limb is lopped, it rapidly grows again, or even if cut in pieces each part will enter on a separate life quite unconcerned about his fellows. But as the naturalist is far from regarding this superabundant vitality as a characteristic of a higher type, so the philologist justly assigns these tongues a low position in the linguistic scale. Fidelity to form, here as everywhere, is the test of excellence. At the outset, we divine there can be nothing very subtle in the mythologies of nations with such languages. Much there must be that will be obscure, much that is vague, an exhausting variety in repetition, and a strong tendency to lose the idea in the symbol. What definiteness of outline might be preserved must depend on the care with which the old stories of the gods were passed from one person and one generation to another. The fundamental myths of a race have a surprising tenacity of life. How many centuries had elapsed between the period the Germanic hordes left their ancient homes in Central Asia, and when Tacitus listened to their wild songs on the banks of the Rhine? Yet we know that through those unnumbered ages of barbarism and aimless roving, these songs, "their only sort of history or annals," says the historian, had preserved intact the story of Mannus, the Sanscrit Manu, and his three sons, and of the great god Tuisco, the Indian Dyu.[9-1] So much the more do all means invented by the red race to record and transmit thought merit our careful attention. Few and feeble they seem to us, mainly shifts to aid the memory. Of some such, perhaps, not a single tribe was destitute. The tattoo marks on the warrior's breast, his string of gristly scalps, the bear's claws around his neck, were not only trophies of his prowess, but records of his exploits, and to the contemplative mind contain the rudiments of the beneficent art of letters. Did he draw in rude outline on his skin tent figures of men transfixed with arrows as many as he had slain enemies, his education was rapidly advancing. He had mastered the elements of _picture writing_, beyond which hardly the wisest of his race progressed. Figures of the natural objects connected by symbols having fixed meanings make up the whole of this art. The relative frequency of the latter marks its advancement from a merely figurative to an ideographic notation. On what principle of mental association a given sign was adopted to express a certain idea, why, for instance, on the Chipeway scrolls a circle means _spirits_, and a horned snake _life_, it is often hard to guess. The difficulty grows when we find that to the initiated the same sign calls up quite different ideas, as the subject of the writer varies from war to love, or from the chase to religion. The connection is generally beyond the power of divination, and the key to ideographic writing once lost can never be recovered.