Sign talk — Themes and Context
Edition facts
For Sign talk — Themes and Context, the stored edition analysis reports 60,618 words, 4 hr 24 min estimated reading time, and 26 detected text sections.
The text analysis averages about 11.1 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Sign language,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
- Source metadata20 pts
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Read the Text
This is a very ancient sign and seems to refer to the right of sanctuary. The name “King’s cross,” used occasionally in England, means probably the sanctuary in the King’s palace.
In general I found about 150 gesture signals in established use among American school children, namely:
Me (Tap one’s own chest).
You (Pointing to you).
Good (Nod and clap hands).
Bad (Shake head and grimace).
Go (Pushing flat hand forward, palm forward).
Come (Drawing in flat hand, palm toward one).
Hurry (The same repeated vigorously several times).
Come for a moment (Beckon with forefinger, hand unmoved).
Stop (Flat hand held up, palm forward).
Gently (Flat hand held low, palm down, gently waved).
Good-bye (Flat hand held high, palm down and forward, fingers quickly waved up and down).
High (Flat hand, palm down, held up at arm’s length).
Deep (Left flat hand palm down at level of mouth, right palm up, as low as possible).
Heaven (Point up very high and look up).
Forward (Swing index forward and down in a curve).
Backward (Jerk thumb over shoulder).
Across (Hold left hand out flat, palm down, run right index across it).
Over or Above (Hold out flat left, palm down, and above it hold ditto right).
Under (Reverse of foregoing).
Hush (Index finger on lips).
Listen (Curved hand behind ear).
Look (Flat hand over eyes).
Look there (Point and look in same direction).
Touch (Reach out and touch with index).
Taste (Lay finger on tongue).
Smell (Hold palm to nose).
Friendship (Hand shake).
Warning (Index finger held up).
Threatening (Fist held up).
Weeping (With index finger at each eye, trace course of tears).
Shame on you (Point one index at the person and draw the other along it several times in same direction).
You make me ashamed (Cover eyes and face with hands).
Mockery (Stick tongue out at person).
Disdain (Snap fingers toward person).
Scorn (Throw an imaginary pinch of sand at person).
Insolent defiance (Thumb to nose, hand spread).
Arrogant (Indicate swelled head).
Pompous (Indicate big chest).
Incredulity (Expose white of eye with finger, as though proving “No green there”).
I am no fool (Tap one side of the nose).
Joke (Rub side of nose with index).
Connivance (Winking one eye).
Puzzled (Scratch the head).
Crazy (Tap forehead with index then describe a circle with it).
Despair (Pulling the hair).
Sleepy (Put a fist in each eye).
Bellyache (Hands clasped across the belly).
Sick (A grimace and a limp dropping of the hands).
Applause (Clap hands).
Victory (Swing an imaginary flag over head).
Upon my honor (Draw a cross over heart or cross the hands over breast).
I am seeking (Looking about and pointing finger in same directions).
I am thinking (Lay index on brow, lower head and look out under brows).
I have my doubts (Slowly swing head from side to side).
I will not listen (Hold flat hands on ears).
I will not look (Cover eyes with hands).
I forget (Slowly shake head, and brush away something in air, near the forehead).
I claim exemption, or “Fins” or “Bar up” (Middle finger crossed on index).
I beg of you (Flat hand palm to palm, pointing to the person).
I pray (Clasped hands held up).
I am afraid, or surrender (Hold up both flat hands, palm forward).
I wind him around my finger (Make the action with right thumb and index around left index).
I have him under my thumb (Press firmly down with top of right thumb).
You surprise me (Flat hand on open mouth).
I send you a kiss (Kiss the finger tips of right hand and throw it forward).
Search me (Hold the coat flaps open, one in each hand).
Swim (Strike out with flat hands).
Dive (Flat hands together, moved in a curve, forward and down).
Will you come swimming? (Two fingers in V shape held up level).
Will you? or Is it so? (Look, nod and raise brows).
Fool or Ass (A thumb in each ear, flat hands up).
