Garrick Mallery - Sign Language Among North American Indians Compared With That Among Other Peoples And Deaf Mutes
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Garrick Mallery >> Sign Language Among North American Indians Compared With That Among Other Peoples And Deaf Mutes
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| Transcriber's Note: The following notation |
| is used for special phonetic characters: |
| |
| [c] = "c" with slash (cent sign) |
| [.h] = "h" with superior dot |
| ['s] = "s" with acute accent |
| [k], [t] = inverted "k", "t" |
| [n] = superscript "n" |
| [=e], [=n] = "e", "n" with superior macron |
| [)e], [)i] = "e", "i" with superior breve |
| |
| In this plain ASCII version, other accented |
| characters have not been so encoded; e.g., |
| "abbe" has lost its acute accent. |
| |
| The verses in the section on GESTURES OF ACTORS |
| are loosely quoted from "The Rosciad" by |
| Charles Churchill, which more accurately reads: |
| |
| "... When to enforce some very tender part, |
| The right hand slips by instinct on the heart, |
| His soul, of every other thought bereft, |
| Is anxious only where to place the left;..." |
+-------------------------------------------------+
SMITHSONIAN INSTITUTION--BUREAU OF ETHNOLOGY.
J.W. POWELL, DIRECTOR.
SIGN LANGUAGE
AMONG
NORTH AMERICAN INDIANS
COMPARED WITH THAT AMONG OTHER PEOPLES AND DEAF-MUTES.
BY
GARRICK MALLERY.
* * * * *
LIST OF ILLUSTRATIONS.
FIG. PAGE
61. Affirmation, approving. Old Roman 286
62. Approbation. Neapolitan 286
63. Affirmation, approbation. N.A. Indian 286
64. Group. Old Greek. Facing 289
65. Negation. Dakota 290
66. Love. Modern Neapolitan 290
67. Group. Old Greek. Facing 290
68. Hesitation. Neapolitan 291
69. Wait. N.A. Indian 291
70. Question, asking. Neapolitan 291
71. Tell me. N.A. Indian 291
72. Interrogation. Australian 291
73. Pulcinella 292
74. Thief. Neapolitan 292
75. Steal. N.A. Indian 293
76. Public writer. Neapolitan group. Facing 296
77. Money. Neapolitan 297
78. "Hot Corn." Neapolitan Group. Facing 297
79. "Horn" sign. Neapolitan 298
80. Reproach. Old Roman 298
81. Marriage contract. Neapolitan group. Facing 298
82. Negation. Pai-Ute sign 299
83. Coming home of bride. Neapolitan group. Facing 299
84. Pretty. Neapolitan 300
85. "Mano in fica." Neapolitan 300
86. Snapping the fingers. Neapolitan 300
87. Joy, acclamation 300
88. Invitation to drink wine 300
89. Woman's quarrel. Neapolitan Group. Facing 301
90. Chestnut vender. Facing 301
91. Warning. Neapolitan 302
92. Justice. Neapolitan 302
93. Little. Neapolitan 302
94. Little. N.A. Indian 302
95. Little. N.A. Indian 302
96. Demonstration. Neapolitan 302
97. "Fool." Neapolitan 303
98. "Fool." Ib. 303
99. "Fool." Ib. 303
100. Inquiry. Neapolitan 303
101. Crafty, deceitful. Neapolitan 303
102. Insult. Neapolitan 304
103. Insult. Neapolitan 304
104. Silence. Neapolitan 304
105. Child. Egyptian hieroglyph 304
106. Negation. Neapolitan 305
107. Hunger. Neapolitan 305
108. Mockery. Neapolitan 305
109. Fatigue. Neapolitan 305
110. Deceit. Neapolitan 305
111. Astuteness, readiness. Neapolitan 305
112. Tree. Dakota, Hidatsa 343
113. To grow. N.A. Indian 343
114. Rain. Shoshoni, Apache 344
115. Sun. N.A. Indian 344
116. Sun. Cheyenne 344
117. Soldier. Arikara 345
118. No, negation. Egyptian 355
119. Negation. Maya 356
120. Nothing. Chinese 356
121. Child. Egyptian figurative 356
122. Child. Egyptian linear 356
123. Child. Egyptian hieratic 356
124. Son. Ancient Chinese 356
125. Son. Modern Chinese 356
126. Birth. Chinese character 356
127. Birth. Dakota 356
