Cratylus
   Part
 1 Intro|         the imitation of ideas in sounds; he also recognises the
 2 Intro|           not correspond to their sounds, with the exception of epsilon,
 3 Intro|           would be mere unmeaning sounds, like the hammering of a
 4 Intro|          them all the appropriate sounds, or only some of them. And
 5 Intro|           so he who gives all the sounds makes a good name, and he
 6 Intro|           has created the picture sounds which represent natural
 7 Intro|           of analogous or similar sounds, in order to express similar
 8 Intro|         observations on words and sounds. ‘The Eretrians say sklerotes
 9 Intro|     microscopic; twenty or thirty sounds or gestures would be enough
10 Intro|       process the articulation of sounds is gradually becoming perfected.
11 Intro|           reciprocal influence of sounds and conceptions on each
12 Intro|       first rude agglomeration of sounds that they may be replaced
13 Intro|           men to utter articulate sounds were inspired. Yet in making
14 Intro|       dumb who have words without sounds, of the various disorders
15 Intro|       mere mechanical cohesion of sounds or words, and the ‘chemical’
16 Intro|      uttering a certain number of sounds. Every man has tongue, teeth,
17 Intro|       laid bare; the relations of sounds have been more accurately
18 Intro|          the same meaning. No two sounds are exactly of the same
19 Intro|      possess the power of varying sounds by opening and closing the
20 Intro|         is said to be insensible: sounds, like animals, are supposed
21 Intro|         some of the laws by which sounds pass into one another. We
22 Intro|     animals, from the analysis of sounds in relation to the organs
23 Intro|        mingled with more definite sounds recognized by custom as
24 Intro|         had the same meaning. The sounds by which they were expressed
25 Intro| displacement and contamination of sounds and the meanings of words,
26 Intro|      expressiveness of particular sounds. Such notions were certainly
27 Intro|           of one of two competing sounds; but these expressions do
28 Intro|      origin of species, how vocal sounds received life and grew,
29 Intro|       imitations of other natural sounds, but as symbols of ideas
30 Intro|    regulated the juxtaposition of sounds and the cadence of sentences.
31 Intro|           parallel composition of sounds in their English equivalents.
32 Intro|        words are attracted by the sounds and senses of other words,
33 Intro|           in ascertaining how the sounds and meanings of words were
34 Intro|     require that the intermediate sounds or meanings of words should
35 Intro|          on the ear that the same sounds should be used twice over,
36 Intro|          in which all is relative—sounds to sounds, words to words,
37 Intro|         all is relative—sounds to sounds, words to words, the parts
38 Text |           name of each thing into sounds and syllables, and to make
39 Text |         our forefathers loved the sounds iota and delta, especially
40 Text |  elementary, and then of compound sounds, and when they have done
41 Text |           and I were saying about sounds. Do you agree with me that


Gorgias
   Part
42 Intro|       than the discord of musical sounds.~Callicles answers, that
43 Text |         bodies, colours, figures, sounds, institutions, do you not
44 Text |      SOCRATES: And you would call sounds and music beautiful for


Laws
   Book
45 2    |        give utterance to the same sounds?~Cleinias. How can they,
46 2    |        they mix up the voices and sounds of animals and of men and
47 3    |         dithyrambs; imitating the sounds of the flute on the lyre,
48 5    |      height and depth, and in all sounds, and in motions, as well
49 7    |          learner ought to use the sounds of the lyre, because its
50 10   |      accompanying them—sights and sounds delightful to children—and


Phaedo
   Part
51 Text |        things trouble her—neither sounds nor sights nor pain nor
52 Text |          and the strings, and the sounds exist in a state of discord,


Phaedrus
   Part
53 Intro|        lying down amidst pleasant sounds and scents, they will read
54 Text |     resting-place, full of summer sounds and scents. Here is this


Philebus
   Part
55 Intro|        well as those derived from sounds of music and from knowledge.
56 Text |          the number and nature of sounds is what makes a man a grammarian.~
57 Text |        when you have learned what sounds are high and what low, and
58 Text |   semivowels, into the individual sounds, and told the number of
59 Text |      thought to him in articulate sounds, and what was before an
60 Text |           clearer.~SOCRATES: When sounds are smooth and clear, and
61 Text |           of this empiricism; for sounds are harmonized, not by measure,


Protagoras
   Part
62 Text |        thickness and number; also sounds, which are in themselves


The Republic
   Book
63 3    |          pulleys, and the various sounds of flutes, pipes, trumpets,
64 3    |    systems are framed, just as in sounds there are four notes out
65 3    |      health, amid fair sights and sounds, and receive the good in
66 5    |           he said. ~The lovers of sounds and sights, I replied, are,
67 5    |   remember, who listened to sweet sounds and gazed upon fair colors,
68 6    |        several cries, and by what sounds, when another utters them,
69 7    |   teachers of harmony compare the sounds and consonances which are
70 7    |     others insisting that the two sounds have passed into the same-either


The Sophist
   Part
71 Text |          is not this also true of sounds high and low?—Is not he
72 Text |          has the art to know what sounds mingle, a musician, and
73 Text |    non-existence indicated by the sounds, until verbs are mingled


Theaetetus
   Part
74 Intro|          sights with the eye, and sounds with the ear. This leads
75 Intro|          the forms or hearing the sounds of words in a foreign language,
76 Intro|         his own; he distinguishes sounds because he is told to remark
77 Text |         does he hear high and low sounds?—you would say, if I am
78 Text |       cannot.~SOCRATES: How about sounds and colours: in the first
79 Text |         meaning in asking whether sounds and colours are saline or


Timaeus
   Part
80 Intro|          sound. Of the harmony of sounds I will hereafter speak.~
81 Intro|        similar principle; as also sounds, which are sometimes discordant
82 Intro|           of equality. The slower sounds reaching the swifter, when
83 Intro|       like fair sights or musical sounds before the eyes and ears
84 Intro|         and slower motions of two sounds, and is converted into harmony
85 Text |     principle; and swift and slow sounds, which appear to be high
86 Text |         of the antecedent swifter sounds begin to pause and the two
87 Text |         are equalized, the slower sounds overtake the swifter and