final line of the first stanza, “And leaves the world to darkness and to me”. Some of these problems disappeared when that translation was into Classical Latin, only to be replaced by others that Gray himself raised in correspondence with Christopher Anstey, one of the first of his translators into Latin. Anstey did not agree that Latin was as unpliable as Gray suggests and had no difficulty in finding ways of including all these references, although other Latin translators found different solutions, especially in regard to inclusion of the beetle. He similarly ignored Gray's suggestion in the same letter, referring back to his own alternative versions in earlier drafts of his poem: “Might not the English characters here be romanized? Virgil is just as good as Milton, and Cæsar as Cromwell, but who shall be Hampden?” Again, however, other Latin translators, especially those from outside Britain, found Gray's suggested alternative more appealing. One other point, already mentioned, was how to deal with the problem of rendering the poem's fourth line. Gray remarked to Anstey, “’That leaves the world to darkness and to me’ is good English, but has not the turn of a Latin phrase, and therefore, I believe, you were in the right to drop it.” In fact, all that Anstey had dropped was reproducing an example of zeugma with a respectable Classical history, but only in favour of replicating the same understated introduction of the narrator into the scene: et solus sub nocte relinqor (and I alone am left under the night). Some other translators, with other priorities, found elegant means to render the original turn of speech exactly. In the same year that Anstey (and his friend William Hayward Roberts) were working on their Elegia Scripta in Coemeterio Rustico, Latine reddita (1762), another Latin version was published by Robert Lloyd with the title Carmen Elegiacum. Both were subsequently included in Irish collections of Gray’s poems, accompanied not only by John Duncombe’s “Evening Contemplation”, as noted earlier, but in the 1775 Dublin edition by translations from Italian sources as well. These included another Latin translation by Giovanni Costa and two into Italian by Abbate Crocci and Giuseppe Gennari. The pattern of including translations and imitations together continued into the 19th century with an 1806 bilingual edition in which a translation into French verse, signed simply L.D., appeared facing the English original page by page. However, the bulk of