GUILHERME BRAGA (1843-76), who wrote vigorous political verse against ‘Jesuit reactionaries’ and the like in _Os Falsos Apostolos_ (1871) and _O Bispo_ (1874), proved himself a talented poet in _Heras e Violetas_ (1869), although even here are to be found words and expressions frequently out of tune. Like ALEXANDRE DA CONCEIÇÃO (1842-89), whose best-known volume of verses, _Alvoradas_ (1866), belongs to the romantic school, GUILHERME DE AZEVEDO (1846-82) began with romantic verse in imitation of Garrett in _Apparições_ (1861), wavered in _Raçõdiaes da Noite_ (1871), and succumbed to the new school in _A Alma Nova_ (1874). JOÃO PENHA (1839-1919) in _Rimas_ (1882) and _Novas Rimas_ (1905) shows a command of metre and harmony worthy of something better than his commonplace themes. Gonçalves Crespo heard in his verse ‘the plaining music of a guitar of Andalucía’, but Penha never cared to be serious. CESARIO VERDE (1855-86) was a Lisbon poet who in verse written between 1873 and 1883, _O Livro de Cesario Verde_ (1886), showed a most promising gift of presenting reality in phrases limpidly clear without straining after effect. Another poet who died almost as young left a far more definite achievement, although his poems are scarcely more numerous than those of Verde. Few Portuguese writers have, indeed, published less than ANTONIO CANDIDO GONÇALVES CRESPO (1846-83), a Portuguese born at Rio de Janeiro. He studied at Coimbra University, and became a distinguished journalist and a colonial member of the Portuguese Parliament from 1879 to 1881. Two tiny volumes of lyrics, _Miniaturas_ (1870) and _Nocturnos_ (1882), comprise his whole work, but his restraint and his fastidiously chiselled verse place him at the head of the Portuguese Parnassians. Portuguese in his hands becomes a pliant medium crystallizing round an emotion, _longes de saudade_, or, more frequently, round a concrete image, a parting at sunset (_Mater dolorosa_) or a village in a summer noontide (_Na Aldeia_). The latter sonnet recalls a few lines of Leopardi’s _Il Sabato del Villaggio_, and in one respect, the perfection of form with which he describes quite ordinary scenes, the Portuguese poet need not fear the comparison. An old woman spinning, children at play, a peasant’s song in the fields, an orange-grove at dawn musical with birds--these are incidental pictures in his poems, and by his combination of a vague dreaming temperament with a delicate, definite artistic sense they receive a new significance. An earlier Brazilian poet, ANTONIO GONÇALVES DIAS (1823-64), author of _Primeiros Cantos_ (1846), _Segundos Cantos e Sextilhas de Frei Antão_ (1848), and _Ultimos Cantos_ (1851), made a name for himself by his _sextilhas_.