Between the translators of the Bible and the translators of other works there were few points of contact. Though similar problems confronted both groups, they presented themselves in different guises. The question of increasing the vocabulary, for example, is in the case of biblical translation so complicated by the theological connotation of words as to require a treatment peculiar to itself. Translators of the Bible were scarcely ever translators of secular works and vice versa. The chief link between the two kinds of translation is supplied by the metrical versions of the Psalms. Such verse translations were counted of sufficient importance to engage the efforts of men like Parker and Coverdale, influential in the main course of Bible translation. Men like Thomas Norton, the translator of Calvin's _Institutes_, Richard Stanyhurst, the translator of _Virgil_, and others of greater literary fame, Wyatt, Surrey, Sidney, Milton, Bacon, experimented, as time went on, with these metrical renderings. The list even includes the name of King James.[240] At first there was some idea of creating for such songs a vogue in England like that which the similar productions of Marot had enjoyed at the French court. Translators felt free to choose what George Wither calls "easy and passionate Psalms," and, if they desired, create "elegant-seeming paraphrases ... trimmed ... up with rhetorical illustrations (suitable to their fancies, and the changeable garb of affected language)."[241] The expectations of courtly approbation were, however, largely disappointed, but the metrical Psalms came, in time, to have a wider and more democratic employment. Complete versions of the Psalms in verse came to be regarded as a suitable accompaniment to the Bible, until in the Scottish General Assembly of 1601 the proposition for a new translation of the Bible was accompanied by a parallel proposition for a correction of the Psalms in metre.[242]