In _oitavas_ he wrote a _Fabula de Polyfemo a Galatea_,[606] and in octosyllabic _redondilhas_ jocular accounts of journeys from Lisbon to Coimbra and from Lisbon into Alentejo (on a very lean mule) which are sometimes amusing. His sonnet _Fallando com Deos_ shows a deeper nature, and the collection contains other religious verse, notably that of Violante Montesino, better known as SOROR VIOLANTE DO CEO (1601-93). Here,[607] as in her _Rythmas varias_ (Rouen, 1646) and _Parnaso Lusitano de divinos e humanos versos_ (2 vols., 1733), this nun, who spent over sixty years in the Dominican Convento da Rosa at Lisbon, and who from an early age was known for her skill upon the harp and in poetry--admiring contemporaries called her the tenth Muse--showed that she could write with simple fervour, as in the Portuguese _deprecações devotas_ of the _Meditações da Missa_ (1689) or her Spanish _villancicos_. But she could also be the most gongorical of writers, her very real native talent being too often spoilt by the taste of the time.[608] BERNARDA FERREIRA DE LACERDA (1595-1644), another _femina incomparabilis_, like Soror Violante and Dercylis considered the tenth Muse and fourth Grace, wrote almost exclusively in Spanish, nor can her _Soledades de Buçaco_ (1634) or her epic _Hespaña Libertada_ (2 pts., 1618, 73) be considered a heavy loss to Portuguese literature. SOROR MARIA MAGDALENA EUPHEMIA DA GLORIA (1672-? _c._ 1760), in the world Leonarda Gil da Gama, in _Brados do Desengano_ (1739), _Orbe Celeste_ (1742), and _Reino de Babylonia_ (1749), rarely descends from the high-flown style indicated in these titles. On the other hand, the Franciscan nun of Lisbon, SOROR MARIA DO CEO (1658-1753), or Maria de Eça, in _A Preciosa_ (2 pts., 1731, 3) and _Enganos do Bosque, Desenganos do Rio_ (1741), among much verse of the same kind has some poems of real charm and an almost rustic simplicity.