In his study of Casimiro de Abreu Verissimo has some illuminating things to say of love and wistful longing (_amor e saudade_) in connection with the poet’s patriotism in especial and with love of country in general. “It is under the influence of nostalgia and love, for both in him are really an ailment--that he begins to sing of Brazil. But the Brazil that he sings in such deeply felt verses, the Patria that he weeps … is the land in which were left the things he loves and chiefly that unknown girl to whom he dedicated his book. The longing for his country, together with the charms that this yearning increased or created, is what made him a patriot, if, with this restriction may be applied to him an epithet that from my pen is not a token of praise. His nostalgia is above all the work of love,--not only the beloved woman, but all that this loving nature loved,--the native soil, the paternal house, country life.… Without these two feelings, love and longing, the love of country is anti-esthetic. If _Os Lusiadas_, with the intense patriotism that overflows it, is the great poem it is, it owes this greatness to them alone. It is love and longing, the anxious nostalgia of the absent poet and the deep grief of a high passion that impart to it its most pathetic accents, its most lyric notes, its most human emotions, such as the speeches of Venus and Jupiter, the sublime episode of D. Ignes de Castro, that of Adamastor, the Isle of Love.…”[13] In Fagundes Varella (1841-1875) we have a disputed figure of the Romantic period. Verissimo denies him originality except in the _Cantico de Calvario_, “where paternal love found the most eloquent, most moving, most potent representation that we have ever read in any language,” while Carvalho, championing his cause, yet discovers in him a mixture of Alvares de Azevedo’s Byronic satanism, Gonçalves Dias’s Indianism and the _condoreirismo_ of Castro Alves and Tobias Barreto. He is a lyrist of popular inspiration and appeal, and “one of our best descriptive poets.…” “Varella, then, together with Machado de Assis and Luis Guimarães Junior, is a transitional figure between Romanticism and Parnassianism.”