William Benson opens his first letter by insisting he will write 'as much, or as little at a time as I may have an Inclination to,' establishing a conversational yet methodical tone. His central claim is that a translator must first grasp the author's 'peculiar Stile'—without it, even a competent translation 'will hardly deserve the Name of a Translation.' Benson distinguishes Homer's 'rapid' style, where multiple verbs are governed by a single antecedent, from Virgil's 'majestick' style, which relies on periodic suspension. He supports this with a close comparison of a Homeric passage and a looser translation, arguing that the latter loses 'all the Fire of Homer.'

Monosyllables and the Pacing of Verse

Benson devotes sustained attention to monosyllables as tools for controlling tempo and emphasis. He praises Mr. Pit's translation of the Aeneid for placing the word 'Fly' at the beginning of a line, arguing that the monosyllable 'animates' the verse by conveying Juno's urgency. Similarly, he examines Milton's use of monosyllables to divide the final foot of a line, as in 'Silence, ye troubled Waves, and thou, Deep, Peace.' Benson contends that such placement forces the reader to pause, mirroring the action described. He contrasts Milton's original lines—'Now at their shady Lodge arriv'd, both stopt, / Both turn'd'—with a flattened version that rearranges the words, concluding that the altered syntax 'falls very short of the Original' because it loses the visual effect of stopping and turning.

Collocation and the Weight of Words

Benson highlights Milton's 'wonderful Art in the Collocation of Words' through two examples from Paradise Lost. In the description of Eve's creation, the word 'Mean' is placed at the end of a line, isolated by a comma, which Benson argues gives it extraordinary force: 'What a Force has that Word mean, as it is plac'd!' He also cites a passage where Adam reflects on 'all Things fair and good' and then sees them 'United' in Eve's 'Divine Semblance.' Benson asserts that such collocation achieves a 'Perfection' he believes unmatched in other languages. These observations reveal his method: rather than praising Milton's imagery, he focuses on how word order creates emphasis and emotional weight through syntactic disruption.

Varying Pronunciation and Metrical Deviation

Benson identifies two further techniques: varying common pronunciation and using lines that deviate from the expected meter. He notes that Milton sometimes requires an unusual pronunciation, as in 'au—di—bly spake,' where the word must be read with three distinct syllables rather than the usual three. Similarly, 'in—fi—nite Host' forces a similar elongation. Benson also points to lines that break the standard iambic pattern, such as 'Drove headlong down to the Bottomless Pit,' where the extra syllable disrupts the rhythm. He defends these 'Arts' against potential critics, reminding readers that sustaining variety across '10 or 12 thousand Lines' is a formidable challenge. These passages show Benson's interest in the physical sound of verse and the reader's auditory experience.

Benson's letters are best approached as a technical manual for the ear. He assumes familiarity with Virgil and Milton, so readers may wish to have the Aeneid and Paradise Lost at hand to test his claims. His arguments are built on small units—single words, line breaks, syllable counts—and reward slow, comparative reading. Pay attention to the way he uses his own prose to demonstrate the effects he describes; his sentences often mimic the rapid or majestic styles he analyzes.