That Element is Intellectual Work

New at IWP Articles: Jacques Barzun, 1959, The Tyranny of Idealism in Education.

“Education is always inadequate, its pure purpose flawed by those who give it as well as by those who take it. But one element which belongs to it, and which we have suppressed in favor of ideal projections since Wilson and Dewey struggled with an older pedantry, is still there to be used as a tonic and a test: that element is intellectual work, the use of the mind for creating order in a man’s perceptions and thoughts about the world. Everything else, character included, is a by-product, and hence impossible to ‘give’ or even to cultivate directly.

“Nor, in the end, is this effort of intellect to know itself and its surroundings a selfish individual pursuit, though even if it were it would still be the only possible goal of higher education properly so-called. When sufficiently widespread the individual effort does not remain a private good but has a national result, as Wilson, once again, made evident: ‘America will be great among the nations only in proportion as she finds an adequate voice…. She will not be known until she is understood; …her wealth will not interpret her, or her physical power, or the breadth of her uncounted acres, or anything she has builded; but only such revealing speech as will hold the ear and command the heed of other nations and of her own people. Our thinkers must assist her to know herself.’”

Protected Irresponsibility

“The rampant specialism, an arbitrary and purely social evil, is not recognized for the crabbed guild spirit that it is, and few are bold enough to say that carving out a small domain and exhausting its soil affords as much a chance for protected irresponsibility as for scientific thoroughness.” (Jacques Barzun, Science: The Glorious Entertainment)

What Man?

William James and Autumn by Leonard Bacon (1940)

Partakers of the life of God,
Drunkards of the Divine — what else? —
We face the serpent or the rod
And buckle truth within our belts —

Truth that strange thing that must describe
The instant feeling of a man,
Nor shirk the emotions of the tribe,
That all must know or no one can.

That, it is felt, the man should feel.
What man? What throb should touch him so,
Who beats at barriers that conceal
The mysteries he can never know?

He fronts the scorpions and the whips,
With such devices as he can,
Dazzled by each apocalypse
That tells him nothing. Man! Man! Man!

O Autumn! What you tell us is
Written on the world’s face in fire.
You touch on instabilities
Of hope gone by, withered desire.

O Autumn! dreaming of the Spring,
Without a spirit or a name,
You face the death that is a Thing
And shudder at the brutal game

That you are called upon to play.
You did not ask for it, but there
Oaks burn and maples blaze away,
And the whole thing is your affair.

O Autumn! Winter’s in the wind
Chill dawn lets loose. There is a tang
In that harsh breath. The sin we sinned
Hurts. And who asks what song we sang?

That Sacred Duty

New at IWP Books: Joaquim Nabuco on Camoens and The Lusiads, addresses delieverd at Yale, Vassar and Cornell in 1908 and 1909. Nabuco was the Brazilian Ambassador to the US at the time.

“Modern reading is so indiscriminate that the popularity of an author is no test of his intrinsic value. One had better not touch Homer, or Dante, or Camoens, if one has contracted the habit of reading to kill time. To enjoy their company we need the contrary habit of reading to treasure up our passing hours in undying recollections. To read the great authors of the past is a duty for all who are real particles of the human intelligence. If one lets his taste for the writings of the day absorb him, he overlooks that sacred duty of watching over the precious deposits of the human mind, of keeping fresh and retentive the memory of our race, of increasing its touch with the past the more it drifts away from us. A humanity, wholly interested in the present, losing gradually its memory, unable to enjoy what should be its greatest pleasure: that of living anew by recollection in its ages of art and poetry and legend, would be a sad sight, however great the material development around it. Any shrinking of human imagination would be fatal to mind and heart, however great might be the increase of discovery.”

Plunge into the Poem

New at IWP Books: Luís de Camões, Os Lusíadas.

