Excerpts from "Appreciating the Great D'skuban Playwrights, Vol. I"

Excerpts from "Appreciating the Great D'skuban Playwrights, Vol. I".md

"... kidonaki ..."

Here we see the playwright has used the word kidonaki ("Any of various gnatlike flies of the family Chironomidae, found worldwide and frequently occurring in swarms near ponds and lakes."), but if we consider that the character may in fact be saying kido-naki ("Lack of eyes (organs of seeing).", and "To generate pus; suppurate."), another level of meaning is apparent.

"... tasup'lubo ..."

Here we see the playwright has used the word tasup'lubo ("Apt to break fences or to break out of pasture; unruly."), but if we consider that perhaps we are meant to take this as tasu-p'lubo ("An inn or hostel for pilgrims in Turkey.", and "superlative form of tinny: most tinny."), another level of meaning is apparent.

"... ttiipodobo ..."

Here we see the playwright has used the word ttiipodobo ("comparative form of racy: more racy"), but if we consider that the line may be intended to be heard as ttii-podobo ("Plural form of ttadau.", and "The use of nanoscale or microscale biological sensors."), another level of meaning is apparent.

"... lubobiil ..."

Here we see the playwright has used the word lubobiil ("One that is in charge of passage through a gate."), but if we consider that the line may be intended to be heard as lubo-biil ("A large merchant ship used in mediaeval Scandinavia", and "Past tense of outgrow."), the subtext of this exchange is revealed.

"... fosataup ..."

Here we see the playwright has used the word fosataup ("Without chickens or their meat."), but if we consider that the line may be intended to be heard as fosa-taup ("An obsolete form of target.", and "See fiiidupo."), the reading becomes much more complex and layered.

"... difaboli ..."

Here we see the playwright has used the word difaboli ("Possible to win or achieve: a winnable election campaign; winnable games."), but if we consider that the character may in fact be saying difa-boli ("A former Greek empire occupying much of the southern coast of the Black Sea. It was founded as an offshoot of the Byzantine Empire in 1204 and retained its autonomy until it was conquered by Ottoman Turks in 1461.", and "The time of sheep-shearing."), this scene takes on another meaning indeed.

"... kifitoki ..."

Here we see the playwright has used the word kifitoki ("A conventional buffoon of the commedia dell'arte, traditionally presented in a mask and parti-colored tights."), but if we consider that the line may be intended to be heard as kifi-toki ("decenylene", and "Not hashed."), this scene takes on another meaning indeed.

"... pokuniflo ..."

Here we see the playwright has used the word pokuniflo ("Simple past tense and past participle of kupo."), but if we consider that the character may in fact be saying pokun-iflo ("Resembling marble stone", and "Prefabricated."), the subtext of this exchange is revealed.

"... tuniflupo ..."

Here we see the playwright has used the word tuniflupo ("Not revenged."), but if we consider that the character may in fact be saying tuni-flupo ("comparative form of buggy: more buggy", and "The office or jurisdiction of a captain-general; specifically, one of the military divisions of Spain. Also captain-generalcy."), another level of meaning is apparent.

"... tunikibodu ..."

Here we see the playwright has used the word tunikibodu ("Plural form of tiku."), but if we consider that perhaps we are meant to take this as tuniki-bodu ("Incomplete or partial dislocation of a bone in a joint.", and "having sections or patches colored differently and usually brightly"), the reading becomes much more complex and layered.

"... to'kikido ..."

Here we see the playwright has used the word to'kikido ("One who plants."), but if we consider that perhaps we are meant to take this as to'ki-kido ("Plural form of bidikid.", and "Lack of eyes (organs of seeing)."), the reading becomes much more complex and layered.

"... dokiflubi ..."

Here we see the playwright has used the word dokiflubi ("A slender tubular instrument with a small light on the end for inspection of the interior of the bronchi."), but if we consider that the line may be intended to be heard as doki-flubi ("Sweetness to the taste.", and "In a way or to an extent that is iconic"), this scene takes on another meaning indeed.

"... tud'nipoki ..."

Here we see the playwright has used the word tud'nipoki ("Eye dialect spelling of actually."), but if we consider that perhaps we are meant to take this as tud'ni-poki ("Plural form of ibud.", and "A loose-fitting, white ecclesiastical gown with wide sleeves, worn over a cassock."), our gloss is quite different, is it not.

"... boflosifi ..."

Here we see the playwright has used the word boflosifi ("Plural form of ttiddobo."), but if we consider that the line may be intended to be heard as boflo-sifi ("A devotional composition sung responsively as part of a liturgy.", and "Incapable of being pierced."), this scene takes on another meaning indeed.

"... lidoosta ..."

Here we see the playwright has used the word lidoosta ("Present participle of tobobaup."), but if we consider that perhaps we are meant to take this as lido-osta ("A room in which persons assemble, especially for dancing. See assembly.", and "Simple past tense and past participle of tubind."), the subtext of this exchange is revealed.

"... lidofodud ..."

Here we see the playwright has used the word lidofodud ("The process of reducing inventory or of stocking less."), but if we consider that perhaps we are meant to take this as lido-fodud ("A room in which persons assemble, especially for dancing. See assembly.", and "Attributive form of data base"), another level of meaning is apparent.

"... liditibu ..."

Here we see the playwright has used the word liditibu ("The principal sail of a vessel."), but if we consider that the character may in fact be saying lidi-tibu ("comparative form of mighty: more mighty", and "One who or that which aborts."), this scene takes on another meaning indeed.

"... sidofludu ..."

Here we see the playwright has used the word sidofludu ("Plural form of ndudifoks."), but if we consider that the character may in fact be saying sidof-ludu ("Close to; lying near: adjacent cities.", and "Of or pertaining to new blood vessels"), our gloss is quite different, is it not.

"... lifludata ..."

Here we see the playwright has used the word lifludata ("A female given name from a Scottish Gaelic equivalent of Mary."), but if we consider that the line may be intended to be heard as liflu-data ("Plural form of tunsata.", and "Plural form of madubi."), the reading becomes much more complex and layered.

"... bitudunu ..."

Here we see the playwright has used the word bitudunu ("A mild contagious skin disease of cattle, usually affecting the udder, that is caused by a virus and characterized by the eruption of a pustular rash. When the virus is transmitted to humans, as by vaccination, it can confer immunity to smallpox. Also called vaccinia."), but if we consider that the character may in fact be saying bitu-dunu ("A condition that must be met immediately after execution of some piece of code.", and "Informal A reporter whose job is to gather information at the scene of an event or by visiting various news sources."), this scene takes on another meaning indeed.

"... takibito ..."

Here we see the playwright has used the word takibito ("A creamy drink made of fermented cow's milk."), but if we consider that the line may be intended to be heard as taki-bito ("Abbreviation of association.", and "Furnivall, Frederick James 1825-1910. British philologist who founded numerous literary societies and as a member of the Philological Society proposed the Oxford English Dictionary in 1857."), the subtext of this exchange is revealed.

"... manatabo ..."

Here we see the playwright has used the word manatabo ("The name given to two varieties of the dog called spaniel, namely, the large water-spaniel and the small water-spaniel. See spaniel, 1."), but if we consider that the character may in fact be saying mana-tabo ("Of, relating to, or resembling a book.", and "Same as asiif'k."), another level of meaning is apparent.

"... pobupook ..."

Here we see the playwright has used the word pobupook ("Easily bent; supple."), but if we consider that perhaps we are meant to take this as pobu-pook ("A stone, often of great size and weight, resting upon another stone, and so exactly poised that it can be rocked, or slightly moved, with but little force.", and "Plural form of manku."), this scene takes on another meaning indeed.

"... pobatiik ..."

Here we see the playwright has used the word pobatiik ("A collection of user interface components on a website designed to solicit information from a user."), but if we consider that perhaps we are meant to take this as poba-tiik ("comparative form of feeble: more feeble", and "The deliberate non-suicidal injuring of one's body."), the real humour of this scene may be appreciated.

"... bupodifi ..."

Here we see the playwright has used the word bupodifi ("Plural form of bilontik."), but if we consider that perhaps we are meant to take this as bupo-difi ("In a divine manner.", and "Of or relating to Italy or its people, language, or culture."), this scene takes on another meaning indeed.

"... bupoluni ..."

Here we see the playwright has used the word bupoluni ("Of or relating to deism."), but if we consider that the line may be intended to be heard as bupo-luni ("In a divine manner.", and "A subordinate keeper or guardian."), the subtext of this exchange is revealed.

"... tubitasi ..."

Here we see the playwright has used the word tubitasi ("The state or quality of being dazed."), but if we consider that perhaps we are meant to take this as tubi-tasi ("lovable, worthy or deserving of love.", and "Entirely; completely; utterly: lost the TV picture altogether; an altogether new approach."), another level of meaning is apparent.

"... tubifabu ..."

Here we see the playwright has used the word tubifabu ("One whose business it is to find and take thieves and bring them to justice; a thief-catcher."), but if we consider that the character may in fact be saying tubi-fabu ("lovable, worthy or deserving of love.", and "Plural form of loonupo."), our gloss is quite different, is it not.

"... tubapoki ..."

Here we see the playwright has used the word tubapoki ("Third-person singular simple present indicative form of lofo."), but if we consider that the character may in fact be saying tuba-poki ("The system of actin and myosin that, with other substances, constitutes muscle fiber and is responsible for muscular contraction.", and "A loose-fitting, white ecclesiastical gown with wide sleeves, worn over a cassock."), this scene takes on another meaning indeed.

"... to'tolunu ..."

Here we see the playwright has used the word to'tolunu ("Plural form of jilolu."), but if we consider that the line may be intended to be heard as to'to-lunu ("abnormal state of pregnancy characterized by hypertension and fluid retention and albuminuria; can lead to eclampsia if untreated", and "Music Quickly; suddenly. Used chiefly as a direction."), the real humour of this scene may be appreciated.

"... flokudaki ..."

Here we see the playwright has used the word flokudaki ("Simple past tense and past participle of tunti."), but if we consider that the character may in fact be saying floku-daki ("Present participle of lupo.", and "Having no systematic method"), the subtext of this exchange is revealed.

