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year afterwards. Again, this dedication could not have been written after Camoens returned to Lisbon in 1569, because the young king had, in consequence of troubles concerning the Regency, been declared of majority in 1568, at fourteen years of age, instead of at twenty, as willed by his grandfather, John III. And in 1572, when the Lusiads' were first published, Sebastian was already in his eighteenth year. If, therefore, Camoens had really begun the 'Lusiads' before leaving for India in 1553, these dedicatory stanzas must have been inserted afterwards in Asia, and preserved in the poem, although, strictly speaking, inapplicable in 1572. I am by no means inclined, however, to discuss the doubts arising as to when and where different parts of the poem were written, but mean to confine myself to a general view of its contents. A note as to Don Sebastian's fate and the strange sect called Sebastianists is subjoined to the canto. His life was short. He was slain in Africa at the early age of twenty-four. No less than four pretenders successively claimed to be the lost king. A work of research upon the whole subject, which reads like a novel, but is strictly historical, entitled 'Les Faux Don Sébastien,' has been written in French and published in Paris by my distinguished friend His Excellency Conselheiro Miguel D'Antas, now Portuguese Minister at the Court of St. James.

Stanza XIX. is evidently written by a man who had been to sea; and throughout the maritime descriptions this characteristic will be noted. With stanza xx. Camoens opens his first scene among the Olympian gods, which continues to stanza XLII., when he again returns to the fleet, conducts them to Mozambique on the African coast, describes the visit of the islanders and of their ruler, interspersing again, and particularly in stanzas LVI., LVII., LVIII., and LIX., some picturesque maritime poetry, and in a fine stanza, LXV., representing Gama as boldly declaring his faith to the Moslem. In stanza LXXI. will be found a reflection quite characteristic of Camoens. In stanza LXXIII. we return to Bacchus, who exhibited so much hostility at the Olympian Council; and in LXXXIV. the morning opens upon the visit on shore for water, the ambush, and the fight. Peace being sued for, the fleet sails to Mombaça, but, again at the instigation of Bacchus, under the guidance of a treacherous pilot. Venus

protects them. In his two concluding stanzas, cv. and cvi., Camoens discloses that uneasy state of mind arising, apparently, from his sentiments of faith and patriotism having ever been offended and disappointed by the hard experiences of real life.

CANTO II. opens with the arrival at Mombaça, and proceeds to recount what took place there. Stanzas XIX. to XXVIII. describe in a very picturesque form the interference of Venus and the Nereids to save the fleet. Then follows a prayer by Gama to heaven for safety, which is answered by the impersonation of Venus ascending to interest Jupiter; and here occurs one of Camoens' most characteristic and poetical descriptions, corresponding with the warmest colourings of the Italian painters. Jupiter replies in a long historical prophecy, and in stanza LVI. sends Mercury to Gama. Stanzas LXI. to LXV. describe the dream of Gama; LXVI. and LXVII. recount the escape of the vessels; and the rest of the canto is occupied with a varied and animated description of the voyage, the arrival at Melinda, and the hospitable and sincere reception of Gama by the king, and of the scenes that took place between them.

CANTO III. commences with Gama's narrative, as related to the king, and is occupied by much European geography and history, in the course of which a fine stanza, xvII., is addressed to Spain. With stanza xx. begins the history of Portugal, the first four lines of stanza xxi. being a highly appreciated and very favourite quotation with the Portuguese. From xxxv. to XLI. the fidelity of Egas Moniz is finely told. From XLII. to LII. we have the account of the battle of Ourique, when the kingdom of Portugal was first founded in the person of Alfonzo I. in the year 1139. And in LIII. and LIV. we have the curious description of the Portuguese coat-of-arms, then first adopted. The five months' siege of Lisbon follows, at which some crusaders' vessels on their way to Syria, including some from England, aided Alfonso. Pursuing his history, Camoens recounts Alfonso's death in two fine stanzas, LXXXIII.-IV., and passes on to the taking of Silves, at which, again, some English crusaders with others on their voyage aided Portugal against the Moors. The mission of Maria, queen of Don Alfonso of Castile, and daughter of Don Alfonso of Portugal, begging aid of the latter, is touchingly told,

from stanzas CI. to cvi. both inclusive. The battle of Salano, in which the two Alfonsos annihilate the invaders of Castile, follows. Eventually the canto breaks forth with stanza CXVIII. into the wellknown episode of the sad history of Ignez de Castro, which, after having been a thousand times admired and criticised, and criticised and admired, still remains to charm. The following extracts from works already published will furnish sufficient details for enabling the reader to appreciate this deep tragedy—a romance in history—as it is recounted in Camoens' stanzas :

'Dona Ignez was the daughter of Don Pero Fernandez de Castro, a vassal of the first rank in Castile and Galicia. Emigrating to Portugal, he died there in 1343, in the reign of Alphonso IV. Dona Ignez de Castro accompanied, in the capacity of maid of honour, the Infanta, Constança, who came to Portugal in 1340 and was married to Don Pedro, the heir to the throne. Dona Constança died in 1345. By a clandestine marriage, Don Pedro was united to Ignez de Castro. Jealousy and envy stimulated some of the Portuguese nobles to conspire against her life. Apprised of their designs, she cast herself at the feet of the king, protesting her innocence, and supplicating mercy. Alphonso was moved to compassion, but his clemency was intercepted by the poniards of Alvaro Gonçalves, Pedro Coelho, and Don Lopez Pacheco.

