WEBVTT 00:00:00.000 --> 00:00:10.650 align:middle line:90% 00:00:10.650 --> 00:00:11.320 align:middle line:90% Cool. 00:00:11.320 --> 00:00:11.820 align:middle line:90% Great. 00:00:11.820 --> 00:00:13.290 align:middle line:90% Thanks, Hannah. 00:00:13.290 --> 00:00:22.590 align:middle line:84% Thanks a lot Hannah and Tyler and everyone here and Joshua 00:00:22.590 --> 00:00:28.650 align:middle line:84% and for everyone who is skipping the basketball game tonight. 00:00:28.650 --> 00:00:30.480 align:middle line:90% I'm going to give a lecture. 00:00:30.480 --> 00:00:31.515 align:middle line:90% It'll be about an hour. 00:00:31.515 --> 00:00:35.040 align:middle line:90% 00:00:35.040 --> 00:00:39.420 align:middle line:84% And, you know, it's very rough, so we'll 00:00:39.420 --> 00:00:41.700 align:middle line:84% have some time for questions and answers afterward. 00:00:41.700 --> 00:00:44.160 align:middle line:84% And you really-- if you're perplexed, 00:00:44.160 --> 00:00:47.910 align:middle line:90% let me know at any point. 00:00:47.910 --> 00:00:52.537 align:middle line:84% The lecture is titled "Like a Very Strange Likeness and Pink." 00:00:52.537 --> 00:00:53.370 align:middle line:90% It's in three parts. 00:00:53.370 --> 00:00:56.250 align:middle line:90% It'll take about an hour. 00:00:56.250 --> 00:01:00.120 align:middle line:90% One, The Like. 00:01:00.120 --> 00:01:05.129 align:middle line:84% Let's kick things off with a little psychiatric evaluation. 00:01:05.129 --> 00:01:07.650 align:middle line:84% If I'm going to lecture on likeness for the next hour 00:01:07.650 --> 00:01:10.140 align:middle line:84% or so, I'd like to know what sort of people 00:01:10.140 --> 00:01:12.460 align:middle line:90% I'm dealing with. 00:01:12.460 --> 00:01:15.808 align:middle line:84% So make yourselves comfortable, please. 00:01:15.808 --> 00:01:17.100 align:middle line:90% I'm going to show you an image. 00:01:17.100 --> 00:01:19.680 align:middle line:90% 00:01:19.680 --> 00:01:21.060 align:middle line:90% Take your time. 00:01:21.060 --> 00:01:24.360 align:middle line:84% You all have your little hymnals with you, right? 00:01:24.360 --> 00:01:27.210 align:middle line:84% I know you all have pens but take your time 00:01:27.210 --> 00:01:30.150 align:middle line:84% and write down what it looks like to you. 00:01:30.150 --> 00:01:36.820 align:middle line:90% 00:01:36.820 --> 00:01:38.920 align:middle line:84% I'm not a trained mental health professional. 00:01:38.920 --> 00:01:39.420 align:middle line:90% Don't worry. 00:01:39.420 --> 00:01:42.871 align:middle line:90% [LAUGHTER] 00:01:42.871 --> 00:01:53.720 align:middle line:90% 00:01:53.720 --> 00:01:54.220 align:middle line:90% OK. 00:01:54.220 --> 00:01:58.065 align:middle line:90% 00:01:58.065 --> 00:01:58.565 align:middle line:90% Ready? 00:01:58.565 --> 00:02:03.260 align:middle line:90% 00:02:03.260 --> 00:02:06.670 align:middle line:84% The Swiss psychiatrist Hermann Rorschach 00:02:06.670 --> 00:02:09.740 align:middle line:84% developed his famous inkblot test 00:02:09.740 --> 00:02:12.080 align:middle line:84% during the flowering of psychoanalysis 00:02:12.080 --> 00:02:15.590 align:middle line:90% in early 20th-century Europe. 