Cut-throat (Draw index across throat).
Indifference (A shoulder shrug).
Ignorance (A shrug and a head shake).
Pay (Hold out closed hand, palm up, rubbing thumb and index tips together).
Jew (Flat hands waved near shoulders, palms up).
Bribe (Hold hollow hand, palm up, behind one).
It is in my pocket (Slap pocket with flat hand).
Give me my bill (Beckon, then write on air).
Match (Make the sign of striking a match on the thigh).
Set it afire (Sign match, and then thrust it forward).
Pistol (Making barrel with left index, stock and hammer with right hooked on; snapping right index from thumb).
That tastes good (Smack the lips).
The food was good (Pat the stomach).
Bad taste (Grimace and spitting out).
Bad smell (Hold the nose).
Ernest Thompson Seton's Sign Talk (1918) is a dictionary of 1,725 gesture signs, compiled from Cheyenne and other Plains Indian languages, with additions from Deaf communities, police, firemen, railroad workers, and schoolchildren. The book's structure is alphabetical by English headword, each entry giving a step-by-step description of the gesture, often with variant sources (e.g., "Scott" or "Sheeaka"), and French and German translations by Lillian Delger Powers. Seton's own 700 illustrations accompany many entries, showing hand positions and movements.
Alphabetical Entries and Movement Descriptions
The core of Sign Talk is its alphabetical list of English words, each followed by a precise choreography of hand shapes, positions, and motions. For example, the entry for "Hear" instructs: "Move the right G hand (pointed forward) from behind the right ear, past the ear and forward." The descriptions consistently specify palm orientation (e.g., "backs down"), hand shape (e.g., "flat hands," "curved G"), and direction of movement (e.g., "sweep them down sidewise"). This systematic notation allows the reader to reconstruct each sign without relying solely on the illustrations.
Recurring Hand Shapes and Body Positions
Several hand shapes recur throughout the dictionary. The "G hand" (index finger extended, thumb up) appears in signs for "Heaven," "Here," and "Hear." The "flat hand" (fingers together, palm flat) is used for "Heavens," "Heavy," and "Hide (to conceal)." The "A fist" (thumb closed over fingers) appears in "Hill." Body positions are also standardized: signs are made "in front of body," "opposite neck," or "over heart." These repeated elements create a consistent grammar of gesture, making the code learnable as a system.
Sources and Variants Within Entries
Seton frequently cites multiple sources for a single sign, indicating regional or tribal variation. For "Help," he gives a sign "borrowed from the Deaf" via Sheeaka, then adds "Or, sign Work and With" from Seger. The entry for "History" includes two variants: one using a sketching motion on the palm, another combining "Long," "Past," and "Tell me." These alternatives show that the code was not monolithic; Seton treated it as a living, composite language, documenting choices rather than prescribing a single correct form.
Illustrations as Structural Counterpart
The 700 author-drawn illustrations are not decorative but integral to the dictionary's structure. Each drawing typically shows a pair of hands in the final position of a sign, with arrows or dotted lines indicating movement. The entry for "Herd of Animals" describes two distinct motions—first holding out the left hand, then drawing the right back in an arc—and the illustration would clarify the spatial relationship between the hands. Seton's background as a naturalist and illustrator (he wrote and illustrated Wild Animals I Have Known) is evident in the clarity and economy of these diagrams.
Readers should approach Sign Talk as a practical manual: try performing each gesture as you read, using the descriptions and illustrations together. The French and German equivalents at the end of each entry hint at Seton's ambition for a universal code, but the book remains firmly rooted in the Plains Indian traditions he observed firsthand. The preface notes that the manuscript sat for nine years before publication, and the work shows both the enthusiasm of a lifelong student and the limitations of a single compiler's perspective.
Flipping through Seton’s patient line drawings of hand signs, I kept thinking how every gesture once meant something lived, not just recorded. That same ache—the weight of a world trying to speak its truth—echoes in the quieter pages of Socialism and the Social Movement in the 19th Century — Reading Companion. Both feel like letters from another time, still warm.
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