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diff --git a/old/28399-0.txt b/old/28399-0.txt deleted file mode 100644 index dd7417f..0000000 --- a/old/28399-0.txt +++ /dev/null @@ -1,12375 +0,0 @@ -The Project Gutenberg EBook of Four Plays of Gil Vicente, by Gil Vicente - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Four Plays of Gil Vicente - -Author: Gil Vicente - -Editor: Aubrey F. G. Bell - -Release Date: March 24, 2009 [EBook #28399] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK FOUR PLAYS OF GIL VICENTE *** - - - - -Produced by David Starner, Júlio Reis and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -TRANSCRIPTION NOTES: - -* the English translation was placed after the Portuguese text (it was -originally side by side with the Portuguese text) - -* critical edition notes were placed after the Portuguese text - -* critical notes which refer to the play's introduction, before the line -numbering, were labelled '0.' - -* ^ is used for superscript. - - - - - ❧ COPILACAM DE - TODALAS OBRAS DE GIL VICENTE, A QVAL SE - REPARTE EM CINCO LIVROS O PRIMEYRO HE DE TODAS - suas cousas de deuaçam. O segundo as comedias. - O terceyro as tragicomedias. No quarto as farsas. - No quinto as obras meudas. - - [Illustration] - - ¶ Empremiose em a muy nobre & sempre leal cidade de Lixboa - em casa de Ioam Aluarez impressor del Rey nosso senhor - Anno de M D LXII - - ¶ Foy visto polos deputados da Sancta Inquisiçam. - - COM PRIVILEGIO REAL. - - (⁂) - - ¶ Vendem se a cruzado em papel em casa de Francisco fernandez na rua - noua. - - TITLE-PAGE OF THE FIRST (1562) EDITION OF GIL VICENTE'S WORKS - - - - - FOUR PLAYS OF GIL VICENTE - - -Edited from the _editio princeps_ (1562), with Translation and Notes, by - - AUBREY F. G. BELL - - Θαρρε̂ιν χρ̀η τ̀ον κὰι σμικρόν τι δυνάμεηοη - ἐις τ̀ο πρόσθεν ̓αὲι προϊέναι. - - PLATO, _Sophistes_. - - CAMBRIDGE - AT THE UNIVERSITY PRESS - 1920 - - KRAUS REPRINT CO. - New York - 1969 - - - - - TO ALL THOSE WHO HAVE LABOURED IN THE VICENTIAN VINEYARD - - LC 24-15201 - - _First Published 1920_ - _Reprinted by permission of the Cambridge University Press_ - KRAUS REPRINT CO. - A U. S. Division of Kraus-Thomson Organization Limited - - Printed in U. S. A. - - - - -PREFACE - - -Gil Vicente, that sovereign genius[1], is too popular and indigenous for -translation and this may account for the fact that he has not been -presented to English readers. It is hoped, however, that a fairly -accurate version, with the text in view[2], may give some idea of his -genius. The religious, the patriotic-imperial, the satirical and the -pastoral sides of his drama are represented respectively by the _Auto da -Alma_, the _Exhortação_, the _Almocreves_ and the _Serra da Estrella_, -while his lyrical vein is seen in the _Auto da Alma_ and in two -delightful songs: the _serranilha_ of the _Almocreves_ and the -_cossante_ of the _Serra da Estrella_. Many of his plays, including some -of the most charming of his lyrics, were written in Spanish and this -limited the choice from the point of view of Portuguese literature, but -there are others of the Portuguese plays fully as well worth reading as -the four here given. - -The text is that of the exceedingly rare first edition (1562). Apart -from accents and punctuation, it is reproduced without alteration, -unless a passage is marked by an asterisk, when the text of the _editio -princeps_ will be found in the foot-notes, in which variants of other -editions are also given. - -In these notes A represents the _editio princeps_ (1562): _Copilaçam de -todalas obras de Gil Vicente, a qual se reparte em cinco livros. O -primeyro he de todas suas cousas de deuaçam. O segundo as comedias. O -terceyro as tragicomedias. No quarto as farsas. No quinto as obras -meudas. Empremiose em a muy nobre & sempre leal cidade de Lixboa em casa -de Ioam Aluarez impressor del Rey nosso senhor. Anno de MDLXII_. The -second (1586) edition (B) is the _Copilaçam de todalas obras de Gil -Vicente... Lixboa, por Andres Lobato, Anno de MDLXXXVJ_. A third edition -in three volumes appeared in 1834 (C): _Obras de Gil Vicente, correctas -e emendadas pelo cuidado e diligencia de J. V. Barreto Feio e J. G. -Monteiro_. Hamburgo, 1834. This was based, although not always with -scrupulous accuracy, on the _editio princeps_, and subsequent editions -have faithfully adhered to that of 1834: _Obras_, 3 vol. Lisboa, 1852 -(D), and _Obras_, ed. Mendes dos Remedios, 3 vol. Coimbra, 1907, 12, 14 -[_Subsidios_, vol. 11, 15, 17][3] (E). Although there has been a -tendency of late to multiply editions of Gil Vicente, no attempt has -been made to produce a critical edition. It is generally felt that that -must be left to the master hand of Dona Carolina Michaëlis de -Vasconcellos[4]. Since the plays of Vicente number over forty the -present volume is only a tentative step in this direction, but it may -serve to show the need of referring to, and occasionally emending, the -_editio princeps_ in any future edition of the most national poet of -Portugal[5]. - -AUBREY F. G. BELL. - -_8 April 1920._ - - -FOOTNOTES: - -[1] _Este soberano ingenio._ Marcelino Menéndez y Pelayo, _Antologia_, -tom. 7, p. clxiii. - -[2] Although the text has been given without alteration it has not been -thought necessary to provide a precise rendering of the coarser -passages. - -[3] The Paris 1843 edition is the Hamburg 1834 edition with a different -title-page. The _Auto da Alma_ was published separately at Lisbon in -1902 and again (in part) in _Autos de Gil Vicente. Compilação e prefacio -de Affonso Lopes Vieira_, Porto, 1916; while extracts appeared in -_Portugal. An Anthology, edited with English versions, by George Young_. -Oxford, 1916. The present text and translation are reprinted, by -permission of the Editor, from _The Modern Language Review_. - -[4] I understand that the eminent philologist Dr José Leite de -Vasconcellos is also preparing an edition. - -[5] Facsimiles of the title-pages of the two early editions of Vicente's -works are reproduced here through the courtesy of Senhor Anselmo -Braamcamp Freire. - - - - -CONTENTS - - - PAGE - - PREFACE v - - INTRODUCTION ix - - AUTO DA ALMA (THE SOUL'S JOURNEY) 1 - - EXHORTAÇAO DA GUERRA (EXHORTATION TO WAR) 23 - - FARSA DOS ALMOCREVES (THE CARRIERS) 37 - - TRAGICOMEDIA PASTORIL DA SERRA DA ESTRELLA 55 - - NOTES 73 - - LIST OF PROVERBS IN GIL VICENTE'S WORKS 84 - - BIBLIOGRAPHY OF GIL VICENTE 86 - - CHRONOLOGICAL TABLE OF GIL VICENTE'S LIFE AND WORKS 89 - - INDEX OF PERSONS AND PLACES 95 - - * * * * * - - FACSIMILE OF TITLE-PAGE OF THE FIRST EDITION (1562) - OF GIL VICENTE'S WORKS _Frontispiece_ - - FACSIMILE OF TITLE-PAGE OF THE SECOND EDITION - (1586) _page_ lii - - - - -INTRODUCTION - - -I. LIFE AND PLAYS OF GIL VICENTE - -Those who read the voluminous song-book edited by jolly Garcia de -Resende in 1516 are astonished at its narrowness and aridity. There is -scarcely a breath of poetry or of Nature in these Court verses. In the -pages of Gil Vicente[6], who had begun to write fourteen years before -the _Cancioneiro Geral_ was published, the Court is still present, yet -the atmosphere is totally different. There are many passages in his -plays which correspond to the conventional love-poems of the courtiers -and he maintains the personal satire to be found both in the -_Cancioneiro da Vaticana_ and the _Cancioneiro de Resende_. But he is -also a child of Nature, with a marvellous lyrical gift and the insight -to revive and renew the genuine poetry which had existed in Galicia and -the north of Portugal before the advent of the Provençal love-poetry, -had sprung into a splendid harvest in rivalry with that poetry and died -down under the Spanish influence of the fourteenth and fifteenth -centuries. He was moreover a national and imperial poet, embracing the -whole of Portuguese life and the whole rapidly growing Portuguese -empire. We can only account for the difference by saying that Gil -Vicente was a genius, the only great genius of that day in Portugal, and -the most gifted poet of his time. It is therefore all the more -tantalizing that we should know so little about him. A few documents -recently unearthed, one or two scanty references by contemporary or -later authors, are all the information we have apart from that which may -be gleaned from the rubrics and colophons of his plays and from the -plays themselves. The labours of Dona Carolina Michaëlis de -Vasconcellos, Dr José Leite de Vasconcellos[7] and Snr Anselmo Braamcamp -Freire are likely to provide us before long with the first critical -edition of his plays. The ingenious suppositions of Dr Theophilo -Braga[8] have, as usual, led to much discussion and research. He is the -Mofina Mendes of critics, putting forward a hypothesis, translating it a -few pages further on into a certainty and building rapidly on these -foundations till an argument adduced or a document discovered by another -critic brings the whole edifice toppling to the ground. The documents -brought to light by General Brito Rebello[9] and Senhor Anselmo -Braamcamp Freire[10] enable us to construct a sketch of Gil Vicente's -life, while D. Carolina Michaëlis has shed a flood of light upon certain -points[11]. The chronological table at the end of this volume is founded -mainly, as to the order of the plays, on the documents and arguments -recently set forth by one of the most distinguished of modern historical -critics, Senhor Anselmo Braamcamp Freire. The plays, read in this order, -throw a certain amount of new light on Gil Vicente's life and give it a -new cohesion. Whether we consider it from the point of view of his own -country or of the world, or of literature, art and science, his life -coincides with one of the most wonderful periods in the world's history. -At his birth Portugal was a sturdy mediaeval country, proud of her -traditions and heroic past. Her heroes were so national as scarcely to -be known beyond her own borders. Nun' Alvarez (1360-1431), one of the -greatest men of all time, is even now unknown to Europe. And Portugal -herself as yet hardly appraised at its true worth the life and work of -Prince Henry the Navigator (1394-1460), at whose incentive she was still -groping persistently along the western coast of Africa. His nephew -Afonso V, the amiable grandson of Nun' Alvarez' friend, the Master of -Avis, and the English princess Philippa of Lancaster, daughter of John -of Gaunt, was on the throne, to be succeeded by his stern and resolute -son João II in 1481. In his boyhood, spent in the country, somewhere in -the green hills of Minho or the rugged grandeur and bare, flowered -steeps of the Serra da Estrella, all _ossos e burel_[12], Gil Vicente -might hear dramatic stories of the doings at the capital and Court, of -the beginning of the new reign, of the beheadal of the Duke of Braganza -in the Rocio of Evora, of the stabbing by the King's own hand of his -cousin and brother-in-law, the young Duke of Viseu, of the baptism and -death at Lisbon of a native prince from Guinea. - -The place of his birth is not certain. Biographers have hesitated -between Lisbon, Guimarães and Barcellos: perhaps he was not born in any -of these towns but in some small village of the north of Portugal. We -can at least say that he was not brought up at Lisbon. The proof is his -knowledge and love of Nature and his intimate acquaintance with the ways -of villagers, their character, customs, amusements, dances, songs and -language. It is legitimate to draw certain inferences--provided we do -not attach too great importance to them--from his plays, especially -since we know that he himself staged them and acted in them[13]. His -earliest compositions are especially personal and we may be quite sure -that the parts of the herdsman in the _Visitaçam_ (1502) and of the -mystically inclined shepherd, Gil Terron, in the _Auto Pastoril -Castelhano_ (1502) and the _rustico pastor_ in the _Auto dos Reis Magos_ -(1503) were played by Vicente himself. It is therefore well to note the -passage in which Silvestre and Bras express surprise at Gil's learning: - - _S._ Mudando vas la pelleja, - Sabes de achaque de igreja! - - _G._ Ahora lo deprendi.... - - _B._ Quien te viese no dirá - Que naciste en serranía. - - _G._ Dios hace estas maravillas. - -It is possible that Gil Vicente, like Gil Terron, had been born _en -serranía_. Dr Leite de Vasconcellos was the first to call attention to -his special knowledge of the province of Beira, and the reference to -the Serra da Estrella dragged into the _Comedia do Viuvo_ is of even -more significance than the conventional _beirão_ talk of his peasants. -Nor is the learning in his plays such as to give a moment's support to -the theory that he had, like Enzina, received a university education, -or, as some, relying on an unreliable _nobiliario_, have held, was tutor -(_mestre de rhetorica_) to Prince, afterwards King, Manuel. The King, -according to Damião de Goes, 'knew enough Latin to judge of its style.' -Probably he did not know much more of it than Gil Vicente himself. His -first productions are without the least pretension to learning: they are -close imitations of Enzina's eclogues. Later his outlook widened; he -read voraciously[14] and seems to have pounced on any new publication -that came to the palace, among them the works of two slightly later -Spanish playwrights, Lucas Fernández and Bartolomé de Torres Naharro. -With the quickness of genius and spurred forward by the malicious -criticism of his audience, their love of new things and the growing -opposition of the introducers of the new style from Italy, he picked up -a little French and Italian, while Church Latin and law Latin early -began to creep into his plays. The parade of erudition (which is also a -satire on pedants) at the beginning of the _Auto da Mofina Mendes_ is, -however, that of a comparatively uneducated man in a library, of rustic -Gil Vicente in the palace. Rather we would believe that he spent his -early life in peasant surroundings, perhaps actually keeping goats in -the scented hills like his Prince of Wales, Dom Duardos: _De mozo guardé -ganado_, and then becoming an apprentice in the goldsmith's art, perhaps -to his father or uncle, Martim Vicente, at Guimarães. It is extremely -probable that he was drawn to the Court, then at Evora, for the first -time in 1490 by the unprecedented festivities in honour of the wedding -of the Crown Prince and Isabel, daughter of the Catholic Kings, and was -one of the many goldsmiths who came thither on that occasion[15]. If -that was so, his work may have at once attracted the attention of King -João II, who, as Garcia de Resende tells us, keenly encouraged the -talents of the young men in his service, and the protection of his wife, -Queen Lianor. He may have been about 25 years old at the time. The date -of his birth has become a fascinating problem, over which many critics -have argued and disagreed. As to the exact year it is best frankly to -confess our ignorance. The information is so flimsy and conflicting as -to make the acutest critics waver. While a perfectly unwarranted -importance has been given to a passage in Vicente's last _comedia_, the -_Floresta de Enganos_ (1536), in which a judge declares that he is 66 -(therefore Gil Vicente was born in 1470), sufficient stress has perhaps -not been laid on the lines in the play from the Conde de Sabugosa's -library, the _Auto da Festa_, in which Gil Vicente is declared to be -'very stout and over 60.' This cannot be dismissed like the former -passage, for it is evidently a personal reference to Gil Vicente. It was -the comedian's ambition to raise a laugh in his audience and this might -be effected by saying the exact opposite of what the audience knew to be -true: e.g. to speak of Gil Vicente as very stout and over 60 if he was -very young and spectre-thin. But Vicente was certainly not very young -when this play was written and we may doubt whether the victim of -_calentura_ and hater of heat (he treats summer scurvily in his _Auto -dos Quatro Tempos_) was thin. We have to accept the fact that he was -over 60 when the _Auto da Festa_ was written. But when was it written? -Its editor, the Conde de Sabugosa, to whom all Vicente lovers owe so -deep a debt of gratitude[16], assigned it to 1535, while Senhor -Braamcamp Freire, who uses Vicente's age as a double-edged weapon[17], -places it twenty years earlier, in 1515. This was indeed necessary if -the year 1452 was to be maintained as the date of his birth. The theory -of the exact date 1452 was due to another passage of the plays: the old -man in _O Velho da Horta_, formerly assigned to 1512, is 60 (III. 75). -Yet there is something slightly comical in stout old Gil Vicente -beginning his actor's career at the age of 50 and keeping it up till he -was 86. Other facts that may throw light on his age are as follows: in -1502 he almost certainly acted the boisterous part of _vaqueiro_ in the -_Visitaçam_[18]. In 1512 he is over 40 and married (inference from his -appointment as one of the 24 representatives of Lisbon guilds in that -year). In 1512 a 'son of Gil Vicente' is in India. His son Belchior is a -small boy in 1518. In 1515 he received a sum of money to enable his -sister Felipa Borges to marry. In 1531 he declares himself to be 'near -death'[19], although evidently not ill at the time. He died very -probably at the end of 1536 or beginning of 1537[20]. Accepting the fact -that the _Auto da Festa_ was written before the _Templo de Apolo_ (1526) -I would place it as late as possible, i.e. in the year 1525, and -subtracting 60 believe that the date _c._ 1465 for Gil Vicente's birth -will be found to agree best with the various facts given above. - -The wedding of the Crown Prince of Portugal and the Infanta Isabel was -celebrated most gorgeously at Evora. The Court gleamed with plate and -jewellery[21]. There were banquets and tournaments, _ricos momos_ and -_singulares antremeses_, pantomimes or interludes produced with great -splendour--e.g. a sailing ship moved on the stage over what appeared to -be waves of the sea, a band of twenty pilgrims advanced with gilt -staffs, etc., etc.--all the luxurious show which had made the -_entremeses_ of Portugal famous and from which Vicente must have taken -many an idea for the staging of his plays. Next year the tragic death of -the young prince, still in his teens, owing to a fall from his horse at -Santarem, turned all the joy to ashes. Gil Vicente was certainly not -less impressed than Luis Anriquez, who laments the death of Prince -Afonso in the _Cancioneiro Geral_, or Juan del Enzina, who made it the -subject of his version or paraphrase of Virgil's 5th eclogue. Vicente's -acquaintance with Enzina's works may date from this period, although we -need not press Enzina's words _yo vi_ too literally to mean that he was -actually present at the Portuguese Court. Vicente may have accompanied -the King and Queen to Lisbon in October of this year, but for the next -ten years we know as much of his life as for the preceding twenty, that -is to say, we know nothing at all. The only reference to his sojourn at -the Court of King João II occurs in the mouth of Gil Terron (I, 9): - - ¿Conociste a Juan domado - Que era pastor de pastores? - Yo lo vi entre estas flores - Con gran hato de ganado - Con su cayado real. - -A note in the _editio princeps_ declares the reference to be to King -João II. If we read _domado_ it can only be applied to the indomitable -João II in the sense of having yielded to the will of Queen Lianor in -acknowledging as heir her brother Manuel in preference to his -illegitimate son Jorge. Perhaps however it is best to read _damado_, -which recurs in the same play. Perhaps we may even see in the passage an -allusion merely to an incident occurring in the time of João II and not -to the King himself[22]. We may surmise that about this time, perhaps as -early as 1490, Vicente became goldsmith to Queen Lianor. The events of -this wonderful decade must have moved him profoundly, events sufficient -to stir even a dullard's imagination as new world after new world swept -into his ken: the conquest of Granada from the Moors in 1492, the -arrival of Columbus at Lisbon from America in 1493, the similar return -of Vasco da Gama six years later from India, the discovery of Brazil in -1500. Two years later Vicente emerges into the light of day. King Manuel -had succeeded to the throne on the death of King João (25 Oct. 1495) and -had married the princess Maria, daughter of the Catholic Kings. Their -eldest son, João, who was to rule Portugal as King João III from 1521 to -1557, was born on June 6, 1502, on which day a great storm swept over -Lisbon. On the following evening[23] or on the evening of June 8 Gil -Vicente, dressed as a herdsman, broke into the Queen's chamber in the -presence of the Queen, King Manuel, his mother Dona Beatriz, his sister -Queen Lianor, who was one of the prince's godmothers, and others, and -recited in Spanish a brief monologue of 114 lines. Having expressed -rustic wonder at the splendour of the palace and the universal joy at -the birth of an heir to the throne he calls in some thirty companions to -offer their humble gifts of eggs, milk, curds, cheese and honey. Queen -Lianor was so pleased with this 'new thing'--for hitherto there had been -no literary entertainments to vary either the profane _serãos de dansas -e bailos_ or the religious solemnities of the court--that she wished -Vicente to repeat the performance at Christmas. He preferred, however, -to compose a new _auto_ more suitable to the occasion and duly produced -the _Auto Pastoril Castelhano_. King Manuel had just returned to Lisbon -from a pilgrimage to Santiago de Compostela in Galicia in thanksgiving -for the discovery of the sea-route to India. He found the Queen in the -palace of Santos o Velho and was received _com muita alegria_. But no -allusion to great contemporary events troubles the rustic peace of this -_auto_, which is some four times as long as the _Visitaçam_, and which -introduces several simple shepherds to whom the Angel announces the -birth of the Redeemer. Queen Lianor was delighted (_muito satisfeita_) -and a few days later, on the Day of Kings (6 Jan. 1503), a third -pastoral play, the _Auto dos Reis Magos_, was acted, the introduction of -a knight and a hermit giving it a greater variety. The _Auto da Sibila -Cassandra_ has been assigned to the same year, and the _Auto dos Quatro -Tempos_ and _Quem tem farelos?