and music in his poems, of which the _Cancionero de Baena_ has preserved over twenty. He writes in varying metres with unfailing ease and harmony, rarely sinks into mere verbal dexterity, and well deserves to be considered the best of these later Galician poets. Side by side with the lyric the _cantiga d’escarnho_ continued to flourish. Alfonso Alvarez (C. G. C. 48) upbraids Garci Ferrandez for renouncing the Christian faith and leaguing himself with the Devil (_gannaste privança do demo mayor_); Pero Velez de Guevara (†1420), uncle of the Marqués de Santillana, addresses a satiric poem to an old maid, and an anonymous poet in a vigorous _sirventes_ attacks degenerate Castille, _cativa, mezela Castela_, perhaps, as Professor Lang thinks, immediately after the Portuguese victories of Trancoso, Aljubarrota, and Valverde in 1385. Five fragmentary poems belong to the Infante D. PEDRO (1429-66), Constable of Portugal. There are, besides his three short Portuguese poems in the _Cancioneiro de Resende_, only forty-one lines in all, for while Galician, already separated from her twin sister of Portugal, went to sleep--a sleep of nearly four centuries--in these last accents of her muse preserved in the _Cancionero de Baena_, the Infante Pedro turned definitely to the new forms of lyric appearing in Castille. As a transition poet he may be mentioned here before his father D. Pedro, Duke of Coimbra, since his prose works, which would naturally place him with his father and with D. Duarte, his uncle, belong, together with most of his poetry (_prosas_ and _metros_) to Spanish literature. By stress of circumstance rather than any set purpose he inaugurated the fashion of writing in Castilian, a fashion so eagerly taken up by his fellow-countrymen during the next two centuries. After the tragic death of his father at Alfarrobeira (1449) he escaped from Portugal, of which his sister Isabel was queen,[160] spent the next seven years as an exile in Castille, and after returning to his native land died an exile, but now as King of Aragon (1464-6). His life of thirty-seven years was thus as full of wandering adventure as that of any troubadour of old. To him Santillana addressed his celebrated letter on the development of poetry, and his own influence on Portuguese literature was important, for he introduced not only a new style of poetry, including _oitavas de arte maior_, but the habit of classical allusion and allegory. His first work, _Satira de felice e infelice vida_, was written in Portuguese before he was twenty, but re-written by himself in Castilian, the only form in which it has survived. This firstfruit of his studies was dedicated to his sister, Queen Isabel, whose death (1455) he mourned in his _Tragedia de la Insigne Reyna Doña Isabel_ (1457), a work of deep feeling and some literary merit, first published by D. Carolina Michaëlis de Vasconcellos 444 years after Queen Isabel’s death. His longest and most important poem, in 125 octaves, _Coplas