In the history of Portuguese poetry, the seventeenth century may be called _the Age of Sonnets_. Lyric art in the old national syllabic metres was entirely abandoned in serious poetry. The composition of sonnets formed the particular recommendation of the man of the world in the circle of polite society; and both in spiritual and temporal affairs, sonnets were resorted to as the means of extricating their authors from difficulty. It would almost appear that at this period poetic merit in Portugal was estimated solely by the inexhaustible facility which an author displayed in the composition of these trifles. To acquire the title of a poet certainly nothing more was necessary than to write a few sonnets not absolutely contemptible. Thus, in the year 1631, when the number of printed Portuguese sonnets was increasing by thousands, Jacinto Cordeiro,[262] a minute calculator of the poetic fame of his nation, added a supplement of thirty-eight names of Portuguese bards to the list of Spanish and Portuguese poets, which Lope de Vega had furnished in his celebrated _Laurel de Apolo_.[263] Doubtless this erroneous estimate of the poetic glory of the nation contributed to check the growth of talent which might have taken a loftier flight, had not a few neatly turned sonnets been sufficient in public opinion, to confer on any individual all the fame of a poet. The limits of a general history of modern poetry are too narrow to afford room for a detailed notice of these sonneteers; a particular account can, therefore, only be given of a few of the most celebrated among them, who were also the authors of other poetical works, or who in any way assisted in improving or deteriorating the literary taste of their country.[264] FARIA E SOUSA.