128. Birth, generic. N.A. Indians 357
129. Man. Mexican 357
130. Man. Chinese character 357
131. Woman. Chinese character 357
132. Woman. Ute 357
133. Female, generic. Cheyenne 357
134. To give water. Chinese character 357
135. Water, to drink. N.A. Indian 357
136. Drink. Mexican 357
137. Water. Mexican 357
138. Water, giving. Egypt 358
139. Water. Egyptian 358
140. Water, abbreviated 358
141. Water. Chinese character 358
142. To weep. Ojibwa pictograph 358
143. Force, vigor. Egyptian 358
144. Night. Egyptian 358
145. Calling upon. Egyptian figurative 359
146. Calling upon. Egyptian linear 359
147. To collect, to unite. Egyptian 359
148. Locomotion. Egyptian figurative 359
149. Locomotion. Egyptian linear 359
150. Shu[n]'-ka Lu'-ta. Dakota 365
151. "I am going to the east." Abnaki 369
152. "Am not gone far." Abnaki 369
153. "Gone far." Abnaki 370
154. "Gone five days' journey." Abnaki 370
155. Sun. N.A. Indian 370
156. Sun. Egyptian 370
157. Sun. Egyptian 370
158. Sun with rays. Ib. 371
159. Sun with rays. Ib. 371
160. Sun with rays. Moqui pictograph 371
161. Sun with rays. Ib. 371
162. Sun with rays. Ib. 371
163. Sun with rays. Ib. 371
164. Star. Moqui pictograph 371
165. Star. Moqui pictograph 371
166. Star. Moqui pictograph 371
167. Star. Moqui pictograph 371
168. Star. Peruvian pictograph 371
169. Star. Ojibwa pictograph 371
170. Sunrise. Moqui do. 371
171. Sunrise. Ib. 371
172. Sunrise. Ib. 371
173. Moon, month. Californian pictograph 371
174. Pictograph, including sun. Coyotero Apache 372
175. Moon. N.A. Indian 372
176. Moon. Moqui pictograph 372
177. Moon. Ojibwa pictograph 372
178. Sky. Ib. 372
179. Sky. Egyptian character 372
180. Clouds. Moqui pictograph 372
181. Clouds. Ib. 372
182. Clouds. Ib. 372
183. Cloud. Ojibwa pictograph 372
184. Rain. New Mexican pictograph 373
185. Rain. Moqui pictograph 373
186. Lightning. Moqui pictograph 373
187. Lightning. Ib. 373
188. Lightning, harmless. Pictograph at Jemez, N.M. 373
189. Lightning, fatal. Do. 373
190. Voice. "The-Elk-that-hollows-walking" 373
191. Voice. Antelope. Cheyenne drawing 373
192. Voice, talking. Cheyenne drawing 374
193. Killing the buffalo. Cheyenne drawing 375
194. Talking. Mexican pictograph 376
195. Talking, singing. Maya character 376
196. Hearing ears. Ojibwa pictograph 376
197. "I hear, but your words are from a bad heart." Ojibwa 376
198. Hearing serpent. Ojibwa pictograph 376
199. Royal edict. Maya 377
200. To kill. Dakota 377
201. "Killed Arm." Dakota 377
202. Pictograph, including "kill." Wyoming Ter. 378
203. Pictograph, including "kill." Wyoming Ter. 378
204. Pictograph, including "kill." Wyoming Ter. 379
205. Veneration. Egyptian character 379
206. Mercy. Supplication, favor. Egyptian 379
207. Supplication. Mexican pictograph 380
208. Smoke. Ib. 380
209. Fire. Ib. 381
210. "Making medicine." Conjuration. Dakota 381
211. Meda. Ojibwa pictograph 381
212. The God Knuphis. Egyptian 381
213. The God Knuphis. Ib. 381
214. Power. Ojibwa pictograph 381
215. Meda's Power. Ib. 381
216. Trade pictograph 382
217. Offering. Mexican pictograph 382
218. Stampede of horses. Dakota 382
219. Chapultepec. Mexican pictograph 383
220. Soil. Ib. 383
221. Cultivated soil. Ib. 383
222. Road, path. Ib. 383
223. Cross-roads and gesture sign. Mexican pictograph 383
224. Small-pox or measles. Dakota 383
225. "No thoroughfare." Pictograph 383
226. Raising of war party. Dakota 384
227. "Led four war parties." Dakota drawing 384
228. Sociality. Friendship. Ojibwa pictograph 384
229. Peace. Friendship. Dakota 384
230. Peace. Friendship with whites. Dakota 385
