27 Nov 2006 20:10:37 27 Nov 2006 20:10:37 ChariotsOfFire Rect[ 50 50 550 350] 0 0 #222222 diagonal 20 Mar 2006 14:47:04 20 Mar 2006 15:46:54 light warm gray System Prototypes true Rect[ 295 134 925 626] false true right 4.5 plain 2 light warm gray 1 4 false WordCount;includeTitleInButton Macintosh HD:Users:natematias:Desktop:Tinderbox-Stretchtext:template:expand-paragraph.html #706050 lines 20 Mar 2006 14:50:27 1 8 Sep 2006 21:55:11 warm gray Expandable Paragraph true Rect[ 183 85 633 393] false right -1 darker warm gray dark 2.5 plain dark warm gray 1 1 false initiallyVisible Macintosh HD:Users:natematias:Desktop:Tinderbox-Stretchtext:template:marginal-notes.html 29 Aug 2006 18:03:40 8 Sep 2006 21:55:14 dark orange Marginal Note true Rect[ 262 75 537 334] -1 4 false publishCounter Macintosh HD:Users:natematias:Desktop:Tinderbox-Stretchtext:template:page.html cyan diagonal 20 Mar 2006 14:52:41 2.5 8 Sep 2006 21:54:58 light cyan Page Text true Rect[ 185 67 607 533] false center -1 dark blue 2 plain cyan 1 -3.5 false Macintosh HD:Users:natematias:Desktop:Tinderbox-Stretchtext:template:prefix-suffix.html lighter blue lines 20 Mar 2006 19:38:47 0.5 8 Sep 2006 21:55:08 lightest blue Prefix/Suffix true Rect[ 282 65 661 227] 0.5 darkest blue 2.5 plain light blue 1 -1.5 false Macintosh HD:Users:natematias:Desktop:Tinderbox-Stretchtext:template:context-quotation.html lighter blue lines 20 Mar 2006 19:22:21 1 8 Sep 2006 21:55:02 light bright blue Inline Expandable Quotation true Rect[ 282 65 603 312] -0.5 darkest blue 2.5 plain light blue 1 -1.5 7 Dec 2006 21:03:32 1 7 Dec 2006 21:03:32 Ideas false Rect[ 50 50 550 350] 14 3 23.5 7 Dec 2006 13:44:22 0.5 7 Dec 2006 13:44:22 Rect[ 50 50 550 350] 3248343862 10 4.5 4 7 Dec 2006 13:44:22 0.5 7 Dec 2006 13:44:22 Rect[ 50 50 550 350] 3248343862 19.5 4.5 4 7 Dec 2006 15:16:34 0.5 7 Dec 2006 15:16:34 God made me for a purpose false 16 4.5 4 7 Dec 2006 15:18:02 0.5 7 Dec 2006 21:38:02 01:49:54 false 22 1.6 2.5 01:49:54 7 Dec 2006 15:20:39 0.5 7 Dec 2006 21:38:06 00:56:04 false 16 1.6 2.5 00:56:04 7 Dec 2006 13:44:37 0.5 7 Dec 2006 21:35:52 00:04:16 false 8.5 1.6 2.5 00:04:16 7 Dec 2006 13:44:49 0.5 7 Dec 2006 21:37:33 00:09:43 false 10 1.6 2.5 00:09:43 7 Dec 2006 13:47:26 0.5 7 Dec 2006 21:37:36 01:12:53 false 19.5 1.6 2.5 01:12:53 ReadOnly;WordCount 9 Dec 2006 10:40:45 1.5 13 Dec 2006 19:43:30 red Essay on The Master's Speech at the Caius Matriculation Dinner false Rect[ 411 44 892 763] true 1.5 white 6 2 3 The first phrase of the Master's speech mentions the "war list", but the list is already present in the film before the master speaks. The speech is preceded by a slow upward camera pan over a long table of names. The dates "1914 - 1918" come into the field of view at the end of the shot, providing the first indication of the list's subject. The camera settles on these dates for a moment before an elevated shot which depicts the high table, the freshers, and at top right, the list, whose numbers dwarf them all. The camera then begins the speech where the Master begins: with himself. In order to establish the wider emotional effect of reading the list, he first cites personal experience. He uses verbs of agency: "take" and "run". Both are personal efforts and indicate the personal importance of the list. The experience is immediate; it is not "when I take", but rather, "I take". When the sentence is completed, the negatives "cannot read" and "without emotion" contrast these active verbs, suggesting the powerlessness of an active effort to suppress emotion. The impersonal term "war list" indicates the presence of an effort to depersonalize the names. This effort is not successful. By inserting an additional clause in-between "cannot read" and "without emotion", the speaker highlights his inability to suppress emotion. The interrupting clause also relates the personal emotional response to a common emotional response; a group claim might otherwise seem hollow, but in the atmosphere of personal emotional confession, the group claim also seems authentic. This widening enables description of the further strengths of the list's inductive power. While The Master attempts to grasp and suppress, the college's senior members passively "hear" the list. Though they are less intimately involved, the list is said to induce an involuntary emotional response. The negatives are thus used four ways: (1) reading the list is emotionally difficult for the Master; (2) The Master cannot suppress emotion when reading the list; (3) the list read aloud creates an involuntary response in the hearers (4) any contact with these names will result in emotional response. But not everyone will feel the same way. The Master addresses the freshers with the statement, "and which we, who are older than you". The use of "we" and "you" separates the audience into two precise groups and sets up corresponding categories of emotional response. Liminal ceremonies of inclusion often involve an all-inclusive "we", but no such usage occurs in this speech. Apart from dividing the audience into freshers and fellows, the statement also makes claims about the nature of each group's members and their relations to each other and the dead. By introducing a disparity of wisdom and experience between the fellows and freshers while personally retaining the strongest emotional response, the Master creates a hierarchy which allows him to speak with personal authority and the weight of the fellows to the inexperienced youths. The word "older" apparently refers to time spent at Caius, but it also connotes age, the past, weakness, the suffering of loss, and wisdom. The Master implies that the freshers are not only younger, but also less experienced and less wise. Their lack of emotion is forgivable, for an alternative response is eventually described. Thus are wisdom, experience, and authority securely fastened to the fellows, but the responsibility of action is pinned on youth. The emotion itself is kept ineffable-- unknown, mysterious, powerful-- to impress the freshers, but also to keep the range of definition within a reasonable, believable scope of individual and group experience. This "emotion" likely includes complex feelings of hope and sorrow, pride and grief, and perhaps, inspiration. Identifying specific elements of this emotion might introduce connotations and potential inferrences that the Master wishes to avoid. The speech pushes forward; sorrow, grief, and regret are complex experiences which are associated with solemn, introspective thought, not a the rush of motivation desired by the Master. Although he reserves the emotional response for the high table, the Master wishes the audience to share the reading experience. He uses the present tense-- 'I take", "I run", "I cannot read", "we cannot hear"-- in order to bring the audience with him in the experience. The rhythm and repetition of "name after name" simulates the act of reading through the list. Echoes of this continue in the speech through other, similar phrases which also use anapests, or repetition, or both. Anapests occur in "and I run", "after name", "and which we", "who are older than you", "cannot hear", "which to us", "after face", "and they died", "for the sake", "of your college", and "and your country". Repetition also occurs in the phrases "names which will be only names", "face after face", and "For their sakes, for the sake". Although the Master begins with action which is ineffective, his speech sets up a contrast between feebleness and vigor. His first few statements include phrases of fatigue and inability: "run down" "older", "cannot read", "cannot hear", "without emotion". The Master encourages these new students to look forward as he looks back; he may "take the war list", but the freshers are later encouraged to "seize this chance". After describing the list, delineating emotional responses, and configuring the audience by response, the Master uses the future tense to suggest that the emotional element of this configuration will not change. Time and age will not bring the same kind of wisdom and experience to "you, the new College". This statement creates a space at the high table unreachable by the freshers, but it also draws them in by declaring them--not just absorbed-- to be the defining constituents of a replenished college. By calling them the "new college", the Master continues the ceremony of inclusion which is part of the dinner's purpose. He doesn't say "this new college"; he says, "you, the new college". "You" retains an internal separation, but by proclaiming them to be "the College", he suggests that (a) the college's primary essence is constituted by people and (b) the students will represent the entire concept-entity of their college. Adjacent stresses are infrequent in the speech. Just as as the link between "war list" and "run down" is strengthened by their rhythm, the replacement of those on the "war list" by the "new college" is also strengthened by the recurrence of adjacent stresses. Furthermore, the Master's words carry the implicit suggestion that the new college can also be known and remembered in a similar way (and, the master later implies, perhaps even in greater ways if they achieve what for the dead was only possibility). The statement "only names" suggests the potential for individual relationships based on more personal understanding than those associated with lists. Earlier, "name after name" used the singular to refer to a list. Here, the plural "names" distinguishes individuals in the group while retaining a rhythm that connects back to the list. The connection is explicit. Had he said "which will only be names", greater emphasis would fall on "only"; the actual word order effects greater stress on both instances of "names". This distinction of individuals moves the Master's words from evocation to invocation. Names summon faces. But the plural is not used; delineation returns to the repeated singular, simulating a slideshow of faces which resembles the cadence of the list. At this point, the camera begins to zoom out from the Master, creating the visual momentum which will be used for a series of shots presenting such a slideshow: face after face of listening undergraduates, who sit at dinner underneath the war list on one side and underneath the photographs of each class of past freshers on the other, all under the watchful eyes of those at the high table. Despite the imagery of age and fatigue, "memory" is not mentioned. Faces are summoned rather than remembered. This leaves emphasis on the faces rather than the ones who remember. They are not summoned for a purpose, but rather "summoned up". These features of the speech suggest the supernatural nature of the summoning, the spiritual, immortal, innate qualities of the names, the nature of the names' relation to the faces, and the relationships among the names-faces and the "us" at the high table. "summon" establishes immortality is one implicit subject of the poem. Reference to memory, its tendency to fade, and its other unreliabilities would undermine this essential quality. The spiritual connotations of "summon" add to the atmosphere of consequential gravity while relating directly to one primary purpose of the speech: to confer the unfinished business of the dead upon the living. The use of "faces" does more than invoke imaginary ghosts. The spiritual and physical senses of "faces" create the opportunity for identification of an innate character which is a partly-unrealized, partly-interpreted potential, but which is also fixed by merit of its noble, untimely end. The statement that these are faces "full of honesty" does more than encourage the audience to trust further assessments; it carries a hint of the faces' youth, a hint strengthened in the next phrase's assertion of "zeal". The impression of youth is developed by the robust nature of "vigor". It is not misguided, for it involves "goodness". The trochees "goodness" and "vigor" connect to each other, forming a strong, four-part structure in which virtue is pursued with energy. By listing qualities in groups of two, the Master reconnects his speech to the repeating patterns of two in the war lists's names and faces. The faces are "full of" these qualities, complete and unlacking in their possession and expression of virtue and energy. Fullness also suggests an outward effusion of these qualities; honesty, goodness, zeal, and vigor are all fulfilled in outward actions and expressions. "Intellectual promise" stands out, contrasting in nature and gramattical progression. It is a placeholder, a potential, a hope for things not yet achieved, unlike honesty, goodness, zeal, or vigor, which are declared as present, but which even unaccomplished people may possess. Promise comes with capability and full expectation: their faces are "full of" "promise," not "promises". By placing "intellectual promise" last, and by causing it to stand unique from the rhythmic and structural pattern of the previous, two-element groups, the Master distinguishes intellectual promise from the previously-stated characteristics, describes a three-tier hierarchy of qualities, distinguishes the people he describes, invites the audience to wonder at what their results might have been, and suggests that these results and their means of achievement would have been defined by honesty, goodness, zeal, and vigor. But promise is fragile. The Master's next two phrases add the quality of fragility to the war-list students' potential and set it in the larger social and national context. They are "the flower of a generation" and "the glory of England". By employing fragments, the Master (a) continues to draw on patterns associated with lists (b) again speaks as if currently in the process of remembering these students (c) avoids the use of verbs, whose tense would suggest significances he is saving for the word "died", (d) indicates the dead students' timeless notability within their generation and English history, and (e) omits the object and tenor of the statements, integrating the students of the war list with the traits which make them notable. "The flower" metaphor suggests their superlative, bright, productive nature, which is notably visible, colourful, fragrant, pleasant, part of growth and reproduction, full of life, and critically interdependent with the rest of humanity. Their place as flower of their "generation" refers to the competetive nature of Cambridge admissions, imagines a lifetime of activity, and places them within the natural, continual cycle of life and history. It likely also refers to the history of Cambridge itself, which is often gradated with the names of those graduates who are among European history's notables. Generations are a class of set whose bounds can vary in physical, cultural, and economic scope, but the greater, movie-wide context of the Olympic Games guarantee its application to what Lord Birkenhead later describes as the "civilized world" (01:08:30). The metaphor also includes ideas about family and ancestry, which are central issues in the movie. Those on the war list are also "the glory of England". The deferral of verbs allows this glory to include past, present, and future status, although each kind of time connotes a distinct kind of glory. By mentioning glory before mentioning death, the Master avoids the suggestion that their death is a waste while also allowing multiple interpretations of that glory: their promise, their choice to fight, their deaths, and the result of their deaths. As their generation's flower and the nation's glory, the new college collectively represents (in both senses of the word) their generation and nation. But flowers are fragile, glory is intangible, and life includes hard, physical challenges. By moving the scope of his speech into the larger picture before directly referring to death and loss, the Master magnifies and intensifies the gap they leave in their generation and human history. "Glory" also contains religious connotations of death and self-sacrifice, introducing further positive associations with their deaths. It is only a vague hint of religion, in service to another purpose; God is not mentioned in the speech. This limited religious regard among England's powerful will later become part of an important conflict in the movie. "The flower of a generation" and "the glory of England" share related objects, a parallel structure, and a common (finitely ambiguous) subject. Thus, when the next phrase begins with "and", a further, similar phrase is expected. However, this progression is broken with a verb. It is the only use of the past tense in the speech. Up to this point, reading, hearing, and summoning have introduced the dead into the present. By bringing them to the present and praising them using the present tense, he highlights the ruin of their loss when he finally admits their status. "Died" disrupts the newly-established patterns of the speech, the newly established lives of those on the war list, and the larger entities which they represent. Their loss is not a complete disruption. Some progressions continue. The progression of trochees starting with "goodness" to "vigor", "promise", "flower", and "glory" transforms into a three-fold repetition of "England", "England", "England" in successive phrases, whose arrivals are also primed by the "g" sounds in "goodness", "vigor", and "glory". By following a list of fragments with a dependent clause, their deaths are included as a parentheses, as almost an afterthought to the previous word: England. It is England which brings to mind their death. It is for England they died, and it is England which still stands. The trailing preposition in "and all that England stands for" is no mistake. It places "England" as the second stress in the phrase, which is also the case in the two previous phrases, forming a strong parall among these three phrases about England. The Master will have none of the ignorance found in the Light Brigade; nor does he allow the possibility of individual desire or even individual goals for England. To die for England is to die for "all that England stands for." Their death is a selfless act. "All" describes an England which has remained entire as a result of this sacrifice, but the idea of entirety also includes a solidarity which, it