Jacques Barzun (From Dawn to Decadence): “Os Lusiadas has been translated four times into English, the latest version being in prose. [The one to read is Leonard Bacon’s, in verse.] But there is another means of access that is strongly recommended to anyone who knows Spanish: it is to study in a comparative grammar the forms that differ regularly in Spanish and Portuguese and then to plunge into the poem with a dictionary at hand.”

To Pacify the Ormuz Parsees, 1572

Luis Vaz de Camões (1572), Canto X, 40

Esta luz é do fogo e das luzentes
Armas com que Albuquerque irá amansando
De Ormuz os Párseos, por seu mal valentes,
Que refusam o jugo honroso e brando.
Ali verão as setas estridentes
Reciprocar-se, a ponta no ar virando
Contra quem as tirou; que Deus peleja
Por quem estende a fé da Madre Igreja.

Richard Fanshawe (1655)

This light is of those flames and glitt’ring Arm’s
Wherewith the stubborn Persians of Ormuze,
Spurning the yoake, and valiant to their harms,
Fierce Alburquerque afterwards subdues.
There shall the hissing Shafts (like living warms)
Turn’d in the Ayre, their shooters Helmets bruize;
That they may see, with Eyes though ne’re so dim,
How God will fight for Them, that fight for Him.

William Julius Mickle (1776)

Another blaze, behold, of fire and arms!
Great Albuquerque awakes the dread alarms:
O’er Ormuz’ walls his thund’ring flames he pours,
While Heav’n, the hero’s guide, indignant show’rs
Their arrows backwards on the Persian foe,
Tearing the breasts and arms that twang’d the bow.

Thomas Moore Musgrave (1826)

And there I see the coruscating arms,
Of the Great Albuquerque, who shall subdue
The Persians of Ormuz, whose bravery
The honorable yoke in vain will strive
To shun. There shall their whizzing arrows fly,
Recoiling with inverted course against
Themselves; for God their pious valor aids
Who fight the glorious fight of Holy Faith.

Thomas Mitchell (1854)

That blaze of light is from flame, and glittering arms,
Wherewith Albuquerque the Persians shall tame,
Of Ormuz for their zeal which only warms,
Against the honoured yoke and milder name:
There shall the hurtling arrows pierce the arms
That bent the bow, turning in air to whence they came,
Against those who pulled the string; for God doth much
For those who spread the faith of our holy church.

John James Aubertin (1878)

This light is of the fire and shining arms,
Wherewith great future Albuquerque subdues
The Ormuz Persians, whom their valour harms,
For yoke benign and honoured they refuse;
The hurtling arrows shall they see in swarms
Retaliate, turning in the air their use
‘Gainst those who shot; for God for him doth war,
Who spreads the faith of Mother Church afar.

Robert Ffrench Duff (1880)

This light reflects the fire and glittering arms
Of Albuquerque, whom he shall expel
By force from Ormuz; all the Persian swarms
Who would his just and gentle yoke repel,
And their complete submission shall compel:
Behold the winged arrows in the air
Shall turn their points against the infidel
Who shoots them off, for God hath special care
Of those who for the faith and Mother church make war.

Richard Francis Burton (1880)

This Light is glance and glare of lucent arm
wherewith your Albuquerque’s hand shall tame
the Hormuz Parsi’s heart which be his harm,
refusing gentle rule as yoke of shame.
There shall he see of shafts the strident swarm,
in air revolving with recurved aim
upon his archer, for our God shall aid,
who holy faith of Mother Church would spread.

Leonard Bacon (1950)

Yon gleam from weapons and from fires burns bright,
Where Albuquerque comes to pacify
The Ormuz Parsees, brave in their despite,
His mild and honest yoke who would deny.
But they will see the whistling arrow flight
Wheel right around, recurving in the sky
On him who shot. God fights upon his side,
Who faith of Mother Church spreads far and wide.

Landeg White (1997)

That light, too, is from Persian Ormuz
From the fires and the gleaming arms
Of Albuquerque as he rebukes them
For scorning his light, honourable yoke.
There they will see their hissing arrows
Turn miraculously in the air
Against the archers — so God ever fights
For His Church and for those who spread its rites.

