but with the same meaning. Similarly what is written in Chinese characters can be read throughout China, in spite of the difference of dialects which are mutually unintelligible when spoken. Even a Japanese, without knowing a word of spoken Chinese, can read out Chinese script in Japanese, just as he could read a row of numerals written by an Englishman. And the Chinese can still read their classics, although the spoken language must have changed as much as French has changed from Latin.
The advantage of writing over speech is its greater permanence, which enables it to be a means of communication between different places and different times. But since the spoken language changes from place to place and from time to time, the characteristic advantage of writing is more fully attained by a script which does not aim at representing spoken sounds than by one which does.
Speaking historically, there is nothing peculiar in the Chinese method of writing, which represents a stage through which all writing probably passed. Writing everywhere seems to have begun as pictures, not as a symbolic representation of sounds. I understand that in Egyptian hieroglyphics the course of development from ideograms to phonetic writing can be studied. What is peculiar in China is the preservation of the ideographic system throughout thousands of years of advanced civilization—a preservation probably due, at least in part, to the fact that the spoken language is monosyllabic, uninflected and full of homonyms.
As to the way in which the Chinese system of writing has affected the mentality of those who employ it, I find some suggestive reflections in an article published in the Chinese Students' Monthly
