Analysis of Camões' Poem on Love
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ScribdTranslationsAnalysis of Camões' Poem on Love
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ScribdTranslationsAnalysis of the Poem
That captive, who has me captive
Laments for the slave Barbara
The girl I was in love with in India was called Barbara.
Theme–
The love felt by Camões (slave Barbara);
Subject–
The description of the beloved woman (only physically breaks with
the model of the Renaissance woman)
External structure 5 octaves without a theme
Verses or Laments
TROVA - Poem without a theme in greater or lesser redondilha. Stanzas with a multiple of 4.
verses.
Lament - cultivated from the 16th century to the 18th century without the original funerary background. It is about
before a composition of a melancholic and sad tone. The plural of 'endechas' is due to the fact
to each stanza is assigned the designation of 'endecha' and the poem is to be composed of more
from a stanza. The famous composition by Camões 'to a captive with whom I walked'
loves in India, called Bárbara" is an example of laments although in some
editions of Lyric also referred to as verses.
Scanning (Metric):
To/what/the /ca/ti/va,
Each verse is composed of 5 metrical syllables, corresponding to
minor redondilha.
Rima:
The rhyme scheme is ABBACDDC.
therefore: interpolated in A and C and paired in B and D
Rhyme rich predominantly; consonant; feminine, serious or
paroxytone (except for verses 16, 22, 23, 25, 28, 29, and 32 where it is
sharp, masculine or oxytone.
DIVISION OF TEXT INTO LOGICAL PARTS
The first part (Physical description of a woman) still
distant (that one) and which captivated the poetic subject although it is
different from the usual canons of beauty (the white woman of
blonde hair)
Beautiful, lovely, singular face, calm eyes, black and tired;
a living grace that dwells in them (eyes), black the hair,
the sweetness of Love, so sweet the figure, blissful gentleness, wisdom, presence
calm, for the storm will subside.
The second part (more moral portrait) with the conclusion in
last stanza where your poetic inspiration is most concentrated and the
your suffering due to your proximity (this (is already known; already the
described)).
Noting verses 35-36 - ambiguity of the punishment: (suffering and
written (poem - verses or laments)
Stylistic Analysis of the poem
Use of puns / Word play:
Captive (slave) / captive (prisoner for love) (vv. 1-2 and 36-37)
alive/living (1st and last stanzas) (VV.3-4 and 39-40)
"But to be a lady / Whose is she captive?" (vv. 19-20) – Slave or lady?
After all, who is captive?
The antithesis–
Between the condition of dependency (captive) and the ascendancy in
relaçãoamorosa: Senhora ≠Cativa
To exalt the figure of Bárbara, the poetic subject uses:
The Comparison–
What assumes even a hyperbolic dimension is also used for
highlight the physical attributes of the beloved and the depth of their
sentimentos:“Nunca vi rosa, Nem no campo flores, nem no céu estrelas,
they seem beautiful to me like my loves
Stylistic Analysis of the Poem
A Hyperbole–
What enhances the beauty of the beloved
"that the snow swears to you, that it would change color" –(vv.27-28)
Personification -
That the snow swears to you, that it changed color
The expressive and abundant adjectivation–
gentle, beautiful, lovely, unique, calm, black and tired,
sweet, gentle, strange, serene ...
From the figure of Bárbara, above all, an image emerges of
sweetness and serenity, achieved through careful
physical and psychological characterization:
The softness of your beauty
The uniqueness of the face and the tranquility of the gaze
A figure that opposes the model of the Renaissance woman only.
for your physical characteristics that deviate from the established norms
blond hair, light eyes, white skin.
The psychological portrait (serenity, sensibleness, way of being
calm and distant) already refers to the portrait of this model.
The portrait of the woman in Camões:
In Camões, the woman is depicted idealized through a portrait.
physical and spiritual perfection equivalent.
The physical description is often impersonal, announcing a
conventional beauty, almost always identical: light eyes, hair
light brown, white skin, pink cheeks.
Psychologically, a woman is characterized by a serenity.
classical: sometimes cold in welcoming the tributes of love,
possessing a 'sweet' smile, a 'gesture radiating calm'.
This woman symbolizes the Platonic theory of ideal love and
inaccessible, represented by the classic image of the goddess Venus.
RENAISSANCE / PETRARCHAN WOMAN – PLATONIC LOVE
(see Renaissance paintings p. 208)
That captive, who has me as
That was what it was "cativo" - The poetic subject begins with
what I fear the word game captive/captive, which is
because I live in it in a certain way a subjective of
no longer wants me to live. slavery of the poetic subject. If
I have never seen a rose Bárbara is socially enslaved,
in gentle sauces, the poetic subject is also a slave of
that for my eyes your love.
be more beautiful.
"Eununca virosa"–The elements of the
nature helps to translate the beauty of
beloved.
That my eyes, you were more
"beautiful" – The poetic subject makes a
praise to the beloved, using the traditional
hyperbole that elevates the beloved.
"Neither in the field flowers, nor in the sky stars"
Compared to flowers and/or stars, your
ama is much more beautiful. It should be noted that all praise is
people, that is, it seems to the poetic subject that his beloved
Not in the field flowers, there is an unmatched beauty to the beauty of grandeur of
not in the sky stars Nature. A comparison is present.
They seem beautiful to me.
Like my loves - The face of the beloved is not very
like my loves. banal is singular/different/unique, that is, it does not correspond to
Singular face, usual standards.
calm eyes, "The tired, black and bruised eyes" - Once again
tired and worn out, the eyes are presented as a mirror of the soul, in this
but not to kill. they are calm, which reinforces the idea of serenity
in the Camonian woman. But shortly afterwards, it presents
characteristics that oppose the model of woman 'eyes
black and tired.
"But do not deforest" - Again the poet introduces the...
description of the gaze, describes it as not fatal, not of
to seduce and inspire passions. A gaze only capable of seducing
for Luís Vaz.
"living grace" – The reinforcement of gracefulness
A living grace, of the woman who resembles the model
that lives in them,
to be a lady To pass, madam, of what activity - More
once you play with the words 'madam' and
of whom is captive. "captivating", reinforcing the idea that despite
Black the hair, to be a captive/slave, to dominate, is to be the mistress of
where the people go passionate hearts.
lose opinion
that the laurels are beautiful. Beautiful hair, where the people go, loses the
opinion, that the laurels are beautiful" - The "people
they will go
it is that blond hair is beautiful. The
poetic subject challenges the model of
time and replace it with another.
Love Predicament - Begins this eighth
The Pursuit of Love, with an apostrophe to the beloved woman,
so sweet the figure, highlighting precisely the
that the snow swears to you characteristics that oppose the model
that will change the color. of the woman of the time.
Led by gentleness,
that the wisdom tooth accompanies;
So sweet... Gentle bliss... the wisdom
it seems strange, follows" –Succeed–
more barbaric no. psychological characteristics that are
appropriate to the model of sweetness, tenderness,
joy...
"Masbárbaranão" - Characterizes as
newly beloved, saying this time that
it is not aggressive, offensive ("barbaric").
What a tormenting storm
reinforcement of serenity. And also the presence
Serene presence of the antithesis, which highlights the
that the storm calms down; romantic contradictions and the conflicts of
Nela, finally, rest. opinion.
all my sorrow.
This is the captive "Nela, finally rests" – The poetic subject
it leads to the conclusion of all
that has me captive; these praises, saying that it concentrates on
and, for in it I live, your poetic inspiration and suffering.
it's strength that lives.
"This is the captive..." - "This" implies
proximity, as now the characteristics
of this character are known. Soon from
following this verse, it is stated again,
the first four verses.