Education of the deaf and dumb.

Date:
1846
Catalogue details

Licence: Public Domain Mark

Credit: Education of the deaf and dumb. Source: Wellcome Collection.

Provider: This material has been provided by the National Library of Medicine (U.S.), through the Medical Heritage Library. The original may be consulted at the National Library of Medicine (U.S.)

    10/20
    use, it establishes from these as elements, distinct signs appropriated to particular objects, qualities and phenomena, and thus becomes a language of terms com- bined in propositions—is not merely- capable of representing a succession of scenes to the imagination, but becomes an instrument adequate to the expression of ideas in various forms, as in the arti- ficial languages of speech. Such it is, in different degrees of perfection, even as originated and used by the uneducated deaf mute. We shall describe it as it exists in institutions in this country. Of sensible qualities and attributes, form, size and position are either marked or pointed out in the air; or the arms, hands and fingers, one or all, are so ad- justed, as themselves to represent the form, position, and sometimes also the size of the objects described. Motions of various kinds are represented through the same means. In a similar manner are denoted the relations of objects, in respect to situation, if at rest, or relative motion, if in motion; thus, by the two hands, or a finger or a thumb of each, are expressed the ideas denoted by such words as on, in, with, near, between, around, under, together, meet, separate, follow, approach. Number, definite or indefinite, is represented by the fingers; and with one hand alone, by a simple method of distinguishing units, tens, hundreds, &c, sums to any amount may be expressed with ease and rapidity. Colors are denoted by referring to some object, (as the lip for red,) or by signs somewhat arbitrary. Weight, hardness and softness, fineness and coarseness of particles or of fabric, roughness and smoothness, degrees of consistency, vis- cidity, &c., are expressed by peculiarity of action in handling a body having any of these qualities ; fluidity by the action of pouring, or by representing the flow- ing or waving motion of fluids. An individual of a species or class is designated, either by a detailed enume- ration of distinguishing traits, or by one or two prominent characteristics simply. The latter is the method natural even to the uninstructed deaf mute, and as the language becomes improved and fixed, is adopted for all common objects; detail being still admissible as occasion or fancy may demand, and much used in the early stages of instruction. The various sorts of external objects, animate or inanimate, the productions of nature or art, are de- scribed, not only by peculiarities of form, motion, and other sensible properties, but by the most common actions connected with their production or use, 01 Other- wise related to, and implying them. Ani- mals are in most cases personated ; the individual who makes the sign, repre- senting their peculiarities of form or appendage—as horns, ears, neck, whis- kers, beard, wings, bill, mane, claws, tusk trunk &c.—upon the corresponding part of his own person; he also generally imitating, to a greater or less extent, the peculiar actions of the animal. The sign for a dog, however, is made by patting the thigh and snapping the fingers as if calling one ; the act of catching a fly de- notes this species. Bread is indicated by the action of cutting a loaf, and butter by that of spreading upon the bread; milk by that of milking, and hay of mowing; an egg by showing how one is opened, and a watch by seeming to apply one to the ear. The manner in which a cluster of currants is taken into the mouth, that of projecting the stone of a cherry, and that of snapping a watermelon, denote these fruits. The fingers are so moved as to imitate the flickering of flame; or again, they picture falling drops of rain, or flakes of snow. The two hands are united in the shape of a boat, and moved in imitation of its motion; or they are applied to each other and opened and shut like a book. If there is occasion to guard against a mistake of the object in- tended, for the quality, actor appendage, by which it is mainly denoted, or to dis- tinguish it from other objects equally implied by the action made use of—this is easily done by some rude representation of its form or size, or the addition of some other distinctive sign. In passing from the external world to the world of consciousness, we find the language of action equally, and to some extent peculiarly, natural, rich and ex- pressive. The most expressive language of emo- tion is visible in action, attitude, and play of feature, in the agitation of the frame and the changing hue of the countenance. What volumes does the eye speak ? The lips, though mute, may be eloquent. The minutest shade of emotion may be pictur- ed forth to the eye, beyond the power of words, and even tones of voice, to ex- press. The capabilities of the language of action here, will be questioned by none. Rightly to appreciate the indirect service rendered by this element, in every part of the sign-language, requires not only a familiar knowledge, but a careful study of the language itself. Emotions