“The sound must seem an echo to the sense.”—Pope.
Since the human voice is at once a sound and
a sign, it was of course natural to take the sound
of the voice as a sign of the sounds of nature.[104]
In short, to recall a sound by its echo in the voice
is as obviously natural a proceeding as to recall
an object to the memory by drawing the picture
of its form. In both cases we act upon the senses
by means of imitation; and if the human race
had not been endued with the organs of hearing
doubtless a language for the eye would have been
invented, just as Philomela, when deprived of
her tongue, made known, by embroidery, her
miserable tale. A word formed on the principle of
imitation, is said to be formed by onomatopœia,
and although the traces of such an origin are
rapidly lost, yet amid the almost infinite modifications
of which a few roots are capable, it is
astonishing how vast a number of words may be
ultimately deduced from a single onomatopœic
sound.
How universal and instinctive the procedure
is, may be observed among infants and savages.
In the nursery the onomatopœan sounds moo,
baa, bow-wow, &c., are the steps by which the
child passes gradually to the conception of cow,
lamb, and dog. So in Swiss[105] bààgen is to
bleat, and báágeli (in nursery language), a sheep.
The very name cow, Germ. kuh, Sansks. gao, has
a similar origin, as βοῦς, bos, ox, Sansks. uxan,
probably has also. There is little doubt that the
word, cat (Germ. katze), is an imitation of the
sound made by a cat spitting, which is one of the
most peculiar characteristics of the feline race.
It must, however, be admitted that there is no
sibilant in “kater.” We have all heard the story
of the Englishman in China, who, wishing to
know the contents of a dish which was lying
before him, said inquiringly, “Quack, quack?”
and received in answer, the word, “bow-wow!”
These two imitations served all the purposes of a
more lengthened conversation. It was probably,
by a strictly analogous process, that an immense
multitude of such roots was primitively formed.
Again, it is impossible to look over any list of
words collected from the language of a savage
community without recognising the extensive use
of the same method.[106] The repetition of syllables
is an almost certain sign of its working. Thus,
Ai-ai is an imitation of the cry of the sloth, and
tuco-tuco is the name of a small rodent in Buenos
Ayres. Mr. Longfellow has supplied us with
many such words from the languages of North
America, in his poem of “Hiawatha,”—as Kahgahgee,
the raven; Minnehaha laughing-water,
&c. “In uncivilised languages,[106] the consciousness
of the imitative character of certain words is
sometimes demonstrated by their composition
with verbs,[107] like say or do, to signify making a
noise like that represented by the word in question.
Thus, in Galla, from djeda, to say, or goda,
to make or do, are formed cacak-djeda, to crack;
trrr-djeda, to chirp; dadada-djeda, to beat; djamdjam-goda,
to champ.”
We do not think that the extent to which onomatopœia
may be proved to be an instrument of
language has been sufficiently admitted. It was the
most natural starting-point for the intelligence on
its path towards expression. A nascent language
enriches itself by ceaseless imitations of elementary
sounds, animal cries, and the noises
produced by mechanical contrivances, and we
shall trace hereafter the innumerable applications
in which such terms can be at once employed.
Some writers even go so far as to assert that
this is the only original principle of language,
and that we even learned our first consonant from
the bleating of the sheep, for which reason,
according to Pierius Valerianus, a lamb was the
hieroglyphical emblem of the verb! We have
already rejected this extension of the theory; but,
at the same time, we can readily believe the
assertion, that the peculiarities of articulation in
certain countries may be not only modified, but
even originated by the existence of remarkable
natural sounds in the countries where these peculiarities
occur. It has been said, for instance,
“that in some of the American languages, there
are strident consonants evidently formed from
the hiss of certain serpents unknown in our
temperate regions, and that the click of the
Hottentot dialects recalls a species of cry peculiar
to the tigers which ranque.” The latter word is
an onomatopœian, probably borrowed by Buffon
from the Philomela of Albus Ovidius Juventinus,
in which occurs the line:—
“Tigrides indomitæ rancant[108] rugiuntque leones.”
