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Booth.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=162.42,163.833"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience clapping)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=163.833,166.833"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e I gotta say something (clears throat) about Axiology","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=181.61,184.7"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If I move this will it be all right?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=189.145,192.41"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e It isn't 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okay.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=200.216,202.273"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Oh, about Axiology it's in there as an example of nonsense","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=203.59,208.59"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience 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was","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=222.81,224.417"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I kept thinking that's what I do","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=224.417,227.54"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but I kept forgetting what the word 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exit,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1306.643,1307.476"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/438","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"where Andrew says, \"I'll help you Sir Toby.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1307.476,1312.233"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/439","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"My type has broke her hip (audience laughing) on Sunday.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1317.56,1321.617"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/440","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She seems to be deeply false stuffy in on this.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1325.0,1327.308"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/441","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience 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you.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1344.23,1345.82"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/448","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Spoken in not quite obvious just to Viola","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1345.82,1348.86"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/449","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in act two, scene one.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1348.86,1350.283"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/450","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And Orsino's surprising but momentary emergence as a fellow","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1351.45,1355.19"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/451","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in act five, scene one.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1355.19,1357.177"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/452","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"Why should I not had I the heart to do it","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1357.177,1359.127"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/453","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"like to the Egyptian thief at point of death,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1359.127,1361.557"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/454","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"kill what I love.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1361.557,1363.057"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/455","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"All these large disjunctions are in their various 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disjunction,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1385.5,1387.85"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/464","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"simultaneous coherence in its literal sense","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1387.85,1390.57"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/465","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and incoherence in the metaphoric 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elsewhere","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1651.75,1655.41"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/547","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is that while they themselves often go unremarked,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1655.41,1658.75"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/548","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"little flashes of unwarranted, scholarly 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laughing)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1663.895,1665.685"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/551","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The other fact of critical history","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1665.685,1667.06"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/552","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that I want to point to here pertains to Orsino's","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1667.06,1670.797"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/553","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"Enough no more, it is not so sweet now as it was before.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1670.797,1674.6"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/554","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That line and a half made an identifiable 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events","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1680.7,1683.09"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/557","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"since Orsino's first imperatives.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1683.09,1686.03"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/558","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It is an event on a larger 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elements","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1691.41,1694.28"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/561","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"most often pointed to by commentators,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1694.28,1697.0"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/562","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"namely that Orsino's mind is a very opal.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1697.0,1699.623"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/563","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I have not made a statistical count","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1700.96,1702.49"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/564","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but I think scornful characterizations of Orsino,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1702.49,1705.15"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/565","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"tie with adjectives praising the beauty of the verse","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1705.15,1707.74"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/566","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as the communist comments the scene has evoked.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1707.74,1711.01"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/567","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The critics seem almost to compete with one another,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1711.01,1713.23"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/568","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to find contemptuous labels for Orsino","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1713.23,1715.813"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/569","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and to outdo each other in scorning him.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1717.07,1720.17"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/570","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In my estimation, Hershel Baker is at present in first place","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1720.17,1723.44"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/571","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"with a narcissistic fool.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1723.44,1725.583"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/572","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I do not mean to suggest that the attacks are unjust","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1727.21,1730.42"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/573","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"just suspiciously, shrill and urgent.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1730.42,1733.4"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/574","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I suggest that attacks on Orsino","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1733.4,1735.73"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/575","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"are what a psychologist might call active transference.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1735.73,1739.5"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/576","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Vague uneasiness generated by the skittishness","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1739.5,1741.98"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/577","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of the syntax becomes exaggerated discomfort","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1741.98,1745.15"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/578","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"with the character who speaks 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urgent","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1757.33,1760.25"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/583","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but again, he's only seen to be so in the unlikely event","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1760.25,1763.41"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/584","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that it is closely examined.