jfe johnmV o '---.aw ,~ \'-; LIBRARY ci ; CORNELL UNIVERSITY LIBRARY 924 102 142 985 DATE DUE NOV 1 7 mi PRINTED IN U.SA The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924102142985 In compliance with current Copyright law, Cornell University Library produced this replacement volume on paper that meets the ANSI Standard Z39.48-1992 to replace the irreparably deteriorated original. 2005 ?6r ,i < L, CIRCULATE ®muM Wttfomtig § 'itatg BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIET OF Hctirg W. Sage 1891 j A-/ 3 ** tt y i(o/3/tp° BY THE SAME AUTHOR, THE LUSIADS, 2 Vols. Fcap. 8vo. CAMOENS, LIFE AND LUSIADS, Ditto. LONDON : BERNARD QUARITCH, 15 PICCADILLY, W. CAMOENS. THE LY RICKS. Part I. (SONNETS, CANZONS, ODES, AND SEXTINES) ENGLISHED BY ° RICHARD F. BURTON, And imprinted for the Translator at London in October, 1884. LONDON : BERNARD QUARITCH, 15 PICCADILLY. 1884. ALL RIGHTS RESERVED. E M. A ' I 3 H & (0 WYMAN AND SONS, PRINTERS, GREAT QUEEN STREET, LINCOLN's-INN FIELDS, LONDON, W.C. ' ' Wherefore I bisekke you mekely that ye praye for me that God foryeve me my giltes, and nameliche of my translaciouns." Parsones Tale (by Le grand translateur), " The things given to the public as poems of Camoens are no more to be found in the original Portuguese than they are in the Song of Solomon." Byron. De pocos ha de ser mi voz oida ; Fassen los anos, y sera estimada. Lope de Vega. Intendami chi pud, che m' intendo io. Ital. Prov. TO THE PRINCE OF THE LYRIC POETS OF HIS DAY, ALGERNON CHARLES SWINBURNE. My Dear Swinburne, Accept the unequal exchange, my brass for your gold. Your " Poems and Ballads " began to teach the Philister what might there is in the music of language, and what the marvel of lyric inspiration, far subtler and more sethereal than mere poetry, means to the mind of man. Without more ado, allow me to excuse this "trans- action " by a something which comes from the East : — "A poor man, passing by one day when his King travelled, brought him a little water with both hands, saying : — ' Drink, my lord, for the heat is great.' He accepted it gladly from him, not looking to the small quality of that service, but only to the good-will with which it was offered." Believe me ever, Your old friend and fellow-traveller, RICHARD F. BURTON. Desterro, Trieste, Sept. 25, 1884. THE TRANSLATOR'S FOREWORD, I now submit to the Public a second section of my Master's works, the first Part of his far-famed Lyricks. This volume is the fifth of a Camonian series; and two or three more, which are in MS., will complete my Labour of Love. It is hard to repress a smile at the thought of these pages being turned over by Young England of the nineteenth century ; — these Sonnets which date from days when " courting " was a study ; these Odes that deal with old Endymion and Achilles, whose second death was after the date of Gray ; these Canzons so full of shadowy half-expression, of shorthand allu-, siveness, that every Commentator explains them for himself. To the inevitable cut bono ? I can only plead a " call " : my translation should be printed even though it had ne'er a reader save the writer. It is innocuous so far that it can injure no publisher : it is brought out sumptu meo ; and my friend Mr. Quaritch is strong enough to lend his name without fearing to lose caste. And yet, though my work must be its own reward, I am not wholly without hope that the Lyricks g 2 LYRICKS OF CAMOENS. healthy, manly, hearty old song will find its little meed of appreciation if not of praise. In this volume I follow the lines laid down for myself in " The Lusiads " ; especially the use of archaicisms and of eclectic style. Both still appear to me neces- sary when translating a poet older than Shakespeare. Over-polish has been especially avoided : the labor limce of the classics, and the "filing and finishing" of our older writers, was everywhere applied by my Poet to his Epos, not always to his minor pieces. This copy is naught, if not perfectly faithful to its original ; showing Camoens to the English reader in English dress. At the same time, I have borne in mind Rosetti's dictum — " the life-blood of rhythmical translation is, that a good poem should not be turned into a bad one." Again : despite Denham's denunciation of literal- ism,- — That servile path thou nobly dost decline Of tracing word by word and line by line ; despite Johnson, who quotes with approval, — These are the labour'd birth of slavish brain, Not the effect of poetry but pain ; and despite the superficial popular paradox, "A literal translation is no translation at all," I have done my best to translate verbatim et literatim ; not thought by thought, but word by word. Goethe finally laid down the law thus :— " There are two maxims of Transla- tion. The one requires that the author of a foreign THE TRANSLATOR S FOREWORD. 