The formal feature is one of the things that makes, um, poetry, epic poetry, ancient epic poetry, early modern epic poetry kind of alien to us in a way that I think is really helpful to draw attention to, um, instead of making it kind of too familiar.

I think, I think that's a very good point, Eric.

Um, we, we don't-- Our, our generic terminology does not rely, uh, on, um, features of language in the way that, that, um, it did for the ancients, like you're discussing where you've, you know, you've got epic, you've got elegy, and these are differences in prosody that we're really s- talking about there.

Um, but at the same time, I would say we have a much greater profusion of generic terminology than the ancients had, um, partly because of the development of prose literature.

But, um, so that makes something like what I was alluding to, uh, a discussion at Ashland make a little more sense.

So we can, you can write a long poem in blank verse that is narrative.

Um, uh, I read a great deal from Aurora Leigh while I was there, um, and it's not an epic.

Yes, it's-- that's going to transform, uh, the source material fundamentally, but, you know, my attitude is, you know, who cares? It's a B+ movie that finally got me to go to the theater.