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1763.41,1764.893"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/585","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This sentence two is effortlessly assimilable by a listener.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1765.92,1770.24"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/586","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Only the folio pritter (coughs) who starts","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1770.24,1773.02"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/587","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"a new independent clause with not in line 11,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1773.02,1776.01"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/588","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"seems to have been disturbed by it.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1776.01,1778.07"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/589","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The folio punctuation could make receiveth","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1778.07,1780.33"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/590","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"an error for receivist.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1780.33,1781.96"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/591","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It suggests that the first of the folios","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1781.96,1784.05"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/592","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"two sentences be understood as,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1784.05,1786.777"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/593","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"Oh, spirit of love, how quick and fresh.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=1786.777,1789.354"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/594","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"I thou that not withstanding thou 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informative.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=2968.641,2971.62"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/986","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The exchange is also pure instance of clear nonsense.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=2971.62,2974.893"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/987","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"Will you go hunt my 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4.1.58,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=3086.72,3088.77"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1026","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"similar illusions to the story of acting","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=3088.77,3091.74"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1027","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as transformation by Diana Ovid metamorphosis 3.1.38","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=3091.74,3092.573"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1028","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and as typifying hopeless passion were common","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=3092.573,3097.316"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1029","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"compare Daniel Delia, Sonnet 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content","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4107.2,4111.2"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1394","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"would be like the relationship","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4111.2,4113.3"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1395","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"between the picture of we three, the picture of we three","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4113.3,4117.17"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1396","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which is either a picture of two donkeys","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4117.17,4119.87"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1397","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or sometimes a picture of two fools.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4119.87,4123.05"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1398","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The relationship between the picture of we three","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4123.05,4124.88"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1399","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and its beholder.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4124.88,4125.963"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1400","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I do not want to draw that moral","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4126.81,4128.63"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1401","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or for that matter any moral.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4128.63,4130.67"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1402","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I do not want to draw that moral","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4130.67,4132.05"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1403","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"because that moral does not yield itself up,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4132.05,4134.31"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1404","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It must be drawn, to draw that moral","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4134.31,4136.87"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1405","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"one would have to be a jackass.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4136.87,4138.807"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1406","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience chuckling)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4138.807,4140.18"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1407","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Audiences of Twelfth Night do not","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4140.18,4141.77"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1408","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and therefore should not feel like fools looking","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4141.77,4144.29"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1409","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"at fools or jackasses looking at jackasses.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4144.29,4146.81"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1410","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In fact, audiences feel good.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4146.81,4148.8"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1411","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Audiences do not just laugh a lot","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4148.8,4150.45"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1412","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as they do watching comedy of errors of Merry wives","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4150.45,4153.24"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1413","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"all theatrical and critical evidence suggests","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4153.24,4155.25"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1414","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that audiences feel actively good.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4155.25,4157.323"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1415","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I submit that.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4158.578,4159.64"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1416","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Although common sense says that the reason Twelfth Night","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4159.64,4161.83"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1417","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is a joyous and liberating play is that so many","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4161.83,4164.27"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1418","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of its characters and events are joyous and free,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4164.27,4166.65"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1419","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"common sense is wrong.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4166.65,4168.488"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1420","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I submit that much of our joy in Twelfth Night","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4168.488,4171.73"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1421","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"derives from triumphant mental experiences like our modest,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4173.36,4177.68"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1422","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but God-like achievement in comprehending scene one.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4177.68,4180.884"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1423","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience laughing)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4180.884,4183.36"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1424","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The processes, the language of scene one sets free","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4183.36,4187.07"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1425","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"are not unusual to ordinary verbal experience.