What War Victorious?

Luis Vaz de Camões (1572), Cantos IV.95–97

Ó glória de mandar! Ó vã cobiça
Desta vaidade, a quem chamamos Fama!
Ó fraudulento gosto, que se atiça
C’uma aura popular, que honra se chama!
Que castigo tamanho e que justiça
Fazes no peito vão que muito te ama!
Que mortes, que perigos, que tormentas,
Que crueldades neles experimentas!

Dura inquietação d’alma e da vida,
Fonte de desamparos e adultérios,
Sagaz consumidora conhecida
De fazendas, de reinos e de impérios:
Chamam-te ilustre, chamam-te subida,
Sendo dina de infames vitupérios;
Chamam-te Fama e Glória soberana,
Nomes com quem se o povo néscio engana!

A que novos desastres determinas
De levar estes reinos e esta gente?
Que perigos, que mortes lhe destinas
Debaixo dalgum nome preminente?
Que promessas de reinos, e de minas
D’ouro, que lhe farás tão facilmente?
Que famas lhe prometerás? que histórias?
Que triunfos, que palmas, que vitórias?

Richard Fanshawe (1655)

O Glory of commanding! O vain Thirst
Of that fame empty nothing, we call Fame!
O Ignis fatuus, kindled and nurst
With vulgar breath (and this we Honour name)!
What Plagues, what stings, what secret scourges curst,
Torment those Bosomes which thou doest inflame!
What deaths! what dangers! what impetuous forms!
What cruelties on them thy Hand performs!

Fell Tyrant of the soules! life’s swallowing Wave!
Mother of Plunders, and black Rapes unchast!
The secret miner, and the open Grave,
Of Patrimonies, Kingdoms, Empires vast!
They call thee noble, and they call thee Brave:
(Worthy t’have other names upon thee cast!)
They call thee Fame, and Glory soveraign:
Titles, with which the foolish Rout is tane.

What new disaster dire intendest Thou
To lead these Kingdoms, and these Folk into?
What deaths, what Horrors must they swallow now,
Under pretence to spread Religion true?
What holdings forth of golden Mines, and how
Great Kingdoms shall be conquer’d by a Few?
What Fames dost thou advance? what Histories?
What Palms? what Triumphs? and what Victories?

William Julius Mickle (1776)

O frantic thirst of honour and of fame,
The crowd’s blind tribute, a fallacious name;
What stings, what plagues, what secret scourges curs’d,
Torment those bosoms where thy pride is nurs’d!
What dangers threaten, and what deaths destroy
The hapless youth, whom thy vain gleams decoy!
By thee, dire tyrant of the noble mind,
What dreadful woes are pour’d on human kind:
Kingdoms and empires in confusion hurl’d,
What streams of gore have drench’d the hapless world!
Thou dazzling meteor, vain as fleeting air,
What new-dread horror dost thou now prepare!
High sounds thy voice of India’s pearly shore,
Of endless triumphs and of countless store:
Of other worlds so tower’d thy swelling boast,
Thy golden dreams when Paradise was lost,
When thy big promise steep’d the world in gore,
And simple innocence was known no more.
And say, has fame so dear, so dazzling charms?

Thomas Moore Musgrave (1826)

O thirst of pow’r-insatiate appetite
Of vain dominion, which the world calls Fame!
O pleasing phantom, which, inflam’d and fann’d
By popular applause, is Honor nam’d!
What just severity of punishment
Dost thou on thy immod’rate votary
Inflict! What perils, and what cruel deaths,
Are hazarded in thy blood-stain’d career!
Restless disturber both of life and soul, —
Source of most profligate licentiousness; —
Profuse destroyer of the public wealth,
And of all national prosperity!
Yet art thou hail’d, illustrious, and sublime,
Though indignation meriting and hate.
Fame, too, and Glory art thou call’d! — false Lights,
That, dazzling, lead the foolish world astray.
With what disasters hast thou now resolv’d
This happy Lusian State to overwhelm?
What perils, and what deaths hast thou decreed
Under some fatal but resplendent name?
What undiscover’d empires, and what mines
Of gold hast thou with luring promises
Reveal’d? What fame, what high recorded deeds,
What palms, and what triumphant victories?

