Travels in China by Sir John Barrow (top e book reader .txt) π
[1] Monsieur (I beg his pardon) Citoyen Charpentier Cossigny.
Perhaps it may not be thought amiss, before he enters on the more immediate subject of the work, to correct, in this place, a very mistaken notion that prevailed on the return of the embassy, which was, that an unconditional compliance of Lord Macartney with all the humiliating ceremonies which the Chinese might have thought proper to exact from him, would have been productive of results more favourable to the views of the embassy. Assertions of such a general nature are more easily made than refuted, and indeed unworthy of attention; but a letter of a French missionary at Peki
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The history of the world affords abundant evidence that, in the dawn of civilization, most nations endeavoured to fix and to perpetuate ideas by painting the figures of the objects that produced them. The Egyptian priesthood recorded the mysteries of their religion in graphic emblems of this kind; and the Mexicans, on the first arrival of the Spaniards, informed their prince Montezuma of what was passing by painting their ideas on a roll of cloth. There is no way so natural as this of expressing, and conveying to the understanding of others, the images that pass in the mind, without the help of speech. In the course of the present voyage, an officer of artillery and myself were dispatched to make observations on the small island of Collao, near the coast of Cochin-China. In order to make the natives comprehend our desire to procure some poultry, we drew on paper the figure of a hen, and were immediately supplied to the extent of our wants. One of the inhabitants taking up the idea drew close behind the hen the figure of an egg, and a nod of the head obtained us as many as we had occasion for. The Bosjesmen Hottentots, the most wild and savage race perhaps of human beings, are in the constant habit of drawing, on the sides of caverns, the representations of the different animals peculiar to the country. When I visited some of those caverns I considered such drawings as the employment of idle hours; but, on since reflecting that in almost all such caverns are also to be seen the figures of Dutch boors (who hunt these miserable creatures like wild beasts) in a variety of attitudes, some with guns in their hands, and others in the act of firing upon their countrymen; waggons sometimes proceeding and at others standing still, the oxen unyoked, and the boors sleeping; and these representations generally followed by a number of lines scored like so many tallies; I am inclined to think they have adopted this method of informing their companions of the number of their enemies, and the magnitude of the danger. The animals represented were generally such as were to be met with in the district where the drawings appeared; this, to a people who subsist by the chace and by plunder, might serve as another piece of important information.
The Chinese history, although it takes notice of the time when they had no other method of keeping their records, except, like the Peruvians, by knotting cords, makes no mention of any hieroglyphical characters being used by them. If such were actually the case, the remains of symbolical writing would now be most discoverable in the radical, or elementary characters, of which we shall presently have occasion to speak, and especially in those which were employed to express some of the most remarkable objects in nature. Out of the two hundred and twelve, or thereabout, which constitute the number of the radical signs, the following are a few of the most simple, in none of which, in my opinion, does there appear to be the least resemblance between the picture and the object.
δΊΊ gin, man
ε£ koo, a mouth
ε tee, earth
ε tsΓ©, a son
θΈ tsau, a plant
ε±± shan, a mountain
εΏ sin, a heart
ζ shoo, a hand
ζΉ fang, space, or a square of ground
ζ yuΓ©, the moon
ζ₯ jee, the sun
ζ¨ moo, a tree
ζ°΄ swee, water
η« ho, fire
η³ shee, a stone.
The rest of the elementary characters are, if possible, still more unlike the objects they represent. There seems, therefore, to be no grounds for concluding that the Chinese ever made use of hieroglyphics or, more properly speaking, that their present character sprung out of hieroglyphics. They have a tradition, which is universally believed, that their prince Fo-shee was the inventor of the system upon which their written character is formed, and which, without any material alteration, there is every reason to suppose has continued in use to this day. To Fo-shee, however, they ascribe the invention of almost every thing they know, which has led Mr. Baillie ingeniously to conjecture that Fo-shee must have been some foreigner who first civilized China; as arts and sciences do not spring up and bear fruit in the life of one man. Many changes in the form of characters may have taken place from time to time, but the principle on which they are constructed seems to have maintained its ground. The redundancies of particular characters have been removed for the sake of convenience; and the learned in their epistolary writing have adopted a sort of running hand, in which the form is so very materially altered, by rounding off the angles, connecting some parts and wholly omitting others, as to make it appear to a superficial observer a totally different language. But I may venture to observe, that it has not only not undergone any material alteration for more than two thousand years, but that it has never borrowed a character, or a syllable, from any other language that now exists. As a proof of this, it may be mentioned, that every new article that has found its way into China since its discovery to Europeans has acquired a Chinese name, and entirely sunk that which it bore by the nation who introduced it. The proper names even of countries, nations, and individuals are changed, and assume new ones in their language. Thus Europe is called See-yang, the western country; Japan Tung-yang, the eastern country; India Siau-see-yang, the little western country. The English are dignified by the name of Hung-mou, or Red-heads, and the French, Spanish, Portuguese, and others, who visit China, have each a name in the language of the country totally distinct from that they bear in Europe. This inflexibility in retaining the words of their own poor language has frequently made me think, that Doctor Johnson had the Chinese in his mind when, in that inimitable piece of fine writing which prefaces his dictionary, he made this remark: "The language most likely to continue long without alteration, would be that of a nation raised a little, and but a little, above barbarity, secluded from strangers, and totally employed in procuring the conveniences of life."
