More and more, you know, as I got more and more poems I thought well okay, I've got to try to make a whole thing out of this and… and maybe try to take it through the whole period in the bunker when… when Hitler has... has come in from — what was it — the Wolfsschanze or something like that, where he had his headquarters, and now is under the chancellory in… in these underground tunnels, which incidentally are much more… much more extensive than anybody had had any idea for even 20 years after the War, nobody had any idea how… how… they had practically a whole underground city under there. And I decided okay, let's see if I can take it through that whole period, up to the… up to the surrender, and add more and more characters and.... Mag… Magda Goebbels, I didn't mention her earlier, she… she all sings in French, in very elaborate French love poem form… love poem form, you know, for lying in love. So… so, everything she was doing — as I saw it — was a sort of parallel to the things that the Nazis as rulers were doing. I mean clearly… clearly Goeb… Goebbels felt the important thing is to keep saying the same lie over and over, louder and louder. Well, she does the same thing, she has these repetitious French love poems where… roundelays and triplets and I don't know, I forget the names of all of them, but anyway, she’s using all of them — villanelles — she doesn't do a sestina because she had six children there and so they get to do the sestina, there's six parts in other words. But yeah, and… and you know pretty soon I had almost all the major characters that I wanted to… to deal with.