because (as explained) the nose got whittled away and could not be whittled back again. I observe that the kind of lapelled tunic which Tabachetti, and only Tabachetti, adopts at Varallo, is adopted for the centurion in this chapel, and indeed throughout the Saas chapels this particular form of tunic is the most usual for a Roman soldier. The work is still a very striking one, notwithstanding its translation into wood and the decay into which it has been allowed to fall; nor can it fail to impress the visitor who is familiar with this cla.s.s of art as coming from a man of extraordinary dramatic power and command over the almost impossible art of composing many figures together effectively in all-round sculpture. Whether all the figures are even now as Tabachetti left them I cannot determine, but Mr. Selwyn has restored Simon the Cyrenian to the position in which he obviously ought to stand, and between us we have got the chapel into something more like order.

10. The Crucifixion. This subject was treated at Varallo not by Tabachetti but by Gaudenzio Ferrari. It confirms therefore my opinion as to the designer of the Saas chapels to find in them no trace of the Varallo Crucifixion, while the kind of tunic which at Varallo is only found in chapels wherein Tabachetti worked again appears here. The work is in a deplorable state of decay. Mr.

Selwyn has greatly improved the arrangement of the figures, but even now they are not, I imagine, quite as Tabachetti left them. The figure of Christ is greatly better in technical execution than that of either of the two thieves; the folds of the drapery alone will show this even to an unpractised eye. I do not think there can be a doubt but that Tabachetti cut this figure himself, as also those of the Magdalene and St. John, who stand at the foot of the cross. The thieves are coa.r.s.ely executed, with no very obvious distinction between the penitent and the impenitent one, except that there is a fiend painted on the ceiling over the impenitent thief. The one horse introduced into the composition is again of the heavy Flemish type adopted by Tabachetti at Varallo. There is great difference in the care with which the folds on the several draperies have been cut, some being stiff and poor enough, while others are done very sufficiently. In spite of smallness of scale, ign.o.ble material, disarrangement and decay, the work is still striking.

11. The Resurrection. There being no chapel at Varallo with any of the remaining subjects treated at Saas, the sculptor has struck out a line for himself. The Christ in the Resurrection Chapel is a carefully modelled figure, and if better painted might not be ineffective. Three soldiers, one sleeping, alone remain. There were probably other figures that have been lost. The sleeping soldier is very pleasing.

12. The Ascension is not remarkably interesting; the Christ appears to be, but perhaps is not, a much more modern figure than the rest.

13. The Descent of the Holy Ghost. Some of the figures along the end wall are very good, and were, I should imagine, cut by Tabachetti himself. Those against the two side walls are not so well cut.

14. The a.s.sumption of the Virgin Mary. The two large cherubs here are obviously by a later hand, and the small ones are not good. The figure of the Virgin herself is unexceptionable. There were doubtless once other figures of the Apostles which have disappeared; of these a single St. Peter (?), so hidden away in a corner near the window that it can only be seen with difficulty, is the sole survivor.

15. The Coronation of the Virgin is of later date, and has probably superseded an earlier work. It can hardly be by the designer of the other chapels of the series. Perhaps Tabachetti had to leave for Crea before all the chapels at Saas were finished.

Lastly, we have the larger chapel dedicated to St. Mary, which crowns the series. Here there is nothing of more than common artistic interest, unless we except the stone altar mentioned in Ruppen's chronicle. This is of course cla.s.sical in style, and is, I should think, very good.

Once more I must caution the reader against expecting to find highly finished gems of art in the chapels I have been describing. A wooden figure not more than two feet high clogged with many coats of paint can hardly claim to be taken very seriously, and even those few that were cut by Tabachetti himself were not meant to have attention concentrated on themselves alone. As mere wood-carving the Saas-Fee chapels will not stand comparison, for example, with the triptych of unknown authorship in the Church of St. Anne at Gliss, close to Brieg. But, in the first place, the work at Gliss is worthy of Holbein himself; I know no wood-carving that can so rivet the attention; moreover it is coloured with water-colour and not oil, so that it is tinted, not painted; and, in the second place, the Gliss triptych belongs to a date (1519) when artists held neither time nor impressionism as objects, and hence, though greatly better than the Saas-Fee chapels as regards a certain j.a.panese curiousness of finish and naivete of literal transcription, it cannot even enter the lists with the Saas work as regards elan and dramatic effectiveness. The difference between the two cla.s.ses of work is much that between, say, John Van Eyck or Memling and Rubens or Rembrandt, or, again, between Giovanni Bellini and Tintoretto; the aims of the one cla.s.s of work are incompatible with those of the other. Moreover, in the Gliss triptych the intention of the designer is carried out (whether by himself or no) with admirable skill; whereas at Saas the wisdom of the workman is rather of Ober- Ammergau than of the Egyptians, and the voice of the poet is not a little drowned in that of his mouthpiece. If, however, the reader will bear in mind these somewhat obvious considerations, and will also remember the pathetic circ.u.mstances under which the chapels were designed--for Tabachetti when he reached Saas was no doubt shattered in body and mind by his four years' imprisonment--he will probably be not less attracted to them than I observed were many of the visitors both at Saas-Grund and Saas-Fee with whom I had the pleasure of examining them.

