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1286:. Thus, for many authors, it is more appropriate to describe the Camonian style as mannerist, distinguishing it from typical Renaissance classicism. This is justified by the presence of several language resources and an approach to its themes that are not in agreement with the doctrines of balance, economy, tranquility, harmony, unity and invariable idealism, which are the fundamental axes of Renaissance classicism. Camões, after a typically classic initial phase, moved on to other paths and anxiety and drama became his companions. Throughout The Lusiads the signs of a political and spiritual crisis are visible, the prospect of the decline of the empire and the character of the Portuguese remains in the air, censored by bad customs and the lack of appreciation for the arts, alternating with excerpts in which its enthusiastic apology. They are also typical of Mannerism, and would become even more Baroque, the taste for contrast, for emotional flare, for conflict, for paradox, for religious propaganda, for the use of complex figures of speech and preciousness, even for the grotesque and monstrous, many of them common features in Camonian work.
754:"These fellows who lived in Goa, far from their homeland and family, between campaigns against the Turk (which took place in the summer) and many of them having little to do (in winter), in addition to the aforementioned lectures and constant readings (including many of the classics: Ovid, Horace, Virgil), enjoying the company of women and musical gatherings, living among themselves without regard to social distinctions, their main objective was to have fun as much as possible, even when writing poetry. Thus their predilection for satire, which had a strongly negative social impact and exposed them to imprisonment per the Manueline Ordinances (Title LXXIX), and therefore carried an edge of adventure and risk. An example of this is the "Tournament Satire", a mockery that is mentioned by Faria e Sousa and about which, unlike "Os Disbarates da Índia", there is no scholarly contestation of its Camonian authorship; it may in fact be the reason for one of Camões' arrests."
1119:'s doctrines became widespread, dissociating ethics from the practice of power. The result was the reaffirmation of the power of religion over the profane world and the formation of an agitated spiritual, political, social and intellectual atmosphere, with strong doses of pessimism, reverberating unfavorably on the former freedom that artists enjoyed. Despite this, the intellectual and artistic acquisitions of the High Renaissance that were still fresh and shining before the eyes could not be forgotten immediately, even if their philosophical substrate could no longer remain valid in the face of new political, religious and social facts. The new art that was made, although inspired by the source of classicism, translated it into restless, anxious, distorted, ambivalent forms, attached to intellectualist preciosities, characteristics that reflected the dilemmas of the century and define the general style of this phase as
1099:. The spirit of intellectual speculation and scientific research was on the rise, causing Physics, Mathematics, Medicine, Astronomy, Philosophy, Engineering, Philology and several other branches of knowledge to reach a level of complexity, efficiency and accuracy unprecedented, which led to an optimistic conception of human history as a continuous expansion and always for the better. In a way, the Renaissance was an original and eclectic attempt to harmonize pagan Neoplatonism with the Christian religion, eros with charitas, together with oriental, Jewish and Arab influences, and where the study of magic, astrology and the occult was not absent. It was also the time when strong national states began to be created, commerce and cities expanded and the bourgeoisie became a force of great social and economic importance, contrasting with the relative decline in the influence of religion in world affairs.
685:", which suggests that Barreto looked upon Camões with favor. The early biographers, however, differ about Camões' relations with that ruler. At the same time, an anonymous satire criticizing the prevalence of immorality and corruption, which was attributed to Camões, also was published. Since satires were condemned by the Ordinances of King Manuel, Camões would have been arrested for that. But it has also been hypothesized that the arrest was actually for debts that Camões had incurred. It is possible that he remained in prison until 1561, and that he may have been convicted of additional offenses before then. At any rate, when D. Francisco Coutinho assumed the governorship of India, Camões was released and came under that man's employ and protection. He was appointed to the position of Superintendent for the Dead and Missing for Macau in 1562, serving
1691:, Fernão Rodrigues Lobo Soropita, in the 1595 edition, several apocryphal poems were included. Many poems were discovered over the next few centuries and attributed to him, but not always with careful critical analysis. The result was that, for example, while in the original Rhymes there were 65 sonnets, in the 1861 edition of Juromenha there were 352; in the 1953 edition of Aguiar e Silva 166 pieces were still listed. In addition, many editions modernized or "embellished" the original text, a practice that was particularly pronounced after the 1685 edition of Faria e Sousa, giving rise to and rooting a tradition of its own in this adulterated lesson that caused enormous difficulties for critical study. More scientific studies only began to be undertaken at the end of the 19th century, with the contribution of
1816:, is a comedy of morality in five acts, according to the classical division, being, of the three, the one that remained most alive in the interest of the critic due to the multiplicity of human experiences it describes and for the sharpness of psychological observation. The theme is about the love of a servant, Filodemo, for the daughter, Dionisa, of the nobleman in the house of the one he serves, with autobiographical traits. Camões saw comedy as a secondary genre, of interest only as a diversion of circumstance, but he achieved significant results by transferring the comicality of the characters to the action and refining the plot, so he pointed out a path for the renewal of Portuguese comedy. However, his suggestion was not followed by the growers of the genus who succeeded him.
1943:
1891:, who at the time was also the king of Portugal. In Luis Gómez de Tápia's edition, Camões is already mentioned as "famous", and in Benito Caldera's he was compared to Virgil. In addition, the king granted him the honorific title of "Prince of the Poets of Spain," which was printed in one of the translations. Philip was perfectly aware of the advantages of using an already established culture for his own purposes rather than suppressing it. As the son of a Portuguese princess, he had no interest in annulling the Portuguese identity or its cultural achievements, and it was to his advantage to assimilate the poet into the Spanish orbit, both to ensure his legitimacy as sovereign of the united crowns, and to enhance the brilliance of Spanish culture.
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853:
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1924:
1699:, who discarded several apocryphal compositions. At the beginning of the 20th century, work continued with José Maria Rodrigues and Afonso Lopes Vieira, who published Rimas in 1932 in an edition they called "crítica" ("criticism"), although it did not deserve the name: it adopted large parts of Faria and Sousa's lesson, but editors claimed to have used the original editions, from 1595 and 1598. On the other hand, they definitely raised the issue of textual fraud that had been perpetuating for a long time and had tampered with the poems to the point of becoming unrecognizable. One example is enough:
1525:, nothing is arbitrary in Os Lusíadas. Among the arguments he presented was the use of the golden section, a defined relationship between the parts and the whole, organizing the set in ideal proportions that emphasize especially significant passages. Sena demonstrated that when applying the golden section to the whole work, it falls precisely on the verse that describes the arrival of the Portuguese in India. Applying the separate section to the two resulting parts, in the first part comes the episode that reports the death of Inês de Castro and, in the second, the stanza that narrates
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the battles, the manifestation of the natural forces, the sensual encounters, transcend the allegory and the classicist allusion that permeate all the work and present themselves as a fluent speech and always of a high aesthetic level, not only for its narrative character especially well achieved, but also by the superior mastery of all the resources of the language and the art of versification, with a knowledge of a wide range of styles, used in efficient combination. The work is also a serious warning for
Christian kings to abandon small rivalries and unite against Muslim expansion.
429:
816:"In Mozambique we found that Prince of Poets of his day, my companion and friend Luís de Camões, so poor that he was dependent on friends to feed him. Upon embarking for the kingdom we gathered all the clothing that he needed, and there was no shortage of people who gave him to eat. And that winter that he was in Mozambique, having just finished his Lusíadas in preparation for printing, he had been writing a great deal in another book which he entitled "The Parnassus of Luís de Camões", it being a book of great erudition, doctrine and philosophy, but which was stolen from him."
172:
627:
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ones that appear in his poems are always used generically, and can therefore be ideal figures; no mention of any ladies identifiable by name is given in the poet's first biographies, those of Pedro de Mariz and that of
Severim de Faria, who only collected rumors about "some loves in Paço da Rainha (the Queen’s Household)”. Reference to Catarina de Ataíde only appeared in the edition of Rimas de Faria e Sousa, in the middle of the 17th century and to the Infanta on José Maria Rodrigues, which was only published in the early 20th century. The celebrated
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66:
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1902:. By this time in Portugal, a body of exegetes and commentators had already been formed, giving the study of Camões great depth. In 1655 Os Lusíadas arrived in England in Fanshawe's translation, but would only gain notoriety there about a century later, with the publication of William Julius Mickle's poetic version in 1776, which, although successful, did not prevent the emergence of another dozen English translations until the end of the 19th century. It arrived in
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2300:(India) the Archeological Museum at Old Goa (which used to be a Franciscan monastery) houses a 3 meters high bronze statue of Luís de Camões. The statue was originally installed in the garden in year 1960 but was moved into the museum due to public protest after Goa's annexation to India. Another Camões monument in Goa, India – "Jardim de Garcia da Orta Garden" (popularly known as Panaji Municipal Garden) has a 12 meter high pillar in the center.
1353:. It is a humanist epic, even in its contradictions, in the association of pagan mythology with the Christian view, in the opposite feelings about war and empire, in the taste of rest and in the desire for adventure, in the appreciation of sensual pleasure and in the demands of an ethical life, in the perception of greatness and in the presentiment of decline, in the heroism paid for with suffering and struggle. The poem opens with the famous verses:
1932:
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poetry and the difficulties he went through, the profound anguish of exile, the longing for his country, indelibly impregnated his spirit and communicated with his work, and from there influenced in a marked way subsequent generations of
Portuguese writers. His best poems shine exactly for what is genuine in the suffering expressed and the honesty of that expression, and this is one of the main reasons that put his poetry at such a high level.
1183:', an intense glorification of Portuguese feats, not only of his military victories, but also the conquest over elements and physical space, with recurring use of classic allegories. The idea of a national epic had existed in the Portuguese heart since the 15th century, when the navigations started, but it was up to Camões, in the following century, to materialize it. In his dramatic works he sought to fuse nationalist and classic elements.
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1329:
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of the Moors and after
Castile, had developed an adventurous spirit that had taken it across the oceans, expanding the known borders of the world and opening new routes of trade and exploration, defeating enemy armies and the hostile forces of nature. But at this point, however, the political and cultural crisis was already being announced, materializing shortly after his death, when the country lost its sovereignty to Spain.
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conclusion that, after printing a shape, which consisted of several folios, a first test was taken, which was corrected while the press continued, now with the corrected text. There were, therefore, uncorrected printed folios and corrected printed folios, which were grouped indistinctly in the same copy", so that there were no two copies exactly the same in the press system of that time.
447:
728:, was a longtime friend of Camões, having first met him during his Morocco adventure. Certain biographers claim that he was promised a position at the trading post at Chaul, but he did not take up the position. Severim de Faria said that the final years spent in Goa were occupied with poetry and military activities, where he always showed bravery, readiness and loyalty to the Crown.
1529:'s efforts to unite the Portuguese and the nymphs, which for Sena reinforces the importance of love throughout the composition. Two other elements give Os Lusíadas its modernity and distance it from classicism: the introduction of doubt, contradiction and questioning, in disagreement with the affirmative certainty that characterizes the classic epic, and the primacy of
1579:, with disastrous consequences for the later critical analysis of the work. Apparently, edition B was produced later, around 1584 or 1585, in a clandestine manner, taking the fictitious date of 1572 to bypass the delays of censorship of the time if it were published as a new edition and to correct the serious defects of another 1584 edition, the so-called
1723:
1557:. He was certainly well-informed on classical mythology before that, as well as on ancient epic literature. Apparently, the poem started to take shape as early as 1554, with Storck considering that his determination to write it was born during the sea voyage itself. He was seen working on it in Mozambique by his friend historian
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1828:, of the great epic poets of the west, Camões remains the least known outside his homeland and his masterpiece, Os Lusíadas, is the least known of the great poems in the style. However, from the time he lived and throughout the centuries after Camões was praised by several non-Lusophone luminaries of Western culture.
1457:(abababcc). After an introduction, an invocation and a dedication to King Sebastian, the action begins, which merges myths and historical facts. Vasco da Gama, sailing along the coast of Africa, is observed by the assembly of classical gods, who discuss the fate of the expedition, which is protected by
1915:. Between 1735 and 1874 no less than twenty French translations of the book appeared, not counting numerous second editions and paraphrases of some of the most striking episodes. In 1777 Pieterszoon translated Os Lusíadas into Dutch and by the 19th century, five more partial translations had appeared.