3 nation be brought to us in such manner that we re- gard him as our own; the other, on the contrary, demands that we transport ourselves to him, and adopt his situation, his mode of speaking, his pecu- liarities." For authority may be quoted the great example of my Master, who, in his Triumphos, translated from Petrarch's Trionfi, sinks his indi- viduality and attempts the replica. Here once more I have aimed at "Englishing" the style, the idioms, the ifsissima verba of Camoens; I have attempted not only fidelity, but literality, by making the most conscientious possible portrait. Perfection may be unattainable in this matter ; but the more we strive for the beau idial of translation the less we waste our time and our trouble. A few words concerning the contents of this volume. By way of general preface I have prefixed the original Prologo of Camoens' Lyricks which ushered in the Editio Princeps of theRhythmas. The Poems follow in the order adopted by their earliest Portuguese editors, Faria y Sousa ; Joseph Lopes Ferreira ; Visconde de Juromenha, and the Bibliotheca da Actualidade (Theophilo Braga). For facility of reference the initial lines of the texts have been prefixed to the translations. In Appendix I. I have offered a few observations upon the Lyricks of the "Portuguese Apollo." To avoid troubling my readers and cum- bering my pages with notes I have inserted the few absolutely required into the Index of First Lines (Appendix II.), after the fashion of certain Portuguese b 2 4 LYEICKS OF CAMOENS. editions. Most of the subjects treated in the Rhythmas have already been noticed in "Camoens, his Life and his Lusiads"; and to these two volumes the student is referred. It may conciliate some enmities and captivate, perhaps, some good-will when I abjure all pretensions to rank as a Poet. No one more fully appreciates the difference between "making" and translating ; between the Poe'te's (the Creator) and the copier who aspires only to second prizes, to " increase the returns or revenues of knowledge, but not the stock or inheritance." My ambition is limited to the humbler boast, — Pus dieus m' a dat saber E entendemen ver De trobar, etc. Also let me request English readers, who would form a critical estimate of the Camonian Sonnet, to renew their acquaintance with those of Shakespeare and Spenser. Finally they might oblige me by remem- bering the weighty words of Milton : — " Books are not dead things, but do contain, as in a phiall, the potent efficacy of the spirit that bred them." They will not find a nobler spirit than Camoens. In preparing this volume I have been aided by a host of " with- workers." Amongst them I must mention with cordial expressions of gratitude the names of my correspondents, M. J. J. Aubertin and Dr. Wilhelm Storck, Professor der deutschen Sprache und Literatur, at Munster. This learned German, THE TRANSLATOR S FOREWORD. 5 the first translator of all Camoens' Obras, has not only published in five volumes the Redondilhas and Letters (i) ; the Sonnets (2) ; the Elegies, Sextines, Odes and Octaves (3); the Canzons and Idylls, or Eclogues (4) ; The Lusiads (5) ; and the Theatre (6) ; he' has, moreover, illustrated his versions with critical notes and text-emendations which are most valuable to the student of Camoens. RICHARD F. BURTON. PROLOGO OF FERNANDO RODRIGUES LOBO SURRUPITA. (Editors Preface to his Readers.") Whereas this Book must come into the hands of the many; and whereas it were impossible that all should be equal in the knowledge of things required for its intendiment, meseemeth not a little profitable to advert briefly upon some of the subjects; such, for instance, as the title and the distribution of the work, and also the author thereof. And, beginning with the title, the term