JOAN DE ABOIM (_c._ 1215-87), whose poems are less numerous but include a dozen _cantigas de amigo_ and a _pastorela_ (C. V. 278: _Cavalgava noutro dia per hun caminho frances_), and FERNAN GARCIA ESGARAVUNHA,[91] whose _cantigas de amor_ show characteristic life and vigour, and a good command of metre. There is an engaging grace and spirit in the _cantigas de amigo_ written in dancing rhythm by FERNAN RODRIGUEZ DE CALHEIROS (fl. in or before 1250), who preceded those soldier poets; deep feeling and melancholy in the _cantigas de amor_ of D. JOAN LOPEZ DE ULHOA, their contemporary. Neither of these, however, possessed the poetical genius and versatility of the priest of Santiago, AIRAS NUNEZ (second half 13th c.)--the name appears in a marginal note to one of King Alfonso’s _Cantigas de Santa Maria_ (C. M. 223 in the manuscript j. b. 2)--whose poems show a perfect mastery of rhythm and a true instinct for beauty. He wrote a _pastorela_ in the manner of the _trouvères_, and combined it with some of the most exquisite specimens of the indigenous poetry.[92] The fact that one of these was by Joan Zorro makes it probable that Nunez’ celebrated _bailada_ (C. V. 462) is but a development of Zorro’s (C. V. 761), unless both drew from a common popular source. Another of his poems (C. V. 468) reads like an anticipatory slice out of Juan Ruiz’ _Libro de Buen Amor_. Great importance has been attached to another (C. V. 466) as a remnant of a _cantar de gesta_, but D. Carolina Michaëlis de Vasconcellos has shown that it was written to commemorate a contemporary event, probably in 1289.[93] More than any other poet of the _Cancioneiros_, with the exception, perhaps, of King Dinis, Nunez anticipated that _doce estylo_, the introduction of which cost Sá de Miranda so many perplexities.