I wander afield, thriving in sturdy thought,

Through unpathed haunts of the Pierides,

Trodden by step of none before. I joy

To come on undefiled fountains there,

To drain them deep; I joy to pluck new flowers,

To seek for this my head a signal crown

From regions where the Muses never yet

Have garlanded the temples of a man:

First, since I teach concerning mighty things,

And go right on to loose from round the mind

The tightened coils of dread religion;

Next, since, concerning themes so dark, I frame

Song so pellucid, touching all throughout

Even with the Muses’ charm — which, as ‘twould seem,

Is not without a reasonable ground:

For as physicians, when they seek to give

Young boys the nauseous wormwood, first do touch

The brim around the cup with the sweet juice

And yellow of the honey, in order that

The thoughtless age of boyhood be cajoled

As far as the lips, and meanwhile swallow down

The wormwood’s bitter draught, and, though befooled,

Be yet not merely duped, but rather thus

Grow strong again with recreated health:

So now I too (since this my doctrine seems

In general somewhat woeful unto those

Who’ve had it not in hand, and since the crowd

Starts back from it in horror) have desired

To expound our doctrine unto thee in song

Soft-speaking and Pierian, and, as ’twere,

To touch it with sweet honey of the Muse —

If by such method haply I might hold

The mind of thee upon these lines of ours,

Till thou dost learn the nature of all things

And understandest their utility.
Existence and Character of the Images

But since I’ve taught already of what sort

The seeds of all things are, and how distinct

In divers forms they flit of own accord,

Stirred with a motion everlasting on,

And in what mode things be from them create,

And since I’ve taught what the mind’s nature is,

And of what things ’tis with the body knit

And thrives in strength, and by what mode uptorn

That mind returns to its primordials,

Now will I undertake an argument —

One for these matters of supreme concern —

That there exist those somewhats which we call

The images of things: these, like to films

Scaled off the utmost outside of the things,

Flit hither and thither through the atmosphere,

And the same terrify our intellects,

Coming upon us waking or in sleep,

When oft we peer at wonderful strange shapes

And images of people lorn of light,

Which oft have horribly roused us when we lay

In slumber — that haply nevermore may we

Suppose that souls get loose from Acheron,

Or shades go floating in among the living,

Or aught of us is left behind at death,

When body and mind, destroyed together, each

Back to its own primordials goes away.

And thus I say that effigies of things,

And tenuous shapes from off the things are sent,

From off the utmost outside of the things,

Which are like films or may be named a rind,

Because the image bears like look and form

With whatso body has shed it fluttering forth —

A fact thou mayst, however dull thy wits,

Well learn from this: mainly, because we see

Even ‘mongst visible objects many be

That send forth bodies, loosely some diffused —

Like smoke from oaken logs and heat from fires —

And some more interwoven and condensed —

As when the locusts in the summertime

Put off their glossy tunics, or when calves

At birth drop membranes from their body’s surface,

Or when, again, the slippery serpent doffs

Its vestments ‘mongst the thorns — for oft we see

The breres augmented with their flying spoils:

Since such takes place, ’tis likewise certain too

That tenuous images from things are sent,

From off the utmost outside of the things.

For why those kinds should drop and part from things,

Rather than others tenuous and thin,

No power has man to open mouth to tell;

Especially, since on outsides of things

Are bodies many and minute which could,

In the same order which they had before,

And with the figure of their form preserved,

Be thrown abroad, and much more swiftly too,

Being less subject to impediments,

As few in number and placed along the front.

For truly many things we see discharge

Their stuff at large, not only from their cores

Deep-set within, as we have said above,

But from their surfaces at times no less —

Their very colours too. And commonly

The awnings, saffron, red and dusky blue,

Stretched overhead in mighty theatres,

Upon their poles and cross-beams fluttering,

Have such an action quite; for there they dye

And make to undulate with their every hue

The circled throng below, and all the stage,

And rich attire in the patrician seats.

