do in the
New Testament, Azymes, prepuce, neophyte, sandale, parasceve, and such
like."[236] "When you say 'evangelized,' you do not translate, but feign
a new word, which is not understood of mere English ears."[237]

Fulke describes himself as never having been "of counsel with any that
translated the scriptures into English,"[238] but his works were
regarded with respect, and probably had considerable influence on the
version of 1611.[239] Ironically enough, they did much to familiarize
the revisers with the Rhemish version and its merits. On the other hand,
Fulke's own views had a distinct value. Though on some points he is
narrowly conservative, and though some of the words which he condemns
have established themselves in the language nevertheless most of his
ideas regarding linguistic usage are remarkably sound, and, like those
of More, commend themselves to modern opinion.

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 disapp