Lydgate, Wyntoun's contemporary, apparently shared his views. In translating Boccaccio's _Falls of Princes_ he dispenses with stylistic ornament. Of freshe colours I toke no maner hede. But my processe playnly for to lede: As me semed it was to me most mete To set apart Rethorykes swete.[121] But when it came to the Troy story, his matter demanded a different treatment. He calls upon Mars To do socour my stile to directe, And of my penne the tracys to correcte, Whyche bareyn is of aureate licour, But in thi grace I fynde som favour For to conveye it wyth thyn influence.[122] He also asks aid of Calliope. Now of thy grace be helpyng unto me, And of thy golde dewe lat the lycour wete My dulled breast, that with thyn hony swete Sugrest tongis of rethoricyens, And maistresse art to musicyens.[123] Like Wyntoun, Lydgate pays tribute to his predecessors, the clerks who have kept in memory the great deeds of the past ... thorough diligent labour, And enlumyned with many corious flour Of rethorik, to make us comprehend The trouthe of al.[124] Of Guido in particular he writes that he ... had in writyng passynge excellence. For he enlumyneth by craft & cadence This noble story with many fresch colour Of rethorik, & many riche flour Of eloquence to make it sownde bet He in the story hath ymped in and set, That in good feyth I trowe he hath no pere.[125] None of these men point out the relationship between the style of the original and the style to be employed in the English rendering. Caxton, the last writer to be considered in this connection, remarks in his preface to _The Recuyell of the Histories of Troy_ on the "fair language of the French, which was in prose so well and compendiously set and written," and in the prologue to the _Eneydos_ tells how he was attracted by the "fair and honest terms and words in French," and how, after writing a leaf or two, he noted that his English was characterized by "fair and strange terms." While it may be that both Caxton and Lydgate were trying to reproduce in English the peculiar quality of their originals, it is more probable that they beautified their own versions as best they could, without feeling it incumbent upon them to make their rhetorical devices correspond with those of their predecessors. Elsewhere Caxton expresses concern only for his own language, as it is to be judged by English readers without regard for the qualities of the French. In most cases he characterizes his renderings of romance as "simple and rude"; in the preface to _Charles the Great_ he says that he uses "no gay terms, nor subtle, nor new eloquence"; and in the preface to _Blanchardyn and Eglantine_ he declares that he does not know "the art of rhetoric nor of such gay terms as now be said in these days and used," and that his only desire is to be understood by his readers. The prologue to the _Eneydos_,