His influence was bad and good. It encouraged a dry and artificial classicism, but also careful versification in pure Portuguese. Although the poems of Lamartine’s _divin Manuel_ are no longer even by his countrymen held to be divine, they may be read with satisfaction by virtue of their indigenous expressions and a hundred and one allusions to popular traditions. It was by these characteristics that he expressed his revolt from the _Arcadia_. Half a long life spent in Paris was unable to imbue Filinto with the _mimo de fallar luso-gallico_, against which he vigorously protested to the end. This purity of style gives excellence to the many translations which he was obliged to write for a bare livelihood, and his native land is present even in his closest imitations of Horace (Falernian becomes _louro Carcavellos_). Unfortunately his contemporaries and successors were not always so discreet. The genial satirist NICOLAU TOLENTINO (1741-1811), son of a Lisbon advocate, after studying law at Coimbra spent some years teaching rhetoric to the raw youth (_bisonhos rapazes_) of Lisbon. He was perpetually discontented with his lot or ready to profess himself so. ‘Long years have I already spent in begging,’ he says candidly, ‘and shall perhaps pass my whole life in the same way.’ He harps on his poverty; the kitchen, he complains, is the coolest room in his house. In 1781 he obtained a comfortable post in the civil service, his poems were printed for him in two volumes twenty years later, he would receive a pheasant from one friend, a Sunday dinner of turkey from another, he acknowledges a thousand benefits, and still begs on. Before he had had time to grow rich the habit had become incurable. His was no lyrical gift, but he imitated with success the _quintilhas_ of Sá de Miranda,[637] in which much of his work is composed (_O Bilhar_ is in _oitavas_). He writes naturally; his style is thoroughly Portuguese, often prosaic. His satire, repressed for personal reasons rather than from any failure of wit or talent, reducible to silence by the gift of a pheasant, lacks independence and thought, but sheds a gentle light on the manners of the time--on the travelled coxcomb who returns to Portugal affecting almost to have forgotten Portuguese, or the rich nun who knows by heart whole volumes of the _Fenix Renascida_--and one or two of his entertaining sonnets are likely to endure. The _Obras Poeticas_ of the MARQUESA DE ALORNA (1750-1839), in Arcadia _Alcippe_, are now more often praised than read, but her poetry is scarcely inferior to that of many even more celebrated writers of the time. As a child she defied the anger of the Marques de Pombal. She was detained with her sister Maria and her mother D. Leonor de Almeida in the convent of Chellas from the age of eight till the death of King José (1777). Two years later she married the Count of Oeynhausen, who became minister at Vienna in 1780. After his death in 1793 she lived partly