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Tag: Athanasius Kircher

Eco: Conclusion

the-confusion-of-tongues-by-gustave-dorecc81-1865

Gustav Doré (1832-1883), The Confusion of Tongues, 1865-68, currently held privately. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

Plures linguas scire gloriosum esset, patet exemplo Catonis, Mithridates, Apostolorum.”

Comenius, Linguarum methodus novissima

“This story is a gesture of propaganda, in so far as it provided a particular explanation of the origin and variety of languages, by presenting it only as a punishment and a curse [ . . . ] Since the variety of tongues renders a universal communication among men, to say the least, difficult, that was certainly a punishment.

However, it also meant an improvement of the original creative powers of Adam, a proliferation of that force which allowed the production of names by virtue of a divine inspiration.”

J. Trabant, Apeliotes, oder der Sinn der Sprache

“Citizens of a multiform Earth, Europeans cannot but listen to the polyphonic cry of human languages. To pay attention to the others who speak their own language is the first step in order to establish a solidarity more concrete than many propaganda discourses.”

Claude Hagège, Le souffle de la langue

“Each language constitutes a certain model of the universe, a semiotic system of understanding the world, and if we have 4,000 different ways to describe the world, this makes us rich. We should be concerned about preserving languages just as we are about ecology.”

V.V. Ivanov, Reconstructing the Past

“I said at the beginning that it was the account in Genesis 11, not Genesis 10, that had prevailed in the collective imagination and, more specifically, in the minds of those who pondered over the plurality of languages.

Despite this, as Demonet has shown (1992), already by the time of the Renaissance, a reconsideration of Genesis 10 was under way, provoking, as we saw, a rethinking of the place of Hebrew as the unchanging language, immutable from the time of Babel.

We can take it that, by then, the multiplicity of tongues was probably accepted as a positive fact both in Hebrew culture and in Christian Kabbalistic circles (Jacquemier 1992). Still, we have to wait until the eighteenth century before the rethinking of Genesis 10 provokes a revaluation of the legend of Babel itself.

In the same years that witnessed the appearance of the first volumes of the Encyclopédie, the abbé Pluche noted in his La méchanique des langues et l’art de les einsegner (1751) that, already by the time of Noah, the first differentiation, if not in the lexicon at least in inflections, between one family of languages and another had occurred.

This historical observation led Pluche on to reflect that the multiplication of languages (no longer, we note, the confusion of languages) was more than a mere natural event: it was socially providential. Naturally, Pluche imagined, people were at first troubled to discover that tribes and families no longer understood each other so easily. In the end, however,

“those who spoke a mutually intelligible language formed a single body and went to live together in the same corner of the world. Thus it was the diversity of languages which provided each country with its own inhabitants and kept them there. It should be noted that the profits of this miraculous and extraordinary mutation have extended to all successive epochs.

From this point on, the more people have mixed, the more they have produced mixtures and novelties in their languages; and the more these languages have multiplied, the harder it becomes to change countries. In this way, the confusion of tongues has fortified that sentiment of attachment upon which love of country is based; the confusion has made men more sedentary.” (pp. 17-8).

This is more than the celebration of the particular “genius” of each single language: the very sense of the myth of Babel has been turned upside down. The natural differentiation of languages has become a positive phenomenon underlying the allocation of peoples to their respective territories, the birth of nations, and the emergence of the sense of national identity.

It is a reversal of meaning that reflects the patriotic pride of an eighteenth century French author: the confusio linguarum was the historically necessary point of departure for the birth of a new sense of the state. Pluche, in effect, seems to be paraphrasing Louis XIV: “L’état c’est la langue.”

In the light of this reinterpretation it is also interesting to read the objections to an international language made by another French writer, one who lived before the great flood of a posteriori projects in the late nineteenth century–Joseph-Marie Degérando, in his work, Des signes. Degérando observed that travelers, scientists and merchants (those who needed a common language) were always a minority in respect of the mass of common citizens who were content to remain at home peaceably speaking their native tongues.

Just because this minority of travelers needed a common language, it did not follow that the majority of sedentary citizens needed one as well. It was the traveler that needed to understand the natives; the natives had no particular need to understand a traveler, who, indeed, had an advantage over them in being able to conceal his thoughts from the peoples he visited (III, 562).

With regard to scientific contact, any common language for science would grow distant from the language of letters, but we know that the language of science and the language of letters influence and fortify each other (III, 570). An international language of purely scientific communication, moreover, would soon become an instrument of secrecy, from which the humble speakers of their native dialects would be excluded (III, 572).

And as to possible literary uses (and we leave Degérando the responsibility for such a vulgar sociological argument), if the authors were obliged to write in a common tongue, they would be exposed to international rivalries, fearing invidious comparisons with the works of foreign writers.

Thus it seems that for Degérando circumspection was a disadvantage for science and an advantage for literature–as it was for the astute and cultivated traveler, more learned than his native and naive interlocutors.

We are, of course, at the end of the century which produced de Rivarol‘s eulogy to the French language. Thus, although Degérando recognized that the world was divided into zones of influence, and that it was normal to speak German in areas under German political influence just as it was normal to speak English in the British Isles, he could still maintain, were it possible to impose an auxiliary language, Europe could do no better than to choose French for self-evident reasons of political power (III, 578-9).

In any case, according to Degérando, the narrow mindedness of most governments made every international project unthinkable: “Should we suppose that the governments wish to come to an agreement over a set of uniform laws for the alteration of national languages? How many times have seen governments arrive at an effective agreement over matters that concern the general interest of society?” (III, 554).

In the background is a prejudice of the eighteenth century–and eighteenth century Frenchmen in particular–that people simply did not wish to learn other tongues, be they universal or foreign. There existed a sort of cultural deafness when faced with polyglottism, a deafness that continues on throughout the nineteenth century to leave visible traces in our own; the only peoples exempt were, remarked Degérando, those of northern Europe, for reasons of pure necessity.

So diffuse was this cultural deafness that he even felt compelled to suggest provocatively (III, 587) that the study of foreign languages was not really the sterile and mechanical exercise that most people thought.

Thus Degérando had no choice but to conduce his extremely skeptical review with an eulogy to the diversity of tongues: diversity placed obstacles in the way of foreign conquerers, prevented undue mixing between different peoples, and helped each people to preserve their national character and the habits which protected the purity of their folkways.

A national language linked a people to their state, stimulated patriotism and the cult of tradition. Degérando admitted that these considerations were hardly compatible with the ideals of universal brotherhood; still, he commented, “in this age of corruption, hearts must, above all else, be turned towards patriotic sentiments; the more egotism progresses, the more dangerous it is to become a cosmopolitan” (IV, 589).

If we wish to find historical precedents for this vigorous affirmation of the profound unity between a people and their language (as a gift due to the Babelic event), we need look no farther than Luther (Declamationes in Genesim, 1527).

It is this tradition, perhaps, that also stands behind Hegel’s decisive revaluation of Babel. For him the construction of the tower is not only a metaphor for the social structures linking a people to their state, but also occasions a celebration of the almost sacred character of collective human labor.

“What is holy?” Goethe asks once in a distich, and answers: “What links many souls together.” . . . In the wide plains of the Euphrates an enormous architectural work was erected; it was built in common, and the aim and content of the work was at the same time the community of those who constructed it.

And the foundation of this social bond does not remain merely a unification on patriarchal lines; on the contrary, the purely family unity has already been superseded, and the building, rising into the clouds, makes objective to itself this earlier and dissolved unity and the realization of a new and wider one.

The ensemble of all the peoples at that period worked at this task and since they all came together to complete an immense work like this, the product of their labor was to be a bond which was to link them together (as we are linked by manners, customs, and the legal constitution of the state) by means of the excavated site and ground, the assembled blocks of stone, and the as it were architectural cultivation of the country.”

(G.W.F. Hegel, trans. T.M. Knox: 638).

In this vision, in which the tower serves as a prefiguration of the ethical state, the theme of the confusion of languages can only be interpreted as meaning that the unity of the state is not a universal, but a unity that gives life to different nations (“this tradition tells us that the peoples, after being assembled in this one center of union for the construction of such a work, were once again dispersed and separated from each other”).

Nevertheless, the undertaking of Babel was still a precondition, the event necessary to set social, political and scientific history in motion, the first glimmerings of the Age of Progress and Reason. This is a dramatic intuition: to the sound of an almost Jacobin roll of muffled drums, the old Adam mounts to the scaffold, his linguistic ancien régime at an end.

And yet Hegel’s sentence did not lead to a capital punishment. The myth of the tower as a failure and as a drama still lives today: “the Tower of Babel […] exhibits an incompleteness, even an impossibility of completing, of totalizing, of saturating, of accomplishing anything which is in the order of building, of architectural construction” (Derrida 1980: 203).

One should remark that Dante (DVE, I, vii) provided a “technological” version of the confusio linguarum. His was the story not so much of the birth of the languages of different ethnic groups as of the proliferation of technical jargons: the architects had their language while the stone bearers had theirs (as if Dante were thinking of the jargons of the corporations of his time).

One is almost tempted to find here a formulation, ante litteram to say the least, of the idea of the social division of labor in terms of a division of linguistic labor.

Somehow Dante’s hint seems to have journeyed through the centuries: in his Histoire critique du Vieux Testament (1678), Richard Simon wondered whether the confusion of Babel might not have arisen from the fact that, when the workmen came to give names to their tools, each named them in his own way.

The suspicion that these hints reveal a long buried strand in the popular understanding of the story is reinforced by the history of iconography (cf. Minkowski 1983).

From the Middle Ages onwards, in fact, in the pictorial representations of Babel we find so many direct or indirect allusions to human labor–stonemasons, pulleys, squared building stones, block and tackles, plumb lines, compasses, T-squares, winches, plastering equipment, etc.–that these representations have become an important source of our knowledge of medieval building techniques.

And how are we to know whether Dante’s own suggestion might not have arisen from the poet’s acquaintance with the iconography of his times?

Towards the end of the sixteenth century, the theme of Babel entered into the repertoire of Dutch artists, who reworked it in innumerable ways (one thinks, of course, of Bruegel), until, in the multiplicity of the number of tools and construction techniques depicted, the Tower of Babel, in its robust solidity, seemed to embody a secular statement of faith in human progress.

By the seventeenth century, artists naturally began to include references to the latest technical innovations, depicting the “marvelous machines” described in a growing number of treatises on mechanical devices.

Even Kircher, who could hardly by accused of secularism, was fascinated by the image of Babel as a prodigious feat of technology; thus, when Father Athanasius wrote his Turris Babel, he concentrated on its engineering, as if he were describing a tower that had once been a finished object.

In the nineteenth century, the theme of Babel began to fall from use, because of a lesser interest in the theological and linguistic aspects of the confusio: in exchange, in the few representations of the event, “the close up gave way to the “group,” representing “humanity,” whose inclination, reaction, or destiny was represented against the background of the “Tower of Babel.”

In these dramatic scenes the focus of the representation is thus given by human masses” (Minkowski 1983: 69). The example that readily springs to mind is in Doré’s illustrated Bible.

By now we are in the century of progress, the century in which the Italian poet, Carducci, celebrated the steam engine in a poem entitled, significantly, Hymn to Satan.

Hegel had taught the century to take pride in the works of Lucifer. Thus the gesture of the gigantic figure that dominates Doré’s engraving is ambiguous. While the tower projects dark shadows on the workmen bearing the immense blocks of marble, a nude turns his face and extends his arm towards a cloud-filled sky.

Is it defiant pride, a curse directed towards a God who has defeated human endeavors? Whatever it is, the gesture certainly does not signify humble resignation in the face of destiny.

Genette has observed (1976: 161) how much the idea of confusio linguarum appears as a felix culpa in romantic authors such as Nodier: natural languages are perfect in so far as they are many, for the truth is many-sided and falsity consists in reducing this plurality into a single definite unity.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 337-44.

 

Eco: The Last Flowering of Philosophic Languages

Anne-Pierre-Jacques De Vismes, Pasilogie, ou de la musique, consideree comme langue universelle, 1806

Anne-Pierre-Jacques De Vismes (1745-1819), Pasilogie, ou de la musique, considérée comme langue universelle, Paris, 1806. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

“Nor was even this the end of attempts at creating a philosophic language. In 1772 there appeared the project of Georg Kalmar, Praecepta grammatica atque specimina linguae philosophicae sive universalis, ad omne vitae genus adcomodatae, which occasioned the most significant discussion on our topic written in Italian.

In 1774, the Italian-Swiss Father Francesco Soave published his Riflessioni intorno alla costituzione di una lingua universaleSoave, who had done much to spread the sensationalist doctrine to Italy, advanced a criticism of the a priori languages that anticipated those made by the Idéologues (on Soave see Gensini 1984; Nicoletti 1989; Pellerey 1992a).

Displaying a solid understanding of the projects from Descartes to Wilkins and from Kircher to Leibniz, on the one hand Soave advanced the traditional reservation that it was impossible to elaborate a set of characters sufficient to represent all fundamental concepts; on the other hand, he remarked that Kalmar, having reduced these concepts to 400, was obliged to give different meanings to the same character, according to the context.

Either one follows the Chinese model, without succeeding in limiting the characters, or one is unable to avoid equivocations.

Unfortunately, Soave did not resist the temptation of designing a project of his own, though outlining only its basic principles. His system of classification seems to have been based on Wilkins; as usual he sought to rationalize and simplify his grammar; at the same time, he sought to augment its expressive potential by adding marks for new  morphological categories such as dual and the neuter.

Soave took more care over his grammar than over his lexicon, but was mainly interested in the literary use of language: from this derives his radical skepticism about any universal language; what form of literary commerce, he wondered, could we possibly have with the Tartars, the Abyssinians or the Hurons?

In the early years of the next century, Soave’s discussion influenced the thinking of Giacomo Leopardi, who had become an exceptionally astute student of the Idéologues.

In his Zibaldone, Leopardi treated the question of universal languages at some length, as well as discussing the debate between rationalists and sensationalists in recent French philosophy (see Gensini 1984; Pellerey 1992a).

Leopardi was clearly irritated by the algebraic signs that abounded in the a priori languages, all of which he considered as incapable of expressing the subtle connotations of natural languages:

“A strictly universal language, whatever it may be, will certainly, by necessity and by its natural bent, be both the most enslaved, impoverished, timid, monotonous, uniform, arid, and ugly language ever.

It will be incapable of beauty of any type, totally uncongenial to imagination [ . . . ] the most inanimate, bloodless, and dead whatsoever, a mere skeleton, a ghost of a language [ . . . ] it would lack life even if it were written by all and universally understood; indeed it will be deader than the deadest languages which are no longer either spoken or written.” (23 August 1823, in G. Leopardi, Tutte le opere, Sansoni: Florence 1969: II, 814).

Despite these and similar strictures, the ardor of the apostles of philosophic a priori languages was still far from quenched.

At the beginning of the nineteenth century, Anne-Pierre-Jacques de Vismes (Pasilogie, ou de la musique considérée come langue universelle, 1806) presented a language that was supposed to be a copy of the language of the angels, whose sounds derived from the affections of the soul.

Vismes argued that when the Latin translation of Genesis 11:1-2 states that “erat terra labii unius” (a passage to which we usually give the sense that “all the world was of one language”), it used the word labium (lip) rather than lingua (tongue) because people first communicated with each other by emitting sounds through their lips without articulating them with their tongue.

Music was not a human invention (pp. 1-20), and this is demonstrated by the fact that animals can understand music more easily than verbal speech: horses are naturally roused by the sound of trumpets as dogs are by whistles. What is more, when presented with a musical score, people of different nations all play it the same way.

Vismes presents enharmonic scales of 21 notes, one for each letter of the alphabet. He did this by ignoring the modern convention of equal temperament, and treating the sharp of one note as distinct from the flat of the note above.

Since Vismes was designing a polygraphy rather than a spoken language, it was enough that the distinctions might be exactly represented on a musical stave.

Inspired, perhaps, indirectly by Mersenne, Vismes went on to demonstrate that if one were to combine his 21 sounds into doublets, triplets, quadruplets, etc., one would quickly arrive at more syntagms than are contained in any natural language, and that “if it were necessary to write down all the combinations that can be generated by the seven enharmonic scales, combined with each other, it would take almost all of eternity before one could hope to come to an end.” (p. 78).

As for the concrete possibility of replacing verbal sounds by musical notes, Vismes devotes only the last six pages of his book to such a topic–not a great deal.

It never seems to have crossed Visme’s mind that, in taking a French text and substituting tones for its letters, all he was doing was transcribing a French text, without making it comprehensible to speakers of other languages.

Vismes seems to conceive of a universe that speaks exclusively in French, so much so that he even notes that he will exclude letters like K, Z and X because “they are hardly ever used in languages” (p. 106).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 302-4.

Eco: The English Debate on Character and Traits

Gerardus_Johannes_Vossius_(1577-1649),_by_Anonymous

Anonymous, Gerardus Johannes Vossius (1577-1649), 1636, inscribed (verso): GERH.JOH. VOSSIUS CANONICUS CANTUARIENSIS PROFESSOR HISTORIARII AMSTELO…AET LX Ao 1636. Held at the Universiteitsmuseum Amsterdam. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“In 1654 John Webster wrote his Academiarum examen, an attack on the academic world, which had allegedly given an insufficient amount of attention to the problem of universal language.

Like many of this English contemporaries, Webster was influenced by Comenius‘ propaganda for a universal language. He foresaw the birth of a “Hieroglyphical, Emblematical, Symbolical, and Cryptographical learning.”

Describing the general utility of algebraic and mathematical signs, he went on to note that “the numerical notes, which we call figures and ciphers, the Planetary Characters, the marks for minerals, and many other things in Chymistry, though they be alwaies the same and vary not, yet are understood by all nations in Europe, and when they are read, every one pronounces them in their own Countrey’s language and dialect.” (pp. 24-5).

Webster was not alone; other authors were taking up and elaborating ideas which had first originated with Bacon. Another writer championing universal characters was Gerhard Vossius in De arte grammatica, 1635 (1.41).

Nevertheless, for the men from whose ranks the Royal Society would later be formed, Webster’s demand for research in hieroglyphic and emblematic characters sounded too much like Father Kircher’s Egyptian linguistics.

In effect, Webster was indeed thinking of a language of nature in opposition to the institutionalized language of men (see Formigari 1970: 37).

Responding to Webster, in another pamphlet, also published in 1654 (Vindiciae academiarum, to which Wilkins himself added an introduction), Seth Ward denounced the mystic propensities of his opponent (see Slaughter 1982: 138ff).

Ward made no objection to the idea of the real character as such, provided that it was constructed upon the algebraic model invented by Viète in the sixteenth century and elaborated by Descartes, where letters of the alphabet stand for mathematical quantities.

It is, however, evident that what Ward thought of was not what Webster had in mind.

Ward argued that only the real character of which he spoke could be termed as “a naturall Language and would afford that which the Cabalists and Rosycrucians have vainely sought for in the Hebrew” (p. 22).

