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ed. The seeming episode of the pictures, while it fulfills the promise-- _And all my country's wars the song adorn,_ is also admirably connected with the conduct of the poem. The Hindoos naturally desire to be informed of the country, the history, and power of their foreign visitors, and Paulus sets it before their eyes. In every progression of the scenery the business of the poem advances. The regent and his attendants are struck with the warlike grandeur and power of the strangers, and to accept of their friendship, or to prevent the forerunners of so martial a nation from carrying home the tidings of the discovery of India, becomes the great object of their consideration. [534] _But ah, forlorn, what shame to barb'rous pride._--In the original.-- _Mas faltamlhes pincel, faltamlhes cores, Honra, premio, favor, que as artes criao._ "But the pencil was wanting, colors were wanting, honour, reward, favour, the nourishers of the arts." This seemed to the translator as in impropriety, and contrary to the purpose of the whole speech of Paulus, which was to give the catual a high idea of Portugal. In the fate of the imaginary painter, the Lusian poet gives us the picture of his own, resentment wrung this impropriety from him. The spirit of the complaint, however, is preserved in the translation. The couplet-- "Immortal fame his deathless labours gave; Poor man, he sunk neglected to the grave!" is not in the original. It is the sigh of indignation over the unworthy fate of the unhappy Camoens. [535] _The ghost-like aspect and the threat'ning look._--Mohammed, by some historians described as of a pale livid complexion, and _trux aspectus et vox terribilis_, of a fierce threatening aspect, voice, and demeanour. [536] _When, softly usher'd by the milky dawn, The sun first rises.--_ "I deceive myself greatly," says Castera, "if this simile is not the most noble and the most natural that can be found in any poem. It has been imitated by the Spanish comedian, the illustrious Lopez de Vega, in his comedy of Orpheus and Eurydice, act i. sc. 1:-- "_Como mirar puede ser El sol al amanecer, I quando se enciende, no._" Castera adds a very loose translation of these Spanish lines in French verse. The literal English is, _As the sun may be beheld at its rising, but, when illustriously kindled, cannot_. Naked, however, as this is, the imitation of Camoens is evident.
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