231. Friendship. Australian 385
232. Friend. Brule Dakota 386
233. Lie, falsehood. Arikara 393
234. Antelope. Dakota 410
235. Running Antelope. Personal totem 410
236. Bad. Dakota 411
237. Bear. Cheyenne 412
238. Bear. Kaiowa, etc. 413
239. Bear. Ute 413
240. Bear. Moqui pictograph 413
241. Brave. N.A. Indian 414
242. Brave. Kaiowa, etc. 415
243. Brave. Kaiowa, etc. 415
244. Chief. Head of tribe. Absaroka 418
245. Chief. Head of tribe. Pai-Ute 418
246. Chief of a band. Absaroka and Arikara 419
247. Chief of a band. Pai-Ute 419
248. Warrior. Absaroka, etc. 420
249. Ojibwa gravestone, including "dead" 422
250. Dead. Shoshoni and Banak 422
251. Dying. Kaiowa, etc. 424
252. Nearly dying. Kaiowa 424
253. Log house. Hidatsa 428
254. Lodge. Dakota 430
255. Lodge. Kaiowa, etc. 431
256. Lodge. Sahaptin 431
257. Lodge. Pai-Ute 431
258. Lodge. Pai-Ute 431
259. Lodge. Kutchin 431
260. Horse. N.A. Indian 434
261. Horse. Dakota 434
262. Horse. Kaiowa, etc. 435
263. Horse. Caddo 435
264. Horse. Pima and Papago 435
265. Horse. Ute 435
266. Horse. Ute 435
267. Saddling a horse. Ute 437
268. Kill. N.A. Indian 438
269. Kill. Mandan and Hidatsa 439
270. Negation. No. Dakota 441
271. Negation. No. Pai-Ute 442
272. None. Dakota 443
273. None. Australian 444
274. Much, quantity. Apache 447
275. Question. Australian 449
276. Soldier. Dakota and Arikara 450
277. Trade. Dakota 452
278. Trade. Dakota 452
279. Buy. Ute 453
280. Yes, affirmation. Dakota 456
281. Absaroka tribal sign. Shoshoni 458
282. Apache tribal sign. Kaiowa, etc. 459
283. Apache tribal sign. Pima and Papago 459
284. Arikara tribal sign. Arapaho and Dakota 461
285. Arikara tribal sign. Absaroka 461
286. Blackfoot tribal sign. Dakota 463
287. Blackfoot tribal sign. Shoshoni 464
288. Caddo tribal sign. Arapaho and Kaiowa 464
289. Cheyenne tribal sign. Arapaho and Cheyenne 464
290. Dakota tribal sign. Dakota 467
291. Flathead tribal sign. Shoshoni 468
292. Kaiowa tribal sign. Comanche 470
293. Kutine tribal sign. Shoshoni 471
294. Lipan tribal sign. Apache 471
295. Pend d'Oreille tribal sign. Shoshoni 473
296. Sahaptin or Nez Perce tribal sign. Comanche 473
297. Shoshoni tribal sign. Shoshoni 474
298. Buffalo. Dakota 477
299. Eagle Tail. Arikara 477
300. Eagle Tail. Moqui pictograph 477
301. Give me. Absaroka 480
302. Counting. How many? Shoshoni and Banak 482
303. I am going home. Dakota 485
304. Question. Apache 486
305. Shoshoni tribal sign. Shoshoni 486
306. Chief. Shoshoni 487
307. Cold, winter, year. Apache 487
308. "Six." Shoshoni 487
309. Good, very well. Apache 487
310. Many. Shoshoni 488
311. Hear, heard. Apache 488
312. Night. Shoshoni 489
313. Rain. Shoshoni 489
314. See each other. Shoshoni 490
315. White man, American. Dakota 491
316. Hear, heard. Dakota 492
317. Brother. Pai-Ute 502
318. No, negation. Pai-Ute 503
319. Scene of Na-wa-gi-jig's story. Facing 508
320. We are friends. Wichita 521
321. Talk, talking. Wichita 521
322. I stay, or I stay right here. Wichita 521
323. A long time. Wichita 522
324. Done, finished. Do. 522
325. Sit down. Australian 523
326. Cut down. Wichita 524
327. Wagon. Wichita 525
328. Load upon. Wichita 525
329. White man; American. Hidatsa 526
330. With us. Hidatsa 526
331. Friend. Hidatsa 527
332. Four. Hidatsa 527
333. Lie, falsehood. Hidatsa 528
334. Done, finished. Hidatsa 528
335. Peace, friendship. Hualpais. Facing 530
336. Question, ans'd by tribal sign for Pani. Facing 531
337. Buffalo discovered. Dakota. Facing 532
338. Discovery. Dakota. Facing 533
339. Success of war party. Pima. Facing 538