is later implied, should characterize the new college's efforts. The use of the present tense "stands" also suggests that the dead's efforts were successful, reminds the audience that England still exists, still has things to say, still has things to accomplish. When the Master later makes the new college England's representatives, he makes these accomplishments their responsibility. "and all that England stands for", the first in the speech employing iambic metre, sets up the speech for a pause followed by a major transition while also preparing a mechanism for further progression: the repetition of "and". At this point, the camera shows Abrahams and Montague exchanging glances. But their eyebrows do not move. One is not certain if they are questioning the validity of these patriotic statements or exchanging assent; perhaps these newly-acquainted friends are trying to read each other's faces. Whatever the imaginings of the Master, these faces are blank, unreadable: perhaps they are faces on which the future has yet to be written. "And now by tragic necessity" is the third consecutive clause beginning with "and". Each "and" serves a different grammatical function. But the repetition of "and" creates continuity, moving the speech from the past death of those on the war list to the survival of England up-to-now, and finally to an immediate present which looks forward. By describing the situation as "tragic", the Master tempers his positive, state-focused assessment, acknowledges personal suffering, and transitions from the larger context to the role of individuals within that context. But this role is not optional, for tragedy arises from the larger situation. Involvement is a "necessity". Need connotes lack, which reminds the audience of the gap left by the flower of an entire generation. But "necessity" suggests possible and required action, where mere "need" might be tragic in settings where no action is possible. The phrase "tragic necessity" probably refers to a famous 1918 essay on the League of Nations by H.G. Wells, who was on its research committee. The essay, which encourages British involvement in the league and outlines a plan for its success, bemoans the divisive nature of postwar special-interest politics in Britain, illustrated by what Wells sees as short-sighted, manipulative political maneuvering. He calls his time one of "tragic necessity" and predicts that "Life is going to be very intense in the years ahead of us." Wells worries about the possibility of a "caricature Parliament, with perhaps half a hundred leading men in it and the rest hacks and nobodies". Although the Master doesn't refer to politics, his speech contains similar sentiments. The loss of a generation of Cantabrigensians leaves a gap in England the world during times in which their apparent talent, virtue, and solidarity are required. Necessity is urgent and fundamental, and the modifier "tragic" suggests that it is critical, dire, and perhaps down to the barest, bleakest level. Equally intense effort may be required to mitigate the situation, an endeavour which will likely require the best efforts of Britain's best. The next phrase effects a significant shift in the Master's speech. By mentioning "their dreams", the Master repositions his construals of the dead's imagined faces. The pronoun is possessive: these construals are now said to have been held by the past students themselves. Instead of external expectations and potential, they are now personal ideals and goals. But these are dreams; they are more visual and comprehensive than the mere qualities or goals he previously mentions: they also now include the broader scope of a generation and a nation. As dreams, they are open to further definition and interpretation. They are not easily attained, involve ideas of inspiration, and are the objects of desire. In the same clause which positions these expectations to be the internal motivations of the dead, they are repositioned again. The situation of "tragic necessity" is said to have already placed them upon the new college. The situation may be tragic, but the responsibility is not entirely tragic: "dreams" carries positive connotations. The freshers' newly-inherited responsibility is not specific, but it is comprehensive: the context of tragic necessity suggests the urgent, maximal, social, and moral qualities of the attainment demanded by the situation. Furthermore, these are dreams cut short by the war, a distinction which makes them untouched by the grisly nature of combat, but which makes a double demand, reaching beyond restoration to include additional achievement. The unspecific nature of the dreams allows their scope to include the desires and talent of those to whom they are transferred, but this transferral (and the later three-fold proxy of motivation) excludes all wholly personal, individual dreams. The dreams are to be of personal importance but wider purpose. Their unspecific nature also invites examination and discovery, an invitation made explicit later. "let" requests permission to advise, which endows the freshers with authority to grant a kind of permission. However, this imperative also reinforces the idea that the new college has no choice about the dreams previously stated to be thrust upon them by the situation. It does strenghten their personal ownership of these dreams and the need for personal agency to carry them out. "let" also suggests that nothing to this point has been the Master's personal agenda, that his entire speech has so far been descriptive. It introduces two series: The repetition of "let" and the sequence of imperative verbs which builds toward the end of speech. "Exhort" also builds the imperative atmosphere; the situation calls for more than mere advice from the Master. By exhorting, he urges them to action, but receipt of exhortation also requires a humility which is part of letting the Master exhort. The religious connotations of exhortation suggest their application to personal or moral motivations. The imperative need for examination is strengthened by the consonance between "exhort" and "examine". By exhorting the new college to examine themselves, the Master does more than call for studied self-awareness of their nature, abilities, and potential. He is exhorting them to set their own standards of achievement rather than merely attain the expectations of the university. This implicit advice about the nature of Cambridge studies is strengthened by the imperative "discover", which also suggests purposeful acts which reach beyond known boundaries. Self-examination also includes self-improvement. The second "let" is also an imperative, a declarative commencement (as in, "let the games begin") which qualifies and enlarges this self-examination. Examination and discovery require different styles of purpose. While examination suggests meticulous, thorough, or narrowed focus on detail, the scope of discovery is wide. Examination applies previous knowledge, measurement, and mastery to an entity of finite bounds. Discovery approaches the unknown in order to find valuable things of varying anticipation along the way. By deferring the object of examination until after a statement about discovery, and by pausing after "discover", the Master suggests a hybrid approach to the acquisition of the self-knowledge and discipline he wishes the new college to attain. The Master's plan is not for teamwork, but rather for maximal individual attainment: he distinguishes "each of you" and asks them to discover "your true chance". By individualising his message, the Master also discourages them from examining each other, which might be understood by "examine yourselves". The plural becomes a comprehensive call; no one is left out of this tragic necessity. The Master doesn't ask them to discover their "true chance of greatness". Rather, he asks them to discover its location. This suggests that the discovery is only the beginning of effort. This chance is "your" chance, suggesting that each person may achieve a uniqe, solitary, greatness. Although equal options may seem to exist, one will be the "true" opportunity. The objects of examination and discovery do not have agency. Since chance may be seized, failure does not lie in the circumstances or nature of the challenge, but rather in a failure to properly identify the "true chance" or a failure to attempt with complete vigor. The phrase implies that only one true chance exists for each student. Just as with "war list" and "their sakes", the adjacent stresses emphasize the phrase "true chance". At this point, the camera shows the face of Abrahams, the character in the film who most desires greatness. The film then cuts to an angle from an early part of the speech: a zoomed-out view of the dinner. At this point, the speech also zooms out. The final declamation defines the sources of motivation and the beneficiaries of credit before describing the action it proscribes. By beginning with this triad of the war list, the college, and the nation, the Master reminds the audience of the scope, urgency, and nature of the task he is about to describe. The pronoun "their" now refers to an antecedent much larger than the "war list"; the pronoun now refers to the people, events, nations, qualities, and potentials represented by those on the list. It frames Caius life in the context of the ultimate sacrifice of England's finest, strengthening the urge for complete, vigorous effort. Although personal glory and personal credit are not included in his list of motivations, he contrasts "their sakes" with "your College" and "your Country". Both the dead and the freshers share the same college and country (which are partially conflated by alliteration), but the repetition of the possessive "your" makes the motivations personal while also claiming them for these larger institutions. The liminal ceremony of inclusion is completed in the final declamation: the master drew internal distinctions, placed the task of representation upon the "new college", and now describes the expected means of proper representation. The freshers' most ardent efforts of personal discovery and attainment are now said to act in proxy for trans-generational, historical conceptions of their college and country. Acts done "for the sake" of others are outward and often away from the presence of those for whom one does them. Thus, the nation and college are an involiable, not open to tinkering. Although the object of effort is a "dream", and its "chance" nature is uncertain, it is not intangible. It may be seized. "Chance" refers to the (a) "true change of greatness", the (b) opportunity at Caius, and (c) the greater situation of tragic necessity. "Seize" includes adversarial connotations, but the next clause clarifies the action of attainment. The chance is something to "rejoice in". Had the Master mentioned sorrow, grief, or solemnity instead of "emotion", or had he placed rejoicing in close proximity to death or tragic necessity, rejoicing might seem out of place. But when attainment is for the sake of those who could not realize the rewards of zeal, vigour, and promise, rejoicing takes on an even more imperative, urgent character. Joyful attitudes toward effort are associated with great internal motivation, and effort carried out joyfully indiciates skill which can spare focus for enjoyment of the task (Abrahams challenges this approach as wasteful and naive in another memorable speech - 01:00:07). Work in which one can rejoice centers joy in the process rather than in completion. The situational connotations of "chance" combine with the perception that those who rejoice in attainment rarely seek to terminate their effort. Attainment becomes a state rather than a task to be completed. The search for the "true chance" and the urge to "rejoice in it" when it is found also implies a connection between supreme attainment and true happiness. The final "let" performs two functions. Had the speech stated, "do not let", it would be an exhortation to the new college against permitting any obstacles. By beginning the clause with "let", it is also a general imprecation against those powers and persuasions. The iambic metre of the final clause, the supernatural atmosphere summoned ealier, the scope of the task, strengthen this air of imprecation. The age of the Master and fellows, who in the speech concern themselves with the past and memory rather than these necessary attainments, suggests an imprecation which reaches forth to potential obstacles with protective warning. "Power" and "persuasion" perform multipurpose parts. "Power" refers to entities which hold and deploy power. But it also refers to the types and levels of power which may be applied to deter the freshers. Persuasion refers to any ideas or temptations which may waylay them. Discovery may require a broad range, but after discovery is completed, effort should be direct. Persuasion also refers to ideals and creeds which might deter effort. By specifying "no" power or persuasion, the Master's statement of warning and imprecation places the freshers' task above any of the things they denote and places "power" and "persuasion" in an adversarial position to the new college. This urges them to be on their guard while still ardent in effort. The adversarial situation combines with the possessive pronoun "your" to strengthen and seal the conferred qualities, motivations, dreams, and community before releasing the freshers. Their efforts are given a trajectory, although "task" connotes something more complex than a goal. It is includes of the efforts, ideas, and qualities presented earlier, but it also suggests a specific and continuing nature of the chance of greatness. The final statement expresses confidence in the swift momentum of their trajectory: powers and persuasions cannot stop them, only deter their efforts. The speech ends strongly, with an air of finality. The triad of imperatives-- "sieze", "discover," and "let"-- is the first complete, strong traid found in the speech. Other groups of three exist, but each is disrupted in some way. "England" is used in different ways in the phrases which repeat its name. Those beginning with "and" overlap the "England" triad and are also different kinds of phrases. The triad of proxy found in "their sakes" and "the sake of your college and your country" is actually a grouping of two in which one element consists of two items; the possessive pronouns are the primary grouping mechanism. The imperative statements beginning with "let" are separated by distance. Other consistent, strong groups appear, but these are also groups of two: "name after name", "face after face", "honesty and goodness", "zeal and vigor", "College and your country". The groups of two and disrupted groups of three emphasize their elements while creating the expectation of more to come. These disruptions and expectancies are satisfied in this final series of three imperative clauses, just as the Master hopes that actual disruptions and expectancies will be satisfied by the efforts of the new college. The undisrupted triad of imperatives also suggests the undeterred power and focus of the new students' trajectory. The last declamation includes many instances of repetition and consonance: "sakes" and "sake"; "College" and "country"; "Power" and "persuasion";"you" and "your"; "deter" and task", which add to the intensity of the declamation and, like the increasing rates of a fireworks display, signal the approaching finale. The metre of this final statement-- "and let no power or persuasion deter you in your task"-- forms the most consistent rhythm in the entire speech. As in the phrase "and all that England stands for", which concluded the Master's look toward the past, the iambic rhythm of the final clause heightens the tone and signals a conclusion. The first half of the phrase ending in "persuasion" creates grammatical and metrical tension with four iambic feet, after which a natural pause leads into an assertion of the three iambic feet which conclude the speech, releasing the tension and, symbolically, the new college. 7 Dec 2006 21:15:34 1.5 7 Dec 2006 21:44:43 small groups and intimate settings false Rect[ 50 49 604 526] 1.5 3 8 false 115 <h2>Small groups and intimate settings</h2> * Abrahams and the Caius porters (00:06:30) * Jenny and Sandy in the highlands (00:16:44) * the walk home from church (00:20:44) * in a drawing-room in Scotland(00:22:44) *in front of a fire with Aubrey in Abrahams's lodgings (00:26:30) * after a church service in Edinborough (00:53:48) * Lindsey and Sybill: the lawn of a British stately home (00:57:37) * dinner with the Master at Caius (1:00:07) * Lord Birkenhead and reporters, boarding the boat for Calais (1:05:04) * Eric and Lord Birkenhead en-route (01:10:23) * the drawing room of the Olympic ball (01:23:00) * personal letters between Aubrey and his mother (00:04:16, 00:9:43, 01:12:53). false 13 Dec 2006 10:14:38 1 13 Dec 2006 11:02:21 Craft and Art false Rect[ 50 50 550 350] 25 2 5 6 In the 16th century, humanists such as Machiavelli studied human phenomena using descriptive methods of observation. This scared many people, who worried that a study of means and method might lead to efforts which also disincluded moral consideration.  The meanings of the word "craft" capture this fear of workmanship which suspects quality social effort to be deception by nature. This validity and nature of this distinction in . I have recently been told that good art does not have an agenda. This is a difficult statement to disprove, because it means several things: * It claims to be a descriptive about the process of creation and the inevitable results of certain types of artistic effort  * It defines a domain. Anything with an agenda can be considered bad art * , or to restate, that a purposeful or strong intended effect outside   13 Dec 2006 11:02:33 1 13 Dec 2006 11:45:40 Craft and Art II false Rect[ 50 50 764 527] 25 2 7 7 Hmm. on Art. I believe that to convince is not the same as to deceive, that craft can mean quality and/or guile. When good ideas are put badly, I do not rejoice, especially in times where the cacophony of marketing overpowers all. One should not ignore the aesthetics of an eco-friendly car just because its purpose is greater than the automobile's traditional function: the arousal of envy, and perhaps transportation. Would you be more pleased with the world if the chaplain had the integrity to proffer bad wine since the investment company recruiters serve good wine? Is sex which leads to desired procreation really worse than the recently-invented self-centered, "safe" sex? Good acts, ideas, and creations can be notable for their moral qualities if they are done in a way true to their governing principles. Even when the good is distasteful, a little bit of sugar really does help the medicine go down.  