851:
the
Catuals and the court, prompting Samorin to confront da Gama on his intentions. Da Gama insists that the Portuguese are traders, not buccaneers. The king then demands proof from da Gama's ships, but when he tries to return to the fleet, da Gama finds that the Catual, who has been corrupted by the Muslim leaders, refuses to lend him a boat at the harbor and holds him prisoner. Da Gama manages to get free only after agreeing to have all of the goods on the ships brought to shore to be sold.
1177:
297:
842:. A Muslim named Monçaide greets the fleet and tells the explorers about the lands they have reached. The king, Samorin, hears of the newcomers and summons them. A governor and official of the king, called the Catual, leads the Portuguese to the king, who receives them well. The Catual speaks with Monçaide to learn more about the new arrivals. The Catual then goes to the Portuguese ships himself to confirm what Monsayeed has told him and is treated well.
753:
142:
126:
54:
1588:
573:, and the storm. Camões is a master in these descriptions, marked by the verbs of movement, the abundance of visual and acoustic sensations, and expressive alliterations. There are also many lyrical moments. Those texts are normally narrative-descriptive. This is the case with the initial part of the episode of the Sad Inês, the final part of the episode of the
830:, prays to his own God, but it is Venus who helps the Portuguese by sending the Nymphs to seduce the winds and calm them down. After the storm, the armada sights Calicut, and Vasco da Gama gives thanks to God. The canto ends with the poet speculating about the value of the fame and glory reached through great deeds.
850:
The Catual sees a number of paintings that depict significant figures and events from
Portuguese history, all of which are detailed by the author. Bacchus appears in a vision to a Muslim priest in Samorin's court and convinces him that the explorers are a threat. The priest spreads the warnings among
1336:
The
Machine of the World is presented as the spectacle unique, divine, seen by "corporeal eyes". In the words of literary historian António José Saraiva, "it is one of the supreme successes of Camões", "the spheres are transparent, luminous, all of them are seen at the same time with equal clarity;
584:
On several occasions the poet assumes a tone of lamentation, as at the end of Canto I, in parts of the speech of the Old Man of the
Restelo, the end of Canto V, the beginning and end of Canto VII, and the final strophes of the poem. Many times, da Gama bursts into oration at challenging moments: in
549:
of the Island of Love (Canto IX), the dinner in the palace of Thetis (Canto X), and Gama's cloth (end of Canto II). Sometimes these descriptions are like a slide show, in which someone shows each of the things described there; examples include the geographic start of Gama's speech to the king of
1125:
is preceded by a black cloud, which appears above the heads of the sailors. Expressing the surprise he experiences, Gama quotes himself: "Oh divine power – said – sublimated, / what divine threat or what secret / this clime and this sea presents to us / that seems a bigger thing than a storm?"
1081:
The nobility of the characters is also emphasised, in a way that is intended to create feelings of sympathy when the protagonist suffers. This technique is used most strongly when Inês fears the orphaning of her children more than losing her own life and she begs for the commutation of capital
1027:, favourable to the Portuguese, and the party of Bacchus, defending the interests of this god who wanted to stop the Portuguese from reaching their goal. The council ends by accepting the point of view earlier expressed by Jupiter; however, Bacchus will not accept this.
1591:
768:
appeared in dreams foretelling the future glories of the Orient. This canto ends with the sailing of the Armada, the sailors in which are surprised by the prophetically pessimistic words of an old man who was on the beach among the crowd. This is the episode of the
465:, this tiny nation has gone on to discover new worlds and impose its law in the concert of the nations. At the end of the poem, on the Island of Love, the fictional finale to the glorious tour of Portuguese history, Camões writes that the fear once expressed by
817:, who convenes a "Concílio dos Deuses Marinhos" (Council of the Sea Gods) whose decision is to support Bacchus and unleash powerful winds to sink the armada. Then, while the sailors are listening to Fernão Veloso telling the legendary and chivalrous episode of
652:
Two scouts sent by Vasco da Gama are fooled by a fake altar created by
Bacchus into thinking that there are Christians among the Muslims. Thus, the explorers are lured into an ambush but successfully survive with the aid of Venus. Venus pleads with her father
957:
in the poem, sailing into the unknown upon the sheet of white foam of the Indian Ocean, has huge significance in the organization of the poem. The gods of the four corners of the world are reunited to talk about "the future matters of the East"
1337:
they move, and the movement is perceptible, although the visible surface is always the same. To be able to translate this by the "painting that talks" is to achieve one of the highest points in universal literature."
