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All that Simmias needs to cause problems for Socrates' argument is the claim that harmony is invisible and harmony can be destroyed.
西米亚斯为苏格拉底的论证,带来问题的只需要是,和声是无形的,但是可以毁灭。
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If one chord holds twice as long or only half as long, then we have an irregular harmonic change--irregular rate of harmonic change.
如果某一个和弦持续的时间是其他和弦的两倍或者只有一半，这就是不规则的和声改变。
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Is this metaphor, think about the relationship between the mind and the body as similar to the relationship between harmony and a harp.
思考思想和身体的关系,是否和这个比喻里,和声和竖琴的关系相同。
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Now noticed if that's the way we interpret his argument, harmony works no longer as a counterexample.
注意到如果这是,我们解读他论点的方式，和声就不再一个反例了。
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We want to figure out if the harmony is changing, and if it is changing whether it's changing at a regular or irregular rate.
一是判断和声是否发生了变化，二是如果发生了变化，和声的变化频率是规则还是不规则的。
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it's dependent just the same way that well, for example, harmony is denpendent upon the physical instrument.
依赖的方式同,举个例子,和声依赖物质的乐器是一个道理。
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Harmony is indeed invisible in sense Number 1, you cannot see it with your eyes, but for all that, it can be destroyed.
和声用无形的第一种解读方式理解，确实是无形的，你看不见它，但是它可以毁灭。
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So the crucial point right now is that, thinking about harmony is offered as a counterexample to the generalization that invisible things can't be destroyed.
所以现在的重要问题是，和声的例子现在作为,灵魂不可毁灭,这一概括说法的反例。
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So the whole piece,then,would be a piece involving irregular rate of change-- the entire piece.
所以整首歌曲中和声都有不规则的改变-,整首歌曲都是。
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But first let's worry about the point that I was emphasizing earlier, namely, even if the soul is not very much like harmony, so what?
但首先让我们探讨一下,我之前强调的那一点，那就是即使灵魂和和声大为不同，那又如何？
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So here's my proposal. Suppose what we think is not about harmony, but radio waves.
我的提议是这样的,假设我们想的不是和声而是无线电波。
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So the harmony analogy is I think an attempt, and not a bad attempt, at gesturing towards the question how do physicalists think about the mind.
所以我认为和声的类比是个尝试，而且是不错的尝试,尝试解读物理学家如何思考精神。
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By regular rate we mean that the amount of time that each chord holds is exactly the same; every chord holds for the same length of time.
如果变化频率规则，那么和声中每个和弦持续的时间长度是完全相同的;,每个和弦都持续同样长的时间。
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I started by saying, "Could you come up with any kind of-- well,you tell me in fifty words or less what I said in lecture yesterday about harmony.
我是这样开头的，你们能够想起任何-,好吧，你们用五十个以内单词告诉我在昨天的课上我就和声问题说了些什么。
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Socrates never says Simmias, here's what your objection goes wrong: harmony is not really invisible or can't be destroyed, whatever it is, so we don't have a counterexample.
苏格拉底从没说过，西米亚斯,你的观点在这里有错,和声并非无形或者不可毁灭，所以我们没有了反例。
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We have basically harmony but it has a simple rhythm to it.
是基本的和声,不过这只是一个简单的节奏
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Harmony was invisible when we mean definition No. 1- can't be seen.
我们取第一种定义的时候,和声是无形因为它是看不见的。
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Can you come up with a visual image of how harmony works?
你们能想出和声运作的视觉影像吗？
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It's as though the mind is like harmony of the body.
好像精神,就是身体的和声一样。
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So if what Socrates means by invisibility is the first notion: can't be seen with your eyes, then the argument is not any good, harmony is a pretty compelling counterexample.
所以如果苏格拉底说的无形,是第一个意思：，眼睛看不见，这个论证就不好，和声是个很有说服力的反例。
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So what's happened to the rate of harmonic change here?
所以说这里的和声变化率是怎样的？
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This is a harmony with a very simple rhythm here.
这是个和声,有一点简单的节奏
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So we'll focus on the bass and we'll try to sing the bass, and if we find that in singing the bass our voice is not changing, probably the harmony hasn't changed.
现在把我们的注意力放到低声部上，尽量唱出低声部，如果在唱的过程中我们觉得自己的声音没有变化，那和声就很有可能没有改变。
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Harmony is invisible. Harmony can be destroyed.
和声是无形的，和声可以毁灭。
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I think what's going on in the harmony, the suggestion that we should think the mind like harmony as though the harmony of the body, is an early attempt to state the physicalist view.
推断精神像是，我们肉体的和声,展现了，对物理学家的观点的早期尝试。
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They just elongated each measure by its same amount so we had harmony changing on each measure, and then in that middle section each chord was changing at the rate of two measures.
但它的基本形式没有改变，而在每个小节中和声都发生了改变，接着在中间的乐节，每个和弦每两小节改变一次。
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You don't see harmony. Harmony is invisible.
你看不见和声，它是无形的。
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And all of our musical experience tells us to listen to melody; melody's beautiful--that's what we want to hear, but now to get a sense of harmony we're going to listen to the bass.
所有我们过去听音乐的经历都告诉我们应该听旋律;,旋律是美妙的，这是我们想听的，但是现在为了了解和声我们应该听低音部。
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So the point of this is: once you get these kind of progressions locked in your ears, you go to a concert and you can begin to chart what the piece is doing in terms of its harmony.
这里的重点是，一旦你的耳朵牢牢记住了这些进程，你去听音乐会的时候就能开始分析一部作品的和声了。
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If some invisible things can be destroyed, and harmony is an example of that, then, by golly, it's going to follow that we can't conclude from the invisibility of the soul that the soul can't be destroyed.
如果有形的东西可以毁灭，和声是这样的一个例子，那么接下来我们就无法得出,灵魂是无形的,无法毁灭的。
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