Some… some poets read well, some reads very, very, very badly. Yeah, that means that it's now being filtered through another psyche and probably is going to cast other colors and implications and so forth. That's why I… that's why I loved teaching that course in oral interpretation… that I was getting interpretations of the poem all the time, that… that wouldn't have come to me by themselves. Yeah, and hearing somebody… well, it's the same thing, you know, I started out as a musician. You can't imagine saying, 'They're playing Beethoven's Third tonight', you say, 'Oh, I heard that'. You know, come on. That's what the conductor is there for, is… is to… is to have a different vision and a different reception of it to pass on to you. And of course, there are some interpretations that are just plain wrong, just plain dumb. But I… I don't know.

I… that's why I like teaching that course. You know, people were always reading things in ways I couldn't have suspected. And… and it was often people who didn't have much literary background and… and thought they didn't know much about poetry. And suddenly they would come out with an interpretation which… which, you know, which would leave me boggling. That's, you know, that… that's the nature of a work of art, I think, that it's subject to… it's related to all these different… it's a product of one particular mind, but it also then has to pass through all these different minds, and it's changed again and again and again and again. And it's, you know… there isn't one right way to hear it. You know, if somebody reads something like that or somebody plays something, a piece of music in a way that you don't expect, maybe you wouldn't want that to be the only way you ever heard it. And there may be such a thing as a reading which you'll decide is so definitive you don't… you don't need to hear it anymore, but I… no, not likely. More often, you will hear it again and again and again and with different emphases, different… well, yeah, that's the difference between a literary translation of a poem — we were talking about the other — and  you know, a real translation into a poem, it's going to have new and different emphat… kinds of emphases and… and possibilities and echoes, stuff like that there. I hope.