I will now run briefly through the other princ.i.p.al works in the neighbourhood to which I think the reader would be glad to have his attention directed.

At Saas-Fee itself the main altar-piece is without interest, as also one with a figure of St. Sebastian. The Virgin and Child above the remaining altar are, so far as I remember them, very good, and greatly superior to the smaller figures of the same altar-piece.

At Almagel, an hour's walk or so above Saas-Grund--a village, the name of which, like those of the Alphubel, the Monte Moro, and more than one other neighbouring site, is supposed to be of Saracenic origin--the main altar-piece represents a female saint with folded arms being beheaded by a vigorous man to the left. These two figures are very good. There are two somewhat inferior elders to the right, and the composition is crowned by the a.s.sumption of the Virgin. I like the work, but have no idea who did it. Two bishops flanking the composition are not so good. There are two other altars in the church: the right-hand one has some pleasing figures, not so the left-hand.

In St. Joseph's Chapel, on the mule-road between Saas-Grund and Saas-Fee, the St. Joseph and the two children are rather nice. In the churches and chapels which I looked into between Saas and Stalden, I saw many florid extravagant altar-pieces, but nothing that impressed me favourably.

In the parish church at Saas-Grund there are two altar-pieces which deserve attention. In the one over the main altar the arrangement of the Last Supper in a deep recess half-way up the composition is very pleasing and effective; in that above the right-hand altar of the two that stand in the body of the church there are a number of round lunettes, about eight inches in diameter, each containing a small but spirited group of wooden figures. I have lost my notes on these altar-pieces and can only remember that the main one has been restored, and now belongs to two different dates, the earlier date being, I should imagine, about 1670. A similar treatment of the Last Supper may be found near Brieg in the church of Naters, and no doubt the two altar-pieces are by the same man. There are, by the way, two very ambitious altars on either side the main arch leading to the chancel in the church at Naters, of which the one on the south side contains obvious reminiscences of Gaudenzio Ferrari's Sta. Maria frescoes at Varallo; but none of the four altar-pieces in the two transepts tempted me to give them much attention. As regards the smaller altar-piece at Saas-Grund, a.n.a.logous work may be found at Cravagliana, half-way between Varallo and Fobello, but this last has suffered through the inveterate habit which Italians have of showing their hatred towards the enemies of Christ by mutilating the figures that represent them. Whether the Saas work is by a Valsesian artist who came over to Switzerland, or whether the Cravagliana work is by a Swiss who had come to Italy, I cannot say without further consideration and closer examination than I have been able to give. The altar-pieces of Mairengo, Chiggiogna, and, I am told, Lavertezzo, all in the Canton Ticino, are by a Swiss or German artist who has migrated southward; but the reverse migration was equally common.

Being in the neighbourhood, and wishing to a.s.sure myself whether the sculptor of the Saas-Fee chapels had or had not come lower down the valley, I examined every church and village which I could hear of as containing anything that might throw light on this point. I was thus led to Vispertimenen, a village some three hours above either Visp or Stalden. It stands very high, and is an almost untouched example of a medieval village. The altar-piece of the main church is even more floridly ambitious in its abundance of carving and gilding than the many other ambitious altar-pieces with which the Canton Valais abounds. The Apostles are receiving the Holy Ghost on the first storey of the composition, and they certainly are receiving it with an overjoyed alacrity and hilarious ecstasy of allegria spirituale which it would not be easy to surpa.s.s. Above the village, reaching almost to the limits beyond which there is no cultivation, there stands a series of chapels like those I have been describing at Saas-Fee, only much larger and more ambitious. They are twelve in number, including the church that crowns the series.