In his introduction Wilkins went even further: Webster, he wrote, was nothing but a credulous fanatic. Even in his Essay, which we will soon discuss, Wilkins could not resist shooting, in his introduction, indignant darts in Webster’s direction without naming him directly.

In spite of all this, however, the projects of the religious mystics did have something in common with those of the “scientists.” In that century the play of reciprocal influence was very complex and many have detected relationships between Lullists or Rosicrucians and the inventors of philosophical languages (see Ormsby-Lennon 1988; Knowlson 1975; and, of course, Yates and Rossi).

Nevertheless, in contrast to the long tradition of the search for the lost language of Adam, the position of Ward, with the aid of Wilkins, was entirely secular.

This is worth emphasizing: there was no longer any question of discovering the lost language of humanity; the new language was to be a new and totally artificial language, founded upon philosophic principles, and capable of realizing, by rational means, that which the various purported holy languages (always dreamt of, never really rediscovered) had sought but failed to find.

In every one of the holy and primordial languages we have so far considered, at least in the way they were presented, there was an excess of content, never completely circumscribable, in respect of expression.

By contrast, the search was now for a scientific or philosophical language, in which, by an unprecedented act of impositio nominum, expression and content would be locked in permanent accord.

Men such as Ward and Wilkins thus aimed at being the new Adam; it was this that turned their projects into a direct challenge to the older tradition of mystic speculation. In the letter to the reader that introduced the Essay, Wilkins writes:

“This design would likewise contribute much to the clearing of some of our modern differences in Religion, by unmasking many wild errors, that shelter themselves under the disguise of affected phrases; which being Philosophically unfolded, and rendered according to the genuine and natural importance of Words, will appear to be inconsistencies and contradictions. (B1r).”

This was nothing less than a declaration of war on tradition, a promise of a different species of therapy that would finally massage out the cramps in language; it is the first manifestation of that skeptical-analytic current of thought, exquisitely British, that, in the twentieth century, would use linguistic analysis as an instrument for the confutation of metaphysics.

Despite the persistence of the Lullian influences, there can be no doubt that, in order to realize their project, British philosophers paid close attention to Aristotle’s system of classification.

The project of Ward is an example. It was not enough simply to invent real characters for the new language; it was necessary also to develop a criterion that would govern the primitive features that would compose these characters:

“All Discourses being resolved in sentences, these into words, words signifying either simple notions or being resolvable into simple notions, it is manifest, that if all the sorts of simple notions be found out, and have Symboles assigned to them, those will be extremely few in respect of the other [ . . . ] the reason of their composition easily known, and the most compounded ones at once will be comprehended [ . . . ] so to deliver the nature of things. (Vindiciae, 21).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 218-21.

Eco: First Attempts at a Content Organization

kircher_108

Athanasius Kircher (1602-80), Frontispiece of Obeliscus Pamphilius, Obeliscus Pamphilius: Hoc est Interpretatio nova & hucusque intenta obelisci Hieroglyphici, eBook courtesy of GoogleBooks, published by Lud. Grignani 1650, held by Ghent University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

“Probably in 1660, three years before the publication of the Polygraphia, Kircher wrote a manuscript bearing the title Novum hoc inventum quo omnia mundi idiomata ad unum reducuntur (Mss. Chigiani I, vi, 225, Biblioteca Apostolica Vaticana; cf. Marrone 1986).

Schott says that Kircher kept his system a secret at the express wish of the emperor, who had requested that his polygraphy be reserved for his exclusive use alone.

The Novum inventum was still tentative and incomplete; it contained an extremely elementary grammar plus a lexicon of 1,620 words. However, the project looks more interesting that the later one because it provides a list of 54 fundamental categories, each represented by an icon.

These icons are reminiscent of those that one might find today in airports and railway stations: some were schematically representative (like a small chalice for drinking); others were strictly geometrical (rectangles, triangles, circles).

Some were furthermore superficially derived from Egyptian hieroglyphics. They were functionally equivalent to the Roman numbers in the Polygraphia (in both texts, Arabic numbers referred to particular items).

Thus, for example, the square representing the four elements plus the numeral 4 meant water as an element; water as something to drink was instead expressed by a chalice (meaning the class of drinkable things) followed by the numeral 3.

There are two interesting features in this project. The first is that Kircher tried to merge a polygraphy with a sort of hieroglyphical lexicon, so that his language could be used (at least in the author’s intention) without translating it into a natural language.

Seeing a “square + 4,” the readers should immediately understand that the named thing is an element, and seeing “chalice + 3” they should understand that one is referring to something to drink.

The difficulty was due to the fact that, while both Kircher’s Polygraphia and Becher’s Character allow a translating operator (be it a human being or a machine) to work independently of any knowledge of the meaning of the linguistic items, the Novum inventum requires a non-mechanical and quasi-philosophical knowledge: in order to encode the word aqua as “square + 4,” one should previously know that it is the name of an element–information that the term of a natural language does not provide.

Sir Thomas Urquhart, who published two volumes describing a sort of polygraphy (Ekskubalauron, 1652, and Logopandecteision, 1653), noted that, arbitrary as the order of the alphabet might be, it was still easier to look things up in alphabetical order than in a categorical order.

The second interesting feature of Kircher’s initial project is certainly given by the effort to make the fundamental concepts independent of any existing natural language.

Its weakness is due to the fact that the list of the 54 categories was notably incongruous: it included divine entities, angelic and heavenly, elements, human beings, animals, vegetables, minerals, the dignities and other abstract concepts deriving from the Lullian Ars, things to drink, clothes, weights, numbers, hours, cities, food, family, actions such as seeing or giving, adjectives, adverbs, months of the year.

It was perhaps the lack of internal coherency in this system of concepts that induced Kircher to abandon this line of research, and devote himself to the more modest and mechanical method used in the Polygraphia.

Kircher’s incongruous classification had a precedent. Although he regarded Kircher as the pioneer in the art of polygraphy, in his Technica curiosa (as well as in his Jocoseriorum naturae et artiis sive magiae naturalis centuriae tres) Gaspar Schott gave an extended description of a 1653 project that was certainly earlier than Kircher’s (the Novum inventum is dedicated to Pope Alexander VII, who ascended the pontifical throne only in 1655).

The project was due to another Jesuit, a Spaniard (“whose name I have forgotten,” as Schott says on p. 483), who had presented in Rome (on a single folio) an Artificium, or an Arithmeticus nomenclator, mundi omnes nationes ad linguarum et sermonis unitatem invitans (“Artificial Glossary, inviting all the nations of the world to unity of languages and speech”).

Schott says that the anonymous author wrote a pasigraphy because he was a mute. As a matter of fact the subtitle of the Artificium also reads Authore linguae (quod mirere) Hispano quodam, vere, ut dicitur, muto (“The author of this language–a marvelous thing–being a Spaniard, truly, it is said, dumb”).

According to Ceñal (1946) the author was a certain Pedro Bermudo, and the subtitle of the manuscript would represent a word play since, in Castilian, “Bermudo” must be pronounced almost as Ver-mudo.

It is difficult to judge how reliable the accounts of Schott are; when he described Becher’s system, he improved it, adding details that he derived from the works of Kircher. Be that as it may, Schott described the Artificium as having divided the lexicon of the various languages into 44 fundamental classes, each of which contained between 20 and 30 numbered items.

Here too a Roman number referred to the class and an Arabic number referred to the item itself. Schott noted that the system provided for the use of signs other than numbers, but gave his opinion that numbers comprised the most convenient method of reference since anyone from any nation could easily learn their use.

The Artificium envisioned a system of designating endings, (marking number, tense or case) as complex as that of Becher. An Arabic number followed by an acute accent was the sign of the plural; followed by a grave accent, it became the nota possessionis.

Numbers with a dot above signified verbs in the present; numbers followed by a dot signified the genitive. In order to distinguish between vocative and dative, it was necessary to count, in one case, five, and, in the other, six, dots trailing after the number.

Crocodile was written “XVI.2” (class of animals + crocodile), but should one have occasion to address an assembly of crocodiles (“O Crocodiles!”), it would be necessary to write (and then read) “XVI.2′ . . . . . ‘.

It was almost impossible not to muddle the points behind one word with the points in front of another, or with full stops, or with the various other orthographic conventions that the system established.

In short, it was just as impracticable as all of the others. Still, what is interesting about it is the list of 44 classes. It is worth listing them all, giving, in parenthesis, only some examples of the elements each contained.

  1. Elements (fire, wind, smoke, ashes, Hell, Purgatory, centre of the earth).
  2. Celestial entities (stars, lightning, bolts, rainbows . . .).
  3. Intellectual entities (God, jesus, discourse, opinion, suspicion, soul, stratagems, or ghosts).
  4. Secular statuses (emperor, barons, plebs).
  5. Ecclesiastical states.
  6. Artificers (painters, sailors).
  7. Instruments.
  8. Affections (love, justice, lechery).
  9. Religion.
  10. Sacramental confession.
  11. Tribunal.
  12. Army.
  13. Medicine (doctor, hunger, enema).
  14. Brute animals.
  15. Birds.
  16. Fish and reptiles.
  17. Parts of animals.
  18. Furnishings.
  19. Foodstuffs.
  20. Beverages and liquids (wine, beer, water, butter, wax, and resin).
  21. Clothes.
  22. Silken fabrics.
  23. Wool.
  24. Homespun and other spun goods.
  25. Nautical and aromas (ship, cinnamon, anchor, chocolate).
  26. Metal and coin.
  27. Various artifacts.
  28. Stone.
  29. Jewels.
  30. Trees and fruits.
  31. Public places.
  32. Weights and measures.
  33. Numerals.
  34. Time.
  35. Nouns.
  36. Adjectives.
  37. Verbs.
  38. Undesignated grammatical category.
  39. Undesignated grammatical category.
  40. Undesignated grammatical category.
  41. Undesignated grammatical category.
  42. Undesignated grammatical category.
  43. Persons (pronouns and appellations such as Most Eminent Cardinal).
  44. Vehicular (hay, road, footpad).

The young Leibniz would criticize the absurdity of arrangements such as this in his Dissertatio de arte combinatoria, 1666.

This sort of incongruity will affect as a secret flaw even the projects of a philosophically more sophisticated nature–such as the a priori philosophic languages we will look at in the next chapter.

This did not escape Jorge Luis Borges. Reading Wilkins, at second hand as he admits (in Other Inquisitions, “The analytical idiom of John Wilkins“), he was instantly struck by the lack of a logical order in the categorical divisions (he discusses explicitly the subdivisions of stones), and this inspired his invention of the Chinese classification which Foucault posed at the head of his The Order of Things.

In this imaginary Chinese encyclopedia bearing the title Celestial Emporium of Benevolent  Recognition, “animals are divided into: (a) belonging to the emperor, (b) embalmed, (c) tame, (d) sucking pigs, (e) sirens (f) fabulous, (g) stray dogs. (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies.”).

Borge’s conclusion was that there is no classification of the universe that is not arbitrary and conjectural. At the end of our panorama of philosophical languages, we shall see that, in the end, even Leibniz was forced to acknowledge this bitter conclusion.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 203-8.

Eco: Kircher’s Polygraphy

Kircher, the Steganographic Ark, from Polygraphia Nova, p. 130

Athanasius Kircher (1602-80), the steganographic ark, Polygraphia nova et universalis ex combinatoria arte detecta, 1663. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

Kircher wrote his Polygraphia nova et universalis ex combinatoria arte detecta in 1663, several years after his early works on Egypt and hieroglyphics, but he was concerned with the problem of universal writing from the beginning of the decade, and it seems evident that he was at the same time fascinated by the hieroglyphic mysteries and the polygraphic publicity.

It is also significant that in this same volume Kircher designed not only a polygraphy, or international language open to all, but also, in the wake of Trithemius, a steganography, or secret language in which to cipher messages.

What (at the end of the previous chapter) seemed to us a contradiction appeared to Kircher rather as a natural connection. He cited, at the outset, an Arab proverb: if you have a secret, hide it or reveal it (“si secretum tibi sit, tege illud, vel revela“).

Such a decision was not so obvious, after all, since in his works on Egyptology Kircher had chosen a “fifty-fifty solution,” saying something by concealing it, alluding without revealing.

Finally, the second part of the title of Kircher’s work reveals that, in designing his polygraphy, Kircher was also using Lull’s art of combination (contrary to the opinion of Knowlson 1975: 107-8).

In the enthusiastic preface that the author addressed to the emperor Ferdinand III, he celebrated polygraphy as “all languages reduced to one” (“linguarum omnium ad nam reductio“).

Using polygraphy, “anyone, even someone who knows nothing other than his own vernacular, will be able to correspond and exchange letters with anybody else, of whatever their nationality.”

Thus Kircher’s polygraphy was in reality a pasigraphy, that is, a project for a written language, or international alphabet, which was not required to be spoken.

It is easy to confuse Kircher’s project with a double pentaglottic dictionary, in A and B versions (both in Latin, Italian, Spanish, French and German). In Kircher’s time, English was not considered an important international language, and, in his Character, Becher had assumed that French was sufficient, as a vehicular language, for English, Italian, Spanish and Portuguese native speakers.

Ideally, Kircher thought (p. 7) that his dictionary should also include Hebrew, Greek, Bohemian, Polish, Lithuanian, Hungarian, Dutch, English and Irish (“linguae doctrinales omnibus communes“)–as well as Nubian, Ethiopic, Egyptian, Congolese, Angolan, Chaldean, Arabic, Armenian, Persian, Turkish, Tartar, Chinese, Mexican, Peruvian, Brazilian and Canadian.

Kircher did not, it seems, feel himself ready to confront such a gigantic task; perhaps he intuited that the missionary activity, followed eventually by colonialism, would drastically simplify the problem (transforming many exotic languages into mere ethnological remnants): Spanish would substitute for Mexican, French for Canadian, Portuguese for Brazilian, and various pidgins would substitute for all the rest.

Kircher’s A and B dictionaries each contain 1,228 items. The grounds for selection were purely empirical: Kircher chose the words that seemed to him most commonly used.

Dictionary A served to encode messages. It started with a list of common nouns and verbs, in alphabetical order. There followed alphabetic lists of proper nouns (regions, cities, persons), and of adverbs and prepositions.

Added to this there was also a list of the conjugations of both the verbs to be and to have. The whole material was subdivided into 32 tables, marked by Roman numerals, while every item of each table was marked by an Arabic numeral.

The dictionary was set out in five columns, one for each of the five languages, and the words in each language were listed in their proper alphabetical order. Consequently, there is no necessary semantic correspondence between the terms recorded on the same line, and only the terms scored with the same Roman and Arabic numbers were to be considered synonymous.

We can see this best by giving the first two lines of the dicti0nary:

Umberto Eco, The Search for the Perfect Language, p. 198

Umberto Eco, The Search for the Perfect Language, p. 198. 

The Roman numerals refer to tables found in dictionary B; the Arabic numerals refer to the items themselves. Latin acts as the parameter language: for each specific term, the numbers refer to the Latin alphabetic ordering.

For example, the code for the French word abstenir is I.4, which indicates that the position of its Latin synonym, abstinere, is fourth in the Latin column I (obviously, to encode the Latin word abstinere, one also writes I.4).

To decode the message, it was necessary to use dictionary B. This too was arranged in 32 tables, each assigned a Roman numeral. But for each column (or language) the words did not follow their alphabetic order (except the Latin one), while the Arabic numbers marking each term were in an increasing arithmetical order.

Thus all the terms on the same line were synonymous and each synonym was marked by the same Arabic number.

Again, it is easiest to see how this worked by citing the first two lines of the first table:

Umberto Eco, The Search for the Perfect Language, p. 199

Umberto Eco, The Search for the Perfect Language, p. 199. 

Thus, if one wants to send the Latin word abdere (to hide), according to the dictionary A one encodes it as I.2. A German addressee, receiving the message I.2, goes to dictionary B, first table, German column, and looks for the second word, which is exactly verbergen (to hide).

If the same addressee wants to know how to translate this term in Spanish, one finds in the same line that the synonymous term is esconder.

However, Kircher found that a simple lexicon did not suffice; he was forced to invent 44 supplementary signs (notae) which indicated the tense, mood and number of verbs, plus 12 more signs which indicated declensions (nominative, genitive, dative, etc., both singular and plural).

Thus, to understand the following example, the sign N meant nominative, while a sign like a D indicated the third person singular of the past tense. In this way, the ciphered expression “XXVII.36N, XXX.21N, II.5N, XXIII.8D, XXVIII.10, XXX.20” can be decoded as “Petrus noster amicus, venit ad nos” (literally, “Peter our friend came to us”), and on the basis of Latin, can be transformed into an equivalent sentence in any of the other four languages.

Kircher proudly claims that, by dictionary A, we can write in any language even though though we know only our own, as well as that, with dictionary B, we can understand a text written in an unknown language.

The system also works when we receive a non-ciphered text written in a natural foreign language. All we have to do is to look up the reference numbers for each foreign word in dictionary A (where they are listed in alphabetical order), then, with the reference numbers, find the corresponding words in dictionary B, in the column for our own language.

Not only was this process laborious, but the entire project was based on the assumption that all other languages could be directly reduced to the Latin grammar. One can imagine the results of such a method if one thinks of translating literally, word by word, a German sentence into an English one.

Kircher never confronted the problem of why an item-by-item translation should be syntactically correct, or even comprehensible, in the new language. He seemed to rely on the good will and good sense of whoever used his system.

Yet even the most willing users might slip up. In August 1663, after reading the Polygraphia, Juan Caramuel y Lobkowitz wrote to Kircher to congratulate him on his wonderful invention (Mss Chigiani f. 59 v., Biblioteca Apostolica Vaticana; cf. Casciato et al. 1986: table 5).

Appropriately, Caramuel chose to congratulate Kircher in his own polygraphy. Yet his first problem was that Kircher’s own first name, Athanasius, did not appear in the list of proper names. Adopting the principle that where a term is missing, an analogous one must be sought, Caramuel addressed his letter to “Anastasia.”

Moreover, there are passages that can be decoded fairly easily, while for others one suspects that the labor of consulting the dictionary to obtain reference numbers for every word proved so tedious that even Caramuel began to nod.

Thus we find ourselves in front of a passage which, in Latin, would need to be translated as follows: “Dominus + sign of vocative, Amicus + sign of vocative, multum sal + sign of vocative, Anastasia, a me + sign of accusative, ars + sign of accusative, ex illius + sign of ablative, discere posse + sign of second person plural, future active, non est loqui vel scribere sub lingua + ablative, communis + ablative.”

After many heroic efforts, one can try to render it (in a sort of “Me Tarzan-You Jane” language) as “O Lord and Friend, O witty Athanasius, to me (?) you could learn from him an art (which) is not speaking and writing under a common language.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 196-200.

Eco: Perfection and Secrecy

Kircher Athanasius, 1667 Magneticum naturae regnum, Frontispiece

Athanasius Kircher (1602-80), frontispiece, Magneticum naturae regnum, Rome, Ignati de Lazaris, 1667, held by the Linda Hall Library, LHL Digital Collections, call number Q155.K58 1667. This engraving is often referred to with the expression, “the world is bound in secret knots.” This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

“We might think it is a pity that the search for a language that was as perfect as it was universal should lead to such a conception of a tongue reserved for the “happy few.” But it is perhaps nothing more than our “democratic” illusion to imagine that perfection must imply universality.

