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University Press, Cambridge. - Thanks Trevelyan. Sure the Syndics would like the Press to continue to be the publishers of Trevelyan's translations, but it is a 'question of time': they have just printed his "Oedipus Colonus", and have his "Theocritus" 'in the safe', to be published 'in due course'. But they also have many other manuscripts ready in the safe, and 'priority is a difficult problem': if Trevelyan wants to get his book of shorter translations out in the next twelve months, Roberts feels he should advise him to try another publisher. Adds a postscript to say he is enclosing a 'specimen page of the proposed style for Theocritus' [no longer present'.

George Allen & Unwin Ltd account dated 10 Oct 1919 for copies sent and postage, with list of names; crosses indicate people also to receive Trevelyan's "The Death of Man". Four printed order forms, not filled in, for "The Ajax of Sophocles" and "The Foolishness of Solomon".

Press cuttings, most sent by Durrant's Press Cuttings to R. C. Trevelyan, dating between 30 Oct 1919 and 21 Feb 1920. Reviews of "The Ajax of Sophocles" from the "Times Literary Supplement"; "Manchester Guardian" (two copies, also reviewing "The Death of Man and Other Poems"); the "Tablet" (two copies); the "Yorkshire Observer", the "Daily News & Leader"; the "Athenaeum (two copies); the "Journal of Education"; and the "Southport Guardian".

King's College, Cambridge. - Thanks Trevelyan for granting permission to use his translation of Sophocles' "Antigone": it is just right for the purpose, and Sheppard has 'always ranked it very high'; when he saw it acted by the girls of Hawnes School near Bedford fifteen months ago he was 'delighted'. Glad that Trevelyan agrees with him on the interpretation of [line 523, "οὔτοι συνέχθειν, ἀλλὰ συμφιλεῖν ἔφυν"], which he thinks expresses the 'most important part of the play'. Will go through the text carefully before printing and let Trevelyan know if he thinks of anything else, as well as showing him the introduction. Has just heard from May Lowes Dickinson that she and her sister are very pleased with Trevelyan's poem about [their brother] Goldie; Sheppard did not know it had been printed [in the "New Statesman"] but is pleased that it has; Maynard [Keynes] showed it him a while ago, and they 'agreed that it was very beautiful and true'.

Trevelyan's address c/o G[ordon] Bottomley, The Sheiling, Silverdale, near Carnforth. - Strachey's article in last week's "Spectator" [see 26/12/5] gave Trevelyan much pleasure: it is a 'rare experience to be appreciated at once so generously and so understandingly'. Was very glad Strachey quoted the chorus on Man from the "Antigone", as he thinks his own 'somewhat dangerous experiment of trying to reproduce the Greek metre comes nearest to success' there. What Strachey says about his translation of Theocritus is also 'very gratifying': Trevelyan had worried that the 'expectations and the absence of rhyme in that metre would prove a stumbling block'. Expected that few people would agree with his comment about [Theocritus's] "Sorceress" being the 'greatest of love poems": perhaps he 'went too far', but did not intend to compare it with dramas, short lyrics and sonnets; even among long poems he admits Chaucer's "Troilus [and Criseyde]" and Marlowe's "Hero and Leander" could be argued to be 'greater'. Hoped to 'provoke dissent' but so far Strachey is the only critic to have challenged his assertion. Very pleased to find someone who understands and generally agrees with what he says about metre in "Thamyris"; thinks he could have been more convincing with more space for illustrations, and would also have liked to have given some examples of 'good and bad poetic rhetoric'. Has always thought Campion's ' "Rose-cheeked Laura" was a 'very remarkable invention"; Strachey may have noticed that he translated several Theocritean epigrams into it. Is himself 'no enemy of rhyme' but thinks there are 'great possibilities in unrhymed lyrical verse in English' which modern vers libre writers have not explored fully.

First page labelled 'R. C. Trevelyan. History'; some references from classical authors below appear to have been added at a later date. Essays by Trevelyan on: the nature of history and English history up to the Wars of the Roses [1r-7v]; the Tudors and Stuarts [8r-15r], with pencil corrections and annotations by 'RS' [a teacher?].

Book later used by Trevelyan for notes on Greek philosophy [perhaps at university?] and, from the other end of the book in, on New Testament Greek and Sophocles' "Oedipus at Colonus".