Students, who rarely are living in the times or places of their immediate subjects' inception, can view art as something behind glass in the museum of the mind. Except for those rare people (do they exist?) who dedicate their breath and life to their Art with no regard for food or friends or roof, only undistracted, peaceful, complacent subcultures produce art for art's sake, or should I say, for the social and economic functions it performs.  You have stated, in effect, that purpose cheapens art, and that art cheapens purpose. If you worry about honesty and manipulation in art, at least realize that art is more honest than democratic politics. Even good statesmen manipulate the factors which define our lives and claim to do it in our names, in a setting where the logistics of information make true representation impossible. We expect them to tell us what we need and do what we want. But by modifying the situation, they also modify our experiences, needs, and demands. Most art, on the other hand, permits and requires audience agency. Even political effort can sometimes be good; why then should all purposed art be bad? Another issue arises: is all well-executed art good? Of course not. The nature of art's "goodness" is complex. We become tangled in questions of intent, effect, societal effect, psychological effect, audience agency, censorship, and study. WordCount 7 Dec 2006 21:10:10 1 9 Dec 2006 10:33:12 red Audiences of Rhetoric in Chariots of Fire false Rect[ 181 44 662 694] 3 yellow 4.5 6.5 Chariots of Fire is about rhetoric as much as it is about running. The two protagonists are speechmakers: Abrahams is preparing to be a lawyer; Liddell plans to be a missionary. Both also expect their actions to speak. Liddell wants people to notice the gospel through his running. His choice against running on Sunday achieves that goal. Abrahams wishes to establish his supremacy in order to belong, choosing to do so by efforts in theatre and athletics. Preaching, acting, and running all involve audiences. But the protagonists are not the only ones with speeches: a funeral oration by Lindsay (00:00:48) commences the series. Speeches are given at a Cambridge matriculation dinner (00:08:11), before the College Dash (00:12:02), beside racetracks (00:17:35, 00:24:33), at a family farewell dinner (00:21:54), on a boat to Calais (01:08:30), and from the pulpit of the Church of Scotland in Paris (01:30:15). Neither is rhetoric limited to public address. The setting and voice of rhetoric frequently shift within the complex influences of the protagonists' multiple configurations of social relationships. Rhetoric also often employed in small groups and intimate settings with audiences which include family, friends, officials, and royalty. ^include(small groups and intimate settings)^ Many of the speeches present very nuanced variations of social dialect with multilayered audiences. For example, Liddell's second racetrack homily is directed both to his working-class audience and to his sister. In the speech, he attempts to convince the race-goers of the importance of Jesus, but he also attempts to convince his sister of the importance of running. The dual audience is emphasized by a long pan-shot which initially shows the response of the race-attendees, but which settles on Jennie's face (00:24:33). Her colourful hat emphasizes her importance to the scene, since the crowd wears greys, browns, and blacks. Jennie's active roles as authority and key member of the audience are further asserted in the next shot when she looks down in thought after Liddell suggests the power comes "from within", but raises her head and peeks at the others when Eric begins to quote the words of Jesus (00:25:46). Eric's words are recontextualized and further emphasized almost an hour and a half later, when they recur in voicover during Liddell's Olympic race, acted in spirit for a global audience (01:49:25). The most complex construction of speaker and audience is found in the speech given by the Master of Caius College, Cambridge. is notable for its juxtaposition of a funereal tone upon the motivational, commencing ceremony of a matriculation dinner. 5 Dec 2006 17:08:19 5 Dec 2006 17:08:20 The topics of speechmaking and rhetoric easily bring to mind famous political statements and the history in which they operated. Public oratory is most commonly experienced in the political sector and is often interindexed with the common experience of the times. The history of American Civil Rights is a history of speechmaking as much as it is a story of the millions who marched, or of those who perished in the turmoil. Many other notable events-- the Space Race, the battle of Gettysburg, the plea of Daniel O'Connell, the fall of Bonaparte, the fall of the Spanish Armada, the fall of the Iron Curtain-- are remembered with their almost-requisite oration. Speeches' interactions with their context only rarely involve common memory and mass historical consciousness; public speeches are infrequent compared to the multitude of formal and informal speeches of private ceremony in churches, lodges, barrooms, family rooms, restaurants, and airports which occur each day. Such speeches are not less important to its participants; many engagement proposals have been made with more care than the average political statement. Such is the great importance of chamber speechmaking that Joyce's Conroy is distracted by thoughts of his approaching Christmas speech for almost the whole of The Dead. In the story, Conroy worries over the appropriateness of his style to the occasion. He realizes that the meaning and effect of a speech is a two-way interaction with the social situation in which it is spoken, worrying that he might employ "a wrong tone", which would make his speech "a mistake from first to last, an utter failure." The tone of Harry and Katherine's courtly conversation in Shakespeare's Henry V could only exist-- and then only in tense, surreal manner-- in the situation of a nearly-arranged marriage of gentry or royalty. If spoken by Falstaff and Doll Tearsheet in the Boar's Head Tavern of Henry IV Part 2, such conversation would be burlesque. Rect[ 50 50 550 350] 2 11.5 112 The topics of speechmaking and rhetoric easily bring to mind famous political statements and the history in which they operated. Public oratory is most commonly experienced in the political sector and is often interindexed with the common experience of the times. The history of American Civil Rights is a history of speechmaking as much as it is a story of the millions who marched, or of those who perished in the turmoil. Many other notable events-- the Space Race, the battle of Gettysburg, the plea of Daniel O'Connell, the fall of Bonaparte, the fall of the Spanish Armada, the fall of the Iron Curtain-- are remembered with their almost-requisite oration. Speeches' interactions with their context only rarely involve common memory and mass historical consciousness; public speeches are infrequent compared to the multitude of formal and informal speeches of private ceremony in churches, lodges, barrooms, family rooms, restaurants, and airports which occur each day. Such speeches are not less important to its participants; many engagement proposals have been made with more care than the average political statement. Such is the great importance of chamber speechmaking that Joyce's Conroy is distracted by thoughts of his approaching Christmas speech for almost the whole of The Dead. In the story, Conroy worries over the appropriateness of his style to the occasion. He realizes that the meaning and effect of a speech is a two-way interaction with the social situation in which it is spoken, worrying that he might employ "a wrong tone", which would make his speech "a mistake from first to last, an utter failure." The tone of Harry and Katherine's courtly conversation in Shakespeare's Henry V could only exist-- and then only in tense, surreal manner-- in the situation of a nearly-arranged marriage of gentry or royalty. If spoken by Falstaff and Doll Tearsheet in the Boar's Head Tavern of Henry IV Part 2, such conversation would be burlesque. 28 Nov 2006 9:25:23 28 Nov 2006 9:25:23 I really think that Chariots of Fire is a reference to Marvell, not to Elijah. Rect[ 50 50 550 350] 0.5 13 113 28 Nov 2006 9:12:12 28 Nov 2006 9:12:12 Many speeches in the movie, involve a simplified, one-to-many context, in which a single individual addresses a group, or a group attempts to convince the individual. Rect[ 50 50 550 350] 2 15 114 5 Jan 2007 18:43:02 3 5 Jan 2007 18:43:02 blue Rhetoric in Chariots of Fire false Rect[ 50 50 550 350] 4 4.5 2 13 5 Jan 2007 19:44:38 0.5 5 Jan 2007 19:45:29 Rect[ 50 50 550 350] 3250871078 8.5 1 7 5 Jan 2007 19:21:38 0.5 5 Jan 2007 19:21:38 Rect[ 50 50 550 350] 3250869698 9.5 0.5 5 5 Jan 2007 19:39:23 0.5 6 Jan 2007 16:33:01 Why does Liddel Run? false 7 0.5 3 88 Talk with father. ... Watch Eric - He has something to prove. Scholz to the other U.S. runner, toward the end. 5 Jan 2007 19:39:36 0.5 6 Jan 2007 16:17:02 Pairing Running with Voiceover and music false 7 0.5 3.5 89 What is the movie saying about running? 5 Jan 2007 19:39:54 0.5 6 Jan 2007 15:43:45 red Faces as voices false 7 0.5 4 90 The movie pans across faces in three primary places: 1. The intro funeral 2. and running scene, in which the order of the pan reflects Aubrey's memory in an interesting sequence in the film. This scene also establishes the idea of interpreting character and attitudes through near-closeups of faces. 2. The Master's speech, which is dealt with in detail elsewhere. Faces are also read, in the context of memory 3. Liddel's audience during his racetrack homily Other, more minor(?) instances: The opera 5 Jan 2007 19:22:50 0.5 5 Jan 2007 19:22:50 Rect[ 50 50 550 350] 3250869770 9 0.5 -1 5 Jan 2007 19:23:28 1 5 Jan 2007 19:23:28 Flashbacks false Rect[ 50 50 550 350] 10 3.5 -5 63 5 Jan 2007 19:23:46 0.5 5 Jan 2007 19:23:46 Abrahams - Winning false 10 0.5 2.5 64 5 Jan 2007 19:24:21 0.5 5 Jan 2007 19:24:21 Abrahams - Losing false 10 0.5 3 65 5 Jan 2007 19:24:41 0.5 5 Jan 2007 19:24:41 Aubrey Montague false 10.5 12 -1.5 66 5 Jan 2007 19:25:32 2 6 Jan 2007 16:19:35 Abrahams Writes Press Releases false 6.5 0.5 7 67 He writes his own press releases! Comment on how the film shows us this; it's quite clever. They never actually tell us this. They just show a montage of running scenes, newspaper shots, and typewriter scenes -- in the same sweater (I want to get one of those carded wool College sweaters someday. Too expensive. Sigh. Not essential; wasteful.) Mussobini reads these press releases 5 Jan 2007 19:25:44 2 6 Jan 2007 16:20:23 Liddell Won't Run on Sunday false 6.5 0.5 7.5 68 The paper is read by Jenny and her (husband?). Both Abrahams and Liddell were trying to reach a wide audience through their running, but Liddel's refusal to run (and probably his subsequent achievement of a gold medal) spoke louder. 5 Jan 2007 19:26:00 2 6 Jan 2007 16:21:58 Liddell Talks to Newspaper in train at Edinborough false 6.5 0.5 8 69 In the train from Edinborough, Liddell reads Abrahams's challenge in the newspaper and responds to Abrahams as if he were staring at him from the newspaper. Nice scene. Gives us a glimpse into the public/press dimension of their competition. Compare this to the private interaction between Liddell and Abrahams in the changing room before the race. 5 Jan 2007 19:26:15 1 6 Jan 2007 16:24:45 Lord Birkenhead Speaks with Reporters false 6.5 0.5 8.5 70 "More cavalier" than the Americans. Birkenhead is a talking secondary school rhetoric text. Soundbites, soundbites, soundbites. Metaphor. "Wipe the floor" "rarified atmosphere of Europe" ? what? Good job of the movie to give us a phrase that's clearly bunk in order to give us a glimpse into the relationship guys like Birkenhead have with the press. Man, the dialog in this film is good; the vast range of dialog styles in different settings does a good job of making us believe that the depiction is real. 5 Jan 2007 19:27:29 0.5 5 Jan 2007 19:27:29 Jenny & Eric false 9 0.5 -1.5 71 5 Jan 2007 19:27:51 0.5 5 Jan 2007 19:27:51 Jenny & Sandy Argue false 9.5 0.5 -1.5 72 5 Jan 2007 19:30:43 0.5 6 Jan 2007 16:32:53 Why does Abrahams Run? false 6.5 0.5 3 74 Talk with Montague, talks with Sybil. 5 Jan 2007 19:30:50 0.5 6 Jan 2007 16:32:41 Why does Lindsey Run? false 6.5 0.5 3.5 75 Talk with Sibbie 5 Jan 2007 19:30:57 0.5 6 Jan 2007 16:17:25 Running in the Name of false 6.5 0.5 4.5 76 in the name of Eton, Repton, Cauis. Running in the name of your king and country. Running in the name of your God. 5 Jan 2007 19:31:13 1 6 Jan 2007 16:04:50 The Master's Speech false 7 0.5 0.5 77 The first phrase of the Master's speech mentions the "war list", but the list is already present in the film before the master speaks. The speech is preceded by a slow upward camera pan over a long table of names. The dates "1914 - 1918" come into the field of view at the end of the shot, providing the first indication of the list's subject. The camera settles on these dates for a moment before an elevated shot which depicts the high table, the freshers, and at top right, the list, whose numbers dwarf them all. The camera then begins the speech where the Master begins: with himself. In order to establish the wider emotional effect of reading the list, he first cites personal experience. He uses verbs of agency: "take" and "run". Both are personal efforts and indicate the personal importance of the list. The experience is immediate; it is not "when I take", but rather, "I take". When the sentence is completed, the negatives "cannot read" and "without emotion" contrast these active verbs, suggesting the powerlessness of an active effort to suppress emotion. The impersonal term "war list" indicates the presence of an effort to depersonalize the names. This effort is not successful. By inserting an additional clause in-between "cannot read" and "without emotion", the speaker highlights his inability to suppress emotion. The interrupting clause also relates the personal emotional response to a common emotional response; a group claim might otherwise seem hollow, but in the atmosphere of personal emotional confession, the group claim also seems authentic. This widening enables description of the further strengths of the list's inductive power. While The Master attempts to grasp and suppress, the college's senior members passively "hear" the list. Though they are less intimately involved, the list is said to induce an involuntary emotional response. The negatives are thus used four ways: (1) reading the list is emotionally difficult for the Master; (2) The Master cannot suppress emotion when reading the list; (3) the list read aloud creates an involuntary response in the hearers (4) any contact with these names will result in emotional response. But not everyone will feel the same way. The Master addresses the freshers with the statement, "and which we, who are older than you". The use of "we" and "you" separates the audience into two precise groups and sets up corresponding categories of emotional response. Liminal ceremonies of inclusion often involve an all-inclusive "we", but no such usage occurs in this speech. Apart from dividing the audience into freshers and fellows, the statement also makes claims about the nature of each group's members and their relations to each other and the dead. By introducing a disparity of wisdom and experience between the fellows and freshers while personally retaining the strongest emotional response, the Master creates a hierarchy which allows him to speak with personal authority and the weight of the fellows to the inexperienced youths. The word "older" apparently refers to time spent at Caius, but it also connotes age, the past, weakness, the suffering of loss, and wisdom. The Master implies that the freshers are not only younger, but also less experienced and less wise. Their lack of emotion is forgivable, for an alternative response is eventually described. Thus are wisdom, experience, and authority securely fastened to the fellows, but the responsibility of action is pinned on youth. The emotion itself is kept ineffable-- unknown, mysterious, powerful-- to impress the freshers, but also to keep the range of definition within a reasonable, believable scope of individual and group experience. This "emotion" likely includes complex feelings of hope and sorrow, pride and grief, and perhaps, inspiration. Identifying specific elements of this emotion might introduce connotations and potential inferrences that the Master wishes to avoid. The speech pushes forward; sorrow, grief, and regret are complex experiences which are associated with solemn, introspective thought, not a the rush of motivation desired by the Master. Although he reserves the emotional response for the high table, the Master wishes the audience to share the reading experience. He uses the present tense-- 'I take", "I run", "I cannot read", "we cannot hear"-- in order to bring the audience with him in the experience. The rhythm and repetition of "name after name" simulates the act of reading through the list. Echoes of this continue in the speech through other, similar phrases which also use anapests, or repetition, or both. Anapests occur in "and I run", "after name", "and which we", "who are older than you", "cannot hear", "which to us", "after face", "and they died", "for the sake", "of your college", and "and your country". Repetition also occurs in the phrases "names which will be only names", "face after face", and "For their sakes, for the sake". Although the Master begins with action which is ineffective, his speech sets up a contrast between feebleness and vigor. His first few statements