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Pure Touch

It has been ascertained, beyond the possibility of doubt, that [Laura Bridgman] cannot see a ray of light, cannot hear the least sound, and never exercises her sense of smell, if she has any. Thus her mind dwells in darkness and stillness, as profound as that of a closed tomb at midnight. Of beautiful sights, and sweet sounds, and pleasant odors, she has no conception; nevertheless she seems as happy and playful as a bird or a lamb; and the employment of her intellectual faculties, the acquirement of a new idea, gives her a vivid pleasure, which is plainly marked in her expressive features. She never seems to repine, but has all the buoyancy and gaiety of childhood. She is fond of fun and frolic, and when playing with the rest of the children her shrill laugh sounds loudest of the group.
When left alone she seems very happy is she has her knitting or sewing, and will busy herself for hours; if she has no occupation she evidently amuses herself by imaginary dialogs, or recalling past impressions; she counts with her fingers or spells out names of things which she has recently learned, in the manual alphabet of the deaf mutes. In this lonely self-communion she reasons, reflects, and argues; if she spells a word wrong with the fingers of her right hand, she instantly strikes it with her left, as her teacher does, in sign of disapprobation; if right, then she pats herself upon the head and look pleased. She sometimes deliberately spells a word wrong with the left hand, looks roguish for a moment, and laughs, and then whit the right hand strikes the left, as if to correct it.
During the year she has attained great dexterity in the use of the manual alphabet of the deaf mutes; and she spells out the words and sentences that she knows, so fast and so deftly that only those accustomed to this language can follow, with the eye, the rapid motions of her fingers.
But wonderful as is the rapidity with which she writes her thoughts upon the air, still more so is the easy accuracy with which she reads the words thus written by others, grasping their hands in hers, and following every movement of their fingers, as letter conveys their meaning to her mind. It is in this way that she converses with her blind playmates; and  nothing can more forcibly show the power of mind in forcing matter to its purpose than a meeting between them. For, if great talent and skill are necessary for two pantomimes to paint their thoughts and feelings by the movements of the body and the expression of the countenance, how much greater the difficulty when darkness shrouds them both and the one can hear no sound!
When Laura is walking through a passageway, with her hands spread before her, she knows instantly every one she meets, and passes them with a sign of recognition; but if it be a girl of her own age, and especially if one of her favorites, there is instantly a bright smile of recognition, an intertwining of arms, a grasping of hands, and a swift telegraphing upon the tiny fingers whose rapid evolutions convey the thoughts and feelings from the outposts of one mind to those of the other. There are questions and answers, exchanges of joy or sorrow; there are kissings and partings, just as between little children with all their senses.

Samuel Gridley Howe, 1838 (cited in Constance Classen, Touch)