Edward Quillinan (1853)

O passion of dominion! O fond lust
Of that poor vanity which men call Fame!
O treacherous appetite, whose highest gust
Is vulgar breath that taketh honour’s name!
O fell ambition, terrible but just
Art thou to breasts that cherish most thy flame!
Brief life for them is peril, storm, and rage,
This world a hell and death their heritage.

Shrewd prodigal ! whose riot is the dearth
Of states and principalities opprest;
Plunder and rape are of thy loathly birth;
Thou art alike of life and soul the pest.
High titles greet thee on this slavish earth;
Yet none so vile but they would fit thee best:
But Fame forsooth and Glory thou art styled,
And the blind herd is by a sound beguiled.

Ah, whither wilt thou lead us now astray,
Bent as thou art the fated land to wrong?
To what new forms of pain and death betray
With sounding names enticing us along?
What golden mines, what gorgeous realms of day,
Are now the promise of thy facile tongue?
What wondrous victories, what pomps of glory,
Ovations, triumphs, palms, immortal story?

Thomas Mitchell (1854)

O glory of commanding! Vain desire
For this vanity, which some of us call fame!
O cheating appetite, whereof the fire
By popular breath is fanned, which we honour name!
What chastisement extreme, what justice dire
Dost thou not exact in the breast that loves thy flame!
What deaths! what dangers! and what torments!
What cruelties in such experiments?

Painful inquietude of the soul and of life;
Source of backslidings, and adulteries;
Sagacious well-known consumer and vile thief,
Of men’s estates, of kingdoms and territories!
They call thee illustrious, they call thee chief,
Although deserving of infamous vituperaries:
They call thee fame, and glory sovereign;
Names with which the foolish people are taken in.

Hast thou determined to what new disasters
Thou wilt lead these kingdoms, and these people sailing?
What dangers, — to what deaths must they hasten faster,
Under some eminent name o’er them prevailing?
What promises of kingdoms, mines of their master
Gold, whereof thy promises are never-failing?
What tames, wilt thou not promise them? what histories:
What triumphs? what palms? what laurels, and what victories?

John James Aubertin (1878)

O glory of command: O vain desire
Of this mere vanity which we call fame!
O fancy fraudulent that gathers fire
From popular breath, usurping honour’s name!
What justice and what castigation dire
In the vain breast that blindly loves your aim
Ye work! what deaths and dangers, what distress
And with what cruelties do ye oppress!

Of life and soul cruel inquietude,
Fount of neglect and hence adulteries,
Destructive insect, whose known stings intrude
On lands and kingdoms and on dynasties;
Illustrious called, and as renowned pursued,
Thou art condignly charged with infamies;
They call thee sovereign glory, call thee fame,
And the ignorant are blinded by the name!

To what disasters new dost thou design
To lead away these kingdoms and this race?
What dangers and what deaths dost thou combine
Under some name of eminence and grace?
What kingdoms, or, perchance, what golden mine
Dost promise them with thy so ready face?
What fame hold out to them? what history’s page?
What triumphs, palms, what victories engage?

Robert Ffrench Duff (1880)

O great ambition! vile and base desire
Of idle vanity or earthly fame!
Delusive hopes, which sets our souls on fire! —
We call thee honour, when the mobs acclaim
With feeble praise, and gain an empty name —
What heavy chastisements dost thou impose
On all those men, whose breasts such thoughts inflame,
What troubles, slights, what dangers, deaths and woes!
At every step they feel severe and eruel blows.

