Editing Luís de Camões (section)

===Context===
Camões lived in the final phase of the European [[Renaissance]], a period marked by many changes in culture and society, which mark the end of the [[Middle Ages]] and the beginning of the [[Early modern period|Modern Age]] and the transition from [[feudalism]] to [[capitalism]]. It was called "renaissance" due to the rediscovery and revaluation of the cultural references of [[Classical Antiquity]], which guided the changes of this period towards a [[humanist]] and [[naturalist]] ideal that affirmed the dignity of man, placing him at the center of the universe, making him the researcher par excellence of nature, and promoting reason and science as arbitrators of manifest life.<ref>{{cite web |title=Renascimento |url=http://enciclopedia.itaucultural.org.br/ |publisher=Enciclopédia Itaú}}</ref><ref name="Renaissance">{{cite web |title=Renaissance |url=https://www.britannica.com/event/Renaissance |publisher=[[Encyclopædia Britannica]] |access-date=24 February 2021}}</ref><ref>{{cite web |title=History of Europe |url=https://www.britannica.com/topic/history-of-Europe#toc=toc58315 |publisher=[[Encyclopædia Britannica]] |access-date=24 February 2021 |language=en}}</ref> During this period, several scientific instruments were invented and several natural laws and physical entities previously unknown were discovered; the knowledge of the face of the planet itself changed after the discoveries of the [[Age of Discovery|great navigations]]. The spirit of intellectual speculation and scientific research was on the rise, causing Physics, Mathematics, Medicine, Astronomy, Philosophy, Engineering, Philology and several other branches of knowledge to reach a level of complexity, efficiency and accuracy unprecedented, which led to an optimistic conception of human history as a continuous expansion and always for the better.<ref name="Renaissance" /><ref>{{cite web |last1=Weisinger |first1=Herbert |title=Renaissance Literature and Historiography |url=https://etext.lib.virginia.edu/cgi-local/DHI/dhiana.cgi?id=dv4-21 |publisher=Dictionary of the History of Ideas |access-date=2021-02-24 |archive-date=2011-06-28 |archive-url=https://web.archive.org/web/20110628232830/http://etext.lib.virginia.edu/cgi-local/DHI/dhiana.cgi?id=dv4-21 |url-status=dead }}</ref> In a way, the Renaissance was an original and eclectic attempt to harmonize pagan Neoplatonism with the Christian religion, eros with charitas, together with oriental, Jewish and Arab influences, and where the study of magic, astrology and the occult was not absent.<ref>{{cite book |last1=Nunes |first1=Benedito |title=Franco, Afonso Arinos de Melo et alii. O Renascimento: Diretrizes da Filosofia no Renascimento |date=1978 |publisher=Agir / MNBA |pages=64–77}}</ref> It was also the time when strong national states began to be created, commerce and cities expanded and the bourgeoisie became a force of great social and economic importance, contrasting with the relative decline in the influence of religion in world affairs.<ref>{{cite book |last1=Minchillo |title=Sonetos de Camões |year=1998 |publisher=Atelie Editorial |isbn=978-85-85851-62-0 |pages=12–13 |url=https://books.google.com/books?id=EqsX-ImEtXgC&q=cam%C3%B5es |language=pt-BR}}</ref>

In the 16th century, the time in which Camões lived, the influence of the Italian Renaissance expanded throughout Europe. However, several of its most typical features were declining, in particular because of a series of political disputes and wars that altered the European political map, with Italy losing its place as a power, and the split of Catholicism, with the emergence of the [[Protestant Reformation]]. In the Catholic reaction, [[Counter-Reformation]] was launched, the [[Inquisition]] was reactivated and ecclesiastical censorship was rekindled. At the same time, [[Machiavelli]]'s doctrines became widespread, dissociating ethics from the practice of power. The result was the reaffirmation of the power of religion over the profane world and the formation of an agitated spiritual, political, social and intellectual atmosphere, with strong doses of pessimism, reverberating unfavorably on the former freedom that artists enjoyed. Despite this, the intellectual and artistic acquisitions of the High Renaissance that were still fresh and shining before the eyes could not be forgotten immediately, even if their philosophical substrate could no longer remain valid in the face of new political, religious and social facts. The new art that was made, although inspired by the source of classicism, translated it into restless, anxious, distorted, ambivalent forms, attached to intellectualist preciosities, characteristics that reflected the dilemmas of the century and define the general style of this phase as [[mannerist]].<ref>{{cite book |last1=Hauser |first1=Arnold |title=História Social da Literatura e da Arte, Vol. I. Mestre Jou |date=1972–1982 |pages=357–384}}</ref><ref name="Lino">{{cite web |last1=Machado |first1=Lino |title=Maneirismo em Camões: Uma Linguagem de Crise |url=http://74.125.155.132/scholar?q=cache:y5igEvEZD0YJ:scholar.google.com/+camoes+lusiadas |publisher=Revista Eletrônica de Estudos Literários }}{{Dead link|date=June 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

Since the middle of the 15th century, Portugal had established itself as a great naval and commercial power, its arts were developing and enthusiasm for maritime conquests was boiling. The reign of [[John II of Portugal|D. João II]] was marked by the formation of a feeling of national pride, and in the time of [[Manuel I of Portugal|D. Manuel I]], as Spina & Bechara say, pride had given way to delirium, to the pure euphoria of world domination. At the beginning of the 16th century, [[Garcia de Resende]] lamented that there was no one who could celebrate so many feats worthily, claiming that there was epic material superior to that of the Romans and Trojans. Filling this gap, [[João de Barros]] wrote his cavalry novel, "''A Crónica do Imperador Clarimundo''" (1520), in epic format. Shortly thereafter, [[António Ferreira (poet)|António Ferreira]] appeared, establishing himself as a mentor of the classicist generation and challenging his contemporaries to sing the glories of Portugal in high style. When Camões appeared, the land was prepared for the apotheosis of the homeland, a homeland that had fought hard to conquer its sovereignty, first of the Moors and after Castile, had developed an adventurous spirit that had taken it across the oceans, expanding the known borders of the world and opening new routes of trade and exploration, defeating enemy armies and the hostile forces of nature.<ref>{{cite book |last1=Spina & Bechara |title=Os Lusíadas – Antologia |publisher=Atelie Editorial |isbn=978-85-85851-54-5 |pages=13–14 |url=https://books.google.com/books?id=I_T9Fqq5A7cC&q=%22camoes%22+lusiadas&pg=PA7 |language=pt-BR}}</ref> But at this point, however, the political and cultural crisis was already being announced, materializing shortly after his death, when the country lost its sovereignty to Spain.<ref name="Soares">{{cite book |last1=Soares |first1=Maria Luísa de Castro |title=Profetismo e espiritualidade de Camões a Pascoaes |date=2007 |publisher=Imprensa da Universidade de Coimbra / Coimbra University Press |isbn=978-972-8704-72-8 |pages=129–139 |url=https://books.google.com/books?id=HZpA3_YCiWEC&q=camoes+maneirismo&pg=PA132 |language=pt}}</ref>