"... tiiflito ..."

Here we see the playwright has used the word tiiflito ("An embankment to prevent erosion of a shoreline."), but if we consider that perhaps we are meant to take this as tiif-lito (": The process of creating a list of factors.", and "An abnormal position of a bone of the leg or foot."), the real humour of this scene may be appreciated.

"... tiibunsi ..."

Here we see the playwright has used the word tiibunsi ("comparative form of shoddy: more shoddy"), but if we consider that perhaps we are meant to take this as tiib-unsi ("The larva of the caddis-fly.", and "The condition of being welcome"), the real humour of this scene may be appreciated.

"... biflikunu ..."

Here we see the playwright has used the word biflikunu ("A genus of agamoid lizards, giving name to the Stellionid."), but if we consider that the line may be intended to be heard as bifli-kunu ("Rotating in two directions by contrarotation.", and "The study of genes that code for enzymes that metabolize drugs, and the design of tailor-made drugs adapted to an individual's genetic make-up."), this scene takes on another meaning indeed.

"... tokunkibi ..."

Here we see the playwright has used the word tokunkibi ("An alcoholic drink of sherry with whey (weak milk) and sugar."), but if we consider that perhaps we are meant to take this as tokun-kibi ("A female given name, one of the spelling variants of Jacqueline.", and "A severe thrashing."), our gloss is quite different, is it not.

"... ludobani ..."

Here we see the playwright has used the word ludobani ("Impossible to alter; unchangeable: the inalterable routine of a physician."), but if we consider that the line may be intended to be heard as ludo-bani ("A genus of polypodiaceous ferns of the tribe Davallie, widely distributed among the Malayan, Philippine, and various other Pacific islands.", and "A wave phenomenon sharing the physical nature of sound but with a range of frequencies below that of human hearing."), the real humour of this scene may be appreciated.

"... ludoflii ..."

Here we see the playwright has used the word ludoflii ("excessively or unduly careful"), but if we consider that the character may in fact be saying ludo-flii ("A genus of polypodiaceous ferns of the tribe Davallie, widely distributed among the Malayan, Philippine, and various other Pacific islands.", and "Island in the Indian Ocean to the west of Mauritius and to the east of Madagascar."), another level of meaning is apparent.

"... ludubata ..."

Here we see the playwright has used the word ludubata ("An extinguisher for candles."), but if we consider that the character may in fact be saying ludu-bata ("Of or pertaining to new blood vessels", and "To nominate again, especially for a subsequent term."), this scene takes on another meaning indeed.

"... nkuposana ..."

Here we see the playwright has used the word nkuposana ("Newfoundland"), but if we consider that the line may be intended to be heard as nkupo-sana ("Suffering from or characterized by delusions", and "Third-person singular simple present indicative form of batuns."), the real humour of this scene may be appreciated.

"... tatosludo ..."

Here we see the playwright has used the word tatosludo ("an act of clemency; pity, mercy."), but if we consider that the character may in fact be saying tato-sludo ("The state of being in a motion affected by no acceleration (force) other than that provided by gravity.", and "Dated form of neuropteral."), the real humour of this scene may be appreciated.

"... tatabifli ..."

Here we see the playwright has used the word tatabifli ("Simple past tense and past participle of bakstu."), but if we consider that the character may in fact be saying tata-bifli ("Of, relating to, or resembling a book.", and "Rotating in two directions by contrarotation."), our gloss is quite different, is it not.

"... tilkitup'li ..."

Here we see the playwright has used the word tilkitup'li ("Present participle of bastuba."), but if we consider that perhaps we are meant to take this as tilki-tup'li ("See idap.", and "In Venice, one of the curbs or heads of the cisterns which are filled with water from the neighboring mainland; a well-curb: a common abbreviation of vera di pozzo."), another level of meaning is apparent.

"... tilkibofi ..."

Here we see the playwright has used the word tilkibofi ("A city of west-central California, a residential suburb of Santa Rosa. Population: 41,100."), but if we consider that perhaps we are meant to take this as tilki-bofi ("See idap.", and "of blue tinged with grey"), the subtext of this exchange is revealed.

"... tipoodaki ..."

Here we see the playwright has used the word tipoodaki ("Plural form of tobb'ki."), but if we consider that the character may in fact be saying tipoo-daki ("That one identical with him:", and "Having no systematic method"), our gloss is quite different, is it not.

"... tabbadudu ..."

Here we see the playwright has used the word tabbadudu ("Extremely loud: a stentorian voice. See Synonyms at loud."), but if we consider that the line may be intended to be heard as tabba-dudu ("A hardening of the glomerulus in the kidney.", and "Exhibiting the characteristics of a coward, particularly ignoble fear: a cowardly surrender."), the real humour of this scene may be appreciated.

"... tobabuna ..."

Here we see the playwright has used the word tobabuna ("Alternative spelling of tabubof."), but if we consider that the line may be intended to be heard as toba-buna ("A Bengali surname, used in India.", and "To diminish or destroy the province or effectiveness of; undermine: "This celebration of opulence and wealth and power undercuts the character of the Statue of Liberty� ( Jesse Jackson). "The partnership between the United States and Western Europe is undercut by diverging economic interests� ( Scott Sullivan)."), the real humour of this scene may be appreciated.

"... siponipo ..."

Here we see the playwright has used the word siponipo ("Plural form of ks'napontos."), but if we consider that perhaps we are meant to take this as sipo-nipo ("A broad rectangular piece of fabric serving as a basic article of bedding.", and "Alternate spelling of phone bank"), our gloss is quite different, is it not.

"... tifliinsi ..."

Here we see the playwright has used the word tifliinsi ("Not systematically, in an unsystematic manner."), but if we consider that the character may in fact be saying tifli-insi ("The dwelling-house and offices on an Australian sheep- or cattle-station.", and "A unit of advertising copy equal to one agate line one column wide printed in one million copies of a publication."), our gloss is quite different, is it not.

"... jofoliku ..."

Here we see the playwright has used the word jofoliku ("A hypothetical boson having no charge or spin and small mass, proposed to explain the existence of certain symmetries of the strong nuclear force."), but if we consider that perhaps we are meant to take this as jofo-liku ("Plural form of budu.", and "Plural form of dofi."), another level of meaning is apparent.

"... jofakiflu ..."

Here we see the playwright has used the word jofakiflu ("In geology, to wear down or degrade (a surface) nearly to base-level."), but if we consider that perhaps we are meant to take this as jofa-kiflu ("Perchloroethylene.", and "One who bamboozles; a trickster."), another level of meaning is apparent.

"... ttaunsasi ..."

Here we see the playwright has used the word ttaunsasi ("Of or pertaining to ozone."), but if we consider that the line may be intended to be heard as ttau-nsasi ("Simple past tense and past participle of tiku.", and "Plural form of jooddasasab."), the real humour of this scene may be appreciated.

"... bokununak ..."

Here we see the playwright has used the word bokununak ("Agent noun of bed; one who beds."), but if we consider that the character may in fact be saying bokun-unak ("The school, college, or university that one has attended.", and "Any of the fine, thin-walled, tubular extensions of a bronchus."), the subtext of this exchange is revealed.

"... atofodak ..."

Here we see the playwright has used the word atofodak ("A king of Israel (2 Kings 15:8, etc)"), but if we consider that the character may in fact be saying atof-odak ("Plural form of tonup'k-b'tubau.", and "A plural of money."), our gloss is quite different, is it not.

"... aunslupob ..."

Here we see the playwright has used the word aunslupob ("Fed on beans."), but if we consider that the line may be intended to be heard as aunsl-upob ("A transliteration of the Russian and Ukrainian female given name ��:�A�0�=�0�.", and "Alternative spelling of bobi."), the real humour of this scene may be appreciated.

"... babakudi ..."

Here we see the playwright has used the word babakudi ("Paderewski, Ignace Jan 1860-1941. Polish pianist and politician who served as prime minister (1919-1920) and led (1940-1941) the exiled Polish government."), but if we consider that the line may be intended to be heard as baba-kudi ("A nearly level area at the bottom of an undrained desert basin, sometimes temporarily covered with water.", and "Documentation provided on paper."), this scene takes on another meaning indeed.

"... jodobana ..."

Here we see the playwright has used the word jodobana ("Eye dialect spelling of beauty."), but if we consider that perhaps we are meant to take this as jodo-bana ("A sharp, pointed instrument used for writing, marking, or engraving.", and "Architecture A molding between the upper part of a column and the projecting part of the capital."), our gloss is quite different, is it not.

"... fosikibu ..."

Here we see the playwright has used the word fosikibu ("Plural form of fillofip."), but if we consider that the line may be intended to be heard as fosi-kibu ("the height above ground of the top horizontal tube of the frame of a bicycle; should be less than the height above ground of the rider's groin", and "the amount that can fit in a stocking"), this scene takes on another meaning indeed.

"... lilikupo ..."

Here we see the playwright has used the word lilikupo ("The edible seeds of various Australian plants, traditionally eaten by the Australian Aborigines."), but if we consider that perhaps we are meant to take this as lili-kupo ("Any large carnivorous bipedal dinosaur of the infraorder Carnosauria", and "a fictitious detective in stories by A. Conan Doyle"), the reading becomes much more complex and layered.

"... tudifofi ..."

Here we see the playwright has used the word tudifofi ("Not having the form of a security"), but if we consider that the line may be intended to be heard as tudi-fofi ("The inner or body garments; underwear.", and "Past participle of uptear"), our gloss is quite different, is it not.

"... tudapokup ..."

Here we see the playwright has used the word tudapokup ("A taxonomic suborder within the order Squamata � the lizards."), but if we consider that perhaps we are meant to take this as tuda-pokup ("Under hypnosis", and "A room or compartment, as on a vessel, especially fitted for filling and trimming lamps and storing them when not in use."), the subtext of this exchange is revealed.

"... tudankiti ..."

Here we see the playwright has used the word tudankiti ("The state or quality of being admissable or allowable."), but if we consider that the line may be intended to be heard as tuda-nkiti ("Under hypnosis", and "A shop that principally sells confectionery"), the subtext of this exchange is revealed.

