Luís de Camões.

The lyricks [of] Camoens; sonnets, canzons, odes and sextines. Englished by Richard F. Burton online

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Online LibraryLuís de CamõesThe lyricks [of] Camoens; sonnets, canzons, odes and sextines. Englished by Richard F. Burton → online text (page 23 of 25)
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1 1 6. De ch, donde somente p imaginarvos 102

(Hence (where to image you and only

249. Deixa Apolo correr ta8 apressado 190

(Forego, Apollo, thy so hasty course).

203. Defrescas belvederes rodeadas 160

(By bents encircled, blooming green and


There is a contrast between Cupid (Desire) and
Amor (Love).

280. De hum tad felice engenho, produzido 211

(That happy genius thine, begot and grown).

This Sonnet can hardly be of Camoens if he speaks
of Torquato Tasso; but it may allude to
Bernardo Tasso, whom our Poet admired. Still
he would hardly have -styled Boscan " ours "
when he was a Basque. Both B. Tasso and
Boscan wrote upon " Hero and Leander," the
tale begun by Musseus.

121. De mil sospeitas vans se me levantao 105

(Fro' vain suspicions in a thousand ways).

201. Depoys de aver chorado os meus tormentos ... 158
(When I had wept, bewailing my despair).

4. Despoys que quis Amor que eu s6 passasse... 27
(When Love so willed on me alone be

5 5 . Despoys de tantos dias mal gastados 61

(After so many days spent evilly).

109. Despoys que vio Cibele corpo humano 151

(When viewed Cybele what erst had been).

The last tercet may allude to The Lusiads begun in
Portugal. Bishop G. Pinheiro had procured the
Poet's release from prison in Lisbon (June 16,
1852 to March 7, 1853).



330. De piedra, de metal, de cousa dura 244

(With stone, with metal, substance cold and

131. De quantas grafas tinha a Natureza 112

(Nature of all her graces infinite).

62. De taS divino acento em voz humana 66

(Of accents human yet in heavenly strains).

This Sonnet is in reply to the following sent to
Camoens by a poetical admirer, whose name is
now unknown.

Quern he este, que na arj>a Lusitana.
Who be this bard wi' harp of Lusian strain
Graian and Latin Muses gars decline ;
And bids us unremember the Plautine
Graces, for gladding grace and harp hautain ?
Luis de Camoens 'tis, whom sovereign
Powers empowered with such Parts divine,
With bloom and blossoms breathing from the
Of the Homerick Muse and Mantuan.

Hadst thou (triumphant Rome !) this Scion bred
To deck thy theatre, thy drama luminous,

Ne'er at great Terence haddest marvelled ;
Nay ! rather, sans debate, a curious

Statue of gold for him thou haddest made,
Happy wi' Fortune's gift, so grand, so glorious.

307. De tantas perfei(oens a natureza 229

(With such perfections Nature gave her

22. De v6s, me aparto (0 vida f) e em tal

mudanca 39

(I leave you (dear my life !) and as I leave).

369. Dexadme, cantinelas dukes mias 264

(Leave me, ye douce melodious Lays o'

289. Diana prateada esclarecida 217

(Dian enlightened with silvern light).



287. Diversos casos, varios pensamentos 216

(Differing cases, Thought of varied sents).

In line 9 the Editions (Jur. included) have deseja
for desejado ; and mudam occurs twice as a
rhyme-word. Prof. Storck (p. 424) has ably re-
stored the text by changing five words, and I
have translated accordingly.

142. Diversos dfies reparte o Ceo benino 119

(Distribute sundry boons the Heavens

160. Divina Companhia, que nos prados -. 131

(Ye god-like Bevy who upon the plain).

The "fane of Bellerophon" on Mount Parnassus
is "the Basilica of poetic Fame."

281.. Dizei, Senhora, da belleza idka 212

(Beauty's ideal, Ladye ! deign me say).

187. Ditosa pena, como a mad que a guia 149

(Pen ! ever happy as its guiding hand).

Of this Sonnet there are two variants, one printed
in Garcia d' Orta : s book (see post, p. 533).
Manoel Batata's Tratado appeared in 1590,
when Spain was famous for calligraphy as Persia.
The last tercet may allude to a vignette of Apollo
crowning the calligrapher.

247. Ditosas Almas, que ambas juntamente 189

(Ye happy Spirits ! who at once in twain).

