an, a vision so wide,
and a form and style so nearly perfect, as not only to make him the
foremost of Peninsular bards but to entitle him to a place in that small
company of universal poets of the first rank.

The oldest and most authentic portrait of Camoens appeared in 1624 with
his life, by Manoel Severim de Faria. It is a kitcat and shows the poet
in armour wearing a laurel crown; his right hand holds a pen, his left
rests on a copy of the _Lusiads_, while a shield above shows the family
arms, a dragon rising from between rocks. The likeness exhibits a Gothic
or northern type, and the tradition of his red beard and blue eyes
confirms it. Except for an ode, sonnet and elegy, all Camoens's lyrics
were published posthumously.

AUTHORITIES.--The most modern and most critical biographies are those
of Dr Theophilo Braga, _Camoes, epoca e Vide_ (Oporto, 1907), and of
Dr Wilhelm Storck, _Luis de Camoes Leben_ (Paderborn, 1890), while the
most satisfactory edition of the complete works is due to the Visconde
de Juromenha (6 vols., Lisbon, 1860-1869), though it contains some
spurious matter. While rejecting without good reason many of the
traditions accepted by Juromenha in his life of the poet, Storck
embroiders on his own account, and Braga must be preferred to him. Two
volumes of Innocencio da Silva's _Diccionario Bibliographico
Portuguez_ (14 and 15) are entirely devoted to Camoens and Camoniana,
the second of them dealing fully with the tercentenary celebrations.
Among modern Portuguese studies of the national epic the most
important are perhaps _Camoes e a Renascenca em Portugal_, by Oliveira
Martins, and _Camoes e o Sentimento Nacional_, by Dr T. Braga (Oporto,
1891). The latter volume contains useful information on the various
editions of Camoens, with an account of the texts and remarks on his
plagiarists. Very few poets have been so often translated, and a list
and estimate of the English translations of the _Lusiads_ from the
time of Sir Richard Fanshawe (1655) downwards, will be found in Sir
Richard Burton's _Camoens: His Life and His Lusiads_, which,
notwithstanding some errors, is a most informing book, and the result
of a curious similarity of temperament and experience between master
and disciple. Burton translated the _Lusiads_ (2 vols., London, 1880)
and the _Lyricks_ (sonnets, canzons, odes and sextines; 2 vols.,
London, 1884), and left a version of all the