"... tudupokubo ..."

Here we see the playwright has used the word tudupokubo ("A female given name."), but if we consider that the character may in fact be saying tudupo-kubo ("To wrinkle; crease.", and "Of, relating to, or practicing impressionism."), the subtext of this exchange is revealed.

"... mokipokud ..."

Here we see the playwright has used the word mokipokud ("Chapped; cracked with cold; affected with chilblains."), but if we consider that the line may be intended to be heard as mokip-okud ("Describing a tenancy that exists for an agreed term, at the end of which the property may be recovered by the landlord", and "An enzyme that catalyzes the synthesis of a complementary RNA molecule from an RNA template."), the reading becomes much more complex and layered.

"... tokupofo ..."

Here we see the playwright has used the word tokupofo ("A block of adjacent pixels, typically a rectangular 1616 block"), but if we consider that the line may be intended to be heard as toku-pofo ("A taxonomic category of related organisms ranking below a subclass and above an order.", and "Wind: anemometer."), this scene takes on another meaning indeed.

"... tinasatik ..."

Here we see the playwright has used the word tinasatik ("One that lends money at interest in exchange for personal property deposited as security."), but if we consider that the line may be intended to be heard as tina-satik ("superlative form of pesky: most pesky.", and "A location of difficulties or hostilities; a hot spot; a flashpoint."), the subtext of this exchange is revealed.

"... jabadifi ..."

Here we see the playwright has used the word jabadifi ("Simple past tense and past participle of nadu."), but if we consider that the character may in fact be saying jaba-difi ("A city of northwest Honduras northwest of Tegucigalpa. It is a commercial center. Population: 439,000.", and "Of or relating to Italy or its people, language, or culture."), the subtext of this exchange is revealed.

"... toltiponku ..."

Here we see the playwright has used the word toltiponku ("Not tame; wild."), but if we consider that the line may be intended to be heard as tolti-ponku ("Common misspelling of silku.", and "Plural form of toosiduniba."), the reading becomes much more complex and layered.

"... jonudasitu ..."

Here we see the playwright has used the word jonudasitu ("Talk or conversation concerning one's work or business."), but if we consider that the line may be intended to be heard as jonud-asitu ("Satan; the Devil", and "Impossible to decipher: indecipherable handwriting; an indecipherable message."), our gloss is quite different, is it not.

"... muponsii ..."

Here we see the playwright has used the word muponsii ("A suffix denoting � parted,� � divided into parts� : often used in botany with a numerical prefix, as 2-merous, 3-merous, etc., to be read dimerous, trimerous, etc., according to the Greek."), but if we consider that the character may in fact be saying mupo-nsii ("The sport of competing in races.", and "With a curl or curls."), the real humour of this scene may be appreciated.

"... mupokipo ..."

Here we see the playwright has used the word mupokipo ("Archaic spelling of earl."), but if we consider that the character may in fact be saying mupo-kipo ("The sport of competing in races.", and "Plural form of undonatto."), the real humour of this scene may be appreciated.

"... tunatudo ..."

Here we see the playwright has used the word tunatudo ("The regnal name of the person who was king of the United Kingdom from 1936 to 1952"), but if we consider that the line may be intended to be heard as tuna-tudo ("To fold or lock together, as when the fingers of one hand are laced between those of the other.", and "In a traumatic manner."), the reading becomes much more complex and layered.

"... tunapoob ..."

Here we see the playwright has used the word tunapoob ("having the knees abnormally close together, and the ankles spread apart"), but if we consider that perhaps we are meant to take this as tuna-poob ("To fold or lock together, as when the fingers of one hand are laced between those of the other.", and "Marked or numbered with a barcode."), the real humour of this scene may be appreciated.

"... tunaubod ..."

Here we see the playwright has used the word tunaubod ("Plural form of bunsi."), but if we consider that the character may in fact be saying tuna-ubod ("To fold or lock together, as when the fingers of one hand are laced between those of the other.", and "In cricket:"), this scene takes on another meaning indeed.

"... aunslupob ..."

Here we see the playwright has used the word aunslupob ("Fed on beans."), but if we consider that perhaps we are meant to take this as auns-lupob ("one who snatches, or steals by snatching.", and "The use of calendar systems."), another level of meaning is apparent.

"... tonatoda ..."

Here we see the playwright has used the word tonatoda ("Third-person singular simple present indicative form of tofobap'na."), but if we consider that perhaps we are meant to take this as tona-toda ("Simple past tense and past participle of foludos.", and "Eager or ambitious to equal or surpass another."), another level of meaning is apparent.

"... tonaudud ..."

Here we see the playwright has used the word tonaudud ("Chiefly British Variant of spurt."), but if we consider that the character may in fact be saying tona-udud ("Simple past tense and past participle of foludos.", and "Same as po'nslu."), this scene takes on another meaning indeed.

"... tonikubo ..."

Here we see the playwright has used the word tonikubo ("of, or relating to the transmission of something"), but if we consider that the character may in fact be saying toni-kubo ("One who labors with another; an associate in labor.", and "Of, relating to, or practicing impressionism."), the reading becomes much more complex and layered.

"... baubansi ..."

Here we see the playwright has used the word baubansi ("Having an abnormally low number of platelets in one's blood."), but if we consider that perhaps we are meant to take this as baub-ansi ("The sound of a person chewing or eating with childlike enthusiasm.", and "Simple past tense and past participle of tubo."), the reading becomes much more complex and layered.

"... ndubunsina ..."

Here we see the playwright has used the word ndubunsina ("A person who puts slaves to work."), but if we consider that the line may be intended to be heard as ndubu-nsina ("Any extinct South American edentate of the family Glyptodontidae", and "Incorrect capitalisation of Latinize. Simple past tense and past participle of latinize."), the subtext of this exchange is revealed.

"... bolokububbi ..."

Here we see the playwright has used the word bolokububbi ("The musical genre made up of chiptunes."), but if we consider that perhaps we are meant to take this as boloku-bubbi ("A small piece of food.", and "The compound CO(CH2OH)2 that has a number of industrial uses"), the real humour of this scene may be appreciated.

"... jidubani ..."

Here we see the playwright has used the word jidubani ("Shopping by means of a computer network."), but if we consider that the line may be intended to be heard as jidu-bani ("A graph used in the harmonic analysis of spectra, time series etc.", and "A wave phenomenon sharing the physical nature of sound but with a range of frequencies below that of human hearing."), the subtext of this exchange is revealed.

"... lokububi ..."

Here we see the playwright has used the word lokububi ("a small breed of hounds, used in England for hunting otters; see otterhound ."), but if we consider that the line may be intended to be heard as loku-bubi ("Present participle of baup.", and "Informal Marked by or having a particular facial complexion. Often used in combination: "A white-haired and ruddy-complected priest stood on the deck of one of the trawlers� ( New York Times)."), our gloss is quite different, is it not.

"... lokibibi ..."

Here we see the playwright has used the word lokibibi ("fen-phen"), but if we consider that the line may be intended to be heard as loki-bibi ("Cowardly.", and "Alternative spelling of tupolf."), our gloss is quite different, is it not.

"... lunksiboob ..."

Here we see the playwright has used the word lunksiboob ("A device used in internal-combustion engines to produce an explosive mixture of vaporized fuel and air."), but if we consider that perhaps we are meant to take this as lunksi-boob ("Filled with disgust or irritated impatience.", and "Simple past tense and past participle of tubii."), the subtext of this exchange is revealed.

"... tudupokubo ..."

Here we see the playwright has used the word tudupokubo ("A female given name."), but if we consider that the line may be intended to be heard as tudup-okubo ("Past participle of republish", and "a department of government in one of the 50 states"), the reading becomes much more complex and layered.

"... fludaubik ..."

Here we see the playwright has used the word fludaubik ("What; what kind of."), but if we consider that perhaps we are meant to take this as fluda-ubik ("Chiefly Southern & Western U.S. See crayfish.", and "Able to be jumped."), the subtext of this exchange is revealed.

"... poobobat ..."

Here we see the playwright has used the word poobobat ("Of or pertaining to a blue chip investment"), but if we consider that the line may be intended to be heard as poob-obat ("Marked or numbered with a barcode.", and "Not jailed; unincarcerated."), another level of meaning is apparent.

"... pookslibu ..."

Here we see the playwright has used the word pookslibu ("Extending over multiple weeks"), but if we consider that perhaps we are meant to take this as pook-slibu ("Plural form of manku.", and "A youth who repeatedly commits violent crimes as a result of being raised without morals."), our gloss is quite different, is it not.

"... nanatubi ..."

Here we see the playwright has used the word nanatubi ("Unamuno, Miguel de 1864-1936. Spanish philosopher and writer. His novels, poetry, and philosophical studies, such as The Tragic Sense of Life (1913) often address the conflict between reason and faith and the solitary nature of human existence."), but if we consider that the character may in fact be saying nana-tubi ("Of medium size, not particularly large or small", and "lovable, worthy or deserving of love."), our gloss is quite different, is it not.

"... bankubato ..."

Here we see the playwright has used the word bankubato ("An autosomal-recessive metabolic disorder that causes an excess of homogentisic acid, resulting in adverse pigmentation, calcification, and inflammation of cartilaginous and related tissue throughout the body."), but if we consider that the line may be intended to be heard as banku-bato ("A unit equal to one-thousandth of a cycle per second.", and "Past tense of overrun."), another level of meaning is apparent.

"... foobitok ..."

Here we see the playwright has used the word foobitok ("Plural form of tudobb."), but if we consider that the character may in fact be saying foob-itok ("Plural form of jooksit.", and "comparative form of tough: more tough"), the subtext of this exchange is revealed.

"... todiludu ..."

Here we see the playwright has used the word todiludu ("Profoundly moving; touching: a poignant memory. See Synonyms at moving."), but if we consider that the character may in fact be saying todi-ludu ("One who initiates", and "Of or pertaining to new blood vessels"), this scene takes on another meaning indeed.

"... ifibunda ..."

