The number of such arbitrary characters in the Chipeway notation is said to be over two hundred, but if the distinction between a figure and a symbol were rigidly applied, it would be much reduced. This kind of writing, if it deserves the name, was common throughout the continent, and many specimens of it, scratched on the plane surfaces of stones, have been preserved to the present day. Such is the once celebrated inscription on Dighton Rock, Massachusetts, long supposed to be a record of the Northmen of Vinland; such those that mark the faces of the cliffs which overhang the waters of the Orinoco, and those that in Oregon, Peru, and La Plata have been the subject of much curious speculation. They are alike the mute and meaningless epitaphs of vanished generations.

I would it could be said that in favorable contrast to our ignorance of these inscriptions is our comprehension of the highly wrought pictography of the Aztecs. No nation ever reduced it more to a system. It was in constant use in the daily transactions of life. They manufactured for writing purposes a thick, coarse paper from the leaves of the agave plant by a process of maceration and pressure. An Aztec book closely resembles one of our quarto volumes. It is made of a single sheet, twelve to fifteen inches wide, and often sixty or seventy feet long, and is not rolled, but folded either in squares or zigzags in such a manner that on opening it there are two pages exposed to view. Thin wooden boards are fastened to each of the outer leaves, so that the whole presents as neat an appearance, remarks Peter Martyr, as if it had come from the shop of a skilful bookbinder. They also covered buildings, tapestries, and scrolls of parchment with these devices, and for trifling transactions were familiar with the use of slates of soft stone from which the figures could readily be erased with water.⁵ What is still more astonishing, there is reason to believe, in some instances, their figures were not painted, but actually printed with movable blocks of wood on which the symbols were carved in relief, though this was probably confined to those intended for ornament only.

In these records we discern something higher than a mere symbolic notation. They contain the germ of a phonetic alphabet, and represent sounds of spoken language. The symbol is often not connected with the idea but with the word. The mode in which this is done corresponds precisely to that of the rebus. It is a simple method, readily suggesting itself. In the middle ages it was much in vogue in Europe for the same purpose for which it was chiefly employed in Mexico at the same time—the writing of proper names. For example, the English family Bolton was known in heraldry by a tun transfixed by a bolt. Precisely so the Mexican emperor Ixcoatl is mentioned in the Aztec manuscripts under the figure of a serpent coatl, pierced by obsidian knives ixtli, and Moquauhzoma by a mouse-trap montli, an eagle quauhtli, a lancet zo, and a hand maitl. As a syllable could be expressed by any object whose name commenced with it, as few words can be given the form of a rebus without some change, as the figures sometimes represent their full phonetic value, sometimes only that of their initial sound, and as universally the attention of the artist was directed less to the sound than to the idea, the didactic painting of the Mexicans, whatever it might have been to them, is a sealed book to us, and must remain so in great part. Moreover, it is entirely undetermined whether it should be read from the first to the last page, or vice versa, whether from right to left or from left to right, from bottom to top or from top to bottom, around the edges of the page toward the centre, or each line in the opposite direction from the preceding one. There are good authorities for all these methods,⁶ and they may all be correct, for there is no evidence that any fixed rule had been laid down in this respect.

Immense masses of such documents were stored in the imperial archives of ancient Mexico. Torquemada asserts that five cities alone yielded to the Spanish governor on one requisition no less than sixteen thousand volumes or scrolls! Every leaf was destroyed. Indeed, so thorough and wholesale was the destruction of these memorials now so precious in our eyes that hardly enough remain to whet the wits of antiquaries. In the libraries of Paris, Dresden, Pesth, and the Vatican are, however, a sufficient number to make us despair of deciphering them had we for comparison all which the Spaniards destroyed.

Beyond all others the Mayas, resident on the peninsula of Yucatan, would seem to have approached nearest a true phonetic system. They had a regular and well understood alphabet of twenty seven elementary sounds, the letters of which are totally different from those of any other nation, and evidently original with themselves. But besides these they used a large number of purely conventional symbols, and moreover were accustomed constantly to employ the ancient pictographic method in addition as a sort of commentary on the sound represented. What is more curious, if the obscure explanation of an ancient writer can be depended upon, they not only aimed to employ an alphabet after the manner of ours, but to express the sound absolutely like our phonographic signs do.⁷ With the aid of this alphabet, which has fortunately been preserved, we are enabled to spell out a few words on the Yucatecan manuscripts and façades, but thus far with no positive results. The loss of the ancient pronunciation is especially in the way of such studies.

