Of The Nature of Things [53]
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,
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,