Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

The most important writer in Portuguese history and one of the preeminent European poets of the early modern era, Luis de Camoes (1524-80) has been ranked as a sonneteer on par with Petrarch, Dante, and Shakespeare. Championed and admired by such poets as William Blake, Elizabeth Barrett Browning, Edgar Allan Poe, and Henry Wadsworth Longfellow, Camoes was renowned for his intensely personal sonnets and equally intense life of adventure.
The first significant English translation of Camoes's sonnets in more than one hundred years, "Selected Sonnets: A Bilingual Edition" collects seventy of Camoes's best--all musically rendered by William Baer into contemporary, yet metrical and rhymed, English-language poetry, with the original Portuguese on facing pages.
A comprehensive selection of sonnets that demonstrates the full range of Camoes's interests and invention, "Selected Sonnets "will prove indispensable for both students and teachers in comparative and Renaissance literature, Portuguese and Spanish history, and the art of literary translation.
"Splendidly produced. . . .William Baer brings [Camoes's] sonnets forward as accomplished, indeed often beautiful, examples of this Renaissance invention."--Jeffery Hart, "National Review" "William Baer's artistry gives the reader translations that convey much of the poetry's original directness and simplicity, along with the intensity, timbre, and subtlety of the original imagery and themes. . . . ["Selected Sonnets"] will renew interest in these superb sonnets and bring Camoes deserved readership in English."--"Choice"

Poetry. Translated from the Portuguese by Richard Zenith. This is the first bilingual edition in English to offer a cross-section of the stunning output of lyric poetry produced by Portugal's Luis de Camoes (who also wrote The Lusiads, the greatest epic poem memorializing Vasco da Gama's inaugural voyage to India). A selection of forty sonnets is followed by poems using other metrical patterns and rhyme schemes, including terza rima, ottava rima, the sestina, the canzone, and the redondilha, a verse form typical of Portuguese folk poetry. Richard Zenith's limpid renditions, far from attempting to "update" Camoes, closely adhere to the original text, employing modern English but resisting the temptation to expand on the relatively small and simple lexicon of the Portuguese. His illuminating introduction shows how the 16th-century poet's life ad work were intimately entwined, and he discusses with candor his method for translating this poetry.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Luis de Camoes is world famous as the author of the great Renaissance epic "The Lusiads," but his large and equally great body of lyric poetry is still almost completely unknown outside his native Portugal. In "The Collected Lyric Poems of Luis de Camoes," the award-winning translator of "The Lusiads" gives English readers the first comprehensive collection of Camoes's sonnets, songs, elegies, hymns, odes, eclogues, and other poems--more than 280 lyrics altogether, all rendered in engaging verse.

Camoes (1524-1580) was the first great European artist to cross into the Southern Hemisphere, and his poetry bears the marks of nearly two decades spent in north and east Africa, the Persian Gulf, India, and Macau. From an elegy set in Morocco, to a hymn written at Cape Guardafui on the northern tip of Somalia, to the first modern European love poems for a non-European woman, these lyrics reflect Camoes's encounters with radically unfamiliar peoples and places. Translator Landeg White has arranged the poems to follow the order of Camoes's travels, making the book read like a journey. The work of one of the first European cosmopolitans, these poems demonstrate that Camoes would deserve his place among the great poets even if he had never written his epic."