include phrases of fatigue and inability: "run down" "older", "cannot read", "cannot hear", "without emotion". The Master encourages these new students to look forward as he looks back; he may "take the war list", but the freshers are later encouraged to "seize this chance". After describing the list, delineating emotional responses, and configuring the audience by response, the Master uses the future tense to suggest that the emotional element of this configuration will not change. Time and age will not bring the same kind of wisdom and experience to "you, the new College". This statement creates a space at the high table unreachable by the freshers, but it also draws them in by declaring them--not just absorbed-- to be the defining constituents of a replenished college. By calling them the "new college", the Master continues the ceremony of inclusion which is part of the dinner's purpose. He doesn't say "this new college"; he says, "you, the new college". "You" retains an internal separation, but by proclaiming them to be "the College", he suggests that (a) the college's primary essence is constituted by people and (b) the students will represent the entire concept-entity of their college. Adjacent stresses are infrequent in the speech. Just as as the link between "war list" and "run down" is strengthened by their rhythm, the replacement of those on the "war list" by the "new college" is also strengthened by the recurrence of adjacent stresses. Furthermore, the Master's words carry the implicit suggestion that the new college can also be known and remembered in a similar way (and, the master later implies, perhaps even in greater ways if they achieve what for the dead was only possibility). The statement "only names" suggests the potential for individual relationships based on more personal understanding than those associated with lists. Earlier, "name after name" used the singular to refer to a list. Here, the plural "names" distinguishes individuals in the group while retaining a rhythm that connects back to the list. The connection is explicit. Had he said "which will only be names", greater emphasis would fall on "only"; the actual word order effects greater stress on both instances of "names". This distinction of individuals moves the Master's words from evocation to invocation. Names summon faces. But the plural is not used; delineation returns to the repeated singular, simulating a slideshow of faces which resembles the cadence of the list. At this point, the camera begins to zoom out from the Master, creating the visual momentum which will be used for a series of shots presenting such a slideshow: face after face of listening undergraduates, who sit at dinner underneath the war list on one side and underneath the photographs of each class of past freshers on the other, all under the watchful eyes of those at the high table. Despite the imagery of age and fatigue, "memory" is not mentioned. Faces are summoned rather than remembered. This leaves emphasis on the faces rather than the ones who remember. They are not summoned for a purpose, but rather "summoned up". These features of the speech suggest the supernatural nature of the summoning, the spiritual, immortal, innate qualities of the names, the nature of the names' relation to the faces, and the relationships among the names-faces and the "us" at the high table. "summon" establishes immortality is one implicit subject of the poem. Reference to memory, its tendency to fade, and its other unreliabilities would undermine this essential quality. The spiritual connotations of "summon" add to the atmosphere of consequential gravity while relating directly to one primary purpose of the speech: to confer the unfinished business of the dead upon the living. The use of "faces" does more than invoke imaginary ghosts. The spiritual and physical senses of "faces" create the opportunity for identification of an innate character which is a partly-unrealized, partly-interpreted potential, but which is also fixed by merit of its noble, untimely end. The statement that these are faces "full of honesty" does more than encourage the audience to trust further assessments; it carries a hint of the faces' youth, a hint strengthened in the next phrase's assertion of "zeal". The impression of youth is developed by the robust nature of "vigor". It is not misguided, for it involves "goodness". The trochees "goodness" and "vigor" connect to each other, forming a strong, four-part structure in which virtue is pursued with energy. By listing qualities in groups of two, the Master reconnects his speech to the repeating patterns of two in the war lists's names and faces. The faces are "full of" these qualities, complete and unlacking in their possession and expression of virtue and energy. Fullness also suggests an outward effusion of these qualities; honesty, goodness, zeal, and vigor are all fulfilled in outward actions and expressions. "Intellectual promise" stands out, contrasting in nature and gramattical progression. It is a placeholder, a potential, a hope for things not yet achieved, unlike honesty, goodness, zeal, or vigor, which are declared as present, but which even unaccomplished people may possess. Promise comes with capability and full expectation: their faces are "full of" "promise," not "promises". By placing "intellectual promise" last, and by causing it to stand unique from the rhythmic and structural pattern of the previous, two-element groups, the Master distinguishes intellectual promise from the previously-stated characteristics, describes a three-tier hierarchy of qualities, distinguishes the people he describes, invites the audience to wonder at what their results might have been, and suggests that these results and their means of achievement would have been defined by honesty, goodness, zeal, and vigor. But promise is fragile. The Master's next two phrases add the quality of fragility to the war-list students' potential and set it in the larger social and national context. They are "the flower of a generation" and "the glory of England". By employing fragments, the Master (a) continues to draw on patterns associated with lists (b) again speaks as if currently in the process of remembering these students (c) avoids the use of verbs, whose tense would suggest significances he is saving for the word "died", (d) indicates the dead students' timeless notability within their generation and English history, and (e) omits the object and tenor of the statements, integrating the students of the war list with the traits which make them notable. "The flower" metaphor suggests their superlative, bright, productive nature, which is notably visible, colourful, fragrant, pleasant, part of growth and reproduction, full of life, and critically interdependent with the rest of humanity. Their place as flower of their "generation" refers to the competetive nature of Cambridge admissions, imagines a lifetime of activity, and places them within the natural, continual cycle of life and history. It likely also refers to the history of Cambridge itself, which is often gradated with the names of those graduates who are among European history's notables. Generations are a class of set whose bounds can vary in physical, cultural, and economic scope, but the greater, movie-wide context of the Olympic Games guarantee its application to what Lord Birkenhead later describes as the "civilized world" (01:08:30). The metaphor also includes ideas about family and ancestry, which are central issues in the movie. Those on the war list are also "the glory of England". The deferral of verbs allows this glory to include past, present, and future status, although each kind of time connotes a distinct kind of glory. By mentioning glory before mentioning death, the Master avoids the suggestion that their death is a waste while also allowing multiple interpretations of that glory: their promise, their choice to fight, their deaths, and the result of their deaths. As their generation's flower and the nation's glory, the new college collectively represents (in both senses of the word) their generation and nation. But flowers are fragile, glory is intangible, and life includes hard, physical challenges. By moving the scope of his speech into the larger picture before directly referring to death and loss, the Master magnifies and intensifies the gap they leave in their generation and human history. "Glory" also contains religious connotations of death and self-sacrifice, introducing further positive associations with their deaths. It is only a vague hint of religion, in service to another purpose; God is not mentioned in the speech. This limited religious regard among England's powerful will later become part of an important conflict in the movie. "The flower of a generation" and "the glory of England" share related objects, a parallel structure, and a common (finitely ambiguous) subject. Thus, when the next phrase begins with "and", a further, similar phrase is expected. However, this progression is broken with a verb. It is the only use of the past tense in the speech. Up to this point, reading, hearing, and summoning have introduced the dead into the present. By bringing them to the present and praising them using the present tense, he highlights the ruin of their loss when he finally admits their status. "Died" disrupts the newly-established patterns of the speech, the newly established lives of those on the war list, and the larger entities which they represent. Their loss is not a complete disruption. Some progressions continue. The progression of trochees starting with "goodness" to "vigor", "promise", "flower", and "glory" transforms into a three-fold repetition of "England", "England", "England" in successive phrases, whose arrivals are also primed by the "g" sounds in "goodness", "vigor", and "glory". By following a list of fragments with a dependent clause, their deaths are included as a parentheses, as almost an afterthought to the previous word: England. It is England which brings to mind their death. It is for England they died, and it is England which still stands. The trailing preposition in "and all that England stands for" is no mistake. It places "England" as the second stress in the phrase, which is also the case in the two previous phrases, forming a strong parall among these three phrases about England. The Master will have none of the ignorance found in the Light Brigade; nor does he allow the possibility of individual desire or even individual goals for England. To die for England is to die for "all that England stands for." Their death is a selfless act. "All" describes an England which has remained entire as a result of this sacrifice, but the idea of entirety also includes a solidarity which, it is later implied, should characterize the new college's efforts. The use of the present tense "stands" also suggests that the dead's efforts were successful, reminds the audience that England still exists, still has things to say, still has things to accomplish. When the Master later makes the new college England's representatives, he makes these accomplishments their responsibility. "and all that England stands for", the first in the speech employing iambic metre, sets up the speech for a pause followed by a major transition while also preparing a mechanism for further progression: the repetition of "and". At this point, the camera shows Abrahams and Montague exchanging glances. But their eyebrows do not move. One is not certain if they are questioning the validity of these patriotic statements or exchanging assent; perhaps these newly-acquainted friends are trying to read each other's faces. Whatever the imaginings of the Master, these faces are blank, unreadable: perhaps they are faces on which the future has yet to be written. "And now by tragic necessity" is the third consecutive clause beginning with "and". Each "and" serves a different grammatical function. But the repetition of "and" creates continuity, moving the speech from the past death of those on the war list to the survival of England up-to-now, and finally to an immediate present which looks forward. By describing the situation as "tragic", the Master tempers his positive, state-focused assessment, acknowledges personal suffering, and transitions from the larger context to the role of individuals within that context. But this role is not optional, for tragedy arises from the larger situation. Involvement is a "necessity". Need connotes lack, which reminds the audience of the gap left by the flower of an entire generation. But "necessity" suggests possible and required action, where mere "need" might be tragic in settings where no action is possible. The phrase "tragic necessity" probably refers to a famous 1918 essay on the League of Nations by H.G. Wells, who was on its research committee. The essay, which encourages British involvement in the league and outlines a plan for its success, bemoans the divisive nature of postwar special-interest politics in Britain, illustrated by what Wells sees as short-sighted, manipulative political maneuvering. He calls his time one of "tragic necessity" and predicts that "Life is going to be very intense in the years ahead of us." Wells worries about the possibility of a "caricature Parliament, with perhaps half a hundred leading men in it and the rest hacks and nobodies". Although the Master doesn't refer to politics, his speech contains similar sentiments. The loss of a generation of Cantabrigensians leaves a gap in England the world during times in which their apparent talent, virtue, and solidarity are required. Necessity is urgent and fundamental, and the modifier "tragic" suggests that it is critical, dire, and perhaps down to the barest, bleakest level. Equally intense effort may be required to mitigate the situation, an endeavour which will likely require the best efforts of Britain's best. The next phrase effects a significant shift in the Master's speech. By mentioning "their dreams", the Master repositions his construals of the dead's imagined faces. The pronoun is possessive: these construals are now said to have been held by the past students themselves. Instead of external expectations and potential, they are now personal ideals and goals. But these are dreams; they are more visual and comprehensive than the mere qualities or goals he previously mentions: they also now include the broader scope of a generation and a nation. As dreams, they are open to further definition and interpretation. They are not easily attained, involve ideas of inspiration, and are the objects of desire. In the same clause which positions these expectations to be the internal motivations of the dead, they are repositioned again. The situation of "tragic necessity" is said to have already placed them upon the new college. The situation may be tragic, but the responsibility is not entirely tragic: "dreams" carries positive connotations. The freshers' newly-inherited responsibility is not specific, but it is comprehensive: the context of tragic necessity suggests the urgent, maximal, social, and moral qualities of the attainment demanded by the situation. Furthermore, these are dreams cut short by the war, a distinction which makes them untouched by the grisly nature of combat, but which makes a double demand, reaching beyond restoration to include additional achievement. The unspecific nature of the dreams allows their scope to include the desires and talent of those to whom they are transferred, but this transferral (and the later three-fold proxy of motivation) excludes all wholly personal, individual dreams. The dreams are to be of personal importance but wider purpose. Their unspecific nature also invites examination and discovery, an invitation made explicit later. "let" requests permission to advise, which endows the freshers with authority to grant a kind of permission. However, this imperative also reinforces the idea that the new college has no choice about the dreams previously stated to be thrust upon them by the situation. It does strenghten their personal ownership of these dreams and the need for personal agency to carry them out. "let" also suggests that nothing to this point has been the Master's personal agenda, that his entire speech has so far been descriptive. It introduces two series: The repetition of "let" and the sequence of imperative verbs which builds toward the end of speech. "Exhort" also builds the imperative atmosphere; the situation calls for more than mere advice from the Master. By exhorting, he urges them to action, but receipt of exhortation also requires a humility which is part of letting the Master exhort. The religious connotations of exhortation suggest their application to personal or moral motivations. The imperative need for examination is strengthened by the consonance between "exhort" and "examine". By exhorting the new college to examine themselves, the Master does more than call for studied self-awareness of their nature, abilities, and potential. He is exhorting them to set their own standards of achievement rather than merely attain the expectations of the university. This implicit advice about the nature of Cambridge studies is strengthened by the imperative "discover", which also suggests purposeful acts which reach beyond known boundaries. Self-examination also includes self-improvement. The second "let" is also an imperative, a declarative commencement (as in, "let the games begin") which qualifies and enlarges this self-examination. Examination and discovery require different styles of purpose. While examination suggests meticulous, thorough, or narrowed focus on detail, the scope of discovery is wide. Examination applies previous knowledge, measurement, and mastery to an entity of finite bounds. Discovery approaches the unknown in order to find valuable things of varying anticipation along the way. By deferring the object of examination until after a statement about discovery, and by pausing after "discover", the Master suggests a hybrid approach to the acquisition of the self-knowledge and discipline he wishes the new college to attain. The Master's plan is not for teamwork, but rather for maximal individual attainment: he distinguishes "each of you" and asks them to discover "your true chance". By individualising his message, the Master also discourages them from examining each other, which might be understood by "examine yourselves". The plural becomes a comprehensive call; no one is left out of this tragic necessity. The Master doesn't ask them to discover their "true chance of greatness". Rather, he asks them to discover its location. This suggests that the discovery is only the beginning of effort. This chance is "your" chance, suggesting that each person may achieve a uniqe, solitary, greatness. Although equal options may seem to exist, one will be the "true" opportunity. The objects of examination and discovery do not have agency. Since chance may be seized, failure does not lie in the circumstances or nature of the challenge, but rather in a failure to properly identify the "true chance" or a failure to attempt with complete vigor. The phrase implies that only one true chance exists for each student. Just as with "war list" and "their sakes", the adjacent stresses emphasize the phrase "true chance". At this point, the camera shows the face of Abrahams, the character in the film who most desires greatness. The film then cuts to an angle from an early part of the speech: a zoomed-out view of the dinner. At this point, the speech also zooms out. The final declamation defines the sources of motivation and the beneficiaries of credit before describing the action it proscribes. By beginning with this triad of the war list, the college, and the nation, the Master reminds the audience of the scope, urgency, and nature of the task he is about to describe. The pronoun "their" now refers to an antecedent much larger than the "war list"; the pronoun now refers to the people, events, nations, qualities, and potentials represented by those on the list. It frames Caius life in the context of the ultimate sacrifice of England's finest, strengthening the urge for complete, vigorous effort. Although personal glory and personal credit are not included in his list of motivations, he contrasts "their sakes" with "your College" and "your Country". Both the dead and the freshers share the same college and country (which are partially conflated by alliteration), but the repetition of the possessive "your" makes the motivations personal while also claiming them for these larger institutions. The liminal ceremony of inclusion is completed in the final declamation: the master drew internal distinctions, placed the task of representation upon the "new college", and now describes the expected means of proper representation. The freshers' most ardent efforts of personal discovery and attainment are now said to act in proxy for trans-generational, historical conceptions of their college and country. Acts done "for the sake" of others are outward and often away from the presence of those for whom one does them. Thus, the nation and college are an involiable, not open to tinkering. Although the object of effort is a "dream", and its "chance" nature is uncertain, it is not intangible. It may be seized. "Chance" refers to the (a) "true change of greatness", the (b) opportunity at Caius, and (c) the greater situation of tragic necessity. "Seize" includes adversarial connotations, but the next clause clarifies the action of attainment. The chance is something to "rejoice in". Had the Master mentioned sorrow, grief, or solemnity instead of "emotion", or had he placed rejoicing in close proximity to death or tragic necessity, rejoicing might seem out of place. But when attainment is for the sake of those who could not realize the rewards of zeal, vigour, and promise, rejoicing takes on an even more imperative, urgent character. Joyful attitudes toward effort are associated with great internal motivation, and effort carried out joyfully indiciates skill which can spare focus for enjoyment of the task (Abrahams challenges this approach as wasteful and naive in another memorable speech - 01:00:07). Work in which one can rejoice centers joy in the process rather than in completion. The situational connotations of "chance" combine with the perception that those who rejoice in attainment rarely seek to terminate their effort. Attainment becomes a state rather than a task to be completed. The search for the "true chance" and the urge to "rejoice in it" when it is found also implies a connection between supreme attainment and true happiness. The final "let" performs two functions. Had the speech stated, "do not let", it would be an exhortation to the new college against permitting any obstacles. By beginning the clause with "let", it is also a general imprecation against those powers and persuasions. The iambic metre of the final clause, the supernatural atmosphere summoned ealier, the scope of the task, strengthen this air of imprecation. The age of the Master and fellows, who in the speech concern themselves with the past and memory rather than these necessary attainments, suggests an imprecation which reaches forth to potential obstacles with protective warning. "Power" and "persuasion" perform multipurpose parts. "Power" refers to entities which hold and deploy power. But it also refers to the types and levels of power which may be applied to deter the freshers. Persuasion refers to any ideas or temptations which may waylay them. Discovery may require a broad range, but after discovery is completed, effort should be direct. Persuasion also refers to ideals and creeds which might deter effort. By specifying "no" power or persuasion, the Master's statement of warning and imprecation places the freshers' task above any of the things they denote and places "power" and "persuasion" in an adversarial position to the new college. This urges them to be on their guard while still ardent in effort. The adversarial situation combines with the possessive pronoun "your" to strengthen and seal the conferred qualities, motivations, dreams, and community before releasing the freshers. Their efforts are given a trajectory, although "task" connotes something more complex than a goal. It is includes of the efforts, ideas, and qualities presented earlier, but it also suggests a specific and continuing nature of the chance of greatness. The final statement expresses confidence in the swift momentum of their trajectory: powers and persuasions cannot stop them, only deter their efforts. The speech ends strongly, with an air of finality. The triad of imperatives-- "sieze", "discover," and "let"-- is the first complete, strong traid found in the speech. Other groups of three exist, but each is disrupted in some way. "England" is used in different ways in the phrases which repeat its name. Those beginning with "and" overlap the "England" triad and are also different kinds of phrases. The triad of proxy found in "their sakes" and "the sake of your college and your country" is actually a grouping of two in which one element consists of two items; the possessive pronouns are the primary grouping mechanism. The imperative statements beginning with "let" are separated by distance. Other consistent, strong groups appear, but these are also groups of two: "name after name", "face after face", "honesty and goodness", "zeal and vigor", "College and your country". The groups of two and disrupted groups of three emphasize their elements while creating the expectation of more to come. These disruptions and expectancies are satisfied in this final series of three imperative clauses, just as the Master hopes that actual disruptions and expectancies will be satisfied by the efforts of the new college. The undisrupted triad of imperatives also suggests the undeterred power and focus of the new students' trajectory. The last declamation includes many instances of repetition and consonance: "sakes" and "sake"; "College" and "country"; "Power" and "persuasion";"you" and "your"; "deter" and task", which add to the intensity of the declamation and, like the increasing rates of a fireworks display, signal the approaching finale. The metre of this final statement-- "and let no power or persuasion deter you in your task"-- forms the most consistent rhythm in the entire speech. As in the phrase "and all that England stands for", which concluded the Master's look toward the past, the iambic rhythm of the final clause heightens the tone and signals a conclusion. The first half of the phrase ending in "persuasion" creates grammatical and metrical tension with four iambic feet, after which a natural pause leads into an assertion of the three iambic feet which conclude the speech, releasing the tension and, symbolically, the new college. 5 Jan 2007 19:31:42 0.5 6 Jan 2007 16:17:57 Lunch with the Master false 6.5 2 5 78 This is really, really interesting. tagged for explication 5 Jan 2007 19:32:25 0.5 6 Jan 2007 16:18:10 Eric & Duke of Edinborough false 7 1 6 79 tag for explication 5 Jan 2007 19:36:38 0.5 5 Jan 2007 19:36:38 Porter's Lodge false 9.5 0.5 5.5 83 5 Jan 2007 19:37:34 0.5 6 Jan 2007 15:59:45 Eric's Racetrack Homily false 6.5 0.5 0.5 85 I want to compare the Kingdom of God to running in a race... Many of the speeches present very nuanced variations of social dialect with multilayered audiences. For example, Liddell's second racetrack homily is directed both to his working-class audience and to his sister. In the speech, he attempts to convince the race-goers of the importance of Jesus, but he also attempts to convince his sister of the importance of running. The dual audience is emphasized by a long pan-shot which initially shows the response of the race-attendees, but which settles on Jennie's face (00:24:33). Her colourful hat emphasizes Jennie's importance to the scene, since the crowd wears greys, browns, and blacks. Her active role as a key member of the audience is also shown in the next shot, in which she looks down after Liddell suggests the power comes "from within," but raises her head when he begins to quote the words of Jesus (00:25:46). These same words grow in significance when quoted almost an hour and a half later, during Liddell's final run (01:49:25). 5 Jan 2007 19:37:34 0.5 6 Jan 2007 15:59:45 Rect[ 50 50 550 350] 3250870654 7 0.5 4.5 5 Jan 2007 19:38:12 0.5 6 Jan 2007 16:09:57 Lindsey's Funeral Speech false 7 0.5 1 86 Let us praise famous men, and their fathers who begat them. Deals with memory, establishes the face pan, and sets up the frame of the movie (1) through Aubrey's memory and (2) the perspective of greatness/death. By framing a movie about athletics with two old, cane-bound stiff men at the funeral of the greatest of them, the movie challenges two of our assumptions. First, it suggests that greatness and fame are attainable through sports within a generation or a lifetime. But then, it questions that greatness, for memory fades, and rememberers pass away. And for the athlete, achievement often comes near the early parts of life, when one's life is just beginning. etc. The movie also frames things in death another time with the Master's speech. The U.S. version places the film in the context of death yet once more by substituting the cricket-in-ballroom scene with a scene of men with war disabilities and disfigurations helping Cambridge freshers with their bags. Neither scene is acted well (alas!), but I prefer the latter. 5 Jan 2007 19:38:59 0.5 6 Jan 2007 16:15:25 College Dash false 6.5 0.5 1 87 The style of speaking, the declarations, the banter. Minor speech, but still a unique bit of declarative speeking. 5 Jan 2007 19:46:40 0.5 5 Jan 2007 19:46:40 Writing false Rect[ 50 50 550 350] 5.5 3.5 7 97 5 Jan 2007 19:47:17 0.5 6 Jan 2007 16:29:56 Sholz to Liddell false 6.5 1 9.5 98 It says in the good book... Look at the overall use of the scripture in the movie. Notice that both Abrahams and Liddell carry something with them to victory. Neither of them have it within themselves to succeed. For Liddell, it's the note from Sholz which reminds him of his trust in God. For Abrahams, its the charm. 6 Jan 2007 16:30:29 1 6 Jan 2007 16:30:29 lightest black Rect[ 50 50 550 350] 6.5 true 1.5 9.5 109 5 Jan 2007 19:47:24 0.5 6 Jan 2007 16:35:03 Mussobini to Abrahams false Rect[ 300 69 800 369] 7 1 9.5 99 Why does Mussobini do it in a letter rather than in person. 5 Jan 2007 19:48:35 0.5 5 Jan 2007 19:48:35 Liddell Remembers Conversations with Jenny false 10 1 3.5 100 5 Jan 2007 19:50:24 0.5 5 Jan 2007 19:50:24 Lindsey Remembers Failing -- this is just replay, I think false 11 2 0.5 101 5 Jan 2007 19:50:24 0.5 5 Jan 2007 19:50:24 Rect[ 50 50 550 350] 3250871424 11 2 -1.5 5 Jan 2007 19:52:00 1 5 Jan 2007 19:52:00 The Use of Silences, with sparse vibes. Pre-race. false Rect[ 50 50 550 350] 11.5 3.5 -5 102 5 Jan 2007 19:44:38 0.5 5 Jan 2007 19:44:38 Rect[ 50 50 550 350] 3250871078 8.5 1 5 5 Jan 2007 19:33:32 0.5 6 Jan 2007 15:56:40 After the opera false 7 0.5 -1.5 80 The Cambridge guys having a drink in the opera building (how odd- we don't do this in the US, but I experienced it at the Royal Albert Hall. Clever; I suppose it's yet another way that "the arts" are about socializing as much as they are about the works themselves -- rich men putting women up for pur(view)veyance?) 5 Jan 2007 19:34:27 0.5 6 Jan 2007 15:51:43 Abrahams to Mussobini false 9.5 0.5 -1 82 5 Jan 2007 19:21:38 0.5 5 Jan 2007 19:21:38 Rect[ 50 50 550 350] 3250869698 7 0.5 5.5 5 Jan 2007 19:40:56 0.5 6 Jan 2007 16:12:01 Reading the Scripture on Sunday instead of running, and having that scripture be about running, overlaid scenes of running false 6.5 1 2 91 This is brilliant. I need to write a thorough analysis of this. The Steeplechase was the perfect event to show. Muddy and messy, it involved heights and lows, and water, with all its signification. And the stumble, and the tears. 5 Jan 2007 19:41:37 4.5 6 Jan 2007 16:28:41 Aubrey's Letters false 6.5 0.5 9 92 Possibly a minor point. But look at Aubrey's attempts to convince his parents that his choice to pursue athletics is important. I need to do an analysis of how Aubrey is the fall guy to Abrahams; how Aubrey keeps the face of the British gentry; he too went to Eton, but he's not the almost-Wodehousean Lindsey. Rather, he's a very serious-minded, sensitive, poetic guy. Through Aubrey, you see how amazing, determined Abrahams is, but you also see his brittle weaknesses. 5 Jan 2007 19:42:38 0.5 5 Jan 2007 19:56:22 Run Them Off Their Feet false 9 1 -0.5 93 Abrahams wishes to prove himself. To himself, to his g/f, to EVERYONE. 5 Jan 2007 19:42:38 0.5 5 Jan 2007 19:56:22 Rect[ 50 50 550 350] 3250870958 7.5 1 2.5 5 Jan 2007 19:31:42 0.5 5 Jan 2007 19:31:42 Rect[ 50 50 550 350] 3250870302 9 0.5 5.5 5 Jan 2007 19:32:25 0.5 5 Jan 2007 19:32:25 Rect[ 50 50 550 350] 3250870345 9 0.5 5 5 Jan 2007 19:43:19 0.5 6 Jan 2007 15:18:22 He is an Englishman false 6.5 0.5 1.5 94 For Abrahams, performance and identity are very closely linked. Also: The G&S show is a good segue to Abrahams's personal life, which imho is one of the weaker parts of the film. It feels out of place. But that's another difference between Liddel and Abrahams: their relation to females. Abrahams's life feels odd with a female. Liddel's relationship is more complex. While Abrahams must become individual, stripped of all others (except his trainer, perhaps -- where is *he* at the ball?), Liddel's running is intertwined with his ministry and family. His motivations are strongly linked with those of his sister, who he respects a great deal. 5 Jan 2007 19:43:50 1 6 Jan 2007 16:10:35 The Opera Itself - Sybil->audience, Sybil ->Abrahams, Sybil->Reviewers false 7 0.5 2 95 Another example of showing the audience. Sophomoric young men. So much for the Master's Speech. 5 Jan 2007 19:44:38 0.5 6 Jan 2007 15:13:43 The Restaurant with Sybil false 7 0.5 5 96 In this scene, Sybil invites Abrhams to a nice London restaurant. Like most of the other society scenes in the film, this one is highly stylized (was it really like this at the beginning of the 19th century?) Saying things to please others in the immediate moment, but talking about them behind their backs (Sybil about the press, the press about Sybil, Abrahams about the special drink, and perhaps even Abrahams about Sybil?) They talk about what it's like to have a reputation, to be judged in the public eye, and what it means to be truly yourself. Abrahams is contrasted with Sybil by how he really believes in his purpose, whereas she has a very nonchalant attitude toward her performance and others' perceptions of her performance. 5 Jan 2007 19:34:27 0.5 5 Jan 2007 19:34:27 Rect[ 50 50 550 350] 3250870467 7 0.5 -1 5 Jan 2007 19:22:10 0.5 6 Jan 2007 15:51:09 Aubrey & Abrahams false 6.5 0.5 -0.5 61 "It's an ache." Abrahams describes his drive and his reasons. 