shall be so much richer than they by so many original productions as we have of our own."[374] Seemingly there was an attempt to naturalize "all Greece and Rome." Anacreon, Pindar, Apollonius Rhodius, Lucretius, Tibullus, Statius, Juvenal, Persius, Ovid, Lucan, are names taken almost at random from the list of seventeenth and eighteenth-century translations. Criticism, however, was ready to concern itself with the translation of any classic, ancient or modern. Denham's two famous pronouncements are connected, the one with his own translation of the Second Book of the _Aeneid_, the other with Sir Richard Fanshaw's rendering of _Il Pastor Fido_. In the later eighteenth century voluminous comment accompanied Hoole's _Ariosto_ and Mickle's _Camoens_. At present, however, we are concerned not with the number and variety of these translations, but with their homogeneity. As translators showed themselves less inclined to wander over the whole field of literature, the theory of translation assumed much more manageable proportions. A further limitation of the area of discussion was made by Denham, who expressly excluded from his consideration "them who deal in matters of fact or matters of faith,"[375] thus disposing of the theological treatises which had formerly divided attention with the classics. The aims of the translator were also clarified by definition of his audience. John Vicars, publishing in 1632 _The XII. Aeneids of Virgil translated into English decasyllables_, adduces as one of his motives "the common good and public utility which I hoped might accrue to young students and grammatical tyros,"[376] but later writers seldom repeat this appeal to the learner. The next year John Brinsley issued _Virgil's Eclogues, with his book De Apibus, translated grammatically, and also according to the propriety of our English tongue so far as Grammar and the verse will permit_. A significant comment in the "Directions" runs: "As for the fear of making truants by these translations, a conceit which arose merely upon the abuse of other translations, never intended for this end, I hope that happy experience of this kind will in time drive it and all like to it utterly out of schools and out of the minds of all." Apparently the schoolmaster's ban upon the unauthorized use of translations was establishing the distinction between the English version which might claim to be ranked as literature and that which Johnson later designated as "the clandestine refuge of schoolboys."[377]