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The mannerist nature of his work is also marked by the ambiguities generated by the rupture with the past and by the concomitant adherence to it, the first manifested in the visualization of a new era and in the use of new poetic formulas from Italy, and the second, in the use of archaisms typical of
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Also surviving is a miniature painted in India in 1581, by order of Fernão Teles de
Meneses and offered to the viceroy D. Luís de Ataíde, who, according to testimonies of the time, was very similar to him in appearance. Another portrait was found in the 1970s by Maria Antonieta de Azevedo, dated 1556
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It is difficult to determine what his daily life in the East would have been like, beyond what can be extrapolated from his military status. It seems certain that he always lived modestly and may have shared a house with friends, "in one of those collective dwellings where it was customary for people
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In the 16th century, the time in which Camões lived, the influence of the
Italian Renaissance expanded throughout Europe. However, several of its most typical features were declining, in particular because of a series of political disputes and wars that altered the European political map, with Italy
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and was buried in the sea, daughter of
Violante, countess of Linhares, whom he would also have loved in Portugal, and pointed out the occurrence of the name Dinamene in poems written probably around the arrival in India, before proceeding to China, where it is said that he would have found the girl.
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lifestyle, frequenting taverns and getting involved in tumultuous love affairs. Several ladies are cited by name in late biographies of the poet as having been the object of his affection, but those identifications are currently considered apocryphal additions to his legend. Among them, for example,
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Probably if he had remained in
Portugal, as a courtly poet, he would never have achieved the mastery of his art. The experiences he accumulated as a soldier and navigator enriched his worldview and excited his talent. Through them, he managed to free himself from the formal limitations of courtesan
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appeared, establishing himself as a mentor of the classicist generation and challenging his contemporaries to sing the glories of
Portugal in high style. When Camões appeared, the land was prepared for the apotheosis of the homeland, a homeland that had fought hard to conquer its sovereignty, first
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were in vain and several contradictory proposals were made about alleged women present in his life. Camões himself suggested, in one of his poems, that there were several muses to inspire him, when he said "in various flames it was often burning". The names of ladies supposed to have been his loved
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a year, which, if not generous, was also not as miserly as has been suggested, considering that the Royal Palace's ladies-in-waiting received around ten thousand réis. For a veteran soldier, the sum must have been considered sufficient and honorable at the time. But the pension would've only lasted
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to Camões, however, is controversial. Its existence was not known until 1654, when it appeared published in the first part of Rimas in the
Craesbeeck edition, which gave no details about its origin and had little care in editing the text. The play also differs in several aspects from the other two
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edition. However, Maria Helena Paiva raised the hypothesis that editions A and B are only variants of the same edition, which was corrected after the typographic composition, but while printing was already in progress. According to the researcher, "the need to make the most of the press led to the
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In Os Lusíadas, Camões achieves a remarkable harmony between classical scholarship and practical experience, developed with consummate technical skill, describing Portuguese adventures with moments of serious thought mixed with others of delicate sensitivity and humanism. The great descriptions of
1314:, aligned the constant propaganda of the Catholic faith with ancient mythology, responsible in the aesthetic plan for all the action that materializes the final realization, discarding the mediocre aurea dear to classics to advocate the primacy of the exercise of weapons and the glorious conquest.
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ue to the restricted dimensions of the drawing, the texture of the blood, creating spots of distribution of values, the rigor of the contours and the definition of the contrasted planes, the reticulated neutral that harmonizes the background and highlights the bust of the portrait, the type of the
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at the beginning of the 18th century, when Castera published a translation of the epic. Voltaire criticized certain aspects of the work, namely its lack of unity in action and the mixture of Christian and pagan mythology, but he also admired the novelties it introduced in relation to other epics,
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For those who consider the Renaissance to be a homogeneous historical period, informed by classical ideals and extending to the end of the 16th century, Camões is quite simply a Renaissance poet, but in general it is recognized that the 16th century was largely dominated by a stylistic derivation
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appeared in 1782, ordered to mint by the Baron of Dillon in England, where Camões is crowned with laurels and dressed in coat of arms, with the inscription "Apollo Portuguez / Honor de Hespanha / Nasceo 1524 / Morreo 1579". In 1793, a reproduction of this medal was coined in Portugal, by order of
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Camões lived out his final years in a room in a house near the Convent of Santa Ana, in a state, according to tradition, of the most unworthy poverty, "without a rag to cover him". Le Gentil considered this view a romantic exaggeration, as he was still able to keep a slave named Jau, whom he had
599:, for that year 1553, under the title "Gente de guerra" ("Men of war"), the following statement: "Fernando Casado, son of Manuel Casado and Branca Queimada, residents of Lisbon, squire; Luís de Camões, son of Simão Vaz and Ana de Sá, squire, took his place; and he received 2400 like the others".
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About his childhood much remains unknown. At twelve or thirteen he would have been protected and educated by his uncle Bento, who sent him to Coimbra to study. Tradition says that he was an undisciplined student, but eager for knowledge, interested in history, cosmography and classic and modern
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ideal that affirmed the dignity of man, placing him at the center of the universe, making him the researcher par excellence of nature, and promoting reason and science as arbitrators of manifest life. During this period, several scientific instruments were invented and several natural laws and
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The testimonies of his contemporaries describe him as a man of average size, with reddish blond hair, blind in his right eye, skilled in all physical exercises and with a temperamental disposition, having little difficulty in engaging in fights. It is said that he had great value as a soldier,
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receives the king's representatives and explains the meaning of the banners that adorn the flagship. On the return trip the sailors enjoy the island created for them by Venus, rewarding the nymphs with their favors. One of them sings the glorious future of Portugal and the scene ends with a
705:", considered by António Sérgio the "backbone" of the Camonian lyric, as is repeatedly cited in the critical literature. The trauma of the shipwreck, in the words of Leal de Matos, had the most profound impact on redefining the themes of Os Lusíadas, this being noticeable beginning with
475:, who moved to Portugal in 1370 and received great benefits from the king in positions, honours and lands, and whose poetry, of a nationalist nature, contributed to ward off Breton and Italian influence and to shape a national troubadour style. His son Antão Vaz de Camões served in the
454:
Much of the information about Luís de Camões' biography raises doubts and, probably, much of what circulates about him is nothing more than the typical folklore that is formed around a famous figure. Only a few dates are documented that guide its trajectory. The ancestral home of the
810:, where Barreto had been appointed governor, and there Camões would wait for transport to Lisbon at a future date. The early biographers say that Pedro Barreto was treacherous, making false promises to Camões, so that after two years Diogo do Couto found him in a precarious state:
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exhibiting courage, combativeness, a sense of honor and willingness to serve, a good companion in his spare time, liberal, cheerful and witty when the blows of fortune did not overwhelm his spirit and sadden him. He was aware of his merit as a man, as a soldier and as a poet.
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wrap around limits from which the enlightening signature runs down, in short, the symbolic apparatus of the image, captured in the pose of a graphic book illustration, was intended for the opening of an engraving on a copper plate, to illustrate one of the first editions of
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from the homeland to associate", as Ramalho notes. Some of these friends must have been in possession of a certain degree of culture and would have provided illustrious companionship. Ribeiro, Saraiva and Moura admit that he may have encountered, among other figures,
930:, with the possibility that it is even a spelling error, a corruption of "dignamente" ("worthily"). In the final version of Couto's manuscript, the name would not even have been cited, even though proving it is difficult with the disappearance of the manuscript.
515:, seem to establish that Camões was actually born in Lisbon, in 1524. The arguments for placing his birth outside of Lisbon are weak; but neither is it completely beyond doubt, so the most recent scholarship considers his place and date of birth uncertain.
720:, where he received a new arrest warrant for misappropriating the assets of the dead that had been entrusted to him. The exact date of his return to Goa is not known, but he may have remained in prison there for some time. Couto says that in the shipwreck
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of the Monastery of Santa Cruz, instructed him or that he studied at the monastery college. At about twenty years of age he probably moved to Lisbon, before completing his studies. His family was poor, but being noble, he could be admitted to the court of
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According to Costa Pimpão, there is no evidence that Camões intended to write his epic before he traveled to India, although heroic themes were already present in his previous production. It is possible that he drew some inspiration from fragments of the
993:, which is the center of official public ceremonies and popular demonstrations. He was also honored in musical compositions, appeared with his effigy on medals, currency notes, stamps and coins, and as a character in novels, poetry and plays. The film
844:. The king, still a teenager, ordered the work to be published in 1572, also granting a small pension to "Luís de Camões, noble knight of my House", in payment for services rendered in India. The value of the pension did not exceed fifteen thousand
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procession, he got into an altercation with a certain Gonçalo Borges, employee of the Royal Palace, and wounded him with a sword. Sentenced to prison, he later received a letter of pardon and was released by royal order on 7 March 1553, which says:
1179:, instilling in it spontaneity and simplicity, a delicate irony and a lively phrasing, taking courtesan poetry to its highest level, and showing that he also knew how to express perfectly joy and relaxation. His epic production is synthesized in '
507:. However, other cities claim the honour of being his birthplace: Coimbra, Santarém and Alenquer. Although the first biographers of Camões, Severin de Faria and Manoel Correa, initially gave his year of birth as 1517, records of the Lists of the
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edition. The two differ in countless details and it was debated at length which one would in fact be the original. Nor is it clear to whom the amendments to the second text are due. Currently, the edition that shows the publisher's brand, a
4674:"Os Lusíadas – símbolo nacional de duas culturas" in Carmen Mª Comino Fernández de Cañete, Maria da Conceição Vaz Serra Pontes Cabrita y Juan M. Carrasco González (ed.), CRISIS Y RUPTURA PENINSULAR - III Congreso Internacional de la SEEPLU
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The general content of his works for the stage combines, in the same way as in Os Lusíadas, nationalism and classic inspiration. His production in this field is limited to three works, all in the genre of comedy and in the format of self:
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At such meetings the participants were both men-at-arms and men of letters, and were in search not only of military success and material fortune, but also of the fame and glory born of culture. This was one of the great aspirations of the
1302:. For Joaquim dos Santos, the contradictory character of his poetry is found in the contrast between two opposing premises: idealism and practical experience. He combined typical values of humanist rationalism with other derivatives of
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Whether it was by invitation, or simply a matter of taking the chance to bridge part of the distance that separated him from his homeland, it is not known for certain, but in December 1567 Camões embarked on Pedro Barreto's ship to
523:, but it is certain from his elaborate style and the profusion of erudite quotes that appear in his works that in some way he received a solid education. It is possible that his uncle himself, a chancellor of the university and the
1668:, and the elegies are quite classicist. Its resorts follow an epistolary style, with moralizing themes. Eclogues are perfect pieces of the pastoral genre, derived from Virgil and the Italians. The influence of Spanish poetry by
1469:, at the request of the local king Vasco da Gama narrates all Portuguese history, from its origins to the journey they undertake. The cantos III, IV and V contain some of the best passages of the entire epic: the episode of
106:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge.
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Foreseeing the Spanish invasion, Camões wrote to his old friend and Captain General of Lamego, D. Francisco de Almeida: "All will see that so dear to me was my country that I was content to die not only in it but with
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1718:
It seems impossible to reach a definitive result in this purge. However, enough authentic material survives to guarantee his position as the best Portuguese lyricist and the greatest Renaissance poet in Portugal.
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Chaves, Henrique de Almeida. "Luís Digno Apolo e Digno Homero: Camões entre belo e sublime, de Torcato Tasso a Leonardo Turricano; paralelismo mítico e recuperação romântica". In: Soares, Maria Luísa de Castro.
1234:, from whom he borrowed various structural and stylistic elements and sometimes even passages in almost literal transcription. According to his quotations, he also seems to have had a good knowledge of works by
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from 1563 until 1564 or 1565. At that time, Macau was a trading post still in formation and almost uninhabited. Tradition says that there he wrote part of Os Lusíadas in a cave, which later was named after him.
