02817cam a22003373u 450000100060000000300070000600500170001300600020003000700050003200800410003701000130007804000110009104100170010205000070011910000570012624500400018324600770022324600690030026400510036930000470042033600260046733700260049333800360051950000310055550801560058652015280074253400570227065300220232785600870234985600430243677746UtSlPG20260610134812.0mcr n260607r20261925utu|||||o|||||||||||||| d  a26001856  aUtSlPG 7aen2iso639-1 4aPQ1 aBell, Aubrey F. G.q(Aubrey Fitz Gerald),d1882-195014aThe Oxford book of Portuguese verse1 aThe Oxford book of Portuguese verse :  twelfth century-twentieth century1 aThe Oxford book of Portuguese verse :  12th century-20th century 1aSalt Lake City, UT :bProject Gutenberg,c2026  a1 online resource :bmultiple file formats  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  aRelease date is 2026-01-20  aThe Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)  a"The Oxford book of Portuguese verse" by Aubrey F. G. Bell is a poetry anthology written in the early 20th century. It offers a wide survey of Portuguese poetry from its medieval Galician-Portuguese roots through Renaissance, Baroque, Romantic, and modern currents, framed by a learned, scene‑setting introduction. Readers can expect a strong focus on the origins and evolution of Iberian lyric—especially the cantigas de amigo and related folk and courtly forms—alongside later classical and romantic strains.

The opening of the anthology presents a dedication and an expansive introduction that traces Portuguese verse from 12th‑century Galician‑Portuguese song (contrasting imported troubadour court lyric with indigenous parallel‑strophed forms), through the Marian Cantigas of Alfonso X, the roles of King Dinis, Gil Vicente, Sá de Miranda, and Camões, and onward into Baroque gongorism, Arcadian neoclassicism, Romanticism, and early modern trends. After this survey, the selections begin with medieval pieces—barcarolas, bailadas, pastorelas, alvoradas, and cantigas de amigo—often voiced by women yearning for absent lovers amid rivers, seas, boats, dawns, dances, and pilgrimages, all marked by refrains and patterned parallelism. This opening cluster concludes with Alfonso X’s Galician hymns to the Virgin, which blend praise with miracle narratives, providing a devotional counterpoint to the secular sea‑and‑love songs that precede them. (This is an automatically generated summary.)  pOriginally published:cLondon: Clarendon Press, 1925  aPortuguese poetry4 uhttps://babel.hathitrust.org/cgi/pt?id=mdp.39015053565746&view=1up&seq=7&skin=202140uhttps://www.gutenberg.org/ebooks/77746