Abstract
With the publication of Libertinagem in 1930, Manuel Bandeira entered upon his most significant phase as an experimental poet. Most of the poems in this collection were written between 1924 and 1930, a period in which Brazilian Modernismo began to triumph with its startling innovations in every sphere of cultural activity.1 Following upon the verses of Carnaval and Ritmo Dissoluto, Libertinagem was soon recognized as the most eloquent manifesto of Brazil's new poetry, characterized by its sense of absolute freedom from established canons of versification, by the bold independence of its themes and its uninhibited techniques.
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