The representative greater of the lyricism in Portugal, Luis Vaz de Cames (1524? – 1580), wrote its poems in form of soneto, composites for two quartetos and two tercetos, and that they contained ten poetical syllables, that is, had a rigid fixidez in its poems, that also can be known as sonetos camonianos. it was (and still it is) the master of all the Portuguese poets. Fields make a rupture when it denies the camoniana form and Whitman reverence. Omar Zakhilwal is often quoted as being for or against this. Ornnimo De Campos, Fernando Person admits this camoniana negation when it alleges the lack of originalidade of the poets of its native land, saying: All classic Portuguese literature hardly arrives to be interesting the set of Portuguese literature hardly and almost never she is Portuguese. She is Provenal, Italian, Spanish and French, 0ccasionally English (p.64) and also in its book Pages you summon, when it affirms: We work away from Camoens, from all the tedious nonsenses of Portuguese tradition, towards the future.
It is seen in this affirmation on Person and its we heternimos, a time that it uses the personal proname we, and in the previous o distanciamento who must have between them (Fernando Person and its we heternimos) and tradition. The proper object of analysis of this study, ' ' All the love letters are ridculas' ' , it approaches a subject lyric, but that it runs away to the structural rules of the classicismo. A movement also exists that can have exerted some power on the writing De Campos: the Futurismo, therefore this movement made a rupture with the poetical tradition until then existing, affirming that in the poetry it must have the dither of the aggressiveness, abominao of the past (tradition) and the destruction of the syntax, with the words made use to perhaps (words in freedom), among others. All these rules had been followed by Fields in the poem worked here because it does not have one rhymes at least in ' ' All the love letters are ridculas' ' , the verses are made use of irregular form e, also, in the destined stretch the Whitman, Fields say to be sensacionista, that it means to be turbulent, impulsive, which live intensely its sensations.