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Over the centuries the image of Camões was represented numerous times in engraving, painting and sculpture, by Portuguese and foreign artists, and several monuments were erected in his honor, notably the great
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Os Lusiadas: nova edicao segundo a do Morgado Matteus, com as notas e vida do autor pelo mesmo, corrigida segunda as edicoes de Hamburgo e de Lisboa, e enrequecida de novas notas e d'uma prefaçao pel C.L. de
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Os Lusiadas: nova edição segundo a do Morgado Matteus, com as notas e vida do autor pelo mesmo, corrigida segunda as edicoes de Hamburgo e de Lisboa, e enrequecida de novas notas e d'uma prefação pel C.L. de
3155:
Os Lusiadas: nova edição segundo a do Morgado Matteus, com as notas e vida do autor pelo mesmo, corrigida segunda as edicoes de Hamburgo e de Lisboa, e enrequecida de novas notas e d'uma prefação pel C.L. de
3009:
Os Lusiadas: nova edição segundo a do Morgado Matteus, com as notas e vida do autor pelo mesmo, corrigida segunda as edicoes de Hamburgo e de Lisboa, e enrequecida de novas notas e d'uma prefação pel C.L. de
2747:
Os Lusiadas: nova edicao segundo a do Morgado Matteus, com as notas e vida do autor pelo mesmo, corrigida segunda as edicoes de Hamburgo e de Lisboa, e enrequecida de novas notas e d'uma prefaçao pel C.L. de
2491:
Os Lusiadas: nova edição segundo a do Morgado Matteus, com as notas e vida do autor pelo mesmo, corrigida segunda as edicoes de Hamburgo e de Lisboa, e enrequecida de novas notas e d'uma prefação pel C.L. de
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as "the only and precious reliable document we have to know the features of the epic, portrayed in life by a professional painter ". What is known of this portrait is a copy, made at the request of the 3rd
555:, sister of the king, but that audacity would have earned him time in prison. Another was Catarina de Ataíde, with whom he allegedly had a frustrated love affair that resulted in his self-exile, first in
483:. From this marriage were born Simão Vaz de Camões, who served in the Royal Navy and did trade in Guinea and India, and another brother, Bento, who followed the career of a man of letters and entered the
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Obras de Luiz de Camões: precedidas de um ensaio biographico no qual se relatam alguns factos não conhecidos da sua vida, augmentadas com algumas composições ineditas do poeta, pelo visconde de Juromenha
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Os Lusíadas, or The Lusiads is considered the Portuguese epic par excellence. The title itself already suggests its nationalist intentions, being derived from the ancient Roman denomination of Portugal,
926:
He also referred to the opinion of researchers who claim the mention of Couto, the only primitive reference to the Chinese outside of the Camonian work itself, to have been falsified, being introduced
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Since the middle of the 15th century, Portugal had established itself as a great naval and commercial power, its arts were developing and enthusiasm for maritime conquests was boiling. The reign of
1167:
Camões' production is divided into three genres: lyrical, epic and theatrical. His lyrical work was immediately appreciated as a high achievement. He demonstrated his virtuosity especially in
1664:
the Provençal influence is clear; in the redondilhas it expanded the form, deepened the lyricism and introduced a theme, worked on antitheses and paradoxes, unknown in the old tradition of
1898:; Tasso called his work "cult and good" and by 1658 Os Lusíadas would be translated twice, by Oliveira and Paggi. Later, associated with Tasso, it became an important paradigm in Italian
1575:, with its neck turned to the left, which is called edition A, carried out under the supervision of the author, is recognized as original. However, edition B was for a long time taken as
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in 1554. Soon he enlisted in the service of the viceroy D. Afonso de Noronha and fought in the expedition against the king of Chembé (or "da Pimenta"). In 1555, Noronha's successor D.
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lamented that there was no one who could celebrate so many feats worthily, claiming that there was epic material superior to that of the Romans and Trojans. Filling this gap,
748:, creating opportunities for debating literary topics and the like. He may also have attended lectures at one of Goa's colleges or religious establishments. Ribeiro adds that
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950:, executed by Luís José Pereira de Resende between 1819 and 1844, from the original that was found in a green silk bag in the rubble of the fire at the palace of the
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in the lines of the character Sósia, a slave, to mark his low social level in passages that reach the grotesque, a feature that appears in the other pieces as well.
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1616:). Throughout the 17th century, the growing prestige of his epic contributed to raise the appreciation for these other poems even more. The collection includes
563:. The reason for the latter trip is doubtful, but the trip itself is accepted fact; he remained there two years and lost his right eye in a naval battle in the
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Aqui, fremosas ninfas, vos pintei / Todo de amores um jardim suave; / De águas, de pedras, de árvores contei, / De flores, de almas, feras, de uma, outra ave.
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brought with him from the east, and official documents attest that he had some means of livelihood. After being embittered by the Portuguese defeat at the
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by Barreto, demanding reimbursement for monies spent on the poet's behalf. His friends, however, collected the amount and Camões was released, arriving in
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1800:
myth, highlighting the omnipotence of love, which subdues even the immortals, also following the Vincentian tradition. The play was written in smaller
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for three years, and although the grant was renewable, it seems that it was paid irregularly, causing the poet to experience material difficulties.
109:
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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Keung, Nicholas (2006-07-22). "Heroes and villains; Puppets, fado bring Portugal's greatest poet back to life Camoes revered around the world".
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which destroyed most of Lisbon, attempts were made to find the remains of Camões, but to no avail. The bones deposited in 1880 in a tomb in the
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1134:, as Spina & Bechara say, pride had given way to delirium, to the pure euphoria of world domination. At the beginning of the 16th century,
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and other small stanzas. His lyrical poetry comes from several different sources: the sonnets generally follow the Italian style derived from
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Probably executed between 1573 and 1575, the so-called "portrait painted in red", illustrated at the opening of the article, is considered by
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Bergel, Antonio J. Alías. "Camões laureado: Legitimación y uso poético de Camões durante el bilingüismo ibérico en el período filipino". In:
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Aqui, ó Ninfas minhas, vos pintei / Todo de amores um jardim suave; / Das aves, pedras, águas vos contei, / Sem me ficar bonina, fera ou ave.
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also appears to be a poetic image rather than a real person. Ribeiro proposed several alternatives to explain it: the name might have been a
495:, which was a prestigious school for many young Portuguese gentlemen. Simão married Dona Ana de Sá e Macedo, also from a noble family, from
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physical entities previously unknown were discovered; the knowledge of the face of the planet itself changed after the discoveries of the
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4836:"The place of Camoens in literature : Nabuco, Joaquim, 1849-1910 : Free Download & Streaming : Internet Archive"
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Os Lusiados: "Por este vil preço, diz energicamente Manoel de Faria, foi vendida a pessoa de Camões, e a honra de Pedro Barreto."
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1341:. It is one of the most important epics of the modern age due to its greatness and universality. The epic tells the story of
868:, in which Sebastian disappeared, leading Portugal to lose its independence to the Spanish crown, he was stricken by bubonic
724:, a Chinese maiden with whom Camões had fallen in love, died, but Ribeiro and others reject that story. The next viceroy, D.
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Content in this edit is translated from the existing Portuguese Knowledge article at ]; see its history for attribution.
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the Middle Ages. Along with the use of formal Renaissance and classicist models, he cultivated the medieval genres of
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and several other names was also detected in many points of his lyric, as his commentator Faria e Sousa pointed out.
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Os Lusíadas nas encruzilhadas do tempo. In: Colóquio "O Fascínio da Linguagem" em homenagem a Fernanda Irene Fonseca
876:, in a shallow grave in the Convent of Santa Ana, or in the cemetery of the poor in the same hospital, according to
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in 1524. Three years later, the city was being threatened by the plague, the family moved, following the court, to
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by Luís de Camões. Editor: Álvaro Júlio da Costa Pimpão. Coimbra: Acta Universitatis Conimbrigensis, 1953, 460 p.
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História da Literatura Portuguesa (Porto Editora, 6ª edição) 3ª Época: O Renascimento, Capítulo IX: Luís de Camões
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over action, replacing the world of facts with that of words, which do not fully recover reality and evolve into
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written by D. Gonçalo Coutinho has been preserved which mistakenly assigns his death to the year 1579. After the
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872:, according to Le Gentil. He was transported to a hospital and died on June 10, 1580, being buried, according to
4492:"El Rei Seleuco, 1645: Reflexões sobre o "corpus" da obra de Camões" In: Península — Revista de Estudos Ibéricos
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5137:
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4396:"Camões laureado: Legitimación y uso poético de Camões durante el bilingüismo ibérico en el "período filipino""
1762:, and the less profound and less erudite treatment of the love theme. The theme, of the complicated passion of
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Camões' lyric work, dispersed in manuscripts, was collected and published posthumously in 1595 under the title
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bearded, brought his father as guarantor; goes on the ship of S. Pedro dos Burgaleses ... among the men-at-arms
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1254:, among other historians and ancient scientists. Among the moderns, he was aware of the Italian production of
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Luís de Camões Statue in the Edifício do Instituto para os Assuntos Municipais (Leal Senado) in Macau, China
1554:
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Portugal - Dicionário Histórico, Corográfico, Heráldico, Biográfico, Bibliográfico, Numismático e Artístico
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The success of the publication of Os Lusíadas supposedly required a second edition in the same year as the
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While attempting to set sail with Couto, Camões found his departure embargoed in the amount of two hundred
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Camões' fame began to spread across Spain, where he had several admirers since the 16th century, with two
880:. His mother, having survived him, began to receive his pension as an inheritance. The receipts, found at
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River, managing to save only himself and the manuscript of Os Lusíadas, an event that inspired the famous
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1844:– stated that he saw Camões as the "singer of Western civilization." He was an influence on the work of
1770:, for his stepmother, Queen Estratonice, was taken from a historical fact from Antiquity transmitted by
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1493:, while Bacchus summons the sea gods to destroy the Portuguese fleet. Venus intervenes and ships reach
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499:. Her only son, Luís Vaz de Camões, according to Jayne, Fernandes and some other authors, was born in
392:. He wrote a considerable amount of lyrical poetry and drama but is best remembered for his epic work
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610:, “Ingrata patria, non possidebis ossa mea” (Ungrateful fatherland, you will not possess my bones).
3909:(in Portuguese). Imprensa da Universidade de Coimbra / Coimbra University Press. pp. 129–139.
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1082:. It was called "renaissance" due to the rediscovery and revaluation of the cultural references of
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Tendências da Literatura: Do Classicismo ao Maneirismo e ao Barroco e sua Projecção na Actualidade
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of Os Lusíadas appearing in 1580, the year of the poet's death, possibly printed at the behest of
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of Dona Joana Meneses (DIna = D.Ioana + Mene), one of his possible loves, who died on the way to
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His rescue took months to occur, and there is no record of how it happened, but he was taken to
543:, D. António de Noronha, but this now seems hardly plausible. It is also said that he adopted a
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The Presence of Camões: Influences on the Literature of England, America & Southern Africa.
