"A poem whose excellence peculiarly consists in the graces of diction," his preface runs, "is far more difficult to be translated, than a work where sentiment, or passion, or imagination is chiefly displayed.... Besides, the meanness of the terms of husbandry is concealed and lost in a dead language, and they convey no low and despicable image to the mind; but the coarse and common words I was necessitated to use in the following translation, viz. _plough and sow_, _wheat_, _dung_, _ashes_, _horse and cow_, etc., will, I fear, unconquerably disgust many a delicate reader, if he doth not make proper allowance for a modern compared with an ancient language."[447] According to Hoole, the English language confines the translator within narrow limits. A translation of Berni's _Orlando Innamorato_ into English verse would be almost impossible, "the narrative descending to such familiar images and expressions as would by no means suit the genius of our language and poetry."[448] The task of translating Ariosto, though not so hopeless, is still arduous on this account. "There is a certain easy negligence in his muse that often assumes a playful mode of expression incompatible with the nature of our present poetry.... An English translator will have frequent reason to regret the more rigid genius of the language, that rarely permits him in this respect, to attempt even an imitation of his author." The comments quoted in the preceding pages make one realize that, while the translator was left astonishingly free as regarded his treatment of the original, it was at his peril that he ran counter to contemporary literary standards. The discussion centering around Pope's _Homer_, at once the most popular and the most typical translation of the period, may be taken as presenting the situation in epitome. Like other prefaces of the time, Pope's introductory remarks are, whether intentionally or unintentionally, misleading. He begins, in orthodox fashion, by advocating the middle course approved by Dryden. "It is certain," he writes, "no literal translation can be just to an excellent original in a superior language: but it is a great mistake to imagine (as many have done) that a rash paraphrase can make amends for this general defect; which is no less in danger to lose the spirit of an ancient, by deviating into the modern manners of expression." Continuing, however, he urges an unusual degree of faithfulness. The translator must not think of improving upon his author. "I will venture to say," he declares, "there have not been more men misled in former times by a servile, dull adherence to the letter, than have been deluded in ours by a chimerical insolent hope of raising and improving their author.... 'Tis a great secret in writing to know when to be plain, and when poetical and figurative; and it is what Homer will teach us, if we will but follow modestly in his footsteps. Where his diction is bold and