Falling in Love; With Other Essays on More Exact Branches of Science. Allen Grant
Читать онлайн книгу.
we use the right hand alone in writing—made the letters run the opposite way in the end; and the change was due to the use of ink and other pigments for staining papyrus, parchment, or paper. If the hand in this case moved from right to left it would of course smear what it had already written; and to prevent such untidy smudging of the words, the order of writing was reversed from left rightward. The use of wax tablets also, no doubt, helped forward the revolution, for in this case, too, the hand would cover and rub out the words written.
The strict dependence of writing, indeed, upon the material employed is nowhere better shown than in the case of the Assyrian cuneiform inscriptions. The ordinary substitute for cream-laid note in the Euphrates valley in its palmy days was a clay or terra-cotta tablet, on which the words to be recorded—usually a deed of sale or something of the sort—were impressed while it was wet and then baked in, solid. And the method of impressing them was very simple; the workman merely pressed the end of his graver or wedge into the moist clay, thus giving rise to triangular marks which were arranged in the shapes of various letters. When alabaster, or any other hard material, was substituted for clay, the sculptor imitated these natural dabs or triangular imprints; and that was the origin of those mysterious and very learned-looking cuneiforms. This, I admit, is a palpable digression; but inasmuch as it throws an indirect light on the simple reasons which sometimes bring about great results, I hold it not wholly alien to the present serious philosophical inquiry.
Printing, in turn, necessarily follows the rule of writing, so that in fact the order of letters and words on this page depends ultimately upon the remote fact that primitive man had to use his right hand to deliver a blow, and his left to parry, or to guard his heart.
Some curious and hardly noticeable results flow once more from this order of writing from left to right. You will find, if you watch yourself closely, that in examining a landscape, or the view from a hill-top, your eye naturally ranges from left to right; and that you begin your survey, as you would begin reading a page of print, from the left-hand corner. Apparently, the now almost instinctive act of reading (for Dogberry was right after all, for the civilised infant) has accustomed our eyes to this particular movement, and has made it especially natural when we are trying to 'read' or take in at a glance the meaning of any complex and varied total.
In the matter of pictures, I notice, the correlation has even gone a step farther. Not only do we usually take in the episodes of a painting from left to right, but the painter definitely and deliberately intends us so to take them in. For wherever two or three distinct episodes in succession are represented on a single plane in the same picture—as happens often in early art—they are invariably represented in the precise order of the words on a written or printed page, beginning at the upper left-hand corner, and ending at the lower right-hand angle. I first noticed this curious extension of the common principle in the mediæval frescoes of the Campo Santo at Pisa; and I have since verified it by observations on many other pictures elsewhere, both ancient and modern. The Campo Santo, however, forms an exceptionally good museum of such story-telling frescoes by various painters, as almost every picture consists of several successive episodes. The famous Benozzo Gozzoli, for example, of Noah's Vineyard represents on a single plane all the stages in that earliest drama of intoxication, from the first act of gathering the grapes on the top left, to the scandalised lady, the vergognosa di Pisa, who covers her face with her hands in shocked horror at the patriarch's disgrace in the lower right-hand corner.
Observe, too, that the very conditions of technique demand this order almost as rigorously in painting as in writing. For the painter will naturally so work as not to smudge over what he has already painted: and he will also naturally begin with the earliest episode in the story he unfolds, proceeding to the others in due succession. From which two principles it necessarily results that he will begin at the upper left, and end at the lower right-hand corner.
I have skipped lightly, I admit, over a considerable interval between primitive man and Benozzo Gozzoli. But consider further that during all that time the uses of the right and left hand were becoming by gradual degrees each day still further differentiated and specialised. Innumerable trades, occupations, and habits imply ever-widening differences in the way we use them. It is not the right hand alone that has undergone an education in this respect: the left, too, though subordinate, has still its own special functions to perform. If the savage chips his flints with a blow of the right, he holds the core, or main mass of stone from which he strikes it, firmly with his left. If one hand is specially devoted to the knife, the other grasps the fork to make up for it. In almost every act we do with both hands, each has a separate office to which it is best fitted. Take, for example, so simple a matter as buttoning one's coat, where a curious distinction between the habits of the sexes enables us to test the principle with ease and certainty. Men's clothes are always made with the buttons on the right side and the button-holes on the left. Women's, on the contrary, are always made with the buttons on the left side, and the button-holes on the right. (The occult reason for this curious distinction, which has long engaged the attention of philosophers, has never yet been discovered, but it is probably to be accounted for by the perversity of women.) Well, if a man tries to put on a woman's waterproof, or a woman to put on a man's ulster, each will find that neither hand is readily able to perform the part of the other. A man, in buttoning, grasps the button in his right hand, pushes it through with his right thumb, holds the button-hole open with his left, and pulls all straight with his right fore-finger. Reverse the sides, and both hands at once seem equally helpless.
It is curious to note how many little peculiarities of dress or manufacture are equally necessitated by this prime distinction of right and left. Here are a very few of them, which the reader can indefinitely increase for himself. (I leave out of consideration obvious cases like boots and gloves: to insult that proverbially intelligent person's intelligence with those were surely unpardonable.) A scarf habitually tied in a sailor's knot acquires one long side, left, and one short one, right, from the way it is manipulated by the right hand; if it were tied by the left, the relations would be reversed. The spiral of corkscrews and of ordinary screws turned by hand goes in accordance with the natural twist of the right hand: try to drive in an imaginary corkscrew with the right hand, the opposite way, and you will see how utterly awkward and clumsy is the motion. The strap of the flap that covers the keyhole in trunks and portmanteaus always has its fixed side over to the right, and its buckle to the left; in this way only can it be conveniently buckled by a right-handed person. The hands of watches and the numbers of dial-faced barometers run from left to right: this is a peculiarity dependent upon the left to right system of writing. A servant offers you dishes from the left side: you can't so readily help yourself from the right, unless left-handed. Schopenhauer despaired of the German race, because it could never be taught like the English to keep to the right side of the pavement in walking. A sword is worn at the left hip: a handkerchief is carried in the right pocket, if at the side; in the left, if in the coat-tails: in either case for the right hand to get at it most easily. A watch-pocket is made in the left breast; a pocket for railway tickets halfway down the right side. Try to reverse any one of these simple actions, and you will see at once that they are immediately implied in the very fact of our original right-handedness.
And herein, I think, we find the true answer to Charles Reade's mistaken notion of the advantages of ambidexterity. You couldn't make both hands do everything alike without a considerable loss of time, effort, efficiency, and convenience. Each hand learns to do its own work and to do it well; if you made it do the other hand's into the bargain, it would have a great deal more to learn, and we should find it difficult even then to prevent specialisation. We should have to make things deliberately different for the two hands—to have rights and lefts in everything, as we have them now in boots and gloves—or else one hand must inevitably gain the supremacy. Sword-handles, shears, surgical instruments, and hundreds of other things have to be made right-handed, while palettes and a few like subsidiary objects are adapted to the left; in each case for a perfectly sufficient reason. You can't upset all this without causing confusion. More than that, the division of labour thus brought about is certainly a gain to those who possess it: for if it were not so, the ambidextrous races would have beaten the dextro-sinistrals in the struggle for existence; whereas we know that the exact opposite has been the case. Man's special use of the right hand is one of his points of superiority to the brutes. If ever his right hand should forget its cunning,