and tenderness of passion and sentiment, so much more remarkable in the Portuguese poets than in those of Castile, would justly render them favorites with us: for, though not so numerous and abundant as the Spanish, there are excellent materials in the Portuguese writers, as we may see from the selections of M. Bouterwek, to form a very pleasing anthology. On this point, we have to prefer a serious complaint against the present fair translator; viz. for omitting to give us a version of many of the beautiful pieces quoted by M. Bouterwek, which are every where illustrative of his remarks. The want of such a translation is now quite a desideratum to the majority of English readers, who must sensibly feel the deficiency in perusing a comment on productions of which they are in all likelihood totally ignorant. From the manner, too, in which Miss Ross has accomplished the rest of her task, we cannot question her capacity for effecting this portion of it in such a way as would have added considerably to the interest of the subject: nor do we estimate the objections which she has advanced in the preface as forming a sufficiently valid excuse. We should have had real pleasure in extracting a few of her poetical specimens of such poets as we hold in high regard, accompanied, as they would have been, by the very judicious remarks of the German critic; and they not only must have proved an agreeable variety, but would perhaps have induced many persons to cultivate nearer acquaintance with names which are yet almost strangers to us. As the case now is, we shall prefer to give some of M. Bouterwek's opinions on the best of those writers, as the most pleasing substitute that we can afford; without attempting to follow him in his long critical and historical survey of the various epochs of Portuguese literature, which our limits would scarcely admit. So much, also, has already appeared on the general literature of the Peninsula, and in particular on the Spanish romances, as to render this portion of the subject comparatively uninteresting; and it would be in vain to enter, here, into a minute analysis of the historical details of the work, which are pursued in an unbroken chain, and often to a degree of prolixity. Passing over, therefore, the rise and progress of Portuguese poetry from the end of the thirteenth to the opening of the sixteenth century, the early fragments that remain, the royal poets of the thirteenth and fourteenth centuries, and the connection between the Portuguese and Galician poetry, we at once approach the golden period of national song and national glory, in the days of Emanuel, and of Ferdinand and Isabella in Spain. One of the most distinguished poets of this age appears to

a

have

have been Bernardim Ribeyro, of whom we have a very eloquent and masterly sketch, introduced by some general reflections on the rising greatness of the country.

Meanwhile the Portuguese monarchy approached the summit of its power and glory. While Spain, under the dominion of Ferdinand and Isabella, began to form itself internally into a single state, the government and people of Portugal directed their attention to discoveries and conquests in Africa and India. A peculiar union of the heroism of chivalry, and the industry of social life which prevailed in Portugal, under the auspices of her enterprising sovereigns, impressed on the nation a consciousness of power, in which the Portuguese were in no respect inferior to the Castilians. The flag of Portugal waved along the western coast of Africa, where Portuguese factories began to be converted into colonies, extending towards the Cape which Vasco de Gama doubled in the year 1498. In less than fifteen years after this memorable event, Portuguese valour, guided by the renowned leaders Francisco de Almeida and Alfonso de Albuquerque, succeeded in founding a kingdom in India, of which Goa was the capital. At this period, during the glorious reign of Emanuel, who in the series of Portuguese sovereigns is distinguished by the surname of the Great, no Spanish poet had attained so much celebrity as was enjoyed by the Portuguese Bernardim, or (according to the more ancient orthography of that name) Bernaldim Ribeyro. A comprehensive idea of the nature of that romantic spirit, which every Portuguese poet conceived himself bound to exhibit in the fulfilment of his poetic destination, may be gathered from an account of the life and writings of this extraordinary man.

