[17] The Lusiad is also
rendered
poetical by other fictions.
Camoes - Lusiades
of Targa in Africa, translated it into
Latin. Le P. Niceron says there were two other Latin translations. It is
translated, also, into Hebrew, with great elegance and spirit, by one
Luzzatto, a learned and ingenious Jew, author of several poems in that
language, who died in the Holy Land.
[13] This passage in inverted commas is cited, with the alteration of
the name only, from Langhorne's account of the life of William Collins.
[14] The drama and the epopoeia are in nothing so different as in
this--the subjects of the drama are inexhaustible, those of the epopoeia
are perhaps exhausted. He who chooses war, and warlike characters,
cannot appear as an original. It was well for the memory of Pope that he
did not write the epic poem he intended. It would have been only a copy
of Virgil. Camoens and Milton have been happy in the novelty of their
subjects, and these they have exhausted. There cannot possibly be so
important a voyage as that which gave the eastern world to the western.
And, did even the story of Columbus afford materials equal to that of
Gama, the adventures of the hero, and the view of the extent of his
discoveries must now appear as servile copies of the Lusiad.
[15] See his Satyricon. --_Ed. _
[16] See letters on Chivalry and Romance.
[17] The Lusiad is also rendered poetical by other fictions. The elegant
satire on King Sebastian, under the name of Acteon; and the prosopopoeia
of the populace of Portugal venting their murmurs upon the beach when
Gama sets sail, display the richness of our author's poetical genius,
and are not inferior to anything of the kind in the classics.
[18] Hence the great interest which we as Britons either do, or ought
to, feel in this noble epic. We are the successors of the Portuguese in
the possession and government of India; and therefore what interested
them must have for us, as the actual possessors, a double
interest. --_Ed. _
[19] Castera was every way unequal to his task. He did not perceive his
author's beauties. He either suppresses or lowers the most poetical
passages, and substitutes French tinsel and impertinence in their place.
[20] Pope, Odyss. XX.
[21] Richard Fanshaw, Esq. , afterwards Sir Richard, was English
Ambassador both at Madrid and Lisbon. He had a taste for literature, and
translated from the Italian several pieces which were of service in the
refinement of our poetry. Though his Lusiad, by the dedication of it to
William, Earl of Strafford, dated May 1, 1655, seems as if published by
himself, we are told by the editor of his Letters, that "during the
unsettled times of our anarchy, some of his MSS. , falling by misfortune
into unskilful hands, were printed and published without his knowledge
or consent, and before he could give them his last finishing strokes:
such was his translation of the Lusiad. " He can never have enough of
conceits, low allusions, and expressions.
Latin. Le P. Niceron says there were two other Latin translations. It is
translated, also, into Hebrew, with great elegance and spirit, by one
Luzzatto, a learned and ingenious Jew, author of several poems in that
language, who died in the Holy Land.
[13] This passage in inverted commas is cited, with the alteration of
the name only, from Langhorne's account of the life of William Collins.
[14] The drama and the epopoeia are in nothing so different as in
this--the subjects of the drama are inexhaustible, those of the epopoeia
are perhaps exhausted. He who chooses war, and warlike characters,
cannot appear as an original. It was well for the memory of Pope that he
did not write the epic poem he intended. It would have been only a copy
of Virgil. Camoens and Milton have been happy in the novelty of their
subjects, and these they have exhausted. There cannot possibly be so
important a voyage as that which gave the eastern world to the western.
And, did even the story of Columbus afford materials equal to that of
Gama, the adventures of the hero, and the view of the extent of his
discoveries must now appear as servile copies of the Lusiad.
[15] See his Satyricon. --_Ed. _
[16] See letters on Chivalry and Romance.
[17] The Lusiad is also rendered poetical by other fictions. The elegant
satire on King Sebastian, under the name of Acteon; and the prosopopoeia
of the populace of Portugal venting their murmurs upon the beach when
Gama sets sail, display the richness of our author's poetical genius,
and are not inferior to anything of the kind in the classics.
[18] Hence the great interest which we as Britons either do, or ought
to, feel in this noble epic. We are the successors of the Portuguese in
the possession and government of India; and therefore what interested
them must have for us, as the actual possessors, a double
interest. --_Ed. _
[19] Castera was every way unequal to his task. He did not perceive his
author's beauties. He either suppresses or lowers the most poetical
passages, and substitutes French tinsel and impertinence in their place.
[20] Pope, Odyss. XX.
[21] Richard Fanshaw, Esq. , afterwards Sir Richard, was English
Ambassador both at Madrid and Lisbon. He had a taste for literature, and
translated from the Italian several pieces which were of service in the
refinement of our poetry. Though his Lusiad, by the dedication of it to
William, Earl of Strafford, dated May 1, 1655, seems as if published by
himself, we are told by the editor of his Letters, that "during the
unsettled times of our anarchy, some of his MSS. , falling by misfortune
into unskilful hands, were printed and published without his knowledge
or consent, and before he could give them his last finishing strokes:
such was his translation of the Lusiad. " He can never have enough of
conceits, low allusions, and expressions.