340. Outline for arm positions, full face 545
341. Outline for arm positions, profile 545
342a. Types of hand positions, A to L 547
342b. Types of hand positions, M to Y 548
343. Example. To cut with an ax 550
344. Example. A lie 550
345. Example. To ride 551
346. Example. I am going home 551
* * * * *
SIGN LANGUAGE
AMONG
NORTH AMERICAN INDIANS
COMPARED WITH THAT AMONG OTHER PEOPLES AND DEAF-MUTES.
* * * * *
BY GARRICK MALLERY.
* * * * *
INTRODUCTORY.
During the past two years the present writer has devoted the intervals
between official duties to collecting and collating materials for
the study of sign language. As the few publications on the general
subject, possessing more than historic interest, are meager in details
and vague in expression, original investigation has been necessary.
The high development of communication by gesture among the tribes
of North America, and its continued extensive use by many of them,
naturally directed the first researches to that continent, with the
result that a large body of facts procured from collaborators and
by personal examination has now been gathered and classified. A
correspondence has also been established with many persons in other
parts of the world whose character and situation rendered it probable
that they would contribute valuable information. The success of
that correspondence has been as great as could have been expected,
considering that most of the persons addressed were at distant points
sometimes not easily accessible by mail. As the collection of facts
is still successfully proceeding, not only with reference to foreign
peoples and to deaf-mutes everywhere, but also among some American
tribes not yet thoroughly examined in this respect, no exposition of
the subject pretending to be complete can yet be made. In complying,
therefore, with the request to prepare the present paper, it is
necessary to explain to correspondents and collaborators whom it may
reach, that this is not the comprehensive publication by the Bureau
of Ethnology for which their assistance has been solicited. With this
explanation some of those who have already forwarded contributions
will not be surprised at their omission, and others will not desist
from the work in which they are still kindly engaged, under the
impression that its results will not be received in time to meet with
welcome and credit. On the contrary, the urgent appeal for aid before
addressed to officers of the Army and Navy of this and other nations,
to missionaries, travelers, teachers of deaf-mutes, and philologists
generally, is now with equal urgency repeated. It is, indeed, hoped
that the continued presentation of the subject to persons either
having opportunity for observation or the power to favor with
suggestions may, by awakening some additional interest in it, secure
new collaboration from localities still unrepresented.
It will be readily understood by other readers that, as the limits
assigned to this paper permit the insertion of but a small part of the
material already collected and of the notes of study made upon
that accumulation, it can only show the general scope of the work
undertaken, and not its accomplishment. Such extracts from the
collection have been selected as were regarded as most illustrative,
and they are preceded by a discussion perhaps sufficient to be
suggestive, though by no means exhaustive, and designed to be for
popular, rather than for scientific use. In short, the direction to
submit a progress-report and not a monograph has been complied with.
DIVISIONS OF GESTURE SPEECH.