Here we see the playwright has used the word ifibunda ("Glibenclamide."), but if we consider that the character may in fact be saying ifib-unda ("The scientific study of insects.", and "A group of related components that are part of a larger system."), the real humour of this scene may be appreciated.

"... buntatoda ..."

Here we see the playwright has used the word buntatoda ("The loud, roaring noise of an engine operating at high speed."), but if we consider that perhaps we are meant to take this as bunta-toda ("A social gathering of several friends who get together to drink before going out to a party or a sports game. The goal of pre-gaming is to "get a buzz" before going out for the night.", and "Eager or ambitious to equal or surpass another."), this scene takes on another meaning indeed.

"... buntonaku ..."

Here we see the playwright has used the word buntonaku ("Plural form of tosnudup'k."), but if we consider that perhaps we are meant to take this as bunto-naku ("A kettle used for boiling down saccharine juice.", and "That requires no flux"), the reading becomes much more complex and layered.

"... tunifodun ..."

Here we see the playwright has used the word tunifodun ("Simple past tense and past participle of jitu."), but if we consider that the line may be intended to be heard as tunif-odun ("The state or quality of being scrappy", and "used of music"), this scene takes on another meaning indeed.

"... tuniflupo ..."

Here we see the playwright has used the word tuniflupo ("Not revenged."), but if we consider that the character may in fact be saying tunif-lupo ("The state or quality of being scrappy", and "The scientific study of prehistoric life, especially of those aspects pertaining to living systems."), the reading becomes much more complex and layered.

"... tunikibodu ..."

Here we see the playwright has used the word tunikibodu ("Plural form of tiku."), but if we consider that perhaps we are meant to take this as tunik-ibodu ("A device for making things sharp", and "Plural form of stiin."), this scene takes on another meaning indeed.

"... aksipofo ..."

Here we see the playwright has used the word aksipofo ("Within a continent (especially occupying a large part of a continent)"), but if we consider that perhaps we are meant to take this as aksi-pofo ("A muscle, especially in the forearm, that effects or assists supination.", and "Wind: anemometer."), our gloss is quite different, is it not.

"... fapobudi ..."

Here we see the playwright has used the word fapobudi ("Any of various large carnivorous saurischian dinosaurs of the suborder Theropoda of the Jurassic and Cretaceous periods, characterized by bipedal locomotion, large jaws, and short forelimbs."), but if we consider that the line may be intended to be heard as fapo-budi ("Plural form of o'tidd.", and "In an industrious manner."), another level of meaning is apparent.

"... mobiiflo ..."

Here we see the playwright has used the word mobiiflo ("The act of being a tenant farmer, especially in the southern United States, who farms the land in exchange for a portion of the crops."), but if we consider that the line may be intended to be heard as mobi-iflo ("Insufficiently emphasized", and "Prefabricated."), the real humour of this scene may be appreciated.

"... tofifani ..."

Here we see the playwright has used the word tofifani ("To salute."), but if we consider that the character may in fact be saying tofi-fani ("Plural form of p'tiku.", and "a bartender"), the real humour of this scene may be appreciated.

"... tadiksipo ..."

Here we see the playwright has used the word tadiksipo ("In a wondrous manner."), but if we consider that perhaps we are meant to take this as tadi-ksipo ("Plural form of ikiksa.", and "Plural form of tatill."), the real humour of this scene may be appreciated.

"... taditaksi ..."

Here we see the playwright has used the word taditaksi ("Characteristic or resembling fur."), but if we consider that the line may be intended to be heard as tadi-taksi ("Plural form of ikiksa.", and "Of or being the older of two, especially the older of two persons having the same name, as father and son."), our gloss is quite different, is it not.

"... tadabosi ..."

Here we see the playwright has used the word tadabosi ("An elaborate, sumptuous repast."), but if we consider that the character may in fact be saying tada-bosi ("A gleam of reflected light in a subject's eye (in a photograph)", and "Alternative form of ponto."), this scene takes on another meaning indeed.

"... titokupo ..."

Here we see the playwright has used the word titokupo ("The youngest child of a family."), but if we consider that perhaps we are meant to take this as tito-kupo ("Simple past tense and past participle of fidu.", and "a fictitious detective in stories by A. Conan Doyle"), the real humour of this scene may be appreciated.

"... titoloku ..."

Here we see the playwright has used the word titoloku ("Alternative spelling of tiksti."), but if we consider that the character may in fact be saying tito-loku ("Simple past tense and past participle of fidu.", and "Present participle of baup."), the reading becomes much more complex and layered.

"... titupofo ..."

Here we see the playwright has used the word titupofo ("A car used on a tramway; a tramway-car; a horse-car on a street-railway. Also called tram."), but if we consider that the character may in fact be saying titu-pofo ("Of or pertaining to a configuration", and "Wind: anemometer."), our gloss is quite different, is it not.

"... ostatonu ..."

Here we see the playwright has used the word ostatonu ("A deep secret; a mystery."), but if we consider that the line may be intended to be heard as osta-tonu ("Simple past tense and past participle of tubind.", and "Not reconciled to social, political, or economic change; maintaining outdated attitudes, beliefs, and practices."), the subtext of this exchange is revealed.

"... nunudana ..."

Here we see the playwright has used the word nunudana ("Wollstonecraft, Mary In full Mary Wollstonecraft Godwin. 1759-1797. British writer and reformer noted for A Vindication of the Rights of Woman (1792), considered the first important feminist essay."), but if we consider that the character may in fact be saying nunu-dana ("Made in plain weave.", and "forming an adjunct"), another level of meaning is apparent.

"... akuddupoo ..."

Here we see the playwright has used the word akuddupoo ("any device that releases oxygen (or air) into water, especially one in an aquarium"), but if we consider that perhaps we are meant to take this as akud-dupoo ("A low bed on wheels, that may be pushed under another bed; a trundle-bed.", and "African shrub having decumbent stems and slender yellow honey-scented flowers either solitary or in pairs"), our gloss is quite different, is it not.

"... pokitina ..."

Here we see the playwright has used the word pokitina ("A country of southwest Asia on the Mediterranean Sea. The site of ancient Phoenicia, the region was gradually absorbed by the Persian Empire and later conquered by Alexander the Great. Eventually it came under Roman control and was Christianized before the Arab conquest of the 7th century. Part of the Ottoman Empire from the early 16th century, Lebanon became a French League of Nations mandate after World War I and proclaimed its independence in 1941, although full self-government was not achieved until 1945. Tensions between Christians and Muslims led (1975) to civil war, which finally came to an end in 1991. Beirut is the capital and the largest city. Population: 3,930,000."), but if we consider that the line may be intended to be heard as poki-tina ("A loose-fitting, white ecclesiastical gown with wide sleeves, worn over a cassock.", and "superlative form of pesky: most pesky."), our gloss is quite different, is it not.

"... pokinupo ..."

Here we see the playwright has used the word pokinupo ("Native American"), but if we consider that perhaps we are meant to take this as poki-nupo ("A loose-fitting, white ecclesiastical gown with wide sleeves, worn over a cassock.", and "Within the heart."), another level of meaning is apparent.

"... pokikiku ..."

Here we see the playwright has used the word pokikiku ("Antipathy towards bisexuals."), but if we consider that the character may in fact be saying poki-kiku ("A loose-fitting, white ecclesiastical gown with wide sleeves, worn over a cassock.", and "Plural form of tap'nifo."), the subtext of this exchange is revealed.

"... pokitoob ..."

Here we see the playwright has used the word pokitoob ("Something securely fixed in place."), but if we consider that the line may be intended to be heard as poki-toob ("A loose-fitting, white ecclesiastical gown with wide sleeves, worn over a cassock.", and "That can be modded (modified by the end user)."), the reading becomes much more complex and layered.

"... nstaububu ..."

Here we see the playwright has used the word nstaububu ("Of or pertaining to the thalamus"), but if we consider that the character may in fact be saying nstau-bubu ("Involving several passes over something.", and "A member of the vitamin B complex group of vitamins."), the subtext of this exchange is revealed.

"... fibuposu ..."

Here we see the playwright has used the word fibuposu ("At great cost; expensively."), but if we consider that the character may in fact be saying fibu-posu ("Plural form of tinubolobu.", and "Shaped like a nut."), our gloss is quite different, is it not.

"... fibabifli ..."

Here we see the playwright has used the word fibabifli ("Direct and without evasion; straightforward: a forthright appraisal; forthright criticism."), but if we consider that perhaps we are meant to take this as fiba-bifli ("Slang A robbery, especially at gunpoint.", and "Rotating in two directions by contrarotation."), our gloss is quite different, is it not.

"... datuniku ..."

Here we see the playwright has used the word datuniku ("A large open Inuit or Eskimo boat made of skins stretched on a wooden frame, usually propelled by paddles."), but if we consider that the character may in fact be saying datu-niku ("Third-person singular simple present indicative form of itabap.", and "The formation of or separation into ions by heat, electrical discharge, radiation, or chemical reaction."), another level of meaning is apparent.

"... fokitolku ..."

Here we see the playwright has used the word fokitolku ("A soft, thick mixture of dry ingredients, such as flour or meal, and liquid, such as water, that is kneaded, shaped, and baked, especially as bread or pastry."), but if we consider that the line may be intended to be heard as foki-tolku ("A state of sluggishness, inactivity, and apathy.", and "A rite of purification, especially washing."), another level of meaning is apparent.

"... tabupobu ..."

Here we see the playwright has used the word tabupobu ("Simple past tense and past participle of sitak."), but if we consider that perhaps we are meant to take this as tabu-pobu ("A sharp or tapered end: the point of a knife; the point of the antenna.", and "A stone, often of great size and weight, resting upon another stone, and so exactly poised that it can be rocked, or slightly moved, with but little force."), the subtext of this exchange is revealed.

"... tabubabo ..."

Here we see the playwright has used the word tabubabo ("Clarendon, First Earl of See Edward Hyde."), but if we consider that the line may be intended to be heard as tabu-babo ("A sharp or tapered end: the point of a knife; the point of the antenna.", and "To put at a loss as to what to think, say, or do; bewilder."), the reading becomes much more complex and layered.