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stated that Camões' poem had something of the charm of the Odyssey and the magnificence of the
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called him the ultimate exponent of creation in epic poetry, opining that the "perfection" of
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Tethys describes the World Machine to Gama, illustration from the 1639 edition of Faria e Sousa
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889:
524:
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Franco, Afonso Arinos de Melo et alii. O Renascimento: Diretrizes da Filosofia no Renascimento
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857:
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The Presence of Camoes: Influences on the Literature of England, America, and Southern Africa
4790:"The Laureate of Hard Luck: 'The Collected Lyric Poems of Luís de Camões' - The New York Sun"
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Os Lusiadas e o Cosmos: ou, Camões considerado por Humboldt como admirável pintor da natureza
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The presence of Camões: influences on the literature of England, America, and Southern Africa
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Lives of the Most Eminent Literary and Scientific Men of Italy, Spain, and Portugal, Vol. III
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After so many adventures, he finally completed Os Lusíadas, presenting them in recitation to
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poetry of chivalry and classical poetry is verified, but with a more refined style; in the
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Memoria das medalhas e condecorações portuguezas e das estrangeiras com relação a Portugal
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Memoria das medalhas e condecorações portuguezas e das estrangeiras com relação a Portugal
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467:. On his paternal side, Luís de Camões was descended from Vasco Pires de Camões, Galician
8:
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are not far behind. In fact, he was a master in this form, giving new life to the art of
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that survived, such as its much shorter length (an act), the existence of a prologue in
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666:. Camões accompanied him, but the squadron did not find the enemy and went to winter in
53:
3644:"Mercury (2008): New Details in Images of Mercury, Tethys, and Dione Require New Names"
3510:"Escultor escolhe Pessoa e Camões para moeda de 2,5 euros que hoje entra em circulação"
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1282:, which at various points is an anti-classical school and in many ways prefigures the
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884:, the Portuguese national archive, document the date of the poet's death, although an
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On the trip back to Goa, he was shipwrecked, as tradition says, near the mouth of the
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De Vries, Eti. "Os Lusíadas na Holanda: a história da recepção entre 1572-1900". In:
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Vasconcelos, Mourão; Morgado de Mateus, José Maria do Carmo de Sousa Botelho (1847).
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losing its place as a power, and the split of Catholicism, with the emergence of the
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951:
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121:
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1546:
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1066:, a period marked by many changes in culture and society, which mark the end of the
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where he established fruitful intellectual contacts and began his career as a poet.
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1832:, who claimed that Camões was the only rival he feared, dedicated a sonnet to him,
1489:. Back on the ship, the poet takes advantage of his free time to tell the story of
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Jesus, Virgínia Maria Antunes de (2004). "As Traduções de Camões no Século XX".
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Camões is the subject of the first romantic painting from a Portuguese painter,
713:, a friend of the poet who partly accompanied the work as it was being written.
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Willis, Clive. "Camões, Prince of Poets". HiPLAM, University of Bristol, 2010.
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2110:
1829:
1722:
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was marked by the formation of a feeling of national pride, and in the time of
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was reactivated and ecclesiastical censorship was rekindled. At the same time,
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710:
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Luís de Camões, son of Simão Vaz and Ana de Sá, living in Lisbon, at Mouraria;
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2160:"Camões, Prince of Poets". Clive Willis, HiPLAM, University of Bristol, 2010.
1875:
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1005:, in 1946. Among the famous artists who took him as a model for his works are
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by George Monteiro. Lexington: University Press of Kentucky, 1996, 189+10 pp.
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N'este seculo não tenho senão um rival que me possa disputar a palma, &c.
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1522:
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1022:
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618:
606:, the 24th of March 1553. His last words, he says in a letter, were those of
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A document dating from 1550 states that he had enlisted to travel to India: "
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1975:
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1521:
The structure of the work is in itself worthy of interest, as, according to
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4906:
4815:"Camoens: His Life and His Lusiads. A Commentary by Richard Francis Burton"
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Obras de Luis de Camões, Tomo I ("Breve Noticia da Vida de Luis de Camões")
2346:
2023:
1837:
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2857:(in Brazilian Portuguese). Asian Educational Services. pp. 100–101.
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1957:
1908:
1899:
1884:
1845:
1779:
1454:
1116:
1112:
1067:
1063:
1046:
960:
782:
770:
603:
544:
373:
271:
250:
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2332:, Mark Keetch and Larry Lewis created a puppet play about Camões called
1159:
769:, reproducing within the limitations of the local context, the model of
4969:. Vol. 5 (11th ed.). Cambridge University Press. p. 115.
3072:. RDP-Internacional / Sociedade Histórica da Independência de Portugal.
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Camões reading Os Lusíadas to King Sebastian, in lithography from 1893.
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on March 24, 1553. During the trip he passed through the regions where
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468:
260:
128:
to the source of your translation. A model attribution edit summary is
4233:
Via Atlântica — Estudos Comparados de Literaturas de Língua Portuguesa
4205:. Simpósio Internacional de Narratologia. Buenos Aires. Archived from
1931:
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he is a young man and poor and he is going to serve in India this year
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Obras Completas de Luis de Camões, Vol. I. ("Vida de Luis de Camões")
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1946:
Luís de Camões Statue in the Archaeological Museum of Old Goa, India
519:
literature. However, his name does not appear in the records of the
5062:
5058:
4324:"Um Manuscrito Quinhentista de Os Lusíadas". In: Colóquio de Letras
4069:(in Brazilian Portuguese). UC Biblioteca Geral 1. pp. 419–422.
4052:(in Brazilian Portuguese). UC Biblioteca Geral 1. pp. 209–211.
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567:. Back in Lisbon, he wasted no time in resuming his bohemian life.
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Anais do III Congresso Ibero-Americano de Tradução e Interpretação
3070:"Era uma vez... Portugal: Diogo do Couto – Um cronista do oriente"
2841:
2592:(in Brazilian Portuguese). Tip. de Castro Irmão. pp. 341–342.
2517:(in Brazilian Portuguese). Typ. da mesma academia. pp. 48–49.
2325:
adorning its walls. These ceramics depict scenes from Os Lusíadas.
2236:
1202:, ancient and modern European history, Portuguese chroniclers and
954:, which has since disappeared. It is a "very faithful copy" that:
650:
where the three other ships in the fleet were lost, and landed in
638:, belonging to the fleet of Fernão Álvares Cabral, which left the
4444:(in Brazilian Portuguese). UC Biblioteca Geral 1. pp. V–XIV.
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of that era, and from it may have sprung the idea of creating an
717:
663:
549:
504:
476:
472:
446:
42:
4617:
Twilight of the Literary: Figures of Thought in the Age of Print
3602:
França, José-Augusto (1992). "A Arte Portuguesa de Oitocentos".
1551:
History of the Discovery and Conquest of India by the Portuguese
103:
4940:
4690:
4577:
Livro comemorativo da fundação da cadeira de estudos camonianos
4539:(in Brazilian Portuguese). Editora da ULBRA. pp. 114–115.
2723:(in Brazilian Portuguese). Atelie Editorial. pp. 212–213.
2666:(in Brazilian Portuguese). Atelie Editorial. pp. 211–212.
2366:
2314:
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1936:
1912:
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and the Spanish popular songwriter, working it in the style by
1637:
1247:
1231:
1223:
969:
899:
803:
694:
573:
500:
385:
5095:
4424:. Península — Revista de Estudos Ibéricos (2003). p. 178.
3377:(in Brazilian Portuguese). Typ. da mesma academia. p. 50.
2560:. Longman, Rees,Orme, Brown, Green & Longman. p. 298.
1872:
wrote that Camões, by itself, is worth entire literary works.
4478:(in Brazilian Portuguese). UC Biblioteca Geral 1. p. IX.
3879:(in Brazilian Portuguese). Atelie Editorial. pp. 13–14.
3819:(in Brazilian Portuguese). Atelie Editorial. pp. 12–13.
2920:
2918:
2290:
2189:
Cuatro Lecciones Sobre Camoens / Alonso Zamora Vicente., 1981
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1608:
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Camões in the cave of Macau, in an engraving by Desenne, 1817
560:
381:
4373:(in Brazilian Portuguese). Editora Cultrix. pp. 54–55.
3306:
2639:(in Brazilian Portuguese). Atelie Editorial. pp. 9–10.
2487:
2147:
Ordering Empire: The Poetry of Camões, Pringle and Campbell.
2046:
Ed. and trans. William Baer. Chicago: U of Chicago P, 2005.
908:
All efforts made to discover the definitive identity of his
4606:. Universidade de Trás-os-Montes e Alto Douro, 2009, p. 118
4398:. Espéculo — Revista de estudios literarios. Archived from
4145:(in Brazilian Portuguese). Arte & Ciência. p. 79.
4142:
Literaturas de língua portuguesa: marcos e marcas. Portugal
3842:
História Social da Literatura e da Arte, Vol. I. Mestre Jou
3684:
3324:
Moura, Vasco Graça (1989). "O retrato pintado a vermelho".
1537:, with the same disruptive effect on the traditional epic.
1207:
909:
406:
was lost during his life. The influence of his masterpiece
365:
338:
335:
220:
4512:(in Brazilian Portuguese). Editora da ULBRA. p. 114.
4461:(in Brazilian Portuguese). Imprensa nacional. p. 177.
4025:(in Brazilian Portuguese). Atelie Editorial. p. 298.
2915:
309:
or 1525 – 10 June 1580), sometimes rendered in English as
4904:
Ouzounian, Richard; DeMara, Bruce (2006-07-13). "Stage".
4676:. Cáceres: Universidad de Extremadura. pp. 133–147.
3998:(in Brazilian Portuguese). Editora Cultrix. p. 192.
3971:(in Brazilian Portuguese). Atelie Editorial. p. 18.
3104:(in Brazilian Portuguese). Atelie Editorial. p. 29.
2318:
2297:
2091:. Richard Francis Burton. 2 vols. London: Quaritch, 1881.
2068:
Trans. Landeg White. Princeton: Princeton UP, 2008. ISBN
1621:
968:
and showing the poet in prison. The first medal with its
651:
329:
2814:
2812:
3307:
Aguiar e Silva (from Camões), Vítor Manuel de (1953).
2044:
Luis de Camões, Selected Sonnets: A Bilingual Edition.
1001:, was the first Portuguese film to participate in the
582:". As it turns out, he didn't board immediately. In a
4066:
Os Lusíadas de Camões e a Mensagem de Fernando Pessoa
3554:
Pina, Luís de (1986). "Camões, de Leitão de Barros".
2230:
His death in poverty and obscurity is the subject of
673:
Probably at this time he had already started writing
622:
Camões in Goa prison, in anonymous painting from 1556
353:
344:
341:
326:
4348:
4083:"Introduction". In: Camoes, Luis Vaz de. The Lusíads
3776:. Dictionary of the History of Ideas. Archived from
3196:
3151:
3005:
2809:
2743:
1819:
1812:, composed in India and dedicated to the viceroy D.
1506:
and Vasco da Gama. Then the journey continues home.
1086:, which guided the changes of this period towards a
368:. His mastery of verse has been compared to that of
99:
3569:Amaral, Manuel (1904–1915). "Camões, Luís Vaz de".
646:had sailed, faced a storm in the Cape of Good Hope
332:
323:
4671:
4579:. Imprensa da Universidade de Lisboa, 1927, p. 137
3251:(in French). Editions Chandeigne. pp. 33–35.
3221:(in French). Editions Chandeigne. pp. 32–33.
3176:(in French). Editions Chandeigne. pp. 30–32.
3131:(in French). Editions Chandeigne. pp. 29–30.
3082:
3033:(in French). Editions Chandeigne. pp. 27–29.
2948:(in French). Editions Chandeigne. pp. 26–27.
2901:(in French). Editions Chandeigne. pp. 22–25.
2795:(in French). Editions Chandeigne. pp. 19–21.
2768:(in French). Editions Chandeigne. pp. 20–21.
2696:(in French). Editions Chandeigne. pp. 13–14.
4356:(in Brazilian Portuguese). Didot. pp. 72–81.
3906:Profetismo e espiritualidade de Camões a Pascoaes
3399:(in Portuguese). BiblioBazaar. pp. 235–247.
3313:(in Brazilian Portuguese). UC Biblioteca Geral 1.
2751:(in Brazilian Portuguese). Didot. pp. 34–35.
1796:, where it emphasizes the comic character of the
1453:in a total of 8,816 decyllable verses, using the
5109:
4173:. Revista Idioma. pp. 39–46. Archived from
3556:Ed. Europa-América: História do Cinema Português
3341:Fernão Gomes, Pintor maneirista de bravo talento
2107:Camoens, Central Figure of Portuguese Literature
2032:. Trans. Landeg White. Oxford: Oxford UP, 2002.
1868:regarded him as an admirable painter of nature.
1473:, which becomes a symbol of love and death, the
1414:rear'd a new throne so haught in Pride of Place.
