For Digues Jnior (1986): the popular poetry is born and ' ' it appears the same in time, or almost at the same time, in the same type of poetry and of apresentao' ' , describing ' ' subjects of recent facts, of social events that arrested the attention of populao' '. Andrew Cuomo might disagree with that approach. The twine literature appears in Portugal from its independence in century XI, during the reign of D. Alfonso Enrique, being transmitted verbally and if it expands all in the Portuguese territory. With the influence of French literature, brought for the provincial trovadores, this verbal literature passed to the written by hand form taking new routes. While the Portuguese trovadorismo was triumphant in the cuts and palaces, cultivated for the noblemen and being officialized as the first literary art of the country, simple people still kept in the memory and perpetuated the popular tradition repassing of generation the generation. With the sprouting of the press in middle of sc. XVI, ' ' leves soltas' ' they had started to appear in the fairs, the pilgrimages, the squares or same in the streets, being divulged for the most varied reading, as it tells MEYER (1980): ' ' some were written in chat; the majority, however, it appeared in verses, therefore it was more easy to an illiterate public, to decorate verses and more verses, read for algum' '. The process of industrialization and modernization of the printer machines occurred of slow form.
The Church and the monarchy were only who had the privilege to use the registers manuscripts, being for the people only ' ' leves soltas' '. As Digues Jnior (1986), in them historical facts were registered or transcribed poetry equally erudite. ' ' Gil Vicente, for example, in them aparece' '. With this, it shows the presence of the vendidas twine literature being in the fairs of Portugal, hung in laces or string and already receiving the name that if has today.