863:
can arrive to attack them, but Monçaide tells da Gama of the conspiracy, and the ships escape from
Calicut. To reward the explorers for their efforts, Venus prepares an island for them to rest on and asks her son
1005:"). Jupiter's chair is a crystalline seat of stars and the rest of the Olympian furniture is equally ornate: "In shiny seats, enamelled / of gold and pearls, under there were / the other gods (...)" ("
760:
Following this incident, the poem narrates the maritime journey to India—an aim that Dom João II did not accomplish during his lifetime, but would come true with Dom Manuel, to whom the rivers
1192:: the strophes that come after strophe 52 of Canto IX, and some of the main parts that appear from strophe 68 to 95 describe the scenery where the love encountered between the sailors and the
1046:
is the same one that the orator presented). There is then a confirmation of suggestions already put forth in the narration of the 4th strophe. This episode then ends with two strophes of
585:
Mombasa (Canto II), on the appearance of
Adamastor, and in the middle of the terror of the storm. The poet's invocations to the Tágides and nymphs of Mondego (Cantos I and VII) and to
2281:
484:), who had died some years before the poet's arrival in Indian lands, were the decisive factors in Camões' completion of the Portuguese epic. Camões dedicated his masterpiece to King
793:(maritime whirlwind), and face a variety of dangers and obstacles such as the hostility of natives in the episode of Fernão Veloso, the fury of a monster in the episode of the giant
1168:). The final marine eclogue conforms to a pattern that is common to many of Camões' lyrical compositions: falling in love, forced separation, grieving over the frustrated dream.
838:
After condemning some of the other nations of Europe (who in his opinion fail to live up to
Christian ideals), the poet tells of the Portuguese fleet reaching the Indian city of
528:"), he is thinking about this exciting tone of oratory. There are in the poem some speeches that are brief but notable, including Jupiter's and the Old Man of the Restelo's.
2271:
1203:
in the second part of Canto IX sees Camões describing the scene between the sailors – whom the Nymphs were expecting – prepared by Venus. Given in an allegoric sense:
1117:
The vigorous theophany that the first part describes is in the following verses: "Chill the flesh and the hairs/ to me and all only by listening and seeing him" ("
520:
who tells the future in Canto X. The poet asks the Tágides (nymphs of the river Tagus) to give him "a high and sublime sound,/ a grandiloquent and flowing style" ("
202:
1608:
2266:
1724:
2286:
1141:") is described as having: "huge stature", "squalid beard", "earthy colour", "full of earth and crinkly of hairs / blacken the mouth, yellow the teeth" ("
685:. This is followed by passages on the meaning of Portuguese nationality and then by an enumeration of the warrior deeds of the 1st Dynasty kings, from
1066:(canto iii, stanzas 118–135). It is normally classified as a lyric, thus distinguishing it from the more common war episodes. The episode discusses
1114:, occupies strophes 41 to 48; finally, the third part, a marine eclogue with some points of contact with Écloga III of Camões, ends in strophe 59.
1160:
Such emphasis on the appearance of
Adamastor is intended to contrast with the preceding scenery, which was expressed as: "seas of the South" ("
1128:Ó potestade – disse – sublimada, / que ameaço divino ou que segredo / este clima e este mar nos apresenta, / que mor cousa parece que tormenta?
2241:
2276:
1050:, where Jupiter appeals to the benevolence of the gods concerning the sons of Lusus, with Jupiter's speech eventually settling the debate.
589:(beginning of Cantos III and X), in typological terms, are also orations. Each one of these types of speech shows stylistic peculiarities.
1616:
554:, certain sculptures of the palaces of Neptune and the Samorim, the speech of Paulo da Gama to the Catual, and the Machine of the World (
872:
with desire for them. When the sailors arrive on the Isle of Love, the ocean nymphs make a pretense of running but surrender quickly.
