[308] The word cannot be translated exactly, but corresponds to the Greek πόθος, Latin _desiderium_, Catalan _anyoranza_, Galician _morriña_, German _Sehnsucht_, Russian тоска (pron. _taská_). It is the ‘passion for which I can find no name’ (Gissing, _The Private Papers of Henry Ryecroft_). [309] Menéndez y Pelayo’s strict division between the ‘subjective’ pt. 1 and pt. 2 as _externa y de aventuras_ is thus somewhat arbitrary. [310] Pt. 1, cap. 9; pt. 2, cap. 25. [311] In pt. 2, cap. 9, this is forgotten: _outras_ [_cousas_] _que não são escritas neste livro_, a slip which throws no light on the authorship. [312] It was characteristic of the hot-house air in which Portuguese literature existed that the first publication of a book often consisted in its circulation (_correr_) in manuscript from courtier to courtier, a special licence being obtained for this apart from the licence to print. Those to whom it appealed made copies. The earliest known edition of _Menina e moça_ is of 1557-8: _Primeira & segũda parte do liuro chamado as Saudades de Bernaldim Ribeiro com todas suas obras. Treladado de seu propria original. Nouamente impresso._ 1557 (Euora. The date of the colophon is January 30, 1558). An introductory note _Aos lectores_ says: _Foram tantos os traduzidores deste liuro & os pareceres em elle tam diuersos que nam he de marauilhar que na primeira impressam desta historia se achassem tantas cousas em contrario de como foram pello auctor delle escriptas ... foy causa de andar este liuro tam vicioso ... conueo tirarse a limpo do propria original_, &c., &c.). The edition of 1554, quoted by Brunet, was probably the first in spite of the words _com summa diligencia emendada_ (i.e. corrections of the manuscript). The phrase _de nouo_ tells more against than in favour of an earlier edition (= rather ‘new’ than ‘anew’). [313] Ribeiro, so far as we know, wrote no line of Spanish. Boscán’s _romance Justa fué mi perdición_ and the _romance Ó Belerma_ have been wrongly ascribed to him. [314] p. 287: ... _so ganz persönlichem Stil, dass sie mit keinem anderen Dichter vor oder nach ihnen, wohl aber untereinander zu verwechseln wären_; and p. 292: Bernardim Ribeiro writes _ganz im Stile des Falcão_. Cf. F. Bouterwek, _History of Spanish and Portuguese Literature_, Eng. tr. 1823, ii. 39: ‘A long eclogue by this writer, which forms an appendix to the works of Ribeyro, so completely partakes of the character of the poems which it accompanies that were it not for the separate title it might be mistaken for the production of Ribeyro himself. It therefore proves that Ribeyro’s poetic fancies, his romantic mysticism not excepted, were by no means individual.’