00:02:15.590 --> 00:02:18.350 align:middle line:84% As a child, Rorschach's classmates 00:02:18.350 --> 00:02:22.670 align:middle line:84% called him "Klecks," or inkblot, for his hobby 00:02:22.670 --> 00:02:27.440 align:middle line:84% of dripping ink onto a piece of paper, folding it in half, 00:02:27.440 --> 00:02:30.530 align:middle line:84% and opening the page to reveal the fanciful mirror 00:02:30.530 --> 00:02:33.440 align:middle line:90% images inside. 00:02:33.440 --> 00:02:37.910 align:middle line:84% Reading Freud on dream interpretation years later, 00:02:37.910 --> 00:02:41.720 align:middle line:84% the impossibly handsome Klecks began 00:02:41.720 --> 00:02:46.100 align:middle line:84% to wonder why people saw so many different likenesses-- 00:02:46.100 --> 00:02:50.540 align:middle line:84% a butterfly, a monster, a volcano-- 00:02:50.540 --> 00:02:54.120 align:middle line:90% in the same inkblots. 00:02:54.120 --> 00:02:56.970 align:middle line:84% He began to show inkblots to schoolchildren-- 00:02:56.970 --> 00:02:59.610 align:middle line:84% analyzing the responses in what would become 00:02:59.610 --> 00:03:03.720 align:middle line:84% Psychodiagnostik, the book that introduced the Rorschach 00:03:03.720 --> 00:03:04.530 align:middle line:90% test to the world. 00:03:04.530 --> 00:03:07.800 align:middle line:90% 00:03:07.800 --> 00:03:10.140 align:middle line:84% Psychologists ask their patients to look 00:03:10.140 --> 00:03:15.910 align:middle line:84% at inkblots as a projective test of personality. 00:03:15.910 --> 00:03:19.560 align:middle line:84% It's called a projective assessment because the subject, 00:03:19.560 --> 00:03:21.840 align:middle line:90% viewing an amorphous object-- 00:03:21.840 --> 00:03:26.520 align:middle line:84% an inkblot, a cloud formation, a Swiss psychiatrist's 00:03:26.520 --> 00:03:28.560 align:middle line:90% hairstyle-- 00:03:28.560 --> 00:03:31.830 align:middle line:84% projects her unconscious conflicts or motivations 00:03:31.830 --> 00:03:32.565 align:middle line:90% onto the form. 00:03:32.565 --> 00:03:37.810 align:middle line:90% [LAUGHTER] 00:03:37.810 --> 00:03:41.620 align:middle line:84% It took me like hours to do this. 00:03:41.620 --> 00:03:44.380 align:middle line:90% 00:03:44.380 --> 00:03:47.680 align:middle line:84% I, for one, can't help seeing a crashing tsunami 00:03:47.680 --> 00:03:50.890 align:middle line:90% in Klecks's hyperkinetic mane. 00:03:50.890 --> 00:03:53.710 align:middle line:90% But maybe that's just me. 00:03:53.710 --> 00:03:57.370 align:middle line:84% I'm an avoidant neurotic with low order anxieties 00:03:57.370 --> 00:04:01.015 align:middle line:84% about male pattern baldness and catastrophic weather events. 00:04:01.015 --> 00:04:03.850 align:middle line:90% 00:04:03.850 --> 00:04:12.250 align:middle line:84% Did you, by any chance, happen to see a spaceship 00:04:12.250 --> 00:04:13.255 align:middle line:90% in our original inkblot? 00:04:13.255 --> 00:04:17.050 align:middle line:90% 00:04:17.050 --> 00:04:19.120 align:middle line:90% Oh, well, I guess my-- 00:04:19.120 --> 00:04:23.260 align:middle line:90% if you see it, you'll see it. 00:04:23.260 --> 00:04:25.390 align:middle line:84% In this respect, you're not unlike 00:04:25.390 --> 00:04:26.893 align:middle line:90% my six-year-old daughter. 00:04:26.893 --> 00:04:28.060 align:middle line:90% You see the spaceship there? 00:04:28.060 --> 00:04:29.393 align:middle line:90% Yeah, right there in the middle? 