1361:
1345:and the Portuguese heroes who sailed around the
1062:Camões lived in the final phase of the European
535:It was suggested that he earned his living as a
4903:
4168:"Camões e as fórmulas lapidares em Os Lusíadas"
4049:O Medievalismo em Camões. Os Doze de Inglaterra
3964:
3872:
3284:
3282:
3280:
3278:
3276:
3274:
3272:
3270:
3268:
2609:(in Portuguese). BiblioBazaar. pp. 30–31.
2089:Camoens: His Life and his Lusiads: A Commentary
1418:My song would sound o'er Earth's extremest part
51: and the second or paternal family name is
4982:
4471:
4437:
3860:"Maneirismo em Camões: Uma Linguagem de Crise"
3717:
3715:
3097:
1410:with more than promised force of mortal hand;
1146:" (1520), in epic format. Shortly thereafter,
414:is sometimes called the "language of Camões".
124:accompanying your translation by providing an
90:Click for important translation instructions.
77:expand this article with text translated from
4592:. University of Kentucky Press, 1996, pp. 1-3
2464:Vasco Da Gama and His Successors 1460 to 1580
2437:(in Brazilian Portuguese). Atelie Editorial.
2289:A museum dedicated to Camões can be found in
2186:Homenaje a Camoens: Estudios y Ensayos., 1980
1163:Andries Pauwels: Bust of Camões, 17th century
681:in the government, and composed for him the "
677:. When he returned to Goa in 1556, he met D.
479:and married Dona Guiomar da Gama, related to
30:"Camões" redirects here. For other uses, see
5010:Luis de Camoëns and the Epic of the Lusiads,
3265:
2585:
2149:Nicholas Meihuizen. Bern: Peter Lang, 2007.
1836:praised his sharpness and ingenuity, as did
1420:were mine the genius, mine the Poet's art."
1396:"The feats of Arms, and famed heroick Host,
900:Appearance, character, loves and iconography
4321:Azevedo, Maria Antonieta Soares de (1980).
3862:. Revista Eletrônica de Estudos Literários.
3839:
3774:"Renaissance Literature and Historiography"
3712:
3568:
3098:Camões, Luís de; Penteado, Rodrigo (1999).
2506:
2504:
2502:
2066:The Collected Lyric Poems of Luís de Camões
1907:contributing powerfully to its popularity.
1652:, the songs took the model of Petrarch and
1400:who o'er the waters ne'er by seaman crost,
658:ordered Manuel de Vasconcelos to fight the
5193:Portuguese expatriates in Portuguese India
4855:Landon, Letitia Elizabeth (1838). "poem".
4658:Saraiva, António José & Lopes, Óscar.
3995:A literatura portuguesa através dos textos
3936:Camões, Luís Vaz de. Os Lusíadas: Prefácio
3388:
3386:
3384:
2571:Saraiva, Lopes, António José & Oscar.
2570:
2545:. Officina typographica de Langhoff. 1834.
2467:. Kessinger Publishing. pp. 250–251.
2282:, who himself made several voyages to the
2097:. Joaquim Nabuco. Washington, D.C. , 1908.
364:'s and the Portuguese language's greatest
170:
5096:Luís de Camões - Diretório de Camonística
4712:Espéculo — Revista de estudios literarios
4566:, Vol. 1. Imprensa nacional, 1860, p. 157
4488:
4454:
4433:
4431:
4244:
4046:Santos, Joaquim José Moreira dos (1985).
3928:
3926:
3898:
3896:
3812:
3371:Fernandes, Manuel Bernardo Lopes (1861).
3370:
3354:Ribeiro, Eduardo Alberto Correia (2008).
2986:Ribeiro, Eduardo Alberto Correia (2008).
2969:Ribeiro, Eduardo Alberto Correia (2008).
2925:Ribeiro, Eduardo Alberto Correia (2008).
2878:Ribeiro, Eduardo Alberto Correia (2008).
2831:Ribeiro, Eduardo Alberto Correia (2008).
2716:
2685:
2683:
2659:
2511:Fernandes, Manuel Bernardo Lopes (1861).
2510:
2430:
2183:Camoens / Filgueira Valverde, Jose., 1958
1788:, published in 1587, is an adaptation of
896:are, in all probability, someone else's.
4949:
4939:
4645:o "poema do mar"; ver Peixoto, Afrânio.
4619:. Harvard University Press, 2005, p. 121
4018:
3604:Instituto de Cultura e Língua Portuguesa
3022:
3020:
3001:
2999:
2850:
2818:
2628:
2626:
2555:
2499:
2197:
1941:
1930:
1922:
1874:
1721:
1687:Despite the care of the first editor of
1593:
1508:
1332:Cover of the 1572 edition of Os Lusíadas
1327:
1198:, and demonstrated a solid knowledge of
1190:Its sources were numerous. He dominated
1158:
932:
851:
792:
625:
617:
559:, and then by enlisting as a soldier in
445:
427:
297:
4973:
4750:Estudos de Língua e Cultura Portuguesas
4649:. Imprensa da Universidade, 1932, p. 23
4320:
4229:""História e Linguagem em Os Lusíadas""
4227:Pereira, Terezinha Maria Scher (2000).
4226:
4165:
3853:
3851:
3381:
3353:
2985:
2968:
2924:
2877:
2830:
2456:
2454:
2365:It is uncertain whether he was born in
2307:in the Indian Ocean is named after him.
2266:Camões figures prominently in the book
1408:forceful in perils and in battle-post,
1387:Se a tanto me ajudar o engenho e arte."
1049:in the main belt were named after him.
973:Tomás José de Aquino, Librarian of the
14:
5110:
4854:
4428:
4387:
4366:
4300:Paiva, Maria Helena (23–25 May 2007).
4285:: CS1 maint: archived copy as title (
4138:
4110:
4045:
3991:
3933:Pimpão, Álvaro Júlio da Costa (2000).
3932:
3923:
3903:Soares, Maria Luísa de Castro (2007).
3902:
3893:
3641:
3601:
3464:"Cédulas Estrangeiras: África: Angola"
3338:
3244:
3214:
3169:
3124:
3026:
2941:
2894:
2851:Saldanha, Manoel José Gabriel (1990).
2788:
2761:
2689:
2680:
2602:
2172:Biography and textual study in Spanish
2073:Biography and textual study in English
1864:was evident in his "beautiful poems,"
613:
5076: – Catholic Encyclopedia article
4920:
4672:Anunciação, C.; Severino, C. (2014).
4532:
4505:
4299:
4198:
4079:
4062:
3797:
3771:
3589:"José Simões de Almeida Júnior (tio)"
3538:
3532:
3446:"Guebuza: Official Visit to Portugal"
3392:
3323:
3017:
2996:
2931:. Revista Labirintos. pp. 11–20.
2623:
2603:Nabuco, Joaquim (21 September 2009).
2460:
2334:Camoes, the One-Eyed Poet of Portugal
1385:Cantando espalharei por toda a parte,
788:
773:academies such as the one founded in
4755:
3848:
3620:. Festival de Almada. Archived from
3553:
3476:
3248:Camões: l'œuvre épique & lyrique
3218:Camões: l'œuvre épique & lyrique
3173:Camões: l'œuvre épique & lyrique
3128:Camões: l'œuvre épique & lyrique
3030:Camões: l'œuvre épique & lyrique
2945:Camões: l'œuvre épique & lyrique
2898:Camões: l'œuvre épique & lyrique
2792:Camões: l'œuvre épique & lyrique
2765:Camões: l'œuvre épique & lyrique
2693:Camões: l'œuvre épique & lyrique
2451:
2247:, in The New Monthly Magazine, 1838.
2011:, Manuel Nunes Godinho, 19th century
1656:. In the odes, the influence of the
1412:and in the regions of a distant race
1377:Mais do que prometia a força humana,
1355:
450:Camões, early 20th century depiction
441:
59:
5143:Portuguese people with disabilities
5012:University of Oklahoma Press, 1962.
4944:Monument to Luís de Camões in Paris
3857:
3484:. Húmus, 2007, s/pp. Archived from
3360:. Revista Labirintos. pp. 3–7.
2884:. Revista Labirintos. pp. 1–5.
2123:Camoens and the Epic of the Lusiads
1398:from occidental Lusitanian strand,
24:
5002:
4889:Camões Seamount: Undersea Features
4662:. Porto Editora, 6ª edição, p. 333
4632:. Imprensa Nacional, 1858, pp. 2-3
4393:
4327:. pp. (55):14. Archived from
4259:
3681:California Institute of Technology
2854:História de Goa: História política
2418:English Bards and Scotch Reviewers
2095:The Place of Camoens in Literature
1367:Por mares nunca de antes navegados
25:
5209:
5034:
4976:A Vida Ignorada de Camões (2ª ed)
4660:História da Literatura Portuguesa
4536:História Da Literatura Portuguesa
4533:Alves, José Édil de Lima (2001).
4509:História Da Literatura Portuguesa
4506:Alves, José Édil de Lima (2001).
4264:. pp. xx–xxv. Archived from
4202:Recursos Narrativos n'Os Lusíadas
3067:
2632:
2495:(in Brazilian Portuguese). Didot.
2431:Minchillo, Carlos Cortez (1998).
2336:that premiere in Toronto in 2006.
2103:. Aubrey F.G. Bell. London: 1923.
1848:and several other English poets,
1820:Expansion of fame beyond Portugal
1697:Carolina Michaëlis de Vasconcelos
1381:Novo Reino, que tanto sublimaram;
1365:Que, da Ocidental praia Lusitana,
1363:"As armas e os barões assinalados
1144:A Crónica do Imperador Clarimundo
937:The portrait painted in Goa, 1581
5066:
5050:Works by or about Luís de Camões
4987:. Alfragide: Editorial Caminho.
4914:
4897:
4881:
4865:
4848:
4828:
4807:
4782:
4742:
4729:
4717:
4704:
4665:
4652:
4635:
4622:
4609:
4595:
4199:Lamas, Maria Paula (July 2004).
4139:Júnior, Benjamin Abdala (2007).
2992:. Revista Labirintos. p. 8.
2975:. Revista Labirintos. p. 7.
2235:
2202:Effigy of Luís de Camões on the
2113:. Girard: Haldeman-Julius, 1924.
1375:Em perigos e guerras esforçados,
548:there was talk of a passion for
319:
136:{{Translated|pt|Luís de Camões}}
64:
4726:. Atelie Editorial, 1973, p. 25
4582:
4569:
4553:
4526:
4499:
4482:
4465:
4455:Juromenha, Visconde de (1861).
4448:
4422:"Luís de Camões e Ausias March"
4414:
4360:
4342:
4314:
4293:
4253:
4220:
4192:
4159:
4132:
4104:
4073:
4063:Pires, António Machado (1985).
4056:
4039:
4012:
3985:
3958:
3866:
3833:
3806:
3791:
3765:
3740:
3698:
3665:
3635:
3610:
3595:
3581:
3562:
3547:
3502:
3470:
3456:
3438:
3413:
3364:
3347:
3332:
3317:
3300:
3208:
3190:
3163:
3145:
3118:
3091:
3076:
3061:
3047:
2979:
2962:
2935:
2888:
2871:
2824:
2782:
2755:
2737:
2710:
2653:
2596:
2579:
2564:
2434:Sonetos de Camões ("Biografia")
2384:
2250:He is one of the characters in
2021:Luis de Camões: Epic and Lyric.
1918:
1502:description of the universe by
1379:E entre gente remota edificaram
1274:, and of Castilian literature.
634:He traveled aboard the carrack
432:Coat of arms of Luís de Camões.
5163:Portuguese Renaissance writers
4983:Aguiar e Silva, Vítor (2011).
4978:. Mem Martins: Europa-América.
4974:Saraiva, José Hermano (1978).
4858:The New Monthly Magazine, 1838
4701:Spina & Bechara, pp. 23-25
3802:. Agir / MNBA. pp. 64–77.
2549:
2535:
2521:
2481:
2424:
2405:
2359:
2260:Dom Sébastien, Roi de Portugal
2015:The Lusiadas of Luiz de Camões
1598:Cover of the first edition of
1317:
595:found in the registers of the
417:The day of his death, 10 June
404:The Parnasum of Luís de Camões
134:You may also add the template
13:
1:
5148:16th-century Portuguese poets
4861:. Henry Colburn. p. 179.
