[135] The original source whence these biographic notices are derived is, it must be admitted, somewhat obscure. About the middle of the seventeenth century, a writer named Manoel Severim de Faria compiled a biographical account of Camoens from the poet’s own works. This biography served as a ground work for Manoel de Faria e Sousa, who annexed a _Vida del Poeta_ to his edition of Camoens and his commentaries on the Lusiad. The facts thus collected were afterwards rectified and arranged by subsequent writers, and among others by Barbosa Machado. Manoel de Faria attaches particular importance to the noble extraction and armorial bearings of Camoens. He gives the passage from the letter which the poet is said to have written on the approach of death, and which Barbosa Machado has re-printed. The words are:-- Quem houvio dizer nunca, que em tam pequeno theatro, como o de hum pobre leito, quisisse Fortuna representar tam grande desventura? And again:-- Procurar resistir a tantos males, pareceria especie de desavergonhamento. [136] The first edition of the Lusiad was printed in the year 1572, and the poem itself was chiefly written in the East Indies. Tasso read it, and praised the author in a sonnet which has been preserved. The first edition of Jerusalem Delivered appeared in 1580, and consequently, a year after the death of Camoens. (See the History of Italian Poetry and Eloquence, vol. ii. p. 226.) [137] Even the apology for Camoens which precedes Mickle’s version of the Lusiad, defeats itself, for the English translator makes the Homeric epic his standard, and in order to justify the Lusiad misconstrues the machinery of the Iliad. The remarks on the Lusiad by Voltaire, in his _Discours sur le poème épique_ are beneath criticism; and the judgment pronounced on this poem by Von Junk in the introduction to his Portuguese grammar, evinces a total want of poetic taste. No one should attempt a translation of the Lusiad, who does not possess an intimate acquaintance with the Portuguese language and poetry, for it is otherwise impossible to seize the spirit of Camoens. The English translation by Mickle is hitherto the only one in which it can be said that at least the elegant dignity of Camoens’s style is represented. [138] See the History of Spanish Literature, p. 408. [139] The edition with the commentaries of Faria e Sousa published in the year 1636, has the old title of _Lusiadas_; but in the book itself the poem is frequently styled the _Lusiada_. The latter title is, therefore, far from being a recent innovation. [140] Camoens was no doubt influenced by the recollection of Virgil’s _Arma virumque_. But in his opening stanza the Portuguese poet alludes to the heroes of his native country, without distinguishing any one in particular; and thus at the very outset the Lusiad differs from the Æneid. The second stanza resembles Ariosto. The two first stanzas are here subjoined in the original:--