00:04:29.393 --> 00:04:30.730 align:middle line:90% Yeah. 00:04:30.730 --> 00:04:34.060 align:middle line:84% You're not unlike my six-year-old daughter, 00:04:34.060 --> 00:04:35.905 align:middle line:90% a Napoleonic introvert with a 00:04:35.905 --> 00:04:37.255 align:middle line:90% Mars Needs Moms complex-- 00:04:37.255 --> 00:04:39.317 align:middle line:90% [LAUGHTER] 00:04:39.317 --> 00:04:43.540 align:middle line:84% who insists that it's a rocket ship coming out of hot lava 00:04:43.540 --> 00:04:46.120 align:middle line:84% trying to kiss someone with little, little commas 00:04:46.120 --> 00:04:47.247 align:middle line:90% everywhere. 00:04:47.247 --> 00:04:49.870 align:middle line:90% 00:04:49.870 --> 00:04:52.720 align:middle line:84% Or maybe you saw a pair of dancers 00:04:52.720 --> 00:04:56.060 align:middle line:84% clasping hands in this phenomenological gray area 00:04:56.060 --> 00:04:56.560 align:middle line:90% instead? 00:04:56.560 --> 00:04:59.150 align:middle line:90% 00:04:59.150 --> 00:05:01.030 align:middle line:84% Then you have something in common 00:05:01.030 --> 00:05:05.710 align:middle line:84% with Hermann Goering, the man who brought us the gestapo, who 00:05:05.710 --> 00:05:09.190 align:middle line:84% thoroughly enjoyed perusing the inkblots presented 00:05:09.190 --> 00:05:12.580 align:middle line:84% to him by prison psychiatrists at Nuremberg. 00:05:12.580 --> 00:05:18.660 align:middle line:90% 00:05:18.660 --> 00:05:22.740 align:middle line:84% This is from his transcript from his psychiatric evaluation 00:05:22.740 --> 00:05:24.150 align:middle line:90% in Nuremberg. 00:05:24.150 --> 00:05:26.160 align:middle line:90% Those are two dancing figures-- 00:05:26.160 --> 00:05:32.430 align:middle line:84% very clear, shoulder here and face there-- clapping hands. 00:05:32.430 --> 00:05:34.410 align:middle line:90% Top red is head and hat. 00:05:34.410 --> 00:05:35.610 align:middle line:90% Face is partly white. 00:05:35.610 --> 00:05:40.105 align:middle line:90% 00:05:40.105 --> 00:05:41.230 align:middle line:90% Maybe I'll go back to them. 00:05:41.230 --> 00:05:43.850 align:middle line:90% 00:05:43.850 --> 00:05:47.060 align:middle line:84% Now that you know what it looked like to Goering, 00:05:47.060 --> 00:05:49.790 align:middle line:84% you might feel a little uneasy about seeing those dancers 00:05:49.790 --> 00:05:52.520 align:middle line:90% in the inkblot. 00:05:52.520 --> 00:05:53.720 align:middle line:90% Don't worry. 00:05:53.720 --> 00:05:58.970 align:middle line:84% My wife saw them too, and she assures me almost daily 00:05:58.970 --> 00:06:00.380 align:middle line:90% that she's not a Nazi. 00:06:00.380 --> 00:06:02.990 align:middle line:90% 00:06:02.990 --> 00:06:06.740 align:middle line:84% Though it's hardly foolproof as a psychiatric assessment, 00:06:06.740 --> 00:06:10.970 align:middle line:84% Rorschach's test sheds light on what I would call "our folk 00:06:10.970 --> 00:06:13.850 align:middle line:90% psychology of likeness." 