In South America, also, there is said to have been a nation who cultivated the art of picture writing, the Panos, on the river Ucayale. A missionary, Narcisso Gilbar by name, once penetrated, with great toil, to one of their villages. As he approached he beheld a venerable man seated under the shade of a palm tree, with a great book open before him from which he was reading to an attentive circle of auditors the wars and wanderings of their forefathers. With difficulty the priest got a sight of the precious volume, and found it covered with figures and signs in marvellous symmetry and order.⁸ No wonder such a romantic scene left a deep impression on his memory.

The Peruvians adopted a totally different and unique system of records, that by means of the quipu. This was a base cord, the thickness of the finger, of any required length, to which were attached numerous small strings of different colors, lengths, and textures, variously knotted and twisted one with another. Each of these peculiarities represented a certain number, a quality, quantity, or other idea, but what, not the most fluent quipu reader could tell unless he was acquainted with the general topic treated of. Therefore, whenever news was sent in this manner a person accompanied the bearer to serve as verbal commentator, and to prevent confusion the quipus relating to the various departments of knowledge were placed in separate storehouses, one for war, another for taxes, a third for history, and so forth. On what principle or mnemotechnics the ideas were connected with the knots and colors we are totally in the dark; it has even been doubted whether they had any application beyond the art of numeration.⁹ Each combination had, however, a fixed ideographic value in a certain branch of knowledge, and thus the quipu differed essentially from the Catholic rosary, the Jewish phylactery, or the knotted strings of the natives of North America and Siberia, to all of which it has at times been compared.

The wampum used by the tribes of the north Atlantic coast was, in many respects, analogous to the quipu. In early times it was composed chiefly of bits of wood of equal size, but different colors. These were hung on strings which were woven into belts and bands, the hues, shapes, sizes, and combinations of the strings hinting their general significance. Thus the lighter shades were invariable harbingers of peaceful or pleasant tidings, while the darker portended war and danger. The substitution of beads or shells in place of wood, and the custom of embroidering figures in the belts were, probably, introduced by European influence.

Besides these, various simpler mnemonic aids were employed, such as parcels of reeds of different lengths, notched sticks, knots in cords, strings of pebbles or fruit-stones, circular pieces of wood or slabs pierced with different figures which the English liken to “cony holes,” and at a victory, a treaty, or the founding of a village, sometimes a pillar or heap of stones was erected equalling in number the persons present at the occasion, or the number of the fallen.

This exhausts the list. All other methods of writing, the hieroglyphs of the Micmacs of Acadia, the syllabic alphabet of the Cherokees, the pretended traces of Greek, Hebrew, and Celtiberic letters which have from time to time been brought to the notice of the public, have been without exception the products of foreign civilization or simply frauds. Not a single coin, inscription, or memorial of any kind whatever, has been found on the American continent showing the existence, either generally or locally, of any other means of writing than those specified.

Poor as these substitutes for a developed phonetic system seem to us, they were of great value to the uncultivated man. In his legends their introduction is usually ascribed to some heaven-sent benefactor, the antique characters were jealously adhered to, and the pictured scroll of bark, the quipu ball, the belt of wampum, were treasured with provident care, and their import minutely expounded to the most intelligent of the rising generation. In all communities beyond the stage of barbarism a class of persons was set apart for this duty and no other. Thus, for example, in ancient Peru, one college of priests styled amauta, learned, had exclusive charge over the quipus containing the mythological and historical traditions; a second, the haravecs, singers, devoted themselves to those referring to the national ballads and dramas; while a third occupied their time solely with those pertaining to civil affairs. Such custodians preserved and prepared the archives, learned by heart with their aid what their fathers knew, and in some countries, as, for instance, among the Panos mentioned above, and the Quiches of Guatemala,¹⁰ repeated portions of them at times to the assembled populace. It has even been averred by one of their converted chiefs, long a missionary to his fellows, that the Chipeways of Lake Superior have a college composed of ten “of the wisest and most venerable of their nation,” who have in charge the pictured records containing the ancient history of their tribe. These are kept in an underground chamber, and are disinterred every fifteen years by the assembled guardians, that they may be repaired, and their contents explained to new members of the society.¹¹

