 Such publications were followed by multilingual collections , of which the most ambitious was Alessandro Torri ’ s L <unk> di Tommaso Gray sopra un <unk> di <unk> <unk> <unk> <unk> in più <unk> con <unk> <unk> <unk> <unk> ( Verona 1819 ) . This included four translations into Latin , of which one was Christopher Anstey ’ s and another was Costa ’ s ; eight into Italian , where versions in prose and terza rima accompanied those already mentioned by Torelli and <unk> ; two in French , two in German and one each in Greek and Hebrew . Even more translations were eventually added in the new edition of 1843 . By that time , too , John Martin ’ s illustrated edition of 1839 had appeared with translations into Latin , Greek , German , Italian and French , of which only the Torelli version had appeared in previous collections . What we learn from all this activity is that , as the centenary of its first publication approached , interest in Gray ’ s Elegy continued unabated in Europe and new translations of it continued to be made . 