These are corporeal motion and facial expression. An attempt has been
made by some writers to discuss these general divisions separately,
and its success would be practically convenient if it were always
understood that their connection is so intimate that they can never
be altogether severed. A play of feature, whether instinctive or
voluntary, accentuates and qualifies all motions intended to serve
as signs, and strong instinctive facial expression is generally
accompanied by action of the body or some of its members. But, so
far as a distinction can be made, expressions of the features are the
result of emotional, and corporeal gestures, of intellectual action.
The former in general and the small number of the latter that
are distinctively emotional are nearly identical among men from
physiological causes which do not affect with the same similarity
the processes of thought. The large number of corporeal gestures
expressing intellectual operations require and admit of more variety
and conventionality. Thus the features and the body among all mankind
act almost uniformly in exhibiting fear, grief, surprise, and shame,
but all objective conceptions are varied and variously portrayed. Even
such simple indications as those for "no" and "yes" appear in several
differing motions. While, therefore, the terms sign language and
gesture speech necessarily include and suppose facial expression when
emotions are in question, they refer more particularly to corporeal
motions and attitudes. For this reason much of the valuable
contribution of DARWIN in his _Expression of the Emotions in Man and
Animals_ is not directly applicable to sign language. His analysis
of emotional gestures into those explained on the principles of
serviceable associated habits, of antithesis, and of the constitution
of the nervous system, should, nevertheless, always be remembered.
Even if it does not strictly embrace the class of gestures which
form the subject of this paper, and which often have an immediate
pantomimic origin, the earliest gestures were doubtless instinctive
and generally emotional, preceding pictorial, metaphoric, and, still
subsequent, conventional gestures even, as, according to DARWIN's
cogent reasoning, they preceded articulate speech.
While the distinction above made between the realm of facial play and
that of motions of the body, especially those of the arms and hands,
is sufficiently correct for use in discussion, it must be admitted
that the features do express intellect as well as emotion. The
well-known saying of Charles Lamb that "jokes came in with the
candles" is in point, but the most remarkable example of conveying
detailed information without the use of sounds, hands, or arms,
is given by the late President T.H. Gallaudet, the distinguished
instructor of deaf-mutes, which, to be intelligible, requires to be
quoted at length:
"One day, our distinguished and lamented historical painter, Col. John
Trumbull, was in my school-room during the hours of instruction, and,
on my alluding to the tact which the pupil referred to had of reading
my face, he expressed a wish to see it tried. I requested him to
select any event in Greek, Roman, English, or American history of a
scenic character, which would make a striking picture on canvas, and
said I would endeavor to communicate it to the lad. 'Tell him,' said
he, 'that Brutus (Lucius Junius) condemned his two sons to death for
resisting his authority and violating his orders.'
"I folded my arms in front of me, and kept them in that position,
to preclude the possibility of making any signs or gestures, or of
spelling any words on my fingers, and proceeded, as best I could, by
the expression of my countenance, and a few motions of my head and
attitudes of the body, to convey the picture in my own mind to the
mind of my pupil.
"It ought to be stated that he was already acquainted with the fact,
being familiar with the leading events in Roman history. But when I
began, he knew not from what portion of history, sacred or profane,
ancient or modern, the fact was selected. From this wide range,
my delineation on the one hand and his ingenuity on the other had
to bring it within the division of Roman history, and, still more
minutely, to the particular individual and transaction designated by
Colonel Trumbull. In carrying on the process, I made no use whatever
of any arbitrary, conventional look, motion, or attitude, before
settled between us, by which to let him understand what I wished to
communicate, with the exception of a single one, if, indeed, it ought
to be considered such.
"The usual sign, at that time, among the teachers and pupils, for
a Roman, was portraying an aquiline nose by placing the forefinger,
crooked, in front of the nose. As I was prevented from using my finger
in this way, and having considerable command over the muscles of my
face, I endeavored to give my nose as much of the aquiline form as
possible, and succeeded well enough for my purpose....
"The outlines of the process were the following:
"A stretching and stretching gaze eastward, with an undulating motion
of the head, as if looking across and beyond the Atlantic Ocean,
to denote that the event happened, not on the western, but eastern
continent. This was making a little progress, as it took the subject
out of the range of American history.