5 Jan 2007 19:22:50 0.5 6 Jan 2007 15:44:44 Abrahams & Sybil after failure false 6.5 0.5 -0 62 Sybil attempts to cheer him up. Argument, leaving him, coming back and saying, "you were a god" doesn't help. But Mussobini does. 5 Jan 2007 19:42:38 0.5 5 Jan 2007 19:42:38 Rect[ 50 50 550 350] 3250870958 9 1 2.5 5 Jan 2007 19:39:54 1 5 Jan 2007 19:39:54 Rect[ 50 50 550 350] 3250870794 7 0.5 1.5 5 Jan 2007 19:38:59 0.5 5 Jan 2007 19:38:59 Rect[ 50 50 550 350] 3250870739 6.5 0.5 4 5 Jan 2007 18:44:49 0.5 5 Jan 2007 18:44:49 This dissertation will consist of four primary parts false Rect[ 50 50 550 350] -1.5 9 -4.5 15 5 Jan 2007 18:45:24 1.5 5 Jan 2007 18:45:24 This Tinderbox File Right 2 7 -5.5 16 00:00:48 5 Jan 2007 18:46:42 0.5 5 Jan 2007 18:46:42 Right -0.5 12 1 18 00:00:48 5 Jan 2007 19:07:14 0.5 5 Jan 2007 19:07:14 copy Right 1 12 1 36 00:00:48 5 Jan 2007 19:07:15 0.5 5 Jan 2007 19:07:15 copy 1 Right 2.5 12 1 37 00:00:48 5 Jan 2007 19:07:16 0.5 5 Jan 2007 19:07:16 copy 2 Right 4 12 1 38 00:00:48 5 Jan 2007 19:04:58 1.5 5 Jan 2007 19:04:58 Paper Dissertation Right -1 6 -4.5 32 00:00:48 5 Jan 2007 18:47:40 1.5 5 Jan 2007 18:47:40 Electronic Dissertation Right 0.5 6.5 -5 19 00:00:48 5 Jan 2007 18:48:48 1.5 5 Jan 2007 18:48:48 Scholarly Paper About Electronic Edition Right 3.5 7.5 -6 20 00:00:48 5 Jan 2007 18:50:16 6 5 Jan 2007 18:50:16 Analysis of Rhetoric in Chariots of Fire false -1 2 1.5 21 5 Jan 2007 18:52:21 4.5 5 Jan 2007 18:52:21 Link Transcripts and commentary top Clips from the Movie false 0.5 2 7.5 22 5 Jan 2007 18:55:07 6 5 Jan 2007 18:55:07 Appendices containing detailed practical criticism of scenes false -1 2 3.5 23 5 Jan 2007 18:56:28 4.5 5 Jan 2007 18:56:28 Electronic inter-linking between text and PC foundation material, decentralizing and strengthening the inter-operating assertions. false 0.5 2 5.5 24 light red diagonal 5 Jan 2007 19:03:02 3 5 Jan 2007 19:03:02 light magenta Submit to the English Faculty true Rect[ 50 50 550 350] -1 80 1.5 plain magenta 1 11 31 5 Jan 2007 19:10:48 0.5 5 Jan 2007 19:10:48 Ideas from writing process false 2 1.5 -5 39 5 Jan 2007 19:12:35 0.5 5 Jan 2007 19:12:35 Drafts false 3 1.5 -5 40 5 Jan 2007 19:12:49 0.5 5 Jan 2007 19:12:49 Annotations false 2.5 1.5 -5 41 5 Jan 2007 19:13:37 0.5 5 Jan 2007 19:13:37 Emails false 3 1.5 -3.5 42 5 Jan 2007 19:13:45 0.5 5 Jan 2007 19:13:45 Notes false 3 1.5 -2 43 5 Jan 2007 19:13:54 0.5 5 Jan 2007 19:13:54 Commentary false 3 2 -0.5 44 5 Jan 2007 19:15:08 1 5 Jan 2007 19:15:08 Trad. and Formal Analysis addressing false Rect[ 50 50 550 350] 5.5 3.5 -5 45 5 Jan 2007 19:17:04 1 5 Jan 2007 19:17:04 The different Voices of Rhetoric false Rect[ 50 50 550 350] 6.5 3.5 -5 49 5 Jan 2007 19:17:22 0.5 5 Jan 2007 19:17:22 Audience Power false Rect[ 50 50 550 350] 8.5 3.5 -5 50 5 Jan 2007 19:17:32 1 5 Jan 2007 19:17:32 Speaking to Multiple Audiences false Rect[ 50 50 550 350] 7.5 3.5 -5 51 5 Jan 2007 19:17:41 1 6 Jan 2007 15:49:28 Intimate Settings false Rect[ 50 50 550 350] 5.5 2 -1.5 52 <h2>Small groups and intimate settings</h2> * Abrahams and the Caius porters (00:06:30) * Jenny and Sandy in the highlands (00:16:44) * the walk home from church (00:20:44) * in a drawing-room in Scotland(00:22:44) *in front of a fire with Aubrey in Abrahams's lodgings (00:26:30) * after a church service in Edinborough (00:53:48) * Lindsey and Sybill: the lawn of a British stately home (00:57:37) * dinner with the Master at Caius (1:00:07) * Lord Birkenhead and reporters, boarding the boat for Calais (1:05:04) * Eric and Lord Birkenhead en-route (01:10:23) * the drawing room of the Olympic ball (01:23:00) * personal letters between Aubrey and his mother (00:04:16, 00:9:43, 01:12:53). 5 Jan 2007 19:18:07 1 5 Jan 2007 19:18:07 Public Address false Rect[ 50 50 550 350] 5.5 2 0.5 53 5 Jan 2007 19:18:43 1 5 Jan 2007 19:18:43 Formal, Private false Rect[ 50 50 550 350] 5.5 2 5 54 5 Jan 2007 19:18:56 1 5 Jan 2007 19:18:56 Running as Rhetoric false Rect[ 50 50 550 350] 5.5 2.5 2.5 55 5 Jan 2007 19:19:47 1 5 Jan 2007 19:19:47 Interpersonal Argumentation false Rect[ 50 50 550 350] 9 2.5 -4 56 5 Jan 2007 19:19:54 0.5 5 Jan 2007 19:19:54 The Press false Rect[ 50 50 550 350] 6 2 7 57 5 Jan 2007 19:33:47 0.5 5 Jan 2007 19:33:47 Letters false Rect[ 50 50 550 350] 6 1.5 9 81 5 Jan 2007 19:20:07 1 6 Jan 2007 15:59:21 Jenny & Public Address false 8 6.5 -1.5 58 Many of the speeches present very nuanced variations of social dialect with multilayered audiences. For example, Liddell's second racetrack homily is directed both to his working-class audience and to his sister. In the speech, he attempts to convince the race-goers of the importance of Jesus, but he also attempts to convince his sister of the importance of running. The dual audience is emphasized by a long pan-shot which initially shows the response of the race-attendees, but which settles on Jennie's face (00:24:33). Her colourful hat emphasizes Jennie's importance to the scene, since the crowd wears greys, browns, and blacks. Her active role as a key member of the audience is also shown in the next shot, in which she looks down after Liddell suggests the power comes "from within," but raises her head when he begins to quote the words of Jesus (00:25:46). These same words grow in significance when quoted almost an hour and a half later, during Liddell's final run (01:49:25). 5 Jan 2007 19:21:12 0.5 6 Jan 2007 15:53:53 Sandy's Speech false 6.5 0.5 -1.5 59 "lead them to glory" --farewell speech to dear friends, but also a statement about Eric; two kinds of glory. Sandy is not a Christian, but he appropriates the language of Christianity in this speech --"rule with a rod of iron", "lead them to glory"-- in order to make a meaningful speech to the family while asserting his claim over Eric. Here, the protocol is this religious kind of speech, as well as the act of giving of a farewell dinner-speech. 5 Jan 2007 19:21:38 0.5 6 Jan 2007 15:53:16 Eric's Father's Excellence Chat false 6.5 0.5 -1 60 Eric sitting, his father standing, giving him a final farewell lecture, but also in conversation -- not with Eric, who doesn't speak, but with the brother-in-law. "You can honor God by peeling a spud if you peel it to perfection" There is a protocol to this; it's a private, backroom setting, and it's a talk among men. Humility is not necessary here, but Eric still has it. This occurs elsewhere as well. 5 Jan 2007 19:54:47 1.5 5 Jan 2007 19:54:47 Printed Figures false -1 1.5 9.5 104 5 Jan 2007 19:55:12 4.5 5 Jan 2007 19:55:12 Interactive Figures false 0.5 1.5 9.5 105 5 Jan 2007 19:58:41 1 5 Jan 2007 19:58:41 The Role of Encouragement false Rect[ 50 50 550 350] 9 2.5 -6.5 106 6 Jan 2007 15:45:05 0.5 6 Jan 2007 15:45:34 Lindsey & Sybil false 7 0.5 -0.5 107 chap, old girl, etc. The only British upperclass to upperclass conversation in the movie. 6 Jan 2007 16:00:15 0.5 6 Jan 2007 16:03:42 Liddel's first racetrack speech false 7.5 0.5 1 108 This is very useful to analyze because it's Liddel's only generic speech. But he's introduced to us first as a religious person with this conflict between service and sporting achievement. Also: Sandy refuses to listen to Jenny while still putting off responsibilty: he phrases his desire to see Eric run as a question to the crowd, leveraging their demand on Eric and Jenny. Notice how Eric does give in to their desire here. He is not depicted as a perfect guy. He later lets down Jenny by missing a bus; he had been training on Sunday. 6 Jan 2007 16:33:13 0.5 6 Jan 2007 16:33:13 These all come out in private conversations false Rect[ 50 50 550 350] 5 4 3.5 110 6 Jan 2007 16:35:25 1 6 Jan 2007 16:35:52 Why letters? false Rect[ 50 50 550 350] 6.5 0.5 10.5 111 Why do people pass around letters at the racetrack instead of personal words? Is it the editing? The fact that you don't want to disturb their mental flow with emotion? Why must encouragement be not in person? 13 Dec 2006 13:14:47 13 Dec 2006 13:14:49 by comparing their youth and inexperience to the age and experience of those already at the college Rect[ 50 50 550 350] 6 6.5 10 by comparing their youth and inexperience to the age and experience of those already at the college 13 Dec 2006 12:12:47 13 Dec 2006 12:12:51 During the speech, the camera depicts several groups: * The Master * The Fellows at high table * The Freshers * The names of former students on the war list * Photographs of former classes Rect[ 50 50 550 350] 4 9.5 8 During the speech, the camera depicts several groups: * The Master * The Fellows at high table * The Freshers * The names of former students on the war list * Photographs of former classes 9 Dec 2006 19:54:10 9 Dec 2006 19:55:50 Varying Levels of Plausibility Rect[ 50 50 550 350] 5 6.5 5 It should be possible to write an essay in which the reader could push a button to see a color-coded version in which the ideas which the author things most plausilbe are the most solid, and the ideas which the author thinks are less plausible are alpha-blended. That way, if one is skeptical about something, one can push a button; If it fades, you know the author agrees with you but just included it to be thorough 9 Dec 2006 10:52:31 9 Dec 2006 10:52:38 Camera Shot before speech Rect[ 50 50 550 350] 4 6.5 4 The Master's speech is preceded by a slow upward pan over a long table of names. The dates "1914 1918" come into the field of vision.The camera settles on these dates for a moment before a shot which depicts the high table, the freshers, and, at top right, the list, whose numbers dwarf them all. 7 Dec 2006 13:20:37 0.5 7 Dec 2006 13:20:37 Liddell Drawing room false 13 4.5 4 7 Dec 2006 13:20:53 0.5 7 Dec 2006 13:20:53 Fireside chat false 14 4.5 4 7 Dec 2006 13:21:38 0.5 7 Dec 2006 13:21:38 Eric misses a bus false 15.5 4.5 4 7 Dec 2006 13:22:02 0.5 7 Dec 2006 13:22:02 Lyndsey and Sybil false 16.5 4.5 4 7 Dec 2006 13:22:38 0.5 7 Dec 2006 13:22:38 Birkenhead and the Reporters false 17.5 4.5 4 7 Dec 2006 13:22:54 0.5 7 Dec 2006 13:22:54 Liddell and Birkenhead false 19 4.5 4 7 Dec 2006 13:23:19 0.5 7 Dec 2006 13:23:19 Liddell flashbacks false 18.5 4.5 4 7 Dec 2006 13:24:16 0.5 7 Dec 2006 13:24:16 Ball drawing room false 20 4.5 4 7 Dec 2006 15:22:32 1.5 7 Dec 2006 15:22:32 lighter black Liddell Runs Rect[ 50 50 550 350] center 20.5 50 6.5 2 7 Dec 2006 13:22:19 0.5 7 Dec 2006 13:22:19 Dinner with the Master false 17 4.5 4 7 Dec 2006 13:20:20 0.5 7 Dec 2006 13:20:20 Rect[ 50 50 550 350] 3248342420 21.5 4.5 4 false 27 Nov 2006 20:10:44 1 14 Dec 2006 0:56:21 The Master's Matricuation Speech false Rect[ 0 44 399 693] 3 4.5 2 I take the war list and I run down it. Name after name, which I cannot read, and which we who are older than you, cannot hear without emotion; Names which will be only names to you, the new College, but which to us, summon up face after face, full of honesty and goodness, zeal and vigor, and intellectual promise; The flower of a generation, the glory of England; and they died for England and all that England stands for. And now by tragic necessity, their dreams have become yours. Let me exhort you: examine yourselves. Let each of you discover where your true chance of greatness lies. For their sakes, for the sake of your College and your country, seize this chance, rejoice in it, and let no power or persuasion deter you in your task. ReadOnly;WordCount 13 Dec 2006 19:47:06 1 13 Dec 2006 19:47:06 The Master's Speech at the Caius Matriculation Dinner copy false Rect[ 412 44 893 763] 4.5 3 3.5 12 The first phrase of the Master's speech mentions the "war list", but the list is already present in the film before the master speaks. The speech is preceded by a slow upward camera pan over a long table of names. The dates "1914 - 1918" come into the field of view at the end of the shot, providing the first indication of the list's subject. The camera settles on these dates for a moment before an elevated shot which depicts the high table, the freshers, and at top right, the list, whose numbers dwarf them all. The camera then begins the speech where the Master begins: with himself. In order to establish the wider emotional effect of reading the list, he first cites personal experience. He uses verbs of agency: "take" and "run". Both are personal efforts and indicate the personal importance of the list. The experience is immediate; it is not "when I take", but rather, "I take". When the sentence is completed, the negatives "cannot read" and "without emotion" contrast these active verbs, suggesting the powerlessness of an active effort to suppress emotion. The impersonal term "war list" indicates the presence of an effort to depersonalize the names. This effort is not successful. By inserting an additional clause in-between "cannot read" and "without emotion", the speaker highlights his inability to suppress emotion. The interrupting clause also relates the personal emotional response to a common emotional response; a group claim might otherwise seem hollow, but in the atmosphere of personal emotional confession, the group claim also seems authentic. This widening enables description of the further strengths of the list's inductive power. While The Master attempts to grasp and suppress, the college's senior members passively "hear" the list. Though they are less intimately involved, the list is said to induce an involuntary emotional response. The negatives are thus used four ways: (1) reading the list is emotionally difficult for the Master; (2) The Master cannot suppress emotion when reading the list; (3) the list read aloud creates an involuntary response in the hearers (4) any contact with these names will result in emotional response. But not everyone will feel the same way. The Master addresses the freshers with the statement, "and which we, who are older than you". The use of "we" and "you" separates the audience into two precise groups and sets up corresponding categories of emotional response. Liminal ceremonies of inclusion often involve an all-inclusive "we", but no such usage occurs in this speech. Apart from dividing the audience into freshers and fellows, the statement also makes claims about the nature of each group's members and their relations to each other and the dead. By introducing a disparity of wisdom and experience between the fellows and freshers while personally retaining the strongest emotional response, the Master creates a hierarchy which allows him to speak with personal authority and the weight of the fellows to the inexperienced youths. The word "older" apparently refers to time spent at Caius, but it also connotes age, the past, weakness, the suffering of loss, and wisdom. The Master implies that the freshers are not only younger, but also less experienced and less wise. Their lack of emotion is forgivable, for an alternative response is eventually described. Thus are wisdom, experience, and authority securely fastened to the fellows, but the responsibility of action is pinned on youth. The emotion itself is kept ineffable-- unknown, mysterious, powerful-- to impress the freshers, but also to keep the range of definition within a reasonable, believable scope of individual and group experience. This "emotion" likely includes complex feelings of hope and sorrow, pride and grief, and perhaps, inspiration. Identifying specific elements of this emotion might introduce connotations and potential inferrences that the Master wishes to avoid. The speech pushes forward; sorrow, grief, and regret are complex experiences which are associated with solemn, introspective thought, not a the rush of motivation desired by the Master. Although he reserves the emotional response for the high table, the Master wishes the audience to share the reading experience. He uses the present tense-- 'I take", "I run", "I cannot read", "we cannot hear"-- in order to bring the audience with him in the experience. The rhythm and repetition of "name after name" simulates the act of reading through the list. Echoes of this continue in the speech through other, similar phrases which also use anapests, or repetition, or both. Anapests occur in "and I run", "after name", "and which we", "who are older than you", "cannot hear", "which to us", "after face", "and they died", "for the sake", "of your college", and "and your country". Repetition also occurs in the phrases "names which will be only names", "face after face", and "For their sakes, for the sake". Although the Master begins with action which is ineffective, his speech sets up a contrast between feebleness and vigor. His first few statements include phrases of fatigue and inability: "run down" "older", "cannot read", "cannot hear", "without emotion". The Master encourages these new students to look forward as he looks back; he may "take the war list", but the freshers are later encouraged to "seize this chance". After describing the list, delineating emotional responses, and configuring the audience by response, the Master uses the future tense to suggest that the emotional element of this configuration will not change. Time and age will not bring the same kind of wisdom and experience to "you, the new College". This statement creates a space at the high table unreachable by the freshers, but it also draws them in by declaring them--not just absorbed-- to be the defining constituents of a replenished college. By calling them the "new college", the Master continues the ceremony of inclusion which is part of the dinner's purpose. He doesn't say "this new college"; he says, "you, the new college". "You" retains an internal separation, but by proclaiming them to be "the College", he suggests that (a) the college's primary essence is constituted by people and (b) the students will represent the entire concept-entity of their college. Adjacent stresses are infrequent in the speech. Just as as the link between "war list" and "run down" is strengthened by their rhythm, the replacement of those on the "war list" by the "new college" is also strengthened by the recurrence of adjacent stresses. Furthermore, the Master's words carry the implicit suggestion that the new college can also be known and remembered in a similar way (and, the master later implies, perhaps even in greater ways if they achieve what for the dead was only possibility). The statement "only names" suggests the potential for individual relationships based on more personal understanding than those associated with lists. Earlier, "name after name" used the singular to refer to a list. Here, the plural "names" distinguishes individuals in the group while retaining a rhythm that connects back to the list. The connection is explicit. Had he said "which will only be names", greater emphasis would fall on "only"; the actual word order effects greater stress on both instances of "names". This distinction of individuals moves the Master's words from evocation to invocation. Names summon faces. But the plural is not used; delineation returns to the repeated singular, simulating a slideshow of faces which resembles the cadence of the list. At this point, the camera begins to zoom out from the Master, creating the visual momentum which will be used for a series of shots presenting such a slideshow: face after face of listening undergraduates, who sit at dinner underneath the war list on one side and underneath the photographs of each class of past freshers on the other, all under the watchful eyes of those at the high table. Despite the imagery of age and fatigue, "memory" is not mentioned. Faces are summoned rather than remembered. This leaves emphasis on the faces rather than the ones who remember. They are not summoned for a purpose, but rather "summoned up". These features of the speech suggest the supernatural nature of the summoning, the spiritual, immortal, innate qualities of the names, the nature of the names' relation to the faces, and the relationships among the names-faces and the "us" at the high table. "summon" establishes immortality is one implicit subject of the poem. Reference to