 But right now I'm working on the nays, and I, with all my translations from the Quetient and Traus of the same period, and from me, have used Rhine and Octosalmatics. I've been through all the arguments back and forth with a number of people, including publishers, about whether you should imitate the prosody of the original. And I say yes, yes, yes, because the music of a poem is very frequently, and certainly you, it is part of the meaning and the experience and the feeling of the original. And if it can be done without being bustian or oldy or boring or something like that, it should be done. It is hard, it is very hard to do, but it needs to be done.