al translation of poetry is a solecism. You may construe
your author, indeed, but, if with some translators you boast that you
have left your author to speak for himself, that you have neither added
nor diminished, you have in reality grossly abused him, and deceived
yourself. Your literal translation can have no claim to the original
felicities of expression; the energy, elegance, and fire of the original
poetry. It may bear, indeed, a resemblance; but such a one as a corpse
in the sepulchre bears to the former man when he moved in the bloom and
vigour of life.

_Nec verbum verbo curabis reddere, fidus
Interpres,_

was the taste of the Augustan age. None but a poet can translate a poet.
The freedom which this precept gives, will, therefore, in a poet's
hands, not only infuse the energy, elegance, and fire of his author's
poetry into his own version, but will give it also the spirit of an
original.

He who can construe may perform all that is claimed by the literal
translator. He who attempts the manner of translation prescribed by
Horace, ventures upon a task of genius. Yet, however daring the
undertaking, and however he may have failed in it, the translator
acknowledges, that in this spirit he has endeavoured to give the Lusiad
in English. Even farther liberties, in one or two instances, seemed to
him advantageous---- But a minuteness[22] in the mention of these will
not appear with a good grace in this edition of his work; and besides,
the original is in the hands of the world.

MICKLE'S INTRODUCTION TO THE LUSIAD.

If a concatenation of events centred in one great action--events which
gave birth to the present commercial system of the world--if these be of
the first importance in the civil history of mankind, then the Lusiad,
of all other poems, challenges the attention of the philosopher, the
politician, and the gentleman.

In contradistinction to the Iliad and the AEneid, the Paradise Lost has
been called the Epic Poem of Religion. In the same manner may the Lusiad
be named the Epic Poem of Commerce. The happy completion of the most
important designs of Henry, Duke of Viseo, prince of Portugal, to whom
Europe owes both Gama and Columbus, both the eastern and the western
worlds, constitutes the subject of this celebrated epic poem. But before
we proceed to the historical introduction necessary to elucidate a poem
founded on such an important period of history, some attention is due to
the op