953:
This episode, which comes right after the first strophe of the narration (no. 19 of Canto I) and depicts the entry of the caravan of
2231:
1717:
1513:
657:, who predicts great fortunes for the Portuguese in the east. The fleet lands at Melinde where it is welcomed by a friendly Sultan.
932:) universe operates. The tour continues with glimpses of the lands of Africa and Asia. The legend of the martyrdom of the apostle
1196:
take place. The poet also talks about the fauna that live there and of fruits produced instantly. It is portrayed as a paradise.
1023:
Jupiter, after the end of his speech, entirely neglects the guidance of the other Gods, so two parties are formed: the party of
962:"); in fact, what they are going to decide is whether the Portuguese will be allowed to reach India and what will happen next.
737:
when the armada of Vasco da Gama sails to India. The narrative of the Crisis of 1383–85, which focuses mainly on the figure of
2236:
2152:
614:, and pays a hopeful tribute to the young King Sebastião. The story then (in imitation of the classical epics) portrays the
1166:"(...) / prosperamente os ventos assoprando, / quando hua noite, estando descuidados / na cortadora proa vigiando, / (...)"
2256:
1075:
1038:(1st strophe), in which, after an original welcome, Jupiter briefly defines the subject. This is followed, in the ancient
634:, who is here associated with the east and resents the encroachment on his territory. We encounter Vasco da Gama's voyage
1348:
wrote a commentary about the work in the 17th century. Published after Sousa's death, the work was originally written in
2301:
1710:
438:
2296:
1012:
During the council, the behaviour of the gods is described as disgraceful. It starts as "Reason and Order demanded" "
644:. At the urging of Bacchus, who is disguised as a Moor, the local Muslims plot to attack the explorer and his crew.
457:
to accomplish great deeds. Jupiter says that their history proves it because, having emerged victorious against the
2306:
2246:
1391:
1164:"): "(...) / the winds blowing favourably / when one night, being careless/ watching in the cutting bow, / (...)" (
434:(Council of the Olympian Gods), which open the narrative part, highlight the laudatory orientation of the author.
2251:
1293:
In Canto X, before the sailors return home the Siren invites Gama to the spectacle of the
Machine of the World (
2261:
1698:
Strophes 70 to 79 of Canto VI, surviving a hurricane or the Portuguese defeating Neptune, as a tile masterpiece
884:, who is now the lover of da Gama, prophecies the future of Portuguese exploration and conquest. She tells of
1345:
893:
738:
1411:
925:
905:
885:
809:
After Vasco da Gama's narrative, the armada sails from Melinde guided by a pilot to teach them the way to
770:
746:
690:
235:
75:
1401:
1811:
1468:
1381:
1371:
819:
742:
714:
618:
watching over the voyage of Vasco da Gama. Just as the gods had divided loyalties during the voyages of
570:
485:
393:
The narration concludes with an epilogue, starting in stanza 145 of canto X. The most important part of
379:
71:
309:
1788:
1090:
in order to have an opportunity to raise her children, and she is compared with "the young beautiful
901:
897:
810:
734:
706:
686:
562:
191:
44:
973:
had already been described before as "luminous"; the Gods walk on the "beautiful crystalline sky" ("
2226:
2221:
2080:
1823:
1035:
986:
928:
and João de Castro. Tethys then guides da Gama to a summit and reveals to him a vision of how the (
917:
909:
814:
674:
654:
532:
427:
173:
1007:
Em luzentes assentos, marchetados / de ouro e perlas, mais abaixo estavam / os outros Deuses (...)
730:
215:(1st c. BC). The work celebrates the discovery of a sea route to India by the Portuguese explorer
990:
981:. In strophes 22 and 23 they are also said to be shining. Jupiter is described as the "Father" ("
937:
933:
881:
536:
462:
2104:
1675:
1647:
1624:
790:
725:
Vasco da Gama continues the narrative of the history of Portugal by recounting the story of the
296:
1491:
1176:
965:
The gods are described by Jupiter as residents of the "shiny, / starry Pole and bright Seat" ("
2311:
2164:
1947:
1923:
1909:
1897:
1848:
1569:
1059:
1024:
913:
752:
710:
698:
641:
627:
566:
517:
481:
446:
350:
389:, opening in the midst of the action, with the background story being told later in the epic.