In order to understand the cultural framework of both Kircher’s Egyptology and Rosicrucian holy languages, it must be remembered that for the Hermetic tradition truth was not usually regarded as accessible to the many. Indeed, there existed a marked tendency to believe that what is true is unknown and hardly knowable, if not to a restricted elite (cf. Eco 1990).

There is a radical difference between the gnostic and Neo-Platonist ideas of late antiquity (as well as their Renaissance versions–which survived in the Counter-Reformation Catholicism of Kircher) and the Christian message, as it was proclaimed throughout most of the Middle Ages.

For medieval Christianity, salvation was promised to the meek and humble in spirit, and did not require any special knowledge: everyone can understand what is required in order to deserve the kingdom of heaven.

Medieval teaching reduced the aura of mystery that accompanied the revelation–which was explained by formulae, parables and images that even the uneducated might grasp: truth was considered effable, therefore public.

For Hermetic thought, instead, the cosmic drama could only be understood by an aristocracy of wisdom, able to decipher the hieroglyphs of the universe; the main characteristic of truth was its ineffability: it could not be expressed in simple words, was ambiguous by nature, was to be found through the coincidence of opposites, and could be expressed only by initiatic revelations.

Within this tradition, public accessibility was simply not a criterion by which a perfect language was judged. If one does not understand this point, one cannot understand why the cryptographers of this period dedicated their ciphers to grand-dukes deep in military campaigns and political machinations, presenting them as arcane suggestions.

Perhaps this is all merely another manifestation of the natural hypocrisy of a century fascinated by dissimulation, a feature that constitutes the continuing charm of baroque civilization.

It remains uncertain if that celebrated book Breviarium politicorum secundum rubricas Mazarinicas (1684) really collects Mazarin’s political thoughts or is a libel invented to defame him: in whatever case, it certainly reflects the image of a man of politics in the 1600’s.

It is notable that in the chapter entitled “Reading and writing” it recommends that, if one needs to write in a public place, it is convenient to place upon a lectern several already written pages as if one intended to copy them out, letting them be visible and concealing under them the paper upon which one is really writing, guarded in such a way that no one who approaches you will be able to read it.

Resorting to ciphers is suggested, but in such a way that at first glance the message looks understandable and provides irrelevant information (the canonical reference is to Trithemius).

Not only must the message be translated in a secret writing, but this writing must also conceal its own secrecy, because a cipher that blatantly appears as such can arouse suspicion and encourage decipherment.

Thus on the one hand the mystic who writes about perfect and holy languages winks his eye at the politician who will use this language as his secret code; on the other hand the cryptographer sells to the politician a cipher (that is, an instrument of power and dominion) that for him, the Hermetic initiate, is also a key to supernatural truths.

Such a man was Johann Valentin Andreae, whom many have considered (and many still do consider) to be, if not the author, at least the inspirer of the Rosicrucian manifestos. Andreae was a Lutheran mystic and writer of utopian works, like the Christianopolis of 1619, similar in spirit to those of Bacon and Campanella.

Edighoffer (1982: 175ff) has noted that many of his authentic works, like the Chemical Weddings, abound with ciphered expressions, according to the expressed principle that “Arcana publicata vilescunt” and that one ought not to cast pearls before swine.

In the same vein Andreae used ciphered messages in his correspondence with Augustus, Duke of Brunswick. Edighoffer remarks that there is nothing surprising in this: it was a correspondence filled with political observations, one, moreover, that took place during the Thirty Years War, when the difference between political and religious comments was minimal and the risks in both were the same.

In the light of these, as it were, “private” practices of the Rosicrucians, their public appeals concerning the need to use a secret language to inaugurate a universal reform must seem even more ambiguous.

They are so to such an extent as to make credible what not only modern historians but even the supposed authors of the manifestos themselves had always claimed: the manifestos were nothing but a joke, a sophomoric game, an exercise in literary pastiche made up of all the buzz-topics of the day: the search for the language of Adam, the dream of a sensual language, glossolalic illusions, cryptography, kabbala . . . And since everything went into this pot au feu, anything could be fished out again.

Thus, as will always happen when the specter of mystery is raised, there were those who read the Rosicrucian manifestos “paranoiacally,” discovering in them what they wanted to believe anyway, and needed to rediscover continually.

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 190-3.

Eco: The Egyptian vs. The Chinese Way, 3

kircher_100-639x1024

Athanasius Kircher (1602-80), Origins of the Chinese Characters, China Illustrata, 1667, courtesy of Stanford University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“As the debate carried over into the eighteenth century, an increased social awareness and pedagogical attention began to be shown. We catch the traces of this in a tract written for quite different purposes, Diderot’s Lettre sur l’éducation des sourds et muets in 1751.

In 1776, the Abbé de l’Epée (Institutions des sourds et muets par la voie des signes méthodiques) entered into a polemic against the common, dactylological form of deaf-mute speak, which, then as now, was the common method of signing with fingers the letters of the alphabet.

De l’Epée was little interested that this language helped deaf-mutes communicate in a dactylological  version of the French language; instead he was besotted by the vision of a perfect language.

He taught his deaf-mutes to write in French; but he wished, above all, to teach them to communicate in a visual language of his own devising; it was a language not of letters but of concepts–therefore an ideography that, he thought, might one day become universal.

We can take for an example his method of teaching the meaning of “I believe,” thinking that his method might also work between speakers of different languages:

“I begin by making the sign of the first person singular, pointing  the index finger of my right hand towards my chest. I then put my finger on my forehead, on the concave part in which is supposed to reside my spirit, that is to say, my capacity for thought, and I make the sign for yes.

I then make the same sign on that part of the body which, usually, is considered as the seat of what is called the heart in its spiritual sense. [ . . . ]

I the make the same sign yes on my mouth while moving my lips. [ . . . ]

Finally, I place my hand on my eyes, and, making the sign for no show that I do not see.

At this point, all I need to do is to make the sign of the present [the Abbé had devised a series of sign gestures in which pointing once or twice in front of or behind the shoulders specified the proper tense] and to write I believe.” (pp. 80-1).

In the light of what we have been saying, it should appear evident that the visual performances of the good Abbé might be susceptible to a variety of interpretations were he not to take the precaution of employing a supplementary means (like writing out the word) to provide an anchor to prevent the fatal polysemy of his images.

It has sometimes been observed that the true limitation of iconograms is that, as well as they signify form or function, they cannot so easily signify actions, verb tenses, adverbs or prepositions.

In an article with the title “Pictures can’t say “ain’t,” Sol Worth (1975) argued that an image cannot assert the non-existence of what it represents. It is obviously possible to think of a code containing graphic operators signifying “existence/non-existence” or “past/future” and “conditional.”

But these signs would still depend (parasitically) on the semantic universe of the verbal language–as would happen (see ch. 10) with the so-called universal characters.

The ability of a visual language to express more than one meaning at once is also, therefore, its limitation. Goodman has noted (1968: 23) that there is a difference between a man-picture and a picture of a man.

The picture of a human being can be devised to represent (1) any member of the human race, (2) an individual person so-and-so, (3) a given person on the verge of doing something, dressed in a certain way, and so on.

Naturally the title can help to disambiguate the intention of the artist, but once again images are fatally “anchored” to words.

There have been any number of proposals for visual alphabets, some quite recent. We might cite Bliss’s Semantography, Eckhardt’s Safo, Janson’s Picto and Ota’s LoCos. Yet, as Nöth has observed (1990: 277), these are all cases of pasigraphy (which we shall discuss in a later chapter) rather than true languages.

Besides, they are based on natural languages. Many, moreover, are mere lexical codes without any grammatical component. The Nobel by Milan Randic consists of 20,000 visual lemmas, which can be combined together: a crown with an arrow pointing at a square with the uppermost side missing means “abdication” (where the square stands for a basket); two legs signify “to go,” and when this sign is united with the sign for “with” it means “to accompany.”

We seem to have returned to a sort of simplified hieroglyph which, in any case, will require us to learn a double set of conventions: the first to assign univocal meanings to single signs, the second to assign univocal meanings to sign clusters.

Each of these purely visual systems thus represents (1) a segment of artificial language, (2) endowed with a quasi-international extension, (3) capable of being used in only limited sectors, (4) debarred from creative use lest the images lose their capacity for univocal denotation, (5) without a grammar capable of generating an infinite or unlimited number of “sentences,” (6) unable to express new ideas because every element of expression always corresponds to a predetermined element of content, know in advance.

One could say that there is only a single system, which can claim the widest range of diffusion and comprehensibility: the images of cinema and television. One is tempted to say that this is certainly a “language” understood around the earth.

Nevertheless, even such a language displays certain disadvantages: it has difficulties in presenting mathematical abstractions and philosophical arguments; its alleged universal comprehensibility is problematic, at least as far as its editing syntax is concerned; finally, if there is no difficulty involved in receiving cinematic or televised images, it is extremely difficult to produce them.

Ease of execution is a notable argument in favor of verbal languages. Anyone who wished to communicate in a strictly visual language would probably have to go about with a camcorder, a portable television set, and a sackful of tapes, resembling Swift’s wise men who, having decided that it was necessary to show any object they wanted to designate, were forced to drag enormous sacks behind them.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 173-6.

Eco: The Egyptian vs. The Chinese Way, 2

kircher_099-590x1024

Athanasius Kircher (1602-80), origins of the Chinese characters, China Illustrata, 1667, p. 229, courtesy of Stanford University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“On the subject of signatures, Della Porta said that spotted plants which imitated the spots of animals also shared their virtues (Phytognomonica, 1583, III, 6): the bark of a birch tree, for example, imitated the plumage of a starling and is therefore good against impetigo, while plants that have snake-like scales protect against reptiles (III, 7).

Thus in one case, morphological similarity is a sign for alliance between a plant and an animal, while in the next it is a sign for hostility.

Taddeus Hageck (Metoscopicorum libellus unus, 1584: 20) praises among the plants that cure lung diseases two types of lichen: however, one bears the form of a healthy lung, while the other bears the stained and shaggy shape of an ulcerated one.

The fact that another plant is covered with little holes is enough to suggest that this plant is capable of opening the pores. We are thus witnessing three very distinct principles of relation by similarity: resemblance to a healthy organ, resemblance to a diseased organ, and an analogy between the form of a plant and the therapeutic result that it supposedly produced.

This indifference as to the nature of the connection between signatures and signatum holds in the arts of memory as well. In his Thesaurus atificiosae memoriae (1579), Cosma Roselli endeavored to explain how, once of a system of loci and images had been established, it might actually  function to recall the res memoranda.

He thought it necessary to explain “quomodo multis modis, aliqua res alteri sit similis” (Thesaurus, 107), how, that is, one thing could be similar to another. In the ninth chapter of the second part he tried to construct systematically a set of criteria whereby images might correspond to things:

“according to similarity, which, in its turn, can be divided into similarity of substance (such as man as the microcosmic image of the macrocosm), similarity in quantity (the ten fingers for the Ten Commandments), according to metonymy or antonomasia (Atlas for astronomers or for astronomy, a bear for a wrathful man, a lion for pride, Cicero for rhetoric):

by homonyms: a real dog for the dog constellation;

by irony and opposition: the fatuous for the wise;

by trace: the footprint for the wolf, the mirror in which Titus admired himself for Titus;

by the name differently pronounced: sanum for sane;

by similarity of name: Arista [awn] for Aristotle;

by genus and species: leopard for animal;

by pagan symbol: the eagle for Jove;

by peoples: Parthians for arrows, Scythians for horses, Phoenicians for the alphabet;

by signs of the zodiac: the sign for the constellation;

by the relation between organ and function;

by common accident: the crow for Ethiopia;

by hieroglyph: the ant for providence.”

The Idea del teatro by Giulio Camillo (1550) has been interpreted as a project for a perfect mechanism for the generation of rhetorical sentences.

Yet Camillo speaks casually of similarity by morphological traits (a centaur for a horse), by action (two serpents in combat for the art of war), by mythological contiguity (Vulcan for the art of fire), by causation (silk worms for couture), by effects (Marsyas with his skin flayed off for butchery), by relation of ruler to ruled (Neptune for navigation), by relation between agent and action (Paris for civil courts), by antonomasia (Prometheus for man the maker), by iconism (Hercules drawing his bow towards the heavens for the sciences regarding celestial matters), by inference (Mercury with a cock for bargaining).

It is plain to see that these are all rhetorical connections, and there is nothing more conventional that a rhetorical figure. Neither the arts of memory nor the doctrine of signatures is dealing, in any degree whatsoever, with a “natural” language of images.

Yet a mere appearance of naturalness has always fascinated those who searched for a perfect language of images.

The study of gesture as the vehicle of interaction with exotic people, united with a belief in a universal language of images, could hardly fail to influence the large number of studies which begin to appear in the seventeenth century on the education of deaf-mutes (cf. Salmon 1972: 68-71).

In 1620, Juan Pablo Bonet wrote a Reducción de las letras y arte para enseñar a hablar los mudos. Fifteen years later, Mersenne (Harmonie, 2) connected this question to that of a universal language. John Bulwer suggested (Chirologia, 1644) that only by a gestural language can one escape from the confusion of Babel, because it was the first language of humanity.

Dalgarno (see ch. 11) assured his reader that his project would provide an easy means of educating deaf-mutes, and he again took up this argument in his Didascalocophus (1680). In 1662, the Royal Society devoted several debates to Wallis’s proposals on the same topic.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 171-3.

Eco: The Egyptian vs. The Chinese Way

kircher_093-653x1024

Athanasius Kircher (1602-80), frontispiece depicting Adam Schall and Matteo Ricci holding a map of China, China Illustrata, 1667, courtesy of Stanford University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“Although today many are still of the opinion that images provide a means of communication that can overcome language barriers, the explanation of the way in which images can accomplish this by now takes one of two forms: the Egyptian and the Chinese way.

The Egyptian way today belongs only to art history. We believe that visual media such as paintings, sequences in films, etc. are “texts” which convey emotions and feelings that could not be expressed verbally: we cannot represent by mere words Mona Lisa to a blind person.

The meanings that such texts can express are multiple, because there is no universal code: the rules of representation (and of recognizability) for an Egyptian mural, an Arab miniature, a painting by Turner or a comic strip are simply not the same in each case.

It is true that some ideograms have been used as characters of a universal code, for instances many road signals; in the same vein we are using more or less universal pictograms (think of the schematic crossed knives and forks which signal a restaurant in an airport, or of the stylized “ladies” and “gentlemen” on public lavatory doors).

Sometimes visual signs are merely substituting alphabetical letters, as happens with semaphores or flag signals; sometimes a yellow flag meaning “contagious disease on board” simply stands for a verbal sentence (cf. Prieto 1966).

Likewise, the gestural languages of Trappist monks, Indian merchants, gypsies or thieves, as well as the drummed and whistled languages of certain tribes (cf. Le Barre 1964), are equally dependent on the model of natural languages.

As useful, convenient and ingenious as some of these systems of communication may be, they make no claims to being “perfect” languages in which philosophers might one day wish to compose a treatise.

Any language of images is based on the alleged fact that images exhibit some properties of the represented things. Yet in any representable thing there will always be a multitude of properties, and there are infinite points of view under which an image can be judged similar to something else. Moreover, “that a picture looks like nature often means only that it looks the way nature is usually painted” (Goodman 1968: 39).

We can see this by looking at the various versions of a semiotic apparatus (if not a true language) which remained alive for centuries and which flowered in the same period when the western culture was looking for perfect visual languages: the arts of memory (cf. Rossi 1960; Yates 1966).

An art of memory establishes at its expression-plane a system of loci (that is, of places in the literal sense of the word) which may be imagined as the rooms of a building or palace, or as an urban street or square.

This system of loci is destined to house a set of images, drawn from the same iconographical field, which will play the role of lexical units. The content-plane is given by a system of res memoranda, in other words, of things to be remembered, usually belonging to the same conceptual framework. In this way, an art of memory is a semiotic system.

For instance, in mnemonic systems like those presented by the Congestorius artificiosae memoriae by Romberch (1520), the Dialogo del modo di accrescerce e conservare la memoria by Dolce (1575), or the Artificiosae memoriae fundamenta by Paepp (1619), the system of grammatical cases is expressed (and thus recalled) by the different parts of the human body.

Not only is this a case of one system expressing another system; it is also a case where the two planes are (in Hjelmslev‘s sense) conformal. It is not arbitrary that the head stands for nominative, the chest, which can receive blows, stands for accusative, and the hands, which possess and offer, stand for genitive and dative, and so on.

This shows that a mnemonic image, in order to express its content easily, should evoke it by similarity. But no mnemonic system was ever able to find a univocal criterion of resemblance.

The criteria are the same as those that linked the signature to its signatum. If we look back and see (ch. 6) what Paracelsus had to say about the language of Adam, the Protoplastus, we see that he represented him as naming one animal on the basis of a morphological similarity (from which a virtue derived), while, in another case, the name derived directly from a virtue not manifested by the form of the object.

In other cases, the name that Adam gave reflected neither morphology nor causal relations, but was inferred symptomatically: for instance, the horn of the stag permitted us to infer the age of the animal from the complexity of its branching.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 168-71.

Eco: Later Critics

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Athanasius Kircher (1602-80), Aztec scripture depicting the founding of Mexico City, Oedipus Aegyptiacus, tom. 3, p. 32. A selection of images from works by and related to Athanasius Kircher held in the Special Collections and University Archives of Stanford University Libraries, curated by Michael John Gorman, 2001. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

“About a century later, Vico took it for granted that the first language of humanity was in the form of hieroglyphics–that is, of metaphors and animated figures. He saw the pantomime, or acted-out rebus, with which the king of the Scythians replied to Darius the Great as an example of hieroglyphic speech.

He had intimated war with “just five real words;” a frog, a mouse, a bird, a ploughshare, and a bow.

The frog signified that he was born in Scythia, as frogs were born from the earth each summer; the mouse signified that he “like a mouse had made his home where he was born, that is, he had established his nation there;” the bird signified “there the auspices were; that is that he was subject to none but God;” the plough signified that he had made the land his own through cultivation; and finally the bow meant that “as supreme commander in Scythia he had the duty and the might to defend his country.” (Scienza nuova, II, ii, 4, 435).

Despite its antiquity and its primacy as the language of the gods, Vico attributed no quality of perfection to this hieroglyphic language. Neither did he regard it as inherently either ambiguous or secret: “we must here uproot the false opinion held by some of the Egyptians that the hieroglyphs were invented by philosophers to conceal in them their mysteries of lofty esoteric wisdom.

For it was by a common natural necessity that all the first nations spoke in hieroglyphs.” (ibid.).

This “speaking in things” was thus human and natural; its purpose was that of mutual comprehension. It was also a poetic form of speaking that could not, by its very nature, ever be disjoined from either the symbolic language of heroes or the epistolary language of commerce.

