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of Theodore-Henri Barrau’s treatise, Des devoirs des enfants envers leurs parents, for a prosodic dictionary, and for many other publications of no literary value. A copy of verses in Antonio Vieira’s Grinalda de Maria (1877), the Loas 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 11th January 1896, was accorded a public funeral, and was buried next to the traditional grave of Camoens in the Jeromite church. His scattered minor prose writings and correspondence have been posthumously published by Dr Theophilo Braga (Lisbon, 1898). His last resting-place corresponds to his position in the history of Portuguese literature. Next to Camoens, 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 Caspar, pieces as witty as anything in Bocage but free from Bocage’s coarse impiety, will always interest literary students. But it is as the singer of love that Joao de Deus will delight posterity as he delighted his own generation. The elegiac music of Rachel and of Marina, the melancholy of Adeus and of Remoinho, the tenderness and sincerity of Men casto lirio, of Lagrima celeste, of Descal^a, and a score more songs are distinguished by the large, vital simplicity which withstands time. It is precisely in the quality of unstudied simplicity that Joao de Deus is incomparably strong. The temptations to a display of virtuosity are almost irresistible for a Portuguese poet; he has the tradition of virtuosity in his blood, he has before him the example of all contemporaries, and he has at hand an instrument of wonderful sonority and compass. Yet not once is Joao de Deus clamorous or rhetorical, not once does he indulge in idle ornament. His prevailing note is that of exquisite sweetness and of reverent purity; yet with all his caressing softness he is never sentimental, and, though he has not the strength for a long flight, emotion has seldom been set to more delicate music. Had he included among his other gifts the gift of selection, had he continued the poetic discipline of his youth instead of dedicating his powers to a task which, well as he per-
YERE
formed it, might have been done no less well by a much lesser man, there is scarcely any height to which he might not have risen. (j. F. — k.) Deutsch-Brod (Czech, Nemeclcy Prod), the chief town ot a government district of the same name in Eastern Bohemia, on the Sazawa river, north-west of the Iglau German enclave. It was the scene of a victory by Ziska in 1422 over the Emperor Sigismund, when it was destroyed by the Hussites, and in the preceding century had been a flourishing mining town. It was found impossible, however, to restore the old mines. Deutsch-Brod is now a manufacturing town, producing starch, cloth, glass, spodium, flour, beer, and it has a number of saw-mills. Population, almost exclusively Czech (1890), 5735 ; (1900), 6526. Deutz, a town of Prussia, incorporated with Cologne (q.v.) in 1888. D£va, a corporate town of South-East Hungary, near the river Maros, 82 miles east by north of Temesvar; capital of the county of Hunyad. It existed in the time of the Homans, but its oldest edifice is the Calvinist church, dating from the epoch of the Hunyadis (15th century). The neighbourhood was the scene of important events in the War of Independence, 1848-49, and the ruins of the fortress, which was then destroyed, are still very imposing. Population (1891), 4657 ; (1900), 7089. Deventer, an old Hanse town in the province of Overyssel, Netherlands, on the river Yssel, 25 miles north of Arnheim. The rise of Amsterdam and the shallowing of the Yssel contributed to its decline, but it remains a commercial centre of some importance, trading with the eastern parts of Guelderland and Overyssel. Connexion with Borculo by steam tram has been established ; also an institution to carry out agricultural experiments. A new theatre was built in 1875. Population (1900), 26,212. | De Vere, Aubrey Thomas (1814-1902), Irish poet and critic, was born at Curragh Chase, county Limerick, on 10th January 1814, being the third son of Sir Aubrey de Yere Hunt. In 1832 his father dropped the final name by royal license. Aubrey de Yere was educated at Trinity College, Dublin, and in his twentyeighth year began his literary career 'with 77ie Waldenses, which he followed up in the next year by The Search after Proserpine. Thenceforward he was continually engaged, till his death on 20th January 1902, in the production of poetry and criticism, devoting a long and industrious life to his enthusiasm for literature. His best known works are : in verse, The Sisters, 1861 ; The Infant Bridal, 1864; Irish Odes, 1869; Legends of St Patrick, 1872; and Legends of the Saxon Saints, 1879 ; and in prose, Essays chiefly on Poetry, 1887 ; and Essays chiefly Literary and Ethical, 1889. He also wrote a picturesque volume of travelsketches, and two dramas in verse, Alexander the Great, 1874; and St Thomas of Canterbury, 1876 ; both of which, though they contain fine passages, suflfer from dififuseness and a lack of dramatic spirit. The characteristics of Aubrey de Yere’s poetry are “high seriousness” and a fine religious enthusiasm. His research in questions of faith led him to the Roman Church; and in many of his poems, notably in the volume of sonnets called St Peter’s Chains, 1888, he made rich additions to devotional verse. He was a disciple of Wordsworth, whose calm meditative serenity he often echoed with great felicity; and his affection for Greek poetry, truly felt and understood, gave dignity and weight to his own versions of mythological idylls. But perhaps he will be chiefly remembered for the impulse which he gave to the study of Celtic legend and literature. In this direction he has had many followers, who have sometimes assumed the appearance of pioneers; but after Matthew