4349:Mourão e Vasconcelos (1847).
3679:Small-Body Database Browser,
3197:Mourão e Vasconcelos (1847).
3152:Mourão e Vasconcelos (1847).
3068:Pinto, Paulo Jorge de Sousa.
3006:Mourão e Vasconcelos (1847).
2744:Mourão e Vasconcelos (1847).
2589:Archivo pittoresco, Volume 10
2586:Soutto-Mayor, Maciel (1867).
2398:
2328:David Anderson, Nuno Cristo,
2193:
1804:and uses bilingualism, using
1726:Cover of the 1615 edition of
1226:standing out, but especially
740:, Fernão Álvares do Oriente,
709:VII, a fact already noted by
303:
193:
177:
5188:University of Coimbra alumni
4985:Dicionário de Luís de Camões
4956:"Camoens, Luis Vaz de"
3840:Hauser, Arnold (1972–1982).
3479:"Selos de Portugal: Álbum A"
3423:. Lifecooler. Archived from
2133:University of Kentucky Press
2131:George Monteiro. Lexington:
1935:Monument to Luís de Camões,
1465:. Resting for a few days in
1449:of the poem add up to 1,102
1107:. In the Catholic reaction,
402:). His collection of poetry
299:[luˈiʒˈvaʒðɨkaˈmõjʃ]
27:16th-century Portuguese poet
7:
5158:Portuguese-language writers
5065:(public domain audiobooks)
4792:. Nysun.com. Archived from
4111:Burton, Richard F. (1880).
3393:Braga, Teófilo (May 2009).
3310:Rimas, Volume 1598, Parte 1
3245:Gentil, Georges Le (1995).
3215:Gentil, Georges Le (1995).
3170:Gentil, Georges Le (1995).
3125:Gentil, Georges Le (1995).
3083:Cf. Botelho, Souza (1819).
3027:Gentil, Georges Le (1995).
2942:Gentil, Georges Le (1995).
2895:Gentil, Georges Le (1995).
2789:Gentil, Georges Le (1995).
2762:Gentil, Georges Le (1995).
2690:Gentil, Georges Le (1995).
2461:Jayne, K. G. (April 2004).
2340:
2293:, the Museu Luís de Camões.
2243:. This is one of Landon's
2204:Monument to the Discoveries
1733:
1154:
212:Lisbon, Kingdom of Portugal
10:
5214:
5168:Portuguese Roman Catholics
4935:
4394:Bergel, Antonio J. Alías.
3357:Camões nas partes da China
2989:Camões nas partes da China
2972:Camões nas partes da China
2928:Camões nas partes da China
2881:Camões nas partes da China
2834:Camões nas partes da China
2531:. Officina Luisiana. 1779.
2311:Institute Menezes Braganza
2125:. Henry Hersch Hart. 1962.
1894:Soon his fame would reach
1555:Fernão Lopes de Castanheda
1438:Sir Richard Francis Burton
1321:
1142:wrote his cavalry novel, "
1057:
1045:on the planet Mercury and
98:Machine translation, like
36:
29:
5153:16th-century male writers
4628:Ribeiro, José Silvestre.
4489:Anastácio, Vanda (2005).
3677:Jet Propulsion Laboratory
3343:. Revista Oceanos (1):27.
2179:s / Orico, Osvaldo., 1948
2054:. (Paperback publ. 2008,
1856:considered him a master,
1852:recognized his eminence,
1485:, the story of the giant
1070:and the beginning of the
1015:Francisco Augusto Metrass
539:of Francisco, son of the
278:
266:
256:
246:
236:
226:
216:
210:10 June 1580 (aged 55–56)
206:
187:
169:
162:
79:the corresponding article
4367:Moisés, Massaud (1997).
4120:. Burtoniana. p. 35
3992:Moisés, Massaud (2000).
3798:Nunes, Benedito (1978).
2556:Brewster, David (1837).
2352:
2232:Letitia Elizabeth Landon
1964:The Parnasum of Luís Vaz
1632:, twists or variations,
1587:
1074:and the transition from
866:Battle of Alcácer Quibir
856:Tomb of the poet at the
785:ideals were cultivated.
41:, the first or maternal
5059:Works by Luís de Camões
5041:Works by Luís de Camões
4966:Encyclopædia Britannica
4564:Obras de Luiz de Camões
4472:Aguiar e Silva (1953).
4438:Aguiar e Silva (1953).
4370:A literatura portuguesa
4088:Oxford University Press
3968:Os Lusíadas – Antologia
3876:Os Lusíadas – Antologia
3752:Encyclopædia Britannica
3727:Encyclopædia Britannica
3673:"5160 Camoes (1979 YO)"
3396:Bibliographia Camoniana
3294:Encyclopædia Britannica
2636:Os Lusíadas – Antologia
2119:. Cecil M. Bowra. 1945.
1870:August-Wilhelm Schlegel
1561:between 1568 and 1569.
1369:Passaram ainda além da
1206:, with authors such as
1052:
1019:António Soares dos Reis
987:Praça de Luís de Camões
744:and the aforementioned
670:, in the Persian Gulf.
593:Manuel de Faria e Sousa
513:Manuel de Faria e Sousa
493:Monastery of Santa Cruz
459:had its origins in the
436:
423:Portugal's national day
145:For more guidance, see
32:Camoes (disambiguation)
5173:Roman Catholic writers
4945:
4737:The Presence of Camões
4724:Os Lusiadas: Antologia
4246:10.11606/va.v0i4.49613
4080:White, Landeg (2002).
3339:Serrão, Vítor (1989).
2215:
2017:. Leonard Bacon. 1966.
1947:
1939:
1928:
1880:
1730:
1603:
1514:
1394:
1362:
1359:
1333:
1164:
1105:Protestant Reformation
1011:José Simões de Almeida
965:
938:
860:
798:
781:and his circle, where
631:
623:
451:
433:
241:Portuguese Renaissance
5138:Portuguese male poets
4943:
4768:World Digital Library
4641:Humboldt disse serem
4575:Cervantes, citado em
3965:Spina & Bechara.
3873:Spina & Bechara.
3648:The Planetary Society
2837:. Revista Labirintos.
2245:Subjects for Pictures
2201:
2117:From Virgil to Milton
1945:
1934:
1926:
1878:
1753:. The attribution of
1725:
1597:
1512:
1491:the Twelve of England
1481:, the description of
1475:Battle of Aljubarrota
1331:
1200:Greco-Roman mythology
1171:and elegies, but his
1162:
999:José Leitão de Barros
985:installed in 1867 in
956:
936:
855:
796:
703:Sobre os rios que vão
648:Cabo da Boa Esperança
629:
621:
521:University of Coimbra
511:, later consulted by
449:
431:
231:University of Coimbra
147:Knowledge:Translation
118:copyright attribution
5008:Hart, Henry Hersch.
3772:Weisinger, Herbert.
3708:. Enciclopédia Itaú.
3057:. Sociedade Digital.
2606:Camões e os Lusiadas
2272:The Forbidden Empire
2241:The Death of Camoens
2003:English translations
1670:Garcilaso de la Vega
1204:classical literature
1003:Cannes Film Festival
808:Island of Mozambique
410:is so profound that
295:European Portuguese:
5178:Shipwreck survivors
4562:— Tasso, citado em
4495:. pp. 327–342.
4310:. pp. 316–317.
3844:. pp. 357–384.
3748:"History of Europe"
3642:Lakdawalla, Emily.
3421:"Estátua de Camões"
3055:"Biografia: Camões"
2633:Spina, Segismundo.
2286:as a ship's doctor.
1987:Disparates da Índia
1982:Auto El-rei Seleuco
1976:Auto dos Anfitriões
1109:Counter-Reformation
1084:Classical Antiquity
894:Jerónimos Monastery
858:Jerónimos Monastery
734:Fernão Mendes Pinto
614:Journey to the East
602:Camões set sail on
565:Strait of Gibraltar
201:Kingdom of Portugal
5101:2023-02-08 at the
5074:Luis Vaz de Camões
4946:
4647:Ensaios camonianos
4588:Monteiro, George.
4402:on 23 January 2021
3813:Minchillo (1998).
3477:Kullberg, Carlos.
3466:. DPL Numismática.
2717:Minchillo (1998).
2660:Minchillo (1998).
2216:
2177:Camoens y Cervante
1948:
1940:
1929:
1889:Philip II of Spain
1881:
1879:Philip II of Spain
1858:Friedrich Schlegel
1854:Sir Richard Burton
1768:Seleucus I Nicator
1731:
1682:Gregorio Silvestre
1604:
1515:
1402:farèd beyond the
1351:new route to India
1334:
1268:Giovanni Boccaccio
1256:Francesco Petrarca
1165:
1111:was launched, the
983:Monument to Camões
975:Real Mesa Censória
952:Counts of Ericeira
939:
861:
837:on April 7, 1570.
799:
789:Return to Portugal
738:Fernão Vaz Dourado
632:
624:
461:Kingdom of Galicia
452:
434:
291:Luís Vaz de Camões
191:Luís Vaz de Camões
126:interlanguage link
18:Luís Vaz de Camões
5045:Project Gutenberg
5029:978-0-9552406-6-9
4735:Monteiro (1996),
4683:978-84-697-1337-2
4546:978-85-7528-007-2
4519:978-85-7528-007-2
4380:978-85-316-0231-3
4152:978-85-7473-336-4
4097:978-0-19-280151-7
4032:978-85-85851-90-3
4019:Teixeira (1999).
4005:978-85-316-0232-0
3978:978-85-85851-54-5
3916:978-972-8704-72-8
3886:978-85-85851-54-5
3826:978-85-85851-62-0
3816:Sonetos de Camões
3618:"Artes Plásticas"
3406:978-1-110-13184-6
3258:978-2-906462-16-8
3228:978-2-906462-16-8
3183:978-2-906462-16-8
3159:. pp. 44–45.
3138:978-2-906462-16-8
3111:978-85-85851-90-3
3040:978-2-906462-16-8
3013:. pp. 40–41.
2955:978-2-906462-16-8
2908:978-2-906462-16-8
2864:978-81-206-0590-9
2802:978-2-906462-16-8
2775:978-2-906462-16-8
2730:978-85-85851-62-0
2720:Sonetos de Camões
2703:978-2-906462-16-8
2673:978-85-85851-62-0
2663:Sonetos de Camões
2646:978-85-85851-54-5
2616:978-1-115-23386-6
2474:978-0-7661-9706-0
2444:978-85-85851-62-0
2268:Het verboden rijk
2252:Gaetano Donizetti
2225:Domingos Sequeira
2221:A Morte de Camões
2166:978-0-9552406-6-9
2155:978-3-03911-023-0
2060:978-0-226-09286-7
2052:978-0-226-09266-9
2026:. Carcanet, 1990.
1862:Portuguese poetry
1814:Francisco Barreto
1674:Jorge de Montemor
1666:Cantigas de amigo
1443:
1442:
1347:Cape of Good Hope
1240:Diogenes Laërtius
1136:Garcia de Resende
1097:great navigations
1035:Domingos Sequeira
943:Vasco Graça Moura
679:Francisco Barreto
656:Pedro Mascarenhas
541:Count of Linhares
442:Origins and youth
360:), is considered
288:
287:
257:Literary movement
158:
157:
91:
87:
16:(Redirected from
5205:
5198:Eyepatch wearers
5070:
5069:
5054:Internet Archive
4998:
4979:
4970:
4958:
4929:
4928:
4918:
4912:
4911:
4901:
4895:
4885:
4879:
4877:Marine Gazetteer
4869:
4863:
4862:
4852:
4846:
4845:
4843:
4842:
4832:
4826:
4825:
4823:
4822:
4817:. Burtoniana.org
4811:
4805:
4804:
4802:
4801:
4786:
4780:
4779:
4777:
4776:
4759:
4753:
4746:
4740:
4733:
4727:
4721:
4715:
4714:, 2009; XIV (42)
4708:
4702:
4699:
4688:
4687:
4669:
4663:
4656:
4650:
4639:
4633:
4626:
4620:
4615:Cochran, Terry.