_ to 1505, but there are good reasons for -giving them a later date. The only play that can be confidently asserted -to have been produced by Vicente between January 1503 and the end of -1508 is the brief dialogue between the beggar and St Martin: the _Auto -de S. Martinho_, in ten Spanish verses _de rima cuadrada_, recited -before Queen Lianor in the Caldas church during the Corpus Christi -procession of 1504. The reasons for this silence are not far to seek. In -September 1503, Dom Vasco da Gama returned from his second voyage to -India with the first tribute of gold: 'The lords and nobles who were -then at Court went to visit him on his ship and accompanied him to the -palace. A page went before him bearing in a bason the 2000 _miticaes_ of -gold of the tribute of the King of Quiloa and the agreement made with -him and the Kings of Cananor and Cochin. Of this gold King Manuel -ordered a monstrance to be wrought for the service of the altar, adorned -with precious stones, and commanded that it should be presented to the -Convent of Bethlehem[24].' At this monstrance, still the pride of -Portuguese art, Gil Vicente worked during three years (1503-6). He was -perhaps already living in the Lisbon house in the _Rua de Jerusalem_ -assigned to him by his patroness, Queen Lianor[25]. There were other -reasons for his silence. The death of Queen Isabella of Spain in 1504 -and again the death of King Manuel's mother, Dona Beatriz, in 1506, -threw the Portuguese Court into mourning. Plague and famine raged at -Lisbon from 1505 to 1507, while, after the awful massacre of Jews at -Easter 1506, during which some thousands were stabbed or burnt to death, -the city of Lisbon was placed under an interdict which was not raised -till 1508. - -Let us take advantage of Vicente's long silence to explain why it can be -asserted so confidently that he was now at work on the Belem _custodia_. -The burden of producing some definite document to show that Gil Vicente -the poet and Gil Vicente the goldsmith were two different persons rests -on the opponents of identity. The late Marcelino Menéndez y Pelayo, -whose death in 1912 was a great blow to Portuguese as well as to Spanish -literature, would certainly have changed his view if he had lived. In -his brilliant study of Gil Vicente, a 'sovereign genius,' 'the most -national playwright before Lope de Vega[26],' 'the greatest figure of -our primitive theatre[27],' he remarked that if Vicente had been a -goldsmith and one of such skill he must infallibly have left some trace -of it in his dramatic works and that the contemporaries who mention him -would not have preserved a profound silence as to his artistic -talent[28]; yet Menéndez y Pelayo himself speaks of Vicente's _alma de -artista_[29] and of the plastic character which the most fantastic -allegorical figures receive at his hands[30]. If we were assured that -the dreamy Bernardim Ribeiro had fashioned the Belem monstrance we might -well remain sceptical, but Vicente stands out from among the vaguer -poets of Portugal in having, like Garcia de Resende, an extremely -definite style, and his imagination, as in his dream of fair women in -the _Templo de Apolo_, coins concrete figures, not intellectual -abstractions. Resende, we know, was a skilled draughtsman as well as -poet, chronicler and musician, and it is curious that the very phrase -applied by Vicente to Resende, _de tudo entende_ (II, 406), is used of -Vicente himself in an anecdote quoted by Senhor Braamcamp Freire. As to -his own silence and that of his contemporaries, their silence[31] -concerning the presence of two Gil Vicentes at Court would be quite as -astonishing, especially as they distinguish between other homonyms of -the time, and the silent satellite dogged the poet Vicente's steps with -the strangest persistence. According to the discoveries or inventions of -the Visconde Sanches de Baena[32] he was the poet's uncle; according to -Dr Theophilo Braga they were cousins[33]. The poet, as many passages in -his plays show, was interested in the goldsmith's art[34]; the goldsmith -wrote verses[35]. The poet made his first appearance in 1502, the artist -in 1503. Splendid as was the Portuguese Court and although its members -had almost doubled in number in less than a century[36], the King did -not keep men there merely on the chance of their producing 'a new -thing.' The sovereign of a great and growing empire had something better -to do than to indulge in forecasts as to the potential talents of his -subjects. When Gil Vicente in 1502 produced a new thing in Portugal his -presence in the palace can only be explained by his having an employment -there, and since we know that Queen Lianor had a goldsmith called Gil -Vicente who wrote verses and since the poet wrote all his earlier plays -for Queen Lianor[37], it is rational to suppose that this employment was -that of goldsmith to the Queen-Dowager. His presence at Court was -certainly not by right of birth: Vicente was not a 'gentleman of good -family,' as Ticknor and others have supposed, but the noble art of the -goldsmith (its practice was forbidden in the following century to slaves -and negroes) would enable him to associate familiarly with the -courtiers. In 1509 or later[38] the poet joined, at the request of Queen -Lianor, in a poetical contest concerning a gold chain, in which another -poet, addressing Vicente, refers especially to necklaces and jewels. In -the same year Gil Vicente is appointed overseer of works of gold and -silver at the Convent of the Order of Christ, Thomar, the Hospital of -All Saints, Lisbon, and the Convent of Belem. At the Hospital of All -Saints the poet staged one of his plays. To Thomar and its fevers he -refers more than once and presented the _Farsa de Ines Pereira_ there in -1523. In 1513 he is appointed _Mestre da Balança_, in 1517 he resigns -and in 1521 the poet alludes to the goldsmith's former colleagues: _os -da Moeda_, while his production as playwright increases after the -resignation and his complaints of poverty become more frequent[39]. In -1520 Gil Vicente the goldsmith is entrusted by King Manuel with the -preparations for the royal entry into Lisbon, an _auto_ figuring in the -programme. If there was nothing new in a goldsmith writing verses the -drama of Vicente was an innovation and João de Barros would quite -naturally refer (as André de Resende before him) to the poet-goldsmith -as _Gil Vicente comico_. On the other hand there is an almost brutal -egoism in the silence concerning his unfortunate uncle (or cousin) -maintained by Gil Vicente, who refers to himself as poet more than once, -with evident pride in his _autos_. Recently General Brito Rebello -(1830-1920), whose researches helped to give shape and substance to Gil -Vicente's life, discovered a document of 1535 in which the poet's -signature differs notably from that of the goldsmith in 1515[40]. It is, -however, possible to maintain that the former signature is not that of -Gil Vicente at all and that the words of the document _per seu filho -Belchior Vicente_ mean that Belchior signed in his father's name; or, -alternatively, we can only say that Gil Vicente's handwriting had -changed, a change especially frequent in artists. To those who examine -all the evidence impartially there can remain very little doubt that Gil -Vicente was first known at Court for his skill as goldsmith, and that he -began writing verses and plays at the suggestion of his patroness, Queen -Lianor. - -On March 3, 1506, Vicente momentarily resumed his literary character and -composed for Queen Lianor a long lay sermon, spoken before the King on -the occasion of the birth of the Infante Luis (1506-55), who was himself -a poet and the friend and patron of men of letters. The envious feared -that Vicente was playing too many parts and contended that this was no -time for a sermon by a layman, but Vicente excused himself with the -saying, commonly attributed to Garci Sanchez de Badajoz, that if they -would permit him to play the fool this once he would leave it to them -for the rest of their lives, and launched into the exposition of his -text: _Non volo, volo et deficior_. His next play _Quem tem farelos?_ -is assigned by Senhor Braamcamp Freire to December 1508 or January -1509[41]. The reference to the _embate_ in Africa in all probability -alludes to the siege of Arzila in 1508. King Manuel had made -preparations to set sail for an African campaign in 1501 and 1503, but -the word _embate_ implies something more definite. The later date (it -was formerly assigned to 1505) is more suitable to the finished art of -this first farce and to the fact that its success--so great that the -people gave it the name by which it is still known, i.e. the first -three words of the play--would be likely to cause its author to produce -another farce without delay. Its successor, the _Auto da India_, acted -before Queen Lianor at Almada in 1509, has not the same unity and its -action begins in 1506 and ends in 1509. It displays a broader outlook -and the influence of the discovery of India on the home-life of -Portugal. In 1509 the fleet sailed from Lisbon under Marshal Coutinho on -March 12 and _Maio_ (III. 28) might be a misprint for _Março_; the -_partida_ alluded to, however, is that of Tristão da Cunha and Afonso de -Albuquerque in 1506. It is just possible that _Quem tem farelos?_ was -begun in 1505 (the date of its rubric) and the _Auto da India_ in 1506. -Early in this year 1509 (Feb. 15) Vicente received the appointment of -_Vedor_ and at Christmas of the following year he produced a play at -Almeirim, a favourite residence of King Manuel, who spent a part of most -winters there in the pleasures of the chase[42]. This _Auto da Fé_ is -but a simple conversation between Faith and two peasants, who marvel at -the richness of the Royal Chapel. In 1511, perhaps at Carnival[43], the -_Auto das Fadas_ further shows the expansion, perhaps we may say the -warping, of his natural genius, for although we may rejoice in the -presentation of the witch Genebra Pereira, the play soon turns aside to -satirical allusions to courtiers, while the Devil gabbles in picardese. -Peasants' _beirão_ with a few scraps of biblical Latin had hitherto been -Vicente's only theatrical resource as regards language. The _Farsa dos -Fisicos_ is now[44] assigned to 1512, early in the year. It is leap year -(III. 317) and Senhor Braamcamp Freire sees in the lines (III. 323): - - Voyme a la huerta de amores - Y traeré una ensalada - Por Gil Vicente guisada - Y diz que otra de mas flores - Para Pascoa tien sembrada - -a reference to _O Velho da Horta_, acted before King Manuel in 1512. In -August of the following year James, Duke of Braganza, set sail from -Lisbon with a fleet of 450 ships to conquer Azamor: - - Foi hũa das cousas mais para notar - Que vimos nem vio a gente passada[45]. - - -Gil Vicente was in the most successful period of his life. In December -1512 he was chosen by the Guild of Goldsmiths to be one of the -twenty-four Lisbon guild representatives and some months later he was -selected by the twenty-four to be one of their four proctors, with a -seat in the Lisbon Town Council. On February 4, 1513, he had become -Master of the Lisbon Mint. For the departure of the fleet against Azamor -he comes forward as the poet laureate of the nation and vehemently -inveighs against sloth and luxury while he sings a hymn to the glories -of Portugal. The play alludes to the gifts sent to the Pope in the -following year and this probably led to the date of the rubric (1514), -but it also refers to the royal marriages of 1521, 1525 and 1530, and we -may thus assume that it was written in 1513 and touched up for a later -production or for the collection of Vicente's plays. Perhaps at -Christmas of this year was acted before Queen Lianor in the Convent of -Enxobregas at Lisbon the _Auto da Sibila Cassandra_, hitherto placed ten -years earlier. Senhor Braamcamp Freire points out that the Convent was -only founded in 1509[46]. A scarcely less cogent argument for the later -date is the finish of the verse and the exquisiteness of the lyrics, -although the action is simple and the reminiscences of Enzina are -many[47] (a fact which does not necessarily imply an early date: -Enzina's echo verses are imitated in the _Comedia de Rubena_, 1521). We -may note that the story of Troy is running in Vicente's head as in the -_Exhortação_ of 1513 (he had probably just read the _Cronica Troyana_). -The last lyric, _A la guerra, caballeros_, is out of keeping with the -rest of the play, but fighting in Africa was so frequent that it cannot -help to determine the play's date. It is in this period (1512-14) that -it is customary to place the death of Vicente's first wife Branca -Bezerra, leaving him two sons, Gaspar and Belchior. She was buried at -Evora with the epitaph: - - Aqui jaz a mui prudente - Senhora Branca Becerra - Mulher de Gil Vicente - Feita terra. - -This gives the _Comedia do Viuvo_, acted in 1514, a personal note, which -is emphasized by the names of the widower's daughters, Paula, the name -of Gil Vicente's eldest daughter, and Melicia, the name of his second -wife. In the following year private grief was merged in the growing -renown of Portugal in the _Auto da Fama_, which the rubric attributes to -1510, although it alludes to the siege of Goa (1510), the capture of -Malaca (1511), the victorious expedition against Azamor (1513), and the -attack on Aden (1513). It was acted first before Queen Lianor and then -before King Manuel at Lisbon, and we may surmise that it was written or -begun when the first news of Albuquerque's successes reached Lisbon and -recast in 1515. The year 1516 has also been suggested, but the death of -King Ferdinand the Catholic in January of that year and the death of -Albuquerque in December 1515 render this date unsuitable. Even if the -play was acted at Christmas 1515, there is the ironical circumstance -that, at the moment when the Court was ringing with praises of the -Portuguese deeds in India, the great Governor was lying dead at Goa. The -date of the _Auto dos Quatro Tempos_ is equally problematic. It was -acted before King Manuel at the command of Queen Lianor in the S. Miguel -Chapel of the Alcaçova palace on a Christmas morning. The name of the -palace indicates the year 1505 or an earlier date[48], and it has been -assigned to the year 1503 or 1504; but the superior development of the -play's structure and even of its thought (e.g. I. 78), its resemblance -to the _Triunfo do Inverno_ (1529), the introduction of a French song, -of the gods of Greece and of a psalm similar to that in the _Auto da -Mofina Mendes_ (1534)[49] and the perfection of the metre all indicate a -fairly late date, while imitations of Enzina[50] are not conclusive. On -the whole the intrinsic evidence counterbalances the statement of the -rubric as to the Alcaçova palace and we may boldly assign this -delightful piece to Christmas 1516[51], while admitting that in a -rougher form it may have been presented to Queen Lianor[52] at a much -earlier date. - -The approximate date of the next play, the _Auto da Barca do Inferno_, -is certain. This first part of Vicente's remarkable trilogy of _Barcas_ -was acted 'in the Queen's chamber for the consolation of the very -catholic and holy Queen Dona Maria in the illness of which she died in -1517.' If we manipulate the commas so as to make the date refer to the -play as well as to the Queen's death, the remedy proved fatal, for she -died on March 7, but it is possible that it was acted earlier, towards -the end of 1516. The subject was a gloomy one but its treatment was -intended to raise many a laugh and it ends with the famous brief -invocation of the Angel to the knights who had died fighting in Africa. -On August 6, 1517, Vicente resigned the post of Master of the Mint in -favour of Diogo Rodriguez and probably about this time he married his -second wife, Melicia Rodriguez. The second and third parts of the -_Barcas_ trilogy were given in 1518 and 1519, but between the first and -third parts Senhor Braamcamp Freire now places the _Auto da Alma_, and -his scholarly suggestion[53] is amply borne out by the maturity and -perfection of this beautiful play[54] and by the likelihood that Vicente -when he wrote it was acquainted with Lucas Fernández' _Auto de la -Pasion_ (1514). The _Auto da Barca do Purgatorio_ was acted before Queen -Lianor on Christmas morning, 1518, at the _Hospital de Todolos Santos_ -(Lisbon). King Manuel had been at Lisbon in July of this year, going -thence to Sintra, Collares, Torres Vedras and Almeirim, whence at the -end of November he proceeded to Crato to welcome his new Queen, Dona -Lianor. They returned together to Almeirim and the next months were -spent there 'in great bullfights, jousts, balls and other entertainments -till the beginning of Spring [May] when the King went to Evora[55].' The -_Auto da Barca da Gloria_ was played before his Majesty in Holy Week, -1519, and the fact that it is in Spanish and treats not of 'low -figures,' but of nobles and prelates, reveals the taste of the Court and -the wish to please the young Queen. In the following year (Nov. 29, -1520) Vicente was sent from Evora to Lisbon to prepare for the entry of -the King and Queen into their capital (January 1521). He seems to have -worked hard in arranging and directing the festivities, and in the same -year (1521) he staged both the _Comedia de Rubena_ and the _Cortes de -Jupiter_. The latter is the only Vicente play of which we have a -contemporary description. It was acted on the departure of the King's -daughter, Beatriz, at the age of sixteen to espouse the Duke of Savoy. -Her dowry, including precious stones, pearls and necklaces, was -magnificent, and after brilliant rejoicings at Lisbon she embarked on a -ship of a thousand tons in a fleet commanded by the Conde de Villa Nova. -She was accompanied by the Archbishop of Lisbon and many nobles. On the -evening of August 4, in the Ribeira palace 'in a large hall all adorned -with rich tapestry of gold, well carpeted, with canopy, chairs and -cushions of rich brocade, began a great ball in which the King our lord -danced with the lady Infanta Duchess his daughter and the Queen our -lady with the Infanta D. Isabel, and the Prince our lord and the Infante -D. Luis with ladies they chose; and so all the courtiers danced who were -going to Savoy and many other gentlemen and courtiers for a long space. -And the dancing over, began an excellent and well devised comedy with -many most natural and well adorned figures, written and acted for the -marriage and departure of the Infanta; and with this very skilful and -suitable play the evening ended[56].' - -Twenty weeks after these splendid scenes and the _alegrias d'aquelas -naves tam belas_[57] the King was dead. He died (13 Dec. 1521) in the -full tide of apparent prosperity. As he watched the slow funeral -procession passing in the night from the palace to Belem amid 600 -burning torches[58] Gil Vicente must have thought of his own altered -position. King Manuel had treated his sister's goldsmith generously[59] -and had personally attended the acting of many of his plays. The -diversion of elephant and rhinoceros had been only a momentary -backsliding, and he had sat through the whole of the _Barca da Gloria_, -in which a King and an Emperor fared so lamentably at the hands of the -modern Silenus. But he does not