Lists (of Coryat pieces, "Prayers to...", and other pieces) on verso of front endpaper and first page); dialogue between Hope and Memory; Coryat and Miranda discuss love and illusion; lists of names; précis of/plan for piece about Percy Smith walking through a wood and thinking about his own name; another Coryat piece; Coryat on the subject of names; notes on various myths; discussion of Arthur Waley's translations of Chinese poetry; précis/plan for piece on "Sleep"; essay on Horace, methods of translation; piece about Coryat and his nephew Oliver; introduction to reprinting of earlier works [for his "Collected Works"?]; introduction for his translation of Sophocles' "Ajax".

Book also used from other end: dialogue between Coryat and 'Ph.' ['Philos': Friend?]; dialogue between Coryat and 'Spirit'; first lines of a verse epistle to [Umberto] Morra; dialogue between Coryat, 'C.A' [Clifford Allen?] and Morra; translations of Horace "Epodes" I.2 and II.17, and "Satires" II.8; notes under headings such as 'Literature', 'Visual Art'. 'Technique'; Coryat wondering 'what is the good of me?'; draft verse epistle to Gordon [Bottomley]; verse dialogue between Coryat and his Muse; list of poets with poems; translation of first lines of Lucretius's "De Rerum Natura"; notes for an autobiographical piece, with dates.

Pen Rose, Berkhamsted. - Has enjoyed reading [Robert's translation of Sophocles'] "Antigone"; Humphry also looked at it 'with great interest' since he has been studying the original at school. The translation seems as 'excellent and successful' as Bob's translation of the "Oresteia"; hopes it will also be acted at Old Sarum. Sends love to Bessie, and to Julian when he 'comes home [from school]'.

Marchmont, Greenlaw, Berwickshire. - Thanks Trevelyan for sending his new booklet of poems for Christmas [this year's "From the Shiffolds"]: this is 'an honour' which he much appreciates, and he has read them with great enjoyment. Might like the 'tiny fragment of Sophocles best... for its simplicity & truth'. Hopes if Trevelyan comes to Cambridge he might see him; perhaps he could 'manage a Saturday' [meeting of the Apostles' Society?].

Two copies of page proofs: one with date stamps 29 October - 2 November 1945, the other with date stamps 29 October - 23 November 1945 and printed label from Cambridge University Press labelling it 'First Proof'; both with corrections in pen and pencil.

Press clippings of reviews from: the "Journal of Hellenic Studies" (by P. G. Mason); the "Listener" (by D. E. W. Wormell); the "Times"; the "Classical Journal" (by Charles T. Murphy).

Prose note on 'religious and aesthetic emotions'. Verse, 'This love disease is a delicious/delightful trouble'. Translations by Trevelyan of the "Homeric Hymn to Demeter", fragments from tragedies by Sophocles, Euripides, and Aeschylus, an extract from Virgil ["Aeneid"] Book VI, Leopardi's "To his Lady" and "Canticle of the Wild Cock", Simonides 37, an extract from [Homer's] "Iliad" Book 24. Draft essay on aging and desire. Notes, in the style of Trevelyan's "Simple Pleasures". Autobiographical piece about a reading party at Blackgang Chine almost fifty years ago, with Cambridge friends such as Lytton Strachey, Roger Fry, Desmond MacCarthy and George Moore. Draft of "On Inspiration", published in "Windfalls". Translations of Catullus 2, 7, 12, and 50, Tibullus I.1, and Montaigne III.11 and III.6. Dialogue between 'Child' and 'Father'. Note on Saint Augustine's "Confessions". List of contents for the 1948 "From the Shiffolds" pamphlet. Notes for topic 'What does England mean to me?' and on old age.

Notebook used from other end in: list of books including [Beerbohm's] "Zuleika Dobson" and Ransome's "Great Northern?". Draft letter regarding the [re?] printing of Trevelyan's "Collected Works". Passage headed 'p. 15'; since this is followed by a review of Judson's "Life of Spenser", it may be an extract from that book. List of titles of essays, prefaces for translations, biographical pieces (Donald Tovey and C[lifford] A[llen], etc; perhaps future projects for Trevelyan. Draft piece on poets and poetry. Dialogue on the subject of translating poetry; piece "On Translating Greek Poetry", with notes on individual authors and quotations of passages. Pieces on translating Lucretius and the Greek Anthology; notes on translating Homer and Catullus; observations on a 'friendly critic' pointing out that 'too many' of Trevelyan's poems and essays begin with a scene of someone, usually the poet, 'walking meditatively in a wood' or lying beneath a tree. Translation of Tibullus III.19. Draft essay on Trevelyan's feelings about spiders, insects and other small creatures, and snakes; includes mention of a 'great philosopher' [Bertrand Russell or G. E. Moore?] disliking ants immensely.

