Ausiàs March's poetry enjoyed an extraordinary diffusion in the Iberian Peninsula during the Renaissance: nine printings (plus one reproduced without permission) between 1539 and 1579, apart from several other efforts that were not printed. The activity includes several translations into Spanish, and it found a parallel in a long list of imitators, starting with Boscán (Joan Boscà, 1488/9-1542), the true focus of the literary spread. This paper deals, in a practical way, with the intimate relationship between the practices of imitation and translation in this context. Several literary reasons conditioning the translators' choices and results are also illustrated. The final analysis shows that modern judgements of value should be suspended; it could also be brought to the present, by virtue of the historical point of view adopted in the study.