is not writing; it is what is called pictography. Such are those gross representations employed even to-day by the Indians of North America to transmit information (Figs. 1 and 2.)
| Fig. 1. | Fig. 2. | |
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| Indian Bark-letter. | Indian Bark-letter. | |
Explanation of Fig. 1.—On one occasion a party of explorers, with two Indian guides, saw one morning, just as they were about to start, a pole stuck in the direction they were going, and holding at the top a piece of bark, covered with drawings, which were intended for the information of any other Indians who might pass that way. This is represented in Fig. 1. No. 1 represents the subaltern officer in command of the party. He is drawn with a sword, to denote his rank. No. 2 denotes the secretary. He is represented as holding a book, the Indians having understood him to be an attorney. No. 3 represents the geologist, appropriately indicated by a hammer. Nos. 4 and 5 are attachés; No. 6 the interpreter. The group of figures marked 9 represents seven infantry soldiers, each of whom, as shown in group No. 10. was armed with a musket. No. 15 denotes that they had a separate fire, and constituted a separate mess. Nos. 7 and 8 represent the two Chippewa guides. These are the only human figures drawn without the distinguishing symbol of a hat. This was the characteristic seized on by them, and generally employed by the Indians, to distinguish the red from the white race. Nos. 11 and 12 represent a prairie-hen and a green tortoise, which constituted the sum of the preceding day's chase, and were eaten at the encampment. The inclination of the pole was designed to show the course pursued; and there were three hacks in it below the scroll of bark, to indicate the estimated length of this part of the journey, computing from water to water.
Explanation of Fig. 2.—This figure gives the biography of Wingemund, a noted chief of the Delawares. No. 1 shows that it belonged to the oldest branch of the tribe, which use the tortoise on their symbol. No. 2 is his totem, or symbol; No. 3 is the sun, and the ten strokes represent ten war-parties in which he was engaged. Those figures on the left represent the captives which he made in each of his excursions, the men being distinguished from the women, and the captives being denoted by having heads, while a man without his head is of course a dead man. The central figures represent three forts which he attacked; No. 8, one oh Lake Erie; No. 9, that of Detroit; and No. 10, Fort Pitt, at the junction of the Alleghany and the Monongahela. The sloping strokes denote the number of his followers.
When the object figured has a conventional signification, we may say that writing has begun. For example, the idea of prudence would be represented by a serpent, that of force by a lion. This manner of translating thought is symbolic, ideographic writing. It presents many stages. The hieroglyphics seen on Egyptian and Mexican monuments belong here. But all these signs do not constitute veritable writing.
In reality, this appears only when the signs employed represent the sounds of the language. After reaching this point, writing again presents two very different stages. Each syllable may have its particular character; or, better still, the elements of the syllable may be represented. This last form constitutes writing, properly speaking. It is this that we employ. The collection of signs we call an alpha-