This last form of speech “must be understood as having sprung up by their [the plebeians’] free consent, by this eternal property, that vulgar speech and writing are a right of the people” (p. 439).

Thus the language of hieroglyphs, “almost entirely mute, only very slightly inarticulate” (p. 446), once reduced to a mere vestibule of heroic language (made up of images, metaphors, similes and comparisons, that “supplied all the resources of poetic expression,” p. 438) lost its sacred halo of esoteric mystery.

Hieroglyphs would become for Vico the model of perfection for the artistic use of language, without making any claim, however, to replace the ordinary languages of humanity.

Other eighteenth-century critics were moving in the same direction. Nicola Frèret (Reflexions sur les principles généraux de l’art d’écrire, 1718) wrote of hieroglyphic writing as an archaic artifice; Warburton considered it hardly more advanced than the writing systems of the Mexicans (The Divine Legation of Moses, 1737-41).

We have seen what the eighteenth century had to say on the subject of monogeneticism. In this same period, critics were developing a notion of writing as evolving in stages from a pictographic one (representing things), through hieroglyphs (representing qualities and passions as well) to ideograms, capable of giving an abstract and arbitrary representation of ideas.

This, in fact, had been Kircher’s distinction, but now the sequence followed a different order and hieroglyphs were no longer considered as the ordinary language.

In his Essai sur l’origine des langues (1781) Rousseau wrote that “the cruder the writing system, the more ancient the language,” letting it be understood that the opposite held as well: the more ancient the language, the cruder the writing.

Before words and propositions could be represented in conventional characters, it was necessary that the language itself be completely formed, and that the people be governed by common laws.

Alphabetic writing could be invented only by a commercial nation, whose merchants had sailed to distant lands, learning to speak foreign tongues. The invention of the alphabet represented a higher stage because the alphabet did more than represent words, it analyzed them as well.

It is at this point that there begins to emerge the analogy between money and the alphabet: both serve as a universal medium in the process of exchange–of goods in the first instance, of ideas in the second (cf. Derrida 1967: 242; Bora 1989: 40).

This nexus of ideas is repeatedly alluded to by Chevalier de Jaucourt in the entries that he wrote for the Encyclopédie: “Writing,” “Symbol,” “Hieroglyph,” “Egyptian writing,” and “Chinese writing.”

Jaucourt was conscious that if hieroglyphics were entirely in the form of icons, then the knowledge of their meanings would be limited to a small class of priest. The enigmatic character of such a system (in which Kircher took such pride) would eventually force the invention of more accessible forms such as demotic and hieratic.

Jaucourt went further in the attempt to distinguish between different types of hieroglyph. He based his distinctions on rhetoric. Several decades earlier, in fact, in 1730, Du Marsais had published his Traités des trophes, which had tried to delimit and codify all the possible values that a term might take in a process of rhetorical elaboration that included analogies.

Following this suggestion Jaucourt abandoned any further attempt at providing Hermetic explanations, basing himself on rhetorical criteria instead: in a “curiological” hieroglyph, the part stood for the whole; in the “tropical” hieroglyph one thing could be substituted for another on the grounds of similarity.

This limited the scope for interpretive license; once the mechanics of hieroglyphs could be anchored in rhetoric, the possibility for an infinite proliferation of meanings could be reined in.

In the Encyclopédie the hieroglyphs are presented as a mystification perpetrated at the hands of the Egyptian priesthood.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 166-8.

Eco: The Kircherian Ideology

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Athanasius Kircher (1602-80), Egyptian pyramids by Gioseffo Petrucci, Prodromo apologetico alli studi chiercheriani, Amsterdam, 1677, reprinted from Sphinx Mystagoga, a selection of images related to Athanasius Kircher in the Stanford University Archives, curated by Michael John Gorman, 2001. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“It would be idle to hold Kircher responsible for his inability to understand the nature of hieroglyphic writing, for which in his time nobody had the key. Yet his ideology magnified his errors.

“Nothing can explain the duplicity of the research of Kircher better than the engraving which opens the Obeliscus Pamphilius: in this cohabit both the illuminated image of Philomatià to whom Hermes explains every mystery and the disquieting gesture of Harpocrates who turns away the profane, hidden by the shadow of the cartouche.” (Rivosecchi 1982: 57).

The hieroglyphic configurations had become a sort of machine for the inducing of hallucinations which then could be interpreted in any possible way.

Rivosecchi (1982: 52) suggests that Kircher exploited this very possibility in order to discuss freely a large number of potentially dangerous themes–from astrology to alchemy and magic–disguising his own opinions as those of an immemorial tradition, one in which, moreover, Kircher treated prefigurations of Christianity.

In the midst of this hermeneutic bulimia, however, there glimmers the exquisitely baroque temperament of Kircher at play, delighting in his taste for the great theater of mirrors and lights, for the surprising museographic collection (and one has only to think of that extraordinary Wunderkammer which was the museum of the Jesuit Collegio Romano).

Only his sensitivity to the incredible and the monstrous can explain the dedication to the Emperor Ferdinand III that opens the third volume of Oedipus:

“I unfold before your eyes, O Most Sacred Caesar, the polymorphous reign of Morpheus Hieroglyphicus. I tell of a theater in which an immense variety of monsters are disposed, and not the nude monsters of nature, but adorned by the enigmatic Chimeras of the most ancient of wisdoms so that here I trust sagacious wits will draw out immeasurable treasures for the sciences as well as no small advantage for letters.

Here there is the Dog of Bubasti, the Lion Saiticus, the Goat Mendesius, here there is the Crocodile, horrible in the yawning of its jaws, yet from whose uncovered gullet there emerges the occult meanings of divinity, of nature, and of the spirit of Ancient Wisdom espied through the vaporous play of images.

Here there are the Dipsodes thirsting for blood, the virulent Asp, the astute Icneumon, the cruel Hippopotami, the monstrous Dragons, the toad of swollen belly, the snail of twisted shell, the hairy caterpillar and the innumerable other specters which all show the admirably ordered chain which extends itself into the depths of nature’s sanctuaries.

Here is presented a thousand species of exotic things in many and varied images, transformed by metamorphosis, converted into human figures, and restored once more to themselves again in a dance of the human and the savage intertwined, and all in accordance with the artifices of the divine; and finally, there appears the divinity itself which, to say with Porphyry, scours the entire universe, ordering it with all things in a monstrous connubium; where now, sublime in its variegated face, it raises its canine cervix to reveal itself as Cenocephalus, now as the wicked Ibis, now as the Sparrow-hawk wrapped in a beaky mask.

[ . . . ] now, delighting in its virgin aspect, under the shell of the Scarab it lies concealed as the sting of the Scorpion [these descriptions carry on for four more pages] in this pantomorphic theater of nature  unfolded before our gaze, under the allegorical veil of occult meanings.”

This is the same spirit which informed the medieval taste for encyclopedias and for libri monstruorum, a genre which reappears from the Renaissance onwards under the “scientific” guise of the medical studies of Ambroise Paré, the naturalist works of Ulisse Aldrovandi, the collection of monsters of Fortunio Liceti, the Physica curiosa of Gaspar Schott.

Here it is combined, with a quality of frenzied dissymmetry that is almost Borrominian, recalling the aesthetic ideals presiding over the construction of the hydraulic grottos and mythological rocailles in the gardens of the period.

Beyond this, however, Rivosecchi has put his finger on another facet of the Kircherian ideology. In a universe placed under the sign of an ancient and powerful solar deity, the myth of Osiris had become an allegory of the troubled search for stability in the world still emerging from the aftermath of the Thirty Years War, in which Kircher was directly involved.

In this sense, we might read the dedications to Ferdinand III, which stand out at the beginning of each volume of the Oedipus, in the same light as the appeals of Postel to the French monarchy to restore harmony a century before, or as the analogous appeals of Bruno, or as Campanella’s celebration of a solar monarchy, prelude to the reign of Louis XIV, or as the calls for a golden century which we will discuss in the chapter on the Rosicrucians.

Like all the utopian visionaries of his age, the Jesuit Kircher dreamed of the recomposition of a lacerated Europe under a stable monarchy. As a good German, moreover, he repeated the gesture of Dante and turned to the Germanic, Holy Roman emperor.

Once again, as in the case of Lull, though in ways so different as to void the analogy, it was the search for a perfect language that became the instrument whereby a new harmony, not only in Europe, but across the entire planet, was to be established.

The knowledge of exotic languages, aimed not so much at recovering their original perfection, but rather at showing to the Jesuit missionaries “the method of bearing the doctrine of Christ to those cut off from it by diabolic malice” (preface to China, but also Oedipus, I, I, 396-8).

In the last of Kircher’s works, the Turris Babel, the story of the confusion of tongues is once again evoked, this time in an attempt to compose “a grandiose universal history, embracing all diversities, in a unified project of assimilation to Christian doctrine. [ . . . ]

The peoples of all the world, dispersed after the confusion, are to be called back together from the Tower of the Jesuits for a new linguistic and ideological reunification.” (Scolari 1983: 6).

In fact, hungry for mystery and fascinated by exotic languages though he was, Kircher felt no real need to discover a perfect language to reunite the world in harmony; his own Latin, spoken with the clear accents of the Counter-Reformation, seemed a vehicle perfectly adequate to transport as much gospel truth as was required in order to bring the various peoples together.

Kircher never entertained the thought that any of the languages he considered, not even the sacred languages of hieroglyphics and kabbalistic permutations, should ever again be spoken. He found in the ruins of these antique and venerated languages a garden of private delight; but he never conceived of them as living anew.

At most he toyed with the idea of preserving these languages as sacred emblems, accessible only to the elect, and in order to show their fecund impenetrability he needed elephantine commentaries.

In every one of his books, he showed himself as a baroque scholar in a baroque world; he troubled more over the execution of his tables of illustrations than over the writing (which is often wooden and repetitive).

Kircher was, in fact, incapable of thinking other than in images (cf. Rivosecchi 1982: 114). Perhaps his most lasting achievement, and certainly his most popular book, was the Ars magna lucis et umbrae of 1646.

Here he explored the visible in all its nooks and crannies, drawing from his exploration a series of scientifically valid intuitions which even faintly anticipate the invention of the techniques of photography and the cinema.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 162-5.

Eco: Kircher’s Chinese, 2

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Athanasius Kircher (1602-80), Transcription of the Sino-Syriac Monument from China Illustrata, 1667, p. 12. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“Why did the problem of memory arise only here, and not in regard to Egyptian hieroglyphs? The reason was that hieroglyphs discharged their allegorical and metaphorical force immediately, in virtue of what Kircher held to be their inherent power of revelation, since they “integros conceptos ideales involvebant.”

By using the verb involvere (to wind or wrap up), however, Kircher meant the exact opposite of what we might, today, suppose when we think of the natural and intuitive similarity between a given image and a thing. Hieroglyphs do not make clear but rather conceal something,

This is the reason for which Kircher speaks of the inferiority of Amerindian characters (Oedipus, III, 13-4). They seemed to Kircher inferior because they were immediately pictographic, as they were representing only individuals and events; thus they looked like mere mnemonic notes unable to bear arcane revelations (Oedipus, IV, 28; on the inferiority of Amerindian characters see also Brian Walcott (ed. note: Eco has “Brian Walcott” on p. 160, when the actual name should be Brian Walton), In biblia polyglotta prolegomena, 2.23).

Chinese ideography was undoubtedly superior to Amerindian “pictography because it was capable of expressing abstract concepts. Yet, despite the fact that it also permitted witty combinations (cf. Oedipus, III, 13-4), its decipherment remained too univocal.

The Egyptians, Kircher argued, saw in the sign of the scarab not a mere scarab, but the sun–and not the material sun that warms our world of our senses, but the sun as archetype of the intelligible world. (Ed. Note: Eco has a bracket ” next to pictography but does not close it. I include it, repeating the error, as Eco published it.)

We shall see (ch. 10) that in seventeenth-century England, Chinese writing was considered perfect in so far as with ideograms every element on the expression-plane corresponded to a semantic unit on the content-plane. It was precisely these one-to-one correspondences that, for Kircher, deprived Chinese writing of its potential for mystery.

A Chinese character was monogamously bound to the concept it represented; that was its limitation: an Egyptian hieroglyph showed its superiority by its ability to summon up entire “texts,” and to express complex chunks of infinitely interpretable content.

Kircher repeated this argument in his China. There was nothing hieratic about the Chinese character; there was nothing that veiled it from profane eyes, hiding unfathomable depths of truth; it was a prosaic instrument of everyday communication.

Knowledge of Chinese could, of course, be motivated on ethnological grounds, especially as the Jesuits had acquired so many interests in China. Still, Chinese could not qualify for inclusion in the list of holy languages.

As to the Amerindian signs, not only were they patently denotative, but they revealed the diabolic nature of a people who had lost the last vestige of archaic wisdom.

As a civilization, Egypt no longer existed, and for the Europeans it was not yet a land for future conquest. Ignored in its geopolitical inconsistency, it became a Hermetical phantom. In this role it could be identified as the spiritual ancestor of the Christian West, the progenitor of the occident’s patrimony of mystic wisdom.

China, by contrast, was no phantom but a tangible Other. It was concretely there, still a political force of respectable dimensions, still a culture alternative to that of the West. The Jesuits themselves had revealed the deep roots of Chinese culture.

“The Chinese, moral and virtuous though pagan, when forgetting the truth revealed in the structure of hieroglyphs, converted their ideography into a neutral and abstract instrument of communication, and this led to the belief that their conversion would be easy to achieve.” (Pellerey 1992b: 521).

The Americas, by contrast, were designated as the land of conquest; here there would be no compromise with idolators and their low-grade species of writing: the idolators were to be converted, and every trace of their original culture, irredeemably polluted with diabolic influences, was to be wiped away.

“The demonization of the native American cultures found here a linguistic and theoretical justification.” (ibid.: 521).

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 160-2.

Eco: Kircher’s Chinese

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Athanasius Kircher (1602-80), schema of the Egyptian cosmos, Oedipus Aegyptiacus, tom. 2, vol. 1, p. 418. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“In an earlier chapter, we saw the suggestion made that Chinese might be the language of Adam. Kircher lived in a period of exciting discoveries in the Orient. The Spanish, Portuguese, English, Dutch, and, later, French conquered the route to the Indies, the Sunda seas, the way to China and to Japan.

But even more than by merchants, these pathways were traversed by Jesuits, following in the footsteps of Matteo Ricci who, a century before, had brought European culture to the Chinese, and returned to give Europe a deeper understanding of China.

With the publication of the Historia de las cosas más notables, ritos y costumbres del gran reino de la China by Juan Gonzales de Mendoza in 1585, there appeared in print in Europe characters in Chinese script.

In 1615 there finally appeared Ricci’s De christiana expeditione apud Sinas ab Societate Ieus suscepta, in which he explained that in Chinese, there existed as many characters as there were words. He insisted as well on the international character of the Chinese script, which, he wrote, was readily understood not only by the Chinese, but also by the Japanese, the Koreans, the Cochin-Chinese and by the Formosans.

We shall see that this was a discovery that would initiate the search for a real character from Bacon onwards. Already in 1627, in France, Jean Douet published a Proposition présentée au roy, d’une escriture universelle, admirable pour ses effects, très-utile à tous les hommes de la terre, in which Chinese was offered as a model for an international language.

At the same time, there had begun to appear information about the pictographic writings of Amerindians. Attempts at interpretation had yielded contradictory results; and this was discussed in works such as the Historia natural y moral de las Indias by José de Acosta in 1570, and the Relaciòn de las cosas de Yucatàn by Diego de Landa, written in the sixteenth century, although appearing only in the eighteenth; in 1609 there also appeared the Comentarios reales que tratan del origine de los Yncas by Garcilaso de la Vega.

An observation often repeated by these early observers was that contact with the indigenous natives was at first carried out by means of gestures. This awoke an interest in gesture’s potential as a universal language.

The universality of gestures and the universality of images turned out to be related themes (the first treatise on this subject was Giovanni Bonifacio‘s L’arte de’ cenni of 1616; on this topic in general, see Knox 1990).

The reports of his Jesuit brothers gave Kircher an incomparable source of ethnographic and linguistic information (see Simone 1990 on “Jesuit or Vatican linguistics”).

In his Oedipus, Kircher was especially interested in the diffusion of Chinese. He took up the same arguments, in a more elliptical form, in his China monumentis quà sacris quà profanis, nec non variis naturae et artis spectaculis, aliarum rerum memorabilis argumentis illustrata of 1667.

This latter work was more in the nature of a treatise in ethnography and cultural anthropology which, with its splendid and sometimes documented illustrations, collected all the reports that arrived from the missionaries of the Company, and described every aspect of Chinese life, culture and nature.

Only the sixth and last part of the work was dedicated to the alphabet.

Kircher presumed that the mysteries of hieroglyphic writing had been introduced to the Chinese by Noah’s son Ham. In the Arca Noe of 1675 (pp. 210ff) he identified Ham with Zoroaster, the inventor of magic.

But, unlike Egyptian hieroglyphs, Chinese characters were not for Kircher a puzzle. Chinese was a writing system still in use, and the key to its understanding had already been revealed. How could such a comprehensible language be sacred and a vehicle for occult mysteries?

Kircher realized that Chinese characters were originally iconic and only later had grown extremely stylized over time, so as to lose their original similarity with things. He reconstructed after  his own fancy what he took to be the designs of fish and birds that had formed the starting points for current ideograms.

Kircher also realized that these ideograms did not express either letters or syllables, but referred to concepts. He noted that in order to translate our dictionary into their idiom we would need as many different characters as we had words (Oedipus, III, 11).

This led him to reflect on the amount of memory that was necessary for a Chinese scholar to know and remember all these characters.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 158-60.

Eco: Kircher’s Egyptology

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Athanasius Kircher (1602-80), frontispiece to Ars Magna Lucis et Umbrae, Rome, Scheus, 1646. Compendium Naturalis says that this allegorical engraving was executed on copper by Petrus Miotte Burgundus. Multiple copies are posted on the internet, including an eBook courtesy of GoogleBooks, one at the Max Planck Institute, one at the Herzog August Bibliothek, and one at Brigham Young University among many others. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

“When Kircher set out to decipher hieroglyphics in the seventeenth century, there was no Rosetta stone to guide him. This helps explain his initial, mistaken, assumption that every hieroglyph was an ideogram.

Understandable as it may have been, this was an assumption which doomed his enterprise at the outset. Notwithstanding its eventual failure, however, Kircher is still the father of Egyptology, though in the same way that Ptolemy is the father of astronomy, in spite of the fact that his main hypothesis was wrong.

In a vain attempt to demonstrate his hypothesis, Kircher amassed observational material and transcribed documents, turning the attention of the scientific world to the problem of hieroglyphs. Kircher did not base his work on Horapollo’s fantastic bestiary; instead, he studied and made copies of the royal hieroglyphic inscriptions.

His reconstructions, reproduced in sumptuous tables, have an artistic fascination all of their own. Into these reconstructions Kircher poured elements of his own fantasy, frequently reportraying the stylized hieroglyphs in curvaceous baroque forms.

