 Another key means that Herder adopts is to complement the goal of semantic faithfulness with that of faithfulness to the musical form of a work (e.g., meter, rhyme, alliteration, and assonance). As might be expected, his motives for doing this are partly extra-semantic: in particular, aesthetic fidelity, and fidelity to the exact expression of feelings that is effected by means of a literary work’s musical features. But they are also in part semantic: in his view, musical form and semantic content are strictly inseparable, so that fully realizing even the goal of semantic faithfulness in fact requires that a translation also be faithful to the work’s musical form. Why does he believe that musical form and semantic content are inseparable in this way? He has two main reasons: First, musical forms often carry their own meanings (think, for example, of the humorous and bawdy connotations of the meter/rhyme-scheme of a limerick). Second, as was recently mentioned, Herder believes that musical form is essential to an exact expression of feelings; but, as we saw earlier, he also thinks that feelings are internal to meanings (this is part of the force of his quasi-empiricism in the philosophy of language); so reproducing a work’s musical form in translation turns out to be essential even for accurately conveying the meanings of its words and sentences in translation.