Garden Corner, West Road, Cambridge. - Very sorry Bob was not able to come: was looking forward to seeing him 'after too long an interval'. Daphne [Sanger or Phelps?] and Humphry went to see "Antigone" [Bob's translation of Sophocles' play, performed at the Cambridge Festival Theatre] and said though it was 'in some respects well acted', the words were 'badly and rather inaudibly said'. George himself 'feared to go after Prometheus'. Has just read Bob's "Three Plays": "Sulla" captured his imagination most; supposes the Romans were 'both more brutal and more artistic than the English', and this combination 'has always disgusted [him]'. Wishes Bob good health 'to enjoy the new Shiffolds'. Hopes that he and Elizabeth will come for a visit to Hallington this summer.

List of books on flyleaf, including [R.G.?] Collingwood's "An autobiography". Autobiographical fragment, including Trevelyan's childhood 'courting' of a girl at dancing class, friendships including two 'of an emotional, romantic kind' at Harrow, and thoughts on Keats's "Ode to a Nightingale". Translations: of first part of Sophocles' "Philoctetes"; the "Homeric Hymns to Pan, Dionysus, Aphrodite and Demeter; fragments of Greek New Comedy by Menander, Alexis and Philemon.

Book used from other end in: draft verse [translation?] on inside cover and flyleaf; list of possible topics under the heading "More Windfalls", including '[George?] Meredith', Reminiscences', '[Donald] Tovey'. Draft piece, "On losing one's bearings". Verse, 'Oh sea and shore, dearer to me than life...'. Ideas for "Less Simple Pleasures" under headings such as 'Literary', "Of Friendship', 'Of Walking'. Essay of pleasures of the senses. particularly touch. Piece about Horace and his friendships, perhaps as introduction for Trevelyan's two fictional dialogues about him, or part of the subsequent discussion of conversation. This mentions Goldsworthy Lowes Dickinson, Roger Fry and Donald Tovey (Virginia Woolf and Lytton Strachey are also mentioned but Trevelyan then crosses this out)'; Henry Sidgwick, his father's friend, is mentioned as a 'perfect artist in conversation'. Discussion of philosophical dialogues. Biographical sketch of Thomas Sturge Moore. Piece on aging and desire. Notes on playing chess with Dickinson. Notes on Montaigne. Bertrand Russell and Bernard Shaw. Essay on the self, Buddhism, and change.

28, Rue de la Tourelle, Boulogne sur Seine. - Thanks Trevelyan for the trouble he has taken over [Nicholas] Roerich's 'case', as she thinks it has become; would make her very happy if through her own and Trevelyan's efforts he was able to go to his wife, who is very ill and anxious. Has had a letter from her manager in America, who wants her to play Medea in English in January 1931, and asks her to get G[ilbert] Murray's translation - the Brentano's [bookshop] in Paris should have it - and study it carefully. Has replied she would like to play the part, but said that Trevelyan has started to work on the play and she much admires his translation of [Sophocles'] Antigone. Asks whether he might be finished 'towards the end of the year', and whether he could send an extract to her manager to 'persuade her how much better you are' and to herself for encouragement and to see if she can understand it; would be better if he sent it to her first, but gives Helen Arthur's name and address. Is very sorry that she could not come to see the Trevelyans; hopes she will see him in Paris and maybe Roerich too.

320 East 42 Street, New York. - Has very few books with her here, but they include Trevelyan's 'beautiful translations of classics'; she has even begun working on a monologue by Antigone with a pupil. Thinks [Hasan Shahid] Suhrawardy has told him about her work here, which is 'very interesting, but most difficult'. They want her to play Medea, but she will not 'venture' it until next year. Asks if Trevelyan has translated it. Is working hard on her pronunciation; afraid she will have to study Japanese next 'to come back to Russian - making a tour du monde'. Asks if he knows whether D'Annunzio's "sogno della serra d'autumne" [sic: "Sogno d'un tramonto d'autunno"] has been translated into English, and for him to send it to her if it has. Finds it easy to ask this favour due to their 'mutual line for tragedy and understanding it'.

