Αἴσθου ποτέ. "Notice at last" — the particle ποτέ carries impatience and a touch of reproach: not "understand" but "when will you finally notice." The tone is not didactic but vexed; Rogovin renders it exactly ("Understand, then, at last").

A comparative, not a title. κρεῖττόν τι καὶ δαιμονιώτερον — "something better and more divine." Not "divine" but more divine, and the standard of comparison is given on the spot: compared with what produces the passions. Marcus neither describes the TERMdaemon nor names it — he points to it by a relation: that in you which is above what jerks you about.

Who is working the strings here. νευροσπαστεῖν is the puppet-master's craft, working figures by sinew-strings (νεῦρα). The reversal matters: in 10.38 the strings are pulled by what is within ("remember that what pulls the strings is that hidden thing inside"), whereas here it is the TERMpassions, and the man is in the puppet's place. Cf. 6.28, where death is called a rest from "the puppet-jerking of impulse," and 7.29: στῆσον τὴν νευροσπαστίαν, "stop the jerking of the strings."

The second half is not an argument but a reading. τί μου νῦν ἐστιν ἡ διάνοια; and then four questions with μή, each of which in Greek expects the answer "no": not fear, is it? not suspicion? not craving? The list is short and sorted by kind: two forms of avoidance (φόβος, ὑποψία) and one of attraction (TERMἐπιθυμία). The exact twin is 5.11: "to what am I now applying my soul? … and whose soul have I now — a child's? a boy's? a woman's? a tyrant's? a beast's? a wild animal's?" There the list is longer and crueller, here shorter and drier; the technique is the same. The governing discipline is assent, the sustaining one desire.