appear to have done anything to secure -the poet's well-being. King Manuel's sister, Vicente's faithful -patroness, was, however, still alive, and he had much to hope from the -new king who had grown up along with the Vicentian drama. Vicente's -first literary production had celebrated his birth, at the age of nine -the prince had been given a special verse in the _Auto das Fadas_ (III. -111), at the age of twelve he had actually intervened in the acting of -the _Comedia do Viuvo_ (II. 99), although his part was confined to a -single sentence. Finally, in the very year of his accession, he had been -represented as a second Alexander in the _Cortes de Jupiter_, and the -_Comedia de Rubena_ had been acted especially for him[60]. But King João -III had not the careless temperament or graceful magnificence of his -father, and while he evidently trusted Vicente and showed him constant -goodwill--we have the proof in the pensions received by Vicente during -this reign--the favourite of one king rarely finds the same atmosphere -in the _entourage_ of his successor, however friendly the king himself. -Thus while João III brooded over affairs of Church and State the -_detractores_ had more opportunity to attack the Court dramatist. On -December 19 the new king was proclaimed at Lisbon and Vicente, placed -too far away to hear what was said at the ceremony, invented verses -which he placed on the lips of the various courtiers as they kissed -hands (III. 358-64). It was not only the king but the times that had -changed, and King Manuel died not a moment too soon if he wished not to -see the reverse side of the brightly coloured tapestry of his reign. -Vicente ends his verses with the significant words: - - Diria o povo em geral: - Bonança nos seja dada, - Que a tormenta passada - Foi tanta e tam desigual. - - -In the following year he wrote a burlesque lamentation and testament, -entitled _Pranto de Maria Parda_, 'because she saw so few branches in -the streets of Lisbon and wine so dear, and she could not live without -it[61].' In the late summer of 1523 in the celebrated convent of Thomar -he presented one of his most famous farces before the King: _Farsa de -Ines Pereira_. The critics were already gaining ground and 'certain men -of good learning' doubted whether he was the author of his plays or -stole them from others, a doubt suggested perhaps by the somewhat close -resemblance of the _Barca da Gloria_ to the Spanish _Danza de la -Muerte_. - -Vicente vindicated his originality by taking as his theme the proverb -'Better an ass that carries me than a horse that throws me,' and -developing it into this elaborate comedy. At Christmas of the same year -at Evora, in the introductory speech of the _Auto Pastoril Portugues_, -placed in the mouth of a _beirão_ peasant, the audience is informed that -poor Gil who writes plays for the King is without a farthing and cannot -be expected to produce them as splendidly as when he had the means (I. -129). He was probably disappointed that the 6 milreis which he had -received that year (May 1523) was not a regular pension. His complaint -fell on listening ears and in 1524 (the year of Camões' birth) he was -granted two pensions, of 12 and of 8 milreis, while in January 1525 he -received a yet further pension of three bushels of wheat. Thus, although -his possession of an estate near Torres Vedras, not far from Lisbon, has -been proved to be a myth and we know that the entire fortune of his -widow consisted in 1566 of ten milreis and that of his son Luis of -thirty[62], and while we must remember his expenses in travelling and in -the production of his plays, his financial position compares very -favourably with that of Luis de Camões half a century later. - -The _Fragoa de Amor_, wrongly assigned to 1525, belongs to the year -1524, the occasion being the betrothal of King João III to Catharina, -sister of the Emperor Charles V[63]. The year 1525 is the most discussed -date in the Vicentian chronology. Two plays are doubtfully assigned to -it and we may perhaps add a third, the _Auto da Festa_, as well as the -_trovas_ addressed to the Conde de Vimioso. Senhor Braamcamp Freire[64] -plausibly places in this year the _Farsa das Ciganas_, although the date -of the rubric is 1521, the year perhaps in which the idea of this slight -piece took shape in the poet's brain. There is a more definite reason -for assigning _Dom Duardos_ to this year. It is a play based on the -romance of chivalry commonly known as _Primaleon_, of which a new -edition appeared at Seville in October 1524[65], and we know from Gil -Vicente's dedication that Queen Lianor († 17 Dec. 1525) was still -alive[66]. Yet we are still in the region of hypothesis, for the -adventures of Dom Duardos were in print since 1512 (Salamanca)[67], and -we may perhaps doubt whether this 'delicious idyl[68],' the longest of -Vicente's works, was ready a year after the publication of the Seville -edition, although as Senhor Braamcamp Freire points out[69], the -betrothal of the Emperor Charles V to the King's sister was a suitable -occasion for the production of the play[70]. The only play assigned with -some certainty to 1525 is that in which the husband of Ines Pereira -reappears as a rustic judge _à la Sancho Panza: O Juiz da Beira_, acted -before the King at Almeirim. - -It was a year of famine and plague at Lisbon. The fact that the verses -addressed by Vicente to the Conde de Vimioso inform us that Vicente's -household was down with the plague and his own life in danger (III. 38) -bind these verses to no particular date, the plague being then all too -common a visitation. Indeed General Brito Rebello and Senhor Braamcamp -Freire both attribute this poem to 1518. His complaints of poverty -would thus have begun immediately after his resignation of the -lucrative post of Master of the Mint and before he had received his -pensions. 'He who does not beg receives nothing,' he says, and later on -in the same poem 'If hard work and merit spelt success I would have -enough to live on and give and leave in my will' (III. 382-3). The -general tone of these verses is more in accordance with that of his -later plays[71], and the occasion was more probably that in which he -composed the _Templo de Apolo_, written when he was _enfermo de grandes -febres_ (II. 371), and acted in January 1526[72]. In his verses he tells -the Conde de Vimioso that 'I have now in hand a fine farce. I call it _A -Caça dos Segredos_. It will make you very gay.' 'I call it'; but the -name given by the author was more than once ousted by a popular title. -This implied popularity of Gil Vicente's plays, acted before the Court -and not published in a collected edition till a quarter of a century -after his death, might seem unaccountable were it not for the fact that -some of his pieces, printed separately, were eagerly read, and that the -people might be present in fairly large numbers when his plays were -represented in church or convent. We know too that plays were acted in -private houses. The publication of Antonio Ribeiro Chiado's _Auto da -Natural Invençam_ (_c._ 1550) by the Conde de Sabugosa throws much light -on this subject. This _auto_, acted a few years after Vicente's death, -contains the description of the presentation of a play in a private -house at Lisbon. The play was to begin at 10 or 11 p.m., the actors -having to play first at two other private houses. So great is the -interest that not only is the house crowded and its door besieged but -the throng in the street outside is so thick that the players have much -difficulty in forcing their way through it. The owner of the house had -given 10 cruzados for the play[73]. Vicente's _Auto da Festa_ was -similarly acted in a private house. The most interesting of all the -facts recorded by Chiado is the eagerness of the people. Uninvited -persons from the crowd outside kept pressing in at the door. Thus we can -easily understand how the people could give their own name to a play, -fastening on words or incident that especially struck them. The Farce of -the Poor Squire became _Quem tem farelos?_[74], the author's name for -the _Auto da Mofina Mendes_ was _Os Mysterios da Virgem_ (I. 103), the -_Clerigo da Beira_ was also known as the _Auto de Pedreanes_[75]. -Therefore when we come upon a new title of a Vicente play unknown to us -we need not conclude that it is a new play. - -Of the seven Vicente plays[76] placed on the Portuguese _Index_ of 1551 -four are known to us. The _Auto da Vida do Paço_ may be identified with -some probability with the _Romagem de Aggravados_[77]. If we may not -identify the _Jubileu de Amores_ with the _Auto da Feira_ its -disappearance must be accounted for by the wrath of the Church of Rome, -which fell upon it when produced at Brussels in 1531[78]. The remaining -play _O Auto da Aderencia do Paço_ can scarcely be identified with the -_Auto da Festa_ on the ground that the _vilão_ says (1906 ed., p. 123): - - Quem quiser ter que comer - Trabalhe por aderencia: - Haverá quanto quiser. - Vosoutros que andais no paço.... - -especially as there was scarcely anything for the Censorship to condemn: -merely the mention of the _Priol's_ two sons (p. 111) and the ease with -which the old woman obtains a Bull from the Nuncio (pp. 120, 124). There -is far more reason, 'in my simple conjectures,' for believing that _A -Caça dos Segredos_ altered its name before or after it was produced and -became _A farsa chamada Auto da Lusitania_. In the burlesque passage -concerning Gil Vicente in this play (III. 275-6) we learn that he was -instructed for seven years and a day in the Sibyl's cave and informed by -the Sibyl of the secrets which she knew about the past: - - E ali foi ensinado - Sete anos e mais um dia - E da Sibila informado - Dos segredos que sabia - Do antigo tempo passado. - -If the _Trovas ao Conde de Vimioso_ were written in 1525, the seven -years during which Vicente hunted for secrets bring us to 1532, the -date of the _Auto da Lusitania_. The necessary allusions to the birth of -the Prince were inserted, but the play had been ready long before[79]. - -The _Auto da Festa_ was probably acted in a private house at Evora. It -contains scarcely an indication as to its date[80], but it has passages -similar to others in the _Farsa de Ines Pereira_ (1523), the _Fragoa de -Amor_[81] (1524) and the _Farsa das Ciganas_ (1525?)[82]. That the play -was prior to the _Templo de Apolo_ seems evident, and the author would -be unlikely to copy from what he calls an _obra doliente_ (II. 373) with -Portuguese passages introduced to prop up a play originally written -wholly in Spanish (_ibid._). Nor need the anti-Spanish passages tell -against the year of the betrothal of Charles V and the Infanta Isabel, -for they are placed in the mouth of a _vilão_ and the play was performed -in private. In the _Templo de Apolo_ the anti-Spanish atmosphere has not -quite vanished, but the _vilão_ contents himself with saying that _Deos -não é castelhano_, and even so Apollo feels bound to present his -excuses: - - Villano ser descortés - No es mucho de espantar. - -_Quem não parece esquece_, says Vicente in his _trovas_ to Vimioso. _Les -absents ont tort_. After a quarter of a century he could no longer -describe his _autos_ as a new thing and he was now confronted by the -formidable novelty of the hendecasyllabic metre introduced by Sá de -Miranda from Italy. He felt that he had his back against the wall[83]. -He made a prodigious effort to vary the themes of his plays and to -produce them with increasing frequency. The year 1527 is his _annus -mirabilis_. The _Sumario da Historia de Deos_ and the _Dialogo sobre a -Ressurreiçam_ are assigned, if not to this year, to the period -1526-8[84]. The _Nao de Amores_ celebrated the entry of Queen Catharina -into Lisbon in 1527, and before the autumn[85] three plays, the _Divisa -da Cidade de Coimbra_, the _Farsa dos Almocreves_ and the _Tragicomedia -da Serra da Estrella_, had been presented before the Court at the -charming old town of Coimbra which ten years later definitively became -the University town of Portugal. His great efforts were not unrewarded, -for in the following year he received a yet further pension of 12 -milreis. On his way back from Coimbra to Santarem he fell among some -Spanish carriers who took advantage of the new Queen's favour to fleece -the poet, and he wrote some verses of comic complaint to the King (II. -383-4). The rubric assigns to the same year the famous _Auto da Feira_ -(Lisbon: Christmas 1527) but Snr Braamcamp Freire[86] points out that -King João did not spend Christmas of this year at Lisbon and assigns it -to 1528, the year in which the celebrated Dialogues of Alfonso and Juan -de Valdés saw the light. In April 1529 the _Triunfo do Inverno_ -celebrated the birth of the Infanta Isabel. The author introduced the -play in a long lament in verse over the forgotten jollity of earlier -times and then, to show that his own hand had lost none of its cunning, -he gave his audience a feast of lyrical passages in the Triumphs of -Winter and Spring. - -In 1527 Vicente seems clearly to have aimed his allusions to the sons of -priests at Francisco de Sá de Miranda, whose father was a priest and who -was born at Coimbra. And now in _O Clerigo da Beira_[87] we have a -priest addressing his son Francisco and telling him that a priest's son -will never come to any good. On his part the grave Sá de Miranda had -protested against the introduction of scenes from the Bible into the -_farsas_: the allusion to Vicente was clear although his treatment of -such scenes was usually reverent. Vicente still had the ear of the Court -and Sá de Miranda could only lament that the new style had at first so -little vogue in Portugal. That the King, when he had leisure, consulted -Vicente on weightier matters than the production of Court plays is -proved by a passage[88] in the letter addressed to him by the poet from -Santarem. A terrible earthquake shock on Jan. 26, 1531, followed by -other severe shocks, kept the people in a panic for fifty days. -_Terruerant satis haec pavidam praesagia plebem_, and to make matters -worse the monks of Santarem, with an eye on the new Christians, spoke of -the wrath of God and announced another earthquake as calmly as if they -were giving out the hour of evensong. Vicente, who in his letter to the -King[89] says, like Newman's Gerontius, 'I am near to death,' assembled -the monks and preached them an eloquent sermon. The prestige of the -Court poet restrained their zeal and probably avoided another massacre -such as he had seen at Lisbon a quarter of a century before. It was in -December of this year that the _Jubileu de Amores_ was acted in the -house of the Portuguese Ambassador at Brussels, to the horror of -Cardinal Aleandro, who almost persuaded himself that he was witnessing -the sack of Rome four years earlier. It was perhaps before this that -King João commanded Vicente to publish his works, but he could not be -greatly perturbed that a play by Vicente had given offence to the Holy -See, with which he was himself often in unpleasant relations at this -time. At all events Vicente continued to produce his plays. In 1532 the -birth of the long desired heir to the throne was celebrated at Lisbon, -and Vicente presented the _Auto da Lusitania_, while two long plays, the -_Romagem de Aggravados_ and _Amadis de Gaula_, belong to the following -year. The former was acted at Evora in honour of the birth of the -Infante Felipe (May 1533). _Amadis de Gaula_ perhaps shows some signs of -weariness, and if he played the part of Amadis he would apply to himself -the lines - - Que ya veis que soy pasado - A la vida de los muertos (II. 282). - -The _Auto da Cananea_ was written at the request of the Abbess of -Oudivellas and acted at that convent near Lisbon in 1534. It contains -perhaps a reference to the earthquake of 1531 (I. 373). The _Auto da -Mofina Mendes_ may have been written some years before it was acted in -the presence of the King at Evora on Christmas morning 1534: it alludes -to the capture of Francis I at Pavia (1525) and to the sack of Rome -(1527). Vicente had returned to Evora at least as early as August 1535, -and in 1536 he produced there before the King his last play, the -_Floresta de Enganos_, which may well have been a collection of farcical -scenes written at various periods of his career[90]. We know that he was -dead on April 16, 1540. He did not follow the Court to Lisbon in August -1537 and his death may be assigned with some plausibility to the end of -1536 at Evora[91]. The children of his second marriage were almost -certainly with him, Paula and Luis, who edited his works in 1562 and -were now still in their teens, and the even younger Valeria. Paula seems -to have inherited her father's versatility and his musical, dramatic and -literary tastes. Tradition connects her closely with him and would even -assign her a part in the composition of his plays. Another and a more -reliable tradition says that he was buried in the Church of S. Francisco -at Evora. His life had been full and strenuous and we leave him in this -quiet little town _depois da vida cansada descansando_[92]. - - -II. CHARACTER AND IDEAS - -If we were limited to the information about Gil Vicente furnished by his -contemporaries, we should but know that he had introduced into Portugal -_representações_ of eloquent style and novel invention imitating -Enzina's eclogues with great skill and wit[93], and that the mordant -comic poet Gil Vicente, who hid a serious aim beneath his gaiety and was -skilled in veiling his satire in light-hearted jests, might have -excelled Menander, Plautus and Terence if he had written in Latin -instead of in the vulgar tongue[94]. That is, we should have known -nothing that we could not learn from his plays and it is to his plays -that we must go if we would be more closely acquainted with his -character and his attitude towards the problems of his day. King Manuel, -says Damião de Goes, always kept at his Court Spanish buffoons as a -corrective of the manners and habits of the courtiers[95]. The King may -have had something of the sort in his mind in encouraging Gil Vicente, -and probably he especially favoured his allusions to the courtiers; but -we cannot for a moment consider that Vicente, friend and adviser of King -João III, the grave town-councillor whose influence could check the -fanaticism of the monks at Santarem--can we imagine them bowing before a -mere mountebank, a strolling player?