And ever the more the theatre’s dark walls

Around them shut, the more all things within

Laugh in the bright suffusion of strange glints,

The daylight being withdrawn. And therefore, since

The canvas hangings thus discharge their dye

From off their surface, things in general must

Likewise their tenuous effigies discharge,

Because in either case they are off-thrown

From off the surface. So there are indeed

Such certain prints and vestiges of forms

Which flit around, of subtlest texture made,

Invisible, when separate, each and one.

Again, all odour, smoke, and heat, and such

Streams out of things diffusedly, because,

Whilst coming from the deeps of body forth

And rising out, along their bending path

They’re torn asunder, nor have gateways straight

Wherethrough to mass themselves and struggle abroad.

But contrariwise, when such a tenuous film

Of outside colour is thrown off, there’s naught

Can rend it, since ’tis placed along the front

Ready to hand. Lastly those images

Which to our eyes in mirrors do appear,

In water, or in any shining surface,

Must be, since furnished with like look of things,

Fashioned from images of things sent out.

There are, then, tenuous effigies of forms,

Like unto them, which no one can divine

When taken singly, which do yet give back,

When by continued and recurrent discharge

Expelled, a picture from the mirrors’ plane.

Nor otherwise, it seems, can they be kept

So well conserved that thus be given back

Figures so like each object.

    Now then, learn

How tenuous is the nature of an image.

And in the first place, since primordials be

So far beneath our senses, and much less

E’en than those objects which begin to grow

Too small for eyes to note, learn now in few

How nice are the beginnings of all things —

That this, too, I may yet confirm in proof:

First, living creatures are sometimes so small

That even their third part can nowise be seen;

Judge, then, the size of any inward organ —

What of their sphered heart, their eyes, their limbs,

The skeleton? — How tiny thus they are!

And what besides of those first particles

Whence soul and mind must fashioned be? — Seest not

How nice and how minute? Besides, whatever

Exhales from out its body a sharp smell —

The nauseous absinth, or the panacea,

Strong southernwood, or bitter centaury —

If never so lightly with thy [fingers] twain

Perchance [thou touch] a one of them

. . . . . .

Then why not rather know that images

Flit hither and thither, many, in many modes,

Bodiless and invisible?

    But lest

Haply thou holdest that those images

Which come from objects are the sole that flit,

Others indeed there be of own accord

Begot, self-formed in earth’s aery skies,

Which, moulded to innumerable shapes,

Are borne aloft, and, fluid as they are,

Cease not to change appearance and to turn

Into new outlines of all sorts of forms;

As we behold the clouds grow thick on high

And smirch the serene vision of the world,

Stroking the air with motions. For oft are seen

The giants’ faces flying far along

And trailing a spread of shadow; and at times

The mighty mountains and mountain-sundered rocks

Going before and crossing on the sun,

Whereafter a monstrous beast dragging amain

And leading in the other thunderheads.

Now [hear] how easy and how swift they be

Engendered, and perpetually flow off

From things and gliding pass away. . . .

. . . . . .

For ever every outside streams away

From off all objects, since discharge they may;

And when this outside reaches other things,

As chiefly glass, it passes through; but where

It reaches the rough rocks or stuff of wood,

There ’tis so rent that it cannot give back

An image. But when gleaming objects dense,

As chiefly mirrors, have been set before it,

Nothing of this sort happens. For it can’t

Go, as through glass, nor yet be rent — its safety,

By virtue of that smoothness, being sure.

’Tis therefore that from them the images

Stream back to us; and howso suddenly

Thou place, at any instant, anything

Before a mirror, there an image shows;

Proving that ever from a body’s surface

Flow off thin textures and thin shapes of things.

