Os Lusíadas 2.38 · 2.38

Venus, Smiling and Sad

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E mostrando no angélico semblante Co'o riso uma tristeza misturada, Como dama que foi do incauto amante Em brincos amorosos mal tratada, Que se aqueixa e se ri num mesmo instante, E se torna entre alegre magoada, Desta arte a Deusa, a quem nenhuma iguala, Mais mimosa que triste ao Padre fala:

And, on her angelic face, showing a sadness mingled with a smile — like a lady ill-treated by her careless lover amid their amorous games, who complains and laughs in the very same instant, and turns aggrieved even while she is glad — so the Goddess, whom none can equal, more tender than sorrowful, speaks to the Father:

Word by word

Eeeandmostrandomush-TRAN-dushowingnonuon theangélicoãn-ZHE-li-kuangelicsemblantesãym-BLAN-teface, countenanceCo'okoowith therisoRREE-zulaughter, smileumaOO-maatristezatrish-TE-zasadnessmisturadamish-tu-RA-damingled,ComoKO-mulike, asdamaDA-maladyquekewhofoifoywasdoduby theincautoĩn-KOW-tucareless, unwaryamantea-MAN-teloverEmẽyinbrincosBRĨN-kushplayful gamesamorososa-mu-RO-zushamorousmalmalill, badlytratadatra-TA-datreated,Quekewhoseseherselfaqueixaa-KAY-shacomplainseeeandseseherselfrirreelaughsnumin amesmoMEZH-musameinstanteĩnsh-TAN-teinstant,EeeandseseherselftornaTOR-naturns, becomesentreẼN-treamid, betweenalegrea-LE-gregladmagoadama-gu-A-daaggrieved,DestaDESH-tain thisarteAR-temanneraatheDeusaDEW-zaGoddess,aatoquemkẽywhomnenhumane-NYOO-manoneigualaee-GWA-laequals,Maismayshmoremimosamee-MO-zatenderquekethantristeTRISH-tesadaoowto thePadrePA-dreFatherfalaFA-laspeaks:

The setting

Venus approaches Jupiter to plead for the Portuguese fleet. Camões introduces her with an epic simile before she speaks.

A note on this passage

The stanza is one long simile setting up Venus's plea to Jupiter for the Portuguese. Camões holds the goddess frozen for six lines — her face carrying grief and a smile at once — before the couplet finally releases her into speech. The comparison is to a lady half-scolding, half-flirting with the lover who has wronged her: complaint and laughter in the same breath.

What a first reader can miss is that the smile is a tool. The scene is lifted from the Aeneid, where Venus pleads with Jupiter for her son Aeneas; here she pleads for Gama's fleet. By casting her sorrow as a lover's coquettish reproach, Camões makes her charm itself the instrument of the diplomacy — the tears are real, but the way they are worn is calculated to move the Father who can grant what she wants.

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