2199:
1753:
1349:
1017:
929:
677:. He starts by referring to the situation of Portugal in Europe and the legendary story of
472:
The extraordinary Portuguese discoveries and the "new kingdom that they exalted so much" ("
2291:
1854:
1031:
694:
476:") in the East, and certainly the recent and extraordinary deeds of the "strong Castro" ("
313:
148:
201:– 1580) and first published in 1572. It is widely regarded as the most important work of
1121:"). This is intended to convey pure fear, the imminent threat of annihilation. The evil
129:
2049:
2037:
1959:
1580:
277:
1110:, goes from strophe 37 to 40; the second, which in chronological-narrative terms is a
2215:
2092:
1885:
1879:
1733:
1001:"), carrying "a gleaming crown and sceptre / of another rock clearer than diamond" ("
970:
921:
813:. Bacchus, seeing that the Portuguese are about to arrive in India, asks for help of
781:
The story moves on to the King of Melinde, describing the journey of the Armada from
726:
636:
545:
509:
501:
386:
301:
243:
216:
2187:
2134:
1916:
1697:
1111:
402:
335:
257:
1660:
1133:
801:. Canto V ends with the poet's censure of his contemporaries who despise poetry.
2116:
1966:
1866:
1764:
1574:
450:
330:
220:
187:
102:
577:, and the encounter on the Island of Love (Canto IX). All these cases resemble
53:
2013:
1953:
1817:
1047:
859:
The Muslims plot to detain the Portuguese until the annual trading fleet from
615:
284:
and was first printed in 1572, three years after the author returned from the
155:
133:
401:, was placed at the point in the poem that divides the work according to the
1935:
1835:
1781:
1747:
1107:
978:
839:
794:
682:
574:
540:
531:
There are also descriptive passages, like the description of the palaces of
442:
1600:
602:
The epic begins with a dedication section, with the poet paying homage to
500:
consists of grandiloquent speeches by various orators: the main narrator;
2181:
2122:
2025:
1978:
1972:
1903:
1873:
1829:
1595:
1541:
1200:
1181:
1119:
Arrepiam-se as carnes e os cabelos / a mi e a todos só de ouvi-lo e vê-lo
1091:
1039:
1030:
The speech that Jupiter uses to start the meeting is a finished piece of
666:
631:
619:
586:
184:
1560:
1155:
cheios de terra e crespos os cabelos / a boca negra, os dentes, amarelos
2074:
2068:
2043:
2019:
2007:
2001:
1995:
1842:
1805:
1632:
1122:
1083:
1067:
1043:
954:
869:
827:
578:
551:
466:
272:
17:
1702:
1070:, and leads the action to its tragic end, even something close to the
936:
in India is told at this point. Finally, Tethys relates the voyage of
234:
fashion, the poem focuses mainly on a fantastic interpretation of the
2146:
2140:
2110:
2098:
2055:
2031:
1775:
1193:
1003:
hua coroa e ceptro rutilante / de outra pedra mais clara que diamante
889:
798:
782:
765:
623:
603:
513:
454:
325:
285:
252:
247:
224:
211:
206:
1463:
1042:
fashion, by the narration (the past shows that the intention of the
1106:
The Adamastor episode is divided into three segments. The first, a
2158:
2086:
2061:
1941:
1860:
1759:
1175:
1087:
865:
860:
761:
751:
678:
607:
524:"). In contrast to the style of lyric poetry, or "humble verse" ("
458:
423:
368:
364:
321:
305:
295:
281:
266:
261:
231:
2193:
1929:
1891:
1095:
786:
670:
385:
Narration (the epic itself) – starting in stanza 19 of canto I,
1706:
1352:
and eventually translated into Portuguese in the 19th century.
940:. The epic concludes with more advice to young King Sebastião.
1299:
1251:
1249:
The Canto is ended with the poet communicating to the reader:
1205:
561:
Examples of dynamic descriptions include the "battle" of the
522:
um som alto e sublimado, / Um estilo grandíloquo e corrente
469:
has been confirmed: that the Portuguese would become gods.
