But it was not gold that raised the noblest memorial to Portugal's greatness: it was the genius of Luis de Camoens.

The supernatural machinery of Camoens and Tasso is frankly absurd; they are not only careless of credibility, but of sanity.

Lucan tried to do without gods; but his witchcraft engages belief even more faintly than the mingled Paganism and Christianity of Camoens, and merely shows how strongly the most rationalistic of epic poets felt the value of some imaginary relaxation in the limits of human existence.

Then the process begins again, and again fulfils itself, in the series which goes from Beowulf, the Song of Roland, and the Nibelungenlied, through Camoens and Tasso up to Milton.

When we come to Tasso and Camoens, we seem to have gone backward in this respect; we seem to come upon poetry in which supernatural machinery is in a state of chronic insubordination.

Both Tasso and Camoens clearly join on to the main epic tradition: Tasso derives chiefly from the Aeneid and the Iliad, Camoens from the Aeneid and the Odyssey.

Both Tasso and Camoens clearly join on to the main epic tradition: Tasso derives chiefly from the Aeneid and the Iliad, Camoens from the Aeneid and the Odyssey.

Tasso is perhaps more Virgilian than Camoens; the plastic power of his imagination is more assured.

But the advantage Camoens has over Tasso seems to repeat the advantage Homer has over Virgil; the ostensible subject of the Lusiads glows with the truth of experience.

Europe making common cause against the peoples that are not Europe; Europe carrying her domination round the worldis that what Tasso and Camoens ultimately mean?

No; it is not the action of Europe, but the spirit of European consciousness, that gave Tasso and Camoens their deepest inspiration.

And so it is atmosphere, in Tasso and Camoens, that counts much more than substance; both poets seem perpetually thrilled by something they cannot expressthe non so che of Tasso.

Tasso and Camoens, for all the splendour and loveliness of their work, leave epic poetry, as it were, consciously dissatisfiedknowing that its future must achieve some significance larger and deeper than anything it had yet done, and knowing that this must be done somehow through imagined supernaturalism.

With the partial exception of Tasso and Camoens, all epic poetry before Milton is some symbolism of man's sense of his own will.

Virgil is the most scrupulous in this respect; and towards the inevitable change, which Milton completed and perfected from Camoens and Tasso, Virgil took a great step in making Jupiter professedly almighty.

I think it would be agreed, that what was possible for Milton would scarcely be possible to-day; and even more impossible would be the naïveté of Homer and the quite different but equally impracticable naïveté of Tasso and Camoens.

He patented the boomerang screw propeller, and was the author of many educational and other works, including a translation of the Lusiad of Camoens.

Camoens the celebrated Portuguese poet, was shipwrecked at the mouth of the river Meco, on the coast of Camboja, and lost his whole property; but through the assistance of his black servant, he saved his life and his poems, which he bore through the waves in one hand, whilst he swam ashore with the other: his black servant begged in the streets of Lisbon for the support of his master, who died in 1579.

Kermit read Camoens and a couple of Brazilian novels, "O Guarani" and "Innocencia."

Read Mickle's very excellent introduction to his translation of Camoens' Lusiad.

GOLDBERG, ISAAC. Camoens, central figure of Portuguese literature.

HALDEMAN-JULIUS COMPANY, GIRARD, KAN. Camoens.

GOLDBERG, ISAAC. Camoens, central figure of Portuguese literature.

HALDEMAN-JULIUS COMPANY, GIRARD, KAN. Camoens.

Later on Camoens wrote fifteen eclogues, four of which are piscatorial, and in one, a dialogue between a shepherd and a fisherman, refers in the following terms to Sannazzaro: O pescador Sincero, que amansado Tém o pégo de Prochyta co' o canto Por as sonoras ondas compassado. D'este