What this peculiar sound may be, we do not
know, but can hardly reconcile this suggestion of
Nodier with the statement, that the name,[109] Hott-en-tot
is itself onomatopœian, having been given
by the first Dutch settlers, because this click
would sound to a stranger like a perpetual
repetition of the syllables hot and tot. It is a
curious fact that Palamedes is said to have learnt,
from the noise of cranes, the four letters which
he added to the Greek alphabet; and it is certainly
a confirmation of these remarks, that although no
language possesses in its alphabet a power of
expressing every possible articulation, yet no
nation’s language is quite deficient in the power
of expressing, by imitation, the cries of its indigenous
animals.
It is wonderful that the knowledge and observation
of facts like these did not lead the philologists
of antiquity to a solution of their disputes
about the natural or conventional origin of
languages. The age of Psammetichus evinced
its interest in the question, and if it had been
content to observe its own experiment, instead of
making it the prop to a “foregone conclusion,”
philosophers might have agreed, long ago, in
believing, that man was assisted by nature in the
development of his implanted powers, and that,
like every infant of his race, he framed into living
speech the sounds by which his senses were first
impressed.[110] When the first man gave names to
the animals, which, as we have already seen, he
was enabled to do by the reasonable use of his
own faculties, and not at the dictation of a voice
from heaven, he could not have been guided by
any principle so obvious, so easy, or so appropriate
as an artistic reproduction of the sounds
which they uttered.
But how, it may be asked, is the voice capable
of rendering even the feeblest echo of all the
myriad utterances of the earth and air, the voices
of the desert and mountain,—
“The echoes of illimitable forests,
The murmur of unfathomable seas”?
We answer that the imitation is not, and does
not profess to be a dull, dead, passive echo of
the sound, but of the impression produced by it
upon the sentient being; it is not a mere spontaneous
repercussion of the perception received;
but a repercussion modified organically by the
configurations of the mouth, and ideally by the
nature of the analogy perceived between the
sound and the object it expressed. “The organs
of that wonderful musical instrument, the mouth,
are the throat, the palate, the tongue, the teeth,
the lips.[111] This then is the subjective organon of
language, the physiological vehicle for that proto-plastic
art, speech, which combines architecture
and music, the plastic and the picturesque.
Johannes Müller has developed this physiologically,
Sir John Herschell acoustically.” The
mere power of imitation would not have helped
mankind a single step towards language any more
than it has helped the parrot or the jay,[112] had it
not been for the infinitely nobler faculty which
enabled us to perceive the meaning of the sounds
we uttered, and to use them as the signs of our
inward conceptions,—a faculty which has implanted
in language its principle of development,
and which constitutes the distinction between the
chatterings of a jackdaw and the eloquence of
a man.
This alone is a clear proof, if proof were wanted,
that language is the result of intelligence, as well
as of instinct; and that the human reason was not
a gradual acquisition of a once brutish race.
But though the power of imitation by the voice
of the sounds of the unintelligent creation be
small in comparison with those other powers
which constitute our pre-eminence, yet how perfect
is that gift in itself,—how wondrous the
organism by which it is effected! The mouth is
admirably framed for intelligent and harmonious
utterance; it is at once an organ, and a flute,—a
trumpet and a harp. Its sublime construction
will make it the eternal despair of mechanicians,
and the songs which it can modulate, are superior
to all the melodies of artificial music. The intelligence
of man enables him alone to use this
glorious instrument, as God intended it to be
used. “Il avait,” says M. Nodier, “dans ses
poumons un soufflet intelligent et sensible, dans
ses lèvres un limbe épanoui, mobile, extensible,
rétractile, qui jette le son, qui le modifie, qui le
renforce, qui l’assouplit, qui le contraint, qui le
voile, qui l’éteint; dans sa langue un marteau
souple, flexible, onduleux, qui se replit, qui
s’accourcit, qui s’étend; qui se meut, et qui s’enterpose
entre ses valves, selon qu’il convient
retenir ou d’épancher la voix, qui attache ses
touches avec âpreté ou qui les effleure avec mollesse;
dans ses dents un clavier ferme, aigu, strident;
à son palais un tympan grave et sonore:
luxe inutile pourtant, s’il n’avait pas eu la pensée;
et celui qui a fait ce qui est n’a jamais rien fait
d’inutile.—L’homme parla parce qu’il pensait.”