Letter, 23 Feb 1949, from G. M. Trevelyan, The Master's Lodge, Trinity College, Cambridge. - Is very sorry he will not be able to put Bob up on 1 March: the doctor has said that due to Janet's 'various complications with dentists, etc., on top of her other infirmities' she should not be troubled with house guests for a while. They will of course be able to see Bob, and he hopes they can give him lunch on Wednesday. Sends love to Bessie. Translation by R. C. Trevelyan of Sophocles "Philoctetes" 54-59.

Book contains: part of an essay by R. C. Trevelyan about the self (1-2); thoughts on memory and old age (3); part of dialogue between Thersites and a "Poet", discussing 'rebellious products and portions of your imagination' (4v).

From the other end of the book: translation of "Philoctetes" by Trevelyan up to line 53; loose sheets inserted with translation of the play to line 114.

Utrecht. - What a warm welcome Robert and Elizabeth have given his 'effigy'; if he himself could occupy that privileged place, it would wonder ceaselessly at the spectacle of their joys and the memory that his 'Sicilian roof sheltered their preparation'. Would also amuse him to share in the studies they undertake together in the Encyclopaedia Britannia. Asks whether they have a plan of which articles to read, or whether they choose by the 'inspiration of the moment'. Very interested by Robert's account of the production of "Agamemnon" [at Cambridge, directed in Greek by John Willis Clark]; a shame that the actors cannot 'push on to Taormina to perform on the stage originally built by the Greeks', but wonders how many listeners they would attract; he himself would only understand them if he had the text. A little surprised by Robert's exclusive preference for that play; he prefers "Prometheus", then the "Choephori". The works of Aeschylus produce on him 'the effect of Cyclopean monuments; they are majestic, sublime, but still rough'; thinks there is more 'harmony' in Sophocles, and praises the two "Oedipus" plays and "Antigone" highly; also highly esteems Euripides as a thinker, despite the 'ruthless trial' given him by Aristophanes in the "Frogs". However, he is telling Robert things he knows more about than himself. Thanks Robert for his two letters; is particularly obliged for giving him the address of a lawyer to whom he can entrust the pursuit of his rights regarding Wilhelm Pruijs. Unfortunately, Pruijs had 'already fallen into disrepair and his goods been seized at the time when he borrowed' from Grandmont, who is in the position of 'Maître Corbeau' [in Aesop's fable of the "Crow and the Fox"] who 'swore (but a little late) that he would not take it anymore.

Garden Corner, West Road, Cambridge. - Saw the news of [Clifford] Allen's death with 'deep sorrow and sympathy'; expects Bob will now return to England, and hopes he will come for the "Antigone" [the Cambridge Greek Play, with the choruses in English translation by Bob] and spend the weekend with them.

Garden Corner, West Road, Cambridge. - This letter may arrive before the one he sent to the Shiffolds yesterday to be forwarded, expressing his 'deep concern' of Bob's report from Rome of [Clifford] Allen's health. Got Bob's postcard from Switzerland today. He and Janet would be happy to put him up in Cambridge near the beginning of March for the Cambridge Greek Play ["Antigone"], though on the 10th he and Janet must be in London in the evening for her Play Centre show; would be best if he could come on Saturday the 11th, the last night, and stay the weekend. Can buy the play tickets.

Garden Corner, West Road, Cambridge. - Thanks Bob for his last letter; thoughts with them all [during Clifford Allen's last illness]. Has tickets for ["Antigone", the Cambridge] Greek Play for 11 [March]; hopes Bob will be able to come and spend the weekend with them.

