24 VOCAL SOUNDS OF 



[n all inquiries into the origin of words and languages, we must remember 

 this psychological fact of primary importance, that, in consequence of the force 

 of the assimilation of ideas, the inquirer who sees a thing or institution in a 

 defined and ordered state before him, is apt involuntarily to suppose a corre- 

 spondingly definite and distinct origin from which it has sprung. Accord- 

 ingly he seeks for this peculiar sort of origin, and is generally led into grave 

 errors. When attention was first directed to the origin of governments, they 

 existed already in a well defined state, and forthwith an origin corresponding 

 in distinctness was sought- for and imagined. People dreamed of governments 

 voted into existence as laws are now made. Agriculture, when first it became 

 a subject of reflection, presented itself as a complicated system, far too wise to 

 be supposed to have been invented by man — and its invention was silently 

 assumed. It was, therefore, ascribed to the gods, by the Chinese as well as 

 by the Greeks. Even the invention of bread has been sought for in the 

 inspiration of some benign deity. The origin of languages has naturally 

 been exposed to the same error, and more so, perhaps, than any other sub- 

 ject. 



Although we can trace in the case of Laura words appertaining to only a few 

 of the enumerated classes, her vocal sounds are nevertheless interesting even 

 in this respect. 1 shall proceed, then, to give as accurate an account of them 

 as I am able to do, founded upon personal observation, whenever the nature of 

 the case allowed it. Where this was impossible, my remarks are founded upon 

 information obtained from persons who have been in daily intercourse with her 

 for a long time. 



It has been stated that most of the sounds which are the symphenomena 

 of Laura's emotions have been studiously repressed, because, being impulsive, 

 they are more or less vehement. But sounds vehemently produced by organs 

 over which the regulative power of vocal intercourse has no influence, are 

 necessarily disagreeable or repulsive to others.* Laura, however, was educated 



* The admirable organs of speech, and the definiteness of thought, which is accompanied by an 

 urgency to name the thing or utter the idea, lead men to articulate sounds; so much so, that articula- 

 tion becomes natural to man, and will take place even where no definite thought exists and requires it. 

 I knew a gentleman, bearing the name of one of our most distinguished men — both are now departed — 

 who was in the habit of beginning every address of his, and every paragraph of speech, if I may use 

 this expression, with the distinct word "Titnoss.^' For instance, " Titnoss, how do you do. 

 Madam?" If he was somewhat embarrassed he used to begin every sentence with "Titnoss." 

 Upon inquiry, I found that originally he stammered a great deal; indeed, he was always liable to have 

 Iiis speech impeded by this unwelcome disturber. Now, titnoss is nothing more than the sound 

 which the perturbed organs produced in a stammering person, before the tongue assumes its proper 

 enunciating function, viz., ti-ti-ti-ti-ti-s-s-s, gradually subjected, however, to the articulating process, 

 until a regular woi-d (titnoss) was formed. This word had no meaning, indeed; at least no more 

 meaning than the ach, ja, with which the Berlin people and Saxons begin almost every first sentence, 

 or than the Ss of Homer; but if the original unarticulated sound had arisen from any specific emotion, 

 e. g., from fear, love, hatred, pleasure, or kindness, and if the utterer had been a barbarian, living with 

 kindred, yet speechless, barbarians, it is clear that this sound — and, later, the articulated sound, tit- 

 noss — would have become a phonetic sign, a word in our sense of the term, for that specific emotion, 