Lacking the opportunity for direct observation, even Champollion used Kircher’s reconstructions for his study of the obelisk standing in Rome’s Piazza Navona, and although he complained of the lack of precision of many of the reproductions, he was still able to draw from them interesting and exact conclusions.

Already in 1636, in his Prodromus Coptus sive Aegyptiacus (to which was added, in 1643, a Lingua Aegyptiaca restituta), Kircher had come to understand the relation between the Coptic language and, on the one hand, Egyptian, and, on the other, Greek.

It was here that he first broached the possibility that all religions, even those of the Far East, were nothing more than more or less degenerated versions of the original Hermetic mysteries.

There were more than a dozen obelisks scattered about Rome, and restoration work on some of them had taken place from as early as the time of Sixtus V. In 1644, Innocent X was elected pope. His Pamphili family palace was in Piazza Navona, and the pope commissioned Bernini to execute for him the vast fountain of the four rivers, which remains there today.

On top of this fountain was to be placed the obelisk of Domitian, whose restoration Kircher was invited to superintend.

As the crowning achievement of this restoration, Kircher published, in 1650, his Obeliscus Pamphilius, followed, in 1652-4, by the four volumes of his Oedipus Aegyptiacus. This latter was an all-inclusive study of the history, religion, art, politics, grammar, mathematics, mechanics, medicine, alchemy, magic and theology of ancient Egypt, compared with all other eastern cultures, from Chinese ideograms to the Hebrew kabbala to the language of the brahmins of India.

The volumes are a typographical tour de force that demanded the cutting of new characters for the printing of the numerous exotic, oriental alphabets. It opened with, among other things, a series of dedications to the emperor in Greek, Latin, Italian, Spanish, French, Portuguese, German, Hungarian, Czech, Illirian, Turkish, Hebrew, Syriac, Arabic, Chaldean, Samaritan, Coptic, Ethiopic, Armenian, Persian, Indian and Chinese.

Still, the conclusions were the same as those of the earlier book (and would still be the same in the Obelisci Aegyptiaci nuper inter Isaei Romani rudera effosii interpretatio hieroglyphica of 1666 and in the Sphinx mystagoga of 1676).

At times, Kircher seemed to approach the intuition that certain of the hieroglyphs had a phonetic value. He even constructed a rather fanciful alphabet of 21 hieroglyphs, from whose forms he derives, through progressive abstractions, the letters of the Greek alphabet.

Kircher, for example, took the figure of the ibis bending its head until it rests between its two feet as the prototype of the capitalized Greek alpha, A. He arrived at this conclusion by reflecting on the fact that the meaning of the hieroglyphic for the ibis was “Bonus Daemon;” this, in Greek, would have been Agathos Daimon.

But the hieroglyph had passed into Greek through the mediation of Coptic, thanks to which the first sounds of a given word were progressively identified with the form of the original hieroglyph.

At the same time, the legs of the ibis, spread apart and resting on the ground, expressed the sea, or, more precisely, the only form in which the ancient Egyptians were acquainted with the sea–the Nile.

The word delta has remained unaltered in its passage into Greek, and this is why the Greek letter delta (Δ) has retained the form of a triangle.

It was this conviction that, in the end, hieroglyphs all showed something about the natural world that prevented Kircher from ever finding the right track. He thought that only later civilizations established that short-circuit between image and sound, which on the contrary characterized hieroglyphic writing from its early stages.

He was unable, finally, to keep the distinction between a sound and the corresponding alphabetic letter; thus his initial intuitions served to explain the generation of later phonetic alphabets, rather than to understand the phonetical nature of hieroglyphs.

Behind these errors, however, lies the fact that, for Kircher, the decipherment of hieroglyphs was conceived as merely the introduction to the much greater task–an explanation of their mystic significance.

Kircher never doubted that hieroglyphs had originated with Hermes Trismegistus–even though several decades before, Isaac Casaubon had proved that the entire Corpus Hermeticum could not be earlier than the first centuries of the common era.

Kircher, whose learning was truly exceptional, must have known about this. Yet he deliberately ignored the argument, preferring rather to exhibit a blind faith in his Hermetic axioms, or at least to continue to indulge his taste for all that was strange or prodigious.

Out of this passion for the occult came those attempts at decipherment which now amuse Egyptologists. On page 557 of his Obeliscus Pamphylius, figures 20-4 reproduce the images of a cartouche to which Kircher gives the following reading: “the originator of all fecundity and vegetation is Osiris whose generative power bears from heaven to his kingdom the Sacred Mophtha.”

This same image was deciphered by Champollion (Lettre à Dacier, 29), who used Kircher’s own reproductions, as “ΑΟΤΚΡΤΛ (Autocrat or Emperor) sun of the son and sovereign of the crown, ΚΗΣΡΣ ΤΜΗΤΕΝΣ ΣΒΣΤΣ (Caesar Domitian Augustus).”

The difference is, to say the least, notable, especially as regards the mysterious Mophtha, figured as a lion, over which Kircher expended pages and pages of mystic exegesis listing its numerous properties, while for Champollion the lion simply stands for the Greek letter lambda.

In the same way, on page 187 of the third volume of the Oedipus there is a long analysis of a cartouche that appeared on the Lateran obelisk. Kircher reads here a long argument concerning the necessity of attracting the benefits of the divine Osiris and of the Nile by means of sacred ceremonies activating the Chain of Genies, tied to the signs of the zodiac.

Egyptologists today read it as simply the name of the pharaoh Apries.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 154-8.

Eco: New Prospects for the Monogenetic Hypothesis

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Athanasius Kircher (1602-80), frontispiece to Magnes sive De Arte Magnetica, 1641 and 1643 editions, digitized by the University of Lausanne and Stanford University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“Doubting the possibility of obtaining scientific agreement upon an argument whose evidence had been lost in the mists of time, about which nothing but conjectures might be offered, the Société de Linguistique of Paris 1866 decided that it would no longer accept scientific communications on the subject of either universal languages or origins of language.

In our century that millenary debate took the form of research on the universals of language, now based on the comparative analysis of existing languages. Such a study has nothing to do with more or less fantastic historic reconstructions and does not subscribe to the utopian ideal of a perfect language (cf. Greenberg 1963; Steiner 1975: I, 3).

However, comparatively recent times have witnessed a renewal of the search for the origins of language (cf., for example, Fano 1962; Hewes 1975, 1979).

Even the search for the mother tongue has been revived in this century by Vitalij Ševorškin (1989), who has re-proposed the Nostratic hypothesis, originally advanced in Soviet scientific circles in the 1960s, and associated with the names of Vladislav Il’ič-Svitych and Aron Dolgoposkiji.

According to this hypothesis, there was a proto-Indo-European, one of the six branches of a larger linguistic family deriving from Nostratics–which in its turn derives from a proto-Nostratics, spoken approximately ten thousand years ago. The supporters of this theory have compiled a dictionary of several hundred terms of this language.

But the proto-Nostratics itself would derive from a more ancient mother tongue, spoken perhaps fifty thousand years ago in Africa, spreading from there throughout the entire globe (cf. Wright 1991).

According to the so-called “Eve’s hypothesis,” one can thus imagine a human couple, born in Africa, who later emigrated to the Near East, and whose descendants spread throughout Eurasia, and possibly America and Australia as well (Ivanov 1992:2). To reconstruct an original language for which we lack any written evidence, we must proceed like

“molecular biologists in their quest to understand the evolution of life. The biochemist identifies molecular elements that perform similar functions in widely divergent species, to infer the characteristics of the primordial cell from which they are presumed to have descended.

So does the linguist seek correspondences in grammar, syntax, vocabulary, and vocalization among known languages in order to reconstruct their immediate forebears and ultimately the original tongue. (Gamkrelidze and Ivanov 1990: 110).”

Cavalli-Sforza’s work on genetics (cf., for example, 1988, 1991) tends to show that linguistic affinities reflect genetic affinities. This supports the hypothesis of a single origin of all languages, reflecting the common evolutionary origin of all human groups.

Just as humanity evolved only once on the face of the earth, and later diffused across the whole planet, so language. Biological monogenesis and linguistic monogenesis thus go hand in hand and may be inferentially reconstructed on the basis of mutually comparable data.

In a different conceptual framework, the assumption that both the genetic and the immunological codes can, in some sense, be analyzed semiotically seems to constitute the new scientific attempt to find a language which could be defined as the primitive one par excellence (though not in historical but rather in biological terms).

This language would nest in the roots of evolution itself, of phylogenesis as of onto-genesis, stretching back to before the dawn of humanity (cf. Prodi 1977).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 115-6.

Eco: A Dream that Refused to Die, 2

 

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Athanasius Kircher (1602-80), the philosophical tree, from Ars Magna Sciendi, 1669, digitized in 2007 and published on the web by the Complutense University of Madrid. This illustration courtesy of Stanford University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

 

“Again apropos of the crusty old myth of Hebrew as the original language, we can follow it in the entertaining compilation given in White (1917: II, 189-208).

Between the first and ninth editions of the Encyclopedia Britannica (1771 and 1885), a period of over one hundred years, the article dedicated to “Philology” passed from a partial acceptance of the monogenetic hypothesis to manifestations of an increasingly modern outlook in scientific linguistics.

Yet the shift took place only gradually–a series of timid steps. The notion that Hebrew was the sacred original language still needed to be treated with respect; throughout this period, theological fundamentalists continued to level fire at the theories of philologists and comparative linguists.

Still in 1804, the Manchester Philological Society pointedly excluded from membership anyone who denied divine revelations by speaking of Sanskrit or Indo-European.

The monogeneticist counterattacks were many and varied. At the end of the eighteenth century, the mystic and theosophist Louis-Claude de Saint-Martin dedicated much of the second volume of his De l’esprit des choses (1798-9) to primitive languages, mother tongues and hieroglyphics.

His conclusions were taken up by Catholic legitimists such as De Maistre (Soirées de Saint Petersburg, ii), De Bonald (Recherches philosophiques, iii, 2) and Lamennais (Essai sur l’indifférence en matière de religion).

These were authors less interested in asserting the linguistic primacy of Hebrew as such than in contesting the polygenetic and materialist or, worse, the Lockean conventionalist account of the origin of language.

Even today, the aim of “reactionary” thought is not to defend the contention that Adam spoke to God in Hebrew, but rather to defend the status of language itself as the vehicle of revelation.

This can only be maintained as long as it is also admitted that language can directly express, without the mediation of any sort of social contract or adaptations due to material necessity, the relation between human beings and the sacred.

Our own century has witnessed counterattacks from an apparently opposite quarter as well. In 1956, the Georgian linguist Nicolaij Marr elaborated a particular version of polygenesis.

Marr is usually remembered as the inventor of a theory that language depended upon class division, which was later confuted by Stalin in his Marxism and Linguistics (1953). Marr developed his later position out of an attack on comparative linguistics, described as an outgrowth of bourgeois ideology–and against which he supported a radical polygenetic view.

Ironically, however, Marr’s polygeneticism (based upon a rigid notion of class struggle) in the end inspired him–again–with the utopia of a perfect language, born of a hybrid of all tongues when humanity will no more be divided by class or nationality (cf. Yaguello 1984: 7, with a full anthology of extracts).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 113-5.

Eco: A Dream that Refused to Die

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Athanasius Kircher (1602-80), the Christian interpretation of the Kabbalah and the mystical names of God, Oedipus Aegyptiacus, tom. 2, vol. 1, 1652-4, p. 287. John Mark Ockerbloom curated an entry for all three volumes of this work at the University of Pennsylvania libraries. This illustration courtesy of Stanford University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

 

“Even faced with the results of the research of comparative linguistics, however, monogenetic theories refuse to give up the ghost. The bibliography of belated monogeneticism is immense. In it, there is to be found the lunatic, the crank, the misfit, the bizarre mystic, as well as a number of students of unimpeachable rigor.

In 1850, for example, the Enlightenment notion of a language of action received a radically monogenetic reading in the Dactylologie et language primitif restitués d’apres les monuments by J. Barrois.

Assuming that the first language of humanity was a language of action and that this language was exclusively gestural, Barrois sought to prove that even the passages of the Bible which referred to God addressing Adam referred not to speaking in a verbal sense, but instead to a non-verbal, mimed language.

“The designation of the divers animals which Adam made was achieved by means of a special miming which recalled their form, instinct, habit, and qualities, and, finally, their essential properties.” (P. 31).

The first time that an unambiguous reference to verbal speech appears in the Bible is when God speaks to Noah; before this, all references seem vague. For Barrois, this was evidence showing that only slowly, in the immediately antediluvian age, did a phonetic form of language become common.

The confusio linguarum arose out of discord between gestural and spoken language. The primitive vocal language was born closely accompanied by gestures which served to underline its most important words–just as occurs today in the speech of negroes and Syrian merchants (p. 36).

A dactylological language (expressed by the movement of the fingers and deriving from the primitive language of action) was born later, as a form of short-hand support for the phonetic language, when this latter emerged as the dominant form.

Barrois examines iconographic documents of all ages, demonstrating that the dactylological language remained unaltered through various civilizations.

As for the everlasting idea of an original Hebrew, we might cite the figure of Fabre d’Olivet, whose La Langue hébraïque restituée, written in 1815, is still a source of inspiration for belated kabbalists today.

He told of a primitive language that no people had ever spoken, of which Hebrew (the Egyptian dialect of Moses) was but the most illustrious offspring. This insight leads him on to the search for a mother tongue in which Hebrew is carefully combed and then subjected to fantastic reinterpretations.

D’Olivet was convinced that, in this language, every phoneme, every single sound, must have its own special meaning. We will not follow d’Olivet as he re-explores this old terrain; it is enough to say that he presents a string of nonsensical etymologies which, though in the spirit of Duret, Guichard and Kircher, are, if anything, even less convincing.

We might, however, provide just one example to show how traces of an original Hebrew mimology can be discovered in a modern language as well. D’Olivet constructed an etymology for the French term emplacement. Place derives from the Latin platea and from the German Platz.

In both these words, the sound AT signifies protection, while the sound L means extension. LAT means, therefore, a “protected extension.” MENT, in its turn, derives from the Latin mens and the English mind.

In this syllable, E is the sign of absolute life, and N stands for reflexive existence. Together, as ENS, they mean “bodily spirit.” M refers to existence at a given point. Therefore, the meaning of emplacement is “la manière dont uno extension fixe et determinée peut être conçue et se presente aux yeux.”

As one critic has put it, Fabre d’Olivet has demonstrated that emplacement means “emplacement” (cf. Cellier 1953: 140; Pallotti 1992).

And yet. No less a figure than Benjamin Lee Whorf took Fabre d’Olivet as the starting point for a series of reflections on the curious subject of “oligosynthesis.”

He was wondering about the possible applications of a science capable of “restoring a possible common language of the human race or [of] perfecting an ideal natural tongue constructed of the original psychological significance of sounds, perhaps a future common speech, into which all our varied languages may be assimilated, or, putting it differently, to whose terms they may be reduced” (Whorf 1956: 12; see also 74-6).

This is neither the first nor the last of the paradoxes in our story: we associate Whorf with one of the least monogenetic of all the various glottogonic hypotheses; it was Whorf who developed the idea that each language was a “holistic” universe, expressing the world in a way that could never be wholly translated into any other language.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 111-3.

Eco: Philosophers Against Monogeneticism, 2

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Athanasius Kircher (1602-80), hieroglyphic obelisk in honor of Honoratus Ioannis, from Principis Christiani Archetypon Politicum, Amsterdam, 1672, p. 235. Courtesy of Bayerische Staats Bibliothek and Stanford University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

 

“In his Essai sur l’origine des connaissances humaines (1746), Condillac took Locke’s empiricism and reduced it to a radical sensationalism. According to Condillac, it was not only perception that derived from the senses, but all the working of our minds–memory, awareness, comparison and, consequently, judgement.

If a statue could be made possessing an internal organization identical to our own, Condillac argued, that statue would gradually, through its primary sensations of pain and pleasure, derive a collection of abstract notions identical to our own.

In this genesis of ideas, signs play a fundamental role: they express at first our primary feelings, by cries and gestures–a language of action. Afterwards this purely emotional language evolves to function as the mode in which we fix our thoughts–a language of institution.

The notion of a language of action had already been expressed by William Warburton (The Divine Legation of Moses, 1737-41). It was an idea that was to become an important tenet of sensationalist philosophy, as it provided a link that helped explain how human beings had passed from simple, immediate responses to more complex forms of cultural behavior, in the course of an irreversible historical development.

At the very end of the century, the Idéologues began to fill this picture in, elaborating a vision of the early course of human history that was, at once, materialist, historicist and sensitive to social factors.

They began to investigate every form of expression: various types of pictographic sign, gestures in the pantomime or in the language of deaf-mutes, orators and actors, algebraic characters, the jargons and passwords of secret societies (for it was in this period that masonic confraternities were founded and spread).

In works such as the Eléments d’idéologie by Antoine-Louis-Claude Destutt De Tracy (1801-15, 4 vols) and, even more, Des signes by Joseph-Marie de Degérando (1800: I, 5) a great historic panorama began to emerge.

At the first stage, human beings sought to make their intentions known to each other through simple actions; at the next stage they passed gradually to a language of nature, that is, an imitative language in which they could represent, by a sort of pantomime, a real action.

This would be a language still subject to misunderstandings, for there would be nothing to guarantee that both parties in a conversation would associate the mimed sign with the same idea, and that, consequently, the receiver would draw the intended conclusions about the purposes and circumstances for which the pantomime had been enacted.

Where the purpose was to refer to an object that was actually present, all that was necessary was a sign we might call indexical–a cry or glance in the direction of the object, a pointing of a finger.

Indexical signs would no longer do, however, where the intention was to refer to an object not present, either because the object was physically located at some other place or time, or because the “object” was, in fact, an interior state.

Where the absent object was physical and material, a mimed imitation might still be able to denote it–trying to imitate not substances but actions. To refer to non-physical, interior states, however, it was necessary to develop a more figurative language, a language of metaphor, synecdoche and metonymy.

Two weights hefted by the hands might, for example, suggest making a judgement between two parties; a flame might symbolize an ardent passion, and so on. Up to this point, we are still in a language of analogies, expressed in gestures, cries and primitive onomatopoeia, or by a symbolic or pictographic form of writing.

Slowly, however, these signs of analogy become signs of habitude; they are codified, more or less arbitrarily, up to the birth of a language in the strict sense of the term. Thus the semiotic machinery constructed by humanity is determined by environmental and historical factors.

This elaboration by the Idéologues implied a cogent and devastating critique of any idea of a perfect original language. It is a critique, moreover, that brought an argument initiated over two centuries earlier to a close.

This was the argument that had begun with the rediscovery of the hypothesis of Epicurus, and with the first reflections of Montaigne and Locke on the variety of cultures and the differences in beliefs among the variety of exotic peoples that the accounts of the explorers of their times were revealing.

Thus, under the entry “Language” in the Encyclopédie, Jaucourt could say that since languages were all reflections of the “genius” of the various peoples, it is impossible to conceive of a universal tongue.