memory, its tendency to fade, and its other unreliabilities would undermine this essential quality. The spiritual connotations of "summon" add to the atmosphere of consequential gravity while relating directly to one primary purpose of the speech: to confer the unfinished business of the dead upon the living. The use of "faces" does more than invoke imaginary ghosts. The spiritual and physical senses of "faces" create the opportunity for identification of an innate character which is a partly-unrealized, partly-interpreted potential, but which is also fixed by merit of its noble, untimely end. The statement that these are faces "full of honesty" does more than encourage the audience to trust further assessments; it carries a hint of the faces' youth, a hint strengthened in the next phrase's assertion of "zeal". The impression of youth is developed by the robust nature of "vigor". It is not misguided, for it involves "goodness". The trochees "goodness" and "vigor" connect to each other, forming a strong, four-part structure in which virtue is pursued with energy. By listing qualities in groups of two, the Master reconnects his speech to the repeating patterns of two in the war lists's names and faces. The faces are "full of" these qualities, complete and unlacking in their possession and expression of virtue and energy. Fullness also suggests an outward effusion of these qualities; honesty, goodness, zeal, and vigor are all fulfilled in outward actions and expressions. "Intellectual promise" stands out, contrasting in nature and gramattical progression. It is a placeholder, a potential, a hope for things not yet achieved, unlike honesty, goodness, zeal, or vigor, which are declared as present, but which even unaccomplished people may possess. Promise comes with capability and full expectation: their faces are "full of" "promise," not "promises". By placing "intellectual promise" last, and by causing it to stand unique from the rhythmic and structural pattern of the previous, two-element groups, the Master distinguishes intellectual promise from the previously-stated characteristics, describes a three-tier hierarchy of qualities, distinguishes the people he describes, invites the audience to wonder at what their results might have been, and suggests that these results and their means of achievement would have been defined by honesty, goodness, zeal, and vigor. But promise is fragile. The Master's next two phrases add the quality of fragility to the war-list students' potential and set it in the larger social and national context. They are "the flower of a generation" and "the glory of England". By employing fragments, the Master (a) continues to draw on patterns associated with lists (b) again speaks as if currently in the process of remembering these students (c) avoids the use of verbs, whose tense would suggest significances he is saving for the word "died", (d) indicates the dead students' timeless notability within their generation and English history, and (e) omits the object and tenor of the statements, integrating the students of the war list with the traits which make them notable. "The flower" metaphor suggests their superlative, bright, productive nature, which is notably visible, colourful, fragrant, pleasant, part of growth and reproduction, full of life, and critically interdependent with the rest of humanity. Their place as flower of their "generation" refers to the competetive nature of Cambridge admissions, imagines a lifetime of activity, and places them within the natural, continual cycle of life and history. It likely also refers to the history of Cambridge itself, which is often gradated with the names of those graduates who are among European history's notables. Generations are a class of set whose bounds can vary in physical, cultural, and economic scope, but the greater, movie-wide context of the Olympic Games guarantee its application to what Lord Birkenhead later describes as the "civilized world" (01:08:30). The metaphor also includes ideas about family and ancestry, which are central issues in the movie. Those on the war list are also "the glory of England". The deferral of verbs allows this glory to include past, present, and future status, although each kind of time connotes a distinct kind of glory. By mentioning glory before mentioning death, the Master avoids the suggestion that their death is a waste while also allowing multiple interpretations of that glory: their promise, their choice to fight, their deaths, and the result of their deaths. As their generation's flower and the nation's glory, the new college collectively represents (in both senses of the word) their generation and nation. But flowers are fragile, glory is intangible, and life includes hard, physical challenges. By moving the scope of his speech into the larger picture before directly referring to death and loss, the Master magnifies and intensifies the gap they leave in their generation and human history. "Glory" also contains religious connotations of death and self-sacrifice, introducing further positive associations with their deaths. It is only a vague hint of religion, in service to another purpose; God is not mentioned in the speech. This limited religious regard among England's powerful will later become part of an important conflict in the movie. "The flower of a generation" and "the glory of England" share related objects, a parallel structure, and a common (finitely ambiguous) subject. Thus, when the next phrase begins with "and", a further, similar phrase is expected. However, this progression is broken with a verb. It is the only use of the past tense in the speech. Up to this point, reading, hearing, and summoning have introduced the dead into the present. By bringing them to the present and praising them using the present tense, he highlights the ruin of their loss when he finally admits their status. "Died" disrupts the newly-established patterns of the speech, the newly established lives of those on the war list, and the larger entities which they represent. Their loss is not a complete disruption. Some progressions continue. The progression of trochees starting with "goodness" to "vigor", "promise", "flower", and "glory" transforms into a three-fold repetition of "England", "England", "England" in successive phrases, whose arrivals are also primed by the "g" sounds in "goodness", "vigor", and "glory". By following a list of fragments with a dependent clause, their deaths are included as a parentheses, as almost an afterthought to the previous word: England. It is England which brings to mind their death. It is for England they died, and it is England which still stands. The trailing preposition in "and all that England stands for" is no mistake. It places "England" as the second stress in the phrase, which is also the case in the two previous phrases, forming a strong parall among these three phrases about England. The Master will have none of the ignorance found in the Light Brigade; nor does he allow the possibility of individual desire or even individual goals for England. To die for England is to die for "all that England stands for." Their death is a selfless act. "All" describes an England which has remained entire as a result of this sacrifice, but the idea of entirety also includes a solidarity which, it is later implied, should characterize the new college's efforts. The use of the present tense "stands" also suggests that the dead's efforts were successful, reminds the audience that England still exists, still has things to say, still has things to accomplish. When the Master later makes the new college England's representatives, he makes these accomplishments their responsibility. "and all that England stands for", the first in the speech employing iambic metre, sets up the speech for a pause followed by a major transition while also preparing a mechanism for further progression: the repetition of "and". At this point, the camera shows Abrahams and Montague exchanging glances. But their eyebrows do not move. One is not certain if they are questioning the validity of these patriotic statements or exchanging assent; perhaps these newly-acquainted friends are trying to read each other's faces. Whatever the imaginings of the Master, these faces are blank, unreadable: perhaps they are faces on which the future has yet to be written. "And now by tragic necessity" is the third consecutive clause beginning with "and". Each "and" serves a different grammatical function. But the repetition of "and" creates continuity, moving the speech from the past death of those on the war list to the survival of England up-to-now, and finally to an immediate present which looks forward. By describing the situation as "tragic", the Master tempers his positive, state-focused assessment, acknowledges personal suffering, and transitions from the larger context to the role of individuals within that context. But this role is not optional, for tragedy arises from the larger situation. Involvement is a "necessity". Need connotes lack, which reminds the audience of the gap left by the flower of an entire generation. But "necessity" suggests possible and required action, where mere "need" might be tragic in settings where no action is possible. The phrase "tragic necessity" probably refers to a famous 1918 essay on the League of Nations by H.G. Wells, who was on its research committee. The essay, which encourages British involvement in the league and outlines a plan for its success, bemoans the divisive nature of postwar special-interest politics in Britain, illustrated by what Wells sees as short-sighted, manipulative political maneuvering. He calls his time one of "tragic necessity" and predicts that "Life is going to be very intense in the years ahead of us." Wells worries about the possibility of a "caricature Parliament, with perhaps half a hundred leading men in it and the rest hacks and nobodies". Although the Master doesn't refer to politics, his speech contains similar sentiments. The loss of a generation of Cantabrigensians leaves a gap in England the world during times in which their apparent talent, virtue, and solidarity are required. Necessity is urgent and fundamental, and the modifier "tragic" suggests that it is critical, dire, and perhaps down to the barest, bleakest level. Equally intense effort may be required to mitigate the situation, an endeavour which will likely require the best efforts of Britain's best. The next phrase effects a significant shift in the Master's speech. By mentioning "their dreams", the Master repositions his construals of the dead's imagined faces. The pronoun is possessive: these construals are now said to have been held by the past students themselves. Instead of external expectations and potential, they are now personal ideals and goals. But these are dreams; they are more visual and comprehensive than the mere qualities or goals he previously mentions: they also now include the broader scope of a generation and a nation. As dreams, they are open to further definition and interpretation. They are not easily attained, involve ideas of inspiration, and are the objects of desire. In the same clause which positions these expectations to be the internal motivations of the dead, they are repositioned again. The situation of "tragic necessity" is said to have already placed them upon the new college. The situation may be tragic, but the responsibility is not entirely tragic: "dreams" carries positive connotations. The freshers' newly-inherited responsibility is not specific, but it is comprehensive: the context of tragic necessity suggests the urgent, maximal, social, and moral qualities of the attainment demanded by the situation. Furthermore, these are dreams cut short by the war, a distinction which makes them untouched by the grisly nature of combat, but which makes a double demand, reaching beyond restoration to include additional achievement. The unspecific nature of the dreams allows their scope to include the desires and talent of those to whom they are transferred, but this transferral (and the later three-fold proxy of motivation) excludes all wholly personal, individual dreams. The dreams are to be of personal importance but wider purpose. Their unspecific nature also invites examination and discovery, an invitation made explicit later. "let" requests permission to advise, which endows the freshers with authority to grant a kind of permission. However, this imperative also reinforces the idea that the new college has no choice about the dreams previously stated to be thrust upon them by the situation. It does strenghten their personal ownership of these dreams and the need for personal agency to carry them out. "let" also suggests that nothing to this point has been the Master's personal agenda, that his entire speech has so far been descriptive. It introduces two series: The repetition of "let" and the sequence of imperative verbs which builds toward the end of speech. "Exhort" also builds the imperative atmosphere; the situation calls for more than mere advice from the Master. By exhorting, he urges them to action, but receipt of exhortation also requires a humility which is part of letting the Master exhort. The religious connotations of exhortation suggest their application to personal or moral motivations. The imperative need for examination is strengthened by the consonance between "exhort" and "examine". By exhorting the new college to examine themselves, the Master does more than call for studied self-awareness of their nature, abilities, and potential. He is exhorting them to set their own standards of achievement rather than merely attain the expectations of the university. This implicit advice about the nature of Cambridge studies is strengthened by the imperative "discover", which also suggests purposeful acts which reach beyond known boundaries. Self-examination also includes self-improvement. The second "let" is also an imperative, a declarative commencement (as in, "let the games begin") which qualifies and enlarges this self-examination. Examination and discovery require different styles of purpose. While examination suggests meticulous, thorough, or narrowed focus on detail, the scope of discovery is wide. Examination applies previous knowledge, measurement, and mastery to an entity of finite bounds. Discovery approaches the unknown in order to find valuable things of varying anticipation along the way. By deferring the object of examination until after a statement about discovery, and by pausing after "discover", the Master suggests a hybrid approach to the acquisition of the self-knowledge and discipline he wishes the new college to attain. The Master's plan is not for teamwork, but rather for maximal individual attainment: he distinguishes "each of you" and asks them to discover "your true chance". By individualising his message, the Master also discourages them from examining each other, which might be understood by "examine yourselves". The plural becomes a comprehensive call; no one is left out of this tragic necessity. The Master doesn't ask them to discover their "true chance of greatness". Rather, he asks them to discover its location. This suggests that the discovery is only the beginning of effort. This chance is "your" chance, suggesting that each person may achieve a uniqe, solitary, greatness. Although equal options may seem to exist, one will be the "true" opportunity. The objects of examination and discovery do not have agency. Since chance may be seized, failure does not lie in the circumstances or nature of the challenge, but rather in a failure to properly identify the "true chance" or a failure to attempt with complete vigor. The phrase implies that only one true chance exists for each student. Just as with "war list" and "their sakes", the adjacent stresses emphasize the phrase "true chance". At this point, the camera shows the face of Abrahams, the character in the film who most desires greatness. The film then cuts to an angle from an early part of the speech: a zoomed-out view of the dinner. At this point, the speech also zooms out. The final declamation defines the sources of motivation and the beneficiaries of credit before describing the action it proscribes. By beginning with this triad of the war list, the college, and the nation, the Master reminds the audience of the scope, urgency, and nature of the task he is about to describe. The pronoun "their" now refers to an antecedent much larger than the "war list"; the pronoun now refers to the people, events, nations, qualities, and potentials represented by those on the list. It frames Caius life in the context of the ultimate sacrifice of England's finest, strengthening the urge for complete, vigorous effort. Although personal glory and personal credit are not included in his list of motivations, he contrasts "their sakes" with "your College" and "your Country". Both the dead and the freshers share the same college and country (which are partially conflated by alliteration), but the repetition of the possessive "your" makes the motivations personal while also claiming them for these larger institutions. The liminal ceremony of inclusion is completed in the final declamation: the master drew internal distinctions, placed the task of representation upon the "new college", and now describes the expected means of proper representation. The freshers' most ardent efforts of personal discovery and attainment are now said to act in proxy for trans-generational, historical conceptions of their college and country. Acts done "for the sake" of others are outward and often away from the presence of those for whom one does them. Thus, the nation and college are an involiable, not open to tinkering. Although the object of effort is a "dream", and its "chance" nature is uncertain, it is not intangible. It may be seized. "Chance" refers to the (a) "true change of greatness", the (b) opportunity at Caius, and (c) the greater situation of tragic necessity. "Seize" includes adversarial connotations, but the next clause clarifies the action of attainment. The chance is something to "rejoice in". Had the Master mentioned sorrow, grief, or solemnity instead of "emotion", or had he placed rejoicing in close proximity to death or