The plain elementary sounds of which the
human voice is capable are about twenty; and
yet it has been calculated by the mathematician
Tacquet, that one thousand million writers, in
one thousand million years, could not write out
all the combinations of the twenty-four letters of
the alphabet, if each of them were daily to write
out forty pages of them, of which each page
should contain different orders of the twenty-four
letters. Of course, a very small number only
of these permutations are at all required for every
purpose of life. “And thus it is,” says the ingenious
author of[113]Hermes, “that to principles
apparently so trivial as about twenty plain
elementary sounds, we owe that variety of articulate
voices, which have been sufficient to explain
the sentiments of so innumerable a multitude, as
all the present and past generations of men.”
But it may be objected that if we admit such
latitude to the use of onomatopœia in the formation
of language, we should find among all languages
a much greater identity than actually
exists in the terms expressive of physical facts.
This by no means follows. We have already
seen that words express the relations of things,
and the relations of things are almost infinite,
and especially must they have been so to the
delicate senses of the youthful world. Let us
take the instance of the thunder: the impression
produced by it is by no means single and distinct.
To one man it may appear like a dull rumble, to
another like a sudden crackling explosion, and to
a third as a breaking forth of flashing light.
Hence come a multitude of names. Adelung
professed to have collected 353 imitative appellations
from the European languages alone; and
it is not difficult to see that a similar[114] principle
was at work in the Chinese ley (pronounced rey),
the Greenland kallak, and the Mexican tlatlatnitzel.
Similarly, “the explosion of a gun which an English
boy imitates by the exclamation Bang-fire, is
represented in French by Pouf! The neighing
of a horse is expressed by the French hennir;
Italian, nitrire; Spanish, rinchar, relinchar;
German, wiehern; Swedish, wrena, wrenska;
Dutch, runniken, ginniken, brieschen, words in
which it is difficult to see a glimpse of resemblance,
although we can hardly doubt that they
all take their rise in the attempt at direct[115] representation
of the same sound.” In the same way,
no one will deny that “ding-dong,” and the word
“bilbil,” to ring, in the Galla language, are
onomatopœians to represent the sound of a bell,
and yet the two have hardly an element in
common.
It has been noticed that birds are often named
on this principle; as night-jar, whip-poor-will,
cock, cuckoo, crow, crane, crake, quail, curlew,
jay, chough, owl, turtle, &c.; and where the bird
has one very marked cry we find a great similarity
in the names by which it is known. Take for
instance the peetwit,[116] Scandinavian pee-weip, tee-whoap;
French, dishuit; Dutch, kiewit; German,
kiebitz; Swedish, kowipa. But we should
not expect this to be the case when a bird has a
great variety of different sounds. The nightingale,
according to Bechstein, has twenty distinct
articulations, and it is therefore not surprising
that even in the European languages it is known
under widely different names. And besides
names which are derived from its song (e.g.
bulbul), it might be called from some other attribute
entirely distinct from this, as perhaps in
the Latin name luscinia; although, if this be the
case, it is interesting to see how imitation asserts
its prerogative in the modern names[117] usignuolo
(Italian), ruyseñol (Spanish), rossignol
(French), rousinol (Portuguese), which are probably
corruptions of the diminutive lusciniola,
used by Plautus.
