By reason of a certain intensity and a vigorous style D. FRANCISCO CHILD ROLIM DE MOURA (1572-1640), Lord of the towns of Azambuja and Montargil, although more versed in arms than in letters, wrote in _Os Novissimos do Homem_ (1623) a poem quite as readable as the longer epics of his contemporaries, despite its duller subject (man’s first disobedience and all our woe). The four cantos in _oitavas_ are headed Death, Judgement, Hell, Paradise.[609] Of the life of MANUEL DA VEIGA TAGARRO we know little or nothing, but his volume of eclogues and odes, _Lavra de Anfriso_ (1627), stands conspicuous in the seventeenth century for its simplicity and true lyrical vein. There is nothing original in these four eclogues, but the verse is of a harmonious softness. In the odes he succeeds in combining fervent thought with a classical restraint of expression. He aimed high; Horace, Lope de Vega, and Luis de Leon seem to have been his models. Some measure of the latter’s deliberate tranquillity he occasionally attained. The works of the ‘discreet and accomplished’, keen-eyed and graceful D. FRANCISCO DE PORTUGAL (1585-1632) appeared posthumously[610]: _Divinos e humanos versos_ (1652) and (without separate title-page) _Prisões e solturas de hũa alma_, consisting of mystic poems mostly in Spanish in a setting of Portuguese prose, and, in Spanish, _Arte de Galanteria_ (1670), of which a second edition was published in 1682. Lope de Vega praised the ‘elegant verses’ of the _Gigantomachia_ (1628) written by MANUEL DE GALHEGOS (1597-1665). That he could write good Portuguese poetry the author showed in the 732 verses of his _Templo da Memoria_ (1635), in the preface of which he declares that it had become a rash act to publish poems written in Portuguese but quotes the example of Pereira de Castro and of Góngora as having used the language of everyday life and plebeian words without indignity.