The zootypes serve to show the only ground on which a divine. origin could have been ascribed to language on account of the prehuman and superhuman sounds. Several of these are representative of Powers in nature that were divinized. They uttered the sounds by which they were self-named, and thus the Language of Animals might become the language of the Gods. The zootype of Apt the Roarer was the Hippopotamus, and Apt of Ombos was "the Living Word." The zootype of Taht, as God of Speech and Writing, was the Clicking Ape. A zootype of the nocturnal Sun as Atum-Ra was the Ass. The Goose that said "Su" was a zootype of Seb the God of Earth. Ka is the Egyptian name for the Frog; this was obviously self-conferred by the call of the animal, and the Frog was made a zootype of Power divinized in Ptah the God of Transformation and Evolution.

It is obvious that Homo in making his gestures either continued or imitated sounds that were already extant in the animal world, such as the clicks of the cynocephalus, and other sounds which can be identified with their zootypes, the animals that uttered the sounds before man had come into being. We know that monkeys have an uncontrollable horror of snakes, and no doubt primitive man had a similar feeling. Now, supposing the primitive man in a difficulty wished to warn his fellows of the presence of a snake, and had no words to convey the warning with, what would he do? What could he do but make use of the imitative faculty which he possessed in common with the ape? He would try to utter some signal of warning in an imitative manner! The sound would have to be self-defining i.e., a snake-sound for a snake. It is usually said that snakes hiss. But the Africans represent them as puffing and blowing rather than hissing, as we have it expressed in the name of the puff-adder. When the snake swelled and distended itself, reared up and puffed, it made the sound which constituted its own audible sign: and the human being would naturally repeat that sound as his note of warning to anyone in danger. The apes will do so much, for they will swell and puff and thrust out the mouth, expel their breath and spit at sight of the snake. This representative sound turned into a note of warning would in time be accompanied by a gesture that portrayed to the eye some visible likeness to the thing signified by the sound. To do this the mimic would swell and puff out his cheeks in puffing out his breath. He would thus become the living likeness of the puff-adder, both to eye and ear. The man would represent the audible image and visible likeness of the snake, and such a representation would belong to the very genesis of gesture-language and natural hieroglyphics. Further, we have the means of proving that such was the process in the beginning. The puff-adder, the

cerastes or horned snake, remains the Egyptian hieroglyphic sign for the phonetic figure or letter F, the syllabic Fu, which was an ideographic fuff or puff-adder. The swelling, puffing, fuffing snake is selfnamed and self-defined in the first or ideographic stage-it then becomes fu in the second or syllabic stage, and finally is the letter F of modern language, where it still carries the two horns of the hieroglyphic snake. Here we see the survival of the snake as one of the mythical authors of language, like the Ape, the Ass, the Goose, the hissers, purrers, grunters, roarers previously described.

Sometimes the zootypes are continued and remain apparent in the personal name. Some neighbours of the present writer, who are known by the name of Lynch, have a Lynx in their coat-of-arms, without ever dreaming that their name was derived from the Lynx as their totem, or that the Lynches were the Lynxes. This is one of numerous survivals of primitive totemism in modern heraldry. Again, the Lynx is one of the animals which have the power of seeing in the dark. The Moon is an eye that sees by night, or in the dark. This was represented as the eye of the Lynx or the Cat, the Seer being divinized as a Lynx in Mafet, an Egyptian Goddess. The seeing power thus divinized is marked in later language by the epithet "Lynx-eyed." Lastly, there are something like 1,000 Ideographic signs in the Egyptian hieroglyphics, and only 26 letters in our alphabet. So few were the sounds, so numerous the visible signs of things and ideas. We now know that man had a language of gesture-signs when he was otherwise dumb, or could only accompany his visible signs with clicks and other ape-like sounds, which he kept on repeating with intention until they were accepted at an exchangeable value as the first current coinage or counters of speech before words. The Zootypes were also continued in the religious Mysteries to visibly and audibly denote the characters assumed in this primitive drama. Just as the Zulu girl could not come to her mistress because she was now a Frog, so the Manes in Amenta exclaim, "I am the Crocodile." "I am the Beetle!" "I am the Jackal!" "I am the God in Lion-form!" These express his powers. They are also the superhuman forms taken by the superhuman powers, Power over the water, Power of transformation, Power of resurrection, Power of seeing in the dark of death, together with others, all of which are assumed because superhuinan. In assuming the types he enters into alliance with the powers, each for some particular purpose, or, rather, he personates them. When surrounded by the enemies of the Soul, for example, he exclaims, "I am the Crocodile-God in all his terrors." This has to be read by the Osirian Drama. Osiris had been thus environed by the Sebau and the associates of the evil Sut when he lay dismembered in Sekhem. But he rose again as Horus. In this case the Crocodile-type of terror was employed: and down went the adversaries before the Almighty Lord thus imaged in Sign-language. The Masquerade continued in later Mysteries with the transformation of the performers in the guise of beasts, birds, and reptiles, had been practised in the Mysteries of Amenta, where the human Soul in passing through the Nether World assumed shape after shape, and made its transformation from the one to the other in a series of new births according to the Kamite doctrine of metempsychosis, which

was afterwards perverted and turned to foolishness in India and in Greece. In this divine drama the Soul from earth is assimilated to the zootypes or is invested in their forms and endowed with their forces which had figured forth the earlier Nature-powers in the mythology. The Egyptian Ritual is written in this language of animals, and never was it read in the past, never will it be in the future, unless the thinking can be done in the Ideographic types of thought. Merely reading the hieroglyphics as phonetics is but a first lesson in Sign-language.