O restless perturbation of the soul,
And human life! thou causest desolation,
Adulteries, ruin, where thou hast control,
Thou art the gulf, which swallows fortune, nation,
Empire, and kingdoms by thy fascination!
As grand, sublime and lofty, thou art greeted,
When thou deservest only detestation:
Thy wicked acts, like fame and glory treated,
Illusions spread by which unwary men are cheated.

What new misfortunes dire dost thou intend
Against these realms or men? Are thy designs
To cause them perils or untimely end?
What promise of strange lands or golden mines
Their minds to thy deceitful snares inclines?
Is it some feat, renowned in future days,
Achieved with ease, which with such glitter shines?
What splendid triumph or great victory?
What fame’s immortal palms, and bright undying glory?

Richard Francis Burton (1880)

Oh craving of Command! Oh vain Desire!
of vainest vanity man miscalleth Fame!
Oh fraud’ulent gust, so easy fanned to fire
by breath of vulgar, aping Honour’s name!
What just and dreadful judgment deals thine ire,
to seely souls who overlove thy claim!
What deaths, what direful risks, what agonies
wherewith thou guerd’onest them, thy fitting prize!

Thou dour disturber of man’s sprite and life,
fount of backsliding and adultery,
sagacious waster, and consummate thief
of subjects, kingdoms, treasure, empery:
They hail thee noble, and they hail thee chief,
though digne of all indignities thou be;
they call thee Fame and Glory sovereign,
words, words, the heart of silly herd to gain!

‘What new disaster dost thou here design?
What horror for our realm and race invent?
What unheard dangers or what deaths condign,
veiled by some name that soundeth excellent?
What bribe of gorgeous reign, and golden mine,
whose ready offer is so rarely meant?
What Fame hast promised them? what pride of story?
What palms? what triumphs? what victorious glory?

Leonard Bacon (1950)

Glory of empire! Most unfruitful lust
After the vanity that men call fame!
It kindles still, the hypocritic gust,
By rumor, which as honor men acclaim.
What thy vast vengeance and thy sentence just
On the vain heart that greatly loves thy name!
What death, what peril, tempest, cruel woe,
Dost thou decree that he must undergo!

Dreadful disquiet of his life and soul!
Spring of adultery and abandonment,
Empires and realms and wealth consuming whole,
And, as we know, only too provident!
Thy powers for high and noble men extol,
More worthy of their curse malevolent,
And call thee fame and glory’s plenitude,
Names whereby witless men their souls delude.

What new disasters dost thou now prepare
Against these kingdoms and against their seed?
What peril and what death for them to bear,
Under some mighty name, hast thou decreed?
What mines of gold now dost thou promise fair?
What kingdoms? — promise lightly made indeed!
What fame dost thou propose? What legend glorious?
What palm? What triumph? And what war victorious?

Landeg White (1997)

O pride of power! O futile lust
For that vanity known as fame!
That hollow conceit which puffs itself up
And which popular cant calls honour!
What punishment, what poetic justice,
You exact on souls that pursue you!
To what deaths, what miseries you condemn
Your heroes! What pains you inflict on them!

You wreck all peace of soul and body,
You promote separation and adultery;
Subtly, manifestly, you consume
The wealth of kingdoms and empires!
They call distinction, they call honour
What deserves ridicule and contempt;
They talk of glory and eternal fame,
And men are driven frantic by a name!

To what new catastrophes do you plan
To drag this kingdom and these people?
What perils, what deaths have you in store
Under what magniloquent title?
What visions of kingdoms and gold-mines
Will you guide them to infallibly?
What fame do you promise them? What stories?
What conquests and processions? What glories?

So Mean a Creature of the Clay

Luis Vaz de Camões (1572)

No mar tanta tormenta, e tanto dano,
Tantas vezes a morte apercebida!
Na terra tanta guerra, tanto engano,
Tanta necessidade avorrecida!
Onde pode acolher-se um fraco humano,
Onde terá segura a curta vida,
Que não se arme, e se indigne o Céu sereno
Contra um bicho da terra tão pequeno?