00:06:13.850 --> 00:06:17.150 align:middle line:84% For reasons beyond us, we sense that we're 00:06:17.150 --> 00:06:21.620 align:middle line:84% like others who perceive the same resemblances that we do-- 00:06:21.620 --> 00:06:24.350 align:middle line:84% an ineluctable inkling of difference 00:06:24.350 --> 00:06:28.160 align:middle line:84% from those who don't recognize the likenesses that we project 00:06:28.160 --> 00:06:29.720 align:middle line:90% onto the inkblot of the real. 00:06:29.720 --> 00:06:33.300 align:middle line:90% 00:06:33.300 --> 00:06:37.890 align:middle line:84% Poets trade in resemblances between things in the world 00:06:37.890 --> 00:06:40.770 align:middle line:84% and between themselves and others 00:06:40.770 --> 00:06:44.640 align:middle line:90% whenever they compose a simile. 00:06:44.640 --> 00:06:48.500 align:middle line:90% Is the news like squirrels? 00:06:48.500 --> 00:06:50.690 align:middle line:84% Am I the only person out there who 00:06:50.690 --> 00:06:55.580 align:middle line:84% thinks that the news resembles squirrels? 00:06:55.580 --> 00:07:00.470 align:middle line:84% Will others see the likeness like me? 00:07:00.470 --> 00:07:03.140 align:middle line:84% Emily Dickinson, who once observed 00:07:03.140 --> 00:07:07.010 align:middle line:84% how the news, like squirrels, ran, 00:07:07.010 --> 00:07:09.920 align:middle line:84% worried over these questions like nobody else 00:07:09.920 --> 00:07:13.730 align:middle line:90% in modern American poetry. 00:07:13.730 --> 00:07:16.490 align:middle line:84% Probably, it has something to do with this poet's sense 00:07:16.490 --> 00:07:22.280 align:middle line:84% that she was utterly unlike the people around her. 00:07:22.280 --> 00:07:26.420 align:middle line:84% In a letter to her literary pen pal Thomas Wentworth Higginson, 00:07:26.420 --> 00:07:29.690 align:middle line:84% the reclusive Dickinson once described herself 00:07:29.690 --> 00:07:35.870 align:middle line:84% as "the only kangaroo among the beauty." 00:07:35.870 --> 00:07:38.360 align:middle line:84% In number 736-- her poems are known 00:07:38.360 --> 00:07:43.842 align:middle line:84% by numbers-- in number 736, she makes art of this anxiety. 00:07:43.842 --> 00:07:45.800 align:middle line:84% And I think you have this poem in your handout. 00:07:45.800 --> 00:07:50.390 align:middle line:90% 00:07:50.390 --> 00:07:51.080 align:middle line:90% Is this legi--? 00:07:51.080 --> 00:07:53.210 align:middle line:90% Can you read this anyway? 00:07:53.210 --> 00:07:56.000 align:middle line:90% OK. 00:07:56.000 --> 00:07:58.760 align:middle line:84% Have any like myself investigating 00:07:58.760 --> 00:08:02.060 align:middle line:84% March, new houses on the hill descried, 00:08:02.060 --> 00:08:07.190 align:middle line:84% and possibly a church that were not, we are sure, as 00:08:07.190 --> 00:08:12.830 align:middle line:84% lately as the snow and are today, if we exist, 00:08:12.830 --> 00:08:16.970 align:middle line:90% though how may this be so? 00:08:16.970 --> 00:08:19.760 align:middle line:84% Have any like myself conjectured, 00:08:19.760 --> 00:08:23.240 align:middle line:84% who may be the occupants of these abodes, 00:08:23.240 --> 00:08:25.880 align:middle line:90% so easy to the sky? 00:08:25.880 --> 00:08:29.630 align:middle line:84% It would seem that God should be the nearest neighbor to, 00:08:29.630 --> 00:08:35.900 align:middle line:84% and heaven, a convenient grace for show or company. 