[166] The translator who undertakes to produce a good version of the Lusiad, must, in the first place, adopt no other metre than that of the original, for on the structure of the verse the style of the poem materially depends. He must, moreover, diffuse over the whole composition a character equally natural and dignified, and, where mythological ornament is not introduced, perfectly simple. Finally, he must avoid all antiquated and uncommon turns of expression; for the language of Camoens is always elegant and modern. [167] Manuel de Faria y Sousa was the first who started this question, which is now generally decided against Diogo Bernardes. Notices on this subject maybe found in the prefaces to the third and fourth volumes of the new and elegant edition of the _Obras de Luis de Camoõe, segunda edição da que se fez em Lisboa, nos annos 1779 e 1780_. Lisbon 1782, in five small volumes. A mythological and historical index to the Lusiad, though a very imperfect one, enhances the value of this edition. The older editions of the works of Camoens are noticed by Dieze in his appendix to Velasquez. Manuel de Faria y Sousa’s commentary on the works of Camoens, pedantic as it is, contains some useful historical elucidations. [168] For instance the following, which certainly takes a very bold flight, in order to place in a new point of view the marvellous beauty of the lady to whom it is addressed:-- Quando da bella vista, e doce riso, Tomando estaõ meus olhos mantimento, Taõ elevado sinto o pensamento, Que me faz ver na terra o Paraiso. Tanto do bem humano estou diviso, Que qualquer outro bem julgo por vento: Assi que em termo tal, segundo sento, Pouco vem a fazer quem perde o siso. Em louvar-vos, Senhora, naõ me fundo; Porque quem vossas graças claro sente, Sentirá que naõ póde conhecellas. Pois de tanta estranheza sois ao Mundo, Que naõ he de estranhar, Dama excellente, Que quem voz fez, fizesse Ceo, e Estrellas. [169] Such, for example, is the romantic reminiscence of the fourteen years service of the patriarch Jacob. This sonnet is particularly esteemed, and has been glossed by other poets. Sete annos de Pastor Jacob servia Labaõ, pai de Raquel, Serrana bella, Mas naõ servia ao pai, servia a ella, Que a ella só por premio pertendia Os dias na esperança de hum só dia Passava, contentando-se com vella: Porém o pai, usando de cautella, Em lugar de Rachel lhe deo a Lia. Vende o triste Pastor que com enganos, Assi lhe era negada a sua Pastora, Como se a naõ tivera merecida; Começou a servir outros sete annos, Dizendo: Mais servíra, senaõ fora Pera taõ longo amor taõ curta a vida. [170] Can any thing more strongly resemble Petrarch, both in spirit and style than the following stanza? The whole cançaõ is, however, imitated from Bembo.