1514:"Inês De Castro: The macabre tale of the 'skeleton queen'"
1322:
Your lordship's wish is now fulfilled to share the supreme
1549:
705:(the beautiful Maria, in 16th-century Portuguese) in the
426:—in other words, the Portuguese. The initial strophes of
908:
against combined Gujarati-Egyptian fleets; the deeds of
1629:(in Portuguese) - Collector's Edition 400th anniversary
1180:
Pictorial book in Municipal Library of Campo Maior, in
338:
ABABABCC, and contains a total of 8816 lines of verse.
78:(1880); William C. Atkinson (1952); Landeg White (1997)
997:") and presides from a "crystalline seat of stars" ("
749:, especially those related to expansion into Africa.
673:
of epic poetry, Vasco da Gama begins to narrate the
2174:
1988:
1798:
1740:
785:to Melinde. During the voyage, the sailors see the
328:(1102 in total). It is written in the decasyllabic
116:
108:
98:
90:
82:
66:
34:
1094:". Strophes 134 and 135 are written to evoke this
826:Vasco da Gama, seeing the near destruction of his
316:(blue). The path common to both is the green line.
1621:(in Portuguese) for students - academic edition.
1305:
1257:
1211:
610:. The first line mimics the opening line of the
146:
1605:From the Collections at the Library of Congress
989:for 'father') who "vibrates the fierce rays of
969:"); this shiny, starry Pole and bright Seat or
219:(1469–1524). The ten cantos of the poem are in
2282:Portuguese exploration in the Age of Discovery
1546:(in English at Gutenberg.org in many formats.)
880:During a sumptuous feast on the Isle of Love,
823:(The Twelve Men of England), a storm strikes.
1718:
745:, is followed by the events of the reigns of
280:. It was written when Camões was an exile in
8:
1420:, trans. William C. Atkinson (Penguin, 1952)
1276:Who always wanted always could: and numbered
1016:", but it ends in insubordination, to which
1228:That the Nymphs of the Ocean, so beautiful,
630:, who favors the Portuguese, is opposed by
1725:
1711:
1703:
31:
967:luzente, estelífero Pólo e claro Assento
437:In these strophes, Camões speaks of the
418:The heroes of the epic are the Lusiads (
1436:
1328:of erring and miserable mortals cannot
1261:Que quem quis sempre pôde: e numerados
1230:Tethys and the angelic painted Island,
1213:Que as Ninfas do Oceano, tão fermosas,
797:, and the disease and death caused by
496:The vast majority of the narration in
341:The poem is made up of four sections:
27:Portuguese epic poem by Luís de Camões
2272:Cultural depictions of Inês de Castro
1458:
1456:
1454:
1452:
1278:You will be amongst the famous heroes
733:until the moment during the reign of
504:, recognized as "eloquent captain" ("
172:
7:
2267:Cultural depictions of Vasco da Gama
1653:translated by Richard Francis Burton
1426:, trans. Landeg White (Oxford, 1997)
1280:And in this Isle of Venus received.
701:during Dom Afonso Henriques' reign,
300:This figure illustrates the path of
238:during the 15th and 16th centuries.
1263:Sereis entre os heróis esclarecidos
1217:Outra cousa não é que as deleitosas
2287:Greek and Roman deities in fiction
1324:knowledge; you with corporeal eyes
1232:Are none other than the delightful
1058:The episode, usually known as "of
693:. Episodes that stand out include
324:, each with a different number of
25:
1575:Mickle's 1776 English translation
1557:, online edition stanza by stanza
1311:veres o que não pode a vã ciência
1234:Honours that render life sublime
1219:Honras que a vida fazem sublimada
1172:The eclogue of the Island of Love
640:as they have already rounded the
1637:(in Portuguese) - Modern edition
1586:
1364:, trans. Richard Fanshawe (1655)
1309:Suprema de, cos olhos corporais,
1307:Faz-te mercê, barão, a sapiência
1265:E nesta Ilha de Vénus recebidos.