00:08:35.900 --> 00:08:38.450 align:middle line:84% Have any like myself preserved the charm 00:08:38.450 --> 00:08:44.059 align:middle line:84% secure by shunning carefully the place all seasons of the year. 00:08:44.059 --> 00:08:49.250 align:middle line:84% Excepting March, 'tis then my villages be seen, 00:08:49.250 --> 00:08:53.660 align:middle line:84% and possibly a steeple, not afterward by men. 00:08:53.660 --> 00:08:58.040 align:middle line:90% 00:08:58.040 --> 00:09:02.750 align:middle line:84% Dickinson's uncertainty, "Have any like myself," 00:09:02.750 --> 00:09:07.550 align:middle line:84% lurks under the surface of every original symbol. 00:09:07.550 --> 00:09:10.760 align:middle line:84% Have any like myself thought that the news 00:09:10.760 --> 00:09:14.120 align:middle line:90% runs like squirrels? 00:09:14.120 --> 00:09:18.440 align:middle line:84% Sometimes, alas, the answer is no. 00:09:18.440 --> 00:09:22.610 align:middle line:84% I, for one, have no idea what this poet 00:09:22.610 --> 00:09:28.000 align:middle line:84% sees on her investigations into March in this poem. 00:09:28.000 --> 00:09:33.490 align:middle line:84% Clouds, my best guess, appear easy to the sky 00:09:33.490 --> 00:09:36.010 align:middle line:84% all through the year, not only in spring. 00:09:36.010 --> 00:09:38.730 align:middle line:90% 00:09:38.730 --> 00:09:44.880 align:middle line:84% Is that community on the hill real or a hallucination? 00:09:44.880 --> 00:09:48.165 align:middle line:84% What doctrine do they preach in it's possible church? 00:09:48.165 --> 00:09:50.910 align:middle line:90% 00:09:50.910 --> 00:09:54.690 align:middle line:84% Venturing beyond the boundaries of her historical community, 00:09:54.690 --> 00:10:00.210 align:middle line:84% Dickinson spies a spectral society that no one else sees, 00:10:00.210 --> 00:10:03.960 align:middle line:84% like a solitary anthropologist conducting fieldwork 00:10:03.960 --> 00:10:10.170 align:middle line:84% on a vanishing tribe in the hills of rural New England. 00:10:10.170 --> 00:10:12.630 align:middle line:90% It's a lonely poem-- 00:10:12.630 --> 00:10:15.300 align:middle line:84% making the question of social likeness, 00:10:15.300 --> 00:10:21.540 align:middle line:84% "Have any like myself, " into an unanswerable refrain. 00:10:21.540 --> 00:10:26.085 align:middle line:84% Maybe to see like this poet, you have to resemble a kangaroo. 00:10:26.085 --> 00:10:30.570 align:middle line:90% 00:10:30.570 --> 00:10:36.390 align:middle line:84% The hyphenated prosody of number 736 allows for the possibility 00:10:36.390 --> 00:10:41.280 align:middle line:84% that collective life is but a dream. 00:10:41.280 --> 00:10:45.240 align:middle line:84% You can see this in the line, "If we exist, 00:10:45.240 --> 00:10:47.070 align:middle line:90% though how may this be so?" 00:10:47.070 --> 00:10:49.760 align:middle line:90% 00:10:49.760 --> 00:10:52.730 align:middle line:84% Though she's often read as a metaphorical poet, 00:10:52.730 --> 00:10:55.490 align:middle line:84% studying Dickinson's similes can help 00:10:55.490 --> 00:11:00.380 align:middle line:84% us to map our imagined communities of resemblance. 00:11:00.380 --> 00:11:02.930 align:middle line:90% 00:11:02.930 --> 00:11:07.280 align:middle line:84% One of her most widely anthologized poems, number 258, 00:11:07.280 --> 00:11:10.940 align:middle line:84% begins with a classic simile of American literature. 00:11:10.940 --> 00:11:16.500 align:middle line:90% 00:11:16.500 --> 00:11:20.550 align:middle line:84% There's a certain slant of light, winter afternoons, 00:11:20.550 --> 00:11:24.120 align:middle line:84% that oppresses like the heft of cathedral tunes. 