The CONDE DE MONSARAZ (1852-1913) wrote some pleasant regional verse in _Musa Alemtejana_ (1908), in which he describes life in the _charnecas_ (moors) and _herdades_ (estates) of Alentejo: the sound of the well-wheel among orange-trees, the ringing of _trindades_, the long lines of women hoeing, the old herdsman singing melancholy _fados_, the smoking _açorda_ of the workmen’s meals, the storks fleeing from the July heat, the processions to pray for rain. The same out-of-door air and fullness of treatment pervade the work of Snr. AUGUSTO GIL, with a more popular strain, in _Musa Cerula_ (1894), _Versos_ (1901), _Luar de Janeiro_ (1909), _Sombra de Juno_ (1915), _Alba Plena_ (1916), Snr. JOSÉ COELHO DA CUNHA’S _Terra do Sol_ (1911) and _Vilancetes_ (1915),[698] and D. BRANCA DE GONTA COLLAÇO’S _Canções do Meio Dia_ (1912). A more vigorous talent, also, is that of Snr. JOÃO DE BARROS in _Algas_ (1899), _Entre a Multidão_ (1902), _Dentro da Vida_ (1904), _Terra Florida_ (1909), and _Anteu_ (1912). At the head of the Portuguese Symbolists (their symbolism has been rather external than philosophic) stands Snr. EUGENIO DE CASTRO (born in 1869). He wished, while retaining perfection of form, to fill it with a new imagery and colour, and that his verse in describing Nature through his sensations should remain detached and impersonal: the poet is _uma sombra saudosa d’outras sombras_. The success achieved in _Oaristos_ (1890) was strikingly maintained in _Sagramor_ (1895), _O Rei Galaor_ (1897), _Constança_ (1900), _Depois da Ceifa_ (1901), _A Sombra do Quadrante_ (1906), _O Annel de Polycrates_ (1907), _O Filho Prodigo_ (1910), and the twenty-one sonnets of _Camafeus Romanos_ (1921). His versification is not sufficiently varied (a defect naturally less apparent in the shorter poems), his rare words and rhymes often have a cumbrous air, but a real fire occasionally runs through the cold monotony of his verse, lighting up its heavy jewels with a glow almost of life. If it is sometimes an echo of Baudelaire, it is a Baudelaire thoroughly acclimatized.[699] His debt was not wholly to French Parnassian or Symbolist, for he had also drunk deep of Greek and German literature. His originality in modern Portuguese poetry is a very real one. Yet it is a pleasure to pass from verse often so perfect, always so artificial, to the more natural poems of two younger writers. Snr. ANTONIO CORRÊA DE OLIVEIRA (born in 1880) in his _Auto do Fim do Dia_ (1900), _Raiz_ (1903), and _Auto de Junho_ (1904) shows a true lyrical gift, an inspiration of the soil, of the quatrains of popular poetry: Passou Maio taful, Maio magano, E por onde passou nasceram rosas.