clothes in the Mondego and metaphorically toss in a blanket Galindo, the rich D. Tristão’s agent from Lisbon; in the love-lorn student with his Latin, the morose and jealous workman Duarte, proud of his position as _official_, the resolute goldsmith and his languid daughter Polinia, the old servant Andresa and the merry servant girl Vitoria, and, most prominent of all, Philtra the _alcoviteira_, deploring the wickedness and degeneracy of the world and full of wise saws--the play contains many hundreds. Eufrosina herself is first described by the lover--brow of Diana, lips of Venus, limbs of Pallas, clear green eyes[393] of Juno, quietly mirthful; then by his servant Andrade--the fairest thing that ever he thought to see, fan in hand, the sleeves of her dress like a ship at full sail[394]--so that we have an effective impression of her beauty. Besides Coimbra life we obtain glimpses of that of the Court at Lisbon and Almeirim in a letter from the courtier Crisandor, of India in a very real and interesting letter from Silvia’s brother, even of Cotrim’s native village. That the unity was not sacrificed to these many by-scenes says much for the author’s skill. This praise cannot be given to his second play written some ten years after the first, _Ulysippo_ (1547?), for here the reader loses his way among the many courses of true love. There are twenty-one _dramatis personae_, but the principal interest is in the sketch of Constança d’Ornellas, the hypocritical _beata_,[395] or, rather, that is the most original part, since in the play as a whole there is a certain monotony after _Eufrosina_, and many of the proverbs are the same.[396] Excellent as the earlier play in its terse and idiomatic prose,[397] full of interest in the insight it gives into the customs and life of the people, its chief fault is the intricacy, or absence, of plot which makes it difficult reading, and of course it would naturally please less on its first appearance as being no longer a new thing. The author, who knew how the Portuguese prized _novidades_, appears to have been conscious of this, since his third play, _Aulegrafia_, written perhaps in 1555,[398] and first published in 1619, was developed on somewhat different lines. It is concerned, as its name implies, exclusively with the Court, and the people and popular proverbs are in abeyance. In its fifty scenes we are introduced to typical Court ladies, noble _fidalgos_, poor gentlemen and their servants, one of whom considers it _mais fidalgo nam saber ler_. The play is by its author termed ‘a long treatise on Court manners’,[399] and as such it is admirable and full of interest, however negligible it may be as drama. Its style, moreover, even excels in atticism Ferreira’s other works. The most remarkable character is that of the young (_menina e moça_) and very wily aunt of Filomela. She is twice described in detail (f. 46 and f. 153 v.), and we perceive that Philtra of the