that he either could not or would not sin. Such a nature might have been more excellent; but to expostulate with God as if he had been bound to confer this nature on man, is more than unjust, seeing he had full right to determine how much or how little he would give. Why he did not sustain him by the virtue of perseverance is hidden in his counsel; it is ours to keep within the bounds of soberness. Man had received the power, if he had the will, but he had not the will which would have given the power; for this will would have been followed by perseverance. Still, after he had received so much, there is no excuse for his having spontaneously brought death upon himself. No necessity was laid upon God to give him more than that intermediate and even transient will, that out of man's fall he might extract materials for his own glory. LUIZ VAZ DE CAMOENS (1524?-1580) BY HENRY R. LANG Portuguese literature is usually divided into six periods, which correspond, in the main, to the successive literary movements of the other Romance nations which it followed. _First Period_ (1200-1385), Provençal and French influences. Soon after the founding of the Portuguese State by Henry of Burgundy and his knights in the beginning of the twelfth century, the nobles of Portugal and Galicia, which regions form a unit in race and speech, began to imitate in their native idiom the art of the Provençal troubadours who visited the courts of Leon and Castile. This courtly lyric poetry in the Gallego-Portuguese dialect, which was also cultivated in the rest of the peninsula excepting the East, reached its height under Alphonso X. of Castile (1252-84), himself a noted poet and patron of this art, and under King Dionysius of Portugal (1279-1325), the most gifted of all these troubadours. The collections (_cancioneiros_) of the works of this school preserved to us contain the names of one hundred and sixty-three poets and some two thousand compositions (inclusive of the four hundred and one spiritual songs of Alphonso X.). Of this body of verse, two-thirds affect the artificial style of Provençal lyrics, while one-third is derived from the indigenous popular poetry. This latter part contains the so-called _cantigas de amigo_, songs of charming simplicity of form and naïveté of spirit in which a woman addresses her lover either in a monologue or in a dialogue. It is this native poetry, still echoed in the modern folk-song of Galicia and Portugal, that imparted to the Gallego-Portuguese lyric school the decidedly original coloring and vigorous growth which assign it an independent position in the mediæval literature of the Romance nations.