TOTEMISM, TATTOO AND FETISHISM AS FORMS OF

SIGN-LANGUAGE

BOOK II

WITH due search we shall find that the unwritten and remotest past of primitive man is not immemorial after all that may have been lost by the way. Most obscure conditions have been more or less preserved and represented in the drama of primitive customs; in the mirror of mythology and the Sign-language of Totemism. Ceremonial rites were established as the means of memorizing facts in Signlanguage when there were no written records of the human past. In these the knowledge was acted, the Ritual was exhibited, and kept in ever-living memory by continual repetition. The Mysteries, totemic or religious, were founded on this basis of action. Dancing, for example, was a mode of Sign-language in all the mysteries. To know certain mysteries implied the ability to dance them, when they could not be otherwise expressed. The Bushmen say that the MantisDeity Kagn taught them the Mysteries of dancing under the type of the "Praying Mantis" or the leaping grasshopper. Primitive men had observed the ways and works of Nature, and imitated all they might as a means of thinking their meaning when they could not talk. They danced it with the Grasshopper, they writhed and swelled and puffed it with the Serpent; they panted it with the Lion, roared it with the Hippopotamus, hummed it with the insects, pawed and clicked it with the Ape. In short, they acted in accordance with the example of their forerunners on the earth. They not only wore the skins of animals and feathers of birds, they made their motions in Totemic dances and imitated their cries as a primary means of making themselves understood. From the beginning in the far-off misty morning of the past, dancing in the likenesses of animals was a Totemic mode of demonstration. Amongst the earliest deities of Egypt are Apt and Bes, who issue forth from Inner Africa as dancers in the act of dancing the mystery of the phallic dance, and in the skins of animals. The Arunta Tribes of Central Australia dance the Unthippa Dance in the ceremony of young-man-making at the time of circumcision. This tells the story of the way they came in what is known as the "Range all along." (Spencer and Gillen, Native Tribes of Central Australia, p. 442.) It is said to be the dance of the Unthippa Women in the Alcheringa who were beings of both sexes and who danced all the way "until their organs were modified and they became as other women are." This denotes the status of the

pre-Totemic people who were as yet undivided by the Totemic Rites. of Puberty which are now illustrated in the mystery of the dance.. In the Initiation ceremonies of the males described by Messrs. Spencer and Gillen (p. 381), a special dance of the women follows the making of the youth into a man who is now welcomed by them into. the ranks of the elders. "A number of young women come near. Each one is decorated with a double horse-shoe-shaped band of white pipe-clay which extends across the front of each thigh and the base of the abdomen. A flexible stick is held behind the neck and one end grasped by each hand. Standing in a group, the women sway slightly from side to side, quivering in a most remarkable fashion, as they do so, the muscles of the thighs and the base of the abdomen."The object of the decoration and movement is evident. It is to incite the youths and prepare them for connubium. At this period of the ceremonies a general interchange and a lending of women also takes place. "This women's dance goes on night after night for perhaps two or threeweeks." The men sing the "Corroboree Song" whilst the women dance the mystery of young-man-making, and show the object and mode of it. In this case white pipe-clay was substituted for the whiteUndattha-Down with which the female was usually embellished. Here the customs of the Totemic Mysteries naturally suggest that a primary object in putting on fur and feather or down, and dancing in the skin of the Totemic Animal at the festival of pubescence, was to dramatize the coming of age for sexual intercourse when this was. determined by the appearance of the pubes whether of the female or the male.

There had been a pre-Totemic period of promiscuity in which there was no regulated intercourse of sexes, no marriage by the group, or of one half the group with the other half. At that time, or in the preeval state, the earth as yet was undivided into South and North; the Mythical Cow was not yet cut in twain, or the mother separated into. the Two Women. Much is told us by tradition if we can but interpret truly. It says the race of beings was not then divided, and had but one leg to go or stand on, meaning there was but one stock.. All the earth, in later phrase, being of one blood and of one language. The sexes were not yet divided by the lizard, as female pubescence was quaintly figured. There was no cutting of the male or opening of the female with the firestick or the stone knife by which the sexes. were divided, or made, or in the latter phrase "created" into men and These were the "Inapertwa" beings in the Alcheringa who preceded women and men and were pre-Totemic.. These were the Unopened or the Uncircumcised, who had to be transformed into women and men by cutting and opening; that is by introcision and. circumcision, or subincision, by which they were made into women and men in becoming Totemic. Dancing then was a dramatic mode of rendering the mysteries of primitive knowledge in visible Signlanguage. With the Tshi-speaking peoples" Soffa," the name of the priest, signifies the dancing man. The African Acholi in their dances, says Sir H. Johnston, imitate animals "most elaborately." An African potentate has been known to dance for some ten or fifteen minutes together in receiving a distinguished European visitor, like Richard Burton, before he had represented all his own titles of honour

women.