401, with its plaining refrain: E van-se as frores d’aqui ben con meus amores, idas son as frores d’aqui ben con meus amores, --one can imagine it sung as a chanty[56]--and C. V. 429, in which she prays Santiago to bring him safely home: ‘Now in this hour Over the sea He is coming to me, Love is in flower.’ Beauty of expression and a loyal sincerity are conspicuous in his poems, as well as a certain individuality and vigour. He escaped the perils of the sea, the _mui gran coita do mar_ (C. A. 251), but to fall by the hand of an assassin on shore. His sea lyrics are only excelled by the enchanting melody of the poem (C. V. 488) of his contemporary and fellow-countryman ROY FERNANDEZ (second half 13th c.), who was apparently a professor at Salamanca University, Canon of Santiago, and Chaplain to Alfonso the Learned. Of the later poets ESTEVAM COELHO, perhaps father of one of the assassins of Inés (†1355), wrote a _cossante_ of haunting beauty (C. V. 321): Sedia la fremosa, seu sirgo torcendo, Sa voz manselinha fremoso dizendo Cantigas d’amigo, and D. AFONSO SANCHEZ (_c._ 1285-1329) in C. V. 368 (_Dizia la fremosinha--Ay Deus val_) proved that he had inherited part of his father King Dinis’ genius and instinct for popular poetry. King Dinis, having thrown wide his palace doors to these thyme-scented lyrics, would turn again to the now musty chamber of Provençal song (C. V. 123): Quer’eu en maneira de provençal Fazer agora un cantar d’amor. The _cossantes_ had become so familiar that Airas Nunez, of Santiago, could string them together, as it were, by the head, without troubling himself to give more than the first lines, precisely as Gil Vicente treated _romances_ three centuries later. The reader or listener would easily complete them. His _pastorela_ (C. V. 454) would be an ordinary imitation of a _pastourelle_ of the _trouvères_[57] were it not for the five _cossante_ fragments inserted. Riding along a stream he hears a solitary shepherdess singing and stays to listen. First she sang _Solo ramo verde frolido_,[58] then--as if to prove that she is a shepherdess of Arcady, not of real life-- Ay, estorniño do avelanedo, Cantades vos e moir’eu e peno, D’amores ei mal, an impassioned cry of the heart only comparable with Thine earth now springs, mine fadeth: Thy thorn without, my thorn my heart invadeth; or that wonderful line of a wonderful poem: Illa cantat, nos tacemus: quando ver venit meum?[59] Next she sang the first lines of a _cossante_ by Nuno Fernandez Torneol (C. V. 245) with its dance refrain _E pousarei solo avelanal_. The refrain is identical in C. V. 245 and C. V. 454, but the distich has variations which seem to imply that Airas Nunez was not quoting Fernandez, rather that both drew from a popular source. The fourth _cossante_ we also have complete, a lovely _barcarola_ by Joan Zorro (C. V. 757):