--was looked upon simply as a Court -jester. The impression left by his plays is, rather, that of the worthy -thoughtful face of Velazquez as painted in his _Las Meninas_ picture, a -figure closely familiar with the Court yet still somewhat aloof, -_apartado_. like Gil Terron. Vicente regards himself as a _rustico -peregrino_ (III. 390), an _ignorante sabedor_ (I. 373) as opposed to the -ignorant-malicious or ignorant-presumptuous of the Court. But Vicente -was no ascetic, his was a genial, generous nature, he liked to have -enough to spend and give and leave in his will. Kindly and chivalrous, -he was a champion of the down-trodden but had first-hand knowledge of -the malice and intrigues of the peasants and of the poor in the towns. -Above all he was thoroughly Portuguese. He might place his scene in -Crete but in that very scene he would refer to things so Portuguese as -the _janeiras_ and _lampas de S. João_. Portugal is - - Pequeno e muy grandioso, - Pouca gente e muito feito, - Forte e mui victorioso, - Mui ousado e furioso - Em tudo o que toma a peito, - -and he appears to have shared the popular prejudice against Spain. Did -he also share the people's hostility towards the priests and the Jews? -It cannot be said that the priests presented in his plays are patterns -of morality. As to the Jews he knows of their corrupt practices and -describes them in a late play as _a mais falsa ralé_[96]. It was during -the last ten years of Vicente's life that the question of the new -Christians came especially to the front (from 1525). In earlier plays -Vicente seems more sympathetic towards them and the pleasant sketch of -the Jewish family in Lisbon is as late as 1532[97]. In 1506, the very -year of the massacre of Jews at Lisbon, he had gone to the root of the -question when he declared in his lay sermon that: - - Es por demás pedir al judío - Que sea cristiano en el corazón ... - Que es por demás al que es mal cristiano - Doctrina de Cristo por fuerza ni ruego[98]. - -And twenty-five years later he said to the monks at Santarem: 'If there -are some here who are still strangers to our faith it is perhaps for the -greater glory of God[99].' That is to say: if you force the Jews to -become Christians you will only make them hypocrites; far better to -treat them frankly as Jews and not expect figs from thistles. That -Vicente himself was a devout Christian and Catholic and a deeply -religious man such plays as the _Auto da Alma_, the _Barcas_, the -_Sumario_, the _Auto da Cananea_ are sufficient proof. He had much of -the Erasmian spirit but nothing in common with the Reformation. His -irreverence is wholly external, it was abuses not doctrine that he -attacked, the ministers of the Church and not the Church itself. He may -have been in the secret of King João's somewhat stormy negotiations with -the Holy See and he took the national and regalist view: in the _Auto da -Feira_ Mercury addresses Rome as follows: - - Nam culpes aos reis da terra, - Que tudo te vem de cima (I. 166). - -He wished to reform the Church from within. All are perversely asleep, a -sleep of death[100]. Many prayers do not suffice without _almas limpas e -puras_[101]. Men must be judged by their works[102]. In the _Auto da Fé_ -(1510) we have a simple declaration of faith: - - Fé he amar a Deos só por elle - Quanto se pode amar, - Por ser elle singular, - Nam por interesse delle; - E se mais quereis saber, - Crer na Madre Igreja Santa - E cantar o que ella canta - E querer o que ella quer[103]. - -But four years earlier and ten before Luther's formal protest against -the papal indulgences we find Vicente in his lay sermon referring to the -question 'whether the Pope may grant so many pardons' and laughing at -the hair-splitting of preachers: was the fruit that Eve ate an apple, a -pear or a melon[104]? His own religion certainly had a mystical and -pantheistic tendency[105]. It was as deep as was his love of Nature. He -would have the hearts of men dance with jocund May[106]: - - Hei de cantar e folgar - E bailar c'os corações, - -and he had an eye for the humblest flower that blows--chicory and -camomile, hedge flowerets, honeysuckle and wild roses: - - Almeirones y magarzas, - Florecitas por las zarzas, - Madresilvas y rosillas (I. 95. Cf. II. 29). - -And he sympathized closely with what was nearest to Nature: peasants and -children. Of the people of the towns he was probably less enamoured and -he speaks of _a desvairada opinião do vulgo_ and of the folly of -pandering to it[107]. At Court he certainly had many friends. A friendly -rivalry in art and letters bound him to Garcia de Resende for probably -over forty years and he was no doubt on excellent terms with the -_dadivoso_ Conde de Penella (II. 511), the _muito jucundo_ Conde de -Tentugal (III. 360) and the Conde de Vimioso. High rank was no certain -shelter from the shafts of Vicente's wit, but when it was a case of -princes he was more careful: - - Agora cumpre atentar - Como poemos as mãos, - -as he ingenuously remarks[108]. King João II had seen to it that no -class or individual should dispute the power of the throne, and now the -King reigned supreme. Kings, says Vicente, are the image of God[109]. -That was in 1533, when it might seem to him that the authority of the -throne was more than ever necessary to cope with the confusion of the -times. The King's power stood for the nation, that of a noble might mean -mere private ambition or power in the hands of one unworthy, and Gil -Vicente asks nobly: - - Quem não é senhor de si - Porqué o será de ninguem? - (Who himself cannot control - Why should he o'er others rule?) - -He had witnessed many changes, and looking back as an old man his memory -might well be overwhelmed by a period so crowded[110]. He had seen the -provinces and capital of Portugal transformed by the overseas -discoveries. We may be sure that he had watched with more interest than -the ordinary _lisboeta_ the extension of the Portuguese empire and the -deeds of the unfortunate Dom Francisco de Almeida ('Tomou Quiloa e -Mombaça, Parece cousa de graça Ver de que morte acabou') and the -redoubtable Afonso de Albuquerque, who snatched victories from defeat in -the teeth of all manner of obstruction and indifference and placed -Portugal's glory on a pinnacle scarcely dreamed of even in the -intoxicating moment of Gama's first return to Belem in 1499: - - Outro mundo encuberto - Vimos então descubrir - Que se tinha por incerto: - Pasma homem de ouvir. - -Meanwhile Vicente never lost sight of the fact that the nation's -strength lay not in rich imports, however fabulous and envied, but in -the good use of its own soil and capacities and in the vigour, energy -and discipline of its inhabitants, and a note of warning sounded again -and again in his plays as he saw the old simplicity sink and disappear -before wave on wave of luxury, ambition and hollow display. He had felt -the good old times, content with rustic dance and song, vanishing since -1510: - - De vinte annos a ca - Não ha hi gaita nem gaiteiro[111]. - -Now no one is content: _ninguem se contenta da maneira que sohia_[112]. -_Tudo bem se vai ao fundo_[113]. He especially deplored the new -confusion between the classes[114]. Shepherd, page and priest all wish -to serve the King, that is, to become an official and to idle for a -fixed wage while the land remained unploughed. The peasants do not know -what they want and _murmuram sem entender_[115]. There is slackness -everywhere (_todos somos negligentes_)[116]. Portugal was suffering from -a crisis similar to that of four centuries later and men were inclined -to leave their professions in order to theorize or in the hope of -growing rich by a short cut or by chance instead of by hard, steady -work; and the result was a period of upheaval and disquiet. Vicente -suffered like the rest. He had embodied in his plays the simple pastimes -of the Portuguese people, their delight in the processions, services and -dramatic displays of the Church, in the mimicry of the early -_arremedillos_, in the rich fancy-dress _momos_ which were an essential -element at great festivities. But his drama was not classical, often it -was not drama. Technically he is less dramatic than Lucas Fernández or -Torres Naharro. He defied every rule of Aristotle and mingled together -the grave and gay, coarse and courtly in a way faithful to life rather -than to any accepted theories of the stage. While he continued to -produce these natural and delightful plays all kinds of new conditions -arose. It was the irony of circumstance that when the old Portuguese -poetry held the field the taste of the Court for personal satire and -magnificent show could scarcely appreciate at its true value the -lyrical gift of Vicente; and later, after King Manuel's death, Vicente -found himself confronted by a new school in which classicism carried the -day, the long Italian metres superseded the merry native _redondilha_ of -eight syllables, and the latinisers began to transform the language and -shuddered like _femmes savantes_ at Vicente's barbarisms and uncouth -_voquibles_. His attitude towards his critics was one of humility and -good humour. It is at least good to know that Vicente with his -_redondilhas_ continued to triumph personally in his old age and it was -only the hand of death that drove him from the scene. Nor did he cease -to point out abuses: the increase of _a falsa mentira_, the corruption -of justice[117], the greed for money[118] and the growth of luxury[119]. -He pillories the ignorance of pilots[120] by which so many ships were -lost now and later, and he seems to doubt the wisdom of keeping women -shut up like nuns both before[121] and after[122] marriage. If in many -respects Vicente belonged to the Middle Ages, in his curiosity and -many-sidedness he was a true child of the Renaissance. He dabbled in -astrology and witchcraft, loved music (he wrote tunes for some of his -lyrics), poetry, reading, acting and the goldsmith's art, and maintained -his zest in old age: _Mofina Mendes_ was probably written when he was -over sixty. Attempts to represent him as a Lutheran reformer, a deep -philosopher or an authority in questions philological fall to the -ground. He was a jovial poet and a keen observer who loved his country, -and when he saw its inhabitants all at sixes and sevens he would -willingly have brought them back to what he called _a boa diligencia_. - - -III. TYPES SKETCHED IN HIS PLAYS - -In Vicente's notes and sketches of the Portugal of his day we may see -the master hand of the goldsmith accustomed to set jewels. His -miniatures are so distinct and the types described are so various that -had we no other record of the first third of the sixteenth century in -Portugal we might form a very fair and singularly vivid estimate from -his plays. With a comic poet we have, of course, to be on our guard. -When Vicente introduces the _lavrador_ who steals his neighbour's land, -is he drawing from life or from Berceo's _mal labrador_ or from the -_Danza de la Muerte_ (_fasiendo furto en la tierra agena_) or from the -Bible: 'Cursed be he that removeth his neighbour's landmark'? When he -presents the poverty-stricken nobleman, the dissipated priest, rustics -from Beira, or negro slaves, for how much does the conventional satire -of the day stand in these portraits and how much is drawn from Nature? -Are they merely literary types? It is obvious that these themes were a -great resource for the satirists of that time but their value to the -satirist lay in their truth. The sad existence of the poor gentleman and -the splendour maintained by penniless nobles are all too well attested. -As to the priests, when we find King Manuel joining with King Ferdinand -of Spain in a protest to the Pope to the effect that the whole of -Christendom was scandalized by the dissolute life of the clergy and by -the traffic in Bulls[123], and grave ecclesiastics in Spain and friends -of grave ecclesiastics, like Franco Sacchetti[124] earlier in Italy, -using language even more violent than that of Vicente, we need not doubt -the truth of his sketches. He was perhaps more vivid than the other -critics and his satire penetrated deeply for the very reason that he was -a realist. There was no doubt some professional exaggeration in the -language of his _beirão_ rustics, but his sympathy with the peasants and -his wide knowledge of the province of Beira prove that his object was -not merely mockery: _zombar da gente da Beira_[125]. Many of his types -are foreshadowed in the _Cancioneiro Geral_, and especially in the -_Arrenegos_ of Gregorio Afonso, of the household of the Bishop of Evora: -the 'priest who lives like a layman,' 'the gentleman who has not enough -to eat,' 'the man of great estate and small income,' the _preciosos_, -the _borrachas_, the _fantasticos_, the _alcouviteira_, 'the peasants -placed in a position of importance.' In developing these figures Vicente -was always careful to keep close to Nature. Each speaks in his own -language, 'the negro as a negro, the old man as an old man.' This is -carried to such a length that the Spanish Queen in the lament on the -death of King Manuel is made to speak her few lines in Spanish, the rest -of the poem being in Portuguese[126]. - -Vicente is not an easy writer because his styles are so many and his -allusions so local. But we must be infinitely grateful to him for the -way in which he portrays a type in a few lines and for the fact that -although they are types they are evidently taken from individuals whom -he had observed and who continue to live for us in his pages. His -gallery of priests is for all time. Frei Paço comes, with his velvet cap -and gilt sword, 'mincing like a very sweet courtier'; Frei Narciso -starves and studies, tinging his complexion to an artificial yellow in -the hope that his hypocritical asceticism may win him a bishopric; the -worldly courtier monk fences and sings and woos; the Lisbon priest, like -his confessor one of Love's train, fares well on rabbits and sausages -and good red wine, even as the portly pleasure-loving Lisbon canons; the -country priest resembles a kite pouncing on chickens; the ambitious -chaplain accepts the most menial tasks, compared with whom the sporting -priest of Beira is at least pleasantly independent; and there are the -luxurious hermit, the dissipated village priest who never prayed the -hours, the inconstant monk who had been carrier and carpenter and now -wishes to be unfrocked in order to join more freely in dance and -pilgrimage, the mad friar Frei Martinho persecuted by dogs and Lisbon -_gamins_, the ambitious preacher who glosses over men's sins. If the -priests fared well in this life the satirists were determined that they -should not be equally fortunate after their death. Vicente's proud -Bishop is to be boiled and roasted, the grasping Archbishop is left -perpetually aboiling, the ambitious Cardinal is to be devoured by dogs -and dragons in a den of lions, while the sensual and simoniacal Pope is -to have his flesh torn with red-hot iron. And we have--although here -Vicente discreetly went to the _Danza de la Muerte_ for his satire--the -vainglorious and tyrannical Emperor, the Duke who had adored himself and -the King who had allowed himself to be adored. There are the careless -hedonistic Count more given to love than to charity or churchgoing, the -_fidalgo de raça_, the haughty _fidalgo de solar_ with a page to carry -his chair, the judge who through his wife accepts bribes from the Jews, -the rhetorical goldsmith, the usurer (_onzeneiro_) with his heart in his -_cassette_ (_arca_)[127]. There too the pert servant-girl, the gossiping -maidservant, the witch busy at night over a hanged man at the -cross-roads, the faithless wife of the India-bound _lisboeta_, the -Lisbon old woman copious in malediction, her genteel daughter Isabel, -the wife who in her husband's absence only leaves her house to go to -church or pilgrimage, the _mal maridada_ imprisoned by her husband, the -peasant bride singing and dancing in skirt of scarlet, the woman -superstitiously devout, the _beata alcouviteira_ who would not have -escaped the Inquisition had she been printed like Aulegrafia in the -seventeenth century, lisping gypsies, the _alcouviteiras_ Anna and -Branca and Brigida, the _curandera_ with her quack remedies, the poor -farmer's daughter brought to be a Court lady and still stained from the -winepress, the old woman desirous of a young husband, the slattern -Catherina Meigengra, the market-woman who plays the _pandero_ in the -market-place, the peasant girls with pretentious names coming down to -market basket on head from the hills, the shrew Branca and the timid -wife Marta, the two irrepressible Lisbon fishwives, the voluble _saloia_ -who sells milk well watered and charges cruel prices for her eggs and -other wares, the country priest's greedy 'wife' who eats the baptism -cake and is continually roasting chestnuts, the mystical ingenuous -little shepherdess Margarida who sees visions on the hills, the superior -daughter of the peasant judge who had once spoken to the King, the small -Beira girl keeping ducks, Lediça the affectedly ingenuous daughter of -the Jewish tailor, Cezilia of Beira possessed by a familiar spirit. - -Or, again, we have the ceremonious Lisbon lover Lemos, the high-flown -Castilian of fearful presence and a lion's heart, however threadbare his -_capa_[128], the starving gentleman who makes a _tostão_ (= _5d._) last a -month and dines off a turnip and a crust of bread, another--a sixteenth -century Porthos--who imagines himself a _grand seigneur_ and has not a -sixpence to his name but hires a showy suit of clothes to go to the -palace, another who is an intimate at Court (_o mesmo paço_) but who to -satisfy a passing passion has to sell boots and viola and pawn his -saddle, the poor gentleman's servant (_moço_) who sleeps on a chest, or -is rudely awakened at midnight to light the lamp and hold the inkpot -while his master writes down his latest inspiration in his song-book, -the incompetent Lisbon doctors with their stereotyped formulas, the -frivolous persons who are bored by three prayers at church but spend -nights and days listening to _novellas_, the _parvo_, predecessor of the -Spanish _gracioso_, the Lisbon courtier descended from Aeneas, the -astronomer, unpractical in daily life as he gazes on the stars, the old -man amorous, rose in buttonhole, playing on a viola, the Jewish -marriage-brokers, the country bumpkin, the lazy peasant lying by the -fire, the poor but happy gardener and his wife, the quarrelsome -blacksmith with his wife the bakeress, the carriers jingling along the -road and amply acquainted with the wayside inns, the aspiring _vilão_, -the peasant who complains bitterly of the ways of God, the _lavrador_ -with his plough who did not forget his prayers and was charitable to -tramps but skimped his tithes, the illiterate but not unmalicious -_beirão_ shepherd who had led a hard life and whose chief offence was to -have stolen grapes from time to time, the devout bootmaker who had -industriously robbed the people during thirty years, the card-player -blasphemous as the _taful_ of King Alfonso's _Cantigas de Santa Maria_, -the delinquent from Lisbon's prison (the _Limoeiro_) whom his confessor -had deceived before his hanging with promises of Paradise, the peasant -_O Moreno_ who knows the dances of Beira, the negro chattering in his -pigeon-Portuguese 'like a red mullet in a fig-tree,' the deceitful negro -expressing the strangest philosophy in Portuguese equally strange, the -rustic clown Gonçalo with his baskets of fruit and capons, who when his -hare is stolen turns it like a canny peasant to a kind of posthumous -account: _leve-a por amor de Deos pola alma de meus finados_, the Jew -Alonso Lopez who had formerly been prosperous in Spain but is now a poor -new Christian cobbler at Lisbon, the Jewish tailor who in the streets -gives himself _fidalgo_ airs and is overjoyed at the regard shown him by -officials and who at home sings songs of battle as he sits at his -work[129]. - -In the actions and conversation of this motley crowd of persons high and -low we are given many a glimpse of the times: the beflagged ship from -India lying in the Tagus, the modest dinner (_a panela cosida_) of the -rich _lavrador_, the supper of bread and wine, shellfish and cherries -bought in Lisbon's celebrated Ribeira market, the Lisbon Jew's dinner of -kid and cucumber, the distaff bought by the shepherd at Santarem as a -present for his love, the rustic gifts of acorns, bread and bacon, the -shepherdess' simple dowry or the more considerable dowry of a girl -somewhat higher in society (consisting of a loom, a donkey, an orchard, -a mill and a mule), the migratory shepherds' ass, laden with the -milk-jugs and bells, and with a leathern wallet, yokes and shackles, the -sheepskin coats of the shepherds, bristling masks for their dogs (as a -defence against wolves), loaves of bread, onions and garlic. Thus in -town and village, palace and attic, house and street, on road and -mountain and sea the Portugal of the early sixteenth century is clearly -and charmingly conveyed to us, and we can realize better the conditions -of Gil Vicente's life at Court or as he journeyed on muleback to Evora -or Coimbra, Thomar or Santarem or Almeirim. - - -IV. ORIGINALITY AND INFLUENCE - -In 1523 the 'men of good learning' doubted Vicente's originality. They -might point to the imitations of Enzina or to the resemblance between -the trilogy of _Barcas_ and the _Danza de la Muerte_ or they might -reveal the origin of many a verse and phrase used by Vicente in his -plays and already familiar in the song-books of Spain and Portugal. -Vicente could well afford to let his critics strain at these gnats. He -had the larger originality of genius and while realizing that 'there is -nothing new under the sun[130]' he could transform all his borrowings -into definite images or lyrical magic. (There are flashes of poetry even -in the absurd _ensalada_ of III. 323-4.) He was the greatest lyrical -poet of his day and, in a strictly limited sense, the greatest -dramatist. He is Portugal's only dramatist, without forerunners or -successors, for the playwrights of the Vicentian school lacked his -genius and only attain some measure of success when they closely copy -their master, while the classical school produced no great drama in -Portugal: it is impossible to except even Antonio Ferreira's _Ines de -Castro_ from this sweeping assertion. But that is not to say that -Vicente stands entirely isolated, self-sufficing and self-contained. -Genius is never self-sufficing. Talent may live apart in an ivory palace -but genius overflows in many relations, is acted on and reacts and has -the generosity to receive as well as to give. The influences that acted -upon Gil Vicente were numerous: the Middle Ages and the humanism of the -first days of the Renaissance, the old national Portugal with its -popular traditions and the new imperial Portugal of the first third of -the sixteenth century, the Bible and the _Cancioneiro de Resende_, the -whole literature of Spain and Portugal, the services of the Church, the -book of Nature. But before examining how these influences work out in -his plays it may be well to consider whether their sources may be yet -further extended. - -Court relations between Portugal and France had