In some cases an onomatopœian root is so natural
as to run through all families of languages;
e.g. the root lh or lk to imitate the sound and
action of licking, as Hebrew לָחַךְ; Arabic, lahika;
Syriac, lah; λείχω, lingo, ligurio, lingua, leccare,
lechen, lécher; it is the same with the roots grf
to express gripping, kr to express crying, and
many others. The practice is, however (as
we have already remarked), far more prominent
in the Semitic than in the Indo-European family,
and this is the cause of the extraordinary richness
of synonyms in Hebrew and Arabic for the expression
of natural objects. It is said that in
Arabic there are 500 names for the lion, 200 for
the serpent, more than eighty for honey, 400 for
sorrow, and (what is quite incredible unless
every periphrasis be counted a name) no less
than 1,000 for a sword. M. de Hammer, an unimpeachable
authority, has, in a little treatise on
the subject, counted also 5,744 words relating to
the camel. The ancient Saxon is said to have
had fifteen words for the sea; and if we allowed
merely poetical expressions like “the blue,” we
might say the same of modern English.
Wide dialectic variety naturally results from a
nomadic life; and it is easy to see how this
extraordinary exuberance of primitive language,
and the uncontrolled rapidity with which it exercised
its powers of nomenclature, would tend,
while writing and literature were as yet unknown,
to make mutually unintelligible the language
of different tribes.[118] This confusion of
speech would, of course, be the most powerful
impediment in the course of ambition, and
would tend to defeat the attempts to construct
and perpetuate a universal empire. It may have
been the providential agent to assert for the
human race, “a nobler destiny than to become
the footstool of a few families.” This is strikingly
shadowed forth in the Scripture narrative
of the builders of Babel, which many competent
authorities have considered as applicable to only
a single family of nations, and have regarded in
the light rather of “a sublime emblem, than of a
material verity.”
The confusion of tongues is not represented
in Scripture as a punishment,[119] but as the providential
prevention of an arrogant attempt to
establish among mankind a spurious centre of
unity. It seems to have frustrated the lawless
thirst for power which actuated the tribe of Nimrod.[120]
But even if regarded as a punishment,
God’s punishments are but blessings in disguise.
The dispersion of nations has acted as a stimulant
to the powers of humanity, and has been
the direct cause of a beneficial variety in thought
and action; and in the same way the diversity of
languages has proved to be (as we shall see hereafter)
an indisputable advantage, by adding fresh
lustre continually to those conceptions which by
long habit become pale and dim. Yet this dispersion
and diversity is but the accident of a
fallen state, and in the renovated earth—(though
it can never be while nations are in their present
condition)—all men will perhaps speak the same
perfect[121] universal speech.
There are two totally distinct points from
which an imitative root can take its origin. The
first is from an artistic reproduction of the sounds
of the outer world; the second is from the expressions
of fear or anger, of disgust or joy,
which the impression of any event or spectacle
may call forth in the human being. The first of
these elements is the onomatopœic; the second,
the interjectional. These two sources have not
been kept sufficiently clear and distinct, and the
latter especially has been by many philologists
entirely overlooked. We will proceed to make
some remarks on both. The instances which we
shall select might be almost indefinitely extended,
and even were they less numerous we might
perhaps be allowed to use the words of President
de Brosses, “La preuve connue d’un grand
nombre de mots d’une espèce doit établir une
précepte générale sur les autres mots de même
espèce, à l’origine desquels on ne peut plus
remonter.”
As instances of the words which have arisen
from the interjectional element, i.e. from the
sounds whereby we express natural emotions, we
may mention the large group of words that spring
from the root “ach,” ah! oh! as utterances of
pain, as ἄχος, ἀχέω, achen, ache; or from the
sound of groaning, as væ, wehe, woe, wail; or
from an expression of disgust, as putere (Fr.
puer), foul, fulsome; or from smacking the lips
with pleasure, as γλύκυς, dulcis, geschmack, &c.
