Now in the first translation, we don’t know who says the cock has crowed. In the second it is the Lady, and in the third, her lover. And these patterns continue through the remaining stanzas. Clearly the poem will be differently understood and enjoyed depending on who we think is saying what. Legge and Waley are very well known translators, and if some sinologists arch their eyebrows at including Ezra Pound’s work—he knew only the rudiments of classical Chinese when he began it—there are others who admire Pound’s efforts, especially his translation of the Analects as well as the Odes (Harbsmeier 1990: 140; for an appreciation of Pound of another kind in this regard, see Nylan 2014: xxxiii–xl). An equally ubiquitous stylistic rule was to employ parallel construction of sentences. At times this proved extremely helpful for interpreting opaque sentences, when they preceded or followed others structurally the same. But just as often vagueness and/or indeterminacy resulted for all save the first pair.