{Yenser’s extended survey of "Lost in Translation" focuses on numerous passages and discusses them in detail. In this, he is centered on Merrill’s description of the page in the jigsaw puzzle.] … Mademoiselle perhaps thinks the boy is the veiled woman’s son, and if so she might be swayed by her own maternal feelings or by her keen awareness of her employers’ domestic plight. We know that she knows a divorce is in the offing, because the boy sneaks a look at her letter to a curé in Alsace, where he reads "cette innocent mère, / Ce pauvre enfant, que deviendront-ils?" [(French): that innocent mother, / That poor child, what will become of them?] The boy assumes that these are the figures in the puzzle, but Merrill lets us understand, as we fit together our own pieces, that she is worried about him and his mother. This is pure Merrill, this casting of the poem’s one direct reference to its emotional and dramatic center in French and the misinterpreting of it. The principle of restraint is honored even as the imminent trauma is specified and authenticating detail is provided. These lines tell us that Mademoiselle, contrary to the boy’s superior observation about what she "thinks mistakenly," would not be all that wrong to believe that the "slave or page-boy" is the veiled woman’s son.