75. Ditoso sefa aquelle que sbmente 74

(Happy be mortal man if he lament).

265. Doce contentamento ja passado 201

(Sweetest Content that was with joys that

288. Doce sonho, suave, e soberano 216

(Sweet Dream of joyaunce suavest,




133. Doces, e claras aguas do Mondego 113

(Sweet lucent waters of Mondego-stream).

1 8. Doces lembranfas da passada gloria 36

(Delicious Memories of a Past so glorious).

338. Do corpo estavajd quasi forcada 250

(Enforced by greater force well-nigh had

328. Do estan los claros o/os que colgada 243

(Where be those clearest orbs that wont to

86. Dos antigos Uustres, que deixarao 82

(Of olden Worthies who, by deeds of

119. Dos Ceos a terra dece a mbr Belleza 157

(Fro' Heaven the highest Beauty earthward

The rhyme-word contenta recurs in lines 10 and 14.

225. Dukes enganos de mis ojos tristes 174

(Ye douce Delusions of my doleful eyes).


283. El vaso relusiente, y cristalino 213

(That Vial lucident and chrystalline).

Jur. (ii. 448) and others find this Sonnet enig-
matical by referring it to the B. Sacrament
Prof. Storck (p. 423) cleverly solves the puzzle
by showing that it speaks of the Agua de Angeles
(angel-water), a then well-known perfume.

239. Em Babilonia sobre os rios, quando 184

(When by the Rivers Babylon doth rail).

12. Em flor vos arrancou, de entad crecida 32

(In flower uprooted you, Bloom yet un-



26. Em fermosa Letea se confia 42

(So did Lethaea for-that fair confide).

5. Em prisoens baxas,fuy hum tempo atado; 28
(I lay in Durance vile long while detained).

Some refer this Sonnet to the Ancilla; others make
the "durance vile" allude to worldly miseries in

292. Em quanto Phebo os monies accendia 219

(While Phoebus flamed the fells with rosy-

1 . Em quanto quis Fortuna que tivesse 25

(While Fortune willed that for me be dight).

309. Em hum batel que com doce meneio 230

(In a slight Barque that softly, gently

The German girl's version is, The ghost is willing,
but the meat is weak.

254. Em huma lapa, toda tenebrosa 194

(Deep in a cavern gloomed with gathered

165. En una selva al dispuntar del dia 134

(Hid in a forest, at the flush of day).

Prof. Storck (p. 398) by Sol (line 3) understands
Selene, apparently without reason : Endymion
complains of the Sun for obscuring his goddess.

193. Erros meus, md Fortuna, Amor ardente 153

(Mine Errors, evil Fortune, Amor's lowe).

88. Esforfo grande igual ao pensamento 83

(Strong Force embodying Thought's ideal

188. Espanta crecer tanto Crocodilo 150

(We note with marvel growth of Crocodile).



1 04. Esses cabellos louros, e escolhidos 94

(These fair-faxt Tresses oif the choicest

2 8. Estdse a Primavera trasladando 43

(Prime all her beauties loveth to transmew).

Olhos (line 1 1 ) means buds as well as eyes. The
exhortation reminds us of Shakespeare's first
Sonnets preaching matrimony.

3 o. Esta lascivo, e doce passarinho 44

(Sits the sweet Birdie, ever gladsome-gay).

269. Este amor que vos tenho limpo, e puro 204

(This Love for you I keep so chaste and

127. Esse terreste Caos com seus vapores 109

(This earthly Chaos, with its vaporous

Prof. Storck would change the places of rigores
(line 5) xoAfavores (line8); I think with judgment,
but I dare not alter a text so generally adopted.

2. En cantarey de Amor tad docemente 26

(My song of Love I will so sweetly sing).

167. En cantey jd, e agora vou chorando 136

(I sang in Bygones ; now I weep to see).

158. Eu me aparto de vSs, Ninfas do Tejo 130

(Nymphs of the Tagus ! I fro' you take

278. Eu vivia de lagrimas isento 210

(Exempt fro' tears I wended life-tide's way).

69. Ferido sem ter cura perecia 70

(A desperate wound was dealt sans hope of



211. Mouse o corafao, de muyto isento 165

(The heart entrusted self erst Fancy-free).

Prof. Storck (p. 411) explains this Sonnet by the
dropped letter of Antiochus in El-Rei Seleuco; it
is usually held to be personal.