Richard Fanshawe (1655)

By Sea; how many Storms, how many Harms,
Death in how many sev’ral fashions drest!
By Land; how many Frauds, how many Allarms,
Under how many wants sunk, and opprest!
Where may a fraile man hide him? in what Arms
May a short life injoy a little Rest?
Where Sea, and Land, where Guile, the Sword, and Dearth,
Will not all arm ‘gainst the least worm o’th Earth?

William Julius Mickle (1776)

O piteous lot of man’s uncertain state!
What woes on Life’s unhappy journey wait!
When joyful Hope would grasp its fond desire,
The long-sought transports in the grasp expire.
By sea what treach’rous calms, what rushing storms,
And death attendant in a thousand forms!
By land what strife, what plots of secret guile,
How many a wound from many a treach’rous smile!
Oh where shall man escape his num’rous foes,
And rest his weary head in safe repose!

Thomas Moore Musgrave (1826)

What perils, numberless and imminent,
Ceaseless assail Life’s mutable career!
Ev’n where we center all our fondest hopes,
They vanish like an unsubstantial dream.
At sea, what storms, — what losses, — man endures!
What cruel deaths the waves for him prepare!
On land, what sanguinary wars, — what guile, —
What wretchedness, — what misery, — prevail!
To what asylum shall frail man retreat? —
Where pass secure the narrow span of life,
That placid Heaven, unruffled, may not launch
Its thunderbolt against so poor a worm?

Edward Quillinan (1853)

What shocks at sea! What storms around him roar!
The spectre Death, how oft before his eye!
What rage, what strife, what deadlier guile, on shore,
And oh, how much abhorred necessity!
Where shall frail man, though he the world explore,
Find out some nook, some charter’d sanctuary,
Where Heaven will let him live his little term
In peace, nor launch its thunder at a worm!

Thomas Mitchell (1854)

At sea such hardships, and such perils great,
Death near at hand so various and so rife;
On land such warfare, and so much deceit,
Such horrible necessity for strife!
Where may frail mortals find a safe retreat?
Where can they hold securely this short life?
Where are they not in arms, serene Heaven in storms,
Against such poor diminutive earth-worms?

John James Aubertin (1878)

At sea, so many storms and loss so great,
So often death arrayed and seeming sure,
On land, so many wars, so much deceit,
And so much wretched misery to endure!
Where shall weak man discover a retreat,
Where may he deem his short life’s hour secure?
That calm Heaven’s might and anger may not fall
Upon a worm of earth so weak and small!

Robert Ffrench Duff (1880)

On sea, incessant toils, and dreadfil storms! —
Impending death in every step appears —
On land, what horrid woes in all their forms,
What cunning wiles entrap, what endless fears!
Gaunt misery, and want provoke our tears:
Where can the hapless wretch for refuge stray,
To linger out his span of cheerless years?
When shall the mighty Heavens their thunder stay,
Or cease to crush a worm — this helpless child of clay?

Richard Francis Burton (1880)

By sea such tempests, such sore injury,
with Death so often showing near and sure!
By land such warfare, such foul treachery,
so much of curst necessities t’ endure!
Ah! where shall weary man take sanctuary,
where live his little span of life secure?
and ‘scape of Heav’n serene th’ indignant storms
that launch their thunders at us earthen worms?

James Edwin Hewitt (1881)

So much of storm and havoc on the sea,
Before the vision looming death so rife!
So much=of war and guile upon the lea,
So much of harsh inevitable strife!
Oh whither can a fragile mortal flee,
Where shall he hold secure his fleeting life?
That arm and wax not wroth the Heaven serene
Against a creature of the earth so mean?