1215:Tétis e a Ilha angélica pintada,
1062:", is one of the most famous of
944:Observations about some episodes
492:The narrators and their speeches
308:(black) as well as the trips of
242:is often regarded as Portugal's
140:
124:
52:
1577:, full text at sacred-texts.com
995:vibra os feros raios de Vulcano
949:The Council of the Olympic gods
665:After an appeal by the poet to
474:novo reino que tanto sublimaram
405:at the beginning of Canto VII.
236:Portuguese voyages of discovery
1137:"): "Rude son of the Earth" ("
999:assento de estrelas cristalino
453:, a people predestined by the
304:heading for the first time to
205:and is frequently compared to
203:Portuguese-language literature
58:Front of the first edition of
1:
1326:may see what the vain science
1313:dos errados e míseros mortais
1274:Impossiblities you cannot do,
1014:a Razão e a Ordem concertavam
432:Concílio dos Deuses Olímpicos
195:
2242:National symbols of Portugal
1581:Atkinson's prose translation
1259:Impossibilidades não façais,
1130:") The "strange Colossus" ("
960:as cousas futuras do Oriente
2277:Age of Discovery in fiction
2153:The Tale of Igor's Campaign
1594:public domain audiobook at
1082:punishment for an exile in
756:Os Lusiadas – Canto IV – 87
2328:
1583:, full text at archive.org
1492:"Camoes Garden and Grotto"
320:The poem consists of ten
177:), usually translated as
170:Portuguese pronunciation:
139:
123:
70:Richard Fanshawe (1655);
51:
41:
2232:Epic poems in Portuguese
1613:(in Portuguese) for kids
1568:, full text provided by
1443:sometimes anglicized as
1289:The Machine of the World
1139:Filho aspérrimo da Terra
924:; and battles fought by
1346:Manuel de Faria e Sousa
353:and heroes of the poem)
1677:The Lusiads of Camoens
1662:The Lusiads of Camoens
1412:Richard Francis Burton
1320:
1306:
1303:
1272:
1258:
1255:
1226:
1212:
1209:
1185:
1054:A lyric-tragic episode
1020:brutally puts an end.
975:cristalino céu fermoso
926:Martim Afonso de Sousa
886:Duarte Pacheco Pereira
771:Old Man of the Restelo
757:
349:– presentation of the
317:
174:[uʒluˈzi.ɐðɐʃ]
147:
76:Richard Francis Burton
2237:Portuguese literature
1469:World Digital Library
1382:Thomas Moore Musgrave
1372:William Julius Mickle
1179:
820:Os Doze de Inglaterra
755:
743:Battle of Aljubarrota
486:Sebastian of Portugal
380:Sebastian of Portugal
299:
72:William Julius Mickle
2257:History of Kozhikode
2038:La Chanson de Roland
1692:Episodes illustrated
1356:English translations
1297:) with these words:
914:Pedro de Mascarenhas
902:Francisco de Almeida
739:Nuno Álvares Pereira
687:Dom Afonso Henriques
563:Island of Mozambique
2302:Neptune (mythology)
2081:The Siege of Sziget
1824:Book of Dede Korkut
1734:National epic poems
1685:John James Aubertin
1670:John James Aubertin
1402:John James Aubertin
1034:. It opens with an
918:Lopo Vaz de Sampaio
906:Lourenço de Almeida
675:history of Portugal
480:", the viceroy Dom
2297:Sirens (mythology)
1186:
758:
703:formosíssima Maria
593:Synopses of Cantos
359:– a prayer to the
318:
292:Internal structure
192:Luís Vaz de Camões
2307:Venus (mythology)
2247:Books about India
2209:
2208:
2165:Cantar de mio Cid
1948:Epic of Gilgamesh
1924:Hikayat Seri Rama
1910:Hikayat Hang Tuah
1898:Phra Lak Phra Lam
1570:Project Gutenberg
1512:Williams, Holly.