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4187.07,4189.91"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1426","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Take for example, the current American idiom,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4189.91,4191.97"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1427","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I could care less meaning I could not care less.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4191.97,4194.801"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1428","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience chuckling)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4194.801,4196.32"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1429","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The triumph of understanding that idiom is of the same sort","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4196.32,4199.99"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1430","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as those evoked by the various comparable,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4199.99,4203.39"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1431","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but more complex constructions I've talked about.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4203.39,4206.408"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1432","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"what is special about the mental triumphs","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4206.408,4208.59"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1433","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that the language and the action of Twelfth Night enable us","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4208.59,4211.64"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1434","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to perform is their number their concentration,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4211.64,4215.55"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1435","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"their imbrication and their variety.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4215.55,4218.55"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1436","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If the act of comprehending, I could care less is comparable","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4218.55,4221.88"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1437","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to doing a metal somersault from the high trapeze.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4221.88,4225.3"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1438","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Then our easy graceful matter of fact acceptance","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4225.3,4228.15"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1439","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of the two and a half hour experience of Twelfth Night","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4228.15,4231.64"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1440","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is comparable to doing the triple over all three rings","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4231.64,4235.5"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1441","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of a three ring circus at one time","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4235.5,4238.3"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1442","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and being one's own catcher.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=4238.3,4239.993"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1443","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience 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[Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29172/annotation/1444","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/029/172/original/AV168059_Shakespere_a.vtt?1623261345","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/029/172/original/AV168059_Shakespere_a.vtt?1623261345"}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29173","type":"AnnotationPage","label":{"en":["AV168059_Shakespere_a.txt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940/transcript/29173/annotation/1445","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"- Good evening and welcome to another event in the Shakespeare symposium. You might want to note that the Union Board Theater will present as you like it in the maintenance shop, Thursday through Saturday night at eight o'clock. Tomorrow, various dimensions of Shakespearian scholarship will be addressed in a series of papers, needs to be read in the Pioneer Room from 10 to 11:30 and from one 30 to five. On Friday, the symposium will sponsor a high school Shakespeare Speech Tournament at which various high schools from Iowa will present scenes from Romeo and Juliet, the Tempest and Much Ado About Nothing. This competition will take place in the pioneer room from one to five on Friday. Our speaker tonight is Professor Steven Booth, from the university of California at Berkeley. Professor Booth received his BA from Harvard in 1955 another BA and an MBA from Trinity college, Cambridge in 1957, 1961 and his PhD from Harvard in 1964. He has delivered papers and written articles on several aspects of Shakespeare and he has written three books an essay on Shakespeare's Sonnets. The book called \"Holinshed's Chronicles\" and in 1977 an impressive critical edition of Shakespeare's Sonnets. Professor Booth's awards and honors are several and they are notable. He distinguished himself at a very early age, by winning a merit badge for raising pigs and another for raising sheep. He is also distinguished himself earlier this afternoon because the car which was bringing him to Aims from Des Moines broke down and he began to walk. He found help and he went back, this emphasizes and other fact on his data that is probably seldom known that he once walked from San Francisco to Oregon. Somewhat later, that is after the merit badges, he was named a Marshall Scholar a Guggenheim fellow and an NIH fellow. In 1970, He won the Explicator prize, honorable mention for his work an essay on Shakespeare's Sonnets. And more recently he won another Explicator Prize and the very distinguished James Russell Lowell Prize for his edition of Shakespeare's Sonnets. I'm pleased to present Professor Steven Booth, who will speak tonight on Nonsense, Twelfth Night and Axiology. Professor Booth.\r\n\r\n- I gotta say something about Axiology If I move this will it be all right?\r\n\r\n- It isn't working.\r\n\r\n- It isn't working? Oh, it's all right.\r\n\r\n- Well be careful.\r\n\r\n- All right, yeah, okay. Oh, about Axiology it's in there as an example of nonsense It's a word that's... You happen to know what Axiology means? I kept finding out what Axiology was and I kept thinking that's what I do but I kept forgetting what the word meant. So I started thinking about it. And clearly, it is one of the branches of nonsense or it represents one of the branches of nonsense. It is impressive, it suggests that it is saying something and it is absolutely foolproof because one is unlikely to know what it is that it is saying as far as I can tell, from the newest dictionary I have, it's the science of values studying value is what an Axiology. The title that you have is general title for everything I'm doing with Twelfth Night. What I'm going to read tonight is on just one scene which you have copies of, I hope. And my title for what I'm going to do tonight is Twelfth Night Act One, Scene One, the audience as Malvolio. I, propose to use up what will I'm afraid be a good deal of your evening on demonstrating that the first scene of Twelfth Night is nonsense demonstrable, but only demonstrable nonsense. I want to do so because the enterprise relates to a larger one a continuing investigation of the presence in generally acknowledged literary masterpieces of sentences that feel and thus effectively are clear and clearly meaningful in and because of their contexts. But I'm meaningless when and only when carefully examined, my investigations are prompted by the fact that I find or at least I think I find the passages of effectively meaningful nonsense are if not a common denominator among the literary works we most value, at least non prominent features of a remarkable number of them. Has anyone knows who's addicted to attending meetings like this one? I have for several years now been flying east of the drop of a voucher to exhibit and analyze sensible sounding and thus sensible nonsense in a variety of literary classics from Aristotle's poetics to the Gettysburg address. And to promote the notion that nonsense can be not only a valuable but the vital ingredient in the greatest literary works. Can be the physical means, by which our minds approach metaphysical experience the experience of phenomena like the metaphysical phenomena we know exist but cannot ordinarily know except by arbitrary and diminishing metaphor. In short, what I have been looking into is the relationship between meaning import and meaningfulness importance. The present taper is more of the same. Twelfth Night is in manifold ways an ideal object for such investigation. Nonsense is a topic in Twelfth Night, Sir Andrew for instance, recommends nonsense is the highest form of comedy and rational sounding, but only formally sustained excursions into nonsense or the stock in trade of the plays Chief Comedian Feste. Moreover and more obviously the storyline of Twelfth Night depends on a series of invalid and valid conclusions that the characters jump to from variously inadequate evidence. Analogous activity by the audience has a special and potentially philosophic pertinence to a play about discrepancies between signals and what they are understood to convey. Discrepancies between what is there to see and hear and what contextual probabilities say is there. I suggest indeed the Twelfth Night and its first scene, which I present as an emblem of the whole are wonderful. And that our sense that the play and the scene are wonderful in the metaphoric sense of the word is directly related to the fact that both play and scene are literally wonderful, are amazing specifically so in being capable of comprehension, in seeming coherent. I will now look at surprisingly my new detail at the first scene of Twelfth Night, a scene that does not invite such inspection. I do so because it does not need analysis to be understood. If you remember that, what I do may seem less perverse. What concerns me here is not so much... Is not that so much of the first scene can be shown to be nonsense but that the demonstrable facts of the scene do not in any way diminish one's ability to comprehend it. That is important. You must understand that I intend neither to derogate the scene nor to suggest that all the world is mistaken and mistaking it's gestures for substance nor to reform anyone's perception of the scene, as heard or read. I am remarking an a phenomenon and my underlying thesis is that the experience of hearing or reading this scene is comparable to many of the experiences of characters in the play and of a piece with our experience of the whole and that hearing sense in nonsense is of positive aesthetic value. The business of demonstrating that a scene that has always made sense cannot be demonstrated to contain the sense, so obviously conveys is difficult. In the case of this first scene of Twelfth Night, the task is made a bit easier by the fact that a few commentators, mostly editors faced with the need to gloss and paraphrase. I've had some trouble with if music be the food of love play on, give me excess of it that surfeiting the appetite may sicken and so die. In 1747, the indefatigably rational William Warburton said \"There is an impropriety of expression in this fine passage. \"I am,\" he said \"Persuaded, a word is accidentally dropped \"and that we should read and point the passage thus, \"that, surfeiting the uptight, love may sicken and so die.