No More Learning

Whether he intended it or not (for his genius was
sufficient to suggest its propriety), the judicious precept of
Petronius[15] is the model of the Lusiad. That elegant writer proposes a
poem on the civil war, and no poem, ancient or modern, merits the
character there sketched out in any degree comparative to the Lusiad. A
truth of history is preserved; yet, what is improper for the historian,
the ministry of Heaven is employed, and the free spirit of poetry throws
itself into fictions which makes the whole appear as an effusion of
prophetic fury, and not like a rigid detail of facts, given under the
sanction of witnesses. Contrary to Lucan, who, in the above rules, drawn
from the nature of poetry, is severely condemned by Petronius, Camoens
conducts his poem _per ambages Deorumque ministeria_. The apparition,
which in the night hovers athwart the fleet near the Cape of Good Hope,
is the grandest fiction in human composition; the invention his own! In
the Island of Venus, the use of which fiction in an epic poem is also
his own, he has given the completest assemblage of all the flowers which
have ever adorned the bowers of love. And, never was the _furentis animi
vaticinatio_ more conspicuously displayed than in the prophetic song,
the view of the spheres, and the globe of the earth. Tasso's imitation
of the Island of Venus is not equal to the original; and, though
"Virgil's myrtles[16] dropping blood are nothing to Tasso's enchanted
forest," what are all Ismeno's enchantments to the grandeur and horror
of the appearance, prophecy, and vanishment of the spectre of
Camoens! [17] It has long been agreed among critics, that the solemnity
of religious observances gives great dignity to the historical narrative
of epic poetry. Camoens, in the embarkation of the fleet, and in several
other places, is peculiarly happy in the dignity of religious
allusions. Manners and character are also required in the epic poem. But
all the epics which have appeared are, except two, mere copies of the
Iliad in these respects. Every one has its Agamemnon, Achilles, Ajax,
and Ulysses; its calm, furious, gross, and intelligent hero. Camoens and
Milton happily left this beaten track, this exhausted field, and have
given us pictures of manners unknown in the Iliad, the AEneid, and all
those poems which may be classed with the Thebaid. The Lusiad abounds
with pictures of manners, from those of the highest chivalry to those of
the rudest, fiercest, and most innocent barbarism.
In the fifth, sixth,
and ninth books, Leonardo and Veloso are painted in stronger colours
than any of the inferior characters in Virgil. But _character_, indeed,
is not the excellence of the AEneid. That of Monzaida, the friend of
Gama, is much superior to that of Achates. The base, selfish, perfidious
and cruel character of the Zamorim and the Moors, are painted in the
strongest colours; and the character of Gama himself is that of the
finished hero. His cool command of his passions, his deep sagacity, his
fixed intrepidity, his tenderness of heart, his manly piety, and his
high enthusiasm in the love of his country are all displayed in the
superlative degree. Let him who objects the want of character to the
Lusiad, beware lest he stumble upon its praise; lest he only say, it
wants an Achilles, a Hector, and a Priam. And, to the novelty of the
manners of the Lusiad let the novelty of fire-arms also be added. It has
been said that the buckler, the bow, and the spear, must continue the
arms of poetry. Yet, however unsuccessful others may have been, Camoens
has proved that fire-arms may be introduced with the greatest dignity,
and the finest effect in the epic poem.

As the grand interest of commerce and of mankind forms the subject of
the Lusiad, so, with great propriety, as necessary accompaniments to the
voyage of his hero, the author has given poetical pictures of the four
parts of the world--in the third book a view of Europe; in the fifth, a
view of Africa; and in the tenth, a picture of Asia and America. Homer
and Virgil have been highly praised for their judgment in the choice of
subjects which interested their countrymen, and Statius has been as
severely condemned for his uninteresting choice. But, though the subject
of Camoens be particularly interesting to his own countrymen, it has
also the peculiar happiness to be the poem of every trading nation. It
is the epic poem of the birth of commerce, and, in a particular manner,
the epic poem of whatever country has the control and possession of the
commerce of India. [18]

An unexhausted fertility and variety of poetical description, an
unexhausted elevation of sentiment, and a constant tenor of the grand
simplicity of diction, complete the character of the Lusiad of Camoens:
a poem which, though it has hitherto received from the public most
unmerited neglect, and from the critics most flagrant injustice, was yet
better understood by the greatest poet of Italy. Tasso never did his
judgment more credit than when he confessed that he dreaded Camoens as a
rival; or his generosity more honour than when he addressed the elegant
sonnet to the hero of the Lusiad, commencing--

"Vasco, le cui felici, ardite antenne
In contro al sol, che ne riporta il giorno. "

It only remains to give some account of the version of the Lusiad which
is now offered to the public.