The figures they contain are of wood (so I was a.s.sured, but I did not go inside the chapels): they are life-size, and in some chapels there are as many as a dozen figures. I should think they belonged to the later half of the eighteenth century, and here, one would say, sculpture touches the ground; at least, it is not easy to see how cheap exaggeration can sink an art more deeply. The only things that at all pleased me were a smiling donkey and an ecstatic cow in the Nativity chapel. Those who are not allured by the prospect of seeing perhaps the very worst that can be done in its own line, need not be at the pains of climbing up to Vispertimenen. Those, on the other hand, who may find this sufficient inducement will not be disappointed, and they will enjoy magnificent views of the Weisshorn and the mountains near the Dom.

I have already referred to the triptych at Gliss. This is figured in Wolf's work on Chamonix and the Canton Valais, but a larger and clearer reproduction of such an extraordinary work is greatly to be desired. The small wooden statues above the triptych, as also those above its modern companion in the south transept, are not less admirable than the triptych itself. I know of no other like work in wood, and have no clue whatever as to who the author can have been beyond the fact that the work is purely German and eminently Holbeinesque in character.

I was told of some chapels at Rarogne, five or six miles lower down the valley than Visp. I examined them, and found they had been stripped of their figures. The few that remained satisfied me that we have had no loss. Above Brieg there are two other like series of chapels. I examined the higher and more promising of the two, but found not one single figure left. I was told by my driver that the other series, close to the Pont Napoleon on the Simplon road, had been also stripped of its figures, and, there being a heavy storm at the time, have taken his word for it that this was so.

Thought and Language {209}

Three well-known writers, Professor Max Muller, Professor Mivart, and Mr. Alfred Russel Wallace, have lately maintained that though the theory of descent with modification accounts for the development of all vegetable life, and of all animals lower than man, yet that man cannot--not at least in respect of the whole of his nature--be held to have descended from any animal lower than himself, inasmuch as none lower than man possesses even the germs of language.

Reason, it is contended--more especially by Professor Max Muller in his Science of Thought, to which I propose confining our attention this evening--is so inseparably connected with language, that the two are in point of fact identical; hence it is argued that, as the lower animals have no germs of language, they can have no germs of reason, and the inference is drawn that man cannot be conceived as having derived his own reasoning powers and command of language through descent from beings in which no germ of either can be found.

The relations therefore between thought and language, interesting in themselves, acquire additional importance from the fact of their having become the battle-ground between those who say that the theory of descent breaks down with man, and those who maintain that we are descended from some apelike ancestor long since extinct.

The contention of those who refuse to admit man unreservedly into the scheme of evolution is comparatively recent. The great propounders of evolution, Buffon, Erasmus Darwin and Lamarck--not to mention a score of others who wrote at the close of the last and early part of this present century--had no qualms about admitting man into their system. They have been followed in this respect by the late Mr. Charles Darwin, and by the greatly more influential part of our modern biologists, who hold that whatever loss of dignity we may incur through being proved to be of humble origin, is compensated by the credit we may claim for having advanced ourselves to such a high pitch of civilization; this bids us expect still further progress, and glorifies our descendants more than it abases our ancestors. But to whichever view we may incline on sentimental grounds the fact remains that, while Charles Darwin declared language to form no impa.s.sable barrier between man and the lower animals, Professor Max Muller calls it the Rubicon which no brute dare cross, and deduces hence the conclusion that man cannot have descended from an unknown but certainly speechless ape.

It may perhaps be expected that I should begin a lecture on the relations between thought and language with some definition of both these things; but thought, as Sir William Grove said of motion, is a phenomenon "so obvious to simple apprehension that to define it would make it more obscure." {210} Definitions are useful where things are new to us, but they are superfluous about those that are already familiar, and mischievous, so far as they are possible at all, in respect of all those things that enter so profoundly and intimately into our being that in them we must either live or bear no life. To vivisect the more vital processes of thought is to suspend, if not to destroy them; for thought can think about everything more healthily and easily than about itself. It is like its instrument the brain, which knows nothing of any injuries inflicted upon itself. As regards what is new to us, a definition will sometimes dilute a difficulty, and help us to swallow that which might choke us undiluted; but to define when we have once well swallowed is to unsettle, rather than settle, our digestion.

Definitions, again, are like steps cut in a steep slope of ice, or sh.e.l.ls thrown on to a greasy pavement; they give us foothold, and enable us to advance, but when we are at our journey's end we want them no longer. Again, they are useful as mental fluxes, and as helping us to fuse new ideas with our older ones. They present us with some tags and ends of ideas that we have already mastered, on to which we can hitch our new ones; but to multiply them in respect of such a matter as thought, is like scratching the bite of a gnat; the more we scratch the more we want to scratch; the more we define the more we shall have to go on defining the words we have used in our definitions, and shall end by setting up a serious mental raw in the place of a small uneasiness that was after all quite endurable.