"A turning of the eyes upward and backward, with frequently-repeated
motions of the head backward, as if looking a great way back in past
time, to denote that the event was one of ancient date.
"The aquiline shape of the nose, already referred to, indicating that
a Roman was the person concerned. It was, of course, an old Roman.
"Portraying, as well as I could, by my countenance, attitude, and
manner an individual high in authority, and commanding others, as if
he expected to be obeyed.
"Looking and acting as if I were giving out a specific order to many
persons, and threatening punishment on those who should resist my
authority, even the punishment of death.
"Here was a pause in the progress of events, which I denoted by
sleeping as it were during the night and awakening in the morning, and
doing this several times, to signify that several days had elapsed.
"Looking with deep interest and surprise, as if at a single person
brought and standing before me, with an expression of countenance
indicating that he had violated the order which I had given, and that
I knew it. Then looking in the same way at another person near him as
also guilty. Two offending persons were thus denoted.
"Exhibiting serious deliberation, then hesitation, accompanied with
strong conflicting emotions, producing perturbation, as if I knew not
how to feel or what to do.
"Looking first at one of the persons before me, and then at the other,
and then at both together, _as a father would look_, indicating his
distressful parental feelings under such afflicting circumstances.
"Composing my feelings, showing that a change was coming over me, and
exhibiting towards the imaginary persons before me the decided look of
the inflexible commander, who was determined and ready to order them
away to execution. Looking and acting as if the tender and forgiving
feelings of _the father_ had again got the ascendency, and as if I was
about to relent and pardon them.
"These alternating states of mind I portrayed several times, to make
my representations the more graphic and impressive.
"At length the father yields, and the stern principle of justice, as
expressed in my countenance and manners, prevails. My look and action
denote the passing of the sentence of death on the offenders, and the
ordering them away to execution.
* * * * *
"He quickly turned round to his slate and wrote a correct and complete
account of this story of Brutus and his two sons."
* * * * *
While it appears that the expressions of the features are not confined
to the emotions or to distinguishing synonyms, it must be remembered
that the meaning of the same motion of hands, arms, and fingers is
often modified, individualized, or accentuated by associated facial
changes and postures of the body not essential to the sign, which
emotional changes and postures are at once the most difficult to
describe and the most interesting when intelligently reported, not
only because they infuse life into the skeleton sign, but because they
may belong to the class of innate expressions.
THE ORIGIN OF SIGN LANGUAGE.
In observing the maxim that nothing can be thoroughly understood
unless its beginning is known, it becomes necessary to examine into
the origin of sign language through its connection with that of oral
speech. In this examination it is essential to be free from the vague
popular impression that some oral language, of the general character
of that now used among mankind, is "natural" to mankind. It will be
admitted on reflection that all oral languages were at some past time
far less serviceable to those using them than they are now, and as
each particular language has been thoroughly studied it has become
evident that it grew out of some other and less advanced form. In
the investigation of these old forms it has been so difficult to
ascertain how any of them first became a useful instrument of
inter-communication that many conflicting theories on this subject
have been advocated.
Oral language consists of variations and mutations of vocal sounds
produced as signs of thought and emotion. But it is not enough that
those signs should be available as the vehicle of the producer's own
thoughts. They must be also efficient for the communication of such
thoughts to others. It has been, until of late years, generally held
that thought was not possible without oral language, and that, as man
was supposed to have possessed from the first the power of thought, he
also from the first possessed and used oral language substantially
as at present. That the latter, as a special faculty, formed the
main distinction between man and the brutes has been and still is
the prevailing doctrine. In a lecture delivered before the British
Association in 1878 it was declared that "animal intelligence is
unable to elaborate that class of abstract ideas, the formation of
which depends upon the faculty of speech." If instead of "speech" the
word "utterance" had been used, as including all possible modes of
intelligent communication, the statement might pass without criticism.
But it may be doubted if there is any more necessary connection
between abstract ideas and sounds, the mere signs of thought, that
strike the ear, than there is between the same ideas and signs
addressed only to the eye.
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