indeed with equal
felicity, for May and Sandys were poets, and Holiday only a scholar and
a critick.

Feltham appears to consider it as the established law of poetical
translation, that the lines should be neither more nor fewer than those
of the original; and so long had this prejudice prevailed, that Denham
praises Fanshaw's version of Guarini as the example of a _new and noble
way_, as the first attempt to break the boundaries of custom, and assert
the natural freedom of the Muse.

In the general emulation of wit and genius which the festivity of the
Restoration produced, the poets shook off their constraint, and
considered translation as no longer confined to servile closeness. But
reformation is seldom the work of pure virtue or unassisted reason.
Translation was improved more by accident than conviction. The writers
of the foregoing age had at least learning equal to their genius; and,
being often more able to explain the sentiments or illustrate the
allusions of the ancients, than to exhibit their graces and transfuse
their spirit, were, perhaps, willing sometimes to conceal their want of
poetry by profusion of literature, and, therefore, translated literally,
that their fidelity might shelter their insipidity or harshness. The
wits of Charles's time had seldom more than slight and superficial
views; and their care was to hide their want of learning behind the
colours of a gay imagination; they, therefore, translated always with
freedom, sometimes with licentiousness, and, perhaps, expected that
their readers should accept sprightliness for knowledge, and consider
ignorance and mistake as the impatience and negligence of a mind too
rapid to stop at difficulties, and too elevated to descend to
minuteness.

Thus was translation made more easy to the writer, and more delightful
to the reader; and there is no wonder if ease and pleasure have found
their advocates. The paraphrastick liberties have been almost
universally admitted; and Sherbourn, whose learning was eminent, and who
had no need of any excuse to pass slightly over obscurities, is the only
writer who, in later times, has attempted to justify or revive the
ancient severity.

There is undoubtedly a mean to be observed. Dryden saw very early that
closeness best preserved an author's sense, and that freedom best
exhibited his spirit; he, therefore, will deserve the highest praise,
who can give a representation at once faithful and pleasing, who can
con