\" 20th century scholarship of course, will not hear of such wanting emendation and few listeners in any age would hear Warburton's ugly new line with pleasure. More importantly, the emendation may be rejected as unnecessary, obviously. So because the unamended line was clear to Warburton before he said about making it's syntax reflect the sense he apprehended from it. Warburton's emendation is a brutal variation on a justifying process, common and explanatory footnotes and verse. A process by which reason is used to squeeze the obvious content of a sentence into the container. For instance, one could explain that love, wanting it's food because it has lost its appetite for music will starve to death, or that love and appetite will die of a surfeit. However, such explanations come after the fact of effective understanding. They do not gloss lines that need glossing, they explain or pretend to explain why one understands them. Almost 200 years after Warburton, Dover Wilson responded differently but just as rationally to the occupational hazard of insisting that a sentence delivers the meaning signaled by it syntax. Wilson simply capitulated to syntactical probability. \"Appetite,\" he said, \"Means not love \"as it's generally assumed but love's appetite for music.\" Dover Wilson was absolutely right, the Syntax does say that. He was just as absolutely wrong, the sentence does not say that. Wilson's parenthetical as is generally assumed admits as much just as Warbritton's incidental this fine passage advertise the impropriety of his critique on the passage. Before I leave this first sentence, I want to analyze it despite the fact that or rather because of the fact that analysis and explication are perfectly unnecessary as aides to comprehending it. As we read or hear or seeing those first three lines, we understand a sentence that cannot be demonstrated to mean anything, any particular thing at all. If music be the food of love play on is as clear as it sounds, so are it's implications or seeing always intent to find nourishing love and since the line has no context but it speaker and the lover like extravagance of his conjunction of topics the love in question is the love he himself feels. Give me excessive if feels clear too. The preceding line, I think makes us understand excessive is a hyperbole for lots of, the literal meaning of access does not come into play, the word is not its usual self until we reach surfeiting. And give me excessive it that surfeiting, the word that is obviously so that but on analysis, surfeiting turns out to have been a problem. I say turns out because since surfeiting occurs in a still unfinished and therefore promissory syntax a listener is not invited to care that the surfeitor is momentarily specified as the speaker, the eye implicit in the me of give me and is immediately specified otherwise in the next line. Surfeiting, it turns out pertains not to what preceded it but to what follows it. The appetite is the surfeitor. That makes perfect sense, but what sense does it make of the sentence? I think when never knows or cares. One understands but does not know what one has understood. The lines however, show one generically, metaphors are by definition clarifying devices and the action of the food metaphor here remains a clarifying action, even though it also and simultaneously generates a confusion. Music is to love, as food is to the body. Love is the eater, music the food, if love is the eater then only love can be the surfeitor but we all just sat still for the assertion that the appetite is the surfeitor. Is the appetite then love? Love is indeed an appetite. An appetite for what? For the beloved, obviously. But in this conceit it's food is music, a physical true is some underlies these lines, gorging on a delicacy leads to a revulsion against that delicacy death of desire for it. And excessive music will cure lust for music. The lines obviously say that Orsino wishes to kick the music habit. That is in fact what immediately achieves line seven and eight, \"Enough no more it is not so sweet now as it was before, \"report just such a cure.\" However, only a fanatic Puritan would want to cure an addiction to music. The overt topic here is music, the it of line too but music is of interest to the speaker as the food of love. Music, nourishes love and causes it to grow, the speaker wants love to grow. The dubiety of love as toward their condition as toward their beloved wasn't is a psychological truism and a main spring of love literature. It is remarkable, but usual that lover should record both the wheel to foster his passion and the will to starve it. The act of blooding one's passion is a conflation of the two ambitions, a violent compromise, that feeds both urges and starves both. Here, though no probable listener will so much as pause to accept the inference that Orsino was a jukebox junkie. The sentence sounds both true and simple because the physics implied here are as Shakespeare says in Sonnet 129 natural to sexual desire and sexual possession. What one has here then is a straightforward sentence demonstrably about appetite for music that is obviously understood as a sentence about sexual appetite it works because love is an appetite. The next line, line four, is an exterminatory interruption of the previous line of thought \"That strain again it had a dying fall.\" Even though the word strain appears here in context of access and surfeiting, the reference is obviously and exclusively to a strain of music and the line is as straightforward as it seems. The line does however, act in a manner which in another and idiationally insignificant dimension. Has a kind of likeness to the proceeding three lines. In that first sentence, the significances of individual words, phrases, and clauses shift. First, they signal one thing then another. That first sentence also alternates between endorsing one or another kind of restrictiveness and one or another kind of expansiveness. Moreover, the ideational substance of the three lines is as I said, one thing and two things. The two being what the syntax says and what we understand. Line four overtly acknowledges what could be usefully called the first pair of twins in the play, that strain again. The repeated musical strain is and is not the one at echoes and in an altogether other dimension, the phrase dying fall in the second half of line four presents a casual twin for and so die in line three. Similarly, but surely beyond the consciousness of the mind that apprehends the sense of the lines, the word that, the first word of line four is and is not a repetition of that surfeiting. The sounds are identical, the senses, a conjunction meaning saw that in line two and demands an demonstrative adjective in line four are not. That no way unusual phenomenon continues through the eighth further that's in the scene notably in the anaphora of line six where that is a pronoun, line 10 where that is doubtful a pronoun colored by the adverb indicating extent. Line 15 the adverb, and line 20 a pronoun, meaning in which. The pronoun that also appears in line 17, 32 and 36 and the adverb appears in line 32. The next three lines, lines five through seven begin with another disjunctive exclamation. Although since Orsino continues to comment on the same musical particular, he pounced on when he last interrupted himself, this one is disjunctive only in manner. I could comment in detail on the ostentatious disjunction and the equally ostentatious coherence of this scene as for instance, in its conjunction of restrictiveness and expansiveness or in the action of the three explanatory owes in lines nine 18 and 32 and on the ostentatious disjunction and equally ostentatious coherence of what he's seen was thinking here and later and on the ostentatious disjunction and equally ostentatious coherence of the whole play. I have no time to do so here and doing so is probably unnecessary. Let it suffice to say that there was a common denominator among the various kinds of disjunction in this scene, change of tone, topic, sematic significance, logical direction and our Orsino whim and larger disjunctions in the play at large. For instance, the standard shifts between one scene group of characters and set of concerns and the next scene group and set of concerns or the less commonplace, but strikingly plentiful incidental self contradictions perform in Twelfth Night or the sudden incidental and unexplained discrepancies between what we expect will occur and what does. As examples in that last category, consider the following. In Act One, Scene Two, Viola plans to get employment as a singer. In the opening lines of two, four Orsino who apparently asks her to sing. She makes no reply and Orsino seems to expect none. Curio breaks in to say that Feste, whom we do not expect to be on call at Orsino's house, he is not in the room, but is about the house somewhere Orsino sends for him and he sings the song. In the following scene, we expect Feste to make a third. As Mariah has promised he will, with Andrew and Toby as audience to Malvolio reception, of the Olivia Maria letter. Instead we get the completely unexpected Fabian who by the way steps in to replace Feste, again in the last scene, when he reads the letter from Malvolio to Olivia. At the end of the last scene, all the loose ends of the plot are tied off some more firmly than an audience demands, but Antonio still under arrest is ignored. However, the other sea captain, the absent one, who saved Viola and is now also under arrest, is suddenly treated as necessary to the completion of the happy ending. Sudden shifts shifts in character, also belong in this list, things like Toby sudden viciousness toward Andrew at their final exit, where Andrew says, \"I'll help you Sir Toby.