Rhythmas (which the Italians and the French pronounce without the aspirates) descendeth from 'Pvdfiog, a Greek vocable signifying Number or Harmony. Thus declare Diomedes Gram- maticus and Nicol&o Perotio, 1 in the "Cornucopia," the Commentary on the fourth Epigram. In either signification it applieth especially to the verse of Italian measure ; because this consisteth not only of a certain number of syllables, but also containeth the Harmony produced by the Accents and the Con- sonants (rhymes); as proveth Benedetto Varchi % in 8 LYRICKS OF CAMOENS. his Dialogo Tusculano {Enquiry IX.). Nor doth this admit of doubt, for the Corpus of every manner of Poem is composed of Number and Harmony, whence the definition of Posidonius, the Stoick,— "Numbered Diction," consisting of a certain measure or metre, as Laertius hath it in his Life of Zeno. So true it is that Socrates, having been counselled by an Oracle that, if he would attain to happiness, he must apply his mind to Musick, understood thereby that he would satisfy the intent of such counsel by em- ploying himself wholly in making Verses, the Num- bers or Harmony of which are part of the same Musick, even as relateth Celio Calcagnino? in the Oration which he made in Praise of the Arts. Hence also proceeded the Etymology of this term " Poet," which, conformably with the opinion of Eustathius, followed by Rhodiginus^ in his fourth Book, is derived from, iroiziv in the sense of efifiirpug aeiSeiv, meaning cantare, to sing. This wise also affirmeth the same Nicolao Perotto (on the fifth Epigram) ; and, there- fore, Dante called Poetry 5 a "rhetorical Fiction set to Musick." That the Title of Rhythmas besitteth this work also appeareth clearly from a Discourse made by Cardinal Pietro Bembo, 6 in the second Book of his Prosas, wherein he saith that Rhythmas (or "Rimas," as he writeth the word) be of three modes j for they are either regulate or they are free, or they are partly free and partly regulate. Regulate we term those Rhythmas which are ever PROLOGO. 9 subject to one and the same Rule; such be the " Tercets," or triple rhymes, of which Dante is sup'r posed to have been the inventor, for that, before him, they Were made by none. 7 Regulate also are the " Octaves " (Ottava rima) devised by the Sicilians, who assigned to each ;of them only two Consonants or Rhymes : the same were afterwards reduced to a better form by , the Tuscans, a third Consonant in the last Couplet being introduced by them. Of this sort, further, were the "Sextines," an invention; of the Provenfaux, especially of Arnaldo Daniel? Free Rhythmas are those which do not keep any Rule, either in the Number of the Verses or in the Correspondence of the Consonants. Such is the "Madrigal," 9 derived from Mandra, a Tuscan vocable, this being a Composition of Villeins, or country-folk, and corresponding with our Portingall Villancetes. Rhythmas partly free, and partly regulate be those which in some things go subject to Rule, and which in others are exempted from it. Of such, sort are the " Sonnet " and the " Canzon "; for Sonnets, al- though obliged to follow the same Rule in the Num- ber and in the Disposition of their Verses, withal, in the Correspondence of Consonants, they have no certain obligeance. This was shown by Rengifo™ in his Ars Poetica (Cap. XLIIL), wherein,, however, he followeth the Observations made with abundant Judge- ment and Genius by Torquato Tasso in his Dialogo della Poesia Toscana. The "Canzons" 11 partake of the same Nature, as is pointed out by the same 10 LYRICKS OF CAMOENS. Rengifo (Cap. LIX. et seq.). Saying thus much we have justified the Title. Followeth the Distribution of the work, which is divided into five parts, because the Number quinary especially appertaineth to works of Poesy and of Eloquence. This is clearly seen for-that conformably with the doctrine of the Platonists, it was dedicated to Mercurius and to other gods, who, according to their gentilick rite, were the Patrons of the Arts, as Rhodiginus writeth (Lib. xii. Cap. 10), and they held Mercurius to be the Deity of Eloquence ; and therefore, as relateth Vincencio Cartario, 12 in his Book on the " Images of the Gods," they consecrated to him the Tongues (of victims). This being the case with Eloquence, the same became that of Poetry, by virtue