never entirely ceased -and the 1516 _Cancioneiro_ contains many allusions to the prevailing -familiarity with things French. But Vicente's genius was not inspired by -the Court: it would be truer to say that, while he was encouraged by -Queen Lianor and the King, the Court's taste for new things, superficial -fashions and personal allusions tended to thwart his genius. When he -introduces a French song in his plays this does not imply any intimate -acquaintance with the lyrical poetry of France but rather deference to -the taste of the Court. He would pick up words of foreign languages with -the same quickness with which he initiated himself into the way of witch -or pilot, fishwife or doctor, but we have an excellent proof that his -knowledge of neither French nor Italian was profound. We know how -consistently he makes his characters speak each in his own language. Yet -in the _Auto da Fama_, whereas the Spaniard speaks Spanish only, the -Frenchman and Italian murder their own language and eke it out with -Portuguese[131]. Vicente read what he could find to read, but we may be -sure that his reading was mainly confined to Portuguese and Spanish. The -very words in his letter to King João III in which he speaks of his -reading are another echo of Enzina[132], and although it cannot be -asserted that he was not acquainted with this or that piece of French -literature and with the early French drama, it may be maintained that -whatever influence France exercised upon him came mainly through Spain, -whether the connecting link is extant, as in the case of the _Danza de -la Muerte_, or lost, as in that of the _Sumario da Historia de Deos_. -Probably Vicente knew of French _mystères_ little more than the -name[133]. As to the literature of Greece, Rome and Italy the conclusion -is even more definite. Vicente had not read Plautus or Terence, his -knowledge of _el gran poeta Virgilio_ (III. 104) does not extend beyond -the quotation _omnia vincit amor_. Aristotle is a name _et praeterea -nihil_. With the classical tragedy of Trissino and others he had nothing -in common, and if he lived to read or see Sá de Miranda's _Cleopatra_ he -probably had his own very marked opinion as to its value. Dante was, of -course, a closed book to him as to most of his contemporaries. With -Spanish literature the case is very different. The fourteenth and -fifteenth centuries were the most Spanish period of Portuguese -literature. The _Cancioneiro de Resende_ is nearly as Spanish as it is -Portuguese. Portuguese poets were, almost without exception, bilingual. -The horsemen stationed to bring the news of the wedding from Seville to -Evora in 1490 were emblematic of the close relations between the two -countries. Men were in continual expectation that they would come to -form one kingdom[134]. King Manuel's infant son was heir to Spain and -Portugal and the empires in Africa and America. - -Vicente's close acquaintance with Spanish literature shows itself at -every turn, and if we examine his plays we find but slight traces of the -influence of any other literature. His first pieces were written in -Spanish, and the Spanish is that of Enzina. Lines and phrases are taken -bodily from the Spanish poet and words belonging to the conventional -_sayagués_ (in which there was already a Portuguese element: cf. _ollos_ -for _ojos_) placed on the lips of _charros_ by Enzina are transferred -from Salamanca to Beira. The Enzina eclogues imitated by Vicente were -based on those of Virgil, but in Vicente's imitation there is no vestige -of any knowledge of the classics. The only Latin that occurs is the -quotation by Gil Terron of three lines from the Bible. A little later -the hungry _escudero_ of _Quem tem farelos?_ was in all probability -derived from Spanish literature, either from the Archpriest of Hita's -_Libro de Buen Amor_ or from some popular sketch such as that contained -later in _Lazarillo de Tormes_ (1554)[135]. The only French element in -the _Auto da Fé_ is the _fatrasie_ or _enselada_ 'which came from -France,' but its text is not given. The classical allusions to Virgil -and the Judgment of Paris in the _Auto das Fadas_ are perfectly -superficial. A little medical Latin is introduced in the _Farsa dos -Fisicos_. _O Velho da Horta_, which opens with the Lord's Prayer, half -in Latin, half in Portuguese[136], is written in Portuguese with the -exception of the fragment of song and the lyric _¿Cual es la niña?_ -There is a reference to Macias, a name which had become a commonplace in -Portuguese poetry as the type of the constant lover. Spanish influence -is shown in the introduction of the _alcouviteira_ Branca Gil, probably -suggested by Juan Ruiz' _trotaconventos_ or by Celestina. The -_Exhortação da Guerra_ begins with humorous platitudes, _perogrulladas_, -after the fashion of Enzina. Gil Terron has increased his classical -lore, and Trojan and Greek heroes are brought from the underworld, the -_dramatis personae_ including Polyxena, Penthesilea, Achilles, Hannibal, -Hector and Scipio. The influence of Enzina is still evident in the _Auto -da Sibila Cassandra_, the _bellíssimo auto_ wherein Menéndez y Pelayo -saw the first germ of the symbolical _autos_ in which Calderón -excelled[137], and in the _Auto dos Quatro Tempos_. The immediate -influence on the _Barcas_ is plainly Spanish, this being especially -marked in the _Barca da Gloria_. When the _Diabo_ addresses the King: - - Nunca aca senti - Que aprovechase aderencia - Ni lisonjas, crer mentiras - ... Ni diamanes ni zafiras (I. 285) - -he is copying the words of Death in the _Danza de la Muerte_: - - non es tiempo tal - Que librar vos pueda imperio nin gente - Oro nin plata nin otro metal[138]. - - -Vicente's Devil taxes the Archbishop with fleecing the poor (I. 294) in -much the same words as those of the Spanish Death to the Dean (t. 2, p. -12). The Devil in the _Barca do Purgatorio_ (I. 251) and Death (t. 2, p. -17) both reproach the _labrador_ with the same offence: surreptitiously -extending the boundaries of his land. It must be admitted that these -signs of imitation are more direct than the French traces indicated in -the introduction of the 1834 edition of Vicente's works. The whole -treatment of the _Barcas_ closely follows the _Danza de la Muerte_. The -idea of a satirical review of the dead is of course nearly as old as -literature. In the _Barca da Gloria_ Vicente begins to quote Spanish -_romances_[139], and this is continued on a larger scale in the _Comedia -de Rubena_ (cf. also the Spanish songs in the _Cortes de Jupiter_) and -in _Dom Duardos_, in which reference is also made to two Spanish books, -Diego de San Pedro's _Carcel de Amor_ and Hernando Diaz' translation _El -Pelegrino Amador_[140]. Maria Parda's will was probably suggested rather -by such burlesque testaments as that of the dying mule in the -_Cancioneiro de Resende_ than by the _Testament de Pathelin_. The -criticism of the _homens de bom saber_ seems to have turned Vicente to -more peculiarly Portuguese themes in the _Farsa de Ines Pereira_ and the -_Auto Pastoril Portugues_, and in the _Fragoa de Amor_, written for the -new Queen from Spain, he presents national types: _serranas_, pilgrims, -nigger, monk, idiot. In the _Ciganas_ we have a passing reference to -'the white hands of Iseult,' a lady already well known in Spanish and -Portuguese literature. _Dom Duardos_ is of course based entirely on a -Spanish romance of chivalry. In _O Juiz da Beira_ he returns to the -_escudeiro_ and _alcouviteira_; the figures are, however, thoroughly -Portuguese with the exception of a new Christian from Castille. The -title of the _Nao de Amores_ already existed in Spanish literature[141]. -After this we have a group of thoroughly Portuguese plays, those -presented at Coimbra, the anticlerical _Auto da Feira_, the _Triunfo do -Inverno_, _O Clerigo da Beira_. It is not till _Amadis de Gaula_ that -Vicente again has recourse to Spanish literature[142], and we may be -sure that if he had known of a Portuguese text he would have written his -drama in Portuguese. - -Although Vicente owed much to Spanish literature we have only to compare -his plays with those of Juan del Enzina or Bartolomé de Torres Naharro, -or his first attempts with his later dramas to realize his genius and -originality. The variety of his plays is very striking and the farce -_Quem tem farelos?_ (1508?), the patriotic _Exhortação_ (1513), the -_Barca_ trilogy (1517-9), the religious _Auto da Alma_ (1518), the -three-act _Comedia de Rubena_ (1521), the character comedy _Farsa de -Ines Pereira_ (1523), the idyllic _Dom Duardos_ (1525?) mark new -departures in the development of his genius. No doubt his plays are -'totally unlike any regular plays and rude both in design and -execution[143].' Vicente divided them into religious plays (_obras de -devaçam_), farces, comedies and tragicomedies, but the kinds overlap and -there is nothing to separate some of the comedies and tragicomedies from -the farces, while some of the farces are religious both in subject and -occasion. How artificial the division was may be seen from the rubric to -the _Barca do Inferno_, which informs us that the play is counted among -the religious plays because the second and third parts (_Barca do -Purgatorio_ and _Barca da Gloria_) were represented in the Royal Chapel, -although this first part was given in the Queen's chamber, as though the -subject and treatment of the three plays were not sufficient to class -them together. Again, the rubric of the _Romagem de Aggravados_ runs: -'The following tragicomedy is a satire.' Really only its length -separates it from the early farces. Vicente's plays were a development -of the earlier Christmas, Holy Week and Easter _representaciones_, -religious shows to which special pomp was given at King Manuel's Court. -When he began to write the classical drama was unknown and it is absurd -to judge his work by the Aristotelean theory of the unities of time and -place. His idea of drama was not dramatic action nor the development of -character but realistic portrayal of types and the contrast between -them. His first piece, _Auto da Visitaçam_, has not even dialogue--its -alternative title is _O Monologo do Vaqueiro_--and for comic element it -relies on the contrast between Court and country as shown by the -herdsman's gaping wonder. The _Auto Pastoril Castelhano_ contains six -shepherds and contrasts the serious mystical Gil with his ruder -companions. - -The action of the _Auto dos Reis Magos_ is as simple as that of the two -preceding plays. _Quem tem farelos?_ however is a quite new development. -'The argument,' says the rubric, 'is that a young squire called Aires -Rosado played the viola and although his salary [as one of the Court] -was very small he was continually in love.' He is contrasted with -another penniless _escudeiro_ who gives himself martial airs and -willingly speaks of the heroic deeds of Roncesvalles, but runs away if -two cats begin to fight. Only five persons appear on the stage, but -with considerable skill Vicente enlarges the scene so as to include a -vivid picture of the second squire as described by his servant as well -as the barking of dogs, mewing of cats and crowing of cocks and the -conversation of Isabel with Rosado, which is conjectured from his -answers. No doubt the two _moços_ owe something to Sempronio and Parmeno -of the _Celestina_, but this first farce is thoroughly Portuguese and -gives us a concrete and living picture of Lisbon manners. Not all the -farces have this unity. The _Auto das Fadas_ loses itself in a long -series of verses addressed to the Court. The _Farsa dos Fisicos_ has no -such extraneous matter: it confines itself to the lovelorn priest and -the contrast between the four doctors. The _Comedia do Viuvo_ is not a -farce and only a comedy by virtue of its happy ending. A merchant of -Burgos laments the death of his wife and is comforted by a kindly priest -and by a friend who wishes that his own wife were as the merchant's (the -simple mediaeval contrast common in Vicente). Meanwhile Don Rosvel, -Prince of Huxonia, has fallen in love with both the daughters of the -merchant, whom he agrees to serve in all kinds of manual labour as Juan -de las Brozas. His brother, Don Gilberto, arrives in search of him and a -quaintly charming and technically skilful play ends with a double -wedding (the Crown Prince of Portugal, present at the acting of this -play, had to decide for Don Rosvel which daughter he should marry). - -The _Auto da Fama_ is Vicente's second great hymn to the glory of -Portugal. Portuguese Fame, in the person of a humble girl of Beira, is -envied and wooed in vain by Castille, France and Italy--England and -Holland were then scarcely in the running--and narrates in ringing -verses the deeds of the Portuguese in the East, without, however, -mentioning the great name of Albuquerque, a name which inspired many of -the courtiers with more fear than affection. The _Auto dos Quatro -Tempos_ is a pastoral-religious play, the main theme being, as its title -indicates, a contrast between the four seasons. David appears as a -shepherd and Jupiter also takes a considerable part in the conversation. -Action there is none. - -Vicente's satirical vein found excellent occasion in the ancient theme -of scrutinizing the past lives of men as Death reaps them, high and low, -but his profoundly religious temperament raises the _Barcas_ into an -atmosphere of sublime if gloomy splendour, which is surpassed in the -_Auto da Alma_, the most perfect and consistent of his religious -plays--even the symbolical character of the latter part can hardly be -called a defect. In the _Comedia de Rubena_ the development of Vicente's -art is perhaps more superficial than real. It is divided into three long -scenes or acts and is thus more like a regular comedy than his other -plays. The acts, however, are isolated, the action occupies fifteen -years and occurs in Castille, Lisbon and Crete. English readers of the -play must be struck by its resemblance to _Pericles, Prince of Tyre_. -Written fifty-five years before Lawrence Twine's _The Patterne of -Painful Adventures_ (1576) and eighty-seven before George Wilkins and -William Shakespeare produced their play (1608), the _Comedia de Rubena_ -is in fact a link in a long chain beginning in a lost fifth century -Greek romance concerning Apollonius of Tyre and continued after Gil -Vicente's death in Timoneda's _Tarsiana_ and in _Pericles_. Vicente, -however, in all probability did not derive his Cismena, cold and chaste -predecessor of Marina, from the _Gesta Romanorum_ or the _Libro de -Apolonio_ but from the version in John Gower's _Confessio Amantis_, of -which a translation, as we know, was early available in Portugal. After -an exclusively Court piece, the _Cortes de Jupiter_, Vicente wrote the -_Farsa de Ines Pereira_, in which there is more action and development -of character than in his preceding, or indeed his subsequent, plays. He -represents the aspirations and repentance of Ines, the 'very flighty -daughter of a woman of low estate.' Despite the warnings of her sensible -mother she rejects the suit of simple and uncouth Pero Marques for that -of a gentleman (_escudeiro_) whose pretensions are far greater than his -possessions. The mother gives them a house and retires to a small -cottage. But the _escudeiro_ married confirms the wisdom of the Sibyl -Cassandra (I. 40). He keeps his wife shut up 'like a nun of Oudivellas.' -The windows are nailed up, she is not allowed to leave the house even to -go to church. Thus the hopes and ambitions of Ines Pereira de Grãa are -tamed, although she was never a shrew[144]. Presently, however, the -_escudeiro_ resolves to cross over to Africa to win his knighthood: - - ás partes dalem - Vou me fazer cavaleiro, - -and he leaves his wife imprisoned in their house, the key being -entrusted to the servant (_moço_). Ines, singing at her work, is -declaring that if ever she have to choose another husband _on ne m'y -prendra plus_ when a letter arrives from her brother announcing that her -husband, as he fled from battle towards Arzila, had been killed by a -Moorish shepherd. The faithful Pero Marques again presses his suit. He -is accepted and is made to suffer the whims and infidelity of the -emancipated Ines. The question of women's rights was a burning one in -the sixteenth century. - -Vicente's versatility enabled him to laugh at his critics to the end of -the chapter. In _Dom Duardos_ he gave them an elaborate and very -successful dramatization of a Spanish romance of chivalry. The treatment -has both unity and lyrical charm. It was so successful that the -experiment was repeated in 1533 with the earlier romance of _Amadis de -Gaula_ (1508), out of which Vicente wrought an equally skilful but less -fascinating play[145]. But Vicente had not given up writing farces and -the sojourn of Ines Pereira's husband in town enables the author to -introduce various Lisbon types in _O Juiz da Beira_. It indeed -completely resembles the early farces, while the _Auto da Festa_ with -its peasant scene and allegorical _Verdade_ is of the _Auto da Fé_ type -but adds the theme of the old woman in search of a husband. The _Templo -de Apolo_, composed for a special Court occasion, shows no development, -but in the _Sumario_ we have a fuller religious play than he had -hitherto written. It proves, like _Dom Duardos_, his power of -concentration and his skill in seizing on and emphasizing essential -points in a long action (the period here covered is from Adam to -Christ[146]). It is closely moulded on the Bible and contains, besides -an exquisite _vilancete_ (_Adorae montanhas_), passages of noble poetry -and soaring fervour--Eve's invocation to Adam: - - Ó como os ramos do nosso pomar - Ficam cubertos de celestes rosas (I. 314); - -Job's lament 'Man that is born of woman' (I. 324); the paraphrase or -rather translation of 'I know that my Redeemer liveth' (I. 322). Nothing -here, surely, to warrant the complaints of Sá de Miranda as to the -desecration of the Scriptures. This play was followed by the _Dialogo -sobre a Ressurreiçam_ by way of epilogue; it is a conversation between -three Jews and is treated in the cynical manner that Browning brought to -similar scenes. The _Sumario_ or _Auto da Historia de Deos_ was acted -before the Court at Almeirim and must have won the sincere admiration of -the devout João III. If the courtiers were less favourably impressed -they were mollified by the splendid display of the _Nao de Amores_ with -its much music, its Prince of Normandy and its miniature ship fully -rigged. Vicente was now fighting an uphill battle and in the _Divisa da -Cidade de Coimbra_ he attempted a task beyond the strength of a poet and -more suitable for a sermon such as Frei Heitor Pinto preached on the -same subject: the arms of the city of Coimbra. Even Vicente could not -make this a living play; it is, rather, a museum of antiquities and ends -with praises of Court families. It is pathetic to find the merry -satirist reduced to admitting (in the argument of this play) that merely -farcical farces are not very refined. Yet we would willingly give the -whole play for another brief farce such as _Quem tem farelos?