26 Addison Avenue, W.11. - Thanks Bob for his 'Christmas gift', "From The Shiffolds", which he and Beatrice have 'much appreciated'; was afraid when he first saw it that the poems might be 'too classical' for Beatrice's 'non-classical background', but there was in fact a great deal which appealed to her. She was 'particularly impressed' by the fragments from Sophocles and Euripides; he also thought they were 'perfectly translated'. He also enjoyed the "Hymn to Pan"; has always thought it a 'delightful poem'. The "Moretum" was 'quite new" to him, and is glad to have been 'introduced' to it; cannot think of anything else in Latin or Greek with the 'same sheer sustained realism'; does not read to him like Virgil, but perhaps it was a 'first experiment' along the line eventually leading to the "Georgics". Best wishes from them both to Bob and Bessie for the New Year.

c/o A[ubrey] Waterfield Esq., La Fortezza, Aulla, Lunigiana, Italy. - Was very interested in Everett's two essays; what he says about Shakespeare [in "Six Cleopatras", "The Atlantic Monthly" (February 1905) 252-263] seems 'very just', and if he knew the other Cleopatras would probably agree with Everett's thoughts on them too. Ashamed to say he has never read the Dryden ["All for Love or, the World Well Lost"] though he has long meant to; the version by Delphine Gay [de Girardin] also sounds interesting. Finds it harder to agree totally with Everett's paper on Catullus and Horace ["Catullus vs Horace", "Harvard Studies in Classical Philology" 12 (1901): 7-17]; glad to hear Horace praised, as he is 'often now unjustly deprecated', but obviously thinks more of Catullus than Everett does. Though he admits the faults Everett finds, nothing in Horace appeals to him 'personally in the way that the Attys and the first Epithalium [sic: of Catullus] do'. Responds to a few of Everett's criticisms in detail, and says he would 'be prepared to defend Catullus as one of the very greatest poets in the world'. Everett's 'comparison of [Sophocles'] "Ajax" with "Othello" is 'a very just one'; agrees in some respects with what Everett says about the play, though feels the 'repulsive and sordid elements' may be needed to relieve Othello's characters, which is 'essentially noble and beautiful'. Thanks Everett for sending him Mr [William?] Bradford's poems; was much interested in them but disappointed; did not care for the lyrics and, though the sonnets read well, he found htem 'lacking in real poetical quality'; seems to him a difficult genre of poetry to succeed in, though Wordsworth's "Extinction of the Venetian Republic" and sonnet about Toussaint L'Ouverture show what may be done. Is writing a 'lyrical drama on Ariadne and Theseus ["The Bride of Dionysus"]... intended as a libretto for a musical friend [Donald Tovey]". The last act 'will be the most difficult, and should be the best'.

'...I. The text in Greek and English; II. The incidental music written by C. V. Stanford'.

Quotation from N[orman] Douglas's "Late Harvest", with verse, 'Brief and gross is the pleasure of love's deed'. Incomplete piece on nature, pleasure, and poetry. Section from Trevelyan's "Thamyris" [page reference added after publication?], with discussion of the work of Lascelles Abercrombie and Robert Bridges. Notebook used from other end in: poem, "To Gordon Bottomley" (first line, 'All best things fade, dear Gordon, into memory and regret...'). Translation of Catullus LXI; note on translations from Aeschylus and Sophocles; translation of Mimnermus 'to his own soul', Pindar fragment 106, Tiberianus, 'Furius and Aurelius...' [Catullus XI], Pindar Pythian 4 line 67ff.

Greek text and illustrations; English commentary.

[On headed notepaper for Wallington, Cambo, Northumberland]:- Thanks his parents for their letters. The work is 'very slow in the sixth', but he does not mind too much, as 'the Sophocles is very hard to do really correctly' and at least Welldon thoroughly explains it. Studies in his own time to 'make up', and has 'now got fairly into the Prometheus Vinctus [of Aeschylus]', which he has always wanted to do. Will also 'finish the De Corona [by Demosthenes] easily before the end of the term'.

Is 'very glad' that Sanderson has come back, 'as he is the only person who is really interesting'; he is 'conservative in opinions, but not in heart', and Robert thinks 'he will be converted, in part at least'. Football is 'rather slow, and [their house's] torpids are too small to be good' but they are 'doing [their] best to teach them'. [William?] Strutt 'promises to be a really first rate player, if only he will grow'. Asks his father to tell his mother that he is 'not in the Philathlet[ic Club], and shall not be for a long time': he just used Charlie's writing paper.

Had a cold which looked as if it were going to become serious, but is 'well now by judicious stopping-out'. Hopes Georgie will recover by the end of term, and will at least have 'a happy time at Wallington'. Is 'very surprised to hear about the 5 at a shot business', but is 'always for defending Thornton [Trevelyan?]'s veracity'. Has written to his grandfather, though found it 'rather difficult' since he 'had had now experience'. Is 'very sorry for him as he feels it so much'.