of the alliance subsisting between the twain ; agreeably to the definition of Dante and Posidonius. And therefore the fifth letter of the Greek alphabet was dedicated to Apollo, as writeth Guillelmus Onciacus, ls in his "Book of Places" {Numeralium Locorum Decas, Cap. V.). Also of the Muses, albeit they number nine, only Jive had the Government of Poesy ; because to Clio was attributed the Subject of Verse, she presiding over History ; to Polymnia the adornment of Language; the Epos Heroical to Calliope; to Melpomene the Tragick ; and to Thalia the Comick, conformably with the vulgar Epigram which goeth amongst those of Virgilius. Following, then, such Distribution, we have assigned the First Phice to the Sonnets, these being Compo- PROLOGO. 1 1 sitions of the highest Merit by reason of their Difficulty ; for not only do they' refuse admittance either to an idle word or to a word of little weight, they must also include the whole of their Subject- matter within the term of fourteen Lines ; and they must be closed by the last Tercet in such sort that the understanding feel no desire to pass onwards, a matter wherein many Poets who fly upon the wings of Fame have not proved themselves happy. 14 The second place was given to the Odes which correspond with Verses Lyrical, as showeth Fernando de Herrera 15 in his most erudite " Commentary '' on the first Canzon of Garcilasso. The third to the Elegies and to the Octaves, forms which we cannot find that Petrarch used, 16 whilst both were cultivated with great felicity by Ariosto ; and, peradventure, he knew better to imitate, in the perfection of Elegiack Verse, Tibullus and Propertius (who be the Princes of this Genus) than Virgilius in the Majesty of the Heroick, Fourthly come the Eclogues because 'tis a species of composition which requireth less com- petency ; and in this form, leaving aside Theocritus and Virgilius, especial excellence was attained by Sannazaro, as also by Bernardino Rota in his Piscatory Eclogues.^ The fifth and final place was assigned to the Grosas, the Voltas and other compositions in short (octosyllabic) verse, which are peculiar to our Spain. 18 In these Gregorio Sylvestre 19 showed notable superiority amongst all the Spaniards ; of a truth he would have held the first place had it not been 12 LYRICKS OF CAMOENS. taken from him by Luis de Camqens for the acute- ness of his conceits and the propriety of his Diction, as well as for the ability of submitting to impossible Rules, an ability which he displayed much more in his other Rhythmas, as we shall presently say. And pursuing with the Poet (which be the third part of this Prologue), it were evident Rashness to attempt his Eulogy, For albeit many others won Fame in some individual Perfection ; natheless not a few of them wanted the natural Disposition 'which would have made easy to them the contexture of -Verse.; hence they elaborated it with such Asperity and Difficulty that they would seem to deflower their words and to beget upon them Conceits par force, 20 and thus they fail of this Suavity wherein Poesy herself consists, agreeably to the Doctrine of Fracastorius in his "Dialogue" entitled Naugerio and taken from Horatius and Quintilianus. Others again, who drew nearer to Nature, fell short either because they were unhappy in choice of Terms' ; or because they lacked the Wealth, of Words wherewith to attire and to adorn Speech, together with the Beauties of Language, such as the Tropes and Figures, without which Cicero and Virgilius never spake ; or, finally, because they employ expressions so homely and commonplace, as if the very constitution of Poesy were not Elevation above vulgar usage, conformably with the opinion of Plutarchus in his Tractate, " De Poesiis" and of Rhodiginus (Lib. iv. Cap. 4). Others, who have better Gifts of Language possess PROLOGO. 