306. Fermosa mcLo que corafao me aperta 228

(That fair-formed Hand my heart in holding


333. Fermoso Tejo meu quam differente 246

(My lovely Tagus ! with what different

206. Fermosa Beatriz, tendes taes geitos 162

(Beautiful Beatrice ! such 'luring geste).

259. Fermosos olhos, que cuidado days 197

(Beautiful eyes which deal an envious care).

308. Fermosos olhos, que na idade nossa 50

(Beautiful Eyen, to our days displaying).

66. Fermosura do Ceo a nbs decida 68

(Beauty from heavenly heights to Earth

267. Fortuna em mim guardando seu direito ... 202
(Fortune o'er me reserving rightful Hest).

Jur. in last triplet prints sentimento for soffri-

85. Foy jd num tempo doce cousa amar 81

(To love in passed Time was passing sweet).


143. Gentil Senhora, se a Fortuna imiga 120

(If, Ladye fair ! my Fortune, ferest foe).

315. Gostos falsos de Amor, gostos fingidos 234

(False Gusts of Love, feigned Gusts for ever



46. Grao tempo ha jd que soube da Ventura 55

(Long Syne now 'tis sin' taught me Aven-

171. Guardando em mi a sorte seu direyto 138

(Fortune, preserving rights of sovranty).

In line 13, Prof. Storck reads Ella (i.e. Fortune)
for Elle (Thought) : the cause being a lover's


1 30. He gozado bem em agua escrito in

(Weal, once enjoyed, is on water writ).

180. Horas breves de meu contentamento 144

(Short hours ! whose glad Content my
fortune graced).

113. Humfirme corafao posto em ventura 1 00

(A constant heart by hazard made unsure).

35. Hum mover de olhos, brando, e piadoso 48

(A soft and pity-full glancing of those eyes).

A specimen of the " continued Sonnet " (without
full stop): cf. No. 138.

128. Huma admiravel erva se conhece no-

(In Hind an admirable herb is known).

F. y S. declares the Indian herb not to be a silly
sunflower ; he had seen a specimen of it in Italy.


6. Ilustre, e digno Ramo dos Meneses 28

(Illustrious Scion of the tree Meneses !).

256. Ilustre Gratia, nombre de una mo fa 195

(Illustrious Grkcia! name of Spinster

In line 6 devasso (that does not close) is a
Lusitanism. The "magick mitre" is the In-
quisition-cap wom at the stake.



.231. Imagens vdas me imprime a Fantasia 17

(In me vain fancies Fancy would inlay).

The "extravagant" assonance of the tercets is due
to the rhyme-words.

279. Indo triste Pastor todo embebido 21

(The tristful Shepherd dolour - drowned
would hie).


7 1 . Jd e roxa, e branca Aurora destoucava 7

(Now red and white Aurore had loosed the

178. Ja cantey, ja chorey a dura guerra ... 14

(Erst, sang I, erst I wept Love's tyranny).

115. Jd claro vejo bem,j& bem conheco 10

(Now ken I clearly, clearly I believe).

111. Ja do Mondego as aguas aparecem 9

(Now, of Mondego-stream the waters show).

49. Jd he tempo, jd, que minha confianca 5

(Tis time, time 'tis that this my confidence).

253. Jd mefundey em vaos contentamentos 19

(Erst upon vain Contents I based my mind).

298. Jd nad fere Amor coin arco forte 22

(No more with force-full bow fares Love to

274. Jd naS sinto, Senhora, os desenganos 20

(No more, Madame ! feel I false hopes and

325. Jd tempo foi, que meus olhos traziam 24

(Time was mine Eyes delighted to unfold).

Here faziam as a rhyme-word occurs in both
quartettes. Prof. Storck (p. 430) alters the first
to traziam, and attempts other changes to make



[51. Julgame a gente toda por perdido 125

(The world misjudgeth I have' lost my lot).


556. La letra que s'el nombre en que me f undo ... 262
(The leading letter on my building-ground).

[ 64. Las penas retumbavan al gemido 134

(The cliffy mountains echoed the moan).

78. Leda serenidade deleytosa 76

(A glad delicious air serene that shows).

