Camões, Luís Vaz de

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Camões, Luís Vaz de


Born December 1524 or January 1525, in Lisbon; died there June 10, 1580. Portuguese poet; the most important representative of the Portuguese Renaissance. Son of a nobleman.

Camões served as a soldier in Morocco (1549–51) and India (1553–70). His lyrical poems are filled with a sense of the disharmony of the world. The theme of most of his sonnets is unhappy love, and some are critical of courtly life. In his comedies, written approximately between 1544 and 1549, Camões adhered to the principles of the Italian humanist drama, glorified the Renaissance ideal of exalted love (Filodemo, published in 1547), and denounced despotic power (El-Rei Seleuco, published in 1645). Camões achieved world renown with his epic poem Os Lusíadas (1572; first Russian translation by A. Dmitriev, 1788), which takes its name from the mythological Lusus, from whom, according to legend, the Portuguese are descended. The poem relates the voyage of Vasco da Gama to India and its colonization by the Portuguese. Many pages of Os Lusíadas describe the courage, heroism, and fortitude of the people. Glorifying the history of Portugal and extolling his people’s striving to expand their knowledge of the world and their practical activity, Camões overlooked the tragic consequences of the conquests for the subjugated peoples. His faith in the unlimited possibilities of reason and his exposure of universal venality and of the power of gold make Os Lusíadas one of the outstanding works of Renaissance humanism. Establishing the standards of the Portuguese literary language, this work was significant in shaping the realist school in poetry.


Obras completas, vols. 1–5. Lisbon, 1946–54.
In Russian translation:
Luziady (excerpts). In Khrestomatiia po zarubezhnoi literature: Epokha Vozrozhdeniia, vol. 1. Compiled by B. I. Purishev. Moscow, 1959.
Sonety. Translated from the Portuguese, with a preface, by V. Levik. Moscow, 1964.


Braga, T. Camóes: A obra lírica épica. Porto, 1911.
Cidade, H. Luís de Camões, vols. 1–3. Lisbon, 1952–56.
Nogueira, J. Os Lusíadas de Luís de Camóes. Rio de Janeiro, 1960.
Nogueira, J. Dicionário e gramática de “Os Lusíadas. “Rio de Janeiro, 1960.
Domingues, M. Camóes: A sua vida e a sua época. [Lisbon, 1968.]
Bismut, R. La lirique de Camóes. [Paris, 1970.]


References in periodicals archive ?
El autor examina en este apartado una serie de textos en los que el termino participa "in both an ethics and an affect of resistance" (81), a saber, en las Luisiadas de Luis de Camoes, en la Arcadia de Philip Sidney y en los Comentarios Reales del Inca Garcilaso, textos que dan color a este cartone de tres formas diferentes; autores, por otra parte, que nos llevan hasta la acepcion mas moderna de la palabra resistencia, a saber, de lo "conceptually impoverished to circumstantially rich [...] as literature both writes and responds to events" (106).
Eis os dois pontos em que Luis de Camoes ousa duvidar, ousa discutir, ate que lhe segurem a fe herdada dos seus antepassados, estes dois pontos de apoio: a ordem do Mundo, que lhe assegura a existencia do Ser que a estabelece; as chagas de Cristo, tao grande sacrificio para a salvagao moral do homem, que so lhe pode explicar uma dadiva do amor de Deus (CIDADE, 1971, p.
Antes de proseguir con la evocacion de las imitaciones castellanas del motivo introducido por Garcilaso, cabe recordar que Luis de Camoes tambien echo mano de el.
According to( local news station WCVB, Stoughton police say that they responded to a call reporting a disturbance at Club Luis de Camoes at 76 Porter St.
Imitation is a crucial feature of sixteenth-century poetry and lies at the basis of the creative process of such authors as Diogo Bernardes, Luis de Camoes and Antonio Ferreira.
Kennedy Poetry Prize; Luis de Camoes: Selected Sonnets; and Classic American Films: Conversations With the Screenwriters.
Tan vasta fue la influencia portuguesa que la poesia mexicana en espanol tiene su origen en el primer soneto novohispano, "Dejad las hebras de oro ensortijado" en que Francisco de Terrazas imito un soneto de Luis de Camoes, el autor de Los Lusiadas, la epica de Portugal.
(5) For the platonismo camoniano argument, see Cidade in Luis de Camoes. O Lirico 160-61 and Luis de Camoes 73-80, and Saraiva/Lopes 336.
Silva's suggestion of Saramago's reference to Luis de Camoes and neo-realist Alves Redol in the framing of an epic for the age of the ordinary person recognizes that the extraordinary new qualities Saramago brought to the Portuguese literary scene lay at least in part in his ability to build on the work of his predecessors (see "Saramago e Redol"; "No Paraiso da memoria").
He then goes on to elaborate on Portuguese art, the monastery of Batalha, and Portugal's major poet of the Renaissance, Luis de Camoes and his epic masterpiece, The Lusiads (1572).