In the Eastern hemisphere we find some nations, as the Greeks, for instance, early smitten with such a love of the beautiful as to be unwilling to dispense with it even in the graver productions of science; and other nations, again, proposing a severer end to themselves, to which even imagination and elegant art were made subservient. The productions of such a people must be criticised, not by the ordinary rules of taste, but by their adaptation to the peculiar end for which they were designed. Such were the Egyptians in the Old World,[143] and the Mexicans in the New. We have already had occasion to notice the resemblance borne by the latter nation to the former in their religious economy. We shall be more struck with it in their scientific culture, especially their hieroglyphical writing and their astronomy.
To describe actions and events by delineating visible objects seems to be a natural suggestion, and is practised, after a certain fashion, by the rudest savages. The North American Indian carves an arrow on the bark of trees to show his followers the direction of his march, and some other sign to show the success of his expeditions. But to paint intelligibly a consecutive series of these actions--forming what Warburton has happily called _picture-writing_[144]--requires a combination of ideas that amounts to a positively intellectual effort. Yet further, when the object of the painter, instead of being limited to the present, is to penetrate the past, and to gather from its dark recesses lessons of instruction for coming generations, we see the dawnings of a literary culture, and recognize the proof of a decided civilization in the attempt itself, however imperfectly it may be executed. The literal imitation of objects will not answer for this more complex and extended plan. It would occupy too much space, as well as time in the execution. It then becomes necessary to abridge the pictures, to confine the drawing to outlines, or to such prominent parts of the bodies delineated as may readily suggest the whole. This is the _representative_ or _figurative_ writing, which forms the lowest stage of hieroglyphics.
But there are things which have no type in the material world; abstract ideas, which can only be represented by visible objects supposed to have some quality analogous to the idea intended. This constitutes _symbolical_ writing, the most difficult of all to the interpreter, since the analogy between the material and immaterial object is often purely fanciful, or local in its application. Who, for instance, could suspect the association which made a beetle represent the universe, as with the Egyptians, or a serpent typify time, as with the Aztecs?