4.014 A gramophone record, a musical thought, musical notation, and sound waves, all stand to one another in that internal picturing relation that holds between language and world.

The logical form is common to all of them.

(As in the fairytale with the two youths, their two horses and their lilies. They are all in a certain sense one.)

‘Logical form’ is suggested by Black (p. 163) for logische Bau, which literally means something more like Ogden’s ‘logical structure.’ Since Wittgenstein contrasts structure and form, and refers to logische Bau nowhere but here, Black argues that ‘form’ is more appropriate than ‘structure’ here.

If they are one then they do not really have anything in common. They simply are the same thing. And yet they are not really the same thing. A musical score and a musical recording are not the same, although both may be referred to as, say, Beethoven’s Fifth. They have a kind of interchangeability, though, and insofar as they are interchangeable (which is by no means completely) they are one. But the interchangeability is purpose-dependent, seemingly. In the fairy story it is symbolic, and depends on our being able to see it as such. It is not, it seems, real in a platonic, metaphysical sense.

The fairytale in question appears to be the story “Golden Children” by the brothers Grimm. See Nordmann p. 114, note 47, where Jim Klagge is credited with this discovery. In this story, Nordmann says, “two youths, two horses, and two lilies mirror each other and yet, in a fairy-tale sense, are “literally” one.” In another case of two being one, he says that “the definite article points to Goethe’s Märchen, which revolves around a lily and a youth who are in many ways one.”