The Preface.
to a Language, are to be fairly derided, if they ruin it by being frequently introduced; and because Hyperboles, which outrage every lesser Subject where they are seriously us'd, are often beautiful in Ridicule. Let the French, whose Language is not copious, translate in Prose; but ours, which exceeds it in Copiousness of Words, may have a more frequent Likeness of Sounds, to make the Unison or Rhime easier; a Grace of Musick, that attones for the Harshness our Consonants and Monysyllables occasion.
After this, I demanded what Air he would appear with? whether antiquated, like Chapman's Version, or modern, like La Motte's Contraction. To which he answer'd, by desiring me to observe what a Painter does who would always have his Pieces in Fashion. He neither chooses to draw a Beauty in a Ruff, or a French-Head; but with its Neck uncover'd, and in its natural Ornament of Hair curl'd up, or spread becomingly: So may a Writer choose a natural Manner of expressing himself which will always be in Fashion, without affecting to borrow an odd Solemnity and unintelligible Pomp from the past Times, or humouring the present by falling into its Affectations, and those Phrases which are born to die with it.
I ask'd him, lastly, whether he would be strictly litteral, or expatiate with further Licenses? I wou'd not be litteral, replies he, or ty'd up to Line for Line in such a Manner, wherein it is impossible to express in one Language what has been de-liver'd