The Continental Monthly, Vol 6, No 5, November 1864

While the nature of this discrimination into Something and Nothing may be sufficiently intelligible to the student of Metaphysics, it may not be so to the Reader unaccustomed to Philosophical Speculation. For the purpose, therefore, of rendering it somewhat clearer, I will point out the manner in which it exhibits itself in respect to the Constitution of the External World and elsewise.

The Totality of all material objects and substances is the Positive Material Universe. This is contained in Space, which is the Negative Material Universe. Compoundly the two, Matter and Space, are the whole Material Universe, as to the Parts or Constituent Factors of which it consists.

Theoretically, and in one, and by no means an unimportant sense, the Zero-Element or Nothing-side of the Universe or of a given Department of Being, is one whole half, or an equal hemisphere of the Totality of Being. Thus, for example, Zero (0) in the usage of the Arabic Numbers, while it is represented in an obscure way merely by a single figure below the nine digits, yet stands over, in a sense, against all the digits, and all their possible combinations, as equal to them all in importance. For it is by means of this Zero (0) that the One (1) for instance, becomes 10, 100, 1000, etc.; and that all the Positive Numbers acquire their relative values, according to the places or positions in space which they occupy.

In another sense, however, the Negative Ground of Being, in the Universe at large, or in any given Domain, quickly sinks out of view, and Positive Being becomes the whole of what is commonly regarded. It is in this sense that, ordinarily, in speaking of The Digits of Number, the Zero is left out of the count.

In the same manner, when speaking or thinking of the Material Universe, while the notion of Space is ever present, and is, in the absolute sense, an equal half of the whole conception, still it is Matter, the total congeries of objects and substances in Space, of which we mainly think; the Space, as such, being understood and implied, but subordinated as a mere negative adjunct of the positive idea.

In strictness, Matter and Space are so mutually dependent on each other, that either without the other is an impossible conception. The notion of Space permeates that of Matter; passing through it, so to speak, as well as surrounding it; so that it needs no proof that Matter cannot be conceived of as existing without Space. But, on the other hand, Space is only the negation of Matter; the shadow, as it were, cast by Matter; and, so, dependent on Matter for the very origin of the idea in the mind.

If Space, therefore, be the analogue of Nothing; Matter, wholly apart from Space, is only a theoretical Something, really and actually as much a Nothing as Space itself, when abstractly considered in its equally impossible separation from Matter. But Matter, completely separated from Space, is the exact external analogue of the Something opposed to the Nothing of abstract Metaphysical Thinking. Here, then, is a lucid exposition, by virtue of these analogies, of the famous Metaphysical Axiom of Hegel, which, at its announcement, threw all Europe into amazement:

Something = (equal to) Nothing

It is the logic of this statement that all Reality or Relative Being is a product of two factors, each of which is a Nothing. The strangeness of this proposition will disappear when it is recognized that these two Nothings are mere aspects or sides of presentation of the Product, which is itself the only Reality. In respect to the Real Being, those two sides are Nothings. But, as appearances or ideal views of the Reality under the process of analytical abstraction in the mind, they are so far Somethings as to receive names and to be treated of and considered as if they were Realities. Reality in the Absolute aspect, the aspect of Undifferentiated Unity, (Unismal), contains these two factors interblended and undiscriminated. In the Relative aspect, that of Duality, (Duismal), it is the compound of these two factors separated and distinguished. Finally, in the Integral aspect of Compound Unity (Trinismal), it consists of the Unismal and the Duismal aspects contrasted—the only real state, or possible condition of actual existence. And this is the Type of all Reality or Real Existence in every department of Being in the Universe.

But practically and ordinarily, these strictly analytical views of the question of existence are abandoned. Reality, compounded, as we have seen that it is when viewed in this way, of a Positive and a Negative Factor, is assumed as itself a Simple Element and set over against the grand residuum of Negation in the Universe of Being. This is what Kant, less analytical than Hegel, has done, when, in distributing the Categories of Thought, he has contrasted Reality with Negation.

This is, as if, in respect to the External Material World, we were to divide Matter—the Planets, for example, first assigning to them the portions of Space which they bodily and respectively fill as if it were a part of themselves—from the remaining ocean or grand residuum of Space which surrounds them and in which they float. This residuum of Space would then be spoken of as Space, and the Planetary Bodies, along with and including the spaces which they fill, would be spoken of as Matter. This is a kind of division, less analytical, but more convenient, obvious, and practical, than the other which would attempt to separate the whole of Space from the Matter within Space. It is in this more practical manner that we ordinarily think of the division of the Heavens into the Domains of Matter and Space.

Between Reality, then, including a subordinate portion of Space—the content and volume of the Planet—and the grand ocean of Space, outlying and surrounding the Planet, there is Limitation, the outline of the Planet, the Limit or dividing surface between the space within it and the space without.

