to whom it is not easy for a critic to do justice, is the Lisbon poet ANTONIO DUARTE GOMES LEAL (1849-1921). His capacity is felt to be so much greater than his achievement. The grandiloquence and declamatory character of the verse in his first volume, _Claridades do Sul_ (1875), are accentuated in subsequent works: _A Fome de Camões_ (1880), _A Historia de Jesus_ (1883), _O Fim de um Mundo_ (1900), _A Mulher de Luto_ (1902). His satire here, as in _Satyras Modernas_ (1899), or the biting sonnets of _Mefistófeles em Lisboa_ (1907), is sincerely indignant but too often based on ignorance. In _O Anti-Christo_ (1884) it voices the eternal revolt against false civilization and materialism. This, the most celebrated of his works, presents a strange medley of persons, from Barabbas to Tolstoi and Huysmans, who have this in common that they all declaim in hollow sonorous Alexandrines. Science, saints, Hebrew prophets, Chinese philosophers, the eleven thousand Virgins pass in a vision before the Anti-Christ and converse with him. It is as if a Goethe without genius had written the second part of _Faust_. But _Claridades do Sul_ contains poems in a totally different kind, poems like _De Noute_ and _Os Lobos_, which seem to have caught something of the pathos and simplicity of _Les Pauvres Gens_, satire and _humorismo_ forgotten. In his descriptions of homely scenes his verse becomes quiet, natural, and effective; after reading the restrained and skilful _tercetos_ of _De Noute_ one is inclined to wonder whether the secret of his comparative failure is that here was an excellent Dutch genre-painter striving to be a high-flown Velazquez. But certainly he has no lack of talent, imagination, and power of expression in resonant verse.