1334:
1333:
1286:
1285:
1247:
1246:
1143:disforme estatura
699:Battle of Ourique
642:Cape of Good Hope
565:, the battles of
447:Quintus Sertorius
430:'s speech in the
345:An introduction (
161:
160:
16:(Redirected from
2319:
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1267:
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910:Tristão da Cunha
894:Battle of Cochin
707:Battle of Salado
556:Máquina do Mundo
443:second Viriathus
399:arrival in India
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223:and total 1,102
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1794:
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1147:barba esquálida
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791:St. Elmo's Fire
779:
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663:
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506:facundo capitão
494:
451:people of Lusus
422:), the sons of
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411:
314:Afonso de Paiva
310:Pêro da Covilhã
294:
198:
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125:
62:
42:
35:
28:
23:
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15:
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2077:
2072:
2065:
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2053:
2050:Nibelungenlied
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2022:
2017:
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1998:
1992:
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1986:
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415:
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1464:"The Lusiads"
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1190:locus amoenus
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898:Battle of Diu
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715:Dom Afonso IV
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637:in medias res
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546:locus amoenus
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526:verso humilde
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510:Paulo da Gama
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502:Vasco da Gama
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312:(orange) and
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244:national epic
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217:Vasco da Gama
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97:
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81:
77:
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69:
65:
61:
55:
50:
46:
40:
33:
30:
19:
2198:
2188:Kebra Nagast
2186:
2163:
2151:
2139:
2128:
2127:
2115:
2103:
2091:
2079:
2067:
2060:
2048:
2036:
2024:
2012:
2000:
1977:
1965:
1958:
1946:
1934:
1922:
1915:
1908:
1896:
1884:
1872:
1865:
1853:
1841:
1834:
1822:
1810:
1787:
1780:
1769:
1765:
1752:
1684:
1681:(in English)
1676:
1669:
1666:(in English)
1661:
1656:(in English)
1652:
1648:
1642:Google books
1633:
1625:
1617:
1609:
1601:
1561:
1550:
1542:
1521:. Retrieved
1517:
1507:
1495:. Retrieved
1486:
1474:. Retrieved
1467:
1444:
1439:
1423:
1417:
1407:
1397:
1387:
1377:
1367:
1361:
1344:
1335:
1321:
1304:
1294:
1292:
1273:
1256:
1248:
1241:—strophe 89
1227:
1210:
1198:
1189:
1187:
1165:
1162:mares do Sul
1161:
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1146:
1142:
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1127:
1118:
1116:
1105:
1080:
1071:
1063:
1057:
1029:
1022:
1013:
1011:
1006:
1002:
998:
994:
985:" – archaic
982:
974:
966:
964:
959:
952:
904:and his son
879:
858:
849:
837:
825:
818:
808:
780:
759:
735:Dom Manuel I
724:
702:
691:Dom Fernando
669:, the Greek
664:
651:
635:
611:
601:
583:
560:
555:
544:
530:
525:
521:
505:
497:
495:
478:Castro forte
477:
473:
471:
436:
431:
419:
417:
409:Key concepts
398:
394:
392:
375:
360:
356:
346:
340:
336:rhyme scheme
329:
319:
271:
265:
256:was for the
251:
239:
229:
210:
179:
178:
164:
163:
162:
145:
117:
59:
29:
2129:Os Lusíadas
2117:Pan Tadeusz
1967:Manimekalai
1867:Mahabharata
1812:Sasna Dzrer
1766:La Araucana
1649:The Lusiads
1634:Os Lusíadas
1626:Os Lusíadas
1618:Os Lusíadas
1610:Os Lusíadas
1602:Os Lusíadas
1592:Os Lusíadas
1562:Os Lusíadas
1551:Os Lusíadas
1543:The Lusiads
1518:BBC Culture
1472:. 1800–1882
1424:The Lusiads
1418:The Lusiads
1408:The Lusiads
1398:The Lusiads
1368:The Lusiads
1151:cor terrena
1076:apostrophes
1064:Os Lusíadas
977:"), to the
868:to inspire
747:Dom João II
571:Aljubarrota
498:Os Lusíadas
395:Os Lusíadas
347:proposition
331:ottava rima
240:Os Lusíadas
230:Written in
221:ottava rima
190:written by
180:The Lusiads
165:Os Lusíadas
149:Os Lusíadas
130:The Lusiads
103:Epic poetry
60:Os Lusíadas
36:Os Lusíadas
2227:1572 poems
2222:1572 books
2216:Categories
2014:Kalevipoeg
1954:Tamil Nadu
1818:Azerbaijan
1523:13 January
1431:References
1388:The Lusiad
1378:The Lusiad
1362:The Lusiad
1048:peroration
1040:rhetorical
987:Portuguese
934:St. Thomas
900:fought by
846:Canto VIII
717:'s reign.
