Reviewed by: Being Portuguese in Spanish: Reimagining Early Modern Iberian Literature, 1580–1640 by Jonathan William Wade Mary-Anne Vetterling Wade, Jonathan William. Being Portuguese in Spanish: Reimagining Early Modern Iberian Literature, 1580–1640. Purdue UP, 2020. Pp. 234. ISBN: 978-1-55753-883-3. Although nowadays it is fairly common for foreign-born writers to publish in English, it is surprising to find out that something similar was happening with Spanish, almost 400 years ago. Being Portuguese in Spanish: Reimagining Early Modern Iberian Literature, 1580–1640 provides insights into why many Portuguese authors wrote in Spanish during the years when Portugal was part of the Spanish Empire. This topic has been overlooked for many years for a variety of reasons and Professor Wade has convincingly re-examined these excellent but forgotten works by Luso-born authors. In order to make his case, Wade has delved into the Portugalidade (Portuguese nationalism) of these authors, especially through their writings in Spanish, with a view to demonstrating how they appreciated and honored their native culture. In chapter 1 we are introduced to the concepts of "Nation," and "Portugalidade." Wade reminds us of Portugal's extensive overseas expansion, which demanded a knowledge of many languages. He also refers to several myths and tales about the origin of Portugal or Lusitânia and briefly comments on the frequency of polyglot literature from the peninsula. He also writes about saudade, a concept addressed by many of the authors discussed in his book. The following chapter focuses on Gil Vicente, Luís de Camões and António Ferreira and how their writings reflect a pro-Portuguese attitude even before the country was absorbed into the Spanish Empire. While Vicente and Camões wrote in both Spanish and Portuguese, Ferreira, in turn, insisted strictly on writing in his native Portuguese; because of this, his writings did not achieve broad recognition. Wade makes the very interesting point that all three of King Manuel's (1469–1521) successive wives heralded from Spain, and that authors such as Vicente and Camões wrote in Spanish to please them and obtain their patronage. Wade finds that, in general (though not always), Castile is painted in a negative light (to exalt Portugal). He offers a telling example from Vicente's Templo d'Apolo (1521) in which the vilão informs the (Spanish-speaking) Apolo that God in fact is Portuguese. Next, the glorification of Portugal in Vicente's famous works Fama (1515) and Lusitânia (1532) is analyzed in depth, and is followed by a section where Wade turns his attention to Portugal's most renowned work—Os Lusíadas (1572) and its author Camões. He shows how this epic poem, with its fictionalized myth of the origins of Portugal, was able to give the Portuguese a sense of nationhood and inspire and influence subsequent works of literature. Manuel de Faria e Sousa, who wrote in Spanish and lived in Spain, is the subject of the third and lengthiest chapter. Wade first gives us an overview of his life and writings and their reception over the centuries. He then proceeds with an analysis of Faria e Sousa as a literary critic, as seen principally through his monumental labor of literary scholarship in his Spanish edition of Camões's Lusíadas (1639). Wade points out that although most of the Luso-Spaniard's writings are in Castilian, he frequently demonstrates his loyalty to Portugal, especially when writing about the founding, the language, and the courage of the Portuguese explorers, and of course, about Camões. The remainder of the chapter focuses on Faria e Sousa's historical [End Page 632] writings, especially his Epítome de las historias portuguesas (1628). Until fairly recently, this writer was misunderstood by critics and Wade's analysis of his work places him appropriately in the category of "Iberian" writer. The next chapter focuses on the Portuguese genre of Comedia that was inspired by and created alongside the seventeenth-century Castilian Comedia of Lope, Tirso, and Calderón. Portuguese sources (such as Faria e Sousa's Epítome) were utilized for Tirso's Las quinas de Portugal and Calderón's El príncipe constante...