This latter class is very widely extended, even
in the Semitic languages, as we have already
shown in the case of the root lk (see p. 84).
From the expression of disgust and fear, we get
awe, ugly, ἀγάομαι, ἀγάζομαι and their cognates;
from shuddering, the roots of φρίσσω, bristle,
hérisser, &c.; from the first sounds of infancy, we
get babe, bambino, babble, and many more; from
sounds of anger, “huff,” and others; lastly, from
“prut,” a sound of arrogance, we get the word
“proud,” “pride,” as in German, “trotzig,”
haughty, from “trotz,”[122] an interjection of defiance
and contempt.
The other class of onomatopœias is far more
extensive, and embraces the widest possible range
of inanimate sounds. They may be ranged
under the following heads; and although the
examples are all taken from the[123]English language,
they might be paralleled in almost any
other.
1. Animal sounds, as quack, cackle, roar,
neigh, whinny, bellow, mew, pur, croak, caw,
chatter, bark, yelp, &c.
2. Inarticulate human sounds, as laugh, cough,
sob, sigh, moan, shriek, yawn, whoop, weep, &c.
3. Collision of hard bodies, represented by p,
t, k; as clap, rap, tap, flap, slap, rat-tat, &c.
4. Collision of softer bodies, represented by b,
d, g; as dab, dub, bob, thud, dub-a-dub, &c.
5. Motion through the air, represented by z,
&c.; as whizz, buzz, sough, &c.
6. Resonance, represented by m, n, &c.; as
clang, knell, ring, twang, clang, din, &c.
7. Motion of liquids, &c., represented by sibilants,
as clash, splash, plash, dash, swash, &c.
These are but specimens of the wide extent of
these words in a language by no means the most
remarkable for its adoption of onomatopœia.
There are even broad general laws by which the
various degrees of intensity in sound are expressed
by the modification of vowels. Thus,
high notes are represented by i, low broad sounds
by a, and the change of a or o to i has the effect
of diminution, as we see by comparing the words
clap, clip, clank, clink, pock, peck, cat, kitten,
foal, filly, tramp, trip, nob, nipple, &c. Another
way of diminishing intensity is to soften a final
letter, as in tug, tow, drag, draw, swagger, sway,
stagger, stay, &c. Reduplication of syllables is a
mode of expressing continuance, as in murmur,
&c., and this effect is also produced by the addition
of r and l, as in grab, grapple, wrest, wrestle,
crack, crackle, dab, dabble, &c.
It is easy to see from the above examples that
the onomatopœia and the interjection are the
points from which language has developed itself,
and from which “two separate lines of concurrent
and[124] simultaneous evolution have proceeded.”
The manner in which the various parts of speech
grew out of these elements, and which of them
may be supposed to be logically or actually anterior
to the rest, is a wide and difficult subject
of inquiry on which much uncertainty must
necessarily prevail, and with which we are here
unconcerned.
There is no doubt that, for some reason or
other, many of our English onomatopœians are
regarded as in some degree beneath the dignity
of words, and are supposed to partake of the
nature of vulgarity.[125] Yet with great inconsistency
the places in which poets have been most
successful in producing “an echo of the sound to
the sense” are generally regarded with especial
favour. The classic poets used this ornament
with the most fastidious good taste. Even the
ancients had learned to admire the rhyming
termination by which Homer faintly recalls the
humming of the summer swarms, in the lines—
Ἠύτε ἔθνεα πολλὰ μελισσάων ἀδινάων
πέτρης ἐκ γλαφύρης ἀεὶ νεὸν ἐρχομενάων:
and yet they do not surpass the exquisite verses
of a living poet:—
Myriads of rivulets hurrying through the lawn;
The moan of doves in immemorial elms,
And murmur of innumerable bees.