In spite of these precautions, the end seems to have been very imperfectly attained. The most distinguished characters, the weightiest events in national history faded into oblivion after a few generations. The time and circumstances of the formation of the league of the Five Nations, the dispersion of the mound builders of the Ohio valley in the fifteenth century, the chronicles of Peru or Mexico beyond a century or two anterior to the conquest, are preserved in such a vague and contradictory manner that they have slight value as history. Their mythology fared somewhat better, for not only was it kept fresh in the memory by frequent repetition; but being itself founded in nature, it was constantly nourished by the truths which gave it birth. Nevertheless, we may profit by the warning to remember that their myths are myths only, and not the reflections of history or heroes.

Rising from these details to a general comparison of the symbolic and phonetic systems in their reactions on the mind, the most obvious are their contrasted effects on the faculty of memory. Letters represent elementary sounds, which are few in any language, while symbols stand for ideas, and they are numerically infinite. The transmission of knowledge by means of the latter is consequently attended with most disproportionate labor. It is almost as if we could quote nothing from an author unless we could recollect his exact words. We have a right to look for excellent memories where such a mode is in vogue, and in the present instance we are not disappointed. “These savages,” exclaims La Hontan, “have the happiest memories in the world!” It was etiquette at their councils for each speaker to repeat verbatim all his predecessors had said, and the whites were often astonished and confused at the verbal fidelity with which the natives recalled the transactions of long past treaties. Their songs were inexhaustible. An instance is on record where an Indian sang two hundred on various subjects.¹² Such a fact reminds us of a beautiful expression of the elder Humboldt: “Man,” he says, “regarded as an animal, belongs to one of the singing species; but his notes are always associated with ideas.” The youth who were educated at the public schools of ancient Mexico—for that realm, so far from neglecting the cause of popular education, established houses for gratuitous instruction, and to a certain extent made the attendance upon them obligatory—learned by rote long orations, poems, and prayers with a facility astonishing to the conquerors, and surpassing anything they were accustomed to see in the universities of Old Spain. A phonetic system actually weakens the retentive powers of the mind by offering a more facile plan for preserving thought. “Ce que je mets sur papier, je remets de ma mémoire” is an expression of old Montaigne which he could never have used had he employed ideographic characters.

Memory, however, is of far less importance than a free activity of thought, untrammelled by forms or precedents, and ever alert to novel combinations of ideas. Give a race this and it will guide it to civilization as surely as the needle directs the ship to its haven. It is here that ideographic writing reveals its fatal inferiority. It is forever specifying, materializing, dealing in minutiæ. In the Egyptian symbolic alphabet there is a figure for a virgin, another for a married woman, for a widow without offspring, for a widow with one child, two children, and I know not in how many other circumstances, but for woman there is no sign. It must be so in the nature of things, for the symbol represents the object as it appears or is fancied to appear, and not as it is thought. Furthermore, the constant learning by heart infallibly leads to slavish repetition and mental servility.

A symbol when understood is independent of language, and is as universally current as an Arabic numeral. But this divorce of spoken and written language is of questionable advantage. It at once destroys all permanent improvement in a tongue through elegance of style, sonorous periods, or delicacy of expression, and the life of the language itself is weakened when its forms are left to fluctuate uncontrolled. Written poetry, grammar, rhetoric, all are impossible to the student who draws his knowledge from such a source.

Finally, it has been justly observed by the younger Humboldt that the painful fidelity to the antique figures transmitted from barbarous to polished generations is injurious to the æsthetic sense, and dulls the mind to the beautiful in art and nature.

The transmission of thought by figures and symbols would, on the whole, therefore, foster those narrow and material tendencies which the genius of polysynthetic languages would seem calculated to produce. Its one redeeming trait of strengthening the memory will serve to explain the strange tenacity with which certain myths have been preserved through widely dispersed families, as we shall hereafter see.

Besides this of language there are two traits in the history of the red man without parallel in that of any other variety of our species which has achieved any notable progress in civilization.

The one is his isolation