\" My type has broke her hip on Sunday. She seems to be deeply false stuffy in on this. \"I'll help you sir Toby \"because we dress together.\" And Toby says, \"Will you help an asset and a Cox comb, \"and a nave a thin face nave, a girl?\" And also in that list, would belong Feste's mean-spirited I do not care for you. Spoken in not quite obvious just to Viola in act two, scene one. And Orsino's surprising but momentary emergence as a fellow in act five, scene one. \"Why should I not had I the heart to do it \"like to the Egyptian thief at point of death, \"kill what I love.\" All these large disjunctions are in their various kinds countered by equally various conjunctive factors. And as I will suggest shortly, so with the various kinds of disjunctions within the first speech and the first scene. Moreover since I have now strayed so far from the text of scene one, I may as well point out that all the phenomenon I have mentioned simultaneous conjunction and disjunction, simultaneous coherence in its literal sense and incoherence in the metaphoric sense by which the two words refer to the logicality or illogicality of discourse. Repetitions, the double identity of the first sentence all share the same physics and all share those physics with the operation of simple literary constructions of sentence is one thing and the union of disparate parts whose disparity the mere existence of a sentence advertises. And complex ones, rhymes in which two words off insistently the same and justice insistently different. Puns, rhythm, where a pattern both repeats and does not repeat and so on. The most obvious and traditionally the most fascinating embodiments of the common underlying principle shared by the phenomenon I've talked about are of course twins. I want now to return from that extravagant tentative gesture of aesthetic generalization to the more solid ground of Orsino's first speech. We had got all the way to line four. \"That strain again, it had a dying fall, \"oh, it came over my ear like the sweet sound, \"that breathes upon a bank of violets stealing, \"and giving order. \"Enough no more it is not so sweet now, as it was before.\" In the lines I have just quoted, Orsino's ovate and noticeably abrupt change of whim follows upon a complimentary sematic metamorphosis in stealing and giving. A change is complete as the one announced by enough no more. But if commentators silence is any measure one goes unnoticed. In it's chronologically linear doubleness of effect, the sentence on the sweet sound in the bank of violence, is comparable to the first sentence, whose principal double identity in what is heard and what is understood is more static. But we just also linearly double in that it sets out to recommend the nourishment of love and then ends up recommending that love be starved to death. When stealing is heard in line seven, it participates in the process by which the musical phrase that came or the ear crept up on it and moved across it. It is likened to a sweet sound stealing, moving with unperceived motion. Stealing however, is there upon paired with giving which in a previously alien sense of to still is the logical opposite of stealing. The incidental logic in which stealing and giving relate to one another is both irrelevant to the overt assertion. stealing says moving unperceived and relevant. A breeze, both delivers odors and carries them away Before going on, I want to pause for another venture into more general comment. I am obviously suggesting that the various unnoticed vegaris and anomalies of this first scene are the undeniably unnoticed, nonetheless efficient factors in our experience of the lines. That the enrichment provided by the manifold kinds of incoherence in this coherent whole is felt. That assertion cannot be proved it couldn't be but two facts of lines five through eight and their critical history strike me as evidence for my case. First, unlike several such questionable elements of the speech, the word sound has been a crux. People have wanted to change it to South, meaning South wind or Sao meaning sea Reasoning the obvious needless and injustice of amending sound is easy. Sound is a simple metonymy substituting effect, sound of a breeze for cause breeze. Moreover, this passage is elaborately echoed in act two scene three in the contagious breath passage where music, disease and odor are reassociated in context of Toby's many disposition on synesthesia to hear by the nose it is dulcet in contagion. I do however, take the perseverance of editorial doubts about sound, the breaths as significant. One of the curious things about opaque but efficiently clear passages in Shakespeare and elsewhere is that while they themselves often go unremarked, little flashes of unwarranted, scholarly illumination breakout in their vicinity. The other fact of critical history that I want to point to here pertains to Orsino's \"Enough no more, it is not so sweet now as it was before.\" That line and a half made an identifiable unit both biologic and the rhyme in more before presents the first narratively pertinent events since Orsino's first imperatives. It is an event on a larger scale than the linguistic gymnastics I have been discussing. It presents graspable evidence for one of the two elements most often pointed to by commentators, namely that Orsino's mind is a very opal. I have not made a statistical count but I think scornful characterizations of Orsino, tie with adjectives praising the beauty of the verse as the communist comments the scene has evoked. The critics seem almost to compete with one another, to find contemptuous labels for Orsino and to outdo each other in scorning him. In my estimation, Hershel Baker is at present in first place with a narcissistic fool. I do not mean to suggest that the attacks are unjust just suspiciously, shrill and urgent. I suggest that attacks on Orsino are what a psychologist might call active transference. Vague uneasiness generated by the skittishness of the syntax becomes exaggerated discomfort with the character who speaks it. We note something wrong with Orsino, but not the wrongness of his sentences. The wrongness of Orsino's next sentence lines nine through 14 is urgent but again, he's only seen to be so in the unlikely event that it is closely examined. This sentence two is effortlessly assimilable by a listener. Only the folio pritter who starts a new independent clause with not in line 11, seems to have been disturbed by it. The folio punctuation could make receiveth an error for receivist. It suggests that the first of the folios two sentences be understood as, \"Oh, spirit of love, how quick and fresh. \"I thou that not withstanding thou capacity, \"receiveth as the sea.\" Or by retaining the full stop after see in line 11 but ignoring the logic implied by the comma after capacity. At the end of the preceding line, one could isolate the word, not withstanding and leave capacity, the receiver. \"Oh a spirit of love, how quick and fresh. 2I thou that not withstanding, that is not withstanding \"like quickness and freshness, \"even though thou quick and fresh, \"thy capacity receiveth as the sea.\" The familiar now effectively standard editorial punctuation, except receiveth, remove the period after see and present not withstanding thy capacity receiveth as the sea. As a modifying unit, interrupting a construction that runs and fresher thou that not enters there. An argument could be made for the folio punctuation and the inflectional revision it demands or for the modification by which not withstanding stands logically alone as an elliptic reference to the proceeding explanation. But for the moment, at least they are irrelevant to my concerns here. At the moment, it is the now all but universal modern reading that concerns me because that is the one that has satisfied, seemed right to generations of scholars, critics, and audiences. Oh, spirit of love, how quick and fresh how thou that not Withstanding thy capacity receiveth as the sea, not enters there of what validity and pitch so air but falls into abatement and low price, even in a minute. Not withstanding the ease with which it is assimilated, three punctuated sentences of Kemira. Its head as an exclamation, \"Oh, spirit of love, how quick and fresh art thou.\" As the words are heard quick has to mean lively, sprightly in fact, and fresh has to mean practically the same thing, vigorous youthful. The trunk of the sentence starts out to be its tail, the word that, obviously means who or which, and introduces a justification of the explanation. However, the forward progress of the sentence is delayed by an ostentatious logical reservation, not withstanding that capacity receiveth as the sea. Not withstanding is a logical gesture but it's action is ultimately illogical. Up to this point, the modification measures with the logic of the clause it interrupts. How quick and fresh out thou who though your sea, like in one respect song. The modification has however altered the senses of quick and fresh, the notion of capacity recurs to the food metaphor and activates the census keen and hungry for quick and fresh. The change in the sentence senses of quick and fresh thus asserts an extra logical pertinent of this sentence to the proceeding lines. A second letter, the word see evokes the senses, quick and fresh have as water words. Words indicating the quality of water specifically water that is not saline is not sea water. And since the essential equation is between the spirit of love and the sea, the simile suddenly but perfectly contradicts the now relevant Aquino sense of how quick and fresh art thou. The semantic meanderings of quick and fresh, that's at once give a sound of rightness to the sentence and render it nonsensical. Adding simultaneously to the ideational randomness and clutter of lines 10, 11 and 12, and to their field of purpose order and coherence is the word spirit, which as it is about half the time in Shakespearian verse is here a monosyllable. That monosyllable appears to have been pronounced like the words sprit. Shakespeare puns casually and obscenely on the two and Love's Labor is lost, act one scene two where Amado says, \"My sprit grows heavy in love,\" and Mott says \"And that's great Marvel loving a light winch.