This poet received such a literary education as was in those times required for the study of the law, and a subsequent residence at court. King Emanuel conferred on him the appointment of moço fidalgo (gentleman of the chamber). Ribeyro found at the court of that sovereign an object capable of fixing his poetic fancy, but not his future happiness; for from that time forward the heart of this sentimental enthusiast appears to have been incessantly agitated by sad emotions. Portuguese writers insinuate that the Infanta Dona Beatrice, the king's daughter, was the lady of whom the unfortunate Ribeyro was enamoured. It is evident from his writings, that he has studiously thrown a veil over the secret of his heart. We are not informed how he reconciled this passion with his domestic relations, or whether at the period of his marriage he had emancipated himself from those romantic illusions which at other times exercised so powerful a dominion over him. It is related that he frequently retired to the woods, where he passed the night alone, singing to the murmuring brooks his songs of passion and despair. But it is also said that he tenderly loved his wife, and after her death showed no inclination to enter, a second time, into the married state. There is no possibility of reconciling these psychological inconsistencies, since it is not known at what period of his life Ribeyro retired from

court.

age he

court. Neither is it recorded at what period or at what died. But that he cherished romantic fancies in real life, as well as in his poetry, is a fact which is sufficiently confirmed by the accounts which have been preserved of his conduct, and by the general character of his writings.

6

Among the poetic works of Ribeyro, so far as they are known, his eclogues are particularly distinguished. If not the very oldest, they are certainly among the most ancient compositions of the kind in Portuguese and Spanish literature; and when com pared with those of Juan del Enzina, who flourished about the same time in Spain, they may, in every respect, claim the priority. Juan del Enzina ingeniously sported with simple ideas; but Ribeyro sang from his inmost soul."

The subsequent remarks on the antient lyric poems and cantigas of the Portuguese are curious and pleasing:

It is probable that the lyric pieces which are annexed to the old edition of the works of Ribeyro, and which immediately follow the poems of Falcam, were written by the latter. They belong entirely to the class of Villancicos in the Spanish Cancioneros. They are, for the most part, cantigas or glossed mottos; but some are entitled Esparças, or overflowings of the heart. In all these songs the plays of antiquated chivalrous wit are very affectedly blended with genuine effusions of the heart. They are, however, like the old Spanish canciones, throughout enlivened by a glimmering of poetic truth; and even the old-fashioned conceits successfully contribute to express intensity of feeling. This is particularly the character of the mottos, which appear to be more remarkable for far-fetched quaintness than the old Spanish compositions of a similar kind. The following may serve as examples:

"I saw the end at the beginning; I see the beginning at the end; so that I know not whether I am beginning or ending." "Since in beholding you, lady, I have lost the knowledge of myself, do not you do against me, that which for your sake I have done against myself." "At variance with myself, great is my danger, for I can neither live with myself nor fly from myself." Some mottos are, however, expressed in a more simple and popular form; but it is remarkable that those which are most inartificial, or destitute of point, are precisely those of which the glosses are more particularly distinguished by nature and grace. The Portuguese of this age seem to have been much less disposed than the Spaniards to pourtray in their lyric poetry the continual conflict between passion and reason. Like the Italians, the Portuguese gave free utterance to the emotions of the heart, and were only induced to seek after quaint ideas by an eager desire that the vehemence and depth of their passionate feelings should be energetically and ingeniously expressed.

'It would appear that, at the commencement of the sixteenth century, the romantic pastoral and lyric styles were the only species of poetic composition to the cultivation of which the Portuguese directed their attention. No evidence appears to

exist of any remarkable essay in dramatic poetry, before the time of Gil Vicente, who will hereafter be noticed. It is probable that unimportant treatises on poetry and versification, in the style of that which Juan del Enzina wrote in Spanish, existed at the same period in the Portuguese language; and on a com, prehensive view of the polite literature of Portugal, previous to the introduction of the Italian style, it will be found that like the true sister of Spanish literature it was, in an equal degree, susceptible of the reform which presented itself to both.'

In romantic pastoral, M. Bouterwek asserts the priority of Portugal over the sister kingdom, with reference to its national character. Portugal may therefore be regarded as the true native land of romantic pastoral poetry, which, however, about the same period flourished in Italy, where it assumed more cultivated forms, particularly after Sannazaro had written: but in Portugal alone was it properly national. Two Portuguese writers, Saa de Miranda and Montemayor, transferred this style of poetry to Spanish literature.'

