And now, I think that we may consider the names about which you were
asking. The way to analyze them will be by going back to the letters, or
primary elements of which they are composed. First, we separate the
alphabet into classes of letters, distinguishing the consonants, mutes,
vowels, and semivowels; and when we have learnt them singly, we shall learn
to know them in their various combinations of two or more letters; just as
the painter knows how to use either a single colour, or a combination of
colours. And like the painter, we may apply letters to the expression of
objects, and form them into syllables; and these again into words, until
the picture or figure--that is, language--is completed. Not that I am
literally speaking of ourselves, but I mean to say that this was the way in
which the ancients framed language. And this leads me to consider whether
the primary as well as the secondary elements are rightly given. I may
remark, as I was saying about the Gods, that we can only attain to
conjecture of them. But still we insist that ours is the true and only
method of discovery; otherwise we must have recourse, like the tragic
poets, to a Deus ex machina, and say that God gave the first names, and
therefore they are right; or that the barbarians are older than we are, and
that we learnt of them; or that antiquity has cast a veil over the truth.
Yet all these are not reasons; they are only ingenious excuses for having
no reasons.

I will freely impart to you my own notions, though they are somewhat
crude:--the letter rho appears to me to be the general instrument which the
legislator has employed to express all motion or kinesis. (I ought to
explain that kinesis is just iesis (going), for the letter eta was unknown
to the ancients; and the root, kiein, is a foreign form of ienai: of
kinesis or eisis, the opposite is stasis). This use of rho is evident in
the words tremble, break, crush, crumble, and the like; the imposer of