\" And in Romeo and Juliet act two, scene one in the raise of spirit in his mistress circle passage. Shakespeare's pleasure in the two appears to derive from a double coincidence. They sounded like, and both for different reasons were available as terms for penis. I mentioned the matter here only because of sprit a small mast of the sword regularly carried on ships for purposes now served by life jackets and lifeboats relates to the sea. The otherwise unexpected topic toward which quickness freshness and the sentence flow. Note by the way how the sound sprit in this scene helps link it or once helped link it with scene two in which the shipwreck captain tells Viola how her brother bound himself to a strong mast that lived upon the sea. When the sound sprit is heard in line nine of scene one, it's context limits its significance to the one we hear in the disyllabic pronunciation spirit. But a renaissance audience also heard a potentially sea related syllable sprit, just as you just heard a word that in the neighborhood of flocks or cubbies or mobs or deer or antelope would pertain in a sense that could not conceivably have been evoked when you heard the word heard earlier in the paragraph that I'm reading to you. The semantically irrelevant association between the sound of the word spirit in sprit of love and the sense that the word sea conveys in line 11 once probably helped ease the equation by which the spirit of love having been called see like comes to have literal capacity to be an enterable place. At it usual in Shakespeare, and this is one of the reasons why his work lives so happily for audiences on acquainted with lots of his language and some of its some of its illusions. There are many threads of coherence, holding up the assertions in line nine through 14. In the case of the idea of entering there, non-logical super syntactical sustenance, probably derives from the larger context, the context of infatuation. Even without the sound of sprit to help us, we probably adapt as easily as we do to the idea of the sea likes spirit of love as a place because as a place, because of the general pertinent of male penetration of a sea like place and of the manifold fall, physical and emotional that follows upon successful augmentation of the infinitely receptive vaginal sea. If I knew all about it and so as everyone in the history of the world. Freud's accomplishment was in telling us we knew His folly was in telling us or rather letting us think he told us that we did not know anything else or at least that our sub consciousnesses did not care about anything else but I digress. To come back to the link between the sound of sprit of love and the sense of the word sea a simpler example of such a link is the second syllable of the word receiveth which still helps a listening ear to welcome the word that says ocean in line 12 and recognize it as pertinent. I want now to come at lines nine through 14, one last time. You may or may not remember that just before this discussion floated off on a sprit, I had said that the sematic meanderings of the words quick and fresh at once give a feel of rightness to the sentence and render it nonsensical. During the complexediational process by which quick and fresh transmogrify the idea of capacity, which is the focus of the phrase, not withstanding thy capacity receiveth is the sea temporarily becomes the focal idea of the sentence at large. And the lines continue as if the word that, the first word of line 10 had never been heard, as if there were no syntactical logical link between line nine and line 10. And as if not in line 11 were, as in fact, it is in the folio punctuation, the subject of an independent clause. As if lines nine through 14 were, \"Oh, spirit of love, how quick and fresh art thou \"not withstanding thy capacity receiveth is sea, \"not enters there of what validity and pitch so air \"but falls into abetment at low price even in a minute.\" The improbable annotator who noticed that the lines are used to hearing them can be demonstrated to be incomprehensible. My plausibly, but foolishly pacify that paradox momentarily by decreeing the word that in line 12 to mean not which but to such an extent that so quick and fresh that such an explanation would solve the undeniable although previously and always efficiently invisible syntactical problem would do nothing for the logic. The explanation is a benevolent lie and an inefficient one. \"How quick and fresh out thou, \"so quick and fresh that not withstanding thy capacity \"receiveth as the sea not enters there \"but does not fall in value.\" Why should the power of the sea like spirit of love to convert its contents to flotsam and jetsam testified to its own quickness and freshness? Can the sea be reasonably thought of this fresher than what it swallows? No matter how one may, after the fact can try to include the word that in the logic of the sentence, I suggest that what actually happens is that the listener altogether forgets the syntactic signal of the word that just as he forgets the particulars, for which the spirit of love was initially celebrated. The logical force of the next word, the word not withstanding comes finally to pertain only to one of the significance of the phrase quick and fresh takes on as the line progresses Keen and hungry. And that's the logical force of not withstanding vanishes almost as completely as the logical force of the word that unless one insists that quick and fresh have meant only keen and hungry. The phrase not withstanding thy capacity receiveth as the sea, a standard Concepcion, a gesture of simultaneous acknowledgement and dismissal does not ultimately dismissed the facts it admits. The two and a half line assertion beginning not enters there is all together constant with the idea of infinite capacity, the idea of the word not withstanding presents to us as contrary though negligible evidence. Evidence put doubting the validity of the assertion that not enters there but falls into abatement and low price. Nonetheless, although abatement and low price present a contrasting compliment to quick and fresh and although the fact that the spirit of love has become a geographically imagined place into which anything one falls in love with. They fall there upon falling in price as well is worth exclamation and although the fact that not enters there of what validity, weight and pitch height, so air. That does not shrink in size and value is itself explanatory in substance lines 11 through 14, have no logical relation to line Nine. The exclamation that ostensively occasion them. All right. If the act of comprehending these lines Ultimately results in the understanding I describe, Why do we tolerate them in passage and tolerate them so casually that even editors let them pass, justly let them pass, unquestioned and unjustified. I think at least part of the answer lies in this, the logic signaled by the word not withstanding does indeed reach satisfactory though momentary completion, Oh, spirit of love, how quick and fresh art though that not withstanding thy capacity receiveth it as the sea not enters there. That temporarily extant proposition makes exactly the use of its materials that the not withstanding construction calls for, even though X is true. Something contrary to the attended probabilities of that fact is also true. Even though your capacity is infinite nothing fills it. That proposition also has shadowy and paradoxical pertinent to the traditional courtly love situation in which the frustrated lover pleads with his beloved who although made for love will admit no mail. The proposition, no proper to two distinct genres. The syntactic one and the substantive one is only generically satisfactory. Whatever Orsino may be telling us about the spirit of love and however, he may imagine the spirit physically, he cannot here be telling us that the spirit of love is isolated. However, before a question can form in a listeners or readers mind the potentially complete sentence continues thus promising to reveal a logic We will recognize as appropriate to... What is called for, for that purpose is some Renaissance equivalent of such a phrase, as of any kind at all. The of what so air construction is however, an illogical neutral zone, a buffer between assertions. The construction provides a moment in which our minds can upon generic assumption and gears can shift silently. Here our minds shift into place for the not, but construction. The nothing that does not construction. If what I say is true is true then the momentarily full stop after not enters there satisfies the expectations generated by the not withstanding construction and of what validity and pitch so air neutralizes, our probable response to the questionable proposition conveyed in the momentarily perfect but only momentarily extent, not withstanding instruction. Now at the beginning of line 13, the word 'but' fulfills the new syntax generically promised by line 12, at the same time that also by generic means it assume us that the sentence was just as aware as we were, that there was something factually dubious about the proposition that nothing at all enters the sea light spirit of love. What I'm suggesting is that a listener or reader deals satisfactorily with so many logics on his way to what is substantively the most important verb of the sentence, the word falls, that he overpowers the large illogic of a hole and illogic that would impinge on his consciousness, If the sentence we're not layered with so many other logics. the verb falls by the way, has strong idiomatic credentials for its rightness in a sentence about falling in love, even though its particular function in the particular sentence is to assist in a proposition to which we do not exceed. The last line and a half of Orsino first speech is a summary emblem of most of what I've been saying about the whole. So full of shapes is fancy that it alone is high fantastical. Those words can be paraphrased as Coleridge paraphrase them as a play on two senses of fancy. So full of shapes is love, fancy. That it alone is preeminently capable of making images, capable of fancing. The paraphrase, however is necessary only to explain what it is when it's understood from the sentence, a sentence urgently and self-evidently true the moment it is heard, even though when does not know precisely what in particular it asserts. The certain but ungrasped core assertion is variously supported, supported by the confirming gesture of the pregnant polypotome and fancy fantastical, supported by the significant feel of full of shapes, paired with a lone, supported by echoes of proceeding locutions. The word that the ideational relevance of full to the capacity of the sea. The phonetic relevance of full to fall, in line four falls in line 13 and perhaps to the pertinent heard but unsaid word false. And supported by the pertinent of a communist meaning of fantastical a term of abuse for a fantastic when fantastical and effected capricious show off. That line and a half is also emblematic of the whole in that the phrase so full of shapes three, modifies the lines that preceded it falls into abatement at low price, even in a minute. So full of shapes is fancy and is as the punctuation indicates also the opening clause of a new sentence. Anyone familiar with the contexts