[142] That is, “U-shaped bone.”
[143] Of course, if an opening is made in the trachea, voice is impossible unless it is closed, and division or injury of the laryngeal nerves will equally destroy voice by paralyzing the muscles of the vocal chords.
[144] In men the average length is about eleven lines.
[145] Faidherbe: “Essai sur la Langue Poul,” in the “Revue de Linguistique,” January and April, 1875.
[146] Bleek: “A brief Account of Bushman Folklore, and other Texts,” p. 6. “A most curious feature in Bushman folklore is formed by the speeches of various animals, recited in modes of pronouncing Bushman, said to be peculiar to the animals in whose mouths they are placed. It is a remarkable attempt to imitate the shape or position of the mouth of the kind of animal to be represented. Among the Bushman sounds which are hereby affected, and often entirely commuted, are principally the clicks. These are either converted into other consonants, as into labials (in the language of the Tortoise), or into palatals and compound dentals and sibilants (as in the language of the Ichneumon), or into clicks otherwise unknown in Bushman (as far as our present experience goes), as in the language of the Jackal, who is introduced as making use of a strange labial click, which bears to the ordinary labial click a relation in sound similar to that which the palatal click bears to the cerebral click. Again, the Moon—and it seems also the Hare and the Anteater—substitute a most unpronounceable click in place of all others, excepting the lip click. Another animal, the Blue Crane, differs in its speech from the ordinary Bushman, mainly by the insertion of a tt at the end of the first syllable of almost every word.”
[147] “Lectures,” ii. p. 141 (8th edition).
[148] Max Müller: “A Sanskrit Grammar for Beginners,” 2nd edition, p. 23, note. See Mr. Ellis’s examination of the “Rules of the Indian Phonologists,” as given by Whitney (“Atharva-Vêda Prâtiçâkhya”), in “Early English Pronunciation,” pt. 4, pp. 1336-1338.
[149] See Sievers: “Grundzüge d. Lautphysiologie” (1876), p. 19. This explanation of the causes of this difference between the two kinds of voice (true and falsetto) is due to the observations of Garcia. Various theories had previously been put forward to account for it. J. Müller thought that in producing chest notes, the whole breadth of the vocal chords vibrated, only their thin inner margins in producing falsetto notes. Mayo and Magendie held that the falsetto notes are produced by the vibrations of only one-half the length of the vocal chords, when the glottis is partially closed; G. Weber that they are due to the vibration of the chords in segments, separated by nodal points, so that harmonics of the fundamental note are formed. Pétrequin and Diday maintained that they are produced by the vibration of the air itself in the glottis, without any movement on the part of the vocal chords, while Wheatstone thought that they are formed by the division of the air in the trachea into harmonic lengths, the tone produced by the vocal chords being thus reciprocated, since, besides vibrating by reciprocation with a sonorous body, the vibrations of which are isochronous with its own, a column of air may also vibrate by reciprocation in its several lengths, the number of its vibrations being in this case a multiple of those of the sonorous body.
[150] “Lectures,” ii. p. 128 (8th edition).
[151] Bindseil: “Abhandlungen zur allgemeinen vergleichenden Sprachlehre,” p. 212 (1838), quoted by Max Müller: “Lectures,” ii. p. 136.