This chapter continues investigation into the functions of translation as a position-taking strategy, but the focus here shifts to translation from classical, ancient, and royally authorized sources, engaging translations like Surrey’s Aeneid and Wyatt’s Penitential Psalms alongside work by Katherine Parr and two prose translations created by young Englishwomen out of foreign language verse: Elizabeth Tudor’s Miroir and Jane Lumley’s Iphigeneia. On one hand, the canonical texts from which Surrey, Wyatt, and Lumley work may offer greater constraints than the Italianate love poetry examined in the previous chapter. These canonical authors had, after all, already famously highlighted particular concerns and themes; while the same can be said of Petrarch, certainly, the weight of the traditions were simply different. These works were often approached as more sacrosanct and less open to entirely new interpretations. This argument was particularly foregrounded in translation of religious texts, and further emphasized by the contemporary controversy on whether vernacular translation of religious texts was even appropriate. On the other hand, though, this offered a cultural store of response which writers might manipulate in particularized ways, either working through their own tensions as mirrored in the classical texts or manipulating their content to match or frustrate perceived desires and expectations. While a similar cultural resource was accessed when writers translated courtly love lyrics, the sheer weight of interpretive tradition associated with Virgil, the Psalms, or Euripides increases the translator’s interaction with, and reaction to, the cultural mythos surrounding each work.