and expectations, the act of academic criticism brings with it might see a direction for my line of argument. A kind of conclusion that has often been in here could be a justification and the satisfying product for stylistic analysis. As I have described them, the sentence structures of Orsino first speech are indeed --- like. The syntactic sea changes can in short be justly called imitative of and corelative to the skiddish mentality of Orsino they're variously fantastic speaker. Although it may well be that the quality of our experience of lines that operate in multiple logics and drift from one logic to another in passage, is indeed a source of the disproportionately urgent and nearly universal critical contempt for Orsino and about a strong sense of his instability. I am, as I suspect we all are suspicious of such need critical revelations. Moreover, I have my eye on larger, more nebulous, less immediately satisfying but more essential conclusions. I am concerned here, not so much with these lines as clues to Orsino as with the process of experiencing them. To return for instance to the word surfeiting in line two successive signal specify three identities for the surfeit the speaker. The I implied and give me. His appetite for music and his infatuation, the three fuse in the sentence, which is thus a place I physical working embodiment of the traditional hyperbolic conceits in which a lover is all love is his appetite is his desires. One can call the syntactic fusion of the surfeitors identities a metaphor for a lover's confused state of mind. But it is a metaphor which unlike the food metaphor in line one, does not feel like a metaphor, does not feel like a needed modifying remedial active explanatory clarification. Since the sentence sounds like simple single-minded exposition, it effectively makes an unsimplified and unsymplifiable confusion, into a simple coherent fact. A similarly urgent, but similarly easy union of disjointed elements occurs a few lines later when Orsino's heart, his dear beloved, a heart that is a dear hounds pursuing the dear and Orsino's desires, chase themselves in a circle. The exchange on the topic of hunting drawn from line 16 to line 32 does not lend itself to traditional spaciously, comfortable, critical ceremonies in which style is declared to be imitated and informative. The exchange is also pure instance of clear nonsense. \"Will you go hunt my Lord? \"What Curio? \"The heart? \"Why so I do the noblest that I have. \"Oh, in my night did see Olivia first me thought \"she purged the air of pestilence. \"That instant was, I turned into a heart and my desires \"like fell and cruel hounds here since pursue me.\" The potential crisis comes in line 17, specifically at the word have. Why should Orsino hunt what he has? More important why do we not worry? If we did worry a little strictly legitimate crushing would make the lines bow to us. One could quiet oneself by suggesting that Orsino's I do hunt, means I do hunt with, explaining hunt in the always rare and here on provoked sense to exercise as I hunt my hands regularly from the age of six months Or when could convince oneself that Orsino's response works from the conceit by which is true, his true love has his heart and he has hers. But no parachute to rationality will effectively make this exchange logical or, and this is vital make it feel illogical as it is heard or make it feel in need of explication. As far as I know, only one commentator has commented at all on the real but impalpable your logic of the lines. In 1901 Horus Howard furnace said this. \"For the sake of the threadbare pun on hart and heart, \"the Duke gets his metaphor confused, \"in this line, he hunts his heart, \"the noblest part of him in the 21st line, \"he has himself the heart and his desire is hunt him.\" Most editors blandly annotate the exchange on hunting in one or another variation of this confidently concise note by the New Arden editors. For the hart, heart quibble common in Shakespeare compare 4.1.58, similar illusions to the story of acting as transformation by Diana Ovid metamorphosis 3.1.38 and as typifying hopeless passion were common compare Daniel Delia, Sonnet 5. In context of the present microscopic exercise, the New Arden note may seem insufficient, but in practice it is altogether sufficient. For a modern student reading the note, for a modern scholar able to write it and for Shakespeare's contemporaries, the well-known tracks of a traditional conceit and appropriately commonplace mythological filigree work make a listener superior to expository logic. The action of the lines is assumed to be what our generic expectations call for what the habitual activities, of the hart, heart pun and the mythological analogy make them. We do not notice what Orsino says, we hear what he must be saying. We listen to nonsense as if it were sense. The last two speeches of scene one, continue to exercise our capacities for ignoring evidence and responding instead to the dictates of contextual probability. Our capacity for hearing what is silly as solemn, what is solemn as silly, what is basic as noble and so on is a keen to our capacity to hear sense in nonsense and Valentine speech lines, 23 to 31 provides an example and answer to Orsino's how now? What's the news from her? Valentine says, \"So please, my Lord, I might not be admitted, \"but from our handmaid, do turn this answer, \"the element itself till seven years hit, \"shall not be hold her face and ample view, \"but like a cloistress she will veiled walk, \"and water once a day her chamber round, \"with eye-offending brine all this to season \"her brother's dead love, which she would keep fresh \"and lasting in her sad remembrance.\" Valantine's description of Olivia's lifestyle is demonstrably but only demonstrably is demonstrably but not efficiently calming. Consider the image of Olivia dutifully walking her appointed daily rounds, like a nun circling a cloister or following the stations of the cross. And like a gardener with a watering can systematically dampening her parlor every day. Also potentially comic is the grotesque suggestion of curing meat, salting down dead flesh to preserve it from decay that inheres in all this to season a dead brother's love, which she would keep fresh and lasting. But the speech does not evoke laughter in the theater. Scene one ends with what is probably its extreme exhibition of our ability to override linguistic signals on our way to easy comprehension. This is the last speech. \"Oh, she that have the heart of that fine frame, \"to pay this debt of love but to a brother, \"how will she love when the rich golden shaft, \"hath killed the flock of all affections, \"else that live in her when liver brain \"and heart that these sovereign thrones, \"are all supplied and filled \"her sweet perfections with oneself king, \"a way before me to sweet beds of flowers, \"love-thoughts lie rich when canopied with bowers.\" In the third, from last line of the scene, the phrase 'her sweet perfections' is syntactically free-floating. Is the phrase of positive to the three sovereign thrones? Does it modify a noun phrase extrapolated from the verb? And thus say that the act of supplying and filling will perfect her and thus are her perfections. The word perfections does relate to the idea of completeness and to the idea that Olivia is exquisite but no gloss of punctuation can worry the phrase into the grammatic logic of the sense. Rather her sweet perfection so obviously relate to the general context, that it is hard to believe that some gloss or punctuation cannot be found to demonstrate the sentence is as clear and grammatical fact as in effect. I have so far dual principally on the syntactic illogic of scene one and with the way syntactic gestures, like the one made by the word, not with standing in line 10 make the speech sound logically coherent when its coherence actually derives from substantively incidental patterning factors. I've mentioned a few of those factors in passing for instance, the echo events so die in dying fall. The variety and number of others is astounding not at least astounding, because they do not call attention to themselves. Some are simple, like die, dying and local. Some are simple and reach out further like the ideas of music and food in the first sentence there echo in sweet as an atrophied taste metaphor applied to sound in line five. The mere repetition of sweet in line eight, the ideational reprise of sweetness and loss of sweetness in the idea of seasoning something to keep it fresh in lines 29 and 30 and finally in the sweet beds of flowers in the last two lines of the scene. Those last lines also echo the bank of violence breathed upon by the sweet sound back in line six, one could go on with the list indefinitely, by for example, pointing to the link. The topic of disease makes between the first speech where second and occurs in line three and the exchange about hunting were perched and pestilence occur in line 18 or to the vague echo of the hunting passage. Orsino's lines about Olivia's heart and cupid's rich golden shaft. Valentines speech, the one substantial speech in the scene that is not spoken by Orsino is directly related to the governing topic of the whole but contrast with the rest of the scene merely because Valentine's speaks it. The news Valentine brings Orsino in the expositionary service he performs for us come close the phonetic and ideational echoes of Orsino speeches. In line 23, I might not be admitted is an ideational echo of not enters there in line 11. Return in line 25, echos turned into a heart in line 20, the substance of behold her face and ample view in line 26 echoes the substance of when mine eyes did see Olivia first in line eight 18. The first syllable of poistrous in line 27 echoes the essential idea of lines One through three, the word climate actually appears in act two, scene four during our reprise of this scene and its language. Their love may be called appetite, no motion of the liver but the palette that suffers surfate cloyment and revolt but mine is all as hungry as the sea and can adjust as much. Water, brine and the sound of the first syllable of season variously echo the sea simile in line 11 the word season has a sound that in another context could indicate time of year echo seven years hit earlier in Valentine's speech. And the sense of two season actually operative in context of line 29, namely to preserve echoes the food metaphor of lines one through three and the idea of decay in lines nine through 14. A brother's dead love, which because the word dead effectively acts twice modifying both brother and love is comparable in its physics to the more complex double-action of stealing in line seven. Echoes the metaphoric accuses of die in lines three and four. And the idea of falling into abatement and low price line 14. The word dead and the word fresh the two adjectives in line 30 relate complexity to the word quick and