258. Lembranfas de meu bem,doces lembranfas ... 196
(Memories of happiness mine ! douce

[76. Lembranfas que lembrays bent passado 142

(Memories remembering Good of by-gone

5 2 . Lembranfas saudosas, se cuidays 59

(Sad yearning Memories ! an ye still be

In line 9 paciencia means the thole-pin to which
the oar is strapped : hence there is an inversion
for atado o remo tenho a paciencia. In the last
line aparar is to place a mat or cushion so as to
break a fall.

335. Lembranfas tristes, para que gastais tento .. . 248
(Ye tristeful Souvenirs ! why this vain

In line 1 tempo has no rhyme, and Prof. Storck
(p. 432) suggests tento (intent).

227. Levantay, minhas Tagides, a f rente 176

(High raise your glorious brows, my
Tagides !).

In line 13 Palas (Pallas) is apparently a clerical
error for Marte, but I have not ventured to
change words.



42. Lindo, e sutil trangado, que ficaste 52

(Fair- woven Fillet ! in whose pledge I find).

213. Los ojos que con blando movimiento 166

(Those eyne whose gentle glances sweetly

302. Los que bivis subjectos a la estrela 226

(Ye who live subject to the Venus star).

357. Luzza, son tan rubios tus cabellos 262

(Louise ! thy tresses wear so ruddy hues).


233. Mai, que de tempo em tempo vds crecendo 180

(Ills ! that fro' time to time so crescive grow).

27. Males, que contra mim vos conjurastes 42

(Ills ! that against my faring well conspire).

337. Memoria de meu bem cortado em flores 249

(Memories of Joyaunce ! nipt in budding

334. Memorias offendidas que hum so dia 247

(Offended Memories ! that no single day).

218. Mi Gusto e tu Beldad se desposaron 170

(My Gust thy Beauty made a covert-feme).

In line 9 dueh (dolor) appears better than stielo
(soil), and in line II nido (nest) is an error for
nifio (child). As Jealousy would have two
mothers, Prof. Storck alters one (lines 9, II, and

12) to father. I understand the Grandsire (line

13) to be Love, and the Sire to be Gust or
Fancy, but the whole is enigmatical.

122. Mil vezes determino nad ' vosver 106

(I swear a thousand times to unsee your



217. Mil vezes entre sueiios tufigura 169

(Amid a thousand dreams thy portraiture).

352. Mil vezes se move meu pensameuto 259

(For times a thousand mine Intent was

I have supplied line 9 in crochets. Prof. Storck

As rosas qu' entre neve semeaes :
(Der Stirne Schnee, die Rosenglut der Wangen).
This would make the formula ccd + cdd.

107. Moradoras gentis, e delicadas 96

(Delicate gentle Mays ! who rone where

57. Mudadse os tempos, mudaose as wntades 62

(Times change, change morta. loves and


141. Na desesperacao ja repousava 118

(In desperation 'gan repose espy).

5 6. Nayades, vbs que os rios habitays 62

(Naiads ! ye ladyes who in rivers wone).

147. Na margem de hum ribeyro, que fendia 122

(On bank of brooklet, cleaving with its tide).

70. Ne metade do Ceo subido ardia 71

(Flamed on the midway firmamental hill).

The Commentators quote these onomatopoetics :

Et cuculi cuculant, et rauca cicada fritinnit,
Eombilat ore ferens munera mellis apis.

117. Nad ha louvor que arribe & menor parte 102

(There be no praises reach the minim part).



37. New passes, Canitnhante. Quern me chama 1 49
(Pass me pot, Passer-by ! — " Who names

my name ? ").
This Sonnet may be addressed to Camoens' fellow-
student, D. Goncalo da Silveira, the Jesuit who
was martyred by D. Sebastiam, Emperor of
Monomotapa, on the fourth Sunday in Lent,
a.d. 1561.

118. Nddvds ao Monte, Nisi, com teu gado 103

(Lead not thy lambkins, Nise, to yon crest).

282. Na ribeira do Euphrates assentado 212

(I sat me lonesome on Euphrates-shore).
Jur. without any reason holds this piece to be
autobiographic, written at Basrah (1560?).

250. Nas Ct'dades, nos bosques, nasflorestas 191

(In bosque and forest, in the mart and

210. Nem treitendo estrepito da guerra 164

(Not the tremendous clash and clang of

214. No basfava que Amor puro, y ardiente 167

(Was't not enough that Love, who purely

100. No Mundo poucos annos, e cansados 91

(Few weary Winters in this worldly Pale).

