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69
The mental ability to read sound
is -- only the first hint at the lingua
languarum; and we
know: the second coming of the Word -- will be
consummated.
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We are approaching the
possibility: to depict sounds of a
word
in a design of lines; we
will tentatively agree to drag out all the
movements in the cavity of the mouth, arranging in
the places for the sound of the letters
corresponding lines; a goldenish line of gases
"s-z-zh-sh-kh" proceeds in a wavy spiral from the
teeth to the larynx; the tiny spirals for "S" (in
front of the teeth, on the teeth, beyond the teeth)
will signify the place for "s," and its flying
form; on the wavy line (a wider "s") between the
lips, with sufficient precision we will depict the
outflow of "v"; we will depict all sounds; for "r"
there is a sign: a wheel; the soft sounds are --
circular lines, and the unvoiced ones are -- angles
interrupting the streams; at the corresponding
place we will arrange the lines, unite them: we'll
end up with a design, all that happens in the
mouth.
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For simplicity we first will
turn our attention away from the vowels; let us
remember: paysages are composed in an inverted
view; that which in our thoughts is on the top, in
the mouth that is on the bottom; the cavity of the
mouth is inverted.
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The design
of the Russian word for
"passion" [strast'] is in diagram
14.
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I take "Seraphim"; and draw the
design of the consonants.
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In the place of "r" is -- a
wheel; in the place of "s" -- three tiny spirals;
"sr" is a flight over to the sound "ph"; "rph" is
-- a line of descent to "m," or of the ether
radiating into the moisture; the picture of sounds
depicts a thunderstorm: the light shines, the
thunder roars -- a whirlwind of the ether flies
into animal blood; the sound "Seraphim" rises up in
a gesture, proceeding in the mouth, when we
pronounce it, here, the stream, winding about,
dances and as it flies out it becomes delicate
flesh.
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A design is the flesh of our
thought.
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We can draw out a sound in
lines, we can dance it, in it we can construct
images.
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