include the mare’,[87] and so no doubt continued till _pascoa florida_ or _la trinité_. But the majority of these verses are not so innocently merry. Many of the poets of the _Cancioneiros_ wrote in all three kinds: _cantigas de amor_, _de amigo_, and _de maldizer_. Of JOAN DE GUILHADE[88] (fl. 1250) we have over fifty poems.[89] He imitated both French and Provençal models, and, having learnt lightness of touch from them, would appear to have contented himself with writing _cantigas de amigo_ (besides _cantigas de amor_ and _escarnho_) without having recourse to the _cossante_. There is life and poetical feeling as well as facility of technique in his poems. PERO GARCIA DE BURGOS (fl. 1250) is, with Joan de Guilhade, one of the more voluminous writers of the _Cancioneiros_. He shows himself capable of deep feeling in his love songs, but speaks with two voices, descending to sad depths in his poems of invective. His contemporary, the _segrel_ PERO DA PONTE, is also an accomplished poet of love, in the even flow of his verse far more accomplished than Pero Garcia, and in his satirical poems wittier and, as a rule, more moderate. He placed his poetical gift at the service of kings to sing their praises for hire, and celebrated San Fernando’s conquest of Seville in 1248; Seville, of which, he says, ‘none can adequately tell the praises’. To satire almost exclusively the powerful courtier of King Dinis’ reign, STEVAM GUARDA, devoted his not inconsiderable talent, and the _segrel_ PEDR’ AMIGO DE SEVILHA (fl. 1250) shone in the same kind with a great variety of metre as well as in numerous _cantigas de amigo_. MARTIN SOAREZ (first half 13th c.), born at Riba de Lima, and considered the best _trobador_ of his time (by those who could not appreciate the charm of the indigenous poetry), wrote no _cossante_ nor _cantiga de amigo_, and in his satirical poems displayed a contemptuous insolence--towards those whom he regarded as his inferiors in lineage or talent--which places him in no attractive light. A notable poet at the Courts of Spain and Portugal was JOAN AIRAS of Santiago de Compostela (fl. 1250), of whom we have over twenty _cantigas de amor_ and fifty _cantigas de amigo_. Contemporary criticism apparently viewed their quantity with disfavour,[90] for he complains that _Dizen que meus cantares non valen ren porque tan muitos son_ (C. V. 533). But if his poems lack the variety of those of King Dinis, which they almost rival in number, they are nevertheless marked not only by harmony but by many a touch of real life. Of most of the other singers we have far fewer poems. Like Meendinho and Estevam Coelho, PERO VYVYÃES (first half 13th c.) is known chiefly for a single song: his _bailada_ (C. V. 336). By D. JOAN SOAREZ COELHO (_c._ 1210-80) there are two _cossantes_ (C. V. 291, 292) and numerous other poems. He was prominent at the Court of Afonso III (1248-79) and in the conquest of Algarve, as was also D.