00:11:24.120 --> 00:11:28.220 align:middle line:90% 00:11:28.220 --> 00:11:31.040 align:middle line:84% Whenever I teach this poem, all of my students 00:11:31.040 --> 00:11:34.970 align:middle line:84% agree there is a particular angle 00:11:34.970 --> 00:11:37.340 align:middle line:84% of bleak winter light that weighs 00:11:37.340 --> 00:11:39.140 align:middle line:90% on the soul like church music. 00:11:39.140 --> 00:11:42.050 align:middle line:90% 00:11:42.050 --> 00:11:44.470 align:middle line:84% Rhetorically speaking, Dickinson leaves 00:11:44.470 --> 00:11:48.020 align:middle line:90% us little room for dissent. 00:11:48.020 --> 00:11:51.140 align:middle line:90% There is no "I" in this poem-- 00:11:51.140 --> 00:11:54.890 align:middle line:84% only the unanimous "us" and "we." 00:11:54.890 --> 00:11:59.630 align:middle line:84% Heavenly hurt it gives us, we can 00:11:59.630 --> 00:12:02.000 align:middle line:84% find no scar but internal difference 00:12:02.000 --> 00:12:04.850 align:middle line:90% where the meanings are. 00:12:04.850 --> 00:12:08.600 align:middle line:84% But what if, heaven forbid, you're 00:12:08.600 --> 00:12:15.470 align:middle line:84% one of those benighted souls who happens to like sacred music? 00:12:15.470 --> 00:12:19.010 align:middle line:84% People who feel exalted by cathedral tunes 00:12:19.010 --> 00:12:23.630 align:middle line:84% might feel that Dickinson's first person plural, "we," 00:12:23.630 --> 00:12:27.230 align:middle line:90% oppresses them. 00:12:27.230 --> 00:12:29.780 align:middle line:84% Though it looks universal at first, 00:12:29.780 --> 00:12:33.050 align:middle line:84% this simile selectively addresses itself 00:12:33.050 --> 00:12:37.130 align:middle line:84% to a secret society of like-minded agnostics 00:12:37.130 --> 00:12:40.760 align:middle line:84% who only pretend to sing along during church 00:12:40.760 --> 00:12:44.960 align:middle line:84% services in Dickinson's 19th-century congregationalist 00:12:44.960 --> 00:12:47.360 align:middle line:90% community. 00:12:47.360 --> 00:12:51.980 align:middle line:84% Fans of sacred music may crash the simile, 00:12:51.980 --> 00:12:56.540 align:middle line:84% but they don't really belong to the poem's inner circle. 00:12:56.540 --> 00:12:59.225 align:middle line:84% Every likeness is a social occasion. 00:12:59.225 --> 00:13:03.770 align:middle line:90% 00:13:03.770 --> 00:13:08.000 align:middle line:84% Now might be a good time to review a few basic principles 00:13:08.000 --> 00:13:10.610 align:middle line:90% from Simile 101. 00:13:10.610 --> 00:13:12.320 align:middle line:90% Feel free to take notes. 00:13:12.320 --> 00:13:15.290 align:middle line:90% There'll be a quiz. 00:13:15.290 --> 00:13:17.840 align:middle line:84% Every simile, The Princeton Encyclopedia 00:13:17.840 --> 00:13:20.900 align:middle line:84% of Poetry and Poetics tells us, is composed 00:13:20.900 --> 00:13:24.080 align:middle line:90% of a tenor and a vehicle. 00:13:24.080 --> 00:13:27.950 align:middle line:90% The tenor is the thing itself-- 00:13:27.950 --> 00:13:34.700 align:middle line:84% an inkblot, Hermann Rorschach's hair, a certain slant of light. 