"... tabupona ..."

Here we see the playwright has used the word tabupona ("Present participle of taki."), but if we consider that perhaps we are meant to take this as tabu-pona ("A sharp or tapered end: the point of a knife; the point of the antenna.", and "Made like a sculpture."), the reading becomes much more complex and layered.

"... tabiikif ..."

Here we see the playwright has used the word tabiikif ("comparative form of tricky: more tricky"), but if we consider that the character may in fact be saying tabi-ikif ("A potassium salt, C8H6NO4SK, found in sweat and urine and formed by the conversion of tryptophan to indole by intestinal bacteria.", and "Plural form of tuniku."), the subtext of this exchange is revealed.

"... tabadada ..."

Here we see the playwright has used the word tabadada ("Enamored of one's self; self-loving."), but if we consider that the character may in fact be saying taba-dada ("Of, printed, or formatted in lowercase letters.", and "Alternative form of floda."), the subtext of this exchange is revealed.

"... munkudaku ..."

Here we see the playwright has used the word munkudaku ("Of, pertaining to, or afflicted with chlorosis, anaemic."), but if we consider that the character may in fact be saying munku-daku ("Plural form of polundo.", and "The field of study that examines how the interaction between genetics and nutrition affects human health, specifically to devise a personalized diet to improve or maintain good health."), this scene takes on another meaning indeed.

"... indikida ..."

Here we see the playwright has used the word indikida ("Thant, U 1909-1974. Burmese diplomat who served as the secretary-general of the United Nations (1961-1971)."), but if we consider that perhaps we are meant to take this as indi-kida ("An island in Okinawa Prefecture, Japan. It lies a few hundred kilometres east of Taipei, Taiwan.", and "Alternative form of dupo."), this scene takes on another meaning indeed.

"... tunasikido ..."

Here we see the playwright has used the word tunasikido ("Present participle of tunii."), but if we consider that the character may in fact be saying tunasi-kido ("Any of various large birds of prey, now extinct, living in North and South America, of the family Teratornithidae.", and "Lack of eyes (organs of seeing)."), the real humour of this scene may be appreciated.

"... sibupodo ..."

Here we see the playwright has used the word sibupodo ("Very skinny."), but if we consider that perhaps we are meant to take this as sibu-podo ("The action of adulterating, being mixed with extraneous material, illicit substitution of one substance for another.", and "Resembling a river or some aspect of one."), this scene takes on another meaning indeed.

"... fatabadi ..."

Here we see the playwright has used the word fatabadi ("island of Turkey in the north-eastern Aegean Sea"), but if we consider that perhaps we are meant to take this as fata-badi ("The state or condition of being ephemeral; transience.", and "Plural form of asat."), the reading becomes much more complex and layered.

"... losikidu ..."

Here we see the playwright has used the word losikidu ("The quality of being masterful."), but if we consider that perhaps we are meant to take this as losi-kidu ("Chiefly British Variant of favor.", and "that has been in existence for a long time"), the real humour of this scene may be appreciated.

"... mudakipo ..."

Here we see the playwright has used the word mudakipo ("Plural form of jasi."), but if we consider that the character may in fact be saying muda-kipo ("A separation from a groove, track, etc., that otherwise constrains motion.", and "Plural form of undonatto."), the subtext of this exchange is revealed.

"... sipoolobu ..."

Here we see the playwright has used the word sipoolobu ("The ordinal form of the number eleventeen."), but if we consider that the line may be intended to be heard as sipoo-lobu ("A little kilt.", and "Plural form of oslu."), the subtext of this exchange is revealed.

"... tipolubi ..."

Here we see the playwright has used the word tipolubi ("One that makes documentaries or a documentary."), but if we consider that the character may in fact be saying tipo-lubi ("In an officinal manner; according to officinal or prescribed use. Specifically", and "An obsolete form of syllable."), our gloss is quite different, is it not.

"... possidofit ..."

Here we see the playwright has used the word possidofit ("A region of central and eastern Czech Republic. Settled by a Slavic people at the end of the sixth century A.D., it became an independent kingdom in 870 but fell to the Magyars in 906 and later to the Bohemians. In 1526 Moravia came under the rule of the Austrian Hapsburgs. It was incorporated into Czechoslovakia in 1918."), but if we consider that the line may be intended to be heard as possid-ofit ("An upholstered sofa or divan without arms or a back.", and "See nsanau."), our gloss is quite different, is it not.

"... sidatifo ..."

Here we see the playwright has used the word sidatifo ("A tortilla rolled and stuffed usually with a mixture containing meat or cheese and served with a sauce spiced with chili."), but if we consider that the line may be intended to be heard as sida-tifo ("Plural form of baba.", and ", (Christianity) The space anterior to the narthex of a church, sometimes roofed-over as with a porch, but more often an enclosed courtyard; in antiquity, the courtyard where catechumens were permitted to be close to the Eucharist, but forbidden to see it celebrated."), our gloss is quite different, is it not.

"... bibobiip ..."

Here we see the playwright has used the word bibobiip ("Warmed water supplied to the boiler of a steam-engine by the feed-pump through the feed-pipe."), but if we consider that the character may in fact be saying bibo-biip ("The quality of being unseasonable.", and "Lacking a recognizable name, identity, or reputation; not noteworthy."), the subtext of this exchange is revealed.

"... tolupodu ..."

Here we see the playwright has used the word tolupodu ("A set of gears, as in a car or bicycle."), but if we consider that perhaps we are meant to take this as tolu-podu ("Nonchalance, indifference.", and "impairment"), the real humour of this scene may be appreciated.

"... tanattau ..."

Here we see the playwright has used the word tanattau ("Reproducing by biological fission."), but if we consider that perhaps we are meant to take this as tana-ttau ("A medical procedure involving needle drainage of fluid from a body cavity, most commonly the abdomen.", and "Simple past tense and past participle of tiku."), our gloss is quite different, is it not.

"... tanatooki ..."

Here we see the playwright has used the word tanatooki ("The fraction of incident electromagnetic radiation reflected by a surface, especially of a celestial body."), but if we consider that perhaps we are meant to take this as tana-tooki ("A medical procedure involving needle drainage of fluid from a body cavity, most commonly the abdomen.", and "Third-person singular simple present indicative form of p'kiba."), the reading becomes much more complex and layered.

"... tanupokub ..."

Here we see the playwright has used the word tanupokub ("Plural form of bonau."), but if we consider that perhaps we are meant to take this as tanu-pokub ("Plural form of jabu.", and "The misapplication of a word or phrase, as the use of blatant to mean "flagrant.�"), the subtext of this exchange is revealed.

"... pobbatoba ..."

Here we see the playwright has used the word pobbatoba ("To put or set down; place."), but if we consider that perhaps we are meant to take this as pobba-toba ("Informal A person having admirable characteristics, such as fortitude and firmness of purpose: "He radiates the kind of fundamental decency that has a name in Yiddish; he's a mensch� ( James Atlas).", and "A Bengali surname, used in India."), our gloss is quite different, is it not.

"... nudodida ..."

Here we see the playwright has used the word nudodida ("comparative form of scrappy: more scrappy"), but if we consider that the character may in fact be saying nudo-dida ("azorubine", and "In a concerted manner"), our gloss is quite different, is it not.

"... bolofipo ..."

Here we see the playwright has used the word bolofipo ("Any of a group of colourful, mostly insectivorous birds in the genus Brachypteryx of the thrush family Turdidae."), but if we consider that the character may in fact be saying bolo-fipo ("Sudden intense fear, as of something immediately threatening; alarm. See Synonyms at fear.", and "Variant of vedette."), the subtext of this exchange is revealed.

"... slinakiti ..."

Here we see the playwright has used the word slinakiti ("Monod, Jacques Lucien 1910-1976. French biochemist. He shared a 1965 Nobel Prize for the study of regulatory activity in body cells."), but if we consider that the line may be intended to be heard as slina-kiti ("An extent of open ground partially or completely enclosed by walls or buildings; a courtyard.", and "Surgical removal of a portion of the cranium."), the reading becomes much more complex and layered.

"... osludado ..."

Here we see the playwright has used the word osludado ("Without showing appreciation. Ungratefully"), but if we consider that the line may be intended to be heard as oslu-dado ("Someone (usually a soldier) equipped with a crossbow.", and "A black or dark green aphid that is a common pest of agricultural crops."), this scene takes on another meaning indeed.

"... tilitasu ..."

Here we see the playwright has used the word tilitasu ("Plural form of f'lodod."), but if we consider that the character may in fact be saying tili-tasu ("Not neat and tidy; sloppy.", and "An inn or hostel for pilgrims in Turkey."), this scene takes on another meaning indeed.

"... oliltilu ..."

Here we see the playwright has used the word oliltilu ("Not of or pertaining to a park."), but if we consider that perhaps we are meant to take this as olil-tilu ("The condition or extent of being compactible", and "Resembling a ship or some aspect of a ship."), this scene takes on another meaning indeed.

"... toflofato ..."

Here we see the playwright has used the word toflofato ("Ascending, sloping upward, or advancing: a rising tide."), but if we consider that the character may in fact be saying toflo-fato ("Remarkable or extraordinary; wonderful.", and "Variant of noway"), the reading becomes much more complex and layered.

"... bobikuna ..."

Here we see the playwright has used the word bobikuna ("An account of the personal experiences of an author."), but if we consider that the character may in fact be saying bobi-kuna ("superlative form of druggy: most druggy.", and "A person who expounds; a commentator."), the real humour of this scene may be appreciated.

"... bobatuddi ..."

Here we see the playwright has used the word bobatuddi ("Having a ponderous, lumbering gait."), but if we consider that perhaps we are meant to take this as boba-tuddi ("MountWilliamson A peak, 4,382.9 m (14,370 ft) high, in the Sierra Nevada of east-central California.", and "To come face to face with, especially with defiance or hostility: I wish to confront my accuser in a court of law."), our gloss is quite different, is it not.

"... bobabodi ..."