_: - - Ya sabeis, senhores, - Que toda a comedia começa em dolores, - E inda que toque cousas lastimeiras - Sabei que as farças todas chocarreiras - Não sam muito finas sem outros primores (II. 108). - -Fortunately he returned to the plain farce in _Os Almocreves_, the _Auto -da Feira_ and _O Clerigo da Beira_ (which, however, ends with a series -of Court references) with all his old wealth of satire, touches of -comedy and vivid portraiture. He also returned to the pastoral play in -the _Serra da Estrella_, while his exquisite lyrism flowers afresh in -the _Triunfo do Inverno_, a tragicomedy which is really a medley of -farces. It is not a great drama but it is a typical Vicentian piece, -combining vividly sketched types with a splendid lyrical vein. Winter, -that banishes the swallows and swells the voice of ocean streams, first -triumphs on hills and sea and then Spring comes in singing the lovely -lyric _Del rosal vengo_ in the Serra de Sintra. The play ends on a -serious and mystic note, for Spring's flowers wither but those of the -holy garden of God bloom without fading: - - E o santo jardim de Deos - Florece sem fenecer. - -The _Auto da Lusitania_ is divided into two parts, the first of which is -complete in itself and gives a description of a Jewish household at -Lisbon, while the second is a medley which contains the celebrated scene -of Everyman and Noman: Everyman seeks money, worldly honour, praise, -life, paradise, lies and flattery; Noman is for conscience, virtue, -truth. In the _Romagem de Aggravados_ the fashionable and affected Court -priest, Frei Paço, is the connecting link for a series of farcical -scenes in which a peasant brings his son to become a priest, two -noblemen discourse on love, two fishwives lament the excesses of the -courtiers, Cerro Ventoso and Frei Narciso betray their mounting -ambition, civil and ecclesiastic, the poor farmer Aparicianes implores -Frei Paço to make a Court lady of his slovenly daughter, two nuns bewail -their fate and two shepherdesses discuss their marriage prospects. The -_Auto da Mofina Mendes_ is especially celebrated because Mofina Mendes, -personification of ill-luck, with her pot of oil is the forerunner of La -Fontaine's _Pierrette et son pot au lait_: it was perhaps suggested to -Vicente by the tale of Doña Truhana's pot of honey in _El Conde -Lucanor_; the theme of counting one's chickens before they are hatched -also forms the subject of one of the _pasos_, entitled _Las Aceitunas_, -of the goldbeater of Seville, Lope de Rueda[147]. Vicente's piece -consists, like some picture of El Greco, of a _gloria_, called, as -Rueda's scenes, a _passo_, in which appear the Virgin and the Virtues -(Prudence, Poverty, Humility and Faith) and an earthly shepherd scene. -It is thus a combination of farce and religious and pastoral play. -Vicente's last play, the _Floresta de Enganos_, is composed of scenes so -disconnected that one of them is even omitted in the summary given after -the first deceit: that in which a popular traditional theme, derived -directly or indirectly from a French (perhaps originally Italian) -source, _Les Cent Nouvelles Nouvelles_, is presented, akin to that so -piquantly narrated by Alarcón in _El Sombrero de Tres Picos_ in the -nineteenth century, the judge playing the part of the Corregidor and the -malicious and sensible servant-girl that of the miller's wife. - -In these last plays we see little or no advance: there is no attempt at -unity or development of plot. We cannot deny that the creator of the -penniless-splendid nobleman and the mincing courtier-priest and the -author of such touches as the death of Ines' husband or the sudden -ignominious flight of the judge possessed a true vein of comedy, but he -remained to the end not technically a great dramatist but a wonderful -lyric poet and a fascinating satirical observer of life. His influence -was felt throughout the sixteenth and seventeenth centuries in Portugal, -by Camões and in the plays of Chiado, Prestes and a score of less -celebrated dramatists, as well as in a considerable number of anonymous -plays, but confined itself to the _auto_, which, combated by the -followers of the classical drama and the Latin plays of the Jesuits, -soon tended to deteriorate and lose its charm. In Spain his influence -would seem to have been more widely felt, which is not surprising when -we remember how many of his plays were Spanish in origin or -language[148]. We may be sure that Lope de Rueda was acquainted with his -plays and that several of them were known to Cervantes--the servant -Benita insisting on telling her simple stories to her afflicted mistress -is Sancho Panza to the life: - - _Benita._ Diz que era un escudero.... - - _Rubena._ O quien no fuera nacida: - ¿Viendome salir la vida - Paraste a contar patrañas? - - _Benita._ Pues otra sé de un carnero.... - -Lope de Vega was likewise certainly familiar with some of Vicente's -plays. If we consider these passages in _El Viaje del Alma_, the -_representación moral_ contained in _El Peregrino en su Patria_ (1604), -we must be convinced that the trilogy of _Barcas_, the _Auto da Alma_, -and perhaps the _Nao de Amores_ were not unknown to him: - - Alma para Dios criada - Y hecha a imagen de Dios, etc.; - Hoy la Nave del deleite - Se quiere hacer a la mar: - ¿Hay quien se quiera embarcar?; - Esta es la Nave donde cabe - Todo contento y placer[149]. - -The alleged imitation by Calderón in _El Lirio y la Azucena_ is perhaps -more doubtful. Vicente was already half forgotten in Calderon's day. In -the artificial literature of the eighteenth century he suffered total -eclipse although Correa Garção was able to appreciate him, nor need we -see any direct influence in that of the nineteenth[150] except that on -Almeida Garrett: the similar passages in Goethe's _Faust_ and Cardinal -Newman's _Dream of Gerontius_ were no doubt purely accidental. Happily, -however, we are able to point to a certain influence of the great -national poet of Portugal on some of the Portuguese poets of the -twentieth century. The promised edition of his plays will increase this -influence and render him secure from that neglect which during three -centuries practically deprived Portugal and the world of one of the most -charming and inspired of the world's poets. - - -FOOTNOTES: - -[6] _Falamos do nosso Shakespeare, de Gil Vicente_ (A. Herculano, -_Historia da Inquisição em Portugal_, ed. 1906, vol. I. p. 223). The -references throughout are to the Hamburg 3 vol. 1834 edition. - -[7] See infra _Bibliography_, p. 86, Nos. 42, 62, 79. - -[8] _Bibliography_, Nos. 21, 24, 25, 26, 30, 51, 52, 59, 89. - -[9] _Bibliography_, Nos. 29, 48, 57, 66, 83, 95. - -[10] _Bibliography_, Nos. 53, 73, 82, 88, 97. - -[11] _Bibliography_, Nos. 44, 84, 90, 101, 102. - -[12] Guerra Junqueiro, _Os Simples_. - -[13] Cf. André de Resende, _Gillo auctor et actor_. (For the accurate -text of this passage see C. Michaëlis de Vasconcellos, _Notas -Vicentinas_, I. p. 17.) - -[14] _Os livros das obras que escritas vi_ (Letter of G. V. to King João -III). - -[15] 'E assi mandou de Castella e outras partes vir muitos ouriveis para -fazerem arreos e outras cousas esmaltadas.' (Garcia de Resende, _Cronica -del Rei D. João II_, cap. 117.) - -[16] _Bibliography_, Nos. 70, 71. - -[17] He argues that Vicente was not old enough to be King Manuel's -tutor, but in other passages he is clearly in favour of the date 1460 or -1452. He is born 'considerably before' 1470 (_Revista de Historia_, t. -21, p. 11), in 1460? (_ib._ p. 27), in 1452? (_ib._ pp. 28, 31, and t. -22, p. 155), 'about 1460' (t. 22, p. 150), he is from two to seven years -younger than King Manuel, born in 1469 (t. 21, p. 35). He is nearly 80 -in 1531 (_ib._ p. 30). His marriage is placed between 1484 and 1492, -preferably in the years 1484-6 (_ib._ p. 35). - -[18] Gil Terron in the same year is _alegre y bien asombrado_ (I. 12). - -[19] Cf. _Nao de Amores_ (1527), _Viejo, vuestro mundo es ido_, and II. -478 (1529). - -[20] See A. Braamcamp Freire in _Revista de Historia_, t. 26, p. 123. - -[21] _Grandes baxillas y pedraria_ (_Canc. Geral_, vol. III. (1913), p. -57). - -[22] Cf. _Canc. Geral_, vol. I. (1910), p. 259: - - Vejam huns autos Damado, - Huũ judeu que foi queimado - No rressyo por seu mal. - -[23] There is a slight confusion. The 'second night of the birth' of the -rubric may mean the night following that of the birth (June 6-7), i.e. -the evening of June 7, or the second night _after_ the birth, i.e. the -evening of June 8; but the former is the more probable. - -[24] Damião de Goes, _Chronica do felicissimo Rey Dom Emanuel_, Pt I. -cap. 69. - -[25] See A. Braamcamp Freire in _Revista de Historia_, vol. XXII. -(1917), p. 124 and _Critica e Historia_, vol. I. (1910), p. 325; Brito -Rebello, _Gil Vicente_ (1902), p. 106-8. - -[26] _Antología de poetas líricos castellanos_, t. 7, p. clxiii. - -[27] _Orígenes de la Novela_, t. 3, p. cxlv. - -[28] _Antol._ t. 7, p. clxvi. - -[29] _Ib._ p. clxxvi. - -[30] _Ib._ p. clxiv. - -[31] Especially that of Garcia de Resende, who in one verse (185) of his -_Miscellanea_ mentions the goldsmiths and in the next verse the plays of -Gil Vicente. - -[32] _Bibliography_, No. 45. - -[33] Cf. his earlier studies, in favour of identity, with his later -works, maintaining cousinhood. - -[34] Cf. _Obras_, I. 154 (Jupiter is the god of precious stones), I. 93, -286; II. 38, 46, 47, 210, 216, 367, 384, 405; III. 67, 70, 86, 296, etc. -Cf. passages in the _Auto da Alma_ and especially the _Farsa dos -Almocreves_. Vicente evidently sympathizes with the goldsmith to whom -the _fidalgo_ is in debt, and if the poet took the part of _Diabo_ in -the _Auto da Feira_ (1528) the following passage gains in point if we -see in it an allusion to the debts of courtiers to him as goldsmith: - - Eu não tenho nem ceitil - E bem honrados te digo - E homens de muita renda - Que tem divedo comigo (I. 158). - -[35] The MS. note by a sixteenth century official written above the -document appointing Gil Vicente to the post of _Mestre da Balança_ -should be conclusive as to the identity of poet and goldsmith: _Gil V^te -trouador mestre da balança_ (_Registos da Cancellaria de D. Manuel_, -vol. XLII. f. 20 v. in the _Torre do Tombo_, Lisbon). - -[36] Garcia de Resende († 1536) was of opinion that it had no rival in -Europe: - - nam ha outra igual - na Christamdade no meu ver. - - (_Miscellanea_, v. 281, ed. Mendes dos Remedios (1917), p. 97.) - -It contained 5000 _moradores_ (_ibid._). In the days of King Duarte -(1433-8) the number was 3000. - -[37] Cf. the dedication of _Dom Duardos_ (_folha volante_ of the Bib. -Municipal of Oporto, N. 8. 74) to Prince João: 'Como quiera Excelente -Principe y Rey mui poderoso que las Comedias, Farças y Moralidades que -he compuesto en servicio de la Reyna vuestra tia....' - -[38] The date 1509 is not barred by the reference to the _Sergas de -Esplandian_, which certainly existed in an earlier edition than the -earliest we now possess (1510). A certain Vasco Abul had given a girl at -Alenquer a chain of gold for dancing a _ballo vylam ou mourysco_ and -could not get it back from the _gentil bayladeyra_. Gil Vicente -contributes but a few lines: _O parecer de gil vycente neste proceso de -vasco abul á rraynha dona lianor_. - -[39] It is absurd to argue that during the years of his chief activity -as goldsmith he had not time to produce the sixteen plays that may be -assigned to the years 1502-17. - -[40] _Gil Vicente_ (1912), p. 11-13. - -[41] The dates in the rubrics are given in Roman figures and the -alteration from MDV to MDIX is very slight. - -[42] Cf. Bartolomé Villalba y Estaña, _El Pelegrino Curioso y Grandezas -de España_ [printed from MS. of last third of sixteenth century]. -_Bibliófilos Españoles_, t. 23, 2 t. 1886, 9, t. 2, p. 37: 'Almerin, un -lugar que los reyes de Portugal tienen para el ynvierno, con un bosque -de muchas cabras, corzos y otros generos de caza.' - -[43] See A. Braamcamp Freire in _Revista de Historia_, vol. XXII. p. -129. - -[44] A. Braamcamp Freire in _Rev. de Hist._ vol. XXII. p. 133-4. - -[45] Luis Anriquez in _Canc. Geral_, vol. III. (1913), p. 106. - -[46] See _Rev. de Hist._ vol. XXII. p. 122; vol. XXIV. p. 290. - -[47] E.g. the words _ahotas_ and _chapado_ and the expression _en -velloritas_ (I. 41), cf. Enzina, _Egloga_ I.: _ni estaré ya tendido en -belloritas_ = in clover, lit. in cowslips: _belloritas de jacinto_ -(_Egl._ III.). - -[48] A. Braamcamp Freire in _Rev. de Hist._ vol. XXIV. p. 290. - -[49] There are, however, several such psalms in the works of Enzina. - -[50] Cf. I. 85: _huele de dos mil maneras_ with Enzina, _Egloga_ II: _y -ervas de dos mil maneras_. In the _Auto da Alma_, probably written about -this time, there are imitations of Gomez Manrique (_c._ 1415-90). Cf. -the passage in the _Exhortação_. - -[51] That the illness of the Queen would not prevent the entertainment -is proved by the fact that in the month before her death King Manuel was -present at a fight between a rhinoceros and an elephant in a court in -front of Lisbon's India House. We do not know if Vicente was present nor -what he thought of this new thing. - -[52] In December 1517 El Bachiller de la Pradilla published some verses -in praise of _la muy esclarecida Señora Infanta Madama Leonor, Rey[na] -de Portugal_ (v. Menéndez y Pelayo, _Antología_, t. 6, p. cccxxxviii). - -[53] He argues that such a form as MD & viii was never used and must be -a misprint for MDxviii. - -[54] Cf. also the resemblance of certain passages in the _Auto da Alma_ -and in the _Auto da Barca da Gloria_ (1519). They must strike any reader -of the two plays. - -[55] Goes, _Chronica_, IV. 34. - -[56] Garcia de Resende, _Hida da Infanta Dona Beatriz pera Saboya_ in -_Chronica...del Rey Dom Ioam II_, ed. 1752, f. 99 V. - -[57] Gil Vicente, _Á morte del Rei D. Manuel_ (III. 347). - -[58] Gil Vicente, _Romance_ (III. 350). - -[59] Goes says generally that King Manuel _foi muito inclinado a letras -e letrados_ (_Chronica_, 1619 ed., f. 342. _Favebat plurimum literis_, -says Osorio, _De rebus_, 1561, p. 479). - -[60] II. 4: _Foi feita ao muito poderoso e nobre Rei D. João III. sendo -principe, era de MDXXI_ (rubric of _Comedia de Rubena_). - -[61] II. 364. Although 'good wine needs no bush' the custom of hanging a -branch above tavern doors still prevails. - -[62] A. Braamcamp Freire in _Rev. de Hist._ vol. XXII. p. 162. - -[63] _Id. ib._ vol. XXIV. p. 307. It is astonishing how slight errors in -the rubrics of Vicente's plays have been permitted to survive, just as -Psalm LI, of which Vicente perhaps at about this time wrote a remarkable -paraphrase, still appears in all editions of his works as Ps. L. - -[64] _Ib._ vol. XXIV. p. 312-3. - -[65] Th. Braga, _Historia da Litteratura Portuguesa. II. Renascença_ -(1914), p. 85. - -[66] J. I. Brito Rebello, _Gil Vicente_ (1902), p. 64. - -[67] H. Thomas, _The Palmerin Romances_ (London, 1916), p. 10-12. - -[68] M. Menéndez y Pelayo, _Antología_, t. 7, p. cci; _Oríg. de la -Novela_, I. cclxvii: _toda la pieza es un delicioso idilio_. - -[69] _Rev. de Hist._ vol. XXIV. p. 315. - -[70] It should be noted that the lines in _Dom Duardos_ (II. 212): - - Consuelo vete de ahi - No perdas tiempo conmigo - -are from the song in the _Comedia de Rubena_ (1521): - - Consuelo vete con Dios (II. 53). - -[71] Cf. _O Clerigo da Beira: não fazem bem [na corte] senão a quem -menos faz_ (III. 320); _Auto da Festa: os homens verdadeiros não são -tidos nũa palha_, etc. - -[72] _Vejo minha morte em casa_ say the verses to the Conde de Vimioso; -_La muerte puesta a mis lados_ says the _Templo de Apolo_. - -[73] _Auto da Natural Invençam_ (Lisboa, 1917), pp. 64, 65, 68, 69, 70, -88, 89. - -[74] _Este nome pos-lho o vulgo_ (III. 4). Cf. the title _Os -Almocreves_. - -[75] _Rol dos livros defesos_ (1551) ap. C. Michaëlis de Vasconcellos, -_Notas Vicentinas_, I. p. 31. We might assume that the second part of _O -Clerigo da Beira_ (III. 250-9) was printed separately under the title -_Auto de Pedreanes_ but for the words _por causa das matinas_. - -[76] _Ib._ p. 30-1. - -[77] The probability is shown by the fact that the idea of their -identity had occurred to me before reading the same suggestion made by -Snr Braamcamp Freire in the _Revista de Historia_. - -[78] See _Notas Vicentinas_, I. (1912). The _Auto da Feira_ answers in -some respects to Cardinal Aleandro's description of the _Jubileu de -Amores_, and Rome (the Church, not the city) might conceivably have been -crowned with a Cardinal's hat, but Aleandro's letter refutes this -suggestion: _uno principal che parlava ... fingeasi Vescovo_. Rome in -the _Auto da Feira_ (I. 162) is a _senhora_. One can only say that the -_Auto da Feira_ may perhaps have been adapted for the occasion, with an -altered title, Spanish being added, to suit the foreign audience. - -[79] _E como sempre isto guardasse Este mui leal autor Até que Deos -enviasse O Principe nosso senhor Nam quis que outrem o gozasse_ (III. -276). - -[80] The familiarity with which the Nuncio is treated would be more -suitable if he was the Portuguese D. Martinho de Portugal, but then the -date would have to be after 1527. - -[81] Cf. II. 343: _Salga esotra ave de pena ... Son perdices_ and _Auto -da Festa_, p. 101. The latter text is corrupt (_penitas_ for _peitas_, -and _cousas fritas_ has ousted the required rhyme _juizes_). - -[82] The line _nega se m'eu embeleco_ occurs here and in the _Serra da -Estrella_ (1527). Arguments as to date from such repetitions are not -entirely groundless. Cf. _com saudade suspirando_ (_Cortes de Jupiter_, -1521) and _sam suspiros de saudade_ (_Pranto de Maria Parda_, 1522); -_Que dirá a vezinhança?_ III. 21 (1508-9), _A vezinhança que dirá?_ III. -34 (1509); _Ó demo que t'eu encomendo_, III. 99 (1511), _Ó diabo que -t'eu encomendo_, II. 362 (1513). The _Exhortação_ (1513), which has -passages similar to those in the _Farsa de Ines Pereira_ (1523) and the -_Pranto de Maria Parda_ (1522), probably became a kind of national -anthem and was touched up for each performance. Curiously, the mention -of _a pedra d'estrema_ in the _Pranto_ and in the _Auto da Festa_ might -correspond to a first (1521) and second (1525) revision of the -_Exhortação_. - -[83] The very success of his plays incited emulation. A play written in -Latin, _Hispaniola_, was acted at the Portuguese Court before his death -(Gallardo, ap. Sousa Viterbo, _A Litt. Hesp. em Portugal_ (1915), p. -xxiv). - -[84] See A. Braamcamp Freire in _Rev. de Hist._ vol. XXIV. p. 331. - -[85] Francisco Alvarez arrived at the Court at Coimbra in the late -summer of 1527 and he says: _nam se tardou muito que el Rey nosso senhor -se partisse com sua corte via dalmeirim. Verdadeira Informaçam_ (1540), -modern reprint, p. 191. - -[86] _Rev. de Hist._ vol. XXV. p. 89. - -[87] According to Snr Braamcamp Freire this play must be assigned to the -months between September 1529 and February 1530. - -[88] O mandei a V. A. por escrito até lhe Deos dar descanso e -contentamento... pera que por minha arte lhe diga o que aqui falece -(III. 388). - -[89] In this letter, written in the very year of the first Bull for the -introduction of the Inquisition into Portugal, Vicente uses the -expression 'May I be burnt if.' - -[90] The line _A quien contaré mis quejas_ (II. 147) is repeated from -the _Trovas_ addressed to King João in 1527. It is taken from a poem by -the Marqués de Astorga printed in the _Cancionero General_ (1511): - - ¿A quien contaré mis quexas - Si a ti no? - -Cf. _Comedia de Rubena_ (II. 6): _¿A quien contaré mi pena?