and _Os Ciumes do Bardo_ (1838), and influenced many younger writers. Like Garrett he taught them to seek the subjects of their verse in the popular traditions of their own land. Indeed, so great was his bent for the national in literature that his numerous translations (from the French and English, Latin and Greek, to which, with an occasional aftermath of poems such as _Outono_ (1862), his later years were devoted) are often remarkable rather for their excellent Portuguese versification than for faithfulness to the originals, and the _Faust_ of Goethe, whose powerful directness was unintelligible to his translator, especially as he only read the poem in a French version, became translated indeed. The most prominent or the least insipid of the numerous group of romantic and ultra-romantic poets, a generation younger than Garrett and Castilho, who published their verses in _O Trovador_ (1848)[679] and _O Novo Trovador_ (1856), were LUIZ AUGUSTO PALMEIRIM (1825-93), whose _Poesias_ appeared in 1851, and JOÃO DE LEMOS (1819-89), some of whose poems (one of the best known is _A Lua de Londres_) in _Flores e Amores_ (1858), _Religião e Patria_ (1859), and especially _Canções da Tarde_ (1875), have a delicacy of rhythm and are more scholarly than those of most of the romantic poets. The three volumes form the _Cancioneiro de João de Lemos_. JOSÉ DA SILVA MENDES LEAL (1818-86), author of _Historia da Guerra no Oriente_ (1855), and, like Palmeirim, a successful dramatist, in _Os Dois Renegados_ (1839) and _O Homem da Mascara Negra_ (1843), and also a novelist (_O que foram os Portugueses_), as a poet is at his best in patriotic, military, or funeral odes: _O Pavilhão Negro_ (1859), _Ave Cesar_, _Gloria e Martyrio_ (perhaps suggested by Tennyson’s _Ode on the Death of the Duke of Wellington_), _Napoleão no Kremlin_ (1865), _Indiannas_, in which his sonorous verse has a certain grandeur. His _Canticos_ (1858) contain among others a good translation of _El Pirata_ of Espronceda, whose influence is evident in the ode to Vasco da Gama, which forms the first part of _Indiannas_. ANTONIO AUGUSTO SOARES DE PASSOS (1826-60), son of an Oporto chemist, studied at Coimbra and published a volume of sentimental romantic poems in 1856 (_Poesias_). The most remarkable is the noble if a little too grandiloquent ode entitled _O Firmamento_, which far excels the poems of death, pale moonlight, autumn regrets, and vanished dreams of this excellent translator of Ossian. After his death a fellow-student, Dr. Lourenço de Almeida e Medeiros, accused him of having stolen _O Firmamento_ and other poems. He had himself, he said, written the melancholy ballad _O Noivado do Sepulchro_ in February 1853, but unfortunately for his contention it had appeared over Soares de Passos’ signature eight months earlier in _O Bardo_. A miscellaneous writer, like so many of his contemporaries, FRANCISCO GOMES DE AMORIM (1827-92) achieved popularity with his plays,