The Master's Lodge, Trinity College, Cambridge. - Good of Bob to send [his translation of Sophocles'] "Oedipus C" ["at Colonus"], which he is reading with particular 'delight and interest' as he has never done so before, either in Greek or English. Janet is also looking forward to reading it, and is 'the best Grecian of us two'. Bob is 'certainly having a great harvest' in his old age, like Sophocles; he himself is 'more played out as a history writer' than Bob is as a poet.

Im Gartenhaus [in the Garden House], Well Knowe House, Cartmel, by Carnforth. - Very glad to have "The Bride [of Dionysus"] and sorry to be so late with his thanks. As Bob says, will save most of his comments until they meet, but much admires the book. Some metrical effects will 'always evoke' for him the sound of Bob reading it, and 'between some lines [he will] always hear the Welsh waves'. Mentions a few passages he enjoyed. Found the Labyrinth scene so exciting that it 'nearly turned [him] into a scenic designer, and so also with Phaedra's incantation'. Liked the other poems too, and the Lucretius which was new to him; finds Bob's translations 'remarkable' and 'much more subtle and weighty' than any other English translations; now realises the significance of the originals to their contemporary audience more than ever before. Wishes Bob might at least translate all of Sophocles before Gordon dies. He and his wife have had Bob's letter this morning and are 'mournful' they missed him on his way to Seatoller. Good of him to think of coming later just to see them, but do not want to miss him when he is so near and would 'prefer both times'; they do understand that work should not be disrupted so he should not think about it until Whitsuntide. 'Parents are such [emphasised] a responsibility': Emily's mother took rooms for them at Buxton after Whitsun without their knowledge, but they have told her they cannot come until the week after. Happy to hear that both Trevelyans liked his poems so much. Is not 'made of moods in [his] natural life', but thinks Bob's wife is right and that his poems are his moods. Does not want his poems to be 'illogical', but is 'curst with a natural tendency to explanatoriness [sic]' which he is then 'driven to thought', but never wants to be 'an impressionist', however much he seems to. Is however a 'fortunate fellow' since many writers in England would 'give their heads to be praised by' Bob, [Lascelles] Abercrombie and [Thomas Sturge] Moore - even though Moore's praise is 'in patches': they 'fortify' him against the 'refrigerant reviewers'; supposes Bob has seen the "Manchester Guardian" 'deflating' him last Friday.

King's College, Cambridge. - 'Paddy Hadley, the composer' has 'taken a few liberties' with Trevelyan's translation when working it into the music for Sheppard's production of the "Antigone"; quotes Hadley on the alterations he has made. Hadley and the printers are keen Trevelyan should know this, and therefore Sheppard is writing to inform him, but he has assured them Trevelyan will not be angry. Natural that Hadley, since he is writing modern music, has taken 'much greater liberties with the metrical schemes' than Trevelyan.

Verse about Meleager. Draft of version of "Comatas and the Bees" - published in "Polyphemus and other poems", but numbered 'III' and with a reference to a lady with a fan omitted from the published version, suggested it was originally intended to form part of the the next draft "For a Fan", published in "Mallow and Asphodel". "Archilochus, serving as a hireling spearman, remembers Neoboule...". Draft of reply given by Trevelyan at a meeting [a dinner?] of the Cambridge Apostles on the subject of 'Exclusiveness': mentions Lytton [Strachey], who to 'the vulgar journalistic world' that does not understand him and his work has 'no doubt become a kind of type or symbol of fastidious exclusiveness', to [John] McTaggart and to James Strachey. Draft of part of "The Sumerian Deluge".

Notebook also used from other end in: draft verse by Trevelyan, first line 'Holding a myrtle branch and rosebud fair...'. Translation of Theocritus's "Idylls" 4, 10, 11, 14, 29; Sophocles's "Antigone" 988-992; Lucretius's "De Rerum Natura" 1.988 on.

Two book references in French on inside cover, along with addresses of shops where these books can be obtained [probably not in Trevelyan's hand, perhaps from his time in France in 1918-1919?]. Also list of topics [for verse?]: 'Septimius & Acme. (Meleager). Orpheus. Gilgamesh.' etc.