the word fresh in line nine and the phrase fresh and lasting, which runs across lines 30 and 31 relates in other complex ways to the variously similar unit quick and fresh in line nine as validity and pitch in line 12 and abatement and low price in line 13 did earlier. A network, a phonetic ideational, potential but an exercise ideational, rhyme like links spreads out from the word fall, from the word fall, it's sound sounds the resemblent, it sense its potential senses their homonyms, their cognates, their synonyms and their antonyms. Then now in full, which itself reaches back toward the topic abruptly discontinued after sicken and so die, occurs in line four as a musical term meaning cadence. In line 13, the verb falls occurs in a standard metaphoric extension of its essential physical sense put in the construction we're enters there and the syllabic flow from the preposition into to the not quite colloquially used word abatement momentarily activates the literal sense of falls into a points toward a noun, indicating some thing, a ditch, a hole, a meyer that can be fallen into. Falls also presents the approximate sound of the word, false a word generally pertinent here and everywhere in 12.9. Falls is bracketed on one side by pitch in line 12 where they'll use metaphorically it indicates height but where it's locally dormant musical sense is a semantically mute witness to a oneness of this part of the speech with the first eight lines. And on the other side by low, used metaphorically in line 13. In line 14, full and so full of shapes is fancy echoes the sound to fall and then the semantically irrelevant way. Also echos the idea of satiety and gluttony in lines one through three. In line 15, high relates to the idea of falling much as pitch and loaded. In line 21 the hounds are fell and cruel but the sound and the locally irrelevant potential sense of fell relate to fall. Valentine speech contains no fall like words at all but it is largely concerned with the idea of falling tears. Phonetically the pattern made by the noun fall in line four the bird falls in line 13, fall in line 14, fell in line 21. Culminates in field in the last speech of the scene where Orsino imagines the time when the rich golden shaft had killed the flocks of all affections else that live in her, when liver brain and heart their sovereign thrones are all supplied and filled. The rhyme killed filled presents a capsule summary of the first three lines of the play and is a rough common denominator for a scene that has worked with ideas of filling and killing from the very beginning. I might also mention that the last lines of the last speech repriced the China doll pastoral scene envisaged in lines four through seven, the last seven lines of the scene, thus embody a mirror image of the first seven. The incidental topics of this scene recur as incidental or primary to all the scenes that follow it. Music, gluttony, disease, hunting in a recurring concern for finding people and in a complex alliteration of various ideas of following, payment of debts and for services, sibling relationships of course. The word alone and its significances and its etymological roots and their significances achieved their frustrated entrance, the sea seeing onstage judgments of onstage performances, all art of the play as some of them and some of the sounds that allude to them and the sounds of some of the words incidental to discussing them are to the scene. Like the syntactic gestures, repetitions, rhythms and phonetic and ideational puns and rhymes that can give a speech, a formal coherence that effortlessly substitutes for a logical one, the recurring topics of the play make it feel pregnant with profound significance that critics acknowledge by their respect for Twelfth Night, but never do and I think never could deliver it to us. What is more to the point here, the action of perceiving a sentence as two things at once what is there and what the listener perceives to be there recurs throughout the play take for example the subscription of the Mariah Olivia letter. She that would alter services with thee in act three, scene five. That subscription has as far as I know never been glossed. It needs no gloss. Why it needs no gloss however, it's fascinating. Considering our everyday working assumptions about the relationship of language and understanding it is amazing that this simple is obviously simple. Assertion is obviously simple. She that would alter services with thee. Just try to make another sentence in which to alter and to exchange our synonyms, just try. She would alter services with these made meaningful by its context informed by a pun on an altar, an altar in the church, sustained by the relevance of both the liturgical and sexual senses of service and smoothed over by an implied logic, which says that since to exchange, to change your synonyms and to alter and to change our synonyms, to exchange and to alter must be synonyms. For a similar but cruder example of sematic, double dealings see Feste is use of the word Welcome sky to mean, proper sphere of action Who you are and what you would are out of my welkin, I might say it say element but the word is over worn. Element can mean air and can therefore replace welkin but that does not make welkin a universally available substitute for all senses of element. After scene one disjunctions between what is signified and what is understood from the signal, become common on the stage. The audience is often conscious but the character ignores obvious signals in the words he hears. Consider for example, Viola is riddling, I am all the daughters of my father's house and all the brothers to. Which Orsino let's pass apparently because Viola diverts his attention by suddenly swerving back to where seen obsession, \"Sir, shall I to this lady?\" In some cases, the contextual signals are so strong that members of an audience easily join an onstage listener in taking the generically evidence import of the sentence with actual substance. The best example is save I alone in Viola's answer to Olivia. When is the boy bachelor Cesario? She swears she will never love any woman. \"I have one heart, one bosom and one truth \"and that no woman has nor never none \"shall mistress be at it save I alone.\" The relation of what I've said about an audiences about our superiority to the hard evidence of the language of Twelfth Night, relate so obviously to the behavior of the characters in the story that even if there were time there would be little need to illustrate the parallel. As it is the equation in my title probably does the job by itself. I suspect that the intended implications of the audience as Malvolio are now clear. Those implications are both variously just and variously unjust. My title singles out Malvolio is the preeminent example of a character who mistakes evidence. What is most interesting in this context is that many audiences, some students and even some scholarly critics see Malvolio self-delusion as a contributing factor in his acceptance of the forged letter and its contents. The credentials of, and in that letter are awesomely convincing. The letter gives Malvolio, plentiful and persuasive evidence that Olivia loves him. Much stronger evidence than Viola has when she says about Olivia, \"She loves me sure, I am the man.\" Violet just happens to be right. Sherlock Holmes himself would accept Mariah's letter as a love letter from Olivia to Malvolio. Malvolio is self-delusion is a factor in our initial acceptance of the justice of the deception. But when he later makes a fool of himself, he does so because he has been made a fool of, tricked not because he is a fool. Malvolio however, is a fool, a self deluded fool. And that fact colors and confuses our understand of course in effect in the letter scene. Similarly, we are inclined to think it ridiculous that Malvolio should even imagine that Olivia might love a self-important servant. On the other hand, although we find Olivia ridiculous in loving a woman dressed as a boy, we accept the idea that she could be infatuated with a genuine Cesario with a self-important servant. That parallel, by the way, the one between Malvolio and Cesario is carefully spelled out in three one where nobody pays any attention to it. If I wanted to draw a lesson from Twelfth Night, the one to draw would be the one Violet and Sebastian and only Viola and Sebastian seem to learn in the course of the play. Do not let over-powering evidence overpower you. The lesson they could be said to respond to when they perform their menu out of supporting evidence. My father had a mole upon his brow, and so I had mine. Supporting evidence for a truth self-evident to us the truth we are impatient to hear them acknowledge if one drew that moral, then the relationship between the characters in Twelfth Night and their audience which so often listens to context rather than content would be like the relationship between the picture of we three, the picture of we three which is either a picture of two donkeys or sometimes a picture of two fools. The relationship between the picture of we three and its beholder. But I do not want to draw that moral or for that matter any moral. I do not want to draw that moral because that moral does not yield itself up, It must be drawn, to draw that moral one would have to be a jackass. Audiences of Twelfth Night do not and therefore should not feel like fools looking at fools or jackasses looking at jackasses. In fact, audiences feel good. Audiences do not just laugh a lot as they do watching comedy of errors of Merry wives all theatrical and critical evidence suggests that audiences feel actively good. I submit that. Although common sense says that the reason Twelfth Night is a joyous and liberating play is that so many of its characters and events are joyous and free, common sense is wrong. I submit that much of our joy in Twelfth Night derives from triumphant mental experiences like our modest, but God-like achievement in comprehending scene one. The processes, the language of scene one sets free are not unusual to ordinary verbal experience. Take for example, the current American idiom, I could care less meaning I could not care less. The triumph of understanding that idiom is of the same sort as those evoked by the various comparable, but more complex constructions I've talked about. what is special about the mental triumphs that the language and the action of Twelfth Night enable us to perform is their number their concentration, their imbrication and their variety. If the act of comprehending, I could care less is comparable to doing a metal somersault from the high trapeze. Then our easy graceful matter of fact acceptance of the two and a half hour experience of Twelfth Night is comparable to doing the triple over all three rings of a three ring circus at one time and being one's own catcher.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43874/file/116940#t=0.0,4261.30286"}]}]}]}