13 no Learning wherewith to illustrate their works ; it being a Truth (as saith Rhodiginus in Cap. 2 of the same Book), that they only may be lawfully entitled Poets who displayed a knowledge of various Sciences, as did Orpheus, Homeros, Virgilius and Pindaros. Now, Luis de Camoens, on the other hand, is so far removed from all such Defects that we see in him conjointly the promptest natural Disposition to express his Thoughts, accompanied with an innate Facility which fills his Verse with Sweetness; and, withal, a Diction so pure, so ornate with all the Splendours of Eloquence, and so rich in the Conceits and Jewels of every Science, that it would seem as if in him alone Art and Nature had conjoined every requisite for rising to the height of Poesy. And besides being excellent in all modes of Rhythmas, especially in shorter Verse, as we have already said, he is most happy in the Canzon, 21 keep- ing every Law of that Composition in such manner that he hath no cause to envy Petrarch, Bembo, and Garcilasso, who are the most lauded in this depart- ment. And he holdeth the same Place in the greater part of his Sonnets ; and he would have held it all had not some, which do here figure as his, been, thrown off with scanty care at the importunity of Friends. Hence it happens that oft-times they came to aid those who asked aid, with more of haste than of the obligatory filing and finishing ; and, finally, they are printed as his without the will of the Author. This is not the Place to treat of the Style heroical : *4 LYRICKS OF CAMOENS. the task may be left to him who shall comment upon The LusiadaP But what may here be said is that our Poet carried out. so literally and so completely the Obligations of the Epos, that if it did not seem Arrogance we might assign to him a Seat hard by that occupied by Virgilius ; for in the Grandeur, the Gravity, and the Harmony of the Words ; in the Tracing and the Discursus of the Work, and in the Sublimity of the Subject, he everywhere followed Vir- gilius his footsteps. And in all his Fictions and Allegories, without which there can be no Heroick Poem (agreeably to the opinion of Aristotle as quoted by Rhodiginus in the same Lib. iv. Cap. 4 ; and to the writings of Plutarchus, who "in the place above referred to reprehends Empedocles, Parmenides, Nican- dros and Theognides for usurping the name of Poet, because they wrote verses rich only in Learning but unaccompanied by Imagination), in this matter, I say, he showed a genius so admirable as well nigh to rival Homeros. Would that he had been able to abase his Grandeur in some of his Eclogues by conforming them more with the style Bucolick.^ And although our Poet lack not Detractors to calumniate his Works, yet doth Detraction by no means obscure their Desarts. For both Virgilius and Homeros underwent this trial, which naturally awaits all rare and seld-seen Genius. So true it is that the Grammarian Carvilius M writ a whole book upon the Errors of Virgilius: also Caligula, the Cmsar, dared affirm that the Poet had neither Ability nor Erudi- PROLOGO. 15 tion; and resolved upon sending an Order to burn all his Works and Portraits stored in sundry Biblio- thecse. So relate Suetonius Tranquillus and Pedro Crinito in " De Poetis Latinis," libri iii. 25 And now remaineth only to remind the Reader that the Errors met with in this Impression were neither neglected nor unobserved by him who assisted in copying the Book. 26 But it was deemed a lesser inconvenience to let them appear as they were found (collating them, however, with certain Hand-books wherein the Works were quoted fragmentarily), than to violate the Compositions of another, without an evident Certainty that the Emendations would be true and correct. For 'all good understandings will re- serve the Right of Judgment that these be not Errors of the Author, but the Cankers of Time and the careless Inadvertency of Copyists. And here we follow what approved itself to Augustus Ctzsar who, in the Commission entrusted by him to Varius and to Tucca, expressly forbade them to change anything of Virgilius or to add aught of their own. For this would be, in fine, to confound the Substance of the Verses and the Author's Conceits with the Emenda- tor's Words and Inventions without consequent assur- ance, withal, of the readings being either original or emended. Here, therefore, no action has been taken save only in whatsoever clearly shows itself to be a Fault of the Pen : the remainder goes forth even as it was found written,, and very different from what it would have been had Luis de Camoens printed it 1 6 LYRICKS OF CAMOENS. during his Life-term.' But even thus, and despite the Injuries of Time and Ignorance, the Light of our Poet's Merits shines with splendour sufficient to pre- vent our envying in this Form of Poesy any stranger People', -■ • (Signed) Fernao Rodriques Lopo Surrupita, Licentiate and Advocate in this Court.'" LYR1CKS OF CAMOENS. l^ NOTES, The following remarks upon the ' ' Prologo " are borrowed from various sources. And here I take with pleasure the opportunity of acknowledging the able and friendly assistance of my learned friend, the Petrarchist, Dr. Attilio Hortis, chief librarian to the Musco Civico, Trieste. 