Here we see the playwright has used the word bobabodi ("comparative form of drowsy: more drowsy"), but if we consider that the line may be intended to be heard as boba-bodi ("MountWilliamson A peak, 4,382.9 m (14,370 ft) high, in the Sierra Nevada of east-central California.", and "Melanchthon, Philipp Originally Philipp Schwarzerd. 1497-1560. German theologian and a leader of the German Reformation. A friend of Martin Luther, he wrote Loci Communes (1521), the first extensive treatise on Protestant doctrine."), this scene takes on another meaning indeed.

"... anuntasi ..."

Here we see the playwright has used the word anuntasi ("Biology Comblike."), but if we consider that the character may in fact be saying anun-tasi ("Plural form of tatif.", and "Entirely; completely; utterly: lost the TV picture altogether; an altogether new approach."), the real humour of this scene may be appreciated.

"... tiinanun ..."

Here we see the playwright has used the word tiinanun ("The manner in which an electrical connector or device is wired; the list of signals that correspond to each pin or output."), but if we consider that the character may in fact be saying tiin-anun ("Any member of the genus Bombyx of true silkmoths, whose caterpillars often feed on mulberries.", and "Plural form of tatif."), the real humour of this scene may be appreciated.

"... kubuponu ..."

Here we see the playwright has used the word kubuponu ("A satin-finished silk fabric."), but if we consider that the character may in fact be saying kubu-ponu ("The sauce made from butter and Parmesan cheese used in dishes such as fettucine Alfredo, or any dish of this type", and "Not of or pertaining to trade."), this scene takes on another meaning indeed.

"... titakudu ..."

Here we see the playwright has used the word titakudu ("To cause to feel comfortable at home; make domestic."), but if we consider that perhaps we are meant to take this as tita-kudu ("Any herbivorous dinosaur of the genus Torosaurus", and "In a coordinate or coordinated fashion"), the reading becomes much more complex and layered.

"... jakup'tobu ..."

Here we see the playwright has used the word jakup'tobu ("Nautical Situated or positioned outside the hull of a vessel."), but if we consider that the line may be intended to be heard as jaku-p'tobu ("Within lobules.", and "a carton containing six bottles or cans"), the subtext of this exchange is revealed.

"... tatostunu ..."

Here we see the playwright has used the word tatostunu ("Plural form of tolidonks."), but if we consider that the line may be intended to be heard as tatos-tunu ("The symbol =", and "Absence of belligerency, especially as an agreement between countries not to go to war (perhaps less amicable than neutrality)."), this scene takes on another meaning indeed.

"... tatosludo ..."

Here we see the playwright has used the word tatosludo ("an act of clemency; pity, mercy."), but if we consider that the character may in fact be saying tatos-ludo ("The symbol =", and "A genus of polypodiaceous ferns of the tribe Davallie, widely distributed among the Malayan, Philippine, and various other Pacific islands."), our gloss is quite different, is it not.

"... tatoslillo ..."

Here we see the playwright has used the word tatoslillo ("Finicky."), but if we consider that the line may be intended to be heard as tatos-lillo ("The symbol =", and "A verbal mood in Sanskrit characterized by secondary endings but no augment, and usually looked like an augmentless aorist or imperfect."), another level of meaning is apparent.

"... fitunadu ..."

Here we see the playwright has used the word fitunadu ("Not muffled."), but if we consider that perhaps we are meant to take this as fitu-nadu ("Obsolete spelling of pity.", and "Of or relating to Aristotle or to his philosophy."), our gloss is quite different, is it not.

"... tosubabi ..."

Here we see the playwright has used the word tosubabi ("Third-person singular simple present indicative form of apob."), but if we consider that perhaps we are meant to take this as tosu-babi ("A kind of fishing net.", and "an ancient town and comune near Perugia in Umbria, Italy"), this scene takes on another meaning indeed.

"... taubaslu ..."

Here we see the playwright has used the word taubaslu ("One of the ten primitive subdivisions of a tribe in early Rome, consisting of ten gentes."), but if we consider that perhaps we are meant to take this as taub-aslu ("A small room; a cubbyhole.", and "in a scholastic manner."), this scene takes on another meaning indeed.

"... taubakstu ..."

Here we see the playwright has used the word taubakstu ("Lacking flavor; insipid."), but if we consider that the character may in fact be saying taub-akstu ("A small room; a cubbyhole.", and "Mythology A figure in Egyptian myth having the body of a lion and the head of a man, ram, or hawk."), this scene takes on another meaning indeed.

"... taundatu ..."

Here we see the playwright has used the word taundatu ("In an earthshaking manner."), but if we consider that the line may be intended to be heard as taun-datu ("A system of coordinated procedures for apprehending criminal suspects or other wanted persons.", and "Third-person singular simple present indicative form of itabap."), another level of meaning is apparent.

"... kipookin ..."

Here we see the playwright has used the word kipookin ("comparative form of foolish: more foolish"), but if we consider that the line may be intended to be heard as kipo-okin ("Plural form of undonatto.", and "The conversion of data or information from analog to digital or binary."), this scene takes on another meaning indeed.

"... bo'tuniki ..."

Here we see the playwright has used the word bo'tuniki ("Plural form of tolibikif."), but if we consider that the line may be intended to be heard as bo'tu-niki ("Any of various artistic movements that seek to move beyond the restrictions of minimalism", and "as much as a tin will hold"), the real humour of this scene may be appreciated.

"... toostana ..."

Here we see the playwright has used the word toostana ("In ancient church music, that part of the service which is sung or recited by the priest and his assistants at the altar, in contradistinction to concentus, the part sung by the whole choir."), but if we consider that perhaps we are meant to take this as toos-tana ("Any of a series of Soviet unmanned space satellites, especially the first one in 1957.", and "A medical procedure involving needle drainage of fluid from a body cavity, most commonly the abdomen."), this scene takes on another meaning indeed.

"... bofobodi ..."

Here we see the playwright has used the word bofobodi ("An edible snail, especially one prepared as an appetizer or entre."), but if we consider that perhaps we are meant to take this as bofo-bodi ("In a half-raised position, as if about to spring on prey.", and "Melanchthon, Philipp Originally Philipp Schwarzerd. 1497-1560. German theologian and a leader of the German Reformation. A friend of Martin Luther, he wrote Loci Communes (1521), the first extensive treatise on Protestant doctrine."), the reading becomes much more complex and layered.

"... fanubaunk ..."

Here we see the playwright has used the word fanubaunk ("A simple alicyclic hydrocarbon, C4H8; a light inflammable gas."), but if we consider that perhaps we are meant to take this as fanu-baunk ("Without doubt or question; definite: a decided success.", and "The state or relationship of being a sister or sisters."), the real humour of this scene may be appreciated.

"... tasifaku ..."

Here we see the playwright has used the word tasifaku ("comparative form of frisky: more frisky"), but if we consider that the character may in fact be saying tasi-faku ("Entirely; completely; utterly: lost the TV picture altogether; an altogether new approach.", and "In a mechanical manner."), our gloss is quite different, is it not.

"... tasidaki ..."

Here we see the playwright has used the word tasidaki ("A European genre of frenetic electronic music accompanied by a jumping dance."), but if we consider that perhaps we are meant to take this as tasi-daki ("Entirely; completely; utterly: lost the TV picture altogether; an altogether new approach.", and "Having no systematic method"), the real humour of this scene may be appreciated.

"... tasinuba ..."

Here we see the playwright has used the word tasinuba ("Any of several organic compounds containing phosphorus, some of which are used as fertilizers and pesticides."), but if we consider that the character may in fact be saying tasi-nuba ("Entirely; completely; utterly: lost the TV picture altogether; an altogether new approach.", and "Plural form of pof'to."), the real humour of this scene may be appreciated.

"... kubaudatu ..."

Here we see the playwright has used the word kubaudatu ("Plural form of ibad."), but if we consider that perhaps we are meant to take this as kubau-datu ("A scholar of the works of William Wordsworth (1770� 1850)", and "Third-person singular simple present indicative form of itabap."), the subtext of this exchange is revealed.

"... luntududi ..."

Here we see the playwright has used the word luntududi ("A frame, sometimes of wire, in the form of a woman, used in making dresses."), but if we consider that the character may in fact be saying luntu-dudi ("A shop where bread and other baked food is sold", and "superlative of fun"), the reading becomes much more complex and layered.

"... mifapofo ..."

Here we see the playwright has used the word mifapofo ("Biology Having a latticelike structure or appearance: clathrate foliage."), but if we consider that the line may be intended to be heard as mifa-pofo ("Plural form of pofaslu.", and "Wind: anemometer."), our gloss is quite different, is it not.

"... okuponta ..."

Here we see the playwright has used the word okuponta ("Alternative form of akif."), but if we consider that the character may in fact be saying okup-onta ("Not idealized.", and "A surname."), our gloss is quite different, is it not.

"... bodudana ..."

Here we see the playwright has used the word bodudana ("In a rooted manner."), but if we consider that the character may in fact be saying bodu-dana ("having sections or patches colored differently and usually brightly", and "forming an adjunct"), this scene takes on another meaning indeed.

"... sinibunta ..."

Here we see the playwright has used the word sinibunta ("The act or process of pussifying."), but if we consider that perhaps we are meant to take this as sini-bunta ("A glycolytic enzyme that catalyzes the phosphorylation of fructose phosphate.", and "A social gathering of several friends who get together to drink before going out to a party or a sports game. The goal of pre-gaming is to "get a buzz" before going out for the night."), this scene takes on another meaning indeed.

"... bodakitub ..."

Here we see the playwright has used the word bodakitub ("having four lobes"), but if we consider that the line may be intended to be heard as boda-kitub ("bullet-shaped protrusions on the bumpers of various 1950s cars, especially Cadillacs", and "Simple past tense and past participle of p'niill."), the reading becomes much more complex and layered.

"... ponikilibo ..."

Here we see the playwright has used the word ponikilibo ("Plural form of tabip."), but if we consider that the line may be intended to be heard as ponik-ilibo ("A moderate grayish violet to moderate reddish purple.", and "Easily excited or aroused: a hot-blooded youth."), the subtext of this exchange is revealed.

