In the original—
Là na grande Inglaterra, que de neve
Boreal sempre abunda;
that is, "In illustrious England, always covered with northern snow." Though the translator was willing to retain the manner of Homer, he thought it proper to correct the error in natural history fallen into by Camoëns. Fanshaw seems to have been sensible of the mistake of his author, and has given the following (uncountenanced by the Portuguese) in place of the eternal snows ascribed to his country:—
"In merry England, which (from cliffs that stand
Like hills of snow) once Albion's name did git."
[423] Eris, or Discordia, the goddess of contention.—Virgil, Æneid ii. 337.—Ed.
What knighthood asks, the proud accusers yield,
And, dare the damsels' champions to the field.—
The translator has not been able to discover the slightest vestige of this chivalrous adventure in any memoirs of the English history. It is probable, nevertheless, that however adorned with romantic ornament, it is not entirely without foundation in truth. Castera, who unhappily does not cite his authority, gives the names of the twelve Portuguese champions: Alvaro Vaz d'Almada, afterwards Count d'Avranches in Normandy; another Alvaro d'Almada, surnamed the Juster, from his dexterity at that warlike exercise; Lopez Fernando Pacheco; Pedro Homen d'Acosta; Juan Augustin Pereyra; Luis Gonfalez de Malafay; the two brothers Alvaro and Rodrigo Mendez de Cerveyra; Ruy Gomex de Sylva; Soueyro d'Acosta, who gave his name to the river Acosta in Africa; Martin Lopez d'Azevedo; and Alvaro Gonfalez de Coutigno, surnamed Magricio. The names of the English champions, and of the ladies, he confesses are unknown, nor does history positively explain the injury of which the dames complained. It must, however, he adds, have been such as required the atonement of blood; il falloit qu'elle fût sanglante, since two sovereigns allowed to determine it by the sword. "Some critics," says Castera, "may perhaps condemn this episode of Camoëns; but for my part," he continues, "I think the adventure of Olindo and Sophronia, in Tasso, is much more to be blamed. The episode of the Italian poet is totally exuberant, whereas that of the Portuguese has a direct relation to his proposed subject: the wars of his country, a vast field, in which he has admirably succeeded, without prejudice to the first rule of the epopea, the unity of the action." The severest critic must allow that the episode related by Veloso, is happily introduced. To one who has ever been at sea, the scene must be particularly pleasing. The fleet is under sail, they plough the smooth deep—
"And o'er the decks cold breath'd the midnight wind."
All but the second watch are asleep in their warm pavilions; the second watch sit by the mast, sheltered from the chilly gale by a broad sail-cloth; sleep begins to overpower them, and they tell stories to entertain one another. For beautiful, picturesque simplicity there is no sea-scene equal to this in the Odyssey, or Æneid.