The frequency of standing epithets, characteristic more or less of all popular poetry, is particularly observable among the Slavic nations. The translator will be troubled to find corresponding terms; but whatever he may select, it is essential always to employ the same; for instance, he must not translate the far-extended idea of _bjeloi_, white, alternately by _white, bright, snowy, fair_. In Slavic, not only things really white are called so, but every thing _laudable_ and _beautiful_ is called white; as, the _white_ God, i.e. the _good_ God; the _white_ Tzar, i.e., the monarch of _white_, or great and powerful, Russia. In most cases the poet himself no longer thinks of the signification and original meaning of the word. Yards, walls, bodies, breasts, hands, etc. are invariably _white_; even the breast and the hand of the tawny Moor. The sea is seldom mentioned without the epithet _blue_; Russian heroes have _black_ hair, but the head of the Servian hero is called _Rusja glava_, fair-haired, with a reddish shade. Russian youths, together with their steeds, are invariably _dobroe_, that is, good or brave; the heart is in the poetry of the same nation _retivoe_, cheerful, rash, light. The sun is in Servian _yarko_, bright; in Russian _krasnoi_, which signifies fair and red. Doves are in both languages _gray_. How much the poets are accustomed to these epithets, and how heedlessly they use them, appears from a Servian tale, called "Haykuna's Wedding," a charming poem, and even much more elaborated than is common, where the breasts of a beautiful girl are compared to two gray doves. To remind our readers of the father of popular poetry, Homer, and of the like use by him of stereotype epithets, is unnecessary.