4613:
4607:
4599:
4593:
4586:
4580:
4573:
4567:
4557:
4551:
4550:
4530:
4524:
4523:
4503:
4497:
4496:
4486:
4480:
4479:
4469:
4463:
4462:
4452:
4446:
4445:
4435:
4426:
4425:
4418:
4412:
4411:
4409:
4407:
4391:
4385:
4384:
4364:
4358:
4357:
4346:
4340:
4339:
4337:
4336:
4318:
4312:
4311:
4308:Porto University
4297:
4291:
4290:
4284:
4276:
4274:
4273:
4257:
4251:
4250:
4248:
4224:
4218:
4217:
4215:
4214:
4196:
4190:
4189:
4187:
4185:
4179:
4172:
4166:de Carvalho, C.
4163:
4157:
4156:
4136:
4130:
4129:
4127:
4125:
4119:
4108:
4102:
4101:
4077:
4071:
4070:
4060:
4054:
4053:
4043:
4037:
4036:
4016:
4010:
4009:
3989:
3983:
3982:
3962:
3956:
3955:
3953:
3952:
3943:. Archived from
3941:Instituto Camões
3930:
3921:
3920:
3900:
3891:
3890:
3870:
3864:
3863:
3855:
3846:
3845:
3837:
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3803:
3795:
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3762:
3760:
3758:
3744:
3738:
3737:
3735:
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3719:
3710:
3709:
3702:
3696:
3695:
3693:
3691:
3669:
3663:
3662:
3660:
3659:
3650:. Archived from
3639:
3633:
3632:
3630:
3629:
3614:
3608:
3607:
3599:
3593:
3592:
3591:. Dropz Galeria.
3585:
3579:
3578:
3566:
3560:
3559:
3551:
3545:
3544:
3536:
3530:
3529:
3527:
3525:
3516:. Archived from
3506:
3500:
3499:
3497:
3496:
3490:
3483:
3474:
3468:
3467:
3460:
3454:
3453:
3442:
3436:
3435:
3433:
3432:
3417:
3411:
3410:
3390:
3379:
3378:
3368:
3362:
3361:
3351:
3345:
3344:
3336:
3330:
3329:
3321:
3315:
3314:
3304:
3298:
3297:
3290:"Luís de Camões"
3286:
3263:
3262:
3242:
3233:
3232:
3212:
3206:
3205:
3194:
3188:
3187:
3167:
3161:
3160:
3149:
3143:
3142:
3122:
3116:
3115:
3095:
3089:
3088:
3080:
3074:
3073:
3065:
3059:
3058:
3051:
3045:
3044:
3024:
3015:
3014:
3003:
2994:
2993:
2983:
2977:
2976:
2966:
2960:
2959:
2939:
2933:
2932:
2922:
2913:
2912:
2892:
2886:
2885:
2875:
2869:
2868:
2848:
2839:
2838:
2828:
2822:
2816:
2807:
2806:
2786:
2780:
2779:
2759:
2753:
2752:
2741:
2735:
2734:
2714:
2708:
2707:
2687:
2678:
2677:
2657:
2651:
2650:
2630:
2621:
2620:
2600:
2594:
2593:
2583:
2577:
2576:
2568:
2562:
2561:
2553:
2547:
2546:
2539:
2533:
2532:
2525:
2519:
2518:
2508:
2497:
2496:
2485:
2479:
2478:
2458:
2449:
2448:
2428:
2422:
2409:
2392:
2388:
2382:
2363:
2239:
2085:. Longman, 1820.
1992:Auto do Filodemo
1834:Baltasar Gracián
1774:and repeated by
1497:, India. There,
1477:, the vision of
1461:and attacked by
1389:
1356:
1272:Jacopo Sannazaro
1260:Ludovico Ariosto
1220:Valerius Flaccus
1148:António Ferreira
1031:Vieira Portuense
1007:Bordalo Pinheiro
989:, in Lisbon, by
726:Antão de Noronha
683:Auto de Filodemo
608:Scipio Africanus
576:, 25 years old,
356:
351:
350:
347:
346:
343:
340:
337:
334:
331:
328:
325:
308:
305:
301:
296:
198:
197: 1524–1525
195:
182:
179:
174:
160:
159:
137:
131:
104:Google Translate
89:
85:
68:
67:
60:
21:
5213:
5212:
5208:
5207:
5206:
5204:
5203:
5202:
5108:
5107:
5103:Wayback Machine
5067:
5037:
5005:
5003:Further reading
4995:
4951:Prestage, Edgar
4938:
4933:
4932:
4919:
4915:
4902:
4898:
4886:
4882:
4873:Camões Seamount
4870:
4866:
4853:
4849:
4840:
4838:
4834:
4833:
4829:
4820:
4818:
4813:
4812:
4808:
4799:
4797:
4788:
4787:
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4774:
4772:
4761:
4760:
4756:
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4730:
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4709:
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4700:
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4636:
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4600:
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4547:
4531:
4527:
4520:
4504:
4500:
4487:
4483:
4470:
4466:
4453:
4449:
4436:
4429:
4420:
4419:
4415:
4405:
4403:
4392:
4388:
4381:
4365:
4361:
4347:
4343:
4334:
4332:
4319:
4315:
4298:
4294:
4278:
4277:
4271:
4269:
4262:"Archived copy"
4258:
4254:
4225:
4221:
4212:
4210:
4197:
4193:
4183:
4181:
4177:
4170:
4164:
4160:
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4137:
4133:
4123:
4121:
4117:
4109:
4105:
4098:
4078:
4074:
4061:
4057:
4044:
4040:
4033:
4017:
4013:
4006:
3990:
3986:
3979:
3963:
3959:
3950:
3948:
3931:
3924:
3917:
3901:
3894:
3887:
3871:
3867:
3858:Machado, Lino.
3856:
3849:
3838:
3834:
3827:
3811:
3807:
3796:
3792:
3783:
3781:
3770:
3766:
3756:
3754:
3746:
3745:
3741:
3731:
3729:
3721:
3720:
3713:
3704:
3703:
3699:
3689:
3687:
3671:
3670:
3666:
3657:
3655:
3640:
3636:
3627:
3625:
3616:
3615:
3611:
3600:
3596:
3587:
3586:
3582:
3567:
3563:
3552:
3548:
3537:
3533:
3523:
3521:
3520:on 11 June 2021
3508:
3507:
3503:
3494:
3492:
3488:
3481:
3475:
3471:
3462:
3461:
3457:
3444:
3443:
3439:
3430:
3428:
3419:
3418:
3414:
3407:
3391:
3382:
3369:
3365:
3352:
3348:
3337:
3333:
3326:Revista Oceanos
3322:
3318:
3305:
3301:
3288:
3287:
3266:
3259:
3243:
3236:
3229:
3213:
3209:
3195:
3191:
3184:
3168:
3164:
3150:
3146:
3139:
3123:
3119:
3112:
3096:
3092:
3081:
3077:
3066:
3062:
3053:
3052:
3048:
3041:
3025:
3018:
3004:
2997:
2984:
2980:
2967:
2963:
2956:
2940:
2936:
2923:
2916:
2909:
2893:
2889:
2876:
2872:
2865:
2849:
2842:
2829:
2825:
2817:
2810:
2803:
2787:
2783:
2776:
2760:
2756:
2742:
2738:
2731:
2715:
2711:
2704:
2688:
2681:
2674:
2658:
2654:
2647:
2631:
2624:
2617:
2601:
2597:
2584:
2580:
2569:
2565:
2554:
2550:
2541:
2540:
2536:
2527:
2526:
2522:
2509:
2500:
2486:
2482:
2475:
2459:
2452:
2445:
2429:
2425:
2410:
2406:
2401:
2396:
2395:
2389:
2385:
2364:
2360:
2355:
2343:
2196:
1951:Works by Camões
1921:
1822:
1736:
1710:1685 edition: "
1703:1595 edition: "
1592:
1543:Decades of Asia
1483:St. Elmo's fire
1436:—Translated by
1422:
1419:
1417:
1415:
1413:
1411:
1409:
1407:
1401:
1399:
1397:
1391:
1386:
1384:
1382:
1380:
1378:
1376:
1374:
1368:
1366:
1364:
1326:
1320:
1244:Pliny the Elder
1157:
1060:
1055:
1039:Lagoa Henriques
902:
890:1755 earthquake
791:
779:Marsilio Ficino
616:
597:Armada of India
465:Cape Finisterre
463:, not far from
444:
439:
354:
322:
318:
306:
294:
227:Alma mater
211:
199:
196:
192:
183:
180:
165:
154:
153:
152:
135:
129:
92:
69:
65:
58:
39:Portuguese name
35:
28:
23:
22:
15:
12:
11:
5:
5211:
5201:
5200:
5195:
5190:
5185:
5180:
5175:
5170:
5165:
5160:
5155:
5150:
5145:
5140:
5135:
5130:
5128:Catholic poets
5125:
5120:
5106:
5105:
5093:
5085:
5077:
5071:
5056:
5047:
5036:
5035:External links
5033:
5032:
5031:
5013:
5004:
5001:
5000:
4999:
4993:
4980:
4971:
4961:Chisholm, Hugh
4937:
4934:
4931:
4930:
4927:. p. B01.
4913:
4910:. p. G10.
4896:
4893:Geographic.org
4880:
4864:
4847:
4827:
4806:
4781:
4754:
4741:
4728:
4716:
4703:
4689:
4682:
4664:
4651:
4634:
4621:
4608:
4594:
4581:
4568:
4552:
4545:
4525:
4518:
4498:
4481:
4464:
4447:
4427:
4413:
4386:
4379:
4359:
4341:
4313:
4292:
4252:
4239:(4): 196–211.
4219:
4191:
4158:
4151:
4131:
4103:
4096:
4072:
4055:
4038:
4031:
4011:
4004:
3984:
3977:
3957:
3922:
3915:
3892:
3885:
3865:
3847:
3832:
3825:
3805:
3790:
3764:
3739:
3711:
3706:"Renascimento"
3697:
3664:
3634:
3609:
3594:
3580:
3561:
3546:
3531:
3501:
3469:
3455:
3437:
3412:
3405:
3380:
3363:
3346:
3331:
3316:
3299:
3296:. 6 June 2023.
3264:
3257:
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3207:
3189:
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2887:
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2863:
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2801:
2781:
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2754:
2736:
2729:
2709:
2702:
2679:
2672:
2652:
2645:
2622:
2615:
2595:
2578:
2575:. p. 331.
