folk poetry, it is not that which is commonly spoken by the Greek people, it is not some specific dialect of Greece, yet it is all these things together and something more." Vlachos was not the only one to argue that written demotic, while admittedly expressing the "national soul", belonged to the world of the folk songs, and that poets had no business trying to adapt it to high culture or modern needs (Vernadakis had already said something similar). Accordingly, the rules of the Filadelfeios competition were changed in 1892 to specify that entries could still be in either Katharevousa or demotic, but that the demotic must now be "the pure language of the folk songs". Vlachos' speech was published in Estia and provoked many responses, notably from in Our Literary Language (1892). Polylas (originally, like Konemenos, from Corfu in the Ionian Islands) was a veteran demoticist and editor of Solomos' works, who had already (1875-1881) published a translation of Homer's Odyssey into demotic verse. While agreeing with Psycharis that Katharevousa was a "makeshift archaic construct", he maintained that all literary languages developed from collaboration between the laos and the logioi (the people and the learned) and that demotic should welcome Katharevousa words where necessary for "the organic development of the national language". Referring back to Vlachos' description of the new demotic as being "not that of folk poetry ... yet all these things and something more", Polylas concluded that exactly the same could be said of all the other European literary languages, and that this was just what Greece needed. It was during these years that the term glossoplastis 'creator of language' gained currency. First used in 1890, it was "a term of praise for poets who were expanding the expressive range of the demotic language, especially by demonstrating its remarkable capacity for forming new words." (Mackridge 2009 p. 235) Palamas too challenged both Vlachos and Psycharis in a series of long articles (written in Katharevousa, still the conventional norm for prose, even for demoticists). He rejected both notions of demotic 'purity': the ideal "pure popular language, rendered immortal by the folk songs" of Vlachos, and the doctrinaire purity of form demanded by Psycharis. Palamas argued that a language is 'owned' by the people who actually speak it—"the Creator that gives life" to the language—and that the Poet, as one of these speakers, has a perfect right to use