Again, what can be more vivid than the marvellous
way in which Homer recalls the snapping of
a shattered sword, in—
Τριχθί τε καὶ τετραχθὶ διατρύφεν:
which is incomparably superior to the much-admired
hemistich of Racine, “L’essieu crie et
se rompt.” Both Homer and Virgil have imitated
the rapid clatter of horses’ hoofs with equal
felicity:—
Πολλὰ δ’ ἄναντα, κάταντα, πάραντά τε δόχμιά τ’ ἦλθον:
Quadrupedante putrem sonitu quatit ungula campum:
and the verse[126] in which Dubartas endeavours to
recall the manner in which the lark “shoots up
and shrills in flickering gyres,” has met with
numberless admirers.
The greatest of our modern poets, Mr. Tennyson,
has perhaps been more unsparing and more
successful in his use of this figure than any of
his predecessors, and a few passages will show
that onomatopœia judiciously used is capable of
the noblest application. Take, for instance, the
leap of a cataract, in—
Where the river sloped
To plunge in cataract, shattering on black blocks
Its breadth of thunder;
or the shock of a mélée, in—
The storm
Of galloping hoofs bare on the ridge of spears
And riders front to front, until they closed
In conflict with the crash of shivering points
And thunder....
And all the plain—brand, mace, and shaft, and shield
Shock’d, like an iron-clanging anvil banged
With hammers;
or the booming of the sea, in—
Roar rock-thwarted under bellowing caves;
or, finally, what can be more perfect than the
graphic power in which the picture of a fleet of
glass wrecked on a reef of gold is called before
us by the perfect adaptation of sound to sense,
in the lines—
For the fleet drew near,
Touched, clinked, and clashed, and vanished.
Yet in all these cases we believe that it is to the
language and not to the poet that the main credit
is due. The language is the perfect instrument,
and in the poet’s hands it is used with perfect
power; but were it not for the original perfection
of his instrument he would be unable to produce
such rich and varied results; he would be unable
to place the picture before the eye by bringing
into play that swift and subtle law of association
whereby a reproduction of the sounds at once
recalls to the inner eye the images or circumstances
with which they are connected. In every
case the consummate art and skill of the writer
consists simply in choosing the proper words for
the thought which he wishes to express, which
words are always the simplest. Appropriate[127]
language is and always must be the most effective,
and when a writer clearly goes out of his
way to produce an effect he generally loses his
effectiveness by abandoning simplicity. How
much onomatopœia degenerates in a less skilful
and artistic hand we might see in many instances,
were not the selection of them an invidious task.
In short, an exquisite and instinctive taste can
only decide on the extent to which this figure
may be consciously used. We feel that Virgil
was right in rejecting Ennius’s
At tuba terribili sonitu taratantara dicit,
as the imitation of a trumpet-blast; and none but
a comic poet (like Swift) would use rub-a-dub,
dub-a-dub in English to express the beating of a
drum: and yet who was ever otherwise than
delighted with the word τήνελλα, in which Archilochus
imitated the twang of a harp-string, and
which the Greeks used ever afterwards as an
expression of joyous triumph? Again, none but
a comedian could have ventured on so direct an
imitation of sounds as βρεκεκεκέξ κοάξ κοάξ, and yet
no one could object to the pretty line in which
Ovid tries to produce the same impression:—
Quamquam sunt sub aquâ, sub aquâ maledicere tentant.
The misuse of language fails to produce the
echo which its simple and natural use would not
have failed to awake. In short, it is in many
cases impossible to use language which shall be
at once specific and appropriate without being
forced to adopt imitative words. There is no
style required in order to speak of the booming
of the cannon, the twang of the bowstring, the
hurtling of the arrow, the tolling or pealing of
the bell, the rolling or throbbing of the drum,
the sough or whisper of the breeze, because in
each case the proper word is ready for us at
once in the language which we speak, and if
we are to speak naturally we can use no other.
The harmonies of language arise mainly from
this power of imitation, and a sensuous language
is always energetic, poetic, passionate.