1 Diomedes Grammaticus (before 6th century) wrote : " De Oratione et Partibus Orationis, et vario Genere Metrorum LibriIII."ad Athanasium(Hephaestion edit. Gaisford. pp. 431- 42). Nicolao Perotto (Nicolaus Perottus), born in 1436 at Sassoferrato ; professed Poetry and Rhetoric at Bologna 1452) ; was raised by Pius II. to the Archbishopric and Governorship of Umbria, Spoleto, and Perugia, and died in 1480. Amongst many works famous in his day, he left one " De Metris, sive de Genere Metrorum;" Venet. 1497. For further details see Part III., Sect. 1, p. 695, "Lehrbuch einer Literaturgeschichte," by Dr. Johann G. Th. Grasse ; Dresden and Leipzig, 1837. 2 The well-known Benedetto Varchi, of Florence (born on March 19, 1503 ; died about set. 62), of the Betti and Franchi families, lived and laboured in troublous times, and proved himself a firm friend of the Medici. His epitaph in the Church Degli Angeli, Florence, assures us that his life was spent sine itl/d avaritid aut ambilione. The text refers to the Dialogue called after Count Cesare Ercolano. Varchi's principal work was the " Storia Florentina" (16 books 1523-37): he was an indefatigable sonnetteer, his productions numbering 958 ; and his collected " Opere " fill two volumes large 8vo; Trieste, Lloyd Austriaco, 1858. 3 Celio Calcagnino, of Ferrara (died in 1541), wrote chiefly upon antiquities and classical subjects : his works are now more quoted than read. Lyricks q 1 8 LYRICKS OF CAMOENS. 4 Rhodiginus (i.e., of Rovigo) : Ludovicus Celius Riccliieri, bomcirc. 1450. He was protected by Francois I. during the Italian troubles, and he is supposed to have died broken- hearted after the Battle of Pavia! He left " Antiquarum Lec- tionum Libri xvi." (Venice, 1516; Paris, 1517); his life was written by Camillo Silvestri (Raccolta Calogera, IV. p. 157), and he is mentioned in the " Storia " of Tiraboschi (Vol. VIII. Part II. p. 225). ' Dante so defines poetry in his famous philosophico-metrical Treatise " De Vulgari Eloquio. " It has been introduced to the English public by the late Dante Gabriel Rossetti, painter and poet. "Rhythmus,"saysArisloxenus of Tarentum, a high authority quoted by Dr. Francis Hueffcr ("The Troubadours," etc.; London, Chatto and Windus, 1878), "is the division of time into equally recurring parts longer and shorter {i.e. quantity), made perceptible to certain metrical movements {to pvBfii^cifiivov"). In music it is the notes of a melody {/liXog); in dancing, bodily gesture (owiiaTtKrj xivictc); and in poetry, diction (\t£ic). The weaker part of the metre was originally called apaiQ when the voice or the foot was raised {arsis est elevatio); and the stronger was 9img, when the tone fell as the dancer trod the ground {thesis est deposilio vocis ac remissio). The terms have frequently changed meaning, and in Latin they were applied not to quantity, but to that rhetorical accent, — as in Dies irae, dies ilia — which by slow degrees overcame its rival, and led to the development of "Rhyme" or "Rime" proper. The latter was known to Homer and Horace, but the rhythmical principle prevented its development. * 6 Little need be said concerning Bembo, the Platonist and Petrarchist (born in 1470), who was made a Cardinal malgrc * Nil satis est pulchra esse poemata : dulcia sunto Et quocumque volent animum auditoris agunto. II Epist., III. 99, 100. So I Odes, I. 2, 3. Meum + Olympicum : I Odes, VIII. 4, 5, Solis + militaris and many others. NOTES. 