picture of the reality of which it treats. But nor does the musical score appear at first sight to be a picture of a musical piece; nor does our phonetic spelling (letters) seem to be a picture of our spoken language. And yet these symbolisms prove to be pictures—even in the ordinary sense of the word—of what they represent.
4.012 It is obvious that we perceive a proposition of the form aRb as a picture. Here the sign is obviously a likeness of the signified.
4.013 And if we penetrate to the essence of this pictorial nature we see that this is not disturbed by apparent irregularities (like the use of ♯ and ♭ in the score).
For these irregularities also picture what they are to express; only in another way.
4.014 The gramophone record, the musical thought, the score, the waves of sound, all stand to one another in that pictorial internal relation, which holds between language and the world.
To all of them the logical structure is common.
(Like the two youths, their two horses and their lilies in the story. They are all in a certain sense one.)
4.0141 In the fact that there is a general rule by which the musician is able to read the symphony out of the score, and that there is a rule by which one could reconstruct the symphony from the line on a gramophone record and from this again—by means of the first rule—construct the score, herein lies the internal similarity between these things which at first sight seem to be entirely different. And the rule is the law of projection which projects the symphony into the language of the musical score. It is the rule of translation of this language into the language of the gramophone record.
4.015 The possibility of all similes, of all the