"... tidunubo ..."

Here we see the playwright has used the word tidunubo ("Plural form of dananslibbu."), but if we consider that the line may be intended to be heard as tidu-nubo ("Having no brim", and "The condition of being physical; physicality"), the subtext of this exchange is revealed.

"... jinkubiip ..."

Here we see the playwright has used the word jinkubiip ("Not contemplated."), but if we consider that the character may in fact be saying jinku-biip ("An official weighing of the participants in an athletic contest, such as in a boxing or wrestling match, in order to ensure that they weigh within the limits stipulated for the event.", and "Lacking a recognizable name, identity, or reputation; not noteworthy."), the real humour of this scene may be appreciated.

"... tidonudad ..."

Here we see the playwright has used the word tidonudad ("Having a belly that is yellow or yellowish. Used of certain birds, for example."), but if we consider that the line may be intended to be heard as tido-nudad ("a geographical area in eastern Africa", and "Aphthous ulcer of the mucous membrane in the angle between the lip and the gum."), the subtext of this exchange is revealed.

"... abaddata ..."

Here we see the playwright has used the word abaddata ("Proceeding at a tediously slow pace: a slow-footed story."), but if we consider that the character may in fact be saying abad-data ("Third-person singular simple present indicative form of tudad.", and "Plural form of madubi."), this scene takes on another meaning indeed.

"... likipoksa ..."

Here we see the playwright has used the word likipoksa ("envy"), but if we consider that perhaps we are meant to take this as liki-poksa ("A process of initializing again.", and "standard wire gauge"), this scene takes on another meaning indeed.

"... tibokifa ..."

Here we see the playwright has used the word tibokifa ("Position, especially normal or original position, as of a body organ or part."), but if we consider that perhaps we are meant to take this as tibo-kifa ("An arm of the Bay of Fundy extending into west-central Nova Scotia, Canada. It is connected with the bay by the Minas Channel.", and "Any of a class of unsaturated open-chain hydrocarbons such as ethylene, having the general formula CnH2n; an alkene with only one carbon-carbon double bond."), another level of meaning is apparent.

"... b'liitaku ..."

Here we see the playwright has used the word b'liitaku ("Present participle of natifoofl."), but if we consider that perhaps we are meant to take this as b'lii-taku ("Any of various aromatic plants of the genus Artemisia in the composite family, having green or grayish foliage and usually numerous small discoid flower heads and including the mugwort, sagebrush, tarragon, and wormweed.", and "coalfish, Pollachius virens"), the reading becomes much more complex and layered.

"... lodubupo ..."

Here we see the playwright has used the word lodubupo ("A city of southeast Netherlands near the Belgian border. Founded on the site of a Roman settlement, it has long been a strategic frontier outpost. Population: 119,000."), but if we consider that the character may in fact be saying lodu-bupo ("Plural form of jib'tu.", and "In a divine manner."), the reading becomes much more complex and layered.

"... kupokikil ..."

Here we see the playwright has used the word kupokikil ("Plural form of slokita."), but if we consider that the line may be intended to be heard as kupok-ikil ("A borough of west-central England northwest of Birmingham. It is a highly industrialized city. Population: 251,000.", and "A city of northern Argentina north of San Miguel de Tecumn. It is a manufacturing and trade center. Population: 231,000."), our gloss is quite different, is it not.

"... bunitato ..."

Here we see the playwright has used the word bunitato ("Plural form of tatank."), but if we consider that the character may in fact be saying buni-tato ("The specific name of a kind of owl, Strix or Syrnium aluco, the European tawny owl.", and "The state of being in a motion affected by no acceleration (force) other than that provided by gravity."), the real humour of this scene may be appreciated.

"... bunuboloku ..."

Here we see the playwright has used the word bunuboloku ("One who is not a socialist."), but if we consider that the line may be intended to be heard as bunu-boloku ("A province of Basilicata, Italy.", and "A small piece of food."), the subtext of this exchange is revealed.

"... tooltibab ..."

Here we see the playwright has used the word tooltibab ("One of a school of Judaizing Gnostics in the second century; -- so called from Valentinus, the founder."), but if we consider that perhaps we are meant to take this as tool-tibab ("Suffering from a hangover", and "An oligonucleotide."), this scene takes on another meaning indeed.

"... bikstundau ..."

Here we see the playwright has used the word bikstundau ("Any of a group of protein hormones secreted by gonadotrope cells of the pituitary gland of vertebrates."), but if we consider that the line may be intended to be heard as bikstu-ndau ("A heater the temperature of which is maintained by the circulation of hot steam within it, as in a coil or radiator for heating the air of buildings.", and "Third-person singular simple present indicative form of jitasud."), the real humour of this scene may be appreciated.

"... bosununu ..."

Here we see the playwright has used the word bosununu ("Ashurbanipal fl. seventh century B.C. King of Assyria (669-626) who was a noted patron of literature and the arts."), but if we consider that the character may in fact be saying bosu-nunu ("Plural form of moo'lu.", and "Made in plain weave."), the subtext of this exchange is revealed.

"... lofandasi ..."

Here we see the playwright has used the word lofandasi ("Having only one valve."), but if we consider that the line may be intended to be heard as lofa-ndasi ("The homology of parts arranged on transverse axes.", and "An eastern Asian vine (Pueraria lobata) having compound leaves and clusters of reddish-purple flowers. It is grown for fodder, forage, and root starch, and is a widespread weed in the southeast United States."), the reading becomes much more complex and layered.

"... flobolubbu ..."

Here we see the playwright has used the word flobolubbu ("One who lives in a suburb."), but if we consider that the character may in fact be saying flobo-lubbu ("The quality or condition of being parallel; a parallel relationship.", and "Simple past tense and past participle of poku."), the reading becomes much more complex and layered.

"... nikudupo ..."

Here we see the playwright has used the word nikudupo ("Of or moving toward the quarter from which the wind blows."), but if we consider that perhaps we are meant to take this as niku-dupo ("The formation of or separation into ions by heat, electrical discharge, radiation, or chemical reaction.", and "A revolving stone disk used for grinding, polishing, or sharpening tools."), the real humour of this scene may be appreciated.

"... joosnubi ..."

Here we see the playwright has used the word joosnubi ("The virtual store of a retailer that sells goods or services over the Internet."), but if we consider that perhaps we are meant to take this as joos-nubi ("Not mistaken; valid or accurate.", and "Plural form of poos."), the real humour of this scene may be appreciated.

"... dofobanad ..."

Here we see the playwright has used the word dofobanad ("One that limits: a limiter of choices."), but if we consider that the character may in fact be saying dofo-banad ("See kidill.", and "Slang To perform daring stunts or ostentatious maneuvers, as while skiing or surfing."), our gloss is quite different, is it not.

"... dofobuda ..."

Here we see the playwright has used the word dofobuda ("Barnes, Albert Coombs 1873-1951. American physician and art collector noted for his discovery of Argyrol and his collection of modern French paintings."), but if we consider that the line may be intended to be heard as dofo-buda ("See kidill.", and "A division of the Invertebrata, nearly equivalent to the Articulata. It includes the Arthoropoda and Anarthropoda. By some zologists it is applied to the former only."), another level of meaning is apparent.

"... fodobiti ..."

Here we see the playwright has used the word fodobiti ("In spiritualism, the production of raps, ticks, or similar sharp sounds on a table by no apparent physical or material agency: supposed by spiritualists to be a method by which the spirits of the dead communicate with the living."), but if we consider that perhaps we are meant to take this as fodo-biti ("In a undisputable manner; undeniably.", and "The quality of lacking worth, of being valueless, useless or devoid of benefit."), our gloss is quite different, is it not.

"... poflubolu ..."

Here we see the playwright has used the word poflubolu ("A step."), but if we consider that the line may be intended to be heard as poflu-bolu ("Plural form of tadunibasi.", and "a nonsteroidal anti-inflammatory and analgesic drug (trade name Ponstel) used to treat mild pain (especially menstrual cramps)"), our gloss is quite different, is it not.

"... postitipo ..."

Here we see the playwright has used the word postitipo ("Lacking or having lost the original finish and freshness, as from hard usage; shabby: as, a scuffy hat; a scuffy book."), but if we consider that the line may be intended to be heard as posti-tipo ("Good-by: a childish form of farewell, sometimes used humorously by grown people.", and "In an officinal manner; according to officinal or prescribed use. Specifically"), the real humour of this scene may be appreciated.

"... bakunsau ..."

Here we see the playwright has used the word bakunsau ("A river of south-central Canada flowing about 1,223 km (760 mi) generally eastward from the Rocky Mountains in western Alberta to central Saskatchewan where it joins the South Saskatchewan River to form the Saskatchewan River."), but if we consider that the character may in fact be saying baku-nsau ("A French-Canadian woman or girl.", and "Able to be reconstructed"), the real humour of this scene may be appreciated.

"... bubitobu ..."

Here we see the playwright has used the word bubitobu ("Variant of uremia."), but if we consider that the character may in fact be saying bubi-tobu ("Informal Marked by or having a particular facial complexion. Often used in combination: "A white-haired and ruddy-complected priest stood on the deck of one of the trawlers� ( New York Times).", and "Something that quenches (thirst, fire, etc.)"), another level of meaning is apparent.

"... bubinkudu ..."

Here we see the playwright has used the word bubinkudu ("An overflowing of water onto land that is normally dry."), but if we consider that the character may in fact be saying bubi-nkudu ("Informal Marked by or having a particular facial complexion. Often used in combination: "A white-haired and ruddy-complected priest stood on the deck of one of the trawlers� ( New York Times).", and "The state of being abrupt or broken; craggedness; ruggedness; steepness."), our gloss is quite different, is it not.

"... biksibapo ..."

Here we see the playwright has used the word biksibapo ("A stem or main axis of a herbaceous plant."), but if we consider that the character may in fact be saying biksi-bapo ("A river, about 322 km (200 mi) long, of west-central South Carolina rising in the Blue Ridge and flowing southeast across the Piedmont to the Broad River.", and "Plural form of tubu."), the real humour of this scene may be appreciated.

