Revealing doencanto and of the popular soul, pleasant lyric flavor: (BETTER, 1935, p.5) ‘ ‘ 1558) presenteno general cancioneiro, (before to desteviajar for Italy, when it changed the style for sonetos in decasslabos,). Isoto if not only explains because S erafamoso Miranda for quadrinhas emversoshexasslabos, but emontona lyric pelafeio. (These were also caractersticasprprias of cantigas of love Gallego-Portuguese) What it also limited poetical acomposio, for only, enters two four estrofes. But with the same sofreguido of the loves perdidossentido in verses of Francisco de Brazilian Souza, and others, with asmesmascaractersticas in the versificao muitoslusitanos symmetry, similars eem tambma of cancioneiros celebrities: ‘ ‘ With me I had a difference of opinion myself,/I am rank in all danger; /no to possoviver with me,/nor I can run away from me. /.
With pain of people it ran away,/before queesta thus grew; /now> to be dumb (Francisco de Sousa In: CAPADELLI) Lady my good breaks so sad my eyes for you,/quenunca so sad checks outrosnenhunspor nobody. (Joo Ruiz Castello Branco In: CAPADELLI) Nestaltima estrofe you rhyme, them in alternation are also gifts in the cantorias deXiquinha. Olirismo, escrnioe maldizertambm is gifts in our literatos. The poetry of Gregorio de burlesque, ertica and satirical sejalrica Matos, sacra, deeply is taken root Brazilian nessarealidade, especially in its two last sources, esatrica, that register the customs and the moral life, social the ertica and dacapital politics of the colony. Priests, nuns, military, employees of> endios land government, traders, proprietors, noblemen, Jews, adventurers, slaves are personages of the vast composed panel for the poet, who treated suaterratal as he was under the maisvariadospontos of sight: Let us observe its verses: Politician: The demon to live if displays,/no matter how hard the fame exalta, /numa city where it lacks/truth, honor, shame. (>) God is valid us, what he costs,/What El-King in the ones of the one of favour.