I arrived at Darmouth College in the fall of 1935, firmly convinced that I was destined to write The Great American Novel, but after introductory psychology and then a course in experimental with the late Professor Theodore Karwoski (affectionately known as “The Count”) I forgot all about writing novels. Karwoski and a young associate, Henry Odbert, were busily working on—of all things—color music synesthesia, and by my junior year I was busily working along with them, much more as a colleague in research than as an undergraduate assistant. Looking back at those years, I realize now that the pattern for my whole professional life was being set—moving from color-music synesthesia into metaphor and via metaphor into the origins of the Semantic Differential Technique and what was to be a major concern with universals in human cognizing and sentencing.