Pela ribeira do rio (alto) Cantando ia la dona virgo (d’algo) D’amor: Venhan as barcas pelo rio A sabor.[60] Lastly she (or he), as he rides on his way, sings: Quen amores ha Como dormira, Ai bela fror! i.e. _este cantar_ which is familiar in the _villancico_ (_Por una gentil floresta_) by the Marqués de Santillana (1398-1458): La niña que amores ha ¿Sola cómo dormirá? Very few, if any, of the _cossantes_ were anonymous, which only means that modern folk-lore was unknown; it was not the fashion to collect songs from the lips of the people without ulterior purpose. A variety known as _cantiga de vilãos_ existed, but it was deliberately composed by the _trobadores_ and _jograes_.[61] A specimen is given in C. V. 1043: Ó pee d’hũa torre Baila corpo piolo,[62] Vedes o cós, ay cavaleiro. No drawing-room lyric, evidently: more likely to be sung in taverns; composed perhaps by a knight like him of C. V. 965, whose songs were not _fremosos e rimados_. Like the Provençal poet Guilherme Figueira who _mout se fetz grazir ... als ostes et als taverniers_, this knight’s songs pleased ‘tailors, furriers and millers’; they had not the good taste of the tailor’s wife in Gil Vicente who sings the beautiful _cantiga_ Donde vindes filha Branca e colorida? The _cantiga de vilãos_ was no such simple popular lyric, but rather a drinkers’ song, picaresquely allusive, sung by a _jogral_ who _non fo hom que saubes caber entre ‘ls baros ni entre la bona gen_ but sang _vilmen et en gens bassas, entre gens bassas per pauc d’aver_ (Riquier), _cantares de que la gente baja e de servil condicion se alegra_ (Santillana). The _cossante_, on the contrary, came straight from field and hill into palace and song-book. Probably many of them were composed, as they were sung, and sung dancing, by the women. The women of Galicia have always been noted for their poetical and musical talent. We read of the _choreas psallentium mulierum_, like Miriam, the sister of Moses, at Santiago in 1116,[63] and there is a cloud of similar witnesses. But whether any of the _cossantes_ that we have in the _Cancioneiros_ is strictly of the people or not, their traditional indigenous character is no longer doubtful. It would surely be a most astounding fact had the Galician-Portuguese Court poets, who in their _cantigas de amor_ reduced Provençal poetry to a colourless insipidity, succeeded so much better with the _cossantes_ that, while the originals from which they copied have vanished, the imitations stand out in the Portuguese _Cancioneiros_ like crimson poppies among corn. It is remarkable, too, that of the three kinds of poem in the old _Cancioneiros_, satire, love song, and _cossante_, the first two remain in the _Cancioneiro de Resende_ (1516), but the third has totally disappeared. The explanation is that as Court and people drew apart and the literary influence of Castille grew, the