One of the most observable features of the national character of the Chinese, is its conservative inclinations. Not only is it seen in the actions of government and in the writings of scholars, but still more in the habits of the people and their modes of thinking. It has been cherished by that government, as it is by all governments, as a sure and safe principle of preservation, but it is also advocated by the people. The geographical position of China has isolated it from all western nations, while the political, literary and social superiority of its people over the contiguous nations, has combined to foster their conceit and affectation of supremacy, and make them disinclined to have any intimate or equal relations with others. But one of the strongest and most comprehensive of these conservative influences has arisen from the nature of the language, strengthened by the extent to which education has been diffused among the people. The language is of such a character, combining mystery and difficulty with elegance and ingenuity, as greatly to captivate a people who have time and inclination to trace out the marks and veins on the pavement in the temple of science, but not the invention or investigation to seek out and explore its hidden chambers. The character of this language and the nature of the connection between the nations who use it, may here be briefly exhibited. The Chinese ascribe the invention of their characters to Tsang Kieh, one of the principal ministers or scholars in the reign of Hwangti, about 2650 years before Christ; and although there is no very certain information recorded respecting their origin, there is nothing which seems to be fabulous or supernatural. The characters first depicted were the common objects in nature and art, as the sun, rain, man, parts of the body, animals, a house, &c., and were probably drawn sufficiently accurate to be detected without much if any explanation. They were all described in outline, and generally with far less completeness than the Egyptian symbols. It is not known how many of the primitive characters were made, but one feature attached to them all,--none of them contained any clue to the sound. The inventors must necessarily, one would suppose, have soon perceived this radical defect in their symbols, but they either saw the incompatibility of uniting the phonetic and pictorial modes, or else were so pleased with their varied pictures and symbols, that they cared very little how the reader acquired the sounds. At first, too perhaps, the number of persons who spoke this language was so small, that there was little difficulty in making them all acquainted with the meaning of the symbols, and when once their meaning was learned, they were of course called by the name of the thing represented, which everybody knew. The necessity of incorporating some clue to the sound of the thing, or idea denoted, became more and more