Since customs and ideas were determined by climate, upbringing and government, it was not possible to impose the same customs, or the same ideas of vice and virtue, on all nations.

In this formulation, the notion of “genius” was employed as a means of explaining how each language contains its own particular vision of the world. Yet such a notion also implies that languages were mutually incommensurable.

This was an idea that already appears in Condillac (Essai sur l’origine des connaissances humaines, II, I, 5). It also appeared in Herder (Fragmente über die neuere deutsche Literatur, 1766-7), and was developed by Humboldt (Fragmente über die Verschiedenheit des menschlichen Sprachbaues und ihren Einfluss auf die geistige Entwicklung des Menschengeschlechts, 1836), for whom every language possesses its own innere Sprachform, an inner form expressing the vision of the world of the people who speak it.

When one assumes that there is an organic relation and a reciprocal influence between language and thought, it is clear that such an interaction does not only work within a given language at a given historical time: it affects the very historical development of every language and of every culture. (cf. De Mauro 1965: 47-63).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 108-11.

Eco: The Indo-European Hypothesis, 2

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Athanasius Kircher (1602-80), sympathies between the microcosm and the megacosm, from Mundus subterraneus, 1665, vol. 2, p.406. Courtesy of Stanford University and the University of Oklahoma Libraries. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

“But are we really able to say that with the birth of the modern science of linguistics the ghost of Hebrew as the holy language had finally been laid to rest? Unfortunately not. The ghost simply reconstituted itself into a different, and wholly disturbing, Other.

As Olender (1989, 1993) has described it, during the nineteenth century, one myth died only to be replaced by another.

With the demise of the myth of linguistic primacy, there arose the myth of the primacy of a culture–or of a race. When the Hebrew language and civilization was torn down, the myth of the Aryan races rose up to take its place.

The reality of Indo-European was only virtual; yet it was still intrusive. Placed face to face with such a reality, Hebrew receded to the level of metahistory. It became a symbol.

At the symbolic level, Hebrew ranged from the linguistic pluralism of Herder, who celebrated it as a language that was fundamentally poetic (thus opposing an intuitive to a rationalistic culture), to the ambiguous apology of Renan, who–by contrasting Hebrew as the tongue of monotheism and of the desert to Indo-European languages (with their polytheistic vocation)–ends up with oppositions which, without our sense of hindsight, might even seem comic: the Semitic languages are incapable of thinking in terms of multiplicity, are unwilling to countenance abstraction; for this reason the Semitic culture would remain closed to scientific thinking and devoid of a sense of humor.

Unfortunately, this is not just a story of the gullibility of scientists. We know only too well that the Aryan myth had political consequences that were profoundly tragic. I have no wish to saddle the honest students of Indo-European with blame for the extermination camps, especially as–at the level of linguistic science–they were right.

It is rather that, throughout this book, we have been sensitive to side effects. And it is hard not to think of these side effects when we read in Olender the following passage from the great linguist, Adolphe Pictet, singing this hymn to Aryan culture:

“In an epoch prior to that of any historical witnesses, an epoch lost in the night of time, a race, destined by providence to one day rule the entire world, slowly grew in its primitive birthplace, a prelude to its brilliant future.

Privileged over all others by the beauty of their blood, by their gifts of intelligence, in the bosom of a great and severe nature that would not easily yield up its treasures, this race was summoned from the very beginning to conquer. [ . . . ]

Is it not perhaps curious to see the Aryas of Europe, after a separation of four or five thousand years, close the circle once again, reach their unknown brothers in India, dominate them, bring to them the elements of a superior civilization, and then to find ancient evidence of a common origin?”

(Les origines indo-européennes ou les Aryas primitifs, 1859-63: III, 537, cited in Olender 1989: 130-9).

At the end of a thousand year long ideal voyage to the East in search of roots, Europe had at last found some ideal reasons to turn that virtual voyage into a real one–for the purposes not of intellectual discovery, however, but of conquest.

It was the idea of the “white man’s burden.” With that, there was no longer any need to discover a perfect language to convert old or new brothers. It was enough to convince them to speak an Indo-European language, in the name of a common origin.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 105-6.

Eco: The Indo-European Hypothesis

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Athanasius Kircher (1602-80), Kircher’s museum at the Collegio Romano, frontispiece of Giorgio de Sepibus, Romani Collegii Musaeum Celeberrimum, Rome, 1678. Courtesy of Stanford University and the Zymoglyphic Museum. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

“Between the eighteenth and the nineteenth centuries a new perspective opened. The battle for Hebrew had been definitively lost. It now seemed clear that, even had it existed, linguistic change and corruption would have rendered the primitive language irrecuperable.

What was needed instead was a typology in which information about known languages might be codified, family connections established, and relations of descent traced. We are here at the beginning of a story which has nothing to do with our own.

In 1786, in the Journal of the Asiatick Society of Bombay, Sir William Jones announced that

“The Sanskrit language, whatever be its antiquity, is of a wonderful structure; more perfect than Greek, more copious than Latin, and more exquisitely refined than either, yet bearing to both of them a stronger affinity, both in the root of verbs and in the forms of grammar [ . . . ]

No philosopher could examine them all three, without believing them to have sprung from some common source, which, perhaps, no longer exists.” (“On the Hindus,” The Works of Sir William Jones, III, London 1807, 34-5).

Jones advanced the hypothesis that Celtic, Gothic and even ancient Persian were all related to Sanskrit. Note that he spoke not only of similar verb roots, but also of similar grammatical structures. We have left behind the study of lexical analogies, and are beginning a research on syntactic similarities and phonetic affinities.

Already in 1653, John Wallis (Grammatica linguae anglicae) had posed the problem of how one might establish the relation between a series of French words–guerre, garant, gard, gardien, garderobe, guise–and the English series–war, warrant, ward, warden, wardrobe, wise–by proving the existence of a constant shift from g to w.

Later in the nineteenth century, German scholars, such as Friedrich and Wilhelm von Schlegel and Franz Bopp, deepened the understanding of the relation between Sanskrit, Greek, Latin, Persian and German.

They discovered a set of correspondences in the conjugation of the verb to be in all these languages.

Gradually they came to the conclusion that not only was Sanskrit the original language of the group, its Ursprache, but that there must have existed, for this entire family, an even more primitive proto-language from which they all, Sanskrit included, had derived. This was the birth of the Indo-European hypothesis.

Through the work of Jakob Grimm (Deutsche Grammatik, 1818) these insights became organized in a scientific fashion. Research was based on the study of sound shifts (Lautverschiebungen) which traced how from the Sanskrit p were generated pous-podos in Greek, pes-pedes in Latin, fotus in Gothic, and foot in English.

What had changed between the utopian dream of an Adamic language and the new perspective? Three things. Above all, scholars had elaborated a set of scientific criteria.

In the second place, the original language no longer seemed like an archeological artifact that, one day, might actually be dug up. Indo-European was an ideal point of scholarly reference only.

Finally, Indo-European made no claim to being the original language of all humanity; it merely represented the linguistic root for just one family–the Aryan.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 103-5.

Eco: The Nationalistic Hypothesis, 4

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Athanasius Kircher (1602-80), Universal horoscope of the Society of Jesus, or the Jesuits. Comprising an olive tree as a sundial, the time in each Jesuit province can be read. From Ars Magna Lucis et Umbrae, 1646, p. 553, courtesy of Herzog August Bibliothek, and Stanford University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“In the British context, the Celtic hypothesis had naturally quite a different meaning; it meant, for one thing, an opposition to the theory of a Germanic origin.

In the eighteenth century the thesis of Celtic primacy was supported by Rowland Jones, who argued “no other language, not even English, shows itself to be so close to the first universal language, and to its natural precision and correspondence between words and things, in the form and in the way in which we have presented it as universal language.”

The English language is

“the mother of all the western dialects and the Greek, elder sister of all orientals, and in its concrete form, the living language of the Atlantics and of the aborigines of Italy, Gaul and Britain, which furnished the Romans with much of their vocables . . . The Celtic dialects and knowledge derived their origin from the circles of Trismegistus, Hermes, Mercury or Gomer . . . [and] the English language happens more peculiarly to retain its derivation from that purest fountain of languages (“Remarks on the Circles of Gomer,” The Circles of Gomer, 1771: II, 31-2).”

Etymological proofs follow.

Such nationalistic hypotheses are comprehensible in the seventeenth and eighteenth centuries, when the larger European states began to take form, posing the problem of which of them was to be supreme on the continent.

In this period, spirited claims to originality and superiority arise no longer from the visionary quest for universal peace, but–whether their authors realized this or not–from concrete reasons of state.

In whatever case, and whatever their nationalist motivations, as a result of what Hegel calls the astuteness of reason, the furious search for etymologies, which was supposed to prove the common descent of every living language, eventually ended by creating the conditions in which serious work in comparative linguistics might become more profitable.

As this work expanded, the phantom of an original mother tongue receded more and more into the background, remaining, at most, a mere regulative hypothesis. To compensate for the loss, there arose a new and pressing need to establish a typology of fundamental linguistic stocks.

Thus, in this radically altered perspective, the search for the original mother tongue transformed itself into a general search for the origins of a given language.

The need to document the existence of the primeval language had resulted in theoretical advances such as the identification and delimitation of important linguistic families (Semitic and Germanic), the elaboration of a model of linguistic descent with the inheritance of common linguistic traits, and, finally, the emergence of an embryonic comparative method typified in some synoptic dictionaries. (Simone 1990: 331).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 102-3.

Eco: The Nationalistic Hypothesis, 3

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Athanasius Kircher (1602-80), his interpretation of the legendary sphere of Archimedes, using magnets to simulate the rotation of the planets. From Magnes, sive de Arte Magnetica, 1643, p. 305. Courtesy of Stanford University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.  

 

“Ideas similar to these were expressed by Schottel (Teutsche Sprachkunst, 1641), who celebrated the German language as the one which, in its purity, remained closest to the language of Adam (adding to this the idea that language was the expression of the native genius of a people).

Others even claimed that Hebrew had derived from German. They repeated the claim that their language had descended from Japheth, who, in this rendition, had supposedly settled in Germany.

The name of the exact locality changed, of course, to fit the needs of different authors; yet Japheth’s grandson, Ascenas, was said to have lived in the principality of Anhalt even before the confusio. There he was the progenitor of Arminius and Charlemagne.

In order to understand these claims, one must take into account the fact that, during the sixteenth and seventeenth centuries, Protestant Germany rallied to the defense of the language of Luther’s Bible.

It was in this period that claims to the linguistic primacy of German arose, and many of these assumptions “should be seen within the context of Germany’s political fragmentation after the Thirty Years War. Since the German nation was one of the main forces capable of uniting the nation, its value had to be emphasized and the language itself had to be liberated from foreign influences” (Faust 1981: 366).

Leibniz ironized on these and other theories. In a letter of 7 April 1699 (cited in Gensini 1991: 113) he ridiculed those who wished to draw out everything from their own language–Becanus, Rudbeck, a certain Ostroski who considered Hungarian as the mother tongue, an abbé Francois and Pretorius, who did respectively the same for Breton and Polish.

Leibniz concluded that if one day the Turks and Tartars became as learned as the Europeans, they would have no difficulty finding ways to promote their own idioms to the rank of mother tongue for all humanity.

Despite these pleasantries, Leibniz was not entirely immune himself to nationalist temptations. In his Nouveaux essais (III, 2) he made a good-natured jibe at Goropius Becanus, coining the verb goropiser for the making of bad etymologies.

Still, he conceded, Becanus might not always have been entirely wrong, especially when he recognized in the Cimbrian, and, consequently, in Germanic, a language that was more primitive than Hebrew.

Leibniz, in fact, was a supporter of the Celto-Scythian hypothesis, first advanced in the Renaissance (cf. Borst 1957-63: III/1, iv, 2; Droixhe 1978).

In the course of over ten years collecting linguistic materials and subjecting them to minute comparisons, Leibniz had become convinced that at the root of the entire Japhetic stock there lay a Celtic language that was common to both the Gauls and the Germans, and that “we may conjecture that this [common stock] derives from the time of the common origin of all these peoples, said to be among the Scythians, who, coming from the Black Sea, crossed the Danube and the Vistula, and of whom one part may have gone to Greece, while the other filled Germany and Gaul” (Nouveaux essais, III, 2).

Not only this: Leibniz even discovered analogies between the Celto-Scythian languages and those which we would today call the Semitic languages, due, he conjectured, to successive migrations.

He held that “there was nothing that argues either against or for the idea of a single, common origin of all nations, and, in consequence, of one language that is radical and primitive.”

He admitted that Arabic and Hebrew seemed closer than others, their numerous alterations notwithstanding. He concluded, however, that “it seems that Teutonic has best preserved its natural and Adamitic aspect (to speak like Jacques Böhm [sic]).”

Having examined various types of German onomatopoeia, he finally concluded that the Germanic language seemed most primitive.

In presenting this scheme in which a Scythian language group progressively diffused throughout the Mediterranean world, and in distinguishing this group from the other group of southern or Aramaic languages, Leibniz designed a linguistic atlas.

Most of the conjectures in Leibniz’s own particular scheme were, in the end, erroneous; nevertheless, in the light of comparative linguistic work which would come afterwards, he had some brilliant intuitions (cf. Gensini 1990: 41).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 99-102.

Eco: The Nationalistic Hypothesis, 2

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Athanasius Kircher (1602-80), Combinations of the nine universal symbols, from Ars Magna Sciendi Sive Combinatoria, 1669, p. 171. Courtesy of Stanford University.  This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

 

“Despite its improbability, the so-called “Flemish thesis” proved remarkably long-lasting. It survived even into the nineteenth century. It did so, however, less on its scientific merits than because it was part of a larger nationalistic polemic.

In his La province de Liège . . . Le flamand langue primordiale, mère de toutes les langues of 1868, the baron de Ryckholt proclaimed that “Flemish is the only language spoken in the cradle of humanity” and that “it alone is a language, while all the rest, dead or living, are but mere dialects or debased forms more or less disguised” (cf. Droixhe 1990: for linguistic follies de grandeur in general, Poliakov 1990).

With such a persistent and ebullient Flemish claim, it can hardly be surprising that there should be a Swedish candidacy as well. In 1671, Georg Stiernhielm wrote his De linguarum origine praefatio.

In 1688, his fellow countryman, Andreas Kempe, wrote Die Sprachen des Paradises; this included a scene in which God and Adam conversed with one another, God speaking in Swedish while Adam spoke in Danish; while they were talking, however, Eve was busy being seduced by a French-speaking serpent (cf. Borst 1957-63: III, 1, 1338; Olender 1989, 1993).

We are, by now, close to parody; yet we should not overlook the fact that these claims were made precisely in Sweden’s period as a major power on the European chessboard.

Olaus Rudbeck, in his Atlantica sive Mannheim vera Japheti posterorum sedes ac patria of 1675, demonstrated that Sweden was the home of Japheth and his line, and that from this racial and linguistic stock all the Gothic idioms were born.

Rudbeck identified Sweden, in fact, as the mythical Atlantis, describing it as the ideal land, the land of the Hesperides, from which civilization had spread to the entire world.

This was an argument that Isidore himself had already used. In his Etymologiarum, IX, ii, 26-7, he had suggested that the progenitor of the Goths was another of Japheth’s sons–Magog. Vico was later to comment acidly on all such claims (Scienza nuova seconda, 1744: II, 2.4, 430):

“Having now to enter upon a discussion of this matter, we shall give a brief sample of the opinions that have been held respecting it–opinions so numerous, inept, frivolous, pretentious or ridiculous, and so numerous, that we need not relate them.

By way of sample then: because in the returned barbarian times Scandinavia by the conceit of the nations was called vagina gentium and was believed to be the mother of all other nations of the world, therefore by the conceit of the scholars Johannes and Olaus Magnus were of the opinion that their Goths had preserved them from the beginning of the world the letters divinely inspired by Adam.

This dream was laughed at by all the scholars, but this did not keep Johannes van Gorp from following suit and going one better by claiming his own Dutch language, which is not much different from Saxon, has come down from the Earthly Paradise and is the mother of all other languages. [ . . . ]

And yet this conceit swelled to bursting point in the Atlantica of Olaus Rudbeck, who will have it that the Greek letters came from the runes; that the Phoenician letters, to which Cadmus gave the order and values those of the Hebrew, were inverted runes; and that the Greeks finally straightened them here and rounded them there by rule and compass.

And because the inventor is Merkurssman among the Scandinavians, he will have it that the Mercury who invented letters for the Egyptians was a Goth.”

Already by the fourteenth century, the idea of a German linguistic primacy was shaking the German-speaking world. The idea later appeared in Luther, for whom German was the language closest to God.

In 1533 Konrad Pelicanus (Commentaria bibliorum) set out the analogies between German and Hebrew, without, however, coming to a final judgement over which of the two was truly the Ursprache (cf. Borst 1957-63: III/1, 2).

In the baroque period, Georg Philipp Harsdörffer (Frauenzimmer Gesprächspiele, 1641, Niemayer Tübingen, ed., 1968: 335ff) claimed that the German language:

“speaks in the languages of nature, quite perceptibly expressing all its sounds. [ . . . ]

It thunders with the heavens, flashes lightening with the quick moving clouds, radiates with the hail, whispers with the winds, foams with the waves, creaks with the locks, sounds with the air, explodes with the cannons; it roars like the lion, lows like the oxen, snarls like the bear, bells like the stag, bleats like the sheep, grunts like the pig, barks like the dog, whinnies like the horse, hisses like the snake, meows like the cat, honks like the goose, quacks like the duck, buzzes like the bumble bee, clucks like the hen, strikes its beak like the stork, caws like the crow, coos like the swallow, chirps like the sparrow. [ . . . ]

On all those occasions in which nature gives things their own sound, nature speaks in our own German tongue. For this, many have wished to assert that the first man, Adam, would not have been able to name the birds and all the other beasts of the fields in anything but our words, since he expressed, in a manner conforming to their nature, each and every innate property and inherent sound; and thus it is not surprising that the roots of the larger part of our words coincide with the sacred language.”

German had remained in a state of perfection because Germany had never been subjected to the yoke of a foreign ruler. Lands that had been subjected had inevitably adapted their customs and language to fit those of the victor.

This was also the opinion of Kircher. French, for example, was a mix of Celtic, Greek and Latin. The German language, by contrast, was richer in terms than Hebrew, more docile than Greek, mightier than Latin, more magnificent in its pronunciations than Spanish, more gracious than French, and more correct than Italian.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 97-9.

Eco: The Nationalistic Hypothesis

kircher_122

Athanasius Kircher (1602-80), an excerpt from p. 157 of Turris Babel, Sive Archontologia Qua Priscorum post diluvium hominum vita, mores rerumque gestarum magnitudo, Secundo Turris fabrica civitatumque exstructio. confusio linguarum, & inde gentium transmigrationis, cum principalium inde enatorum idiomatum historia, multiplici eruditione describuntur & explicantur. Amsterdam, Jansson-Waesberge, 1679. A table portraying ancient alphabets, in which Kircher asserts that modern alphabets resemble ancient versions. Courtesy of Stanford University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

 

“Another alternative was to accept that Hebrew had been the original perfect language, but to argue that, after the confusio, the crown of perfection had been bestowed upon other languages.

