The cult of _saudade_ has been deliberately revived by a group of poets in the north who have founded the school of _Saudosismo_, and in their monthly _A Aguia_ and the _Renascença_ press seek to foster all that is native in Portuguese literature. Their creed is a vague pantheism, their poetry is often equally vague and lacking in individuality, but they have the advantage of being remote from Lisbon and of not concerning themselves with foreign schools, and can therefore be natural and Portuguese. At the head of these poets Snr. JOAQUIM TEIXEIRA DE PASCOAES (born in 1877) sings musically in an enchanted land of mists and shadows of pantheism, _saudade_, and his native Tras-os-Montes. Merging itself entirely in Nature, his poetry becomes a wavering symphony[696] woven of night and silence. The vagueness present in the lyrics of _Sempre_ (1897), _Terra prohibida_ (1899), _Jesus e Pan_ (1903), _Vida Etherea_ (1906), _As Sombras_ (1907), is more marked in his longer poems _Marános_ (1911), in eighteen cantos, and _Regresso ao Paraiso_ (1912), in twenty-two cantos of monotonous blank verse. But Nature is justified of her child, and _Marános_, like a mountain-stream threading its transparent pools, shows abundantly that the author has also the power of condensing a picture into a single line. To this group belong Snr. MARIO BEIRÃO (born in 1891), whose verse in _O Ultimo Lusiada_ (1913) and _Ausente_ (1915) is strong and concrete; Snr. AFONSO DUARTE (born in 1896), Snr. AUGUSTO CASIMIRO, author of _Para a Vida_ (1906), _A Victoria do Homem_ (1910), and _A Evocação da Vida_ (1912), and other young writers of promise. Few if any of the younger poets have found in Portugal so ready a reception for their work as ANTONIO NOBRE (1867-1900), whether this be due to the all-pervading melancholy, _saudades de tudo_, to the metrical skill, or to the haunting intensity of his verse. In a series of poems written between 1884 and 1894 he combined the dreams of a student at Coimbra, _a lendaria Coimbra_, the home-sickness of a Portuguese in Paris, and a real sympathy for the poor and miserable. In these poems of suffering and disillusion, published under the title _Só_ (1892), a strange alternation of ingenuousness and satanism, fantastic visions and serene simplicity, genuine poetry and sheer prose, refrains of rustic gaiety and of morbid sentiment, produces a certain measure of originality. He can fit his pliant metres to his will, mould them like wax, and if the book contains no perfect poems this is partly due to a deliberate intention to reflect his own incoherent moods and to an evident pleasure in incongruous effects. A second volume, of poems written between 1895 and 1899, _Despedidas_ (1902), appeared posthumously.