2563:
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2480:
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2423:
2403:
2402:
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2184:
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2174:
2173:
2169:
2168:
2158:
2144:
2126:
2120:
2114:
2111:Isaac Goldberg
2104:
2101:Luis de Camões
2098:
2092:
2086:
2079:Life of Camões
2075:
2074:
2070:
2069:
2063:
2041:
2027:
2018:
2012:
2005:
2004:
2000:
1999:
1994:
1989:
1984:
1979:
1972:
1967:
1961:
1920:
1917:
1830:Torquato Tasso
1821:
1818:
1766:, son of King
1755:El-Rei Seleuco
1741:El-Rei Seleuco
1735:
1732:
1716:
1715:
1708:
1693:Wilhelm Storck
1591:
1586:
1559:Diogo do Couto
1547:João de Barros
1471:Inês de Castro
1441:
1440:
1434:
1424:
1423:
1404:Taprobáne-land
1392:
1322:Main article:
1319:
1316:
1264:Torquato Tasso
1252:Pomponius Mela
1156:
1153:
1140:João de Barros
1059:
1056:
1054:
1051:
997:, directed by
948:Duke of Lafões
901:
898:
882:Torre do Tombo
820:
819:
818:
817:
790:
787:
758:
757:
756:
755:
746:Diogo do Couto
742:Garcia de Orta
711:Diogo do Couto
615:
612:
584:Corpus Christi
487:, joining the
471:, warrior and
443:
440:
438:
435:
286:
285:
280:
276:
275:
268:
264:
263:
258:
254:
253:
248:
244:
243:
238:
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233:
228:
224:
223:
218:
214:
213:
208:
204:
203:
189:
185:
184:
175:
167:
166:
164:Luís de Camões
163:
156:
155:
151:
150:
143:
132:
110:
107:
96:
93:
74:
73:
72:
70:
63:
26:
9:
6:
4:
3:
2:
5210:
5199:
5196:
5194:
5191:
5189:
5186:
5184:
5181:
5179:
5176:
5174:
5171:
5169:
5166:
5164:
5161:
5159:
5156:
5154:
5151:
5149:
5146:
5144:
5141:
5139:
5136:
5134:
5131:
5129:
5126:
5124:
5121:
5119:
5116:
5115:
5113:
5104:
5100:
5097:
5094:
5091:
5090:
5086:
5083:
5082:
5078:
5075:
5072:
5064:
5060:
5057:
5055:
5051:
5048:
5046:
5042:
5039:
5038:
5030:
5026:
5022:
5021:0-9552406-6-2
5018:
5014:
5011:
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4796:on 2021-09-16
4795:
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4763:"The Lusiads"
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4331:on 2021-04-22
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4268:on 2021-04-24
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4230:
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4209:on 2010-02-21
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4180:on 7 May 2021
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3947:on 2021-04-24
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3794:
3780:on 2011-06-28
3779:
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3768:
3753:
3749:
3743:
3728:
3724:
3723:"Renaissance"
3718:
3716:
3707:
3701:
3686:
3682:
3678:
3674:
3668:
3654:on 2012-02-20
3653:
3649:
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3624:on 2016-03-04
3623:
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3491:on 2023-03-26
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3427:on 2013-06-03
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3204:. p. 45.
3203:
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2819:Prestage 1911
2815:
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2280:J. Slauerhoff
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2141:0-8131-1952-9
2138:
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2042:
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2038:0-19-280151-1
2035:
2031:
2028:
2025:
2022:
2019:
2016:
2013:
2010:
2007:
2006:
2002:
2001:
1998:
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1824:According to
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1560:
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1544:
1538:
1536:
1532:
1528:
1524:
1523:Jorge de Sena
1519:
1511:
1507:
1505:
1500:
1499:Paulo da Gama
1496:
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1349:and opened a
1348:
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1343:Vasco da Gama
1340:
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1023:Horace Vernet
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991:Victor Bastos
988:
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879:
878:Teófilo Braga
875:
874:Faria e Sousa
871:
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859:
854:
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843:
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644:Vasco da Gama
641:
637:
628:
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531:
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522:
516:
514:
510:
509:Casa da Índia
506:
502:
498:
494:
490:
489:Austin friars
486:
482:
481:Vasco da Gama
478:
474:
470:
466:
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458:
457:Camões family
448:
430:
426:
424:
420:
415:
413:
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401:
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383:
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367:
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359:
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349:
316:
312:
300:
292:
284:
283:Camões Family
281:
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274:
273:
269:
267:Notable works
265:
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133:
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123:
119:
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111:
108:
105:
101:
97:
95:
94:
88:
82:
81:in Portuguese
80:
75:You can help
71:
62:
61:
56:
55:
50:
49:
44:
40:
33:
19:
5118:1520s births
5088:
5080:
5009:
4984:
4975:
4964:
4924:Toronto Star
4922:
4916:
4907:Toronto Star
4905:
4899:
4892:
4883:
4876:
4867:
4857:
4850:
4839:. Retrieved
4830:
4819:. Retrieved
4809:
4798:. Retrieved
4794:the original
4784:
4773:. Retrieved
4766:
4757:
4749:
4744:
4736:
4731:
4723:
4719:
4711:
4706:
4673:
4667:
4659:
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4629:
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4616:
4611:
4603:
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4589:
4584:
4576:
4571:
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4559:
4555:
4535:
4528:
4508:
4501:
4491:
4484:
4474:
4467:
4457:
4450:
4440:
4416:
4404:. Retrieved
4400:the original
4389:
4369:
4362:
4351:
4344:
4333:. Retrieved
4329:the original
4323:
4316:
4302:
4295:
4270:. Retrieved
4266:the original
4255:
4236:
4232:
4222:
4211:. Retrieved
4207:the original
4201:
4194:
4182:. Retrieved
4175:the original
4161:
4141:
4134:
4122:. Retrieved
4113:
4106:
4082:
4075:
4065:
4058:
4048:
4041:
4021:
4014:
3994:
3987:
3967:
3960:
3949:. Retrieved
3945:the original
3935:
3905:
3875:
3868:
3841:
3835:
3815:
3808:
3799:
3793:
3782:. Retrieved
3778:the original
3767:
3755:. Retrieved
3742:
3730:. Retrieved
3700:
3688:. Retrieved
3667:
3656:. Retrieved
3652:the original
3637:
3626:. Retrieved
3622:the original
3612:
3603:
3597:
3583:
3574:
3570:
3564:
3555:
3549:
3540:
3534:
3522:. Retrieved
3518:the original
3504:
3493:. Retrieved
3486:the original
3472:
3458:
3440:
3429:. Retrieved
3425:the original
3415:
3395:
3373:
3366:
3356:
3349:
3340:
3334:
3325:
3319:
3309:
3302:
3247:
3217:
3210:
3199:
3192:
3172:
3165:
3154:
3147:
3127:
3120:
3100:
3093:
3084:
3078:
3069:
3063:
3049:
3029:
3008:
2988:
2981:
2971:
2964:
2944:
2937:
2927:
2897:
2890:
2880:
2873:
2853:
2833:
2826:
2791:
2784:
2764:
2757:
2746:
2739:
2719:
2712:
2692:
2662:
2655:
2635:
2605:
2598:
2588:
2581:
2572:
2566:
2557:
2551:
2542:
2537:
2528:
2523:
2513:
2490:
2483:
2463:
2433:
2426:
2416:
2407:
2386:
2361:
2347:Portugal Day
2333:
2271:
2267:
2258:
2244:
2220:
2178:
2146:
2128:
2122:
2116:
2106:
2100:
2094:
2088:
2083:John Adamson
2078:
2065:
2043:
2029:
2024:Keith Bosley
2020:
2014:
2008:
1996:
1991:
1986:
1981:
1974:
1969:
1963:
1956:
1950:
1949:
1919:Bibliography
1893:
1885:translations
1882:
1838:Lope de Vega
1823:
1809:
1801:
1785:
1784:
1754:
1748:
1744:
1740:
1737:
1727:
1717:
1711:
1704:
1688:
1686:
1661:
1654:Pietro Bembo
1633:
1617:
1613:
1607:
1605:
1599:
1588:
1580:
1576:
1565:
1563:
1550:
1542:
1539:
1535:metalanguage
1520:
1516:
1444:
1428:
1395:
1360:
1335:
1288:
1276:
1189:
1185:
1172:
1166:
1143:
1125:
1101:
1061:
979:
966:
957:
940:
928:a posteriori
927:
907:
903:
862:
839:
834:
821:
800:
759:
730:
715:
702:
698:
692:
686:
682:
672:
633:
601:
588:
571:
569:
534:
517:
453:
416:
407:
403:
399:
393:
314:
310:
290:
289:
270:
122:edit summary
113:
84:
76:
52:
46:
5123:1580 deaths
4771:. 1800–1882
4643:Os Lusíadas
4406:24 February
4184:24 February
4124:24 February
4114:The Lusiads
3757:24 February
3732:24 February
3690:24 February
3524:24 February
2330:Aida Jordão
2256:grand opera
2227:, now lost.
2223:(1825), by
2030:The Lusiads
2009:Os Lusíadas
1970:Lyric Poems
1958:The Lusiads
1909:Montesquieu
1900:Romanticism
1846:John Milton
1802:redondilhas
1780:Gil Vicente
1678:Juan Boscán
1618:redondilhas
1479:D. Manuel I
1455:ottava rima
1430:Os Lusíadas
1324:Os Lusíadas
1318:Os Lusíadas
1181:Os Lusíadas
1173:redondilhas
1132:D. Manuel I
1117:Machiavelli
1113:Inquisition
1068:Middle Ages
1064:Renaissance
1047:an asteroid
1027:José Malhoa
961:The Lusiads
835:Santa Clara
830:aboard the
783:Neoplatonic
771:Renaissance
675:Os Lusíadas
604:Palm Sunday
408:Os Lusíadas
400:The Lusiads
395:Os Lusíadas
370:Shakespeare
307: 1524
272:The Lusiads
251:Epic poetry
181: 1577
86:(July 2020)
43:family name
5183:Sonneteers
5133:Epic poets
5112:Categories
4841:2013-10-21
4821:2013-10-21
4800:2013-10-21
4775:2013-08-31
4752:, Jun/2007
4335:2021-02-25
4272:2021-02-24
4213:2021-02-24
3951:2021-02-24
3784:2021-02-24
3658:2021-02-24
3628:2021-02-24
3577:: 667–669.
3495:2021-02-24
3431:2021-02-24
2399:References
2375:Constância
2321:has grand
2194:In culture
1798:Amphitryon
1794:Amphitryon
1786:Anfitriões
1750:Anfitriões
1658:troubadour
1549:, and the
1433:, Canto I
1128:D. João II
1092:naturalist
1080:capitalism
1072:Modern Age
923:the Indies
699:redondilha
553:Dona Maria
485:priesthood
469:troubadour
412:Portuguese
261:Classicism
217:Occupation
4022:Zé Ferino
3328:. (1):18.
3101:Zé Ferino
2274:) by the
1842:Cervantes
1806:Castilian
1764:Antiochus
1662:sextilhas
1634:sextilhas
1487:Adamastor
1427:—Camões:
1371:Taprobana
1339:Lusitania
1312:feudalism
1292:vilancete
1280:Mannerism
1121:mannerist
1076:feudalism
919:cryptonym
842:Sebastian
806:, on the
636:São Bento
537:preceptor
279:Relatives
176:Portrait
140:talk page
54:de Camões
5099:Archived
5063:LibriVox
4953:(1911).
4281:cite web
4260:Pimpão.
3514:Expresso
3087:. Didot.
2411:e.g. by
2379:Alenquer
2341:See also
2323:Azulejos
2305:seamount
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2234:'s poem
2212:Portugal
2135:, 1996.
1866:Humboldt
1826:Monteiro
1810:Filodemo
1776:Petrarch
1772:Plutarch
1745:Filodemo
1734:Comedies
1728:Filodemo
1650:Petrarch
1646:eclogues
1630:cantigas
1577:princeps
1567:princeps
1531:rhetoric
1445:The ten
1308:crusades
1212:Xenophon
1155:Overview
1088:humanist
1043:A crater
915:Dinamene
824:cruzados
775:Florence
763:Humanism
722:Dinamene
687:de facto
557:Ribatejo
545:bohemian
530:John III
497:Santarém
362:Portugal
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4963:(ed.).
4936:Sources
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3450:VOANews
2371:Coimbra
2278:writer
1997:Letters
1790:Plautus
1642:elegies
1638:sonnets
1626:glosses
1573:pelican
1495:Calicut
1467:Malindi
1463:Bacchus
1451:stanzas
1304:cavalry
1296:cantiga
1284:Baroque
1278:called
1236:Ptolemy
1196:Spanish
1058:Context
886:epitaph
832:carrack
828:Cascais
767:academy
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664:Red Sea
662:in the
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1913:Aeneid
1904:France
1850:Goethe
1614:Rhymes
1602:, 1595
1581:piscos
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1447:cantos
1248:Strabo
1232:Virgil
1224:Horace
1169:cantos
995:Camões
970:effigy
870:plague
804:Sofala
695:Mekong
578:ginger
574:squire
501:Lisbon
386:Virgil
378:Vondel
374:Milton
237:Period
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4959:. In
4475:Rimas
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4353:Moura
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2353:Notes
2291:Macau
2276:Dutch
2206:, in
1896:Italy
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1600:Rimas
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1545:, by
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1459:Venus
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1192:Latin
1177:gloss
707:Canto
668:Ormuz
660:Moors
640:Tagus
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