The later Portuguese dramatic literature seems also to have passed through phases corresponding to those of the Spanish, though with special features of its own. In the 18th century Alcino Mycenio (1728-1770), known as Domingos dos Reis Quito in everyday life, in which his avocation was that of Allan Ramsay, was remarkably successful with a series of plays,[76] including of course an _Inez de Castro_, which in a subsequent adaptation by J. B. Gomes long held the national stage. Another dramatist, of both merit and higher aspirations, was Lycidas Cynthio (_alias_ Manoel de Figueiredo, 1725-1801).[77] But the romantic movement was very late in coming to Portugal. Curiously enough, one of its chief representatives, the viscount da Almeida Garrett, exhibited his sympathy with French, revolutionary and anti-English ideas by a tragedy on the subject of Cato;[78] but his later works were mainly on national subjects.[79] The expansive tendencies of later Portuguese dramatic literature are illustrated by the translations of A. F. de Castilho, who even ventured upon Goethe's _Faust_ (1872). Among 19th-century dramatists are to be noted Pereira da Cunha, R. Cordeiro, E. Biester, L. Palmeirin, and Garrett's disciple F. G. de Amorim, by whom both political and social themes have been freely treated. The reaction against romanticism observable in Portuguese poetic literature can hardly fail to affect (or perhaps has already affected) the growth of the national drama; for the receptive qualities of both are not less striking than the productive. (e) _France._ The French regular drama. France was the only country, besides Italy, in which classical tragedy was naturalized. In 1531 the Benedictine Barthélemy of Loches printed a _Christus Xylonicus_; and a very notable impulse was given both to the translation and to the imitation of ancient models by a series of efforts made in the university of Paris and other French places of learning. The most successful of these attempts was the _Johannes Baptistes_ of George Buchanan, who taught in Paris for five years and at a rather later date resided at Bordeaux, where in 1540 he composed this celebrated tragedy (afterwards translated into four or five modern languages), in which it is now ascertained that he had in view the trial and condemnation of Sir Thomas More. He also wrote _Jephthah_, and translated into Latin the _Medea_ and _Alcestis_ of Euripides. At a rather later date the great scholar M. A. Muret (Muretus) produced his _Julius Caesar_, a work perhaps superior in correctness to Buchanan's tragic masterpiece, but inferior to it in likeness to life. About the same time the enthusiasm of the Paris classicists showed itself in several translations of Sophoclean and Euripidean tragedies into French verse.[80] Jodelle.