Thus many images in little time

Are gendered; so their origin is named

Rightly a speedy. And even as the sun

Must send below, in little time, to earth

So many beams to keep all things so full

Of light incessant; thus, on grounds the same,

From things there must be borne, in many modes,

To every quarter round, upon the moment,

The many images of things; because

Unto whatever face of things we turn

The mirror, things of form and hue the same

Respond. Besides, though but a moment since

Serenest was the weather of the sky,

So fiercely sudden is it foully thick

That ye might think that round about all murk

Had parted forth from Acheron and filled

The mighty vaults of sky — so grievously,

As gathers thus the storm-clouds’ gruesome night,

Do faces of black horror hang on high —

Of which how small a part an image is

There’s none to tell or reckon out in words.

Now come; with what swift motion they are borne,

These images, and what the speed assigned

To them across the breezes swimming on —

So that o’er lengths of space a little hour

Alone is wasted, toward whatever region

Each with its divers impulse tends — I’ll tell

In verses sweeter than they many are;

Even as the swan’s slight note is better far

Than that dispersed clamour of the cranes

Among the southwind’s aery clouds. And first,

One oft may see that objects which are light

And made of tiny bodies are the swift;

In which class is the sun’s light and his heat,

Since made from small primordial elements

Which, as it were, are forward knocked along

And through the interspaces of the air

To pass delay not, urged by blows behind;

For light by light is instantly supplied

And gleam by following gleam is spurred and driven.

Thus likewise must the images have power

Through unimaginable space to speed

Within a point of time — first, since a cause

Exceeding small there is, which at their back

Far forward drives them and propels, where, too,

They’re carried with such winged lightness on;

And, secondly, since furnished, when sent off,

With texture of such rareness that they can

Through objects whatsoever penetrate

And ooze, as ’twere, through intervening air.

Besides, if those fine particles of things

Which from so deep within are sent abroad,

As light and heat of sun, are seen to glide

And spread themselves through all the space of heaven

Upon one instant of the day, and fly

O’er sea and lands and flood the heaven, what then

Of those which on the outside stand prepared,

When they’re hurled off with not a thing to check

Their going out? Dost thou not see indeed

How swifter and how farther must they go

And speed through manifold the length of space

In time the same that from the sun the rays

O’erspread the heaven? This also seems to be

Example chief and true with what swift speed

The images of things are borne about:

That soon as ever under open skies

Is spread the shining water, all at once,

If stars be out in heaven, upgleam from earth,

Serene and radiant in the water there,

The constellations of the universe —

Now seest thou not in what a point of time

An image from the shores of ether falls

Unto the shores of earth? Wherefore, again,

And yet again, ’tis needful to confess

With wondrous . . .

. . . . . .
The Senses and Mental Pictures

Bodies that strike the eyes, awaking sight.

From certain things flow odours evermore,

As cold from rivers, heat from sun, and spray

From waves of ocean, eater-out of walls

Around the coasts. Nor ever cease to flit

The varied voices, sounds athrough the air.

Then too there comes into the mouth at times

The wet of a salt taste, when by the sea

We roam about; and so, whene’er we watch

The wormword being mixed, its bitter stings.

To such degree from all things is each thing

Borne streamingly along, and sent about

To every region round; and nature grants

Nor rest nor respite of the onward flow,

Since ’tis incessantly we feeling have,

And all the time are suffered to descry

And smell all things at hand, and hear them sound.

Besides, since shape examined by our hands

Within the dark is known to be the same

As that by eyes perceived within the light

And lustrous day, both touch and sight must be

By one like cause aroused. So, if we test

A square and get its stimulus on us

Within the dark, within the light what square

Can fall upon our sight, except a square

That images the things? Wherefore it seems

The source of seeing is in images,

Nor without these can anything be viewed.

Now these same films I name are borne about

And tossed and scattered into regions all.

But since we do perceive alone through eyes,

It follows hence that whitherso we turn

Our sight, all things do strike against it there

With form and hue. And just how far from us

Each thing may be away, the image yields

To us the power to see and chance to tell:

For when ’tis sent, at once it shoves ahead

And drives along the air that’s in the space

Betwixt it and our eyes. And thus this air

All glides athrough our eyeballs, and, as ’twere,

Brushes athrough our pupils and thuswise

Passes across. Therefore it comes we see

How far from us each thing may be away,

And the more air there be that’s driven before,

And too the longer be the brushing breeze

Against our eyes, the farther off removed

Each thing is seen to be: forsooth, this work

With mightily swift order all goes on,

So that upon one instant we may see

What kind the object and how far away.