Of the poet Falcam he observes:

Among the works of Falcam, there is a kind of poetic epistle, if it may be so called; but he wrote no didactic epistles. This poetic epistle is in fact merely a lyric romance, which the author has addressed to his mistress in the form of a letter, when, as the superscription expressly mentions, he had secretly married her còntrary to the will of her parents an act for which he incurred the penalty of five years' imprisonment. From his prison he addressed verses to his lady. Thus it also appears that this Portuguese poet, who afterwards discharged, probably with honor to himself, the duties of admiral and governor, wished to make the same romantic principles the basis of his conduct and his writings.' (P.43.)

The author's brief sketch of the life of the Galician poet Macias, to which we ought before to have alluded, must not be unnoticed. It is introduced by some admirable remarks on the poetry of the fifteenth century; and, though we shall now be casting a retrospective glance, this is of no conse quence in the few desultory extracts that we can afford to make :

In Portugal as in Spain, the fifteenth century was the period during which the old national songs and romances flourished in the greatest luxuriance. Since that time, Portuguese and Spanish poetry have in general occupied the same degrees of cultivation, and have lent to each other a mutual support, though neither stood in need of the other's aid. The correspondence between the Castilian and the Portuguese poetry was at that time particularly promoted by the Galician poets, who, though faithful subjects of the Castilian monarchy, still remained true to their mother-tongue. Galicia seems to have been the land of roman

tic sentiment whence the poetry of love exhibited in the lyric compositions of Spain and Portugal was transplanted. No Portuguese or Spaniard is so celebrated in poetic literature, for the influence of love on his fate, as the Galician poet and knight Macias, who lived in the first half of the fifteenth century, and of whose remarkable history a brief sketch may properly be introduced here. Macias, who obtained the surnames of the Enamoured and the Great, distinguished himself as a brave warrior against the Moors of Granada, and as an accomplished writer in the literary retinue of the Marquess of Villena. But though the Marquess appreciated the merits and talents of Macias, he did not approve the romantic passion with which that enthusiast interwoye his poetic fancies into the affairs of real life. The Marquess strictly prohibited him from continuing a secret intrigue in which he had embarked with a lady, who, through the intervention of the Marquess, had become the wife of another knight. But Macias conceived that he could not better prove his chivalrous constancy in love, than by boldly disobeying the commands of his patron. The Marquess, however, availing himself of his power as Grand-master of the order of Calatrava, sent the refractory poet a prisoner to the kingdom of Jaen, on the frontiers of Granada. In his captivity Macias composed his songs of ill-fated love in the Galician language, which at the period of their production were highly esteemed, but which are now lost, with the exception of a few trifles. He contrived to forward copies of these songs to his mistress. On the discovery of the correspondence, the poetic boldness of Macias roused the husband of the lady to the most furious pitch of jealousy. Armed cap-a-pee, he set out with the intention of slaying the unfortunate poet. He proceeded to the town of Arjonilla, where Macias was confined, and espying the prisoner at a window, he threw a javelin at him, and killed him on the spot. Some idea of the sensation which this affair produced may be formed from the contents of the old Spanish Cancionero, in which it is frequently mentioned. But the story has more properly its place in the history of Portuguese poetry. The Spanish amatory poets, however extravagant might be their extacies in verse, confined themselves, in real life, within certain boundaries, which were consistent with the habits of society. The Portuguese, on the contrary, and as it would appear, the Galicians likewise, when they indulged in the poetic expression of violent and enthusiastic feelings of love, conceived that it was still necessary they should seek to impress the stamp of perfection on their songs, by exhibiting all kinds of sentimental excesses in their own personal conduct. Spaniards seem always to have felt convinced that they could not attain the romantic tenderness of the Portuguese. A certain simplicity and intensity in the expression of tender sentiments, to which the language of Portugal is particularly favourable, has always been one of the characteristic features of Portuguese poetry, from the fifteenth century down to the present times.'

The

In