Inspiration being of longer duration than expiration, I have in the following signified the former by the sign for long (¯), the latter by that for short (˘); while for the rise of the voice I have used the sign for acute (´), and for its fall that for grave (`); for comparison, see schedule on page [202].

Anglo-Saxon AbdomenThorax
1. Inspiration,`´`3. Inspiration,`´`
¯˘¯¯˘¯
2. Expiration,´`´4. Expiration,´`´
˘¯˘˘¯˘

An experiment may be made by an Anglo-Saxon adopting the German mode of breathing and then attempting to speak English, or by a German adopting the Anglo-Saxon mode of breathing and then attempting to speak German, which neither will succeed in doing.

In making the experiments just now under consideration, it will not be necessary, after closing the muscles of the trachea or the œsophagus for the first six movements, to continue doing so, as the next six movements will ensue involuntarily. There may be several repetitions of these twelve movements involuntarily or automatically following after that; any special mode of breathing once assumed being apt to continue indefinitely until another mode is inaugurated.

The same experiments may also be made by making abdomen and thorax alternately rigid, or producing a state of rigidity through mechanical pressure, in place of producing it with the muscles of the œsophagus and the trachea. As this may appear simpler and "less dangerous," there should be nothing to hinder any one from making these experiments. The movements will not be as pronounced, however, in the latter instance as they are in producing a direct closure of the trachea and the œsophagus.

There is a fourth mode of producing the same results, namely, through the simple act of continuously "thinking" of any particular part. We may thus bring about a closure of the muscles of the trachea or œsophagus, of thorax or abdomen, etc.; thought, which precedes motion for vocal utterance, always, as cause to effect, being the final arbiter in all matters of respiration, unless the latter is of an involuntary and simply functional character. While the act of breathing for life pursues its even tenor, breathing for vocal utterance, though of the same order, is subject to innumerable changes in conformity with the sound, syllable, or word intended to be produced.

I am aware that there may be apparent incongruities in some of the preceding, and I presume there always will be. We can see things only from our limited standpoint. I have undertaken to solve matters supposed to be superhuman, or "of God," and hence perfect in their way, in a human, and therefore imperfect, manner. Our limitations naturally extending to our power of observation, the duality of our nature in matters of this kind does not permit us—I might say, forbids us—arriving at final conclusions. We can go as far as our understanding permits us to go—beyond that, we may at most indulge in speculation. I have limited myself to my limits, to what I could prove, and have but rarely indulged in what I could not—in speculation.

Note.—Since the above was written Dr. G. E. Brewer, who in conjunction with Dr. F. C. Ard, last month (March, 1899), in New York, successfully performed the very rare operation of laryngectomy, has told me that his patient had already (after a month) commenced to speak again, though as yet only in a monotonous whispering voice. She is doing so in spite of the fact that every vestige of her larynx, which had been in a diseased state, and which the doctor showed me, had been removed. When I told the doctor this mysterious "new" voice was that of the œsophagus and had always existed with his patient, as it exists with every one else, and had always been heard in conjunction with that of the trachea, he was greatly astonished, though naturally incredulous, but said he would investigate.

SONG, SINGERS, AND PHYSIOLOGY