Nor over-marvellous must this be deemed

In these affairs that, though the films which strike

Upon the eyes cannot be singly seen,

The things themselves may be perceived. For thus

When the wind beats upon us stroke by stroke

And when the sharp cold streams, ’tis not our wont

To feel each private particle of wind

Or of that cold, but rather all at once;

And so we see how blows affect our body,

As if one thing were beating on the same

And giving us the feel of its own body

Outside of us. Again, whene’er we thump

With finger-tip upon a stone, we touch

But the rock’s surface and the outer hue,

Nor feel that hue by contact — rather feel

The very hardness deep within the rock.

Now come, and why beyond a looking-glass

An image may be seen, perceive. For seen

It soothly is, removed far within.

’Tis the same sort as objects peered upon

Outside in their true shape, whene’er a door

Yields through itself an open peering-place,

And lets us see so many things outside

Beyond the house. Also that sight is made

By a twofold twin air: for first is seen

The air inside the door-posts; next the doors,

The twain to left and right; and afterwards

A light beyond comes brushing through our eyes,

Then other air, then objects peered upon

Outside in their true shape. And thus, when first

The image of the glass projects itself,

As to our gaze it comes, it shoves ahead

And drives along the air that’s in the space

Betwixt it and our eyes, and brings to pass

That we perceive the air ere yet the glass.

But when we’ve also seen the glass itself,

Forthwith that image which from us is borne

Reaches the glass, and there thrown back again

Comes back unto our eyes, and driving rolls

Ahead of itself another air, that then

’Tis this we see before itself, and thus

It looks so far removed behind the glass.

Wherefore again, again, there’s naught for wonder

. . . . . .

In those which render from the mirror’s plane

A vision back, since each thing comes to pass

By means of the two airs. Now, in the glass

The right part of our members is observed

Upon the left, because, when comes the image

Hitting against the level of the glass,

’Tis not returned unshifted; but forced off

Backwards in line direct and not oblique —

Exactly as whoso his plaster-mask

Should dash, before ’twere dry, on post or beam,

And it should straightway keep, at clinging there,

Its shape, reversed, facing him who threw,

And so remould the features it gives back:

It comes that now the right eye is the left,

The left the right. An image too may be

From mirror into mirror handed on,

Until of idol-films even five or six

Have thus been gendered. For whatever things

Shall hide back yonder in the house, the same,

However far removed in twisting ways,

May still be all brought forth through bending paths

And by these several mirrors seen to be

Within the house, since nature so compels

All things to be borne backward and spring off

At equal angles from all other things.

To such degree the image gleams across

From mirror unto mirror; where ’twas left

It comes to be the right, and then again

Returns and changes round unto the left.

Again, those little sides of mirrors curved

Proportionate to the bulge of our own flank

Send back to us their idols with the right

Upon the right; and this is so because

Either the image is passed on along

From mirror unto mirror, and thereafter,

When twice dashed off, flies back unto ourselves;

Or else the image wheels itself around,

When once unto the mirror it has come,

Since the curved surface teaches it to turn

To usward. Further, thou might’st well believe

That these film-idols step along with us

And set their feet in unison with ours

And imitate our carriage, since from that

Part of a mirror whence thou hast withdrawn

Straightway no images can be returned.

Further, our eye-balls tend to flee the bright

And shun to gaze thereon; the sun even blinds,

If thou goest on to strain them unto him,

Because his strength is mighty, and the films

Heavily downward from on high are borne

Through the pure ether and the viewless winds,

And strike the eyes, disordering their joints.

So piecing lustre often burns the eyes,

Because it holdeth many seeds of fire

Which, working into eyes, engender pain.