19 lui, and who consoled himself with Poetry — partly amorous. His portraits show a marked Hebrew face, much resembling the late Sir Charles Napier (of Sind). His works fill 12 vols. 8vo (Milano, Soc. Tipograf. de' Classici Italian}, 1808); andhis " Rime" (Venice, 1530) are still read. 7 The assertion is over-hasty. Fr. Bernardo de Brito's "Chronica de Cister" (Lib. VI. Cap. I, m. fol. 372) quoted Hendecasyllabics by Goncalo Hermigues (circa 1090) before Count Henrique had entered Portugal. A hundred and seventy years afterwards D. Diniz (King Dennis, or Dionysius), who was born three or four years before Dante (a.d. 1265), wrote many Hendecasyllabics, and presumably Tercets. In the Dedi- catory of his "Chronica Geral de Hispanha" (printed at Valencia, 1546), Pedro Antam Beuter states that a certain Mossen Jordi, who flourished about 1250, composed sonnets, Sextines and Terceroles, which are Tercets ; moreover, that he borrowed this form from older rhymers, such as the Hohen- staufen Emperor Friedrich II. and his son Enzio (nth century). Beuter quotes the following verses by Jo — ; E no lie face, e no tinch qui in guarreig : Vol sobrel Cel, e non movi di terra ; E no estrench res, etot la man abrds : Hoy he de mi, e vull allri gran bi, Si no amor, dons aco que sem ? (There be be no Peace, yet have I none to war ; O'er Heaven I fly and never fare from Earth ; And nought hold I, yet all the world embrace : I hate myself and love another well, If that n'is Love then what bin it I feel ?) The idea is thus borrowed by Petrarch : — Pace non trovo, c non ho da far guerra, etc. (Peace find I not, and may I not make war.) I Sonnet, Part I. 90. From Petrarch it was imitated, or rather translated, by Camoens, whose Sonnet IX. begins : — Tanto de men csfado me ac/10 incerto, etc. C 2 20 LYRICKS OF CAMOENS. And, after all, the germ may be found in the "Amo et odi" of Catullus. * Arnaut Daniel (Arnaldo Daniello), of Ribeyrac, the famous poet and musician, Troubadour and Joglar (jocularius) of the I2th qentury, from whom Dante borrowed the structure of sundry stanzas, and whom Petrarch ("Triumphs of Love," Cap. IV.) entitles "Gran maestro d'amor." He died after a very accidented life in a.d. 1189. 9 Mandriale (Madriale, Madrigale, Madrigal) derives from the Greek, Ital. and Span. Mandra or Mandria, a flock or fold, Antonio da Tempo (p. 139, edit. Guion) adds, "A Mandra pecudum et pastorum, quia prim6 modum ilium rithi- mandi et cantandi habuimus ab ovium pastoribus." Menage quotes the French Mandre (sheepfold), and deduces it from dvrpov, a cave ; I prefer to consider it a congener of the Arab. Mandarah (Manzar), a look-out place, adopted by the Sicilian Greeks from their "Semitic" (Arabian) neighbours. The oldest Madrigals were of two kinds, " Mandriales Communes " and " Mandriales cum retornellis," i.e. caudati, cowee'd with single lines, or with couplets. Carducci (Studi Litterari) notes that the Madrigal should conserve its old simplicity : — " Un eco di beliti ci si aveva sempre a sentire, ma per benino, in guisa che assomigliasse a un sospiro dell' anima." The Portuguese "Villancete" is the Spanish Villancico, a song of "Villeins," or peasants. 10 Rengifo (Juan Diaz), Professor of Grammar and Rhetoric, whose "Arte Poetica Espanola" (Salamanca, 1592, 4to), treats of the technique of the older Castilian composition and of the Italian innovations due to Boscan and Garcilasso. For ample details see Bouterwek (Eng. Trans, p. 103 seq.), and Vol. III. p. 265, etc., " History of Spanish Literature," by George Ticknor ; London, Triibner, 1863. " The Canzon was affected by Guido Guinicelli, the Bolognese, who flourished in the early 13th century, before Dante's day. Longfellow (Dante, II. 304, Tauchnitz edit.) quotes Rossetti's translation of his most famous production, a Canzon on the Nature of Love, which won high praise from the Author of the Commedia (Purg., XXVI. 90-ico). Of his NOTES. 2 1 life little is known. In Appendix I. the reader will find fur- ther notices of the Canzon. " Vincentio Cartario or Cartari (Vincentius Cartarius), a now forgotten archaeologue of the 1 6th century. It may here be noted that certain mediaeval writers looked upon Mercury, with his wings and his functions, as the "Angel" of Jupiter ; the same was the case with Iris. 13 Onciacus, or Onciatus, Guillaume d'Oncieu, a French writer of repute on Jurisprudence. Besides the "Decas" (I vol. 8vo, 1584) he wrote eight works duly enumerated in that portable publication, "Grosses Universal Lexicon," von J. H. Zedler, Leipzig und Halle, 1740, in 64 vols, folio. " Surrupita alludes generally to a common defect in sonnet- writing where the subject is left incomplete and the reader remains