The invention of the Chinese character, although an effort of genius, required far less powers of the mind than the discovery of an alphabet; a discovery so sublime that, according to the opinion of some, nothing less than a divine origin ought to be ascribed to it. It may, however, be considered as the nearest approximation to an universal character that has hitherto been attempted by the learned and ingenious of any nation; each character conveying at once to the eye, not only simple, but the most combined ideas. The plan of our countryman, Bishop Wilkins, for establishing an universal character is, in all respects, so similar to that upon which the Chinese language is constructed, that a reference to the former will be found to convey a very competent idea of the nature of the latter. The universal character of our countryman is, however, more systematic, and more philosophical, than the plan of the Chinese character.
Certain signs expressing simple objects or ideas may be considered as the roots or primitives of this language. These are few in number, not exceeding two hundred and twelve, one of which, or its abbreviation, will be found to compose a part of every character in the language; and may, therefore, be considered as the key to the character into which it enters. The eye soon becomes accustomed to fix upon the particular key, or root, of the most complicated characters, in some of which are not fewer than sixty or seventy distinct lines and points. The right line, the curved line, and a point are the rudiments of all the characters. These, variously combined with one another, have been extended from time to time, as occasion might require, to nearly eighty thousand different characters.
To explain the manner in which their dictionaries are arranged will serve to convey a correct notion of the nature of this extraordinary language. All the two hundred and twelve roots or keys are drawn fair and distinct on the head of the page, beginning with the most simple, or that which contains the fewest number of lines or points, and proceeding to the most complicated; and on the margins of the page are marked the numeral characters one, two, three, &c. which signify, that the root or key at the top will be found to be combined on that page with one, two, three, &c. lines or points. Suppose, for example, a learner should meet with an unknown character, in which he perceives that the simple sign expressing water is the key or root, and that it contains, besides this root, six additional points and lines. He immediately turns over his dictionary to the place where the character water stands on the top of the page, and proceeding with his eye directed to the margin, until the numeral character six occurs, he will soon perceive the one in question; for all the characters in the language, belonging to the root water, and composed of six other lines and points, will follow successively in this place. The name or sound of the character is placed immediately after it, expressed in such others as are supposed to be most familiar; and, in the method made use of for conveying this information, the Chinese have discovered some faint and very imperfect idea of alphabetic writing, by splitting the monosyllabic sound into a dissyllable, and again compressing the dissyllable into a simple sound. One instance will serve to explain this method. Suppose the name of the character under consideration to be ping. If no single character be thought sufficiently simple to express the sound ping, immediately after it will be placed two well-known characters pe and ing; but, as every character in the language has a monosyllabic sound, it will readily be concluded, that pe and ing, when compressed into one syllable, must be pronounced ping. After these, the meaning or explanation follows, in the clearest and most easy characters that can be employed.
When, indeed, a considerable progress has been made in the language, the general meaning of many of the characters may be pretty nearly guessed at by the eye alone, as they will mostly be found to have some reference, either immediate or remote, though very often in a figurative sense, to the signification of the key or root; in the same manner as in the classification of objects in natural history, every species may be referred to its proper genus. The signs, for instance, expressing the hand and the heart, are two roots, and all the works of art, the different trades and manufactures, arrange themselves under the first, and all the passions, affections, and sentiments of the mind under the latter. The root of an unit or one comprehends all the characters expressive of unity, concord, harmony, and the like. Thus, if I observe a character compounded of the two simple roots, one and heart, I have no difficulty in concluding that its signification is unanimity, but, if the sign of a negative should also appear in the same character, the meaning will be reversed to discord or dissention, literally not one heart. Many proper names of persons have the character signifying man for their key or root, and all foreign names have the character mouth or voice annexed, which shews at once that the character is a proper name employed only to express sound without any particular meaning.
Nor are these keys or roots, although sometimes placed on the right of the character, sometimes on the left, now at the top, and then at the bottom, so very difficult to
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