and fails to meet her at the trysted hour. She waits for him in vain, and her mother comforts her in her distress. She pines and dies of love while her _amigo_ is away serving the king in battle or _en cas’ del rei_. The third section of the _Cancioneiro da Vaticana_ does not sin by monotony. We may divide Pope’s line, since if the _cantigas de amor_ are ‘correctly cold’ many of the satiric poems are ‘regularly low’. In these verses, containing violent invective and abuse (_cantigas de maldizer_) or more covert sarcasm and ridicule (_cantigas d’escarnho_), the themes are often scandalous, the language ribald and unseemly. They were written with great zest, although without the fiery indignation of the Provençal and Catalan _sirventeses_. They are concerned with persons: the haughty _trobador_ may take a _jogral_ to task for writing verses that do not rhyme or scan, but even then it is a personal matter and he rebukes his insolence for daring to raise his thoughts to _altas donas_ in song. Some of these poems should never have been written or printed, but many of them give a lively idea of the society of that time. They laugh merrily or venomously at the poverty-stricken knight with nothing to eat; at the knight who set his dogs on those who called near dinner-time; the _jogral_ who knows as much of poetry as an ass of reading; the poet who pretended to have gone as a pilgrim to the Holy Land but never went beyond Montpellier; the physician (Mestre Nicolas) whose books were more for show than for use (_E sab’ os cadernos ben cantar quen[86] non sabe por elles leer_, C. V. 1116); the Galician unjustifiably proud of his poetical talent (_non o sabia ben_, C. V. 914); the _jogral_ who gave up poetry--shaved off his beard and cut his hair short about his ears--in order to take holy orders, in hope of a fat living, but was disappointed; the _jogral_ who played badly and sang worse; the poet who was the cause of good poetry in others; the gentleman who spent most of his income on clothes and wore gilt shoes winter and summer. We read of the excellent capon, kid, and pork provided by the king for dinner; of the fair _malmaridada_, married or rather sold by her parents; of the impoverished lady, one of those for whom later Nun’ Alvarez provided; of the poet pining in exile not of love but hunger; of the lame lawyer, the unjust judge; the _parvenu villão_, the knighted tailor, the seers and diviners (_veedeiros_, _agoreiros_, _divinhos_). These _cantigas d’escarnho e de maldizer_ were a powerful instrument of satire from which there was no escape. A hapless _infançon_, slovenly in his ways, drew down upon himself the wit of D. Lopo Diaz, who in a series of eleven songs (C. V. 945-55) ridiculed him and his creaking saddle till at Christmas he was fain to call a truce. But the implacable D. Lopo forthwith indited a new song: ‘I won’t deny that I agreed to a truce about the saddle, but--it didn’t