href="@public@vhost@g@gutenberg@html@files@32528@[email protected]#Footnote_5_5" class="fnanchor pginternal" tag="{http://www.w3.org/1999/xhtml}a">[5] of Fanshaw's version, that "its language is antiquated, and in many instances it travesties the original, and seldom long sustains the tone of epic gravity suited to the poem. It is, however," says he, "more faithful than the translation of Mickle, but it would be ungenerous," he adds, "to dwell on the paraphrastic licences which abound in Mickle's performance, and on its many interpolations and omissions. Mr. Mickle thought, no doubt," says Musgrave, "that by this process he should produce a poem which in its perusal might afford a higher gratification. Nor am I prepared to say that by all readers this would be deemed a miscalculation. Let it not be supposed, however, that I wish to detract from the intrinsic merit of his translation. It is but an act of justice to admit, that it contains many passages of exquisite beauty, and that it is a performance which discovers much genius, a cultivated taste, and a brilliant imagination. Many parts of the original are rendered with great facility, elegance, and fidelity. In poetical elegance I presume not to enter into competition with him."

For his own performance Musgrave claims the merit of greater fidelity to the original; but in respect of harmony, in true poetic grace, and sublimity of diction, his translation will bear no comparison with Mickle's version; for even Southey, in the article before quoted, though very hard upon his interpolations, admits that, "Mickle was a{xiv} man of genius ... a man whom we admire and respect; whose memory is without a spot, and whose name will live among the English poets." (Quarterly Review, liii. p. 29.)

It only remains for me to say, that in order to place the reader in a position to judge of the merits of this sublime effort of genius, I have distinguished Mickle's longer interpolations by printing them in Bk. i. p. 24, in Italics, and in the first 300 lines of Bk. ix. by calling the attention of the reader to the interpolation by means of a foot-note. The notes are, in general, left as written by the translator, except in some cases where it seemed advisable to curtail them. Original notes are indicated by the abbreviation "Ed."

THE EDITOR.

London, 1877.

THE LIFE OF CAMOËNS,

BY WILLIAM JULIUS MICKLE.

When the glory of the arms of Portugal had reached its meridian splendour, Nature, as if in pity of the literary rudeness of that nation, produced a great poet to record the numberless actions of high spirit performed by his countrymen. Except Osorius, the historians of Portugal are little better than dry journalists. But it is not their inelegance which rendered the poet necessary. It is the peculiar nature of poetry to give a colouring to heroic actions, and to express indignation against breaches of honour, in a spirit which at once seizes the heart of the man of feeling, and carries with it instantaneous conviction. The brilliant actions of the Portuguese form the great hinge which opened the door to the most important alterations in the civil history of mankind. And to place these actions in the light and enthusiasm of poetry—that enthusiasm which particularly assimilates the youthful breast to its own fires—was Luis de Camoëns the poet of Portugal, born.

Different cities have claimed the honour of his birth. But according to N. Antonio, and Manuel Correa, his intimate friend, this event happened at Lisbon in 1517.[6] His family was of considerable note, and originally Spanish. In 1370 Vasco Perez de Caamans, disgusted at the court of Castile, fled to that of Lisbon, where King Ferdinand immediately admitted him into his council, and gave him the lordships of Sardoal, Punnete, Marano, Amendo, and other considerable lands; a certain proof of the eminence of his rank and abilities. In the war for the succession, which broke{xvi} out on the death of Ferdinand, Caamans sided with the King of Castile, and was killed in the battle of Aljabarota. But though John I., the victor, seized a great part of his estate, his widow, the daughter of Gonsalo Tereyro, grand master of the Order of Christ, and general of the Portuguese army, was not reduced beneath her rank. She had three sons, who took the name of Camoëns. The family of the eldest intermarried with the first nobility of Portugal, and even, according to Castera, with the blood royal. But the family of the second brother, whose fortune was slender, had the superior honour to produce the author of the Lusiad.

Early in life the misfortunes of the poet began. In his infancy, Simon Vaz de Camoëns, his father, commander of a vessel, was shipwrecked at Goa, where, with his life, the greatest part of his fortune was lost. His mother, however, Anne de Macedo of Santarem, provided for the education of her son Luis, at the University of Coimbra. What he acquired there his works discover; an intimacy with the classics, equal to that of a Scaliger, but directed by the taste of a Milton or a Pope.

When he left the university he appeared at court. He was a polished scholar and very handsome,[7] possessing a most engaging mien and address, with the finest complexion, which, added to the natural ardour and gay vivacity of his deposition, rendered him an accomplished gentleman. Courts are the scenes of intrigue, and intrigue was fashionable at Lisbon. But the particulars of the amours of Camoëns rest unknown. This only appears: he had aspired above his rank, for he was banished from the court; and in several of his sonnets he ascribes this misfortune to love.

He now retired to his mother's friends at Santarem. Here he renewed his studies, and began his poem on the discovery of India. John III. at this time prepared an armament against Africa. Camoëns, tired of his inactive, obscure life, went to Ceuta in this expedition, and greatly distinguished his valour in several rencontres. In a naval engagement with the Moors in the Straits of Gibraltar, Camoëns, in the conflict of boarding, where he was{xvii} among the foremost, lost his right eye. Yet neither the hurry of actual service, nor the dissipation of the camp, could stifle his genius. He continued his Lusiadas; and several of his most beautiful sonnets were written in Africa, while, as he expresses it,

"One hand the pen, and ant the sword employ'd."

The fame of his valour had now reached the Court, and he obtained permission to return to Lisbon. But while he solicited an establishment which he had merited in the ranks of battle, the malignity of evil tongues (as he calls it in one of his letters) was injuriously poured upon him. Though the bloom of his early youth was effaced by several years residence under the scorching sky of Africa, and though altered by the loss of an eye, his presence gave uneasiness to the gentlemen of some families of the first rank where he had formerly visited. Jealousy is the characteristic of the Spanish and Portuguese; its resentment knows no bounds, and Camoëns now found it prudent to banish himself from his native country. Accordingly, in 1553 he hailed for India, with a resolution never to return. As the ship left the Tagus he exclaimed, in the words of the sepulchral monument of Scipio Africanus, "Ingrata patria, non possidebis ossa mea!" (Ungrateful country, thou