Again, whatever jaundiced people view

Becomes wan-yellow, since from out their bodies

Flow many seeds wan-yellow forth to meet

The films of things, and many too are mixed

Within their eye, which by contagion paint

All things with sallowness. Again, we view

From dark recesses things that stand in light,

Because, when first has entered and possessed

The open eyes this nearer darkling air,

Swiftly the shining air and luminous

Followeth in, which purges then the eyes

And scatters asunder of that other air

The sable shadows, for in large degrees

This air is nimbler, nicer, and more strong.

And soon as ever ‘thas filled and oped with light

The pathways of the eyeballs, which before

Black air had blocked, there follow straightaway

Those films of things out-standing in the light,

Provoking vision — what we cannot do

From out the light with objects in the dark,

Because that denser darkling air behind

Followeth in, and fills each aperture

And thus blockades the pathways of the eyes

That there no images of any things

Can be thrown in and agitate the eyes.

And when from far away we do behold

The squared towers of a city, oft

Rounded they seem — on this account because

Each distant angle is perceived obtuse,

Or rather it is not perceived at all;

And perishes its blow nor to our gaze

Arrives its stroke, since through such length of air

Are borne along the idols that the air

Makes blunt the idol of the angle’s point

By numerous collidings. When thuswise

The angles of the tower each and all

Have quite escaped the sense, the stones appear

As rubbed and rounded on a turner’s wheel —

Yet not like objects near and truly round,

But with a semblance to them, shadowily.

Likewise, our shadow in the sun appears

To move along and follow our own steps

And imitate our carriage — if thou thinkest

Air that is thus bereft of light can walk,

Following the gait and motion of mankind.

For what we use to name a shadow, sure

Is naught but air deprived of light. No marvel:

Because the earth from spot to spot is reft

Progressively of light of sun, whenever

In moving round we get within its way,

While any spot of earth by us abandoned

Is filled with light again, on this account

It comes to pass that what was body’s shadow

Seems still the same to follow after us

In one straight course. Since, evermore pour in

New lights of rays, and perish then the old,

Just like the wool that’s drawn into the flame.

Therefore the earth is easily spoiled of light

And easily refilled and from herself

Washeth the black shadows quite away.

And yet in this we don’t at all concede

That eyes be cheated. For their task it is

To note in whatsoever place be light,

In what be shadow: whether or no the gleams

Be still the same, and whether the shadow which

Just now was here is that one passing thither,

Or whether the facts be what we said above,

’Tis after all the reasoning of mind

That must decide; nor can our eyeballs know

The nature of reality. And so

Attach thou not this fault of mind to eyes,

Nor lightly think our senses everywhere

Are tottering. The ship in which we sail

Is borne along, although it seems to stand;

The ship that bides in roadstead is supposed

There to be passing by. And hills and fields

Seem fleeing fast astern, past which we urge

The ship and fly under the bellying sails.

The stars, each one, do seem to pause, affixed

To the ethereal caverns, though they all

Forever are in motion, rising out

And thence revisiting their far descents

When they have measured with their bodies bright

The span of heaven. And likewise sun and moon

Seem biding in a roadstead — objects which,

As plain fact proves, are really borne along.

Between two mountains far away aloft

From midst the whirl of waters open lies

A gaping exit for the fleet, and yet

They seem conjoined in a single isle.

When boys themselves have stopped their spinning round,

The halls still seem to whirl and posts to reel,

Until they now must almost think the roofs

Threaten to ruin down upon their heads.

And now, when nature begins to lift on high

The sun’s red splendour and the tremulous fires,

And raise him o’er the mountain-tops, those mountains —

O’er which he seemeth then to thee to be,

His glowing self hard by atingeing them

With his own fire — are yet away from us

Scarcely two thousand arrow-shots, indeed

Oft scarce five hundred courses of a dart;

Although between those mountains and the sun

Lie the huge plains of ocean spread beneath

The vasty shores of ether, and intervene

A thousand lands, possessed by many a folk

And generations of wild beasts. Again,

A pool of water of but a finger’s depth,

Which lies between the stones along the pave,

Offers a vision downward into earth

As far, as from the earth o’erspread on high

The gulfs of heaven; that thus thou seemest to view

Clouds down below and heavenly bodies plunged

Wondrously in heaven under earth.