The remains of the unfortunate Ignez were first entombed in the church of the monastery of Santa Clara, in Coimbra; but when Don Pedro succeeded to the throne, they were disinterred, by his command, in his presence. Dona Ignez was then placed on a throne, and crowned; and all who were present kissed her hand, in token of respectful homage to their queen. Her remains were subsequently conveyed in a splendid litter to Alcobaça by torch-light-a distance of seventeen leagues-accompanied by a most numerous cortege of the clergy, monastic orders, and the greatest personages in the kingdom. The same ceremonies of submissive homage were there repeated, and the body was deposited in a sculptured tomb prepared for its reception. In a similar tomb adjoining that of his beloved Ignez, Don Pedro, a few years afterwards, was interred.

Their style is that of a sarcophagus; not, indeed, very finely sculptured, but from its general effect meriting to be considered as a respectable work of art. As monuments of great national interest, they eminently deserve to be skilfully restored, and most carefully preserved.

'By mutual agreement, Peter the Cruel, King of Castile, and Don Pedro the Cruel, of Portugal, hardened by these events, gave up such delinquents as had taken refuge in their respective dominions. Coelho and Gonçalves were arrested and delivered up to the King of Portugal. Pacheco escaped. According to Faria y Sousa, the punishments the king inflicted on these criminals were most horrible. Their hearts were torn out alive, and they were subsequently burnt.'-Epitome de las Historias Portuguesas. Terceira Parte, cap. ix.

The notes to Mickle's translation of the 'Lusiad,' Mr. Adamson's 'Memoirs of the Life and Writings of Camoens,' and the preface to the 'Translation of Antonio Ferreira's Tragedy of Ignez de Castro,' may be consulted by those who may feel sufficient interest in this mournful history to wish for a more circumstantial statement of the tragical catastrophe.

Let me add that a beautifully written tragedy, entitled 'Inez, or, The Bride of Portugal,' by Ross Neil, suggested by this remarkable story, was, some few years ago, published by Messrs. Ellis and Green. It does not, however, follow the true history.

CANTO IV. is also occupied with a continuation of the general history, including (stanzas XXIII. to XLV.) a description of the famous battle of Aljubarrota, in 1385, when D. João I. utterly routed the Castilians. He afterwards married Philippa, eldest daughter of John of Gaunt, Duke of Lancaster (son of our Edward III.), the third son by which marriage was the famous D. Henrique, Duke of Viseu, the founder of Portuguese maritime discovery. Stanzas LX. to LXV. relate to the first expedition made by land for the discovery of a direct passage to India, under John II., and the fate of those who undertook it is feelingly described. Then follows the famous vision of Don Manoel of the rivers Ganges and Indus, and the consequent commission of the new enterprise to Vasco da Gama, whose noble form of accepting it, as described by the poet, manifests, again, the high tone of Camoens' mind. Then come those touching scenes of preparation

'An elaborate biography, in one volume, of this most distinguished figure in Portuguese, indeed, in the World's history, has been written by my friend, Mr. Richard Henry Major, F.S.A., M.R.S.L., of the British Museum, and has been translated into Portuguese by Sr. José Antonio Ferreira Brandão, and published in Lisbon, under the guidance and at the sole cost of H. E. the Duke of Palmella.

and departure, succeeded by the Old Man's warning, in whom is figured the general feeling of the nation upon the occasion. For the tenderness and power displayed in all these stanzas Camoens has been much and justly admired.

CANTO V. opens with the actual departure of Vasco da Gama's expedition. The second stanza tells the date of this event, and is worthy of notice from its peculiar form. Stanza III. is one of the most touching and most simple in the whole poem, and evidently reflects Camoens' own feelings on leaving his country in 1553. It is extremely admired by the Portuguese, with whom love of country is a well-known characteristic. After several pretty stanzas comes the famous description of the water-spout, stanzas xvI. to XXII., to the exactness of which, from having seen one, and happily from a distance, in the tropical regions, I can personally testify. Then follows a curious adventure on shore; and then the ever-famous vision of the giant Adamastor at the Cape-called at first (as already mentioned) the Cape of Storms,' but afterwards by D. João II. the 'Cape of Good Hope.' Even Voltaire, whose flippancy in his pretended criticism of the 'Lusiads' (which he never really read) suffers such unmerciful castigation at the hands of Julius Mickle, warmly admires both this scene and the episode of Ignez de Castro. In the remainder of the canto, Vasco da Gama continues and completes his narrative, including a pretty description of the scene at Sofála. In his description of the attack of scurvy, the two stanzas LXXX. and LXXXIII. are worthy of attention. Stanzas XCII. to the end are occupied in strictures against his countrymen for want of those more refined gifts which should adorn and encourage enterprise; and the last two stanzas are evidently pointed at the neglect of Gama's descendants, and his own resolution to write, notwithstanding.

CANTO VI. brings the fleet to India. It begins with the departure of Gama from Melinda, whose king and people always maintained friendship with the Portuguese, and at once describes new plots by Bacchus, who descends to Neptune's palace at the bottom of the sea, in order to provoke the hostility of that god against the fleet. A council is summoned, and a furious storm is decreed. The whole of these scenes and descriptions are eminently diversified and imagi

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