695:Egas Moniz
516:; and the
463:Castilians
414:The heroes
376:dedication
357:Invocation
246:, much as
185:Portuguese
156:Wikisource
134:Wikisource
109:Media type
94:Portuguese
67:Translator
2105:Lāčplēsis
1936:Shahnameh
1836:Trai Bhet
1782:O Uraguai
1748:Argentina
1476:30 August
1410:, trans.
1400:, trans.
1390:, trans.
1380:, trans.
1370:, trans.
1341:Responses
1184:, Brazil.
1112:prolepsis
1108:theophany
1102:Adamastor
979:Milky Way
930:Ptolemaic
834:Canto VII
795:Adamastor
729:from the
683:Viriathus
661:Canto III
575:Adamastor
188:epic poem
118:Full text
2312:Dionysus
2200:Sundiata
2182:Ethiopia
2123:Portugal
2026:Kalevala
1979:Ramakien
1973:Thailand
1904:Malaysia
1874:Ramayana
1830:Cambodia
1789:Caramuru
1741:Americas
1596:LibriVox
1201:allegory
1092:Policena
1036:exordium
955:carracks
938:Magellan
855:Canto IX
828:caravels
805:Canto VI
741:and the
721:Canto IV
697:and the
667:Calliope
648:Canto II
620:Odysseus
587:Calliope
579:eclogues
541:Calicute
535:and the
420:Lusíadas
276:for the
99:Genre(s)
91:Language
86:Portugal
74:(1776);
2075:Hungary
2069:Odyssey
2044:Germany
2020:Finland
2008:Estonia
2002:Beowulf
1996:England
1849:Georgia
1843:Reamker
1806:Armenia
1445:Camoëns
1350:Spanish
1134:Colosso
1123:demigod
1084:Siberia
1068:destiny
1032:oratory
971:Olympus
896:); the
876:Canto X
870:Nereids
840:Calicut
815:Neptune
811:Calicut
777:Canto V
713:during
632:Bacchus
626:, here
598:Canto I
567:Ourique
552:Melinde
537:Samorim
533:Neptune
467:Bacchus
428:Jupiter
367:of the
361:Tágides
326:stanzas
273:Odyssey
232:Homeric
225:stanzas
183:, is a
83:Country
18:Lusiads
2292:Thetis
2175:Africa
2147:Russia
2141:Aeneid
2111:Poland
2099:Latvia
2056:Greece
2032:France
1989:Europe
1880:Kyrgyz
1776:Brazil
1497:11 May
1414:(1880)
1404:(1878)
1394:(1854)
1384:(1826)
1374:(1776)
1194:Nymphs
991:Vulcan
890:Cochin
882:Tethys
799:scurvy
783:Lisbon
766:Ganges
709:, and
624:Aeneas
612:Aeneid
604:Virgil
543:, the
514:Thetis
449:, the
397:, the
378:– (to
365:nymphs
363:, the
322:cantos
286:Indies
253:Aeneid
248:Virgil
212:Aeneid
207:Virgil
45:Camões
2159:Spain
2087:Italy
2062:Iliad
1942:Sumer
1861:India
1760:Chile
1182:Piauí
1088:Libya
1044:Fados
1025:Venus
983:Padre
866:Cupid
861:Mecca
762:Indus
679:Lusus
628:Venus
608:Homer
518:Siren
459:Moors
455:Fates
439:first
424:Lusus
369:Tagus
351:theme
306:India
282:Macau
267:Iliad
262:Homer
260:, or
112:Print
2194:Mali
2135:Rome
1930:Iran
1892:Laos
1799:Asia
1525:2023
1499:2017
1478:2013
1199:The
1188:The
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1096:pity
1072:coir
1018:Mars
1009:").
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920:and
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681:and
671:muse
655:Jove
622:and
606:and
569:and
508:");
461:and
445:and
441:and
270:and
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558:).
539:of
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132:at
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912:,
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374:A
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196:c.
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1726:e
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