Leonard Bacon (1950)

At sea by such rough storms and griefs forespent!
So many a moment when Death stands alert!
Ashore such strife and treacherous intent,
Where horrible necessity can hurt!
How can weak man escape the harsh event,
And how misfortune from brief life avert,
Where calm Skies rage not nor take arms alway
Against so mean a creature of the clay?

Landeg White (1997)

On the sea, such storms and perils
That death, many times, seemed imminent;
On the land, such battle and intrigue
Such dire, inevitable hardships!
Where may frail humanity shelter
Briefly, in some secure port,
Where the bright heavens cease to vent their rage
On such insects on so small a stage?

A Great Poet Tout Court

Jacques Barzun on The Lusiads (From Dawn to Decadence), and which translation to read:

While Tasso was garnering praise for his work, another poet in another southern land was composing a true epic. If the name of Camoëns and the tide Lusiads do not at once evoke recognition, the reason is again that of language: Portuguese is not widely read or studied outside its native limits in Europe and America. Camoëns chose a subject more factual than the paladins and had a more useful experience than the Italians for epic work. He was a soldier and sailor. He fought the Moors in north Africa, lost his right eye in battle and was invalided, re-enlisted to find adventure in the Indies, and there became an official in charge of a trading post. Accused of embezzlement and put in prison, he managed to get free and sail home. There, like everybody who could hold a pen, he wrote plays and sonnets and began the epic that made him the great national poet — indeed, a great poet tout court.

His subject was contemporary: the conquest of the ocean sea by the Portuguese. And his ostensible hero was a recent, historical character, Vasco da Gama. The actual hero is the Portuguese people, “the illustrious heart of Lusitania”; the name of the ancient Roman province that recurs in the title Lusiads. The adventures of the hero as man and people are the real and allegorical events of the explorer’s voyage home from the East. What there is of the marvelous in the incidents is due not to magic but to the well-known gods and goddesses of the ancients. Thus in the great episode of the Isle of Love, the domain of Venus, where the sailors take the Nereids, nymphs of the sea, as brides, Gama is the lover of their queen, Thetis, hitherto unattainable. Gama succeeds in his wooing after the repulsive giant Adamastor, typifying the enemies of the Portuguese, has failed. The union of godly beauty with human courage is to produce the future heroes of Portugal. In Greek mythology, when Thetis is subdued by Love, her offspring is the dauntless Achilles.

This sample episode from The Lusiads is enough to show that it is a Humanist epic. Women other than goddesses play important parts in several of the main scenes. Among these is the story, told with lyrical tenderness, of Ines de Castro, the historical mistress of Prince Pedro of Portugal, whose close advisers compelled him to have her put to death. In tone and conception, the poem is equidistant from the popular ballad and the learned pastiche. Camoëns has been blamed for mixing the pagan myths with Christian, but it is standard Humanist practice. It is not sacrilege but spiritual synonymy. In The Lusiads the allegorical and the historical planes are traversed by physical action, told with unabating vigor and vivid detail. It came naturally to one who, though writing on terra firma, had spent many days on the deck of a ship. The fervor with which Camoëns celebrates the conquest, first of the sea by rounding the Cape of Storms at the tip of Africa, and then of the natives and the trade of the southeast Indies, makes his poem the first and last national epic — this at a time when the nations of the West were not so much made as in the making. The work withstands comparison with Virgil’s imperial Aeneid. Using a longer line than the Italians, Camoëns was able to achieve grandeur more easily, especially in the speeches. And he shares with the ancients and the writers of sagas something one might call epic pessimism. He is also considered Portugal’s greatest lyric poet, as well as the man whose writings fixed the Portuguese language.

Os Lusiadas has been translated four times into English, the latest version being in prose. [The one to read is Leonard Bacon’s, in verse.] But there is another means of access that is strongly recommended to anyone who knows Spanish: it is to study in a comparative grammar the forms that differ regularly in Spanish and Portuguese and then to plunge into the poem with a dictionary at hand.