We know too well what thought is, to be able to know that we know it, and I am persuaded there is no one in this room but understands what is meant by thought and thinking well enough for all the purposes of this discussion. Whoever does not know this without words will not learn it for all the words and definitions that are laid before him. The more, indeed, he hears, the more confused he will become. I shall, therefore, merely premise that I use the word "thought" in the same sense as that in which it is generally used by people who say that they think this or that. At any rate, it will be enough if I take Professor Max Muller's own definition, and say that its essence consists in a bringing together of mental images and ideas with deductions therefrom, and with a corresponding power of detaching them from one another. Hobbes, the Professor tells us, maintained this long ago, when he said that all our thinking consists of addition and subtraction--that is to say, in bringing ideas together, and in detaching them from one another.

Turning from thought to language, we observe that the word is derived from the French langue, or tongue. Strictly, therefore, it means tonguage. This, however, takes account of but a very small part of the ideas that underlie the word. It does, indeed, seize a familiar and important detail of everyday speech, though it may be doubted whether the tongue has more to do with speaking than lips, teeth and throat have, but it makes no attempt at grasping and expressing the essential characteristic of speech. Anything done with the tongue, even though it involve no speaking at all, is tonguage; eating oranges is as much tonguage as speech is. The word, therefore, though it tells us in part how speech is effected, reveals nothing of that ulterior meaning which is nevertheless inseparable from any right use of the words either "speech" or "language." It presents us with what is indeed a very frequent adjunct of conversation, but the use of written characters, or the finger-speech of deaf mutes, is enough to show that the word "language" omits all reference to the most essential characteristics of the idea, which in practice it nevertheless very sufficiently presents to us. I hope presently to make it clear to you how and why it should do so. The word is incomplete in the first place, because it omits all reference to the ideas which words, speech or language are intended to convey, and there can be no true word without its actually or potentially conveying an idea. Secondly, it makes no allusion to the person or persons to whom the ideas are to be conveyed. Language is not language unless it not only expresses fairly definite and coherent ideas, but unless it also conveys these ideas to some other living intelligent being, either man or brute, that can understand them. We may speak to a dog or horse, but not to a stone. If we make pretence of doing so we are in reality only talking to ourselves. The person or animal spoken to is half the battle--a half, moreover, which is essential to there being any battle at all. It takes two people to say a thing--a sayee as well as a sayer. The one is as essential to any true saying as the other. A. may have spoken, but if B. has not heard there has been nothing said, and he must speak again. True, the belief on A.'s part that he had a bona fide sayee in B., saves his speech qua him, but it has been barren and left no fertile issue. It has failed to fulfil the conditions of true speech, which involve not only that A.

should speak, but also that B. should hear. True, again, we often speak of loose, incoherent, indefinite language; but by doing so we imply, and rightly, that we are calling that language which is not true language at all. People, again, sometimes talk to themselves without intending that any other person should hear them, but this is not well done, and does harm to those who practise it. It is abnormal, whereas our concern is with normal and essential characteristics; we may, therefore, neglect both delirious babblings, and the cases in which a person is regarding him or herself, as it were, from outside, and treating himself as though he were someone else.

Inquiring, then, what are the essentials, the presence of which const.i.tutes language, while their absence negatives it altogether, we find that Professor Max Muller restricts them to the use of grammatical articulate words that we can write or speak, and denies that anything can be called language unless it can be written or spoken in articulate words and sentences. He also denies that we can think at all unless we do so in words; that is to say, in sentences with verbs and nouns. Indeed, he goes so far as to say upon his t.i.tle-page that there can be no reason--which I imagine comes to much the same thing as thought--without language, and no language without reason.

Against the a.s.sertion that there can be no true language without reason I have nothing to say. But when the Professor says that there can be no reason, or thought, without language, his opponents contend, as it seems to me, with greater force, that thought, though infinitely aided, extended and rendered definite through the invention of words, nevertheless existed so fully as to deserve no other name thousands, if not millions of years before words had entered into it at all. Words, they say, are a comparatively recent invention, for the fuller expression of something that was already in existence.

Children, they urge, are often evidently thinking and reasoning, though they can neither think nor speak in words. If you ask me to define reason, I answer as before that this can no more be done than thought, truth or motion can be defined. Who has answered the question, "What is truth?" Man cannot see G.o.d and live. We cannot go so far back upon ourselves as to undermine our own foundations; if we try to do so we topple over, and lose that very reason about which we vainly try to reason. If we let the foundations be, we know well enough that they are there, and we can build upon them in all security. We cannot, then, define reason nor crib, cabin and confine it within a thus-far-shalt-thou-go-and-no-further. Who can define heat or cold, or night or day? Yet, so long as we hold fast by current consent, our chances of error for want of better definition are so small that no sensible person will consider them.