in expectancy, as it were, of what the writer is about to say. He may refer especially to a sonnet of his contempo- rary, Antonio Ferreira, beginning : — ff olhos, donde Amor suasfrcchas tira, etc. (Eyne! from whose depths Love shoots his shafty showers.) This first of the quatorzaine, addressed to a pair of eyes, is followed by the contents of the Sonnet forming a mere string of exclamations and adding nought to its object. The second Tercet should have predicated the subject, as Camoens shows in two "continued Sonnets" (Nos. XXXV. and CXXXVIII.). Sur- rupita was a distinguished sonneteer,and,as will appear,may have a right to claim some of the 360 (e.g., Nos. CXVI. and CC1X.) which bear the name of Camoens. His works " Poesias e Prosas ineditas de F. R. L. Soropita," with Preface and Notes, were published by Snr. Camillo Castello Branco at Oporto, in 1868. . In Camoens' day, however, the "little sound " was a general favourite, and almost all educated Portuguese seem to have written Sonnets. ' IS Under " Odes" the Prologist would here include Canzons and Sextines. Fernando de Herrera (1500-1578, which Ticknor makes 1597) was an ecclesiastic of Seville, in whose honour Cervantes wrote a Sonnet. His learned and voluminous Commentary on Garcilasso appeared in 1580. Amongst his 22 LYRICKS OF CAMOENS. many works were a poem on the Battle of Lepanto, Don John of Austria being one of his favourite heroes ; and an Ode on the defeat and death pf Dom Sebastiam. His unpublished Eclogues are lost ; his other writings were brought out (1619) by his friend Francisco Pacheco, the painter, with a preface by Rioja. He was a lover of the (Petrarchian) "sonetto," which he declared to be " the most beautiful form of composition in Spanish and Italian poetry, and the one which demands the most art in its construction and the greatest grace " (Ticknor). 10 Petrarch wrote nothing which he entitled " Elegies," or funeral odes ; but his Trionfi, composed in terza rima, are purely elegiac. In some editions of his works (e.g., that of Naples, 1609, i6mo) a short poem in Tercets entitled Capitttlo, possibly by the printers, is also an elegy, beginning : — Nel cor pien di amarissima dolcezza, etc. (Within a heart which brims with bitterest sweet.) " To Sannazaro and Rota the Prologist might have added Lodovico Paterno in Italy, and the unrivalled Garcilasso in Spain. Rota (born in 1409 and died in 1575) was a Neapolitan of knightly family, who wrote much Latin verse and a Can- zoniere (Song-book) of some celebrity. His fame rests upon his "Egloghe Piscatorie," which number fourteen (1 vol. l2mo, 104 pp.): their nobility of style, harmonious proportions and graceful execution have entitled their author the " Sannazaro of Halieutics." The favourite metre is the hendecasyllabic with half-lines, as in the Canzon. Camoens seems to have read Rota, judging from such passages as : — O Cimodoce, o Dcto, o Panopea. 18 "Hispanha" here including Portugal. The "Grosa," now written "Glosa," means primarily a gloss proper, secondarily a short poetical composition after the manner of impromptus. The "Volta," etymologically signifying a turn, a Ritornelle, a sorig with a "bob" or burden, will be noticed at full length in a future page. The author is hardly justified in saying that the Glosa is peculiar to the Iberian Peninsula : Italy knows nothing older than the popular Stornello. And he is certainly incorrect when he makes the "Verso pequenho," or NOTES. 23 octosyllabic line, proper to Spain." Not to mention the Iambic Dimeter of the Greeks and Romans, the Celtic Bards carefully cultivated this measure, v. hich they adorned with rhyme, and, in this matter, they set the example to Southern Europe. 19 Gregorio Sylvestre deserves this praise as a writer of octo- syllabic " Glosas." A Portuguese, born in Lisbon and brought up in Spain where his life was spent, he treated many other subjects in "short verse," and he shared popularity with Garci Sanchez de Badajoz ; Bartholomeu de Torres Naharro ; I). Juan Fernandez de Heredia, and Christoval de Castillejo. His works were printed in Lisbon by Manuel de Lyra (i2mo, 1592), and at Granada by Sebastiam de Mena (1 vol. 8vo). -" This again is supposed to allude to Antonio Ferreira, a rhymer charged with using redundant words ; with ignoring the ii