Many Commentators have referred this Sonnet to
Camoens himself, as if moderns, like Moses,
could describe their own death and burial. As
absurdly others, reproved by F. y S., make it
allude to Ruy Dias, who was hanged at Goa.
Others again refer it to J. Lopes Leitam, who was
drowned. Braga, however (Hist. II. 569), found
it inscribed to "Pero Moniz, who was drowned
in the Sea of Monte Felix, for epitaph" (Storck,
p. 387). The realism is from Ovid (Trist. I. 2),

Et non sequoreis piscibus esse cibum.
" Food for fishes " may not be poetical, but it is


SONNET , page

89. No Mundo quis tempo que se achasse 84

(Time hath so willed in the World we find).

126. No regafo da May Amor estava 108

(Lapt by his Mother little Love was lying).

204. Nos brafos de hum Silvano adormecendo .... 160
(Bound to a Sylvan's breast a-slumbering

7. No tempo que de Amor viver so'ia 29

(When love, love only, was my daily diet).

109. Novos casos de Amor, novos enganos 97

(New change and chance of Love, new snare
and sleight).

The last line is proverbial, nam ha melhor ci-
rurgiam que bem acutilado: so our "he laughs
at wounds," &c, and " the burnt child," &c.

132. Nunca em Amor damnou atrevimento 112

(Love ne'er condemned hearts that boldly

294. Nhum tad alto lugar, de tanto prep 220

(Upon so noble height, man's highest

The last line is from Petrarch, I. Canz. xvi. ; Ch' un
being changed to Un. It was a favourite with
ill-starred Com Sebastiam.

20. Num bosque, que das Ninfas se habitava ... 38
(Deep in a woody, Nymph-inhabited dell).

Alludes to the classical belief that the gods walked
the earth at noon, and were crabbed with mortals
who crossed their path (1 Kings xvii. 27) ; Theoc.
I. 15 ; Virgil, Georg. lv. 401 ; Lucan, Fhars.
ill. 417.

13. Num. jardim adornado de verdura 33

(Into a garden verdure-deckt and dight).

Lyricks 2 L




344. O capitao Romano esclarecido 2 S4

(The Roman Capitayne so famed of yore).

172. O Ceo, a terra, o vento sossegado *4°

(The Heavens and Earth all husht; no
gusts to moan).

224. O cesse ya, Seizor, tu dura viano I 174

(Lighten at length, Lord Love, that heavy
hand !).

216. claras aguas deste blando rio 168

(Clear-welling waters of this stilly rill).

77. O culto divinal se celebrava 76

(With holy Worship came they to adore).
See note on Canzon vn.

43. O Cisne quando sente ser chegada 53

(The Swan, who feeleth that enfated hour).

The last line is quoted from Boscam, who took it
from Petrarch.

339. O dia, hora em que naci moura e pereca 250

(Die an eternal Death my natal Day).

320. dia, hora ou ultimo momento 238

(The day, the hour, the moment of that

Prof. Storck (p. 336) has not improved the second
quartette by his transpositions.

137. O filho de Latona esclarecido 116

(Latona's son, by clearest light belit).

In this ode occurs the Rime riche " rispeito " ; the
first meaning respect and the second regard
(reference to). F. y S. considers its use a "venial
defect," which injures a fine Sonnet. He is pro-
bably right in judging that the object of writing
it was the remate or concetto at the conclusion.



39. O fogo que na branda cera ardia 50

(The Fire, who burning made soft wax a

351. O gloriosa Cruz, O victorioso 258

(O glorious Cross ! O Cross for aye
victorious !).

The second quartette is quite exceptional. I have
followed my leader, though possibly the text is
corrupted. Some attribute the Sonnet to Fran-
cisco Galvam.

243. Oh J Arma, unicamente sS triunfante 186

(Oh one and only Arm, victorious Vaunt).

48. Oh! como se me alonga de anno em anno ... 56
(Ah me ! how longsome lengthens year by

322. Oh for tuna cruel! oh dura sorte ! 239

(Ay, cruel Fortune ! Ay, dure lot of woe !).

234. Oh quanto melhor he o supremo dia 180

(O how far better man's supremest Day).

97. Oh quam caro me custa intenderte 89

(Ah me ! how dearly costeth it to trow

221. Oh rigurosa ausencia desejada 172

(O rigorous Absence I so longed to see).

