No More Learning

EDITOR'S PREFACE.


In undertaking, at the publishers' request, the function of editor of
Mickle's Lusiad, I have compared the translation with the original, and,
in some places, where another translation seemed preferable to, or more
literal than, Mickle's, I have, in addition, given that rendering in a
foot-note. Moreover, I have supplied the arguments to the several
cantos, given a few more explanatory notes, and added a table of
contents.

"The late ingenious translator of the Lusiad," says Lord Strangford,[1]
"has portrayed the character, and narrated the misfortunes of our poet,
in a manner more honourable to his feelings as a man than to his
accuracy in point of biographical detail. It is with diffidence that the
present writer essays to correct his errors; but, as the real
circumstances of the life of Camoens are mostly to be found in his own
minor compositions, with which Mr. Mickle was unacquainted, he trusts
that certain information will atone for his presumption. "

As Lord Strangford professes to have better and more recent sources of
information regarding the illustrious, but unfortunate, bard of
Portugal, I make no apology for presenting to the reader an abstract of
his lordship's memoir. Much further information will be found, however,
in an able article contained in No. 53 of the _Quarterly Review_ for
July, 1822, from the pen, I believe, of the poet Southey. "The family of
Camoens was illustrious," says Lord Strangford, "and originally Spanish.
They were long settled at Cadmon, a castle in Galicia, from which they
probably derived their patronymic appellation. However, there are some
who maintain that their name alluded to a certain wonderful bird,[2]
whose mischievous sagacity discovered and punished the smallest
deviation from conjugal fidelity. A lady of the house of Cadmon, whose
conduct had been rather indiscreet, demanded to be tried by this
extraordinary judge. Her innocence was proved, and, in gratitude to the
being who had restored him to matrimonial felicity, the contented
husband adopted his name. " It would appear that in a dispute between the
families of Cadmon and De Castera, a cavalier of the latter family was
slain.
This happened in the fourteenth century. A long train of
persecution followed, to escape which, Ruy de Camoens, having embraced
the cause of Ferdinand, removed with his family into Portugal, about
A. D. 1370. His son, Vasco de Camoens, was highly distinguished by royal
favour, and had the honour of being the ancestor of our poet, who
descended from him in the fourth generation. Luia de Camoens, the author
of the Lusiad, was born at Lisbon about A. D. 1524. His misfortunes began
with his birth--he never saw a father's smile--for Simon Vasco de
Camoens perished by shipwreck in the very year which gave being to his
illustrious son. The future poet was sent to the university of
Coimbra--then at the height of its fame,--"and maintained there by the
provident care of his surviving parent. "

"Love," says Lord Strangford, "is very nearly allied to devotion, and it
was in the exercise of the latter, that Camoens was introduced to the
knowledge of the former. In the Church of Christ's Wounds at Lisbon, on
11th April, 1542, Camoens first beheld Dona Caterina de Atayde, the
object of his purest and earliest attachment . . . and it was not long
before Camoens enjoyed an opportunity of declaring his affection, with
all the romantic ardour of eighteen and of a poet. " The peculiar
situation of the lady, as one of the maids of honour to the queen,
imposed a restraint upon her admirer which soon became intolerable; and
he, for having violated the sanctity of the royal precincts, was in
consequence banished from the court.