published two volumes of sentimental poems, _Cantos Matutinos_ (1858) and _Ephemeros_ (1866), of which perhaps _O Desterrado_ is now alone remembered, and several pleasantly indigenous stories of his native Avelomar (Minho) collected in _Fruitos de Vario Sabor_ (1876), with an attractive sketch of the priest, Padre Manuel, _Muita parra e pouca uva_ (1878), and _As Duas Fiandeiras_ (1881). He played the sedulous Boswell to Almeida Garrett during the last three years of the latter’s life, and the result was one of the few interesting biographies in the modern literature of the Peninsula: _Garrett, Memorias Biographicas_ (3 vols., 1881-8). Among the host of pale moon-singers following in the wake of Castilho it is a relief to find a satirist, FAUSTINO XAVIER DE NOVAES (1822-64), who in his _Poesias_ (1855), _Novas Poesias_ (1858), and _Poesias Postumas_ (1877), preferred to take Tolentino for his model. He ridiculed the _janota com pouco dinheiro, com fumos de grande_ and other types of his native Oporto, where for some time he worked as a goldsmith. Later he emigrated to Rio de Janeiro, but there found ‘everything except literature well paid’. Two of the romantic poets lived on into the twentieth century, one even survived the Monarchy. THOMAZ RIBEIRO (1831-1901), born at Parada de Gonta in the district of Tondella (Beira), advocate, journalist, playwright, historian, politician, deputy, minister, peer of the realm, won enduring fame with his long romantic poem _D. Jayme_ (1862), which opens with fifteen striking stanzas addressed to Portugal. In this introductory ode he rises on the wings of ardent patriotism and sturdy faith in Portugal to a fine achievement in verse. Less rhetorical, the rest of the poem (or series of poems in varying metre) would have gained by reduction to half its length, but is sometimes not without charm in its meanderings. Yet it is a kind of inspired rhetoric and natural grandiloquence that best characterize Ribeiro, and when his inspiration falters it leaves but a hollow and metallic shell of verse. We will expect no delicate shades from a lyric poet who calls the sky _o celico espectaculo_. Subsequent volumes--_Sons que passam_ (1867), which contains poems written as early as 1854, _A Delfina do Mal_ (1868), _Vesperas_ (1880), _Dissonancias_ (1890), _O Mensageiro de Fez_ (1899)--maintained, but did not increase, his reputation as a poet. The chief work of RAIMUNDO ANTONIO DE BULHÃO PATO (1829-1912), a Portuguese born at Bilbao, was _Paquita_, which he began to publish in 1866, and to the completion of which he devoted nearly forty years of loving care. It is a facetious romantic poem of sixteen cantos, mostly in verses of six lines (_ababcb_ or _ababca_), intended to be in the manner of Byron but more akin to Antonio de Trueba, whose verses are imitated in _Flores Agrestes_ (1870). The modern reader, after readily agreeing with Herculano that the poem has its faults, will perhaps be