In an interesting paper on "physonyms,"--_i.e._ "words to which their signification is imparted by certain physiological processes, common to the race everywhere, and leading to the creation of the same signs with the same meaning in totally sundered linguistic stocks"--occurs the following passage (193. cxxxiii.):--
"One of the best known and simplest examples is that of the widespread designation of 'mother' by such words as _mama_, _nana_, _ana_; and of 'father' by such as _papa_, _baba_, _tata_. Its true explanation has been found to be that, in the infant's first attempt to utter articulate sounds, the consonants _m_, _p_, and _t_ decidedly preponderate; and the natural vowel _a_, associated with these, yields the child's first syllables. It repeats such sounds as _ma-ma-ma_ or _pa-pa-pa_, without attaching any meaning to them; the parents apply these sounds to themselves, and thus impart to them their signification."
Other physonyms are words of direction and indication of which the radical is _k_ or _g_; the personal pronouns radical in _n_, _m_ (first person), _k, t, d_ (second person); and demonstratives and locatives whose radical is _s_. The frequency of these sounds in the language of children is pointed out also by Tracy in his monograph on the psychology of childhood. In the formation and fixation of the onomatopes with which many languages abound some share must be allotted to the child. A recent praiseworthy study of onomatopes in the Japanese language has been made by Mr. Aston, who defines an onomatope as "the artistic representation of an inarticulate sound or noise by means of an articulate sound" (394. 333). The author is of opinion that from the analogy of the lower animals the inference is to be drawn that "mankind occupied themselves for a long time with their own natural cries before taking the trouble to imitate for purposes of expression sounds not of their own making" (394. 334). The latter process was gradual and extended over centuries. For the child or the "child-man" to imitate the cry of the cock so successfully was an inspiration; Mr. Aston tells us that "the formation of a word like _cock-a-doodle-do_, is as much a work of individual genius as Hamlet or the Laocoön" (394. 335). Of certain modern aspects of onomatopia the author observes: "There is a kindred art, viz. that of the _exact_ imitation of animal cries and other sounds, successfully practised by some of our undergraduates and other young people, as well as by tame ravens and parrots. It probably played some part in the development of language, but I can only mention it here" (394. 333).