In like manner, if we hold by current consent or common sense, which is the same thing, about reason, we shall not find the want of an academic definition hinder us from a reasonable conclusion. What nurse or mother will doubt that her infant child can reason within the limits of its own experience, long before it can formulate its reason in articulately worded thought? If the development of any given animal is, as our opponents themselves admit, an epitome of the history of its whole anterior development, surely the fact that speech is an accomplishment acquired after birth so artificially that children who have gone wild in the woods lose it if they have ever learned it, points to the conclusion that man's ancestors only learned to express themselves in articulate language at a comparatively recent period. Granted that they learn to think and reason continually the more and more fully for having done so, will common sense permit us to suppose that they could neither think nor reason at all till they could convey their ideas in words?

I will return later to the reason of the lower animals, but will now deal with the question what it is that const.i.tutes language in the most comprehensive sense that can be properly attached to it. I have said already that language to be language at all must not only convey fairly definite coherent ideas, but must also convey them to another living being. Whenever two living beings have conveyed and received ideas, there has been language, whether looks or gestures or words spoken or written have been the vehicle by means of which the ideas have travelled. Some ideas crawl, some run, some fly; and in this case words are the wings they fly with, but they are only the wings of thought or of ideas, they are not the thought or ideas themselves, nor yet, as Professor Max Muller would have it, inseparably connected with them. Last summer I was at an inn in Sicily, where there was a deaf and dumb waiter; he had been born so, and could neither write nor read. What had he to do with words or words with him? Are we to say, then, that this most active, amiable and intelligent fellow could neither think nor reason? One day I had had my dinner and had left the hotel. A friend came in, and the waiter saw him look for me in the place I generally occupied. He instantly came up to my friend and moved his two forefingers in a way that suggested two people going about together, this meant "your friend"; he then moved his forefingers horizontally across his eyes, this meant, "who wears divided spectacles"; he made two fierce marks over the sockets of his eyes, this meant, "with the heavy eyebrows"; he pulled his chin, and then touched his white shirt, to say that my beard was white. Having thus identified me as a friend of the person he was speaking to, and as having a white beard, heavy eyebrows, and wearing divided spectacles, he made a munching movement with his jaws to say that I had had my dinner; and finally, by making two fingers imitate walking on the table, he explained that I had gone away. My friend, however, wanted to know how long I had been gone, so he pulled out his watch and looked inquiringly.

The man at once slapped himself on the back, and held up the five fingers of one hand, to say it was five minutes ago. All this was done as rapidly as though it had been said in words; and my friend, who knew the man well, understood without a moment's hesitation.

Are we to say that this man had no thought, nor reason, nor language, merely because he had not a single word of any kind in his head, which I am a.s.sured he had not; for, as I have said, he could not speak with his fingers? Is it possible to deny that a dialogue-- an intelligent conversation--had pa.s.sed between the two men? And if conversation, then surely it is technical and pedantic to deny that all the essential elements of language were present. The signs and tokens used by this poor fellow were as rude an instrument of expression, in comparison with ordinary language, as going on one's hands and knees is in comparison with walking, or as walking compared with going by train; but it is as great an abuse of words to limit the word "language" to mere words written or spoken, as it would be to limit the idea of a locomotive to a railway engine.

This may indeed pa.s.s in ordinary conversation, where so much must be suppressed if talk is to be got through at all, but it is intolerable when we are inquiring about the relations between thought and words. To do so is to let words become as it were the masters of thought, on the ground that the fact of their being only its servants and appendages is so obvious that it is generally allowed to go without saying.

If all that Professor Max Muller means to say is, that no animal but man commands an articulate language, with verbs and nouns, or is ever likely to command one (and I question whether in reality he means much more than this), no one will differ from him. No dog or elephant has one word for bread, another for meat, and another for water. Yet, when we watch a cat or dog dreaming, as they often evidently do, can we doubt that the dream is accompanied by a mental image of the thing that is dreamed of, much like what we experience in dreams ourselves, and much doubtless like the mental images which must have pa.s.sed through the mind of my deaf and dumb waiter? If they have mental images in sleep, can we doubt that waking, also, they picture things before their mind's eyes, and see them much as we do--too vaguely indeed to admit of our thinking that we actually see the objects themselves, but definitely enough for us to be able to recognize the idea or object of which we are thinking, and to connect it with any other idea, object, or sign that we may think appropriate?

Here we have touched on the second essential element of language.