Prof. Storck changes iemida (feared, line 3) to
querida (loved), and esperanto, (line 6) to
aspereza: I have followed these, but not the
other emendations. The " both " (line 7) refers
to Absence and Regrets.

152. Qlhos, aonde o Ceo com luz maes pura 126

(Eyes ! wherein heavenly radiance purest

300. Olhos formosos em quern quiz natura 224

(Beautiful Eyes ! which potent Nature bade).
2 l 2



208. Ondadosfios de ouro, onde enlazado ..:..'. — 163
(Ye rippling golden Threads ! whose tangled

84. Ondadosfios de ouro reluzente ..'..' 80

(Ye wavy wirelets shining golden sheen).

341. Ondas que por el mundo caminando 252

(Waves that encircle all the globe, with

181. Onde acharey lugar tab" apartado 145

(Where shall I ever find so far a spot).

202. Onde mereci eu tal pensamento 159

(Whence did I merit by such Thought be

no. Onde porey mens olhos que nao veja 98

(Where shall I bend these eyne that be un-

99. O rayo cristalino se estendia 90

(Dispread its sheeny rays in chrystalline

166. Orfeo enamorado que tafiia 135

(The lover Orpheus struck so sweet a quill).

Prof. Storck, by changing la into le intemecia (line
4), makes Orpheus soften Orcus, not Eurydice.
This appears somewhat over-ieci.

189. Ornou sublime esforco ao grande Atlante ... 150
(Bedeckt great Atlas meed of Might

179. Os vieus alegres,venturosos dias 144

(My tale of happy, fortune-favoured Days).

F. y S. notes that the fourth line contains only four
words to express the ephemeral course of life.
Line 3 has five pauses in eleven syllables to
denote the slow lapse of time, and the whole
quarlette is highly pathetic.



186. Os olhos o/ide Casio Amor ardia 148

(Those eyne where showed chaste Love his
ardent glow).

The rhyme-word ardia is repeated (lines 1 and 4) :
the second being probably for abria. Prof.
Storck brings a charge of robbery against F. y
S. ; and shows a general dislike to the pragmatic
old egotist.

2 1. Os Heinos, e os Imperios poderosos 38

(Royaumes and Empires highest in might
and main).

The Laras are the Seven Lords (Infantes de Lara)
of Spanish ballads and of the historic Septem
Infantium de Lara).

96. Os vestidos Elisa reiolvia 88

(Oft-times Elisa the dear weed survey'd).
I have noticed "Elisa" (El-Issa) and "Dido"
(David) in my Book of the Sword (p. 181).
F. y S. rates his Poet for maligning Dido after
Virgil, who is also soundly starewed at by Saint
Augustine. See Justin (Un. Hist. XVIII. cap.
4-6) for the view of the famous widow generally
taken by the Spaniards.

296. O tempo acaba, anno, o mez, e a hora 222

(Time endeth every time, year, month, and

312. O tempo esta vingado a custa mia 232

(Time is avenged (costing me so dear).

197. Para se namorar do que criou 156

(To love the Made, with loving infinite).

A variant of this Sonnet was published by Manoel
' de Campos, Lisbon, 1538. It begins : —
Oh quanta aprouve, Oh quanto contento
Maria, unlca Phenix, Virgem pura, etc.
.-It was printed in Didot's Paris Edit, of 1815, ,
.. Vol. V. p. 258.



1 1. Passo por meus trabalhos tam isentq , 32

(I through my travails pass so fancy-free).

3 1. Pede desejo, Dama, que vos veja 45

(Desire, my Ladye ! all to see requireth).

93. Pensamenios, que agora novamente 86

(Fanciful Thoughts ! that now with new

323. Perder-me assi em vosso esquecimento 240

(Thus from your Thought to lose me nills

I have translated the last tercet after Prof. Storck's
emendations (p. 429).

67. Poys meus olhos nao cansaS de chorar 69

(Since never tire mine eyes to weep alway).

191. Poys torna por seu Rey, e juntamente 152

(Then for his Roy to rule, and service do).

139. Por cima destas aguas forte, e firme 117

(Wi' firm and forceful heart ferforth I'll hie).

162. Por gloria tuve un tiempo el ser perdido 132

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Online LibraryLuís de CamõesThe lyricks [of] Camoens; sonnets, canzons, odes and sextines. Englished by Richard F. Burton → online text (page 23 of 25)