The idea of thus preserving the continuity of Horace’s poem, while revising and readapting its text, was probably first conceived by Oldham in his English version of the _Ars Poetica_. In his preface Oldham stated his design as follows: “I resolved to alter the scene from Rome to London, and to make Use of English Names of Men, Places, and Customs, where the Parallel would decently permit, which I conceived would give a kind of New Air to the Poem, and render it more agreeable to the Relish of the Present Age.” Accordingly, while keeping roughly to the text of Horace, he introduced plentiful references to English poets. Byron also gives his satire a modern setting, but in so doing, takes more liberties than Oldham. He substitutes Milton for Homer as the classic example of the epic poet; he makes Shakspere instead of Æschylus the standard writer of drama. He inserts many passages, such as the remarks on the Italian Opera, on Methodism, and on the versification of _Hudibras_, which have no counterparts in the _Ars Poetica_. Oldham had refrained from satirising his contemporaries; Byron improves every opportunity for assailing his old antagonists. Allusions to “Granta” and her Gothic Halls, to “Cam’s stream,” to Grub-street, and to Parliament make _Hints from Horace_ a thoroughly modern poem. We may apply to it Warburton’s comment on Pope’s _Imitations_: “Whoever expects a paraphrase of Horace, or a faithful copy of his genius, or manner of writing ... will be much disappointed.” Byron restates, without much alteration, the critical dicta which Horace had established as applicable to poetry in all times and countries; he takes the plan of the _Ars Poetica_ as a rough guide for his English adaptation; but he introduces so many digressions and changes so many names that his satire is firmly stamped with his own individuality.