in which Pedro returns to find Inés, in the words of their little son, _ali a dormir_, are effective. A fifth act six years later [1361] comes as an anti-climax. _O Auto dos Esquecidos_ (1898) is the work not of a dramatist but of a poet, JOSÉ DE SOUSA MONTEIRO (1846-1909), whose poems were published under the title _Poemas: Mysticos, Antigos, Modernos_ (1883). The _auto_, written in the old _redondilhas_ of which another modern poet has sung the praises, necessarily suffers by comparison with plays in which Gil Vicente touched upon the subject--the humbler forgotten heroes of the Portuguese discoveries--but it has its own charm and pathos. But the most noteworthy of the dramatists of the latter part of the century was D. JOÃO DA CAMARA (1852-1908), son of the first Marques and eighth Conde da Ribeira Grande and grandson of the third Duque de Lafões. He early began writing for the stage one-act pieces such as _Nobreza_ (1873). His work is various, for it includes elaborate historical dramas in heroic couplets, as _Affonso VI_ (1890), in which the king is treated with a sympathy denied to Cardinal Henrique in _Alcacer-Kibir_ (1891), slight pieces in verse, as _O Poeta e a Saudade_ or the _Auto do Menino Jesus_ (1903); and prose plays of contemporary Lisbon society: _O Pantano_ (a series of scenes of madness and murder), _A Rosa Engeitada_, _A Toutinegra Real_, _A Triste Viuvinha_, _Casamento e Mortalha_. In these he is lifelike and natural, but many may prefer him in his more fanciful pieces, portraying the old Canon who lives up under the roof of Lisbon Cathedral, in _Meia Noite_ (1900), or the _prior_ and other rustic worthies of Alentejo, in _Os Velhos_ (1893), or the ancient mariner of _O Beijo do Infante_ (1898). The mad José of _O Pantano_, the scatterbrained Clytemnestra in _A Toutinegra Real_, the _parvenu_ Arroiolos and select Dona Placida in _A Rosa Engeitada_ give little idea of the essential mellow humanity of his work, enhanced by a prose style carefully chosen and at times slightly archaic. Snr. Abel Botelho is more peculiarly concerned with the novel, and his plays _Germano_ (1886), _Os Vencidos da Vida_ (1892), _Jucunda_ (1895) derive their interest from the description of certain phases of Lisbon life which could have been presented equally well in novel form. MARCELLINO MESQUITA (1856-1919), doctor and deputy, wrote historical dramas, _O Regente_ [1440] in prose, _Leonor Telles_ (1889, published in 1893) in verse, _O Sonho da India_ (1898) (scenes from the discoveries of Gama and ten other famous Portuguese navigators), and _Pedro O Cruel_ (1916). If these historical tragedies are somewhat ponderous, he has a lighter touch in the _redondilhas_ of _Margarida do Monte_ (1910) and in the charming sketch _Peraltas e Secias_, and displays psychological insight in prose plays dealing with more modern problems: the comedy _Perola_ (1889), _Os Castros_ (1893), _O Velho Thema_ (1896), _Sempre Noiva_ (1900),