poetic, flowing smoothing along the current of a realism tempered by sentimentalism, _Innocencia_ (by no means devoid of poetry) is romantic, melodramatic, rushing along turbulently to the outcome in a death as violent as Maria's is peaceful. There is in each book a similar importance of the background. In _Innocencia_ the "point of honor" is quite as strong and vindictive as in any play of the Spanish Golden Age. _Maria_ shares with _Innocencia_ relieving touches of humor and excellent pages of character description. Taunay's _O Encilhamento_ is a violent antithesis to the work just considered. Here the politician speaks. In passages of satire that becomes so acrimonious at times as to indicate real personages, the wave of speculation that swept Argentina and Brazil is analyzed and held up to scorn. The novel is really a piece of historical muck-raking and was long an object of resentment in the republic. Everything from Taunay's pen reveals a close communion with nature, an intimate understanding of the psychology of the vast region's inhabitants. His shorter tales, which I hope later to present to the English-reading public, reveal these powers at their best. Now it is a soldier who goes to war, only, like a military Enoch Arden, to return and find his sweetheart in another's arms; now it is a clergyman, "the vicar of sorrows," who, in the luxuriant environment of his charge suffers the tortures of carnal temptations, with the spirit at last triumphant over the flesh. Whatever of artifice there is in these tales is overcome, one of his most sympathetic critics tells us, by the poetic sincerity of the whole. Taunay, too, has been likened to Pierre Loti for his exotic flavor. In _Yerece a Guana_ we have a miniature _Innocencia_. Yerece and Alberto Monteiro fall in love and marry. The latter has been cured, at the home of Yerece, of swamp fever. The inevitable, however, occurs, and Montero hears the call of civilization. The marriage, according to the custom of the tribe into which Montero has wed, is dissolved by the man alone. He returns to his old life and she dies of grief. A work that may stand beside _Innocencia_ and Verissimo's _Scenes from Amazon Life_ as a successful national product is Inglez de Sousa's _O Missionario_. Antonio de Moraes, in this story, is not so strong in will as Taunay's vicar of sorrows. Antonio is a missionary "with the vocation of a martyr and the soul of an apostle," on duty in the tropics. The voluptuous magnetism of the Amazon seizes his body. Slowly, agonizingly, but surely he succumbs to the enchantment, overpowered by the life around him. Since Machado de Assis (who should precede Azevedo) and Coelho Netto (who should follow him, if strict chronological order were being observed) are both referred to in section three, which deals particularly with the authors represented in this sample assortment of short tales, they are here omitted.