Then too, when in the middle of the stream

Sticks fast our dashing horse, and down we gaze

Into the river’s rapid waves, some force

Seems then to bear the body of the horse,

Though standing still, reversely from his course,

And swiftly push up-stream. And wheresoe’er

We cast our eyes across, all objects seem

Thus to be onward borne and flow along

In the same way as we. A portico,

Albeit it stands well propped from end to end

On equal columns, parallel and big,

Contracts by stages in a narrow cone,

When from one end the long, long whole is seen —

Until, conjoining ceiling with the floor,

And the whole right side with the left, it draws

Together to a cone’s nigh-viewless point.

To sailors on the main the sun he seems

From out the waves to rise, and in the waves

To set and bury his light — because indeed

They gaze on naught but water and the sky.

Again, to gazers ignorant of the sea,

Vessels in port seem, as with broken poops,

To lean upon the water, quite agog;

For any portion of the oars that’s raised

Above the briny spray is straight, and straight

The rudders from above. But other parts,

Those sunk, immersed below the water-line,

Seem broken all and bended and inclined

Sloping to upwards, and turned back to float

Almost atop the water. And when the winds

Carry the scattered drifts along the sky

In the night-time, then seem to glide along

The radiant constellations ‘gainst the clouds

And there on high to take far other course

From that whereon in truth they’re borne. And then,

If haply our hand be set beneath one eye

And press below thereon, then to our gaze

Each object which we gaze on seems to be,

By some sensation twain — then twain the lights

Of lampions burgeoning in flowers of flame,

And twain the furniture in all the house,

Two-fold the visages of fellow-men,

And twain their bodies. And again, when sleep

Has bound our members down in slumber soft

And all the body lies in deep repose,

Yet then we seem to self to be awake

And move our members; and in night’s blind gloom

We think to mark the daylight and the sun;

And, shut within a room, yet still we seem

To change our skies, our oceans, rivers, hills,

To cross the plains afoot, and hear new sounds,

Though still the austere silence of the night

Abides around us, and to speak replies,

Though voiceless. Other cases of the sort

Wondrously many do we see, which all

Seek, so to say, to injure faith in sense —

In vain, because the largest part of these

Deceives through mere opinions of the mind,

Which we do add ourselves, feigning to see

What by the senses are not seen at all.

For naught is harder than to separate

Plain facts from dubious, which the mind forthwith

Adds by itself.

    Again, if one suppose

That naught is known, he knows not whether this

Itself is able to be known, since he

Confesses naught to know. Therefore with him

I waive discussion — who has set his head

Even where his feet should be. But let me grant

That this he knows — I question: whence he knows

What ’tis to know and not-to-know in turn,

And what created concept of the truth,

And what device has proved the dubious

To differ from the certain? — since in things

He’s heretofore seen naught of true. Thou’lt find

That from the senses first hath been create

Concept of truth, nor can the senses be

Rebutted. For criterion must be found

Worthy of greater trust, which shall defeat

Through own authority the false by true;

What, then, than these our senses must there be

Worthy a greater trust? Shall reason, sprung

From some false sense, prevail to contradict

Those senses, sprung as reason wholly is

From out the senses? — For lest these be true,

All reason also then is falsified.

Or shall the ears have power to blame the eyes,

Or yet the touch the ears? Again, shall taste

Accuse this touch or shall the nose confute

Or eyes defeat it? Methinks not so it is:

For unto each has been divided off

Its function quite apart, its power to each;

And thus we’re still constrained to perceive

The soft, the cold, the hot apart, apart

All divers hues and whatso things there be

Conjoined with hues. Likewise the tasting tongue

Has its own power apart, and smells apart

And sounds apart are known. And thus it is

That no one sense can e’er convict another.

