Line 280: |
Line 280: |
| For I believe they are portentous things | | For I believe they are portentous things |
| Unto the climate that they point upon. | | Unto the climate that they point upon. |
− | Julius Caesar: Casca—1.3.28-32 | + | Julius Caesar: Casca—1.3.28–32 |
| | | |
| Indeed it is a strange disposed time; | | Indeed it is a strange disposed time; |
| But men may construe things after their fashion, | | But men may construe things after their fashion, |
| Clean from the purpose of the things themselves. | | Clean from the purpose of the things themselves. |
− | Julius Caesar: Cicero—1.3.33-35 | + | Julius Caesar: Cicero—1.3.33–35 |
| | | |
| In order to recover the faculties supported by one's favorite categories and to maintain the proper use of their organizational schemes, it is incumbent on the part of the wary, conscientious, and duly circumspect schemer to recognize in every case how each part of the contention is implicated in the action of the other. In this connection, a triumvirate of closely related aspects of sign relations comes to the fore: | | In order to recover the faculties supported by one's favorite categories and to maintain the proper use of their organizational schemes, it is incumbent on the part of the wary, conscientious, and duly circumspect schemer to recognize in every case how each part of the contention is implicated in the action of the other. In this connection, a triumvirate of closely related aspects of sign relations comes to the fore: |
Line 319: |
Line 319: |
| That my master, being scribe, to himself should write | | That my master, being scribe, to himself should write |
| the letter. | | the letter. |
− | Two Gentlemen of Verona: Speed—2.1.127-132 | + | Two Gentlemen of Verona: Speed—2.1.127–132 |
| | | |
| When I write out my thinking in the form of a text, a critical thing happens: It faces me as the thought of another, and I start to think of what it says as though another person had said it. Almost unwittingly, a critical process comes into play. In regarding the text as expressing the thought of another, I begin to see it from different POV's than the one that led to its writing. As I find my own inquiry reflected in one or another TOI, it addresses me afresh as the question of another and I encounter it again as a novel line of investigation. This time around, though, the topic of concern and the style of expression become subject to directions of criticism that would probably not occur to me otherwise, since the angles of attack permitting them do not open up on their own, neither on first thinking nor ever, most likely, while merely speaking. This can be the beginning of critical reflection, but it can also stir up destructive forms of interference that inhibit and obstruct the very flow of thought itself. | | When I write out my thinking in the form of a text, a critical thing happens: It faces me as the thought of another, and I start to think of what it says as though another person had said it. Almost unwittingly, a critical process comes into play. In regarding the text as expressing the thought of another, I begin to see it from different POV's than the one that led to its writing. As I find my own inquiry reflected in one or another TOI, it addresses me afresh as the question of another and I encounter it again as a novel line of investigation. This time around, though, the topic of concern and the style of expression become subject to directions of criticism that would probably not occur to me otherwise, since the angles of attack permitting them do not open up on their own, neither on first thinking nor ever, most likely, while merely speaking. This can be the beginning of critical reflection, but it can also stir up destructive forms of interference that inhibit and obstruct the very flow of thought itself. |
Line 330: |
Line 330: |
| That fourteen chickens to the roost may fly. | | That fourteen chickens to the roost may fly. |
| Fourteen full pounds the jockey's stone must be; | | Fourteen full pounds the jockey's stone must be; |
− | His age fourteen a horse's prime is past. | + | His age fourteen – a horse's prime is past. |
| Fourteen long hours too oft the Bard must fast; | | Fourteen long hours too oft the Bard must fast; |
− | Fourteen bright bumpers bliss he ne'er must see! | + | Fourteen bright bumpers – bliss he ne'er must see! |
| Before fourteen, a dozen yields the strife; | | Before fourteen, a dozen yields the strife; |
− | Before fourteen e'en thirteen's strength is vain. | + | Before fourteen – e'en thirteen's strength is vain. |
− | Fourteen good years a woman gives us life; | + | Fourteen good years – a woman gives us life; |
− | Fourteen good men we lose that life again. | + | Fourteen good men – we lose that life again. |
| What lucubrations can be more upon it? | | What lucubrations can be more upon it? |
| Fourteen good measur'd verses make a sonnet. | | Fourteen good measur'd verses make a sonnet. |