The Jesuit FREI JOÃO DA FONSECA (1632-1701), in the preface to one of his works, _Sylva Moral e Historica_ (1696), which may have given Bernardes the idea of his _Nova Floresta_, rejects affected periods and new phrases, and there is no false rhetoric in his _Espelho de Penitentes_ (1687), _Satisfaçam de Aggravos_ (1700), which takes the form of dialogues between a hermit and a soldier, and other devotional works. Another Jesuit, ALEXANDRE DE GUSMÃO (1629-1724), although born at Lisbon, spent most (eighty-five years) of his long life in Brazil. He wrote, among other works, _Rosa de Nazareth nas Montanhas de Hebron_ (1715), compiled from various histories of the Company of Jesus, and _Historia do Predestinado Peregrino e seu Irmão Precito_ (1682). The latter is an allegory in six books which lacks the human interest of Bunyan’s _Pilgrim’s Progress_, which it preceded. It describes the journey of two brothers, _Predestinado_ and _Precito_, out of Egypt to Jerusalem (Heaven) and Babylon (Hell). The style is simpler and more direct than might be inferred from the inflated title, and often has an effective if studied eloquence.[577] Vieira dying is reported to have said that the Portuguese language was safe in the keeping of Padre Manuel Bernardes. The aged Jesuit, who maintained his interest in literature to the end, may have received Bernardes’ _Luz e Calor_[578] (1696) in the last year of his life, and the _Exercicios Espirituaes_ (2 vols., 1686) had appeared ten years earlier. Other works, _Sermões e Praticas_ (1711),[579] _Nova Floresta_ (5 vols., 1706-28), _Os Ultimos Fins do Homem_ (1727), _Varios Tratados_ (2 vols., 1737), were soon forthcoming to justify the prophecy. MANUEL BERNARDES (1644-1710), the son of João Antunes and Maria Bernardes, was born at Lisbon, studied law and philosophy at Coimbra University, and at the age of thirty entered the Lisbon Oratory, where he spent thirty-six years. That was all his life, yet through his books this modest, humorous, austere priest has exercised a profound influence not only, as Barbosa Machado declares, in guiding souls to Heaven, but in moulding and protecting the Portuguese language. His style is marked in an equal degree by grace and concision, intensity and restraint, smoothness and vigour.[580] With him the florid cloak, in which many recent writers had wrapped Portuguese, falls away, leaving the pith and kernel of the language; the conceits of the _culteranos_ disappear, and the most striking effects are attained without apparent artifice. In his hands the pinchbeck and tinsel are transmuted into delicate pieces of ivory. The charm of his style is difficult to analyse, but it may be remarked that his vocabulary is inexhaustible, his precision unfailing, that he is not afraid to employ the commonest words, and that the construction of his sentences is of a transparent simplicity, as bare of rhetoric as is the poetry of João de Deus. His reputation as a lord of language