The first text which countenances this sort of “nationalistic” reconstruction of linguistic history is the Commentatio super opera diversorum auctorum de antiquitatibus loquentium of 1498 by Giovanni Nanni, or Annius, which tells how, before it was colonized by the Greeks, Etruria had been settled by Noah and his descendants.

Nanni is here reflecting on the contradiction between Genesis 11, the story of Babel, and Genesis 10. In 10:5, the sons of Japheth settle the “isles of the Gentiles  . . . every one after his tongue.”

The notion of a lineage ascending from modern Tuscan through Etruscan to the Aramaic of Noah was elaborated in Florence by Giovann Battista Gelli (Dell’origine di Firenze, 1542-4), and by Piero Francesco Giambullari (Il Gello, 1564).

Their thesis, fundamentally anti-humanist, accepted the idea that the multiplication of tongues had preceded Babel (citing what Dante had had to say in Paradise, xxvi).

This thesis was passionately received by Guillaume Postel, who, we have seen, had already argued that Celtic had descended from Noah. In De Etruriae regionis (1551) Postel embraced the position of Gelli and Giambullari concerning the relationship of the Etruscan to Noah, qualifying it, however, by the claim that the Hebrew of Adam had remained–at least in its hieratic form–uncontaminated throughout the centuries.

More moderate were the claims of Spanish Renaissance authors. The Castilian tongue too might claim descent from one of Japheth’s many sons–in this case Tubal. Yet it was still only one of the seventy-two languages formed after Babel.

This moderation was more apparent than real, however, for, in Spain, the term “language of Babel” became an emblem of antiquity and nobility (for Italian and Spanish debates, cf. Tavoni 1990).

It was one thing to argue that one’s own national language could claim nobility on account of its derivation from an original language–whether that of Adam or that of Noah–but quite a different matter to argue that, for this reason, one’s language ought to be considered as the one and only perfect language, on a par with the language of Adam.

Only the Irish grammarians cited in the first chapter and Dante had had, so far, the audacity to arrive at such a daring conclusion (and even Dante–who had aspired to create a perfect language from his own vernacular–made sarcastic remarks on those who consider their native language as the most ancient and perfect: cf. DVE, I, vi).

By the seventeenth century, however, linguistic nationalism had begun to bud; this prompted a plethora of such curious claims.

Goropius Becanus (Jan van Gorp) in his Origins Antwerpianae of 1569 agreed with all claims made about the divine inspiration of the original language, and about its motivated and non-arbitrary relation between words and things.

According to him there was only a single living language in which this motivated concordance existed to an exemplary degree; that language was Dutch, particularly the dialect of Antwerp.

The ancestors of the burghers of Antwerp were the Cimbri, the direct descendants of the sons of Japheth. These had not been present under the Tower of Babel, and, consequently, they had been spared the confusio linguarum.

Thus they had preserved the language of Adam in all its perfection. Such an assertion, Becanus claimed, could be proved by etymological demonstrations. He produced a string of arguments whose level of etymological wishful thinking matched those of Isidore and Guichard; they later became known as “becanisms” or “goropisms.”

Becanus further claimed that his thesis was also proved by the facts that the Dutch had the highest number of monosyllabic words, possessed a richness of sounds superior to all other languages, and favored in the highest degree the formation of compound words.

Becanus‘ thesis was later supported by Abraham Mylius (Lingua belgica, 1612) as well as by Adrian Schrickius (Adversariorum Libri III, 1620), who wished to demonstrate “that Hebrew was divine and firstborn” and “that Teutonic came immediately afterwards.”

Teutonic here meant the Dutch spoken in Antwerp, which, at the time, was its best-known dialect. In both cases, the demonstration was supported by etymological proofs little better than those of Becanus.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 95-7.

Eco: The Pre-Hebraic Language

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Athanasius Kircher (1602-80), Origins of the Chinese Characters, China Illustrata, or China monumentis, qua sacris qua profanis, nec non variis naturae & artis spectaculis, aliarumque rerum memorabilium argumentis illustrata (1667), p. 229. Courtesy of Stanford University. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

“Alongside these philosophical discussions, other inspired glottogonists (for whom the defeat of the Hebraic hypothesis was a consummated fact) were breaking new theoretical ground.

The explorers and missionaries of the sixteenth and seventeenth centuries had discovered civilizations, older than the Hebrews, which had their own cultural and linguistic traditions.

In 1699, John Webb (An Historical Essay endeavoring the Probability that the Language of the Empire of China is the Primitive Language) advanced the idea that, after the Flood, Noah had landed his Ark and gone to live in China.

Consequently, it was the Chinese language which held primacy. Furthermore, since the Chinese had not participated in the construction of the Tower of Babel, their language had remained immune from the effects of the confusio; Chinese had survived intact for centuries, protected from foreign invasion. Chinese thus conserved the original linguistic patrimony.

Ours is a story that proceeds through many strange anachronisms. Near the end of the eighteenth century, just at the moment when, quite unconnected with any form of the monogenetic hypothesis, a comparative methodology was about to emerge, there appeared the most gigantic attempt to date to rediscover the primitive language.

In 1765, Charles de Brosses wrote a Traité de la formation méchanique des langues. The treatise propounded a theory of language that was both naturalistic (the articulation of terms reflects the nature of things–sweet sounds designate sweet objects) and materialistic (language is reduced to physical operations, supernatural entities are seen as the result of linguistic play: cf. Droixhe 1978).

As part of this theory, however, de Brosses could not resist indulging in a series of speculations about the nature of the primitive language, “organic, physical, and necessary, that not one of the world’s peoples either knows or practices in its simplicity, but which, none the less, was spoken by all men, and constitutes the basis of language in every land” (“Discours préliminaire,” xiv-xv).

“The linguist must analyze the mechanisms of different languages, discovering which of those features arise through natural necessity. From this he may, moving through a chain of natural inferences, work his way back from each of the known languages to the original, unknown matrix.

It is only a matter of locating a small set of primitive roots that might yield a universal nomenclature for all languages, European and oriental.

Radically Cratylian and mimologist as it was (cf. Ginette 1976: 85-118), the comparative approach of de Brosses took the vowels to constitute the raw material in a continuum of sound upon which the consonants acted to sculpt out the intonations and the caesurae.

Their effect, often more visible to the eye than to the ear (remember the persistent failure to distinguish between sounds and letters), is to render consonantal identity the key criterion of comparative analysis.

Like Vico, de Brosses considered that the invention of articulated sounds had proceeded in step with the invention of writing. Fano (1962: 231; English tr., p. 147) sums up his theory very well:

“De Brosses imagines this process as follows: like the good school teacher who takes chalk in hand to make his lesson clearer from a didactic viewpoint, the cave man intermingled his discourses with little explicative figures.

If, for example, he wanted to say “a raven flew away and rested on the top of a tree,” he would first imitate the croaking of the bird, then he would express the flight with a “frrr! frrr!” and eventually take a piece of coal and draw a tree with a raven on top.”

Another Herculean effort in the cause of mimological hypothesis was that of Antoine Court de Gébelin, who, between 1773 and 1782, published nine quarto volumes, totaling over five thousand pages, giving to this opus–multiple, creaking, though not utterly devoid of interest–the title Le monde primitif analysé et comparé avec le monde moderne (cf. Genette 1976: 119-48).

Court de Gébelin knew the results of previous comparativist research. He also knew that the human linguistic faculty was exercised through a specific phonatory apparatus; and he was acquainted with its anatomy and physiology.

He followed, moreover, the doctrines of the Physiocrats, and when he sought to explain the origin of language, he did so through a re-reading of ancient myths, interpreting them as allegories describing the relation of man the farmer to the land (vol. I).

Writing, too, was susceptible to this sort of explanation. Although it was born before the separation of peoples, writing could be interpreted as having evolved in the time of the agrarian states, which needed to develop an instrument that would keep track of landed property and foster commerce and law (vol. III, p. xi) . . .

Yet there still shines Court de Gébelin‘s dream of uncovering the original language of the primitive world, the language which served as the origin and basis of a universal grammar through which all existing languages might be explained.

In the preliminary discourse to volume III, dedicated to the natural history of speech or the origins of language, Court de Gébelin affirmed that words were not born by chance: “each word has its own rationale deriving from Nature” (p. ix). He developed a strongly mimological theory of language accompanied by an ideographic theory of writing, according to which the alphabet itself is nothing but the primitive hieroglyphic script reduced to a small set of radical characters or “keys” (III, xii).

As a faculty based upon a determined anatomical structure, language might certainly be considered as God’s gift, but the elaboration of a primitive tongue was a human endeavor. It followed that when God spoke first to human beings, he had to use a language that they could understand, because it was a product of their own (III, 69).

To uncover this primitive language, Court de Gébelin undertook an impressive etymological analysis of Greek, Latin and French. Nor did he neglect coats of arms, coins, games, the voyages of the Phoenicians around the world, American Indian languages, medallions, and civil and religious history as manifested in calendars and almanacs.

As a basis for this original language he set out to reconstruct a universal grammar, founded on necessary principles, valid in all times and in all places, so that the moment that one of these principles was discovered lying immanent in any one language it could be projected into all the others.

Court de Gébelin seems, in the end, to have wanted too much. He wanted a universal grammar; he wanted the mother tongue; he wanted the biological and social origins of language.

He ended up, as Yaguello observes (1984: 19), by muddling them all together in a confused mass. To top it all off, he fell victim in the end to the siren call of the Celto-nationalist hypothesis which I shall be describing in the next section.

Celtic (being similar to oriental languages from which it originated) was the tongue of Europe’s first inhabitants. From Celtic had derived Greek, Latin, Etruscan, Thracian, German, the Cantabrian of the ancient Spaniards, and the Runic of the Norsemen (vol. V).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 91-5.

Eco: Conventionalism, Epicureanism and Polygenesis, 2

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Athanasius Kircher (1602-80), from Turris Babel, Sive Archontologia Qua Primo Priscorum post diluvium hominum vita, mores rerumque gestarum magnitudo, Secundo Turris fabrica civitatumque exstructio, confusio linguarum, & inde gentium transmigrationis, cum principalium inde enatorum idiomatum historia, multiplici eruditione describuntur & explicantur. Amsterdam, Jansson-Waesberge, 1679. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“During these same years, thinkers also returned to reflect upon an older suggestion by Epicurus, who, in a letter to Herodotus, gave his opinion that the names of things were not  originally due to convention; human beings themselves had rather created them from their own natures.

Those of differing tribes, “under the impulse of special feelings and special presentations of sense,” uttered “special cries.” The air thus emitted was moulded by their different feelings or sense perceptions (letter to Herodotus, in Diogenes Laertius, Lives of the Philosophers, X, 75-6).

Epicurus went on to add that, to eliminate confusion and for reasons of economy, the various peoples subsequently came to an agreement over what name they should give things.

He had no fixed opinion on whether this agreement had been made from instinct or “by rational thought” (cf. Formigari 1970: 17-28; Gensini 1991: 92; Manetti 1987: 176-7).

That was the first part of Epicurus‘ thesis, which emphasized the natural rather than conventional origin of languages; however, this idea was taken up by Lucretius: nature prompted human beings to emit the sounds of language; necessity gave birth to the names of things.

Therefore to suppose that someone then distributed names among things, and from him that men learnt their first words, is folly. For why should he have been able to mark all things with titles and to utter the various sounds of the tongue, and at the same time others not be thought able to have done it? . . .

Therefore if it is the various sensations that they feel which drive animals to emit differing sounds, even though they remain mute, how much more just is it to say that sensations induce mortals to indicate different things with different sounds. (De rerum natura, W.H.D. Rouse, tr., London: Heinemann, 1975: V, 1041-90).

This was a new view, one which we may call the materialist-biological theory of the origin of language. Language arose out of a natural inclination to transform sensations into ideas, which, for the sake of civil convenience, were then translated into sounds.

If it were true, as Epicurus had suggested, that this process of transformation might vary in different races, climates and places, it was hardly too much to imagine that, in diverse times and ways, the different races had originated different families of languages.

This was the intuition behind the theory that evolved in the eighteenth century: each language had its own genius.

Epicurus‘ thesis could not help but seem seductive in the “libertine” milieu of seventeenth-century France, in an atmosphere of skepticism ranging from sarcastic agnosticism to confessed atheism.

In 1655 there appeared the Systema theologicum ex prae-Adamitarum hypothesi, written by a Calvinist named Isaac de La Peyrère. Starting from an extremely original reading of the fifth chapter of St. Paul’s Epistle to the Romans, La Peyrère argued for the polygenesis of races and peoples.

Reports of missionaries and explorers had represented non-European civilizations, such as the Chinese, as so ancient that their histories were incommensurable with biblical chronology, especially in regard to their accounts of the origin of the world.

La Peyrère inferred from this that there existed a pre-Adamite human race, untouched by original sin. He concluded that the stories both of the original sin and of the Flood concerned only Adam and his descendants in the land of the Hebrews (cf. Zoli 1991: 70).

This was a hypothesis that had already appeared in Islamic culture. Drawing on the Koran (2:31), al-Maqdisi, in the tenth century, had alluded to the existence of different races prior to Adam (cf. Borst 1957-63: I, II, 9).

Quite apart from the obvious theological implications of such an assumption (and the works of La Peyrère were condemned to be burnt), it was clear that, by now, Hebrew civilization–along with its holy language–was falling from its throne.

If one accepted that species had developed differentially in differing conditions, and that their linguistic capacity reflected their degree of evolution and of adaptation to the environment, it was easy to accept the polygenetic hypothesis.

A particular brand of polygeneticism–certainly not of libertine inspiration–can be ascribed to Giambattista Vico. Vico was a thinker who naturally proceeded against the grain of his times.

Instead of searching for actual chronological origins, he set out to delineate an ideal and eternal history. Paradoxically, by jumping outside the bounds of history, Vico was to become one of the founders of modern historicism.

What Vico wished to tell was not, or–depending on how one wishes to take the chronological table at the beginning of his Scienza nuova seconda (1744)–not only, a historical course, but rather the ever recurring conditions in which languages are born and develop in every time and in every place.

Vico described an ideal line of descent which traced the development of language from the language of the gods to that of heroes and, finally, to that of human beings. The first language had to be hieroglyphic (“sacred or divine”), the second symbolic (“by heroic signs and devices”), and the third epistolary (“for men at a distance to communicate to each other the current needs of their lives,” para. 432).

According to Vico, language, at its ideal point of origin, was directly motivated by, and metaphorically congruent with, the human experience of nature. Only at a later state did language become organized in a more conventional form.

Vico affirms, however, that “as gods, heroes, and men began at the same time (for they were, after all, men who imagined the gods and who believed their own heroic nature to be a mixture of the divine and human natures), so these three languages began at the same time” (466).

Thus, circumventing the seventeenth-century question of whether or not a natural linguistic stage was succeeded by a conventional one, Vico directly addressed the question of why there existed as many different languages as there were different peoples.

He responded by asserting “this great truth . . . that, as the peoples have certainly by the diversity of climates acquired different natures, from which have sprung as many different customs, so from their different natures and customs as many different languages have arisen” (445).

As to the story of the primacy of Hebrew, Vico disposes of it in a series of observations tending to prove that, if anything, the Hebrews had derived their alphabet from the Greeks and not vice versa.

Nor was Vico susceptible to the Hermetic fantasies of the Renaissance, according to which all wisdom came from the Egyptians.

From his description there emerges instead a complex network of cultural and commercial trafficking, in which the Phoenicians–prompted by mercantile necessity–exported their characters to both the Egyptians and the Greeks, while, at the same time, spreading throughout the Mediterranean basin the set of hieroglyphic characters that they had borrowed from the Chaldeans and had adapted to fit their need for a numerical system to keep track of their stocks of merchandise (441-3).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 88-91.

Eco: The Etymological Furor, 2

tower-to-the-moon

Athanasius Kircher (1602-80), Turris Babel, Amsterdam, 1679. The illustrations in Turris Babel were engraved by C. Decker. This copy is held by the University of St. Andrews, under call number 417f BS1238.B2K5. The librarian at St. Andrews, who signed himself simply as “DG,” quoted from a narrative posted on the site of the Museum of Jurassic Technology, recounting Genesis 10-11, in which Nimrod attempted to build a tower that reached the heavens. The Museum observes, “This model illustrates Kircher’s proof that Nimrod’s ambition was intrinsically flawed: in order to reach the nearest heavenly body; the Moon, the tower would have to be 178,672 miles high, comprised of over three million tons of matter. The uneven distribution of the Earth’s mass would tip the balance of the planet and move it from its position at the center of the universe, resulting in a cataclysmic disruption in the order of nature.” This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

“The thousand or so pages of Guichard are really little more than an extensive raiding expedition in which languages, dead and living, are pillaged for their treasures. More or less by chance, Guichard sometimes manages to hit upon a real etymological connection; but there is little scientific method in his madness.

Still, the early attempts by authors such as Duret and Guichard to prove the monogenetic hypothesis did lead to a conception of Hebrew as less “magical,” and this eventually helped clear the way for a more modern conception of comparative linguistics (cf. Simone 1990: 328-9).

During the sixteenth and seventeenth centuries, fantasy and science remained inextricably entangled. In 1667, Mercurius van Helmont published an Alphabeti veri naturalis Hebraici brevissima delineatio, which proposed to examine methods for the teaching to speak of deaf-mutes.

This was the sort of project which, during the Enlightenment in the following century, might have been the occasion for valuable reflections upon the nature of language. For van Helmont, however, science was subordinated to his own monogenetic fantasies.

He started with the presumption that there must be a primitive language, easy to learn, even for those who had never learned to speak a language at all, and that it could not be but Hebrew.

Then van Helmont proceeded to demonstrate that the sounds of Hebrew were the ones most easily produced by the human vocal organs. Then, with the assistance of thirty-three woodcuts, he showed how, in making the sounds of Hebrew, the movements of tongue, palate, uvula and glottis reproduced the shapes of the corresponding Hebrew letters.

The result was a radical version of the mimological theory: not only did the Hebrew sounds reflect the inherent nature of things themselves, but the very mud from which the human vocal organs were formed had been especially sculpted to emit a perfect language that God pressed on Adam in not only its spoken but evidently its written form as well (see figure 5.1).

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Baron Franciscus Mercurius van Helmont (1614-98), Alphabet verè Naturalis Hebraici brevissima delineation, A Brief Delineation of the True Nature of the Hebrew Alphabet, Sulzbach: Abraham Lichtenthaler, 1667. Held in the Hebraic Section of the African and Middle Eastern Division of the Library of Congress under call number 041.00.00. Reproduced as Figure 5.1 in Umberto Eco, The Search for the Perfect Language, p. 84. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.   

