Dialogue

 1 Craty|        to conceive of degrees of imitation; a word is either the perfect
 2 Craty|         art or to law. But vocal imitation, like any other copy, may
 3 Craty|        words to be formed by the imitation of ideas in sounds; he also
 4 Craty|          chance. But he gives no imitation in all this that he is preparing
 5 Craty| endeavours to show Cratylus that imitation may be partial or imperfect,
 6 Craty|         only express anything by imitation; and the tongue or mouth
 7 Craty|       rest of the body. But this imitation of the tongue or voice is
 8 Craty|        or, secondly, a pictorial imitation, but an imitation of that
 9 Craty|      pictorial imitation, but an imitation of that kind which expresses
10 Craty|        wind, are employed in the imitation of such notions as shivering,
11 Craty|         that convention is used? Imitation is a poor thing, and has
12 Craty|         distinguish between mere imitation and the symbolical use of
13 Craty|     which he gives both modes of imitation. Gesture is the mode which
14 Craty|     roundness, there is a direct imitation; while in the use of the
15 Craty|       eta to express length, the imitation is symbolical. The use of
16 Craty|         and association by which imitation must be regulated. He was
17 Craty|         that the ‘poor creature’ imitation is supplemented by another ‘
18 Craty|       involuntary, and may be an imitation of the roar of the animal.
19 Craty|        interjection or the vocal imitation of the object, but the interjection
20 Craty|        interjection or the vocal imitation of the object understood,
21 Craty|       independent existence. The imitation of the lion’s roar calls
22 Craty|        crowd the mind; the vocal imitation, too, is always in process
23 Craty|      case not without a power of imitation which is also natural to
24 Craty|       may witness the delight in imitation and repetition, and some
25 Craty|          also to the animals, is imitation. The lion roars, the wolf
26 Craty|        he has heard. The love of imitation becomes a passion and an
27 Craty|    action of the human mind.~ii. Imitation provided the first material
28 Craty|     supplement the poor creature imitation by another poor creature
29 Craty|         could not; for by bodily imitation only can the body ever express
30 Craty|       expression is simply their imitation of that which we want to
31 Craty|           Then a name is a vocal imitation of that which the vocal
32 Craty|        Socrates, what sort of an imitation is a name?~SOCRATES: In
33 Craty|      should reply, not a musical imitation, although that is also vocal;
34 Craty|       also vocal; nor, again, an imitation of what music imitates;
35 Craty|         does the imitator begin? Imitation of the essence is made by
36 Craty|    breath; these are used in the imitation of such notions as psuchron (
37 Craty|        signs, and out of them by imitation compounding other signs.
38 Craty|  acknowledge that the name is an imitation of the thing?~CRATYLUS:
39 Craty|      then, whether both sorts of imitation (I mean both pictures or
40 Craty|     things of which they are the imitation.~CRATYLUS: They are.~SOCRATES:
41 Craty|          like the picture, is an imitation. May I not say to him— ‘
42 Craty|         his sense of hearing the imitation of himself, when I say, ‘
43 Craty|          which the names are the imitation: And the original elements