Prose composition at this time consists chiefly of translations from Latin—lives of saints, vis ions of the other world, etc.—and of translations and imitations of material borrowed from North ern France and already well known in Spain, such as the Charlemagne and the Arthurian stories (cf. the Cavalleicos da Mesa Redonda, one of the few of them that have thus far been published) and those dealing with the quest of the Holy Grail. It has been asserted that origi nal composition of chivalrous romances began in Portugal as early as the fourteenth century; for some think that the Amadis dc Gallia, of which the earliest form preserved is a Spanish version, was written originally in Portuguese at this time and was taken thence by Spanish translators and elaborators. (See SPANISII LITERATURE.) His torical writing is represented by the appearance of chronicles dealing with religious matters or with military undertakings du con guista do Algarve) and things of political import, and by the appearance also of genealogies like the Nobiliario ascribed to the Count of Barcellos.
(2) The second period continues from 1385 to 1521. The time is really one of transition and evidences by the increased interest taken in the works of classic antiquity the influence of the all-pervading Renaissance movement. The best spirits begin to turn away from Provencal ideals, and, in imitation of the course pursued by the chief Spanish writers, adopt not infrequently a more serious didactic tone, which is borne out by use of the Dantesque allegory.
The bulk of the poetry of the age was produced by the poetas palacianos of the courts of Joao 11. (1481-95) and Emanuel the Great (1495-1521). Garcia de Resende, one of these poets. played a part similar to that performed by Baena at the Court of Castile. by collecting and publishing at Lisbon in 1516 the verse of the numerous portax palacianos. Four of the authors represented in this Caneioneiro Geral of Garcia de flesende merit particular mention. They are Gil Vicente. who is more remarkable, however. for the development which he gave to the drama: Christovam whose idyll first composition of this favorite kind in Po•tuguese—reeo•ds his own love experiences; Bernardim Ribeiro, the author of eclogues and of the famous Saudades, a work which with its pastoral and sentimental tenden cies furnished the foundation of all such later productions in the land; and .sa de Miranda (1495-155S), who, although he utilizes still the older poetical forms, infuses them with a new spirit and appreciates fully, as did to a consider able degree Falea° and Ribeiro. the value of the popular pastoral exemplified by the serranilha and similar compositions.
In prose the most important original works are didactic or historical in their nature and there is some translation of the Latin moralist, and historians. By direction of King Duarte there was composed a treatise on statecraft. en titled 0 leal conselheiro, and the Infante Dom Pedro gave expression to the experiences of an active and observant life in his Firtuosa bonfei toria. The founder of true history writing ap
pears in the person of Fernam Lopes, who com piled the Chronic-a de Dom Fermildo, the Chro nica de Dom Pedro, and especially the Chronica del Rey Dona Johann de boa memoria. Further historical accounts were provided by Gomes Eannes de Azurara, who described the conquest in Afriea, by Ruy de Pina, and by Joam Alvares (Chronica do sancta Iffante Doan Fernando).
(3 and 4) The two periods that come next and embrace the long stretch between 1521 and 1700 may conveniently be regarded as forming one continuous period, an age of glory in its first part and one of decadence and stylistic exaggera tion in its second. The path that Portuguese literature was now to take was indicated by sa de Miranda, who returned in 1526 from hi, so journ in Italy, imbued with a love for Italian humanism. Before the visit to Italy Miranda had given new life and enduring consistency to the pastoral ; now, along with sonnet, the hendecasyllable, the octave, the terza rima, and other Italian lyric and narrative verse forms, he introduced elements of the highly refined Italian pastoral ; and, furthermore, under the influence of Bibbiena and Aristo. he produced two prose dramas, the Estranyeiros and the Filhalpandos, which necessarily, like their Italian originals. derive from the drama of Plautus and Terence. It cannot be said that the plays of sa de Miranda had any widespread popularity; but they indicat ed the way for his disciple Jorge Ferreira de Vasconeellos, who chose a national subject, and in his Ines de Castro gave Portugal her first classic tragedy, just as in his play 0 cioso he gave modern Europe one of its earliest character comedies. The Italian lyric measures imported by Sa de Miranda were adopted by many disciples the Quinhentistas), who modeled themselves on the singer of Madonna Laura. A thoroughly popular drama was that developed by Gil Vicente (e.1470-c.1540). He derived his inspiration from the Spanish playwright Juan del Eneinas but he sought his subjects on all sides, and developed them with rrreat originality of treatment and in a wholly national spirit. A third figure of this period rendered illustrious by SA de Miranda and oil Vicente is the most famous of all Portuguese poets, Luiz de Canoes (c.1524-T9). Like those two authors. he aspired to dramatic honors, and in three early comedies (Filodemo, Bei Selene°, and Enfatrii;es) lie showed himself to be an in genious playwright. his fame, nevertheless, rests rather upon his lyric and epic achievements. The fiery passion and sentiments of the man and lover find expression in his various lyrics. The personal note ring, out also in his glorious epic Os Lusiadas, filled with the spirit of national consciousness and patriotic fervor excited by a realization of the large part that Portugal had played in geographical discovery and in the con quest of territory in the distant Indies.