In Turris Babel of 1679, Kircher presented a synthesis of the various positions which we have been reviewing. After an examination of the history of the world from the Creation to the Flood, and, from there, to the confusion of Babel, Kircher traced its subsequent historical and anthropological development through an analysis of various languages.

Kircher never questioned Hebrew’s priority as the lingua sancta; this had been explicitly revealed in the Bible. He held it as self-evident that Adam, knowing the nature of each and every beast, had named them accordingly, adding that “sometimes conjoining, sometimes separating, sometimes permutating the letters of the divers names, he recombined them according to the nature and properties of the various animals” (III, 1, 8).

Since this idea is based on a citation from the kabbalistic writings of the Rabbi R. Becchai, we can infer that Kircher was thinking of Adam defining the properties of the various animals by permutating the letters of their names.

To be precise, first the names themselves mimic some property of the animals to which they refer: lion, for example, is written ARYH in Hebrew; and Kircher takes the letters AHY as miming the heavy sound of a lion panting.

After naming the lion “ARYH,” Adam rearranged these letters according to the kabbalist technique of temurah. Nor did he limit himself to anagrams: by interpolating letters, he constructed entire sentences in which every word contained one or more of the letters of the Hebrew word.

Thus Kircher was able to generate a sentence which showed that the lion was monstrans, that is, able to strike terror by his sole glance; that he was luminous as if a light were shining from his face, which, among other things, resembled a mirror . . . We see here Kircher playing with etymological techniques already suggested in Plato’s Cratylus (which he, in fact, cites, p. 145) to twist names to express a more or less traditional lore about people and animals.

At this point, Kircher took the story up to the present. He told how, after the confusion, five dialects arose out of Hebrew: Chaldean, Samaritan (the ancestor of Phoenician), Syriac, Arabic and Ethiopic.

From these five he deduced, by various etymological means, the birth of various other languages (explaining the successive stages by which the alphabet developed along the way) until he reached the European languages of his own time.

As the story approaches the present, the argument becomes more plausible: linguistic change is seen as caused by the separation and mixture of peoples. These, in turn, are caused by the rise and fall of empires, migrations due to war and pestilence, colonialization and climatic variation.

He is also able to identify the process of creolization which can occur when two languages are put into contact with one another. Out of the multiplication of languages, moreover, are born the various idolatrous religions, and the multiplication of the names of the gods (III, I, 2).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 82-5.

Eco: The Monogenetic Hypothesis and the Mother Tongues

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Athanasius Kircher, Turris Babel, Amsterdam, 1679. The illustrations in Turris Babel were engraved by C. Decker. This plate was based on an original by Lievin Cruyl (c. 1640-1720) in Rome. This is catalog no. 46, between pages 40-1 from the original work held in the Bodleian Library, Oxford. This plate was published by the Museum of the History of Science at Oxford. Another copy is also held by the University of St. Andrews, under call number r17f BS1238.B2K5. Stanford University also has a copy. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.

Editorial Note:

The formatting of this section differs from the original because I am tired of wrestling with the WordPress interface. Eco organizes this section with numbered paragraphs. I omit the numbering. Further, I insert paragraph breaks in the middle of Eco’s long paragraphs to ease readability.

The Monogenetic Hypothesis and the Mother Tongues

“In its most ancient versions, the search for a perfect language took the form of the monogenetic hypothesis which assumed that all languages descended from a unique mother tongue.

Before I tell the story of this hypothesis, however, we should note that most of the attempts suffered from a continuous confusion between different theoretical options.

The distinction between a perfect language and a universal language was not sufficiently understood. It is one thing to search for a language capable of mirroring the true nature of objects; it is quite another to search for the language which everyone might, or ought to, speak. There is nothing that rules out that a language which is perfect might be accessible only to a few, while a language that is universal might also be imperfect.

The distinction between the Platonic opposition of nature and convention was not kept separate from the general problem of the origin of language (cf. Formigari 1970). It is possible to imagine a language that expresses the nature of things, but which, none the less, is not original, but arises through invention.

It is also possible to discuss whether language originated as an imitation of nature (the “mimological” hypothesis, Genette 1976) or as the result of a convention, without necessarily posing the question of whether the former is better than the latter.

As a consequence, claims to linguistic superiority on etymological grounds (more direct filiation with an ancient language) are often confused with those on mimological grounds–while the presence of onomatopoetic words in a language can be seen as a sign of perfection, not as the proof of the direct descent of that language from a primordial one.

Despite the fact that the distinction was already clear in Aristotle, many authors failed to distinguish between a sound and the alphabetical sign that represented it.

As Genette (1976) has often reminded us, before the advent of comparative linguistics in the nineteenth century, most research on languages concentrated on semantics, assembling nomenclature families of supposedly related words (often, as we shall see, making up etymologies to match), but neglecting both phonology and grammar.

Finally, there was not a clear cut distinction between primordial language and universal grammar. It is possible to search for a set of grammatical principles common to all languages without wishing to return to a more primitive tongue.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 73-4.

Eco: The Alphabet and the Four Figures, 2

Raymond Llull, Combinations, Strasbourg ed 1598

Umberto Eco, The Search for the Perfect Language, 1995, pg. 60. Figure 4.2, a page of combinations from the Strasbourg edition of the Ars Magna of Raymond Llull, 1598. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.  

Taken in groups of 3, 9 elements generate 84 combinations–BCD, BCE, CDE, etc. If, in his Ars breu and elsewhere, Lull sometimes speaks of 252 (84*3) combinations, it is because to each triple can be assigned three questions, one for each of the letters of the triple (see also the Jesuit Athanasius Kircher, Ars magna sciendi, p. 14.

ArsMagnaSciendi1

Athanasius Kircher, Ars Magna Sciendi, Amsterdam, 1669. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

Each triple further generates a column of 20 combinations (giving a table of 20 rows by 84 columns) because Lull transforms the triples into quadruples by inserting the letter T. In this way, he obtains combinations like BCDT, BCTB, BTBC, etc. (See examples in figure 4.2, at the top of this page).

The letter T, however, plays no role in the art; it is rather a mnemonic artifice. It signifies that the letters that precede it are to be read as dignities from the first figure, while those that follow it are to be read as relative principles as defined in the second figure.

Thus, to give an example, the quadruple BCTC must be read: B (= goodness) + C (= greatness) and therefore (switching to the second figure) C (=  concordance).

Looking at the tabula generalis, we further notice that combinations with an initial B take the question utrum, those with an initial C take quid, etc. This produces from BCTC the following reading: “Whether goodness is great inasmuch as it contains in itself concordant things.”

This produces a series of quadruples which seem, at first sight, embarrassing: the series contains repetitions. Had repetitions been permissible, there would have been 729 triples instead of 84.

The best solution to the mystery of these repetitions is that of Platzek (1953-4: 141). He points out that, since, depending on whether it precedes or follows the T, a letter can signify either a dignity or a relation, each letter has, in effect, two values.

Thus–given the sequence BCTB–it should be read as BCb. The letters in upper case would be read as dignities, and the one in lower case as a relation. It follows that, in his 84 columns, Lull was not really listing the combinations for three letters but for six. Six different elements taken three at a time give 20 permutations, exactly as many appear in each column.

The 84 columns of 20 quadruples each yield 1,680 permutations. This is a figure obtained by excluding inversions of order.

At this point, however, a new question arises. Given that all these 1,680 quadruples can express a propositional content, do they all stand for 1,680 valid arguments as well?

ArsMagnaSciendi

Athanasius Kircher, Ars Magna Sciendi sive Combinatoria, Amsterdam, 1669. Frontispiece. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.  

Not at all, for not every sequence generated by the art is syllogistically valid. Kircher, in his Ars magna sciendi, suggests that one must deal with the resulting sequences as if they were anagrams: one starts by forming a complete list of all the possible arrangements of the letters of a particular word, then discards those that do not correspond to other existing words.

The letters of the Latin word ROMA, for example, can be combined in 24 different orders: certain sequences form acceptable Latin words, such as AMOR, MORA, RAMO; others, however, such as AOMR, OAMR, MRAO, are nonsense, and are, as it were, thrown away.

Lull’s own practice seems to suppose such a criterion. He says, for example, in his Ars magna, segunda pars principalis that in employing the first figure, it is always possible to reverse subject and predicate (“Goodness is great” / “Greatness is good”).

It would not, however, be possible to reverse goodness and angel, for while angel participates in goodness, goodness does not participate in angel, since there are beings other than angels which are good.

In other words, angel entails goodness but not vice versa. Lull also adds that the combination “Greed is good” is inherently unacceptable as well. Whoever wishes to cultivate the art, Lull says, must be able to know what is convertible and what is not.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 60-2.

Eco: Cosmic Permutability and the Kabbala of Names, 2

Athanasius Kircher (1602-80), The Bembine Table of Isis, Oedipus Aegypticiacus

Athanasius Kircher (1602-80), The Bembine Table of Isis, Oedipus Aegypticiacus, or Mensa Isiaca, N. Inv. C. 7155, Museo Egizio, photo by Fuzzypeg from Manly Palmer Hall, The Secret Teachings of All Ages (1928), all rights released. The Bembine Table was acquired by Cardinal Bembo after the sack of Rome in 1527, then purchased by the Savoy King Carlo Emanuele I in 1630 in Turin. A Roman interpretation of a bronze and silver altar table in an Egyptian style, early scholars surmised that the table pertained to an Isis cult. Kircher relied upon it for the third volume of his masterwork. It was ultimately determined to be an antique forgery, and not a work of ancient Egypt. This image is in the public domain. The author died over 70 years ago.   

 

“What justified  this process of textual dissolution was that, for Abulafia, each letter, each atomic element, already had a meaning of its own, independent of the meaning of the syntagms in which it occurred.

Each letter was already a divine name: “Since, in the letters of the Name, each letter is already a Name itself, know that Yod is a name, and YH is a name” (Perush Havdalah de-Rabbi ‘Akivà).

This practice of reading by permutation tended to produce ecstatic effects:

“And begin by combining this name, namely, YHWH, at the beginning alone, and examining all its combinations and move it, turn it about like a wheel, returning around, front and back, like a scroll, and do not let it rest, but when you see its matter strengthened because of the great motion, because of the fear of confusion of your imagination, and rolling about of your thoughts, and when you let it rest, return to it and ask [it] until there shall come to your hand a word of wisdom from it, do not abandon it.

Afterwards go on to the second one from it, Adonay, and ask of it its foundation [yesodo] and it will reveal to you its secret [sodo]. And then you will apprehend its matter in the truth of its language. Then join and combine the two of them [YHWH and Adonay] and study them and ask them, and they will reveal to you the secrets of wisdom . . .

Afterwards combine Elohim, and it will also grant you wisdom, and then combine the four of them, and find the miracles of the Perfect One [i.e. God], which are miracles of wisdom.” (Hayyê ha-Nefes, in Idel 1988c:21).

If we add that the recitation of the names was accompanied by special techniques of breathing, we begin to see how from recitation the adept might pass into ecstasy, and from ecstasy to the acquisition of magic powers; for the letters that the mystic combined were the same sounds with which God created the world.

This latter aspect came especially into prominence during the fifteenth century. For Yohanan Alemanno, friend and inspirer of Pico della Mirandola, “the symbolic cargo of language was transformed into a kind of quasi-mathematical command. Kabbalistic symbolism thus turned into–or perhaps returned to–a magical language of incantation” (Idel 1988b: 204-5).

For the ecstatic kabbala, language was a self-contained universe in which the structure of language represented the structure of reality itself. Already in the writings of Philo of Alexandria there had been an attempt to compare the intimate essence of the Torah with the Logos as the world of ideas.

Such Platonic conceptions had even penetrated into the Haggidic and Midrashic literature in which the Torah was conceived as providing the scheme according to which God created the world.

The eternal Torah was identified with wisdom and, in many passages, with the world of forms or universe of archetypes. In the thirteenth century, taking up a decidedly Averroist line, Abulafia equated the Torah with the active intellect, “the form of all the forms of separate intellects” (Sefer Mafteakh ha-Tokhahot).

In contrast, therefore, with the main philosophical tradition (from Aristotle to the Stoics and to the Middle Ages, as well as to Arab and Judaic philosophers), language, in the kabbala, did not represent the world merely by referring to it.

It did not, that is, stand to the world in the relation of signifier to signified or sign to its referent. If God created the world by uttering sounds or by combining written letters, it must follow that these semiotic elements were not representations of pre-existing things, but the very forms by which the elements of the universe are moulded.

The significance of this argument in our own story must be plain: the language of creation was perfect not because it merely happened to reflect the structure of the universe in some exemplary fashion; it created the universe.

Consequently it stands to the universe as the cast stands to the object cast from it.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 30-2.

Eco: Cosmic Permutability and the Kabbala of Names

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Athanasius Kircher, The Ten Sefirot, from Oedipus Aegyptiacus, published in three folio tomes in Rome, 1652-54. This was considered Kircher’s masterwork on Egyptology, and it cast a long shadow for centuries until Champollion deciphered the Rosetta Stone in 1824, unlocking the secrets of the Egyptian hieroglyphs: Kircher was exposed as an erudite fraud. Kircher cited Chaldean astrology, Hebrew kabbalah, Greek myth, Pythagorean mathematics, Arabic alchemy and Latin philology as his sources.     

“The kabbalist could rely on the unlimited resources of temurah because anagrams were more than just a tool of interpretation: they were the very method whereby God created the world.

This doctrine had already been made explicit in the Sefer Yezirah, or Book of Creation, a little tract written some time between the second and the sixth centuries. According to it, the “stones” out of which God created the world were the thirty-two ways of wisdom. These were formed by the twenty-two letters of the Hebrew alphabet and the ten Sefirot.

“Twenty-two foundation letters: He ordained them, He hewed them, He combined them, He weighed them, He interchanged them. And He created with them the whole creation and everything to be created in the future.” (II, 2).

“Twenty-two foundation letters: He fixed them on a wheel like a wall with 231 gates and He turns the wheel forward and backward.” (II, 4).

“How did He combine, weigh, and interchange them? Aleph with all and all with Aleph; Beth with all and all with Beth; and so each in turn. There are 231 gates. And all creation and all language come from one name.” (II, 5).

“How did He combine them? Two stones build two houses, three stones build six houses, four stones build twenty-four houses, five stones build a hundred and twenty houses, six stones build seven hundred and twenty houses, seven stones build five thousand and forty houses. Begin from here and think of what the mouth is unable to say and the ear unable to hear.” (IV, 16).

(The Book of Creation, Irving Friedman, ed., New York: Weiser, 1977).

Indeed, not only the mouth and ear, but even a modern computer, might find it difficult to keep up with what happens as the number of stones (or letters) increases. What the Book of Creation is describing is the factorial calculus. We shall see more of this later, in the chapter on Lull’s art of permutation.

The kabbala shows how a mind-boggling number of combinations can be produced from a finite alphabet. The kabbalist who raised this art to its highest pitch was Abulafia, with his kabbala of the names (cf. Idel 1988a, 1988b, 1988c, 1989).

The kabbala of the names, or the ecstatic kabbala, was based on the practice of the recitation of the divine names hidden in the Torah, by combining the letters of the Hebrew alphabet.

The theosophical kabbala, though indulging in numerology, acrostics and anagrams, had retained a basic respect for the sacred text itself. Not so the ecstatic kabbalah: in a process of free linguistic creativity, it altered, disarticulated, decomposed and recomposed the textual surface to reach the single letters that served as its linguistic raw material.

For the theosophical kabbala, between God and the interpreter, there still remained a text; for the ecstatic kabbalist, the interpreter stood between the text and God.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 28-30.

Kabbalah as Metasystem

“The prime source for the precursors of the occult revival were without question Athanasius Kircher (1602-80), a German Jesuit whose Oedipus Aegyptiacus (1652) detailed Kabbalah amongst its study of Egyptian mysteries and hieroglyphics, and Cornelius Agrippa’s De Occulta Philosophia (1533).

Other works, such as those from alchemists including Khunrath, Fludd and Vaughan indicated that the Kabbalah had become the convenient metamap for early hermetic thinkers. Christian mystics began to utilise its structure for an explanation of their revelations, the most notable being Jacob Boeheme (1575-1624). However, the most notable event in terms of our line of examination is undoubtedly the publication of Christian Knorr von Rosenroth’s (1636-89) Kabbalah Denudata in Latin in 1677 and 1684, which provided translations from the Zohar and extracts from the works of Isaac Luria.”

“Another stream stemming from Rosenroth’s work came through Eliphas Levi (1810-75), who … ascribed to the Tarot an ancient Egyptian origin. From de Gebelin and Rosenroth, Levi synthesized a scheme of attribution of the Tarot cards to the twenty-two paths of the Tree of Life, a significant development in that it provided a synthetic model of processes to be later modified and used by the Golden Dawn as mapping the initiation system of psychological, occult, and spiritual development. Levi wrote, “Qabalah … might be called the mathematics of human thought.”

“It is said by traditional Kabbalists and Kabbalistic scholars that the occultist has an imperfect knowledge of the Tree, and hence the work of such is corrupt. It appears to me that the Kabbalah is a basic device whose keys are infinite, and that any serious approach to its basic metasystem will reveal some relevance if tested in the world about us, no matter how it may be phrased.

The first Kabbalists cannot be said to have had an imperfect knowledge because they did not understand or utilise information systems theory or understand modern cosmology. Indeed, their examination of themselves and the Universe revealed such knowledge many hundreds of years before science formalised it, in the same way that current occult thinking may be rediscovered in some new science a hundred or thousand years hence.”

–Frater FP, The Magician’s Kabbalah, pp.  5-7.

Spurious Attributions in Renaissance Alchemical Literature.

“The Processus sub forma missae and its author were not unknown to the alchemists of the early modern era. The text was printed in the famous anthology of alchemical literature, the Theatrum Chemicum (Chemical Theater), by Lazarus Zetzner in 1602.

This point needs to be emphasized because the confusion in the literature concerning both the person and the work of Melchior is so great that it is hard to differentiate between evidence and legends even with regard to such simple things as the bibliographical data of his published text.

Melchior’s portrait appears on the title page of the Symbola Aureae Mensae Duodecim Nationum (The Symbols of the Golden Table of the Twelve Nations) by Michael Maier (1568–1622), the alchemist of Emperor Rudolf II. In this international history of the royal art, Melchior is chosen to represent Hungary among the twelve most famous alchemists of the world, and thus he appears in the noble company of Hermes Trismegistos, Maria the Jewess, Avicenna, Albertus Magnus, Roger Bacon, and Raimundus Lullus.

He is mentioned and quoted by such authors and editors of the sixteenth and seventeenth centuries as Daniel Stolz von Stolzenberg, Petrus Borelius, Libavius, and Athanasius Kircher. Even Isaac Newton was acquainted with Melchior’s name; relying on Maier’s description, he incorporated a number of Latin notes on a wide range of alchemical authors and myths in one of his many alchemical manuscripts, among these a few references to the alchemist of Transylvania.”

–Benedek Lang, Unlocked Books: Manuscripts of Learned Magic in the Medieval Libraries of Central Europe, 2008. Pg. 145.