00:13:34.700 --> 00:13:39.110 align:middle line:84% The vehicle is what you the poet bring to the table-- 00:13:39.110 --> 00:13:42.560 align:middle line:84% dancing imps, an approaching tsunami, 00:13:42.560 --> 00:13:45.830 align:middle line:90% the heft of cathedral tunes. 00:13:45.830 --> 00:13:49.685 align:middle line:84% Put them together in a wavy equation and you have a simile. 00:13:49.685 --> 00:13:56.860 align:middle line:90% 00:13:56.860 --> 00:14:01.900 align:middle line:84% But there's a paradox hidden inside any literary comparison. 00:14:01.900 --> 00:14:05.680 align:middle line:84% To liken one thing to another, your vehicle 00:14:05.680 --> 00:14:09.610 align:middle line:84% has to be different from its tenor. 00:14:09.610 --> 00:14:13.030 align:middle line:84% Imagine what would happen if Dickinson's poem began 00:14:13.030 --> 00:14:16.090 align:middle line:90% something like this. 00:14:16.090 --> 00:14:19.270 align:middle line:84% "There's a certain slant of light winter afternoons 00:14:19.270 --> 00:14:23.890 align:middle line:84% that oppresses like the heft of a certain slant of light winter 00:14:23.890 --> 00:14:24.880 align:middle line:90% afternoons." 00:14:24.880 --> 00:14:27.760 align:middle line:90% 00:14:27.760 --> 00:14:30.480 align:middle line:84% This vehicle doesn't travel very far, does it? 00:14:30.480 --> 00:14:32.320 align:middle line:90% 00:14:32.320 --> 00:14:35.080 align:middle line:84% To get any mileage out of her simile, 00:14:35.080 --> 00:14:41.140 align:middle line:84% Dickinson must liken "winter's light" to something unlike it. 00:14:41.140 --> 00:14:44.950 align:middle line:84% This internal difference, at the heart of every simile, 00:14:44.950 --> 00:14:48.220 align:middle line:90% is where the meanings are. 00:14:48.220 --> 00:14:50.710 align:middle line:84% We'll return to the question of difference a little later 00:14:50.710 --> 00:14:53.260 align:middle line:90% in this talk. 00:14:53.260 --> 00:14:58.000 align:middle line:84% For now, here's my advice to freshmen poets. 00:14:58.000 --> 00:15:00.520 align:middle line:84% A good vehicle transports the reader 00:15:00.520 --> 00:15:04.750 align:middle line:84% as far as possible from its neighboring tenor, 00:15:04.750 --> 00:15:07.105 align:middle line:84% but sometimes a vehicle can spin out of control. 00:15:07.105 --> 00:15:11.420 align:middle line:90% 00:15:11.420 --> 00:15:14.330 align:middle line:84% Though she ultimately refused to travel beyond her father's 00:15:14.330 --> 00:15:18.830 align:middle line:84% gate, Dickinson tricks out some of the most outlandish vehicles 00:15:18.830 --> 00:15:21.650 align:middle line:90% in the English language. 00:15:21.650 --> 00:15:27.710 align:middle line:84% She's like a gear freak at the auto show of resemblance. 00:15:27.710 --> 00:15:30.800 align:middle line:90% Let's look at a few examples. 00:15:30.800 --> 00:15:33.290 align:middle line:84% Take out your pencils and see if you 00:15:33.290 --> 00:15:37.430 align:middle line:84% can supply these Dickinsonian vehicles with suitable tenors 00:15:37.430 --> 00:15:39.470 align:middle line:90% of your own. 00:15:39.470 --> 00:15:41.690 align:middle line:90% Print clearly. 00:15:41.690 --> 00:15:42.275 align:middle line:90% No talking. 00:15:42.275 --> 00:15:45.980 align:middle line:90% 00:15:45.980 --> 00:15:48.460 align:middle line:90% Extra credit for good prosody. 00:15:48.460 --> 00:15:52.000 align:middle line:90%