was not by any means the only Portuguese who wrote exclusively in Spanish, and others chose Latin. The reason usually given in either case was that Portuguese was less widely read.[17] It was a short-sighted view, for the more works of importance that were written in Portuguese the larger would naturally become the number of those who read them. While Portuguese literature may be taken to be the literature written in the Portuguese language, in a sense it must also include the Latin and Spanish works of Portuguese authors. Of the former, one collection alone, the _Corpus Illustrium Poetarum Lusitanorum qui latine scripserunt_ (Lisbonae, 1745), consists of eight volumes, and Domingo Garcia Peres’ _Catálogo Razonado_ (Madrid, 1890) contains over 600 names of Portuguese authors who wrote in Spanish. Portuguese names present a difficulty, for often they are as lengthy as that which was the pride of Dona Iria in Ennes’ _O Saltimbanco_. The course here adopted is to relegate the full name to the index and to print in the text only the form by which the writer is generally known.[18] The Portuguese, a proud and passionate people with a certain love of magnificence and adventure, an Athenian receptivity,[19] an extensive sea-board and vague land-frontiers, naturally came under foreign influences. Many and various causes made their country cosmopolitan from the beginning. It is customary to divide Portuguese literature into the Provençal (13th c.), Spanish (14th and 15th c.), Italian (16th c.), Spanish and Italian (17th c.), French and English (18th c.), French and German (19th c.) Schools. The question may therefore be asked, especially by those who confuse influence with imitation, as though it precluded originality: What has Portuguese literature of its own? In the first place, the Celtic satire and mystic lyrism of the Galicians is developed and always present in Portuguese literature. Secondly, the genius for story-telling, displayed by Fernam Lopez, grew by reason of the great Portuguese discoveries in Africa and Asia to an epic grandeur both in verse and prose. Thirdly, the absence of great cities, the pleasant climate, and fertile soil produced a peculiarly realistic and natural bucolic poetry. And in prose, besides masterpieces of history and travel--a rich and fascinating literature of the East and of the sea--a fervent religious faith, as in Spain, with a more constant mysticism than in Spain, led to very high achievement. Had one to choose between the loss of the works of Homer, or Dante, or Shakespeare, and that of the whole of Portuguese literature, the whole of Portuguese literature must go, but that is not to say that the loss would not be very grievous. Indeed, those who despise Portuguese literature despise it in ignorance,[20] affecting to believe, with Edgar Quinet, that it has but one poet and a single book; those who are acquainted with it--with the early lyrics, with the