It is the sigh of
indignation
over the unworthy
fate of the unhappy Camoens.
fate of the unhappy Camoens.
Camoes - Lusiades
As the shield of AEneas supplies what could
not be introduced in the vision of Elysium, so the ensigns of GAMA
complete the purpose of the third and fourth Lusiads. The use of that
long episode, the conversation with the King of Melinda, and its
connection with the subject, have been already observed. The seeming
episode of the pictures, while it fulfills the promise--
_And all my country's wars the song adorn,_
is also admirably connected with the conduct of the poem. The Hindoos
naturally desire to be informed of the country, the history, and power
of their foreign visitors, and Paulus sets it before their eyes. In
every progression of the scenery the business of the poem advances. The
regent and his attendants are struck with the warlike grandeur and power
of the strangers, and to accept of their friendship, or to prevent the
forerunners of so martial a nation from carrying home the tidings of the
discovery of India, becomes the great object of their consideration.
[534] _But ah, forlorn, what shame to barb'rous pride. _--In the
original. --
_Mas faltamlhes pincel, faltamlhes cores,
Honra, premio, favor, que as artes criao. _
"But the pencil was wanting, colors were wanting, honour, reward,
favour, the nourishers of the arts. " This seemed to the translator as in
impropriety, and contrary to the purpose of the whole speech of Paulus,
which was to give the catual a high idea of Portugal. In the fate of the
imaginary painter, the Lusian poet gives us the picture of his own,
resentment wrung this impropriety from him. The spirit of the complaint,
however, is preserved in the translation. The couplet--
"Immortal fame his deathless labours gave;
Poor man, he sunk neglected to the grave! "
is not in the original.
It is the sigh of indignation over the unworthy
fate of the unhappy Camoens.
[535] _The ghost-like aspect and the threat'ning look. _--Mohammed, by
some historians described as of a pale livid complexion, and _trux
aspectus et vox terribilis_, of a fierce threatening aspect, voice, and
demeanour.
[536]
_When, softly usher'd by the milky dawn,
The sun first rises. --_
"I deceive myself greatly," says Castera, "if this simile is not the
most noble and the most natural that can be found in any poem. It has
been imitated by the Spanish comedian, the illustrious Lopez de Vega, in
his comedy of Orpheus and Eurydice, act i. sc. 1:--
"_Como mirar puede ser
El sol al amanecer,
I quando se enciende, no. _"
Castera adds a very loose translation of these Spanish lines in French
verse. The literal English is, _As the sun may be beheld at its rising,
but, when illustriously kindled, cannot_. Naked, however, as this is,
the imitation of Camoens is evident. As Castera is so very bold in his
encomium of this fine simile of the sun, it is but justice to add his
translation of it, together with the original Portuguese, and the
translation of Fanshaw. Thus the French translator:--
_Les yeux peuvent soutenir la clarte du soleil naissant, mais lorsqu'il
s'est avance dans sa carriere lumineuse, et que ses rayons repandent les
ardeurs du midi, on tacherait en vain de l'envisager; un prompt
aveuglement serait le prix de cette audace. _
Thus elegantly in the original:--
"Em quanto he fraca a forca desta gente,
Ordena como em tudo se resista,
Porque quando o Sol sahe, facilmente
Se pode nelle por a aguda vista:
Porem despois que sobe claro, & ardente,
Se a agudeza dos olhos o conquista
Tao cega fica, quando ficareis,
Se raizes criar lhe nao tolheis. "
And thus humbled by Fanshaw:--
"_Now_ whilst this people's strength is not yet knit,
Think how ye may resist them by all ways.
For when the _Sun_ is in his _nonage_ yit,
Upon his _morning beauty_ men may gaze;
But let him once up to his _zenith_ git,
He strikes them _blind_ with his _meridian rays_;
So _blind_ will ye be, if ye look not too't,
If ye permit these _cedars_ to take root.
not be introduced in the vision of Elysium, so the ensigns of GAMA
complete the purpose of the third and fourth Lusiads. The use of that
long episode, the conversation with the King of Melinda, and its
connection with the subject, have been already observed. The seeming
episode of the pictures, while it fulfills the promise--
_And all my country's wars the song adorn,_
is also admirably connected with the conduct of the poem. The Hindoos
naturally desire to be informed of the country, the history, and power
of their foreign visitors, and Paulus sets it before their eyes. In
every progression of the scenery the business of the poem advances. The
regent and his attendants are struck with the warlike grandeur and power
of the strangers, and to accept of their friendship, or to prevent the
forerunners of so martial a nation from carrying home the tidings of the
discovery of India, becomes the great object of their consideration.
[534] _But ah, forlorn, what shame to barb'rous pride. _--In the
original. --
_Mas faltamlhes pincel, faltamlhes cores,
Honra, premio, favor, que as artes criao. _
"But the pencil was wanting, colors were wanting, honour, reward,
favour, the nourishers of the arts. " This seemed to the translator as in
impropriety, and contrary to the purpose of the whole speech of Paulus,
which was to give the catual a high idea of Portugal. In the fate of the
imaginary painter, the Lusian poet gives us the picture of his own,
resentment wrung this impropriety from him. The spirit of the complaint,
however, is preserved in the translation. The couplet--
"Immortal fame his deathless labours gave;
Poor man, he sunk neglected to the grave! "
is not in the original.
It is the sigh of indignation over the unworthy
fate of the unhappy Camoens.
[535] _The ghost-like aspect and the threat'ning look. _--Mohammed, by
some historians described as of a pale livid complexion, and _trux
aspectus et vox terribilis_, of a fierce threatening aspect, voice, and
demeanour.
[536]
_When, softly usher'd by the milky dawn,
The sun first rises. --_
"I deceive myself greatly," says Castera, "if this simile is not the
most noble and the most natural that can be found in any poem. It has
been imitated by the Spanish comedian, the illustrious Lopez de Vega, in
his comedy of Orpheus and Eurydice, act i. sc. 1:--
"_Como mirar puede ser
El sol al amanecer,
I quando se enciende, no. _"
Castera adds a very loose translation of these Spanish lines in French
verse. The literal English is, _As the sun may be beheld at its rising,
but, when illustriously kindled, cannot_. Naked, however, as this is,
the imitation of Camoens is evident. As Castera is so very bold in his
encomium of this fine simile of the sun, it is but justice to add his
translation of it, together with the original Portuguese, and the
translation of Fanshaw. Thus the French translator:--
_Les yeux peuvent soutenir la clarte du soleil naissant, mais lorsqu'il
s'est avance dans sa carriere lumineuse, et que ses rayons repandent les
ardeurs du midi, on tacherait en vain de l'envisager; un prompt
aveuglement serait le prix de cette audace. _
Thus elegantly in the original:--
"Em quanto he fraca a forca desta gente,
Ordena como em tudo se resista,
Porque quando o Sol sahe, facilmente
Se pode nelle por a aguda vista:
Porem despois que sobe claro, & ardente,
Se a agudeza dos olhos o conquista
Tao cega fica, quando ficareis,
Se raizes criar lhe nao tolheis. "
And thus humbled by Fanshaw:--
"_Now_ whilst this people's strength is not yet knit,
Think how ye may resist them by all ways.
For when the _Sun_ is in his _nonage_ yit,
Upon his _morning beauty_ men may gaze;
But let him once up to his _zenith_ git,
He strikes them _blind_ with his _meridian rays_;
So _blind_ will ye be, if ye look not too't,
If ye permit these _cedars_ to take root.
