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Later, Burton sent Payne other Camoens sonnets to look over. Writing on 29th October 1882, he says, "Many thanks for the sonnet. Your version is right good, but it is yourself, not me. In such a matter each man expresses his own individuality. I shall follow your advice about the quatrains and tercets. No. 19 is one of the darkest on account of its extreme simplicity. I shall trouble you again."
To him, Verona stood for Catullus, Brindisi for Virgil, Sorrento for Tasso, Florence for "the all Etruscan three," Dante, Petrarch, and Boccaccio, Reggio and Ferrara for Ariosto. It was from Ariosto, perhaps through Camoens, who adopted it, that he took his life motto, "Honour, not honours" "'Tis honour, lovely lady, that calls me to the field, And not a painted eagle upon a painted shield."
Some of the conspicuous blemishes of several great compositions may be attributed to the domestic infelicities of their authors. The desultory life of CAMOENS is imagined to be perceptible in the deficient connexion of his epic; and MILTON'S blindness and divided family prevented that castigating criticism, which otherwise had erased passages which have escaped from his revising hand.
Soumet had only a very few hooks in his library, but they were of the best Homer, Virgil, Dante, Camoens, Tasso, and Milton. De Quincey's favourite few were Donne, Chillingworth, Jeremy Taylor, Milton, South, Barrow, and Sir Thomas Browne.
And over the starry waves, and broad out into the blandly blue and boundless night, spiced with strange sweets from the long-sought land the whole long cruise predestinated ours, though often in tempest-time we almost refused to believe in that far-distant shore straight out into that fragrant night, ever-noble Jack Chase, matchless and unmatchable Jack Chase stretches forth his bannered hand, and, pointing shoreward, cries: "For the last time, hear Camoens, boys!"
One of these had been commanded by Bartholomew Diaz, the discoverer of the Cape of Good Hope: he had been drowned by these murderous waves, the defenders, according to Camoens, of the empire of the east against the nations of the west, who had for so many centuries coveted her marvellous riches.
Their time imposed a duty on them; that they clearly understood. But they did not clearly understand what the duty was; partly, no doubt, because they were both strongly influenced by mediaeval religion. And so it is atmosphere, in Tasso and Camoens, that counts much more than substance; both poets seem perpetually thrilled by something they cannot express the non so che of Tasso.
Apparently nothing worthy of note has happened since. Camoens returned to Lisbon in 1569, and his great epic poem saw the light in 1572. He died in a public hospital in Lisbon in 1579 or 1580.
On the 9th of March, 1500, a fleet of thirteen vessels left Rastello, under the command of Pedro Alvarès Cabral; on board, as a volunteer, was Luiz de Camoens, who in his poem the "Lusiad," was to render illustrious the valour and adventurous spirit of his countrymen. But little is known of Cabral, and nothing of the reason which had gained him the command of this important expedition.
The verse of our period is filled with names from the past that offer our poets a noble precedent for their destitution, Homer, Cervantes, Camöens, Spenser, Dryden, Butler, Johnson, Otway, Collins, Chatterton, Burns, all these have their want exposed in nineteeth and twentieth century verse.
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