_ The comical -rôle of the Justiça Maior may have been taken by Garcia de Resende, who -added acting to his other accomplishments. He was 66, and he died at -Evora in this year. - -[91] See A. Braamcamp Freire in _Rev. de Hist._ vol. XXVI. p. 122-3. - -[92] From Gil Vicente's epitaph written by himself. - -[93] Garcia de Resende (1470-1536), _Miscellanea_, 1752 ed., f. 113. - -[94] André de Resende, _Genethliacon Principis Lusitani_ (1532), ap. C. -Michaëlis de Vasconcellos, _Notas Vicentinas_, I. (1912), p. 17. - -[95] _Chronica do fel. Rey Dom Emanvel_, Pt IV. cap. 84 (1619 ed., f. -341): Trazia continuadamente na sua corte choquarreiros castelhanos, com -os motes & ditos dos quaes folgaua, nam porque gostasse tanto do ̃q -diziam como o fazia das dissimuladas reprehensões [_jocis perstringere -mores_] ̃q com geitos e palauras trocadas dauam aos moradores de sua -casa fazendolhes conhecer as manhas, viços & modos que tinhão, de que se -muitos tirauam & emmendauam, tomando o ̃q estes truães diziam com -graças por espelho do que aviam de fazer. - -[96] _Auto da Cananea_ (1534). - -[97] _Auto da Lusitania_. - -[98] _Sermão_ (III. 346). - -[99] _Carta_ (III. 388). - -[100] _Auto da Mofina Mendes_ (I. 120, 121). - -[101] _Auto da Cananea_ (I. 365). - -[102] _Sumario da Historia de Deos_ (I. 338). - -[103] I. 69. His own knowledge of the Bible was extensive and he often -follows it closely, e.g. _Auto da Sibila Cassandra_ (I. 47, 48 = Genesis -i.). - -[104] III. 337, 338. His quarrel with the monks was that they did not -serve the State. Cf. _Fragoa de Amor_ (II. 345); _Exhortação da Guerra_ -(II. 367). - -[105] Cf. the passage in the _Sumario da Historia de Deos_ in which -Abraham complains that men worship stocks and stones and have no -knowledge of God, _criador dos spiritos, eternal spirito_ (I. 326). - -[106] III. 284. A critic upbraided Wordsworth for saying that his heart -danced with the daffodils--no doubt Southey's 'my bosom bounds' was more -poetical--yet Shakespeare and Vicente had used the phrase before him. - -[107] _Carta_ (III. 388). - -[108] _Cortes de Jupiter_ (II. 405). - -[109] _Romagem de Aggravados_ (II. 507). - -[110] The preparation of his plays for the press was, he says, a burden -in his old age. Some of the plays had been acted in more than one year, -others had been composed years before they were acted, others had been -printed separately. Hence the uncertainty of some of the rubric dates. - -[111] _Triunfo do Inverno_ (1529), II. 447. - -[112] _Romagem de Aggravados_ (1533), II. 524-5. - -[113] _Auto Pastoril Portugues_ (1523), I. 129. - -[114] _Farsa dos Almocreves_ (1527), III. 219. - -[115] _Triunfo do Inverno_ (1529), II. 487. - -[116] _Auto da Feira_ (1528), I. 175. - -[117] See the _Fragoa de Amor_ and the _Auto da Festa_. - -[118] III. 289 (1532). - -[119] II. 363 (as early as 1513). - -[120] II. 467-75. - -[121] III. 122. - -[122] III. 148 (cf. I. 40, III. 41). - -[123] Goes, _Chronica do fel. Rey Dom Emanvel_, Pt I. cap. 33 (1619 ed., -f. 20). - -[124] E.g. _Novella_ 35: sotto apparenza onesta di religione ogni vizio -di gola, di lussuria e degli altri, como loro appetito desidera, sanza -niuno mezzo usano; _Novella_ 36: hanno meno discrezione che gli animali -irrazionali. - -[125] _Auto da Festa_, ed. 1906, p. 115. - -[126] Vicente, who could write such pure and idiomatic Portuguese, often -used peculiar Spanish, not perhaps so much from ignorance as from a wish -to make the best of both languages. Thus he uses the personal infinitive -and makes words rhyme which he must have known could not possibly rhyme -in Spanish, e.g. _parezca_ with _cabeza_ (Portug. _pareça_--_cabeça_). -So _mucho_ rhymes with _fruto_, _demueño_ with _sueño_. - -[127] The miser, _o verdadeiro avaro_ (III. 287), is barely mentioned. -Perhaps Vicente felt that he would have been too much of an abstract -type, not a living person. - -[128] The boastful Spaniard appears (in Goethe's _Italienische Reise_) -in the Rome Carnival at the end of the eighteenth century. - -[129] There are abundant signs of the cosmopolitanism of Lisbon: A -Basque and a Castilian tavernkeeper, a Spanish seller of vinegar and a -red-faced German friar are mentioned, while Spaniards, Jews, Moors, -negroes, a Frenchman, an Italian are among Vicente's _dramatis -personae_. - -[130] It is very curious to find echoes of Enzina in Vicente's -apparently quite personal prose as well as in his poetry. _No ay cosa -que no esté dicha_, says Enzina, and Vicente repeats the wise quotation -and imitates the whole passage. Enzina addressing the Catholic Kings -speaks of himself as _muy flaca para navegar por el gran mar de vuestras -alabanzas_. Vicente similarly speaks of 'crowding more sail on his poor -boat.' Enzina, in his dedication to Prince Juan, mentions, like Vicente, -_maliciosos_ and _maldizientes_. - -[131] In this play the French _tais-toi_ is written _tétoi_. In an age -of few books such phonetic spelling must have been common. It has been -suggested that the _vair_ (grey) of early French poetry was mistaken for -_vert_ (green). The green eyes of the heroines in Portuguese literature -from the _Cancioneiro da Vaticana_ to Almeida Garrett would thus be -based not on reality but, like Cinderella's glass slippers, on a -confusion of homonyms (see Alfred Jeanroy, _Origines de la poésie -lyrique en France_, p. 329). - -[132] See his _Arte de Poesía Castellana_, ap. Menéndez y Pelayo, -_Antología_, t. 5, p. 32. - -[133] _Os autos de Gil Vicente resentem-se muito dos Mysterios -franceses_. This was, in 1890, the opinion of Sousa Viterbo (_A -Litteratura Hespanhola em Portugal_ (1915), p. ix), but surely Menéndez -y Pelayo's view is more correct. - -[134] In Resende's _Miscellanea_ the line _nõ hos quer deos jũtos -ver_ (1917 ed., p. 16) reads in the 1752 ed., f. 105 v. _ja hos quer_. - -[135] Cf. _Tratado tercero: llevandolo a la boca començó a dar en el tan -fieros bocados_ (1897 ed., p. 50) and _Quem tem farelos?: e chanta nelle -bocado coma cão_ (i. 7). - -[136] The _Canc. Geral_ has a _Pater noster grosado por Luys anrryquez_, -vol. III. (1913), p. 87. - -[137] _Antología_, t. 7, pp. clxxii, clxxiv. - -[138] _Antología_, t. 2, p. 6. - -[139] I. 298. _Vuelta vuelta los Franceses_ from the _romance Domingo -era de Ramos, la Pasion quieren decir_. - -[140] _Comedia de Rubena_, II. 40. The earliest known edition of the -Spanish version of Jacopo Caviceo's _Il Pellegrino_ (1508) is dated 1527 -but that mentioned in Fernando Colón's catalogue (no. 4147) was no doubt -earlier. In 1521 Vicente can already bracket the Spanish translation -with the popular _Carcel de Amor_ printed in 1492, and indeed it ran to -many editions. Its full title was _Historia de los honestos amores de -Peregrino y Ginebra_. Valdés (_Dialogo de la Lengua_) ranks _El -Pelegrino_ as a translation with Boscán's version of _Il Cortegiano: -estan mui bien romançados_. - -[141] E.g. the _Nao de Amor_ of Juan de Dueñas. - -[142] The Everyman-Noman theme in the _Auto da Lusitania_ is, like that -of _Mofina Mendes_, common to many countries and old as the hills. - -[143] Henry Hallam, _Introduction to the Literature of Europe_ (Paris, -1839), vol. I. p. 206. - -[144] Cf. the story _del mancebo que casó con una mujer muy fuerte et -muy brava_ in Don Juan Manuel's _El Conde Lucanor_ (_c._ 1535). -Shakespeare's _The Taming of the Shrew_ was written exactly a century -after _Ines Pereira_; the anonymous _Taming of a Shrew_ in 1594. - -[145] The author of a sixteenth century Spanish play published in -_Biblióf. Esp._ t. 6 (1870) declares that, in order to write it, he has -'trastornado todo _Amadis_ y la _Demanda del Sancto Grial_ de pe a pa.' -The result, according to the colophon, is 'un deleitoso jardin de -hermosas y olientes flores,' a description which would better suit a -Vicente-play. - -[146] Cf. the twelfth century _Représentation d'Adam_. The _Sumario_ has -18 figures. The _Auto da Feira_ has 22, but over half of these consist -of a group of peasants from the hills. - -[147] _Obras_ (1908), t. 2, p. 217-24. - -[148] The anonymous _Tragicomedia Alegórica del Paraiso y del Inferno_ -(Burgos, 1539) followed hard upon his death. It is not the work of -Vicente, who, although in his Spanish he used _allen_, would not have -translated _nas partes de alem_ into an African town: _en Allen_. - -[149] _3a impr._ (Madrid, 1733), p. 35; p. 37 (the 1733 text has _Oi_ -and _Ai_); p. 39. - -[150] As late as 1870 Dr Theophilo Braga could say 'Nobody now studies -Vicente' (_Vida de Gil Vicente_, p. 59). - - - - - COPILACAM - DE TODALAS OBRAS - DE GIL VICENTE, A QVAL SE - reparte em cinco Liuros. O Primeyro he de todas suas - cousas de deuaçam. O segundo as Comedias. O terceyro - as Tragicomedias. No quarto as Farsas. - No quinto, as obras meudas. - (;) - - ¶Vam emmendadas polo Sancto Officio, - como se manda no Cathalogo deste Regno. - ¶ - - ¶Foy impresso em a muy nobre & sempre leal Cidade - de Lixboa, por Andres Lobato. - Anno de M. D. Lxxxyj - - ¶Foy visto polos Deputados da Sancta Inquisiçam - - COM PRIVILEGIO REAL. - - - ¶E la taxado em papel a reis - -TITLE-PAGE OF THE SECOND (1586) EDITION OF GIL VICENTE'S WORKS - - - - -AUTO DA ALMA - - L'Angel di Dio mi prese e quel d' Inferno - Gridava: O tu dal Ciel, perchè mi privi? - DANTE, _Purg._ v. - - - _Auto da Alma._ - -Este auto presente foy feyto aa muyto deuota raynha dona Lianor & -representado ao muyto poderoso & nobre Rey dom Emmanuel, seu yrmão, por -seu mandado, na cidade de Lisboa nos paços da ribeyra em a noyte de -endoenças. Era do Senhor de M. D. & viij[151]. - - Argvmento. - -Assi como foy cousa muyto necessaria auer nos caminhos estalagens pera -repouso & refeyçam dos cansados caminhantes, assi foy cousa conveniente -que nesta caminhante vida ouuesse hũa estalajadeyra para refeição & -descanso das almas que vam caminhantes pera a eterna morada[152] de -Deos. Esta estalajadeyra das almas he a madre sancta ygreja, a mesa he o -altar, os mãjares as insignias da payxã. E desta perfiguraçã[153] trata -a obra seguinte. - -¶ Está posta hũa mesa cõ hũa cadeyra: ṽe a madre sancta ygreja cõ seus -quatro doctores, Sancto Thomas, Sam Hieronymo, Sancto Ambrosio, Sancto -Agostinho, & diz Agostinho. - - 1 AGOST. Necessario foy, amigos, - que nesta triste carreyra - desta vida - pera os mui perigosos perigos - dos immigos - ouuesse algũa maneyra - de guarida. - 2 Porque a humana transitoria - natureza vay cansada - em varias calmas - nesta carreyra da gloria - meritoria - foi necessario pensada - pera as almas. - ¶ Pousada com mantimentos, - mesa posta em clara luz, - sempre esperando, - com dobrados mantimentos - dos tormentos - que o filho de Deos na Cruz - comprou penando. - 4 Sua morte foy auença, - dando, por darnos parayso, - a sua vida - apreçada sem detença, - por sentença - julgada a paga em prouiso - & recebida. - ¶ Ha sua mortal empresa - foy sancta estalajadeyra - ygreja madre - consolar aa sua despesa - nesta mesa - qualquer alma caminheyra - com ho padre - 6 e o anjo custodio ayo. - Alma que lhe he encomendada - se enfraquece - & lhe vay tomando rayo - de desmayo - se chegando a esta pousada - se guarece. - -¶ Ṽe o anjo custodio cõ a alma & diz. - - 7 ANJO. ¶ Alma humana formada - de nenhũa cousa feyta - muy preciosa, - de corrupçam separada, - & esmaltada - naquella fragoa perfeyta - gloriosa; - ¶ planta neste valle posta - pera dar celestes flores - olorosas - & pera serdes tresposta - em a alta costa - onde se criam primores - mais que rosas; - 9 planta soes & caminheyra, - que ainda que estais vos his - donde viestes; - vossa patria verdadeyra - he ser herdeyra - da gloria que conseguis, - anday prestes. - ¶ Alma bemauenturada, - dos anjos tanto querida, - nam durmais, - hum punto nam esteis parada, - que a jornada - muyto em breue he fenecida - se atentais. - - 11 ALMA. Anjo que soes minha guarda - Olhay por minha fraqueza - terreal: - de toda a parte aja resguarda - que nam arda - a minha preciosa riqueza - principal. - ¶ Cercayme sempre oo redor - porque vin muy temerosa - da contenda: - Oo precioso defensor, - meu favor, - vossa espada lumiosa - me defenda. - ¶ Tende sempre mão em mim - porque ey medo de empeçar - & de cayr. - - ANJO. Pera isso sam & a isso vim - mas em fim - cumpreuos de me ajudar - a resistir. - 14 Nam vos occupem vaydades, - riquezas nem seus debates, - olhay por vos: - que pompas, honrras, herdades, - & vaydades - sam embates & combates - pera vos. - ¶ Vosso liure aluidrio, - isento, forro, poderoso, - vos he dado - pollo diuinal poderio - & senhorio, - que possais fazer glorioso - vosso estado. - 16 Deuvos liure entendimento - & vontade libertada - & a memoria, - que tenhais em vosso tento - fundamento - que soes por elle criada - pera a gloria. - ¶ E vendo Deos que o metal, - em que vos pos a estilar - pera merecer, - que era muyto fraco & mortal, - & por tal - me manda a vos ajudar - & defender. - 18 Andemos a estrada nossa, - olhay nam torneis a tras - que o ̃imigo - aa vossa vida gloriosa - pora grosa. - Nam creaes a Satanas, - vosso perigo. - ¶ Continuay ter cuydado - na fim de vossa jornada - & a memoria - que o spirito atalayado - do peccado - caminha sem temer nada - pera a gloria. - 20 e nos laços infernaes - & nas redes de tristura - tenebrosas - da carreyra que passaes - nam cayaes: - sigua vossa fermosura - as gloriosas. - -¶ Adiantase o Anjo e vem o diabo a ella e diz o diabo. - - ¶ Tam depressa, oo delicada - alua pomba, pera onde his? - quem vos engana, - & vos leua tam cansada - por estrada - que soomente nam sentis - se soes humana? - 22 Nam cureis de vos matar - que ainda estais em idade - de crecer. - Tempo hahi pera folgar - & caminhar, - Viuey aa vossa vontade - & a avey prazer. - ¶ Gozay, gozay dos b̃es da terra, - procuray por senhorios - & aueres. - Qũe da vida vos desterra - aa triste serra? - quem vos falla em desuarios - por prazeres? - 24 Esta vida he descanso - doce & manso, - nam cureis doutro parayso: - quem vos põe em vosso siso - outro remanso? - - 25 ALMA. ¶ Nam me detenhaes aqui, - Deyxayme yr, ̃q em al me fundo. - - DIABO. Oo descansay neste mundo, - que todos fazem assi. - 26 Nam sam em balde os aueres, - Nam sam em balde os deleytes - & farturas*, - nam sam de balde os prazeres - & comeres, - tudo sam puros affeytes - das creaturas: - 27 pera os hom̃es se criarão. - Dae folga a vossa possagem - doje a mais, - descansay, pois descansarão - os que passaram - por esta mesma romagem - que leuais. - 28 O que a vontade quiser, - quanto o corpo desejar, - tudo se faça: - zombay de quem vos quiser - reprender, - querendovos marteyrar - tam de graça. - 29 Tornarame se a vos fora, - his tam triste, atribulada - que he tormenta: - senhora, vos soes senhora - emperadora, - nam deueis a ninguem nada, - sede isenta. - - 30 ANJO. Oo anday, quem vos detem? - Como vindes pera a gloria - devagar! - Oo meu Deos, oo summo bem! - Ja ninguem - nam se preza da vitoria - em se saluar. - 31 Ja cansais, alma preciosa? - Tão asinha desmayaes? - Sede esforçada: - Oo como virieis trigosa - & desejosa, - se visseis quanto ganhaes - nesta jornada. - 32 Caminhemos, caminhemos, - esforçay ora, alma sancta - esclarecida. - -¶ Adiantase o anjo & torna Satanas. - - Que vaydades & que estremos - tam supremos! - Pera que he essa pressa tanta? - Tende vida. - ¶ His muy desautorizada, - descalça, pobre, perdida - de remate, - nam leuais de vosso nada - amargurada: - assi passais esta vida - em disparate. - ¶ Vesti ora este brial, - metey o braço por aqui, - ora esperay. - Oo como vem tão real! - isto tal - me parece bem a mi: - ora anday. - 35 Hũs chapins aueis mister - de Valença, muy fermosos[*], - eylos aqui: - Agora estais vos molher - de parecer. - Põde os braços presumptuosos, - isso si, - 36 passeayuos muy pomposa, - ¶ daqui pera ali & de laa por ca, - & fantasiay. - Agora estais vos fermosa - como a rosa, - tudo vos muy bem estaa: - descansay. - -Torna o anjo a alma diz̃edo. - - 37 ANJO. ¶ Que andais aqui fazendo? - - ALMA. Faço o ̃q vejo fazer - pollo mundo. - - ANJO. Oo Alma, hisuos perd̃edo, - correndo vos his meter - no profundo. - 38 Quanto caminhais auante - tanto vos tornais a tras - & a trauees, - tomastes ante com ante - por marcante - o cossayro satanas - porque querees. - ¶ Oo caminhay com cuydado - que a Virgem gloriosa - vos espera: - deyxais vosso principado - desherdado, - engeytais a gloria vossa - & patria vera. - 40 Deyxay esses chapins ora - & esses rabos tam sobejos, - que his carregada, - nam vos tome a morte agora - tam senhora, - nem sejais com tais desejos - sepultada. - 41 ALMA. ¶ Anday, day me ca essa mão: - anday vos, que eu yrey - quanto poder. - -Adiãtese o anjo & torna o diabo. - - DIABO. Todas as cousas cõ rezão - tem çazam. - Senhora, eu vos direy - meu parecer: - 42 hahi tempo de folgar - & idade de crecer - & outra idade - de mandar e triumphar, - & apanhar - & acquirir prosperidade - a que poder. - ¶ Ainda he cedo pera a morte: - tempo ha de arrepender - e yr ao ceo. - Pondevos a for da corte, - desta sorte - viua vosso parecer, - que tal naceo. - 44 O ouro pera que he? - & as pedras preciosas - & brocados, - & as sedas pera que? - Tende per fee - ̃q pera as almas mais ditosas - foram dados*. - ¶ Vedes aqui hum colar - douro muy bem esmaltado - & dez aneis. - Agora estais vos pera casar - & namorar: - neste espelho vos vereis - & sabereis - ̃q nam vos ey de enganar. - 46 E poreis estes pendentes, - em cada orelha seu, - isso si, - que as pessoas diligentes - sam prudentes: - agora vos digo eu - que you contente daqui. - - 47 ALMA. ¶ Oo como estou preciosa, - tam dina pera seruir - & sancta pera adorar! - - ANJO. Oo alma despiadosa, - perfiosa, - quem vos deuesse fugir - mais que guardar! - 48 Pondes terra sobre terra, - que esses ouros terra sam: - oo senhor, - porque permites tal guerra - que desterra - ao reyno da confusam - o teu lauor? - ¶ Nam hieis mais despejada - & mais liure da primeyra - pera andar? - Agora estais carregada - & embaraçada - com cousas que ha derradeyra - ham de ficar. - 50 Tudo isso se descarrega - ao porto da sepultura: - alma sancta, quem vos cega, - vos carrega - dessa vaã desauentura? - - 51 ALMA. Isto nam me pesa nada - mas a fraca natureza - me embaraça. - Ja nam posso dar passada - de cansada: - tanta é minha fraqueza - & tam sem graça. - 52 Senhor hidevos embora, - que remedio em mi nam sento, - ja estou tal. - - ANJO. Sequer day dous passos ora - atee onde mora - a que tem o mantimento - celestial. - ¶ Ireis ali repousar, - comereis algũs bocados - confortosos, - porque a hospeda he sem par - em agasalhar - os que vem atribulados - & chorosos. - - 54 ALMA. He lõge? - - ANJO. Aqui muy perto. - Esforçay, nam desmayeis - & andemos, - que ali ha todo concerto - muy certo: - quantas cousas querereis - tudo temos*. - - ¶ A hospeda tem graça tanta, - faruosha tantos fauores. - - ALMA. Quem he ella? - - ANJO. He a madre ygreja sancta, - e os seus sanctos doutores - i com ella. - 56 Ireis di muy despejada - chea do Spirito Sancto - & muy fermosa: - ho alma sede esforçada, - outra passada, - que nam tendes de andar tãto - a ser esposa. - - 57 DIABO. ¶ Esperay, onde vos his? - Essa pressa tam sobeja - He ja pequice. - Como, vos que presumis - consentis - continuardes a ygreja - sem velhice? - 58 Dayuos, dayuos a prazer, - ̃q muytas horas ha nos annos - que laa vem. - Na hora que a morte vier - Como xiquer - se perdoão quantos dannos - a alma tem. - 59 Olhay por vossa fazenda: - tendes hũas scripturas - de hũs casais - de que perdeis grande renda. - He contenda - que leyxarão aas escuras - vossos pays; - 60 he demanda muy ligeyra, - litigios que sam vencidos - em um riso: - citay as partes terça feyra - de maneyra - como nam fiquem perdidos - & auey siso. - - 61 ALMA. Calte por amor de deos - leyxame, nam me persigas, - bem abasta - estoruares os ereos - dos altos ceos, - que a vida em tuas brigas - se me gasta. - 62 Leyxame remediar - o que tu cruel danaste - sem vergonha, - que nam me posso abalar - nem chegar - ao logar onde gaste - esta peçonha. - - 63 ANJO. ¶ Vedes aqui a pousada - verdadeyra & muy segura - a quem quer vida. - - YGREJA. Oo como vindes cansada - & carregada! - - ALMA. Venho por minha ventura - amortecida. - - 64 YGREJA. Quem sois? pera onde andais? - - ALMA. Nam sey pera onde vou, - sou saluagem, - sou hũa alma que peccou - culpas mortaes - contra o Deos que me criou - aa sua imagem. - ¶ Sou a triste, sem ventura, - criada resplandecente - & preciosa, - angelica em fermosura - & per natura - come rayo reluzente - lumiosa. - 66 E por minha triste sorte - & diabolicas maldades - violentas - estou mais morta que a morte, - sem deporte, - carregada de vaydades - peçonhentas. - ¶ Sou a triste, sem meezinha, - peccadora abstinada - perfiosa, - pella triste culpa minha - mui mesquinha - a todo mal inclinada - & deleytosa. - 68 Desterrey da minha mente - os meus perfeytos arreos - naturaes, - nam me prezey de prudente - mas contente - me gozey com os trajos feos - mundanaes. - ¶ Cada passo me perdi - em lugar de merecer, - eu sou culpada: - auey piedade de mi - que nam me vi, - perdi meu inocente ser - & sou danada. - 70 E por mais graueza sento - nam poderme arrepender - quanto queria, - que meu triste pensamento - sendo isento - nam me quer obedecer - como soya. - ¶ Socorrey, hospeda senhora, - que a mão de Satanas - me tocou, - e sou ja de mi tam fora - que agora - nam sey se auante se a traz - nem como vou. - 72 Consolay minha fraqueza - com sagrada yguaria, - que pereço, - por vossa sancta nobreza, - que he franqueza, - porque o que eu merecia - bem conheço. - ¶ Conheçome por culpada - & digo diante vos - minha culpa. - Senhora, quero pousada, - day passada, - pois que padeceo por nos - quem nos desculpa. - 74 Mandayme ora agasalhar, - capa dos desamparados, - ygreja madre. - - YGREJA. Vindevos aqui assentar - muy de vagar, - que os manjares são guisados - por Deos Padre. - ¶ Sancto Agostinho doutor, - Geronimo, Ambrosio, Sã Thomas, - meus pilares, - serui aqui por meu amor - a qual milhor, - & tu, alma, gostaraas - meus manjares. - 76 Ide aa sancta cosinha, - tornemos esta alma em si, - porque mereça - de chegar onde caminha - & se detinha: - pois que Deos a trouxe aqui - nam pereça. - -¶ Em quanto estas cousas passam Satanas passea fazendo muytas vascas & -vem outro & diz. - - ¶ Como andas desasossegado. - - DIABO. Arço em fogo de pesar. - - OUTRO. Que ouueste? - - DIABO. Ando tam desatinado - de enganado - que nam posso repousar - que me preste. - 78 Tinha hũa alma enganada - ja quasi pera infernal - mui acesa. - - OUTRO. E quem ta levou forçada? - - DIABO. O da espada. - - OUTRO. Ja melle fez outra tal - bulra como essa. - ¶ Tinha outra alma ja vencida - em ponto de se enforcar - de desesperada, - a nos toda offerecida - & eu prestes pera a levar - arrastada; - 80 e elle fella chorar tanto - que as lagrimas corriã - polla terra. - Blasfemey entonces tanto - que meus gritos retiniam - polla serra. - ¶ Mas faço conta que perdi, - outro dia ganharey, - e ganharemos. - - DIABO. Nam digo eu, yrmão, assi, - mas a esta tornarey - & veremos. - 82 Tornala ey a affogar - depois que ella sayr fora - da ygreja - & começar de caminhar: - hei de apalpar - se venceram ainda agora - esta peleja. - -Alma com o Anjo. - - ¶ ALMA. Vos nam me desampareis, - senhor meu anjo custodio. - Oo increos - imigos, que me quereis - que ja sou fora do odio - de meu Deos? - 84 Leyxaime ja, tentadores, - neste conuite prezado - do Senhor, - guisado aos peccadores - com as dores - de Christo crucificado, - Redemptor. - -¶ Estas cousas estando a alma assentada à mesa & o anjo junto com ella -em pee, vem os doutores com quatro bacios de cosinha cubertos cantando -Vexila regis prodeunt*. E postos na mesa, Sancto Agostinho diz. - - 85 AGOST. Vos, senhora conuidada, - nesta cea soberana - celestial - aueis mister ser apartada - & transportada - de toda a cousa mundana - terreal. - 86 Cerray os olhos corporaes, - deytay ferros aos danados - apetitos, - caminheyros infernaes, - pois buscaes - os caminhos bem guiados - dos contritos. - - 87 YGREJA. Benzey a mesa, senhor, - & pera consolaçam - da conuidada, - seja a oraçam