It is this Congeries of the Aspects of Being which Kant denominates Quality, as a name of a Group of the Categories of the Understanding; and which he divides into

• 1. Reality.

• 2. Negation.

• 3. Limitation.

He then treats Reality as synonymous with the Affirmative (Positive), and Negation as synonymous with the Negative; although, as we have seen, this Affirmative is not strictly equivalent to the Something of Hegel, nor this Negative to his Nothing. For Reality we may, in a general sense, put Substance, and for Limitation we may put Form, Omitting Negation which repeats the Nothing, as Reality repeats the Something, it may now be said that the next Grand Division of the Elements of Universal Being (after that into Something and Nothing) is into

That is to say: The Relative (The Domain of Cognizable Being) is first made known to us through the differentiation and discrimination of the two Factors Something and Nothing which lie undifferentiated and indistinguishable in The Absolute (The Primitive Ground of Being). The Relative then subdivides into 1. Substance (Reality), and, 2. Form (Limitation), which reunite to constitute that actualized Being which we denominate Existence. Or, tabulated, thus:

THE ABSOLUTE (The Primitive Ground of Being)CONTAINS UNDIFFERENTIATED AND INDISTINGUISHABLE THE TWO FACTORSSOMETHING and NOTHING WHICH CONSTITUTE THE FIRST TERMSAND DISCRIMINATIONS OFTHE RELATIVE (The Domain Of Cognizable Being);WHICH ITSELF DIVIDES INTOSUBSTANCE (Reality) and FORM (Limitation),THE PRIME CONSTITUENTS OF EXISTENCE

To comprehend the vast importance of these discriminations, it is necessary to understand that precisely those Principles of Distribution which are applicable to the Universe at large are found to be applicable to every minor sphere or domain of the Universe; in the same manner as the same Geometrical Laws which prevail in the largest circle prevail equally in the smallest. It is the prevalence of Identical Principles in diverse spheres which is the source of that Universal Analogy throughout all spheres that lies at the basis of Universology, and gives the possibility of such a Science. The nature of this Analogy, as well as the value of the discriminations themselves, will be more clearly seen by glancing at corresponding discriminations in other spheres.

In the Constitution of the External World, Something is represented, as we have seen, by the solid and tangible substance which we call Matter, and Nothing by the Expanse of Space.

In the Science of Acoustics, Sound, the pure Phonos, is the Something, the Reality, as it is denominated by Kant, the Positive Factor of Speech. Silence is the relative Nothing, the Negation, so called by Kant, the Negative Factor of Speech. The Silences, or Intervals of Rest which intervene between Sounds (and also between Syllables, Words, Sentences, and still larger divisions of Speech), are only so many successive reappearances of this negative element. Silence, the Nothing of Sound, is, in fact, in the most radical aspect of the subject, one entire half or hemisphere or equal Factor of the whole of Speech or Music. Josiah Warren, the author of a work entitled 'Music as an Exact Science,' is the only writer I have noticed who has had the discrimination distinctively to recognize Silence as one of the Elements of the Musical Structure.

Impliedly it is, however, always so recognized. The Silences intervening between tones tunewise, or in respect to altitude, are, in Musical Nomenclature, denominated Intervals. Timewise Silences, or those which intervene between Tones rhythmically considered, are called Rests. The Intervals of Silence between Syllables and Words, in Oral Speech, are represented in the printed book by what the Printer calls Spaces, which are blank or negative Types interposed between the positive Types expressive of Sounds. This term Space or Spaces carries us to the analogous Total Space or Blank Space and intervening reaches of Space between the Planets, Orbs or Material Worlds, the former the corresponding Nothing of the total Material Universe of which these worlds are the Something; as exhibited in the demonstrations of Universology.

In the Domain of Optics, covering the Phenomena of Light, Shade and Color, Light is the Positive Factor or Something, and Darkness the Negative Factor or Nothing. Light is, therefore, the analogue of Sound, and Darkness the analogue of Silence. That is to say, each of these two, Silence and Darkness, denote the absence, the lack, the want or the negation of the opposite and Positive Element or Factor.

So in Thermotics, the Science of Heat, Heat itself is the Positismus or Something of the Domain; and Cold the Negatismus or Correlative Nothing. Heat is, consequently, the analogue of Sound and Light; while Cold is the analogue of Silence and Darkness.

In respect to the Domain of Mind, Positive Mental Experience (Feelings, Thoughts, and Volitions, including self-consciousness) are the Positive Factor, the Something of Mentality. Inexperience, the lack of mental exercitation, hence Ignorance, is the Negative Factor, or Nothing. The Correspondential Relationship or Analogy existing between this Domain of the Universe and others already mentioned is testified to in a remarkable manner by our use of Language. We denominate the want of Feeling Cold or Frigidity—in respect to the Mind or the individual character. The absence of Thought and Knowledge, or, in other words, Intellectual Barrenness, is called Darkness or Obscurity of the Mind. While the lack of Will or Purpose in the Mind is said to be the absence of Tension or Strain (the great Musical term); and the Stillness or quiet hence resulting may be appropriately designated as the Silence of the Mind; Musical Silences being, as pointed out above, technically termed Rests.

With this superficial exhibition of the most radical aspect of the Echo of Idea or Repetition of Type which subsists between all the departments of the Universe, I pass to the more specific consideration of this Analogy as concerning the Domain of Thought and the Domain of Language.

Setting aside from our present consideration Silence, the Negative factor or Negatismus of Language, and fixing our attention upon Sound, the Positive factor or Positismus of Language, we discover it to be composed of two constituents, Vowels and Consonants.

The Vowel is the Substance, the Reality of Language, and the Consonant is the Form, the Limitation.

By Vowel sound is meant the free or unobstructed, and as such unlimited flow of the vocalized or sounding breath. Vowels are defined in the simplest way as those sounds which are uttered with the month open; as a (ah) in Father, o in roll, etc.

Consonants are, on the contrary, those sounds which are produced by the crack of commencing or by obstructing, breaking, or cutting off the sounding breath, by completely or partially closing the organs of speech; as, for instance, by closing the lips, as when we pronounce pie, by, my, etc.; or by pressing the point of the tongue against the gums and teeth, as when we say tie, die, etc.; or by lifting the body of the tongue against the hard palate or roof of the mouth, as when we give the k or hard g sound, as in rack, rag, or in any other similar way.

Consonants are, therefore, the breaks or limitations upon the otherwise unbroken and continuous vocality, voice, or vocalized breath. In other words, as already said, Vowel-Sound is the Elemental Substance, and Consonant-Sound the Elemental Form of Language, or Speech. (By Vowels and Consonants are here meant, the Reader should closely observe, Vowel-Sounds and Consonant-Sounds, as produced by the Organs of Speech, and as they address themselves to the Ear, distinguished and wholly apart from the letters or combinations of letters by which they are diversely represented to the Eye in different languages.)

By a valid but somewhat remote analogy, the Vowel-Sounds of Language may be regarded collectively as the Flesh, and the Consonant-Sounds as the Bone or Skeleton of the Lingual Structure. Flesh is an Analogue or Correspondential Equivalent of Substance. Bone or Skeleton, which gives outline or shape to the otherwise soft, collapsing, and lumpy flesh-mass of the Human or Animal Body, is an Analogue of Correspondential Equivalent of Limitation or Form; as the framework of a house is the shaping or form-giving factor or agent of the entire structure.

Vowel-Sounds are soft, fluent, changeful, and evanescent. One passes easily into another by slight deviations of pronunciation, resulting from trivial differences in National and Individual condition and culture; like the Flesh of the animal, which readily decays from the Bony Skeleton, while the last remains preserved for ages as a fossil. The Vowel-Sounds so readily lose their identity, that they are of slight importance to the Etymologist or Comparative Philologist, who is, in fact, dealing in the Paleontology of Language.

The Consonants are, on the contrary, the Fossils of Speech; bony and permanent representatives of Framework, of Limitation, of Form. Consonant-Sounds are also sometimes denominated Articulations. This word means joinings or jointings. It is from the Latin articulus, a Joint, and is instinctually applied to the Consonant-Sounds in accordance with their analogy with the Skeleton of the Human or Animal System.

By an easy and habitual slide in the meaning of Words, a term like Joint is sometimes used to denote the break or opening between parts, and sometimes to denote one of the parts intervening between such breaks; as when we speak of a joint of meat, meaning thereby what a Botanist would signify by the term Internode, the stretch or reach or shaft of bone extending from one joint (break) to another, with the meat attached to it.

Consonants have, in like manner, a double aspect as Articulations or Joints. In a rigorous and abstract sense, the Consonant has no sound of its own. It is simply a break or interruption of Sound. Etymologically, it is from the Latin con, WITH, and sonans, SOUNDING; as if it were a mere accessory to a (vowel) Sound; the Vowels being, in that sense, the only sounds. In this sense, the Consonants are analogous with the mere cracks or opening joints, which intervene between the bones of the Skeleton. In other words, they are no sounds, but mere nothings; the analogy, in that case, of Abstract Limitation.

Practically, on the contrary, the Consonant takes to itself such a portion of the vocalized or sounding breath which it serves primarily to limit, that it becomes not merely a sound ranking with the Vowel; but the more prominent and abiding sound of the two. It is in this latter sense, that it is the Analogue of the Bone.

In Phonography, as in Hebrew and some other Languages, the letters representing the Consonant-Sounds only are written or printed; the Vowel-Sounds being either represented by mere points added to the Consonant characters, or left wholly unrepresented, to be supplied by the intelligence of the Reader. The written words so constructed, represent the real words with about the degree of accuracy with which a skeleton represents the living man; so that the meaning can be readily gathered by the practised reader, by the aid of the context. In Phonography, the Consonant-Sounds, which are simple straight or curved lines, are joined together at their ends, forming an outline shape, somewhat like a single script (written) letter of our ordinary writing. These outline words are then instinctually and technically called Skeleton-words, from the natural perception of a genuine Scientific Analogy.

Consonants constitute, then, what may be denominated the Limitismus (Limiting Domain) of Language. The Limit is primarily represented by the Line (a line, any line); then by the Line embodying Substance as seam, ridge, bar, beam, shaft, or bone; and, finally, by a System of Lines, Shafts or Bones which may then be jointed or limited in turn among themselves, forming a concatenation of Lines, Bars or Shafts, the framework of a machine or house or other edifice, or the ideal columnar and orbital structure of the Universe itself. All these conceptions or creations belong to the practical Limitismus, the Form Aspect or Framework of Being in Universals and in Particulars in every Sphere and Department of the Universe.

The Limitismus of Being so defined then stands over against or contrasted with the Substancismus (Substance-Domain) of Being which embraces the Substances, Materials or Stuffs of creation of whatsoever name that infill the interstices of the Framework or are laid upon it, and constitute the richness and fulness and plumpness of the Structure, as the Flesh does of the Body.

The wholeness or Integrality of the structure then consists of the composity of these Two (Limitismus and Substancismus), as the wholeness of the Body consists of the Flesh and the Bone. The Consonants being the Limitismus, and the Vowels the Substancismus of Language; the Two united and coordinated comprise the Trinismal Integrality or Integralismus of Speech.

The Vowels denote, then, Reality, as distinguished from Limitation, or, what is nearly the same thing, Substance, as distinguished from Form.

There are in all Seven (7); or if we include one somewhat more obscure than the rest, a kind of semi-tone, there are Eight (8) full-toned, perfectly distinct and primary Vowel-Sounds, which constitute the Fundamental Vowel Scale of the Universal Alphabet. Their number and nature is governed by the Mechanical Law of their organic production in the mouth. And the number can only be increased by interposing minor shades of sound, as we produce minor shades of color by blending the Seven (7) Prismatic Colors. The new Sound will then belong, in predominance and as a mere variety, to one of these Seven (7) Primary Sounds.

These Seven (7) Sounds constitute the Leading Vowel-System of all Languages; with certain irregularities of omission in the Vowel-System of some Languages.

By the addition of Five (5) equally leading Diphthongs (or Double Vowels) the number of leading Vowel representations is carried up to Twelve (12) or Thirteen (13)—which may then be regarded as the Completed Fundamental Vowel Scale of the Universal Lingual Alphabet.

There are, in like manner, Seven (7)—or Eight (8)—Leading Realities of the Universe, and of every Minor Sphere or Domain of Being in the Universe, which correspond with, echo or repeat, and are therefore the Scientific Analogues of, these Seven (7) Leading Vowel-Sounds, as they occur among the Elements of Speech.

In representing the Vowel-Sounds, it is better, for numerous reasons, to use the letters with their general European Values, than it is to conform to their altered or corrupted English Values. For instance, the Vowel I (i) is pronounced in nearly every language of Europe, and in all those languages which the Missionaries have reduced to writing, as we pronounce e or ee, or as i in machine, or pique; E (e) is pronounced as we enunciate a in paper; and A is reserved for the full Italian sound of a (ah), as in father; U is pronounced like oo, as in German, Spanish, Italian and many other languages.

The Seven (7) Vowels in question are then as follows:

• 1. I, i (ee in feel).

• 2. E, e (a in mate).

• 3. A, a (a in fa-ther).

• 4. o, o (aw in awful).

• 5. u, u (u in curd).

• 6. o, o (o in no-ble).

• 7. u, u (oo in fool).

These sounds are produced in the middle, at the back, and at the front of the mouth respectively. These localities, and something of the nature of the sounds themselves, as slender or full, will be plainly illustrated by the annexed figure:

The following description of the organic formation or production of these sounds now becomes important.

The Vowel-Sound I (ee) is the most slender and condensed of the Vowel-Scale. It is produced at the middle or central part of the mouth, by forcing a slight, closely-squeezed current of Sounding Breath, through a small, smooth channel or opening made by forming a gutter or scoop of the flattened point of the tongue; while, at the same time, the tongue is applied at the edges to the teeth and gums. This sound has, therefore, an actual form resembling that of a thread or line; or still better, like that of a wire drawn through one of the iron openings by means of which wire is manufactured. It resembles also a slight, smooth, roundish stream of fluid escaping through a tube or trough.