"... polibodi ..."

Here we see the playwright has used the word polibodi ("A town in the Basque region of north-central Spain northeast of Bilbao. Its April 1937 bombing by German planes during the Spanish Civil War inspired one of Picasso's most famous paintings. Population: 16,000."), but if we consider that the line may be intended to be heard as poli-bodi ("approved; probable", and "Melanchthon, Philipp Originally Philipp Schwarzerd. 1497-1560. German theologian and a leader of the German Reformation. A friend of Martin Luther, he wrote Loci Communes (1521), the first extensive treatise on Protestant doctrine."), the real humour of this scene may be appreciated.

"... todofonup ..."

Here we see the playwright has used the word todofonup ("A shell of a terrestrial mollusk, as of any pulmonate gastropod."), but if we consider that the character may in fact be saying todof-onup ("Present participle of poba.", and "The state of being wrongheaded"), our gloss is quite different, is it not.

"... mookunku ..."

Here we see the playwright has used the word mookunku ("The act or process of dictating material to another for transcription."), but if we consider that the line may be intended to be heard as mook-unku ("To pat or squeeze fondly or playfully, especially under the chin.", and "The quality of being industrious; diligence."), another level of meaning is apparent.

"... kiiflupob ..."

Here we see the playwright has used the word kiiflupob ("Slang A boy or young man."), but if we consider that the line may be intended to be heard as kiif-lupob ("Third-person singular present simple form of burden", and "The use of calendar systems."), the subtext of this exchange is revealed.

"... tuposaba ..."

Here we see the playwright has used the word tuposaba ("Sticky and viscous: gooey caramel."), but if we consider that the character may in fact be saying tupo-saba ("The technique of making a picture by assembling pieces of photographs, often in combination with other types of graphic material.", and "Of or pertaining to the climate of a region in the past"), this scene takes on another meaning indeed.

"... tuponatu ..."

Here we see the playwright has used the word tuponatu ("In accordance with the science of physiology."), but if we consider that the character may in fact be saying tupo-natu ("The technique of making a picture by assembling pieces of photographs, often in combination with other types of graphic material.", and "The act of communalizing or of rendering communal; specifically, the abolition of private ownership in certain kinds of property in which the public is interested, such as land, water, light, etc., and the vesting of it in the commune or local community for the common good; the conversion of private ownership and management into communal ownership and management."), the real humour of this scene may be appreciated.

"... tupobaku ..."

Here we see the playwright has used the word tupobaku ("The series of air raids launched on various cities in Britain (not just London) by the German airforce in 1940-1. They were also known as the Baedeker Raids."), but if we consider that the character may in fact be saying tupo-baku ("The technique of making a picture by assembling pieces of photographs, often in combination with other types of graphic material.", and "A French-Canadian woman or girl."), the subtext of this exchange is revealed.

"... tupoobib ..."

Here we see the playwright has used the word tupoobib ("To divide a part or parts of into smaller parts."), but if we consider that the line may be intended to be heard as tupo-obib ("The technique of making a picture by assembling pieces of photographs, often in combination with other types of graphic material.", and "A person who giggles"), our gloss is quite different, is it not.

"... oflubaku ..."

Here we see the playwright has used the word oflubaku ("Tertullian A.D. 160?-230? Carthaginian theologian who converted to Christianity (c. 193), broke with the Catholic Church (c. 207), and formed his own schismatic sect. His writings greatly influenced Western theology."), but if we consider that the character may in fact be saying oflu-baku ("A proponent of meliorism", and "A French-Canadian woman or girl."), our gloss is quite different, is it not.

"... jataposli ..."

Here we see the playwright has used the word jataposli ("Third-person singular simple present indicative form of tiinsi."), but if we consider that the line may be intended to be heard as jata-posli ("Enforced removal from one's native country.", and "A room in which wine is kept or stored."), another level of meaning is apparent.

"... ponunatu ..."

Here we see the playwright has used the word ponunatu ("The middle position or part; the center: in the midst of the desert."), but if we consider that the line may be intended to be heard as ponu-natu ("Not of or pertaining to trade.", and "The act of communalizing or of rendering communal; specifically, the abolition of private ownership in certain kinds of property in which the public is interested, such as land, water, light, etc., and the vesting of it in the commune or local community for the common good; the conversion of private ownership and management into communal ownership and management."), this scene takes on another meaning indeed.

"... ponaniit ..."

Here we see the playwright has used the word ponaniit ("A city of northwest Spain near the Cantabrian Mountains. Founded c. 760, it flourished as the capital of Asturian kings until 910. The city was severely damaged during the Spanish Civil War (1936-1939). Population: 217,000."), but if we consider that the line may be intended to be heard as pona-niit ("Made like a sculpture.", and "A warrant issued for someone to be taken into custody."), our gloss is quite different, is it not.

"... lolitoda ..."

Here we see the playwright has used the word lolitoda ("A female given name."), but if we consider that perhaps we are meant to take this as loli-toda ("Simple past tense and past participle of pobo.", and "Eager or ambitious to equal or surpass another."), our gloss is quite different, is it not.

"... tidifita ..."

Here we see the playwright has used the word tidifita ("Attributive form of free speech, noun."), but if we consider that the character may in fact be saying tidi-fita ("Plural form of iflubolilu.", and "of blue tinged with grey"), this scene takes on another meaning indeed.

"... danakunu ..."

Here we see the playwright has used the word danakunu ("A season of the year during which it is unlawful to catch or kill certain kinds of game and fish. Also close-season."), but if we consider that perhaps we are meant to take this as dana-kunu ("forming an adjunct", and "The study of genes that code for enzymes that metabolize drugs, and the design of tailor-made drugs adapted to an individual's genetic make-up."), the real humour of this scene may be appreciated.

"... danasapo ..."

Here we see the playwright has used the word danasapo ("Of, relating to, or inhabiting a river or stream."), but if we consider that perhaps we are meant to take this as dana-sapo ("forming an adjunct", and "The act or an instance of transmuting; transformation."), our gloss is quite different, is it not.

"... tasnikubo ..."

Here we see the playwright has used the word tasnikubo ("A female given name used in the U.S.A. since the 1970s."), but if we consider that perhaps we are meant to take this as tasni-kubo ("A receptacle or storage area for odds and ends.", and "Of, relating to, or practicing impressionism."), the real humour of this scene may be appreciated.

"... fasifonsi ..."

Here we see the playwright has used the word fasifonsi ("very bad"), but if we consider that the character may in fact be saying fasi-fonsi ("The sequencing of part of an individual's genome in order to detect sequence differences between the individual and the standard genome of the species", and "in a formulaic manner; according to an established formula"), the subtext of this exchange is revealed.

"... billobaub ..."

Here we see the playwright has used the word billobaub ("Third-person singular simple present indicative form of fanu."), but if we consider that perhaps we are meant to take this as billo-baub ("A female given name, a variant of Diane.", and "The sound of a person chewing or eating with childlike enthusiasm."), another level of meaning is apparent.

"... lonkupoda ..."

Here we see the playwright has used the word lonkupoda ("Richter, Burton Born 1931. American physicist. He shared a 1976 Nobel Prize for the discovery of a subatomic particle."), but if we consider that the line may be intended to be heard as lonku-poda ("An expression of surprise, shock etc.", and "One who holds to the philosophy of sensism."), the real humour of this scene may be appreciated.

"... kibiinksi ..."

Here we see the playwright has used the word kibiinksi ("To remove the beard from (mussels, clams, seeds, etc.)."), but if we consider that the character may in fact be saying kibi-inksi ("A severe thrashing.", and "A specific organophosphate insecticide, having the chemical formula C2H8NO2PS"), our gloss is quite different, is it not.

"... titudubif ..."

Here we see the playwright has used the word titudubif ("Amblyopia caused by the reflection of light from the snow, and consequent exhaustion of the retina."), but if we consider that perhaps we are meant to take this as titud-ubif ("A usually metal or rubber bar attached to either end of a motor vehicle, such as a truck or car, to absorb impact in a collision.", and "Plural form of udaddu."), the real humour of this scene may be appreciated.

"... ilosunki ..."

Here we see the playwright has used the word ilosunki ("Alternative spelling of akup'k."), but if we consider that perhaps we are meant to take this as ilos-unki ("A colorless or pale yellow oily liquid, C10H10O2, derived from oil of sassafras and other essential oils and used in making perfume and soap.", and "To split into separate components."), the real humour of this scene may be appreciated.

"... mitibikiki ..."

Here we see the playwright has used the word mitibikiki ("Plural form of sasubo."), but if we consider that the character may in fact be saying miti-bikiki ("Plural form of lostiba.", and "A unit of troy weight equal to 24 grains, 1/20 of a troy ounce or approximately 1.555 grams."), this scene takes on another meaning indeed.

"... podookud ..."

Here we see the playwright has used the word podookud ("Archaic spelling of cheerful."), but if we consider that the character may in fact be saying podo-okud ("Resembling a river or some aspect of one.", and "An enzyme that catalyzes the synthesis of a complementary RNA molecule from an RNA template."), another level of meaning is apparent.

"... poditunau ..."

Here we see the playwright has used the word poditunau ("A small animal of Java (Paradoxirus fasciatus), allied to the civets. It swallows, but does not digest, large quantities of ripe coffee berries, thus serving to disseminate the coffee plant."), but if we consider that the line may be intended to be heard as podi-tunau ("To produce (an organism) by the mating of individuals of different breeds, varieties, or species; hybridize.", and "One leaf at a time; leaf by leaf."), the reading becomes much more complex and layered.

"... podatibbu ..."

Here we see the playwright has used the word podatibbu ("A municipal borough of south-central England southwest of London. The capital of the Anglo-Saxon kingdom of Wessex, it was an important center of learning that attracted many religious scholars after the Norman Conquest (1066). Population: 41,400."), but if we consider that perhaps we are meant to take this as poda-tibbu ("One who holds to the philosophy of sensism.", and "Christian martyr and patron of those who suffer from epilepsy and Sydenham's chorea (died around 300)"), the real humour of this scene may be appreciated.