de dor - sobre o tenor - da gloriosa payxam - consagrada. - 88 E vos, alma, rezareis, - contemplando as viuas dores - da senhora, - vos outros respondereis - pois que fostes rogadores - atee agora. - -Oraçã pa Santo Agostinho. - - ¶ Alto Deos marauilhoso - que o mundo visitaste - em carne humana, - neste valle temeroso - & lacrimoso - tua gloria nos mostraste - soberana; - 90 e teu filho delicado, - mimoso da diuindade - & natureza, - per todas partes chagado - & muy sangrado - polla nossa infirmidade - & vil fraqueza. - ¶ Oo emperador celeste, - Deos alto muy poderoso - essencial, - que pollo homem que fizeste - offereceste - o teu estado glorioso - a ser mortal. - ¶ E tua filha, madre, esposa, - horta nobre, frol dos ceos, - Virgem Maria, - mansa pomba gloriosa - o quam chorosa - quando o seu Filho e Deos* - padecia. - 93 Oo lagrymas preciosas, - de virginal coraçam - estilladas, - correntes das dores vossas - com os olhos da perfeyçam - derramadas! - ¶ Quem hũa soo podera ver - vira claramente nella - aquella dor, - aquella pena & padecer - com que choraueis, donzella, - vosso amor. - ¶ E quando vos amortecida - se lagrymas vos faltauam - nam faltaua - a vosso filho & vossa vida - chorar as que lhe ficauam - de quando orava. - 96 Porque muyto mais sentia - pollos seus padecimentos - vervos tal, - mais que quanto padecia - lhe doya, - & dobrava seus tormentos - vosso mal. - ¶ Se se podesse dizer, - se se podesse rezar - tanta dor; - se se podesse fazer - podermos ver - qual estaueis ao clauar - do Redemptor. - 98 Oo fermosa face bella, - oo resplandor divinal, - que sentistes - quando a cruz se pos aa vella - & posto nella - o filho celestial - que paristes! - 99 Vendo por cima da gente - assomar vosso conforto - tam chagado, - crauado tam cruelmente, - & vos presente, - vendo vos ser mãy do morto - & justiçado. - 100 O rainha delicada, - sanctidade escurecida - quem nam chora - em ver morta & debruçada - a auogada, - a força de nossa vida - *[pecadora]! - - 101 AMBROSIO. Isto chorou Hyeremias - sobre o monte de Sion - ha ja dias, - porque sentio que o Messias - era nossa redempçam. - 102 E choraua a sem ventura - triste de Jerusalem - homecida, - matando contra natura - seu Deos nascido em Belem - nesta vida. - - 103 GERONYMO. Quem vira o sancto cordeyro - antre os lobos humildoso - escarnecido, - julgado pera o marteyro - do madeyro, - seu rosto aluo & fermoso - muy cuspido! - - AGOST. B̃eze a mesa. - - 104 A bençam do padre eternal - & do filho que por nos - sofreo tal dor - & do spirito sancto, igual - Deos immortal, - conuidada, benza a vos - por seu amor. - - 105 YGREJA. ¶ Ora sus, venha agoa as mãos. - - AGOST. Vos aveysuos de lavar - em lagrymas da culpa vossa - & bem lauada - & aueisuos de chegar - alimpar - a hũa toalha fermosa - bem laurada - 106 co sirgo das veas puras - da Virgem sem magoa nacido - & apurado, - torcido com amarguras - aas escuras, - com grande dor guarnecido - & acabado. - ¶ Nam que os olhos alimpeis, - que a nam consentirão - os tristes laços - que taes pontos achareis - da face & enues, - que se rompe o coração - em pedaços. - 108 Vereis*, triste, laurado - [com rosto de fermosura]* - natural, - com tormentos pespontado - e figurado, - Deos criador, em figura - de mortal. - -¶ Esta toalha que aqui se falla he a varonica, a qual Sancto Agostinho -tira dantre os bacios & a mostra à Alma, & a madre ygreja con os -doutores lhe fazem adoração de joelhos, cantando Salue sancta facies, & -acabando diz a madre ygreja. - - ¶ Venha a primeyra yguaria. - - GERO. Esta yguaria primeyra - foy, senhora, - guisada sem alegria - em triste dia, - a crueldade cozinheyra - & matadora. - 110 Gostala eis com salsa & sal - de choros de muyta dor, - porque os costados - do Messias diuinal, - sancto sem mal, - forão pollo vosso amor - açoutados. - -¶ Esta yguaria em ̃q aqui se falla sam os açoutes, & em este passo os -tirã dos bacios & os presentam a alma & todos de joelhos adoram cantãdo -Aue flagellum, & despois diz Geronymo. - - ¶ Estoutro manjar segundo - he yguaria - que aueis de mastigar - em contemplar - a dor que o senhor do mundo - padecia - pera vos remediar. - 112 foi hum tromento improuiso - que aos miolos lhe chegou - & consentio, - por remediar o siso - que a vosso siso faltou, - e pera ganhardes parayso - a sofrio. - -¶ Esta yguaria segunda de que aqui se fala he a coroa de espinhos, e em -este passo a tiram dos bacios & de joelhos os sanctos doutores cantam -Aue corona espinearum, & acabando diz a madre ygreja. - - 113 Venha outra do teor. - - GERO. Estoutro manjar terceyro - foy guisado - em tres lugares de dor, - a qual maior, - com a lenha do madeyro - mais prezado. - 114 Comese com gram tristeza* - porque a virgem gloriosa - o vio guisar: - vio crauar com gram crueza - a sua riqueza - & sua perla preciosa - vio furar. - -¶ E a este passo tira sancto Agostinho os crauos, & todos de joelhos os -adorão, cantando Dulce lignum, dulcis clauus, & acabada a adoraçam diz o -anjo à alma. - - ¶ Leixay ora esses arreos, - que estoutra nam se come assi - como cuydais: - pera as almas sam mui feos - e sam meos - con que nam andam em si - os mortais. - -¶ Despe a alma o vestido & joyas que lho imigo deu & diz Agostinho. - - ¶ Oo alma bem aconselhada, - que dais o seu a cujo he, - o da terra ha terra: - agora yreis despejada - polla estrada, - porque vencestes com fee - forte guerra. - - 117 YGREJA. ¶ Venha estoutra yguaria. - - GERO. A quarta yguaria he tal, - tam esmerada, - de tam infinda valia - & contia - que na mente diuinal - foy guisada, - 118 por mysterio preparada - no sacrario virginal - muy cuberta, - da diuindade cercada - & consagrada, - despois ao padre eternal - dada em oferta. - -¶ Apresenta sam Geronymo à alma hum crucificio que tira dantre os -pratos, & os doutores o adoram cantando Domine Jesu Christe, & acabando -diz a alma. - - ¶ Cõ que forças, com ̃q spirito - te darey, triste, louuores - que sou nada, - vendote, Deos infinito, - tam afflito, - padecendo tu as dores - & eu culpada? - 120 Como estaas tam quebrantado, - filho de Deos immortal! - quem te matou? - Senhor per cujo mandado - es justiçado - sendo Deos vniuersal - que nos criou? - - 121 AGOST. ¶ A fruyta deste jantar, - que neste altar vos foy dado - com amor, - yremos todos buscar - ao pomar - adonde estaa sepultado - o redemptor. - -¶ E todos com a alma, cantando Te Deum laudamus, foram adorar ho -muymento. - - LAVS DEO. - - -NOTES: - -1. _pera mui p'rigosos p'rigos_ C. _imigos_ C. - -2. _pensada_ A, B; _pousada_ C. _passada_? cf. infra 73 and J. Ruiz -_Cantar de Ciegos_. De los bienes deste siglo No tiuemos nos _pasada_. - -3. _Pousada com alimentos_? - -4. _apressada_ C. - -6. _em chegando_? - -13. _a resistir_ A, B, C; _e resistir_ D. - -18. _atras_ B. _imigo_ B. - -20. _trestura_ B. _vem o Diabo e diz_ C. - -22. _E havei prazer_ C. - -23. _& auereis_? B. _cue da vida vos desterra_ B. - -26. _nam som em balde os deleytes_ B. _fortunas_ A, B, C, D, E. -_criaturas_ C. - -27. _possagem_ A, B; _passagem_ C. - -35. _Huns chapins aueis mister De Valença, eylos aqui_ A, B, C, D, E. - -36. _de la pera ca_ C. - -38. _marcante_ A, B; _mercante_ C, D. _querês_ C, D. - -41. _poder_ A; _puder_ B, C. _Todas cousas com razão Tem sazão_ C. - -42. _poder_ A, B; _puder_ C. - -43. _naceo_ A, B; _nasceo_ C (cf. infra 102 _nascido_ A; 106 _nacido_ -A). - -44. _dadas_ A, B; _dados_ C. - -45. _esmaltados_ B. _neste espelho & sabereis_ B. _Neste espelho bem -lavrado Vos vereis_? (omitting _& sabereis--enganar_). - -46. _em cada orelha o seu_ B. - -47. _despiedosa_ C. - -49. _á derradeira_ C. - -50. _van_ C. - -52. _mim_ C. - -54. _muito certo? tudo tendes_ A, B, C, D, E. - -56. _Siprito_ B. - -58. _como se quer_ C. - -59. _escripturas_ C. - -61. _estrouares_ B. _hereos_ C. - -62. _damnaste_ C. - -65. _como o raio_ C. - -66. _violentas_ A. _& tromentas_ B. - -67. _mezinha_ B. _obstinada_ C. _a todo o mal_ C; _e todo o mal_ D. - -68. _arreos_, _feos_ C; _c'os trajos_ C. - -69. _logar_ C. _damnada_ C. - -71. _soccorey_ C. - -74. _devagar_ C. - -75. _Jeronimo, Ambrosio e Thomaz_ C, D. _e qual_ D. _melhor_ C, D. - -76. _troxe_ B. _passeia_ C. _vem outro Diabo_ C. - -77. _dessocegado_ C, D. - -79. _Tinha outra alma vencida_ B. - -80. _fê-la_ C, D. - -81. _asi_ B. - -82. _affogar_ A; _affagar_ C. _Entra a Alma, con o Anjo_ C, D. - -84. _Vexilla_ C. _pro Deum_ A, B; _prodeunt_ C. - -88. _até 'gora_ C, D. - -90. _pela nossa_ C, D. - -91. _polo homem_ C, E. B omits 90 and 91. - -92. _O quão chorosa Quando o seu Deos padecia_ A, B, C, D, E. - -93. _com os_ A, B; _c'os olhos_ C, D. - -94. _podera ver_ A, B; _podera haver_ C, D. - -96. _vermos_ B. - -97. _cravar_ C. - -100. _morta debruçada_ C. _de nossa vida_ A, B; _da nossa vida_ C, D. -_pecadora_? or _e senhora_? or _nesta hora_? - -101. _Mesias_ B. - -102. _choraua sem_ B. - -103. _cospido_ B. - -105. _Vso aveysuos_ B. - -105. _a limpar_ A [but cf. 107. _alimpeis_ (A)]; _alimpar_ B; _A -alimpar_ C. - -107. _de face_ C. - -108. _Vereis seu triste laurado Natural_ A, B, C, D, E. _Esta toalha de -que C. Veronica C. a mostra_ A; _amostra_ B, C. _santa facias_ B. - -110. _em ̃q se falla_ B. _açotes_ B. - -112. _tormento_ C. _fala_ A; _falla_ B. _espiniarum_ C. _acabado_ B. - -113. _theor_ C. - -114. _gran_ C. _tristura_ A, B, C, D, E. - -114. _clausos_ B. _acabada a oração_ C. - -115. _inimigo_ C. - -116. _o seu a cujo he_ A, B; _o seu cujo he_ C, D. - -118. _oferta_ A; _offerta_ B _crucifixo_ B, C. - -119. _spirito_ A, B; _sprito_ C. _tristes louvores_ C, D, E. _dios_ B. - -121. _fruta_ B. _a onde_ C. _redemtor_ B. _moymento_ B; _moimento_ C. - - -FOOTNOTES: - -[151] _MDXVIII_. A. Braamcamp Freire. - -[152] _pera eterna morada_ B. - -[153] _prefiguraçã_ B. - - -ENGLISH TRANSLATION: - - _The Soul's Journey._ - -_This play was written for the very devout Queen Lianor and played -before the very powerful and noble King Manuel, her brother, by his -command, in the city of Lisbon at the Ribeira palace on the night of -Good Friday in the year 1508._ - - - _Argument._ - -_As it was very necessary that there should be inns upon the roads for -the repose and refreshment of weary wayfarers, so it was fitting that in -this transitory life there should be an innkeeper for the refreshment -and rest of the souls that go journeying to the everlasting abode of -God. This innkeeper of souls is the Holy Mother Church, the table is the -altar, the fare the emblems of the Passion. And this allegory is the -theme of the following play._ - -(_A table laid, with a chair. The Holy Mother Church comes with her four -doctors, St Thomas, St Jerome, St Ambrose and St Augustine, who says:_) - - 1 _St Aug._ Friends, 'twas of necessity - That upon the gloomy way - Of this our life - Some sure refuge there should be - From the enemy - And dread dangers that alway - Therein are rife. - 2 Since man's spirit migratory - In the journey to its goal - Is oft oppressed, - Weary in this transitory - Path to glory, - An inn was needed for the soul - To stay and rest. - 3 An inn provided with its fare, - In clear light a table spread - Expectantly, - And laden with a double share - Of torments rare - That the Son of God, His life-blood shed, - Bought on the Tree. - 4 Since by the covenant of His death - He gave, to give us Paradise, - Even His life, - Unwavering He rendereth - For us His breath, - Paying the full required price - Free from all strife. - 5 His work as man was to enable - Our Mother Church thus to console, - Innkeeper lowly, - And minister at this very table, - Most serviceable, - Unto every wayfaring soul, - With the Father Holy - 6 And its Guardian Angel's care. - The soul to her protection given - If, weak with sin - And yielding almost to despair, - It onward fare - And to reach this inn have striven, - Finds health within. - -(_The Guardian Angel comes with the Soul and says:_) - - 7 _Angel._ Human soul, by God created - Out of nothingness yet wrought - As of great price, - From corruption separated, - Sublimated, - To glorious perfection brought - By skilled device; - 8 Plant that in this valley growest - Flowers celestial for to give - Of fairest scent, - Hence to that high hill thou goest - Where thou knowest - Even than roses graces thrive - More excellent. - 9 Plant wayfaring, since thy spirit, - Scarce staying, to its first origin - Must still begone, - Thy true country is to inherit - By thy merit - That glory that thou mayest win: - O hasten on. - 10 Soul that art thus trebly blest - By such angels' love attended, - Sink not asleep, - Nor one instant pause nor rest, - Thou journeyest - On a way that soon is ended - If watch thou keep. - - 11 _Soul._ Guardian angel, o'er me still - Keep thy ward that am so frail - And of the earth, - On all sides thy watch fulfil - That nothing kill - My true wealth nor e'er prevail - O'er its high worth. - 12 Ever encompass me and shield, - For this conflict with great fear - Fills all my sense, - Noble protector in this field, - Lest I should yield, - Let thy gleaming sword be near - For my defence. - 13 Still uphold me and sustain - For I fear lest I may stumble, - Fail and fall. - - _Angel._ Therefore came I, nor in vain, - Yet amain - Must thou help me too, and humble - Resist all: - 14 Even all the world's debate - Of riches and of vanity, - Seek thou for grace, - Since pomp and honour, high estate - Vainly elate, - Are but a stumbling-block to thee, - No resting-place. - 15 Power uncontrolled is thine, - And an independent will - Unbound by fate: - Even so in His might divine - Did God design - That thou in glory mightst fulfil - Thy heavenly state. - 16 He gave thee understanding pure, - Imparted to thee memory, - Free will is thine, - That so thou mayest e'er endure - With purpose sure, - Knowing that He has fashioned thee - To be divine. - 17 And since God knew the mortal frame - Wherein He placed thee to distil, - (So to win His praise) - Was metal weak and prone to shame, - Therefore I came - Thee to protect--it was His will-- - And to upraise. - 18 Let us go forth upon our way. - Turn not thou back, for then indeed - The enemy - Upon thy glorious life straightway - Will make assay. - But unto Satan pay no heed - Who lurks for thee. - 19 And still the goal seek thou to win - Carefully at thy journey's end. - And be it clear - That the spirit e'er at watch within - Against all sin - Upon salvation's path may wend - Without a fear. - 20 In snares of Hell that shall waylay, - Dark and awful wiles among, - Thee to molest, - As thou advancest on thy way - Fall not nor stray, - But let thy beauty join the throng - Of spirits blest. - -(_The Angel goes forward and the Devil comes to the Soul and says:_) - - 21 _Devil._ Whither so swift thy flight, - Delicate dove most white? - Who thus deceives thee? - And weary still doth goad - Along this road, - Yea and of human sense, - Even, bereaves thee? - 22 Seek not to hasten hence - Since thou hast life and youth - For further growth. - There is a time for haste, - A time for leisure: - Live at thy will and rest, - Taking thy pleasure. - 23 Enjoy, enjoy the goods of Earth, - And great estates seek to possess - And worldly treasures. - Who to the hills, exiled from mirth, - Thus sends thee forth? - Who speaks to thee of foolishness - Instead of pleasures? - 24 This life is all a pleasaunce fair, - Soft, debonair, - Look for no other paradise: - Who bids thee seek, with false advice, - Refuge elsewhere? - - 25 _Soul._ Hinder me not here nor stay, - For far other thoughts are mine. - - _Devil._ To worldly ease thy thought incline - Since all men incline this way. - 26 And not for nothing are delights, - And not in vain possessions sent - And fortune's prize, - And not for nought are pleasure's rites - And banquet-nights: - All these are for man's ornament - And galliardize; - 27 For mortal men is their array. - So let delight thy woes assuage, - Henceforth recline - And rest, since rest likewise had they - Who went this way, - Even this very pilgrimage - That now is thine. - 28 And whatsoe'er thy body crave, - Even as thy will desire, - So let it be; - And laugh thou at the censors grave, - Whoso would have - Thee torturèd by sufferings dire - So uselessly. - 29 I would not, being thou, go forth, - So sad and troubled lies the way, - 'Tis cruelty, - And thou art of imperial worth - And royal birth, - To none thou needest homage pay, - Then be thou free. - - 30 _Angel._ O who thus hinders thee? On, on! - How loiterest thou on glory's path - So slowly! - O God, sole consolation! - Now is there none - Who of that victory honour hath - That is most holy. - 31 Soul, already dost thou tire - Sinking so soon beneath thy burden? - Nay, soul, take heart! - Ah, with what a glowing fire - Of desire - Cam'st thou couldst thou see what guerdon - Were then thy part. - 32 Forward, forward let us go: - Be of good cheer, O soul made holy - By this thy strife. - -(_The Angel goes forward and Satan returns._) - - _Devil._ But what is all this coil and woe? - Why to and fro - Flutterest thou in haste and folly? - Nay, live thy life. - 33 For very piteous is thy plight, - Poor, barefoot, ruined utterly, - In bitterness, - Carrying nothing to delight - As thine by right, - And all thy life is thus to thee - A thing senseless. - 34 But don this dress, thy arm goes there, - Put it through now, even thus, now stay - Awhile. What grace, - What finery! I do declare - It pleases me. Now walk away - A little space. - 35 So: I trow shoes are now thy need - With a pair from Valencia, fair to see, - I thee endow. - Now beautiful, as I decreed, - Art thou indeed; - Now fold thy arms presumptuously: - Ev'n so; and now - 36 Strut airily, show off thy power, - This way and that and up and down - Just as thou please; - Fair now as fairest rose in flower - Thy beauty's dower, - And all becomes thee as thine own: - Now take thine ease. - -(_The Angel returns to the Soul, saying:_) - - 37 _Angel._ What is this that thou art doing? - - _Soul._ In the world's mirror ev'n as I see - I do in this. - - _Angel._ O soul, thou compassest thy ruin - And rushest forward foolishly - To the abyss. - 38 For every step that onward fares - One step back, one step aside - Thou takest still, - And buyest eagerly the wares - That pirate bears, - Even Satan, by thee glorified - Of thy free will. - 39 O journey onward still with care - For the Virgin with the elect - Doth thee await: - Thou leavest desolate and bare - Thy kingdom rare, - And thine own glory dost reject - And true estate. - 40 But cast these slippers now aside, - This gaudy dress and its long train, - Thou art all bowed, - Lest Death come on thee unespied - And in thy pride - These thy desires and trappings vain - Prove but thy shroud. - - 41 _Soul._ Go forward, stretch thy hand - to save, - Go forward, I will follow thee - As best I may. - -(_The Angel goes forward and the Devil returns._) - - _Devil._ All things in light of reason grave - Their seasons have. - And I to thee will, O lady, - My counsel say: - 42 There is a time here for delight - And an age is given for growth, - Another age - To tread in lordly triumph's might - In the world's despite, - Gaining ease and riches both - On life's full stage. - 43 It is too early yet to die, - Time later to repent on earth - And to seek Heaven. - Then cease with fashion's rule to vie, - And quietly - Enjoy the nature that at birth - To thee was given. - 44 What, think'st thou, is the use for gold - And what the use for precious stones - And for brocade, - And all these silks so manifold? - Ah surely hold - That for the souls, the blessed ones, - They were all made. - 45 See here a necklace in its pride - Of skilfully enamelled gold, - Here are rings ten: - Now mayst thou win the hearts of men, - Fit for a bride. - In this mirror thou mayst behold - Thyself and see - That I am not deceiving thee. - 46 And here are ear-rings, put them on - One in each ear duly now: - Even so; - For things thus diligently done - Prove wisdom won, - And now I may to thee avow - That right well pleased I hence shall go. - - 47 _Soul._ O how lovely is my state, - How is it for service meet, - And for holy adoration! - - _Angel._ Cruel soul and obstinate, - Rather thereat - Should I shun thee than still treat - Of thy salvation. - 48 Earth upon earth is this thy store, - Since but earth is all this gold. - O God most high, - Wherefore permittest thou such war - That, as of yore, - To Babel's kingdom from thy fold - Thy creatures hie? - 49 Was it not easier journeying - At first, more free than that thou hast - With all this train, - Hampered and bowed with many a thing - That now doth cling - About thee, but which at the last - Must here remain? - 50 All is disgorged and left behind - At the entrance to the tomb. - Who, holy soul, doth thee thus blind - Thyself to bind - With such vain misfortune's doom? - - 51 _Soul._ Nay, this doth scarcely on me weigh: - It is my poor weak mortal nature - That bows me down. - So weary am I, I must stay - Nor go my way, - So void of grace, so frail a creature - