a Virgem_
(1878) and the _Proverbios de Salomao_ are evidence of a complete return
to orthodoxy during the poet's last years. By a lamentable error of
judgment some worthless pornographic verses entitled _Cryptinas_ have
been inserted in the completest edition of Joao de Deus's poems--_Campo
de Flores_ (Lisbon, 1893). He died at Lisbon on the 11th of January
1896, was accorded a public funeral and was buried in the National
Pantheon, the Jeronymite church at Belem, where repose the remains of
Camoens, Herculano and Garrett. His scattered minor prose writings and
correspondence have been posthumously published by Dr Theophilo Braga
(Lisbon, 1898).

Next to Camoens and perhaps Garrett, no Portuguese poet has been more
widely read, more profoundly admired than Joao de Deus; yet no poet in
any country has been more indifferent to public opinion and more
deliberately careless of personal fame. He is not responsible for any
single edition of his poems, which were put together by pious but
ill-informed enthusiasts, who ascribed to him verses that he had not
written; he kept no copies of his compositions, seldom troubled to write
them himself, and was content for the most part to dictate them to
others. He has no great intellectual force, no philosophic doctrine, is
limited in theme as in outlook, is curiously uncertain in his touch,
often marring a fine poem with a slovenly rhyme or with a misplaced
accent; and, on the only occasion when he was induced to revise a set of
proofs, his alterations were nearly all for the worse. And yet, though
he never appealed to the patriotic spirit, though he wrote nothing at
all comparable in force or majesty to the restrained splendour of _Os
Lusiadas_, the popular instinct which links his name with that of his
great predecessor is eminently just. For Camoens was his model; not the
Camoens of the epic, but the Camoens of the lyrics and the sonnets,
where the passion of tenderness finds its supreme utterance. Braga has
noted five stages of development in Joao de Deus's artistic life--the
imitative, the idyllic, the lyric, the pessimistic and the devout
phases. Under each of these divisions is included much that is of
extreme interest, especially to contemporaries who have passed through
the same succession of emotional experience, and it is highly probable
that _Caturras_ and _Gaspar_, pieces as witty as anything in Bocage but
free from Bocage's coarse impiety, will always interest literary