Nor shall one sense have power to blame itself,

Because it always must be deemed the same,

Worthy of equal trust. And therefore what

At any time unto these senses showed,

The same is true. And if the reason be

Unable to unravel us the cause

Why objects, which at hand were square, afar

Seemed rounded, yet it more availeth us,

Lacking the reason, to pretend a cause

For each configuration, than to let

From out our hands escape the obvious things

And injure primal faith in sense, and wreck

All those foundations upon which do rest

Our life and safety. For not only reason

Would topple down; but even our very life

Would straightaway collapse, unless we dared

To trust our senses and to keep away

From headlong heights and places to be shunned

Of a like peril, and to seek with speed

Their opposites! Again, as in a building,

If the first plumb-line be askew, and if

The square deceiving swerve from lines exact,

And if the level waver but the least

In any part, the whole construction then

Must turn out faulty — shelving and askew,

Leaning to back and front, incongruous,

That now some portions seem about to fall,

And falls the whole ere long — betrayed indeed

By first deceiving estimates: so too

Thy calculations in affairs of life

Must be askew and false, if sprung for thee

From senses false. So all that troop of words

Marshalled against the senses is quite vain.

And now remains to demonstrate with ease

How other senses each their things perceive.

Firstly, a sound and every voice is heard,

When, getting into ears, they strike the sense

With their own body. For confess we must

Even voice and sound to be corporeal,

Because they’re able on the sense to strike.

Besides voice often scrapes against the throat,

And screams in going out do make more rough

The wind-pipe — naturally enough, methinks,

When, through the narrow exit rising up

In larger throng, these primal germs of voice

Have thus begun to issue forth. In sooth,

Also the door of the mouth is scraped against

[By air blown outward] from distended [cheeks].

. . . . . .

And thus no doubt there is, that voice and words

Consist of elements corporeal,

With power to pain. Nor art thou unaware

Likewise how much of body’s ta’en away,

How much from very thews and powers of men

May be withdrawn by steady talk, prolonged

Even from the rising splendour of the morn

To shadows of black evening — above all

If ‘t be outpoured with most exceeding shouts.

Therefore the voice must be corporeal,

Since the long talker loses from his frame

A part.

    Moreover, roughness in the sound

Comes from the roughness in the primal germs,

As a smooth sound from smooth ones is create;

Nor have these elements a form the same

When the trump rumbles with a hollow roar,

As when barbaric Berecynthian pipe

Buzzes with raucous boomings, or when swans

By night from icy shores of Helicon

With wailing voices raise their liquid dirge.

Thus, when from deep within our frame we force

These voices, and at mouth expel them forth,

The mobile tongue, artificer of words,

Makes them articulate, and too the lips

By their formations share in shaping them.

Hence when the space is short from starting-point

To where that voice arrives, the very words

Must too be plainly heard, distinctly marked.

For then the voice conserves its own formation,

Conserves its shape. But if the space between

Be longer than is fit, the words must be

Through the much air confounded, and the voice

Disordered in its flight across the winds —

And so it haps, that thou canst sound perceive,

Yet not determine what the words may mean;

To such degree confounded and encumbered

The voice approaches us. Again, one word,

Sent from the crier’s mouth, may rouse all ears

Among the populace. And thus one voice

Scatters asunder into many voices,

Since it divides itself for separate ears,

Imprinting form of word and a clear tone.

But whatso part of voices fails to hit

The ears themselves perishes, borne beyond,

Idly diffused among the winds. A part,

Beating on solid porticoes, tossed back

Returns a sound; and sometimes mocks the ear

With a mere phantom of a word. When this

Thou well hast noted, thou canst render count

Unto thyself and others why it is

Along the lonely places that the rocks

Give back like shapes of words in order like,

When search we after comrades wandering

Among the shady mountains, and aloud

Call unto them, the scattered. I have seen

Spots that gave back even voices six or seven

For one thrown forth — for so the very hills,

Dashing them back against the hills, kept on

With their reverberations. And these spots

The neighbouring country-side doth feign to be

Haunts of the goat-foot satyrs and the nymphs;

