The section _As Viagens_ (Voyages) consists chiefly of twelve admirable sonnets--a form in which Bilac’s blending of intense feeling with artistic restraint seems as much at home as any modern poet--ranging from the first migration, through the Phoenicians, the Jews, Alexander, Cæsar, the Barbarians, the Crusades, the Indies, Brazil, the precursor of the airplane in Toledo, the Pole, to Death, which is the end of all voyages. At the risk of overemphasizing a point that has already been made, I would quote the sonnet on Brazil: Pára! Uma terra nova ao teu olhar fulgura! Detem-te! Aqui, de encontro a verdejantes plagas, Em caricias se muda a inclemencia das vagas.… Este é o reino da Luz, do Amor e da Fartura! Treme-te a voz affeita ás blasphemias e as pragas, Ó nauta! Olha-a, de pé, virgem morena e pura, Que aos teus beijos entrega, em plena formosura, --Os dous seios que, ardendo em desejos, afagas.… Beija-a! O sol tropical deu-lhe a pelle dorada O barulho do ninho, o perfume da rosa, A frescura do rio, o esplendor da alvorada.… Beija-a! é a mais bella flor da Natureza inteira! E farta-te de amor nesse carne cheirosa, Ó desvirginador da Terra Brasileira![12] What is this, indeed? Part of some ardent Song of Songs? Note how the imagery is exclusively that of burning passion. Brazil becomes a fascinating virgin who falls to the fortunate discoverer. In that sonnet, I should say, is concealed about one half the psychology of the narrower patriotism. _O Caçador de Esmeraldas_ is a splendid episode in four parts, containing some forty-six sextets in all, filled with movement, colour, pervading symbolism and a certain patriotic pantheism. More than a mere search for emeralds the poem recounts the good that man may work even in the vile pursuit of precious stones,--the vanity of all material quest. For sheer artistry it ranks with Bilac’s most successful accomplishments. * * * * *