tragic necessity, rejoicing might seem out of place. But when attainment is for the sake of those who could not realize the rewards of zeal, vigour, and promise, rejoicing takes on an even more imperative, urgent character. Joyful attitudes toward effort are associated with great internal motivation, and effort carried out joyfully indiciates skill which can spare focus for enjoyment of the task (Abrahams challenges this approach as wasteful and naive in another memorable speech - 01:00:07). Work in which one can rejoice centers joy in the process rather than in completion. The situational connotations of "chance" combine with the perception that those who rejoice in attainment rarely seek to terminate their effort. Attainment becomes a state rather than a task to be completed. The search for the "true chance" and the urge to "rejoice in it" when it is found also implies a connection between supreme attainment and true happiness. The final "let" performs two functions. Had the speech stated, "do not let", it would be an exhortation to the new college against permitting any obstacles. By beginning the clause with "let", it is also a general imprecation against those powers and persuasions. The iambic metre of the final clause, the supernatural atmosphere summoned ealier, the scope of the task, strengthen this air of imprecation. The age of the Master and fellows, who in the speech concern themselves with the past and memory rather than these necessary attainments, suggests an imprecation which reaches forth to potential obstacles with protective warning. "Power" and "persuasion" perform multipurpose parts. "Power" refers to entities which hold and deploy power. But it also refers to the types and levels of power which may be applied to deter the freshers. Persuasion refers to any ideas or temptations which may waylay them. Discovery may require a broad range, but after discovery is completed, effort should be direct. Persuasion also refers to ideals and creeds which might deter effort. By specifying "no" power or persuasion, the Master's statement of warning and imprecation places the freshers' task above any of the things they denote and places "power" and "persuasion" in an adversarial position to the new college. This urges them to be on their guard while still ardent in effort. The adversarial situation combines with the possessive pronoun "your" to strengthen and seal the conferred qualities, motivations, dreams, and community before releasing the freshers. Their efforts are given a trajectory, although "task" connotes something more complex than a goal. It is includes of the efforts, ideas, and qualities presented earlier, but it also suggests a specific and continuing nature of the chance of greatness. The final statement expresses confidence in the swift momentum of their trajectory: powers and persuasions cannot stop them, only deter their efforts. The speech ends strongly, with an air of finality. The triad of imperatives-- "sieze", "discover," and "let"-- is the first complete, strong traid found in the speech. Other groups of three exist, but each is disrupted in some way. "England" is used in different ways in the phrases which repeat its name. Those beginning with "and" overlap the "England" triad and are also different kinds of phrases. The triad of proxy found in "their sakes" and "the sake of your college and your country" is actually a grouping of two in which one element consists of two items; the possessive pronouns are the primary grouping mechanism. The imperative statements beginning with "let" are separated by distance. Other consistent, strong groups appear, but these are also groups of two: "name after name", "face after face", "honesty and goodness", "zeal and vigor", "College and your country". The groups of two and disrupted groups of three emphasize their elements while creating the expectation of more to come. These disruptions and expectancies are satisfied in this final series of three imperative clauses, just as the Master hopes that actual disruptions and expectancies will be satisfied by the efforts of the new college. The undisrupted triad of imperatives also suggests the undeterred power and focus of the new students' trajectory. The last declamation includes many instances of repetition and consonance: "sakes" and "sake"; "College" and "country"; "Power" and "persuasion";"you" and "your"; "deter" and task", which add to the intensity of the declamation and, like the increasing rates of a fireworks display, signal the approaching finale. The metre of this final statement-- "and let no power or persuasion deter you in your task"-- forms the most consistent rhythm in the entire speech. As in the phrase "and all that England stands for", which concluded the Master's look toward the past, the iambic rhythm of the final clause heightens the tone and signals a conclusion. The first half of the phrase ending in "persuasion" creates grammatical and metrical tension with four iambic feet, after which a natural pause leads into an assertion of the three iambic feet which conclude the speech, releasing the tension and, symbolically, the new college. 27 Nov 2006 20:12:48 27 Nov 2006 20:12:48 Chariots of Fire Speech copy false Rect[ 50 50 550 350] 7.5 19 I take the war list and I run down it, name after name, which I cannot read, and which we who are older than you cannot hear without emotion; names which will be only names to you, the new College, but which to us summon up face after face, full of honesty and goodness, zeal and vigor, and intellectual promise; the flower of a generation, the glory of England; and they died for England and all that England stands for. And now by tragic necessity their dreams have become yours. Let me exhort you: examine yourselves. Let each of you discover where your true chance of greatness lies. For their sakes, for the sake of your College and your country, seize this chance, rejoice in it, and let no power or persuasion deter you in your task. 27 Nov 2006 20:12:49 27 Nov 2006 20:12:49 Chariots of Fire Speech copy 1 false Rect[ 50 50 550 350] 8 19.5 I take the war list and I run down it, name after name, which I cannot read, and which we who are older than you cannot hear without emotion; names which will be only names to you, the new College, but which to us summon up face after face, full of honesty and goodness, zeal and vigor, and intellectual promise; the flower of a generation, the glory of England; and they died for England and all that England stands for. And now by tragic necessity their dreams have become yours. Let me exhort you: examine yourselves. Let each of you discover where your true chance of greatness lies. For their sakes, for the sake of your College and your country, seize this chance, rejoice in it, and let no power or persuasion deter you in your task. 7 Dec 2006 14:55:40 0.5 7 Dec 2006 14:55:40 Scene Map Items false Rect[ 50 50 550 350] 7 true true 0.5 18 7 Dec 2006 12:31:21 17 7 Dec 2006 12:31:21 blue Cinematic Techniques Rect[ 50 50 550 350] 7 true blue true 90 9.5 9 7 Dec 2006 12:39:39 7 7 Dec 2006 12:39:39 lightest warm gray Voiceover Rect[ 50 50 550 350] 12.5 light black 70 9.5 9 7 Dec 2006 12:47:37 17 7 Dec 2006 12:47:37 light cool gray Instances of Rhetoric Rect[ 50 50 550 350] Center 7 true light blue true 90 7 blue 2 WordCount 28 Nov 2006 7:07:37 7 Dec 2006 21:02:15 Initial Essay false Rect[ 555 147 978 655] 3 13.5 The movie Chariots of Fire is about rhetoric as much as it is about running. The two protagonists are speechmakers: Abrahams is preparing to be a lawyer; Liddell plans to be a missionary. Both also seek to make a statement by their actions. Liddell wants people to notice the gospel through his running. His choice against running on Sunday achieves that goal. Abrahams wishes to establish his supremacy in order to belong, choosing to do so by efforts in theatre and athletics. Both activities involve audiences. But the protagonists are not the only ones with speeches: a funeral oration by Lindsay commences the series. Speeches are given at a Cambridge matriculation dinner (00:08:11), before the College Dash (00:12:02), beside the racetrack (00:17:35, 00:24:33), at a family farewell dinner(00:21:54), on a boat to Calais (01:08:30), and from the pulpit of the Church of Scotland in Paris (01:30:15). Neither is rhetoric limited to public address. The setting and voice of rhetoric frequently shift within the complex influences of the protagonists' multiple configurations of social relationships. Rhetoric also often employed in small groups and intimate settings with audiences which include family, friends, officials, and royalty. Many of the speeches present very nuanced variations of social dialect with multilayered audiences. For example, Liddell's second racetrack homily is directed both to his working-class audience and to his sister. In the speech, he attempts to convince the race-goers of the importance of Jesus, but he also attempts to convince his sister of the importance of running. The dual audience is emphasized by a long pan-shot which initially shows the response of the race-attendees, but which settles on Jennie's face (00:24:33). Her colourful hat emphasizes Jennie's importance to the scene, since the crowd wears greys, browns, and blacks. Her active role as a key member of the audience is also shown in the next shot, in which she looks down after Liddell suggests the power comes "from within," but raises her head when he begins to quote the words of Jesus (00:25:46). These same words grow in significance when quoted almost an hour and a half later, during Liddell's final run (01:49:25). The speech given by the Master of Caius College, Cambridge in Chariots of Fire is notable for its juxtaposition of a funereal tone upon the motivational, commencing ceremony of a matriculation dinner. 7 Dec 2006 12:23:40 1 7 Dec 2006 12:23:40 Panning audiences. Rect[ 50 50 550 350] 3 2 16.5 7 Dec 2006 12:23:21 7 Dec 2006 12:23:29 Draft Notes Rect[ 50 50 550 350] 4 15 This emphasis on rhetoric and speech is most powerfully shown through three (four?) cinematic techniques. In this movie, which explores the role of public and private factors on individuals' motivations and deeds, t 01:09:46 (Jenny Voiceover flashback on the ship to Calais) 01:10:08 (Eric Sundar run Voiceover flashback on ship to Calais) 7 Dec 2006 12:22:45 1 7 Dec 2006 12:22:48 Making a point using actions false Rect[ 92 335 592 635] 4 2 12.5 Despite their focus on rhetoric, both Liddell and Abrahams wish to make a point with their actions, even if their messages don't directly relate to the nature of those actions. Liddell sees his running as a way to spread the gospel, and Abrahams wishes to prove his worth. For Liddell, the choice toward inaction, against running on Sunday, provides his strongest statement, one which is conveyed in the intimate setting (at the ball), to an audience in the Paris Church of Scotland (when he preaches on Sunday morning), and to the world (through the newspapers 01:28:28). But the audience is not just a ring of ever-growing circles. The reaction of his sister is also depicted (1:28:41). 7 Dec 2006 12:24:09 1 7 Dec 2006 12:24:09 green Bakhtin false Rect[ 50 50 550 350] 5.5 2 13 7 Dec 2006 14:01:54 1.5 7 Dec 2006 14:01:54 Notice that Abrahams's flashbacks are not verbal, but visual false 18 2.5 16 7 Dec 2006 12:31:43 1 7 Dec 2006 12:31:43 white Won't apply directly false Rect[ 50 50 550 350] 6 2.5 14 dark blue diagonal 7 Dec 2006 12:32:11 1.2 7 Dec 2006 12:32:11 Pan across audience true Rect[ 50 50 550 350] center 8 light blue 110 2.5 50 plain blue 9.5 Lucida lighter yellow gradient 7 Dec 2006 12:34:08 7 Dec 2006 12:34:08 light yellow Tells you who the audience is true Rect[ 50 50 550 350] 8 75 50 plain yellow 1 13.5 helvetica 7 Dec 2006 12:34:14 7 Dec 2006 12:34:14 Tells you what their reactions are false 9.5 13.5 7 Dec 2006 12:38:00 0.5 7 Dec 2006 12:38:00 The Mass false 9 1.5 13.5 7 Dec 2006 12:38:12 0.5 7 Dec 2006 12:38:12 Individual false 9 1.5 15 7 Dec 2006 12:39:20 1.5 7 Dec 2006 12:39:20 Voiceover action false 13 2.5 9.5 7 Dec 2006 12:41:37 1 7 Dec 2006 12:41:37 correlate words and situation false 13.5 2.5 15 7 Dec 2006 12:42:51 1 7 Dec 2006 12:42:51 Flashback false 19 3 12 7 Dec 2006 12:43:48 1 7 Dec 2006 12:43:48 dramatize speech false 13.5 1.5 13.5 7 Dec 2006 12:45:40 1.5 7 Dec 2006 12:45:40 Start Speech as voiceover before cutting to speaker, or speech situation false 15.5 3 9.5 7 Dec 2006 12:46:20 0.5 7 Dec 2006 12:46:20 smooth disparate setting shifts false 13 4 13.5 7 Dec 2006 12:46:40 1 7 Dec 2006 12:46:40 depict the location of speech false 15.5 2.5 13.5 none 7 Dec 2006 13:01:09 0.5 7 Dec 2006 13:01:09 Macintosh HD:Users:natematias:Desktop:Cambridge Studies:Cambridge Studies:Chariots of Fire:Clips:00.00.48_FuneralSpeech.mov light cool gray Funeral Speech true Rect[ 49 48 549 348] 8 blue 80 4.5 50 plain cool gray 1 4 7 Dec 2006 13:10:40 0.5 7 Dec 2006 13:10:40 Funeral Comments false 22.5 4.5 4 7 Dec 2006 13:11:12 0.5 7 Dec 2006 13:11:12 Macintosh HD:Users:natematias:Desktop:Cambridge Studies:Cambridge Studies:Chariots of Fire:Clips:00.08.11_Matriculati#200A33.mov Matriculation Dinner false Rect[ 60 179 560 479] 9.5 4.5 4 7 Dec 2006 13:11:25 0.5 7 Dec 2006 13:11:25 The College Dash false Rect[ 50 50 550 350] 10.5 4.5 4 7 Dec 2006 13:11:38 0.5 7 Dec 2006 13:11:38 Highlands Race Address false Rect[ 50 50 550 350] 11.5 4.5 4 7 Dec 2006 13:11:56 0.5 7 Dec 2006 13:11:56 Liddell Dinner Toast false Rect[ 50 50 550 350] 12.5 4.5 4 7 Dec 2006 13:13:25 0.5 7 Dec 2006 13:13:25 Birkenhead, en-route false Rect[ 50 50 550 350] 18 4.5 4 7 Dec 2006 13:14:49 0.5 7 Dec 2006 13:14:49 Liddell Reads Isaiah false Rect[ 50 50 550 350] 20.5 4.5 4 automatic 7 Dec 2006 13:16:08 0.5 7 Dec 2006 13:16:08 cool gray Porters at Caius true Rect[ 50 50 550 350] 9 light blue 4.5 light cool gray 4 7 Dec 2006 13:18:55 0.5 7 Dec 2006 13:18:55 Jenny & Sandy false 11 4.5 4 7 Dec 2006 13:19:35 0.5 7 Dec 2006 13:19:35 Walk home from church false 12 4.5 4 7 Dec 2006 13:20:20 0.5 7 Dec 2006 13:20:20 Macintosh HD:Users:natematias:Desktop:Cambridge Studies:Cambridge Studies:Chariots of Fire:Clips:00.26.30_fireside_chat.mov Racetrack homily false Rect[ 50 50 550 350] 13.5 4.5 4 automatic 7 Dec 2006 13:30:29 0.5 7 Dec 2006 21:35:47 lightest cool gray 00:00:48 true Rect[ 50 50 550 350] 8 light red 75 1.6 50 plain lightest black 1 2.5 Geneva 00:00:48 7 Dec 2006 13:35:48 0.5 7 Dec 2006 21:35:57 00:06:30 false 9 1.6 2.5 00:06:30 7 Dec 2006 13:35:56 0.5 7 Dec 2006 21:36:02 00:08:11 false 9.5 1.6 2.5 00:08:11 7 Dec 2006 13:36:10 0.5 7 Dec 2006 21:36:06 00:12:02 false 10.5 1.6 2.5 00:12:02 7 Dec 2006 13:36:46 0.5 7 Dec 2006 21:36:11 00:17:35 false 11.5 1.6 2.5 00:17:35 7 Dec 2006 13:37:08 0.5 7 Dec 2006 21:36:20 00:24:33 false 13.5 1.6 2.5 00:24:33 7 Dec 2006 13:37:18 0.5 7 Dec 2006 21:36:25 00:21:54 false 12.5 1.6 2.5 00:21:54 7 Dec 2006 13:37:33 0.5 7 Dec 2006 21:36:31 01:08:30 false 18 1.6 2.5 01:08:30 7 Dec 2006 13:37:59 0.5 7 Dec 2006 21:36:37 00:22:44 false 13 1.6 2.5 00:22:44 7 Dec 2006 13:38:11 0.5 7 Dec 2006 21:36:41 00:16:44 false 11 1.6 2.5 00:16:44 7 Dec 2006 13:38:23 0.5 7 Dec 2006 21:36:45 00:20:44 false 12 1.6 2.5 00:20:44 7 Dec 2006 13:38:51 0.5 7 Dec 2006 21:36:50 01:30:15 false 20.5 1.6 2.5 01:30:15 7 Dec 2006 13:38:59 0.5 7 Dec 2006 21:36:57 00:26:30 false 14 1.6 2.5 00:26:30 7 Dec 2006 13:39:09 0.5 7 Dec 2006 21:37:01 00:53:48 false 15.5 1.6 2.5 00:53:48 7 Dec 2006 13:39:23 0.5 7 Dec 2006 21:37:06 00:57:37 false 16.5 1.6 2.5 00:57:37 7 Dec 2006 13:39:31 0.5 7 Dec 2006 21:37:11 01:00:07 false 17 1.6 2.5 01:00:07 7 Dec 2006 13:39:46 0.5 7 Dec 2006 21:37:18 01:05:04 false 17.5 1.6 2.5 01:05:04 7 Dec 2006 13:40:17 0.5 7 Dec 2006 21:37:21 01:10:23 false 19 1.6 2.5 01:10:23 7 Dec 2006 13:40:25 0.5 7 Dec 2006 21:37:24 01:23:00 false 20 1.6 2.5 01:23:00 7 Dec 2006 13:41:26 0.5 7 Dec 2006 21:37:28 00:09:45 false 18.5 1.6 2.5 00:09:45 7 Dec 2006 13:44:22 0.5 7 Dec 2006 13:44:22 Aubrey writes mother false 8.5 4.5 4 7 Dec 2006 13:50:15 1.5 7 Dec 2006 13:50:15 Establish the role of voice false 8 2 16.5 7 Dec 2006 13:55:26 1.5 7 Dec 2006 13:55:26 End Speech as Voiceover false 17 3 9.5 7 Dec 2006 13:56:35 0.5 7 Dec 2006 13:56:35 Correlate consecutive scenes false 14.5 4 13.5 7 Dec 2006 14:02:56 0.5 7 Dec 2006 21:37:40 00:47:05 false 14.5 1.6 2.5 00:47:05 7 Dec 2006 14:04:04 0.5 7 Dec 2006 14:04:04 Sybil & Abrahams, stadium false 14.5 4.5 4 7 Dec 2006 14:06:03 0.5 7 Dec 2006 21:37:44 00:50:58 false 15 1.6 2.5 00:50:58 7 Dec 2006 14:06:45 0.5 7 Dec 2006 14:06:45 have you got another 2 coins? false 15 4.5 4 7 Dec 2006 14:14:28 0.5 7 Dec 2006 21:37:50 01:54:16 false 22.5 1.6 2.5 01:54:16 7 Dec 2006 15:08:04 0.5 7 Dec 2006 15:08:04 Jackson Sholz letter false Rect[ 50 50 550 350] 21 4.5 4 7 Dec 2006 15:09:20 0.5 7 Dec 2006 21:37:54 01:48:44 false 21 1.6 2.5 01:48:44 7 Dec 2006 15:10:28 1.5 7 Dec 2006 15:10:28 RACE false 20.5 0.5 2 7 Dec 2006 15:12:51 0.5 7 Dec 2006 21:37:57 01:49:25 false 21.5 1.6 2.5 01:49:25 7 Dec 2006 15:16:34 0.5 7 Dec 2006 15:16:34 Rect[ 50 50 550 350] 3248349394 22 4.5 4 7 Dec 2006 16:03:16 1.5 7 Dec 2006 16:03:16 Cut to silence before speech false 10.5 3.5 12 7 Dec 2006 16:13:36 1.5 7 Dec 2006 16:13:36 Soundtrack at end of statement false 21.5 3.5 12 7 Dec 2006 16:23:02 1 7 Dec 2006 16:23:02 darkest blue RUNNING HAS AN AUDIENCE false 19.5 4 14.5 13 Dec 2006 12:13:08 1 13 Dec 2006 12:14:15 Technology and study false Rect[ 50 50 550 350] 25 2.5 2.5 9 Technology has changed the structural requirements of university architecture. Stereos and televisions in common rooms have changed the nature of common interaction toward the party atmosphere we experience today. Whether this is just a change in the sorts of parties or whether this is a change toward partying, I cannot say. false 13 Dec 2006 18:45:46 1.5 13 Dec 2006 18:48:52 orange Why Chariots of Fire is a good work to examine for practical critical analysis of rhetoric false Rect[ 50 50 333 446] 5 3.5 9.5 11 The film provides the closest equivalent of a controlled, closed system in which to analyze speeches. Real, public speeches may offer additional information not possible in the closed system of a film, but in the film, we have a finite set of perspectives, causes, and effects. 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