Filipa Araújo

Luís de Camões e Paolo Giovio: um diálogo (malandro) sobre “altas empresas”

Introduction

Luís de camões e paolo giovio: um diálogo (malandro) sobre “altas empresas”. Explore Camões' satirical Zombaria through Giovio's emblem theory. This article uncovers 16th-century text-image relations and visual language in Portuguese literature.

Abstract

Focusing on a less explored aspect of Camões’ work, this article discusses the emblematic dimension of a satirical text published in the second edition of Rimas (1598). The Zombaria que fez sobre algũs homẽs a que não sabia mal o vinho was allegedly composed in Goa to ridicule the nobles participating in a game of reeds organized to celebrate the Governor Francisco Barreto (c. 1556). With sharp humor, the Poet describes the mottos and letters that would appear on the flags, parodying the traditional model of this type of logoiconic compositions. Based on the connections between this medieval practice and the wide circulation of books of emblems and emprese in 16th century Portugal, we propose, in this context, an analysis of the mentioned text in light of the normative principles defined by Paolo Giovio, in Dialogo delle imprese eroiche ed amorose (1551), aiming to reframe the use of visual and symbolic language within the scope of the dense relations between text and image in Camões.

Review

This article presents a fascinating and timely exploration into a relatively underexplored facet of Luís de Camões' oeuvre, specifically focusing on the emblematic dimensions of his satirical poem, *Zombaria que fez sobre algũs homẽs a que não sabia mal o vinho*. The authors skillfully draw attention to the socio-cultural context of the poem's alleged composition in Goa, framing it within the historical setting of a game of reeds organized for Governor Francisco Barreto. By positioning this witty satire as a sophisticated parody of traditional logoiconic compositions, the article immediately establishes its relevance to both Camões studies and broader discussions of Renaissance visual and symbolic culture. A key strength of this work lies in its innovative methodological approach, which interweaves literary analysis with the burgeoning field of emblem studies. The proposed analysis, grounded in Paolo Giovio's normative principles from his *Dialogo delle imprese eroiche ed amorose*, offers a compelling framework for reinterpreting Camões' use of visual and symbolic language. The concept of a "dialogue (malandro)" from the title perfectly encapsulates the sophisticated subversion at play, promising a nuanced examination of how Camões utilizes sharp humor and parody to engage with and critique established forms like *emprese*. This connection between medieval practices and 16th-century emblem books provides a robust intellectual scaffold for understanding the dense relations between text and image in Camões' lesser-known works. Overall, this article promises to make a significant contribution to our understanding of Camões as a poet deeply engaged with the visual semiotics of his era, extending beyond his epic and lyrical poetry. By meticulously dissecting the *Zombaria* through the lens of Giovio, the authors not only shed new light on a specific satirical text but also offer valuable insights into the broader cultural landscape of Portuguese Renaissance literature and its interaction with iconographic traditions. This reframing of Camões' playful yet profound engagement with symbolic language is highly original and will undoubtedly stimulate further discussion on the multi-faceted nature of his genius, challenging conventional readings and enriching the academic discourse.

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