And tells ye there be fauns, by whose night noise

And antic revels yonder they declare

The voiceless silences are broken oft,

And tones of strings are made and wailings sweet

Which the pipe, beat by players’ finger-tips,

Pours out; and far and wide the farmer-race

Begins to hear, when, shaking the garmentings

Of pine upon his half-beast head, god-Pan

With puckered lip oft runneth o’er and o’er

The open reeds — lest flute should cease to pour

The woodland music! Other prodigies

And wonders of this ilk they love to tell,

Lest they be thought to dwell in lonely spots

And even by gods deserted. This is why

They boast of marvels in their story-tellings;

Or by some other reason are led on —

Greedy, as all mankind hath ever been,

To prattle fables into ears.

    Again,

One need not wonder how it comes about

That through those places (through which eyes cannot

View objects manifest) sounds yet may pass

And assail the ears. For often we observe

People conversing, though the doors be closed;

No marvel either, since all voice unharmed

Can wind through bended apertures of things,

While idol-films decline to — for they’re rent,

Unless along straight apertures they swim,

Like those in glass, through which all images

Do fly across. And yet this voice itself,

In passing through shut chambers of a house,

Is dulled, and in a jumble enters ears,

And sound we seem to hear far more than words.

Moreover, a voice is into all directions

Divided up, since off from one another

New voices are engendered, when one voice

Hath once leapt forth, outstarting into many —

As oft a spark of fire is wont to sprinkle

Itself into its several fires. And so,

Voices do fill those places hid behind,

Which all are in a hubbub round about,

Astir with sound. But idol-films do tend,

As once sent forth, in straight directions all;

Wherefore one can inside a wall see naught,

Yet catch the voices from beyond the same.

Nor tongue and palate, whereby we flavour feel,

Present more problems for more work of thought.

Firstly, we feel a flavour in the mouth,

When forth we squeeze it, in chewing up our food —

As any one perchance begins to squeeze

With hand and dry a sponge with water soaked.

Next, all which forth we squeeze is spread about

Along the pores and intertwined paths

Of the loose-textured tongue. And so, when smooth

The bodies of the oozy flavour, then

Delightfully they touch, delightfully

They treat all spots, around the wet and trickling

Enclosures of the tongue. And contrariwise,

They sting and pain the sense with their assault,

According as with roughness they’re supplied.

Next, only up to palate is the pleasure

Coming from flavour; for in truth when down

‘Thas plunged along the throat, no pleasure is,

Whilst into all the frame it spreads around;

Nor aught it matters with what food is fed

The body, if only what thou take thou canst

Distribute well digested to the frame

And keep the stomach in a moist career.

Now, how it is we see some food for some,

Others for others. . . .

. . . . . .

I will unfold, or wherefore what to some

Is foul and bitter, yet the same to others

Can seem delectable to eat — why here

So great the distance and the difference is

That what is food to one to some becomes

Fierce poison, as a certain snake there is

Which, touched by spittle of a man, will waste

And end itself by gnawing up its coil.

Again, fierce poison is the hellebore

To us, but puts the fat on goats and quails.

That thou mayst know by what devices this

Is brought about, in chief thou must recall

What we have said before, that seeds are kept

Commixed in things in divers modes. Again,

As all the breathing creatures which take food

Are outwardly unlike, and outer cut

And contour of their members bounds them round,

Each differing kind by kind, they thus consist

Of seeds of varying shape. And furthermore,

Since seeds do differ, divers too must be

The interstices and paths (which we do call

The apertures) in all the members, even

In mouth and palate too. Thus some must be

More small or yet more large, three-cornered some

And others squared, and many others round,

And certain of them many-angled too

In many modes. For, as the combination

And motion of their divers shapes demand,

The shapes of apertures must be diverse

And paths must vary according to their walls

That bound them. Hence when what is sweet to some,

Becomes to others bitter, for him to who............