“I wanted to measure Milton’s surprise: his wrong-way cyclists. But in order to do that, I needed to know his structure. We know what people see when they look at a video: light, colors, motion. But what do we hear when we listen to Milton? Far, far more—the words, yes, their meanings and connotations; but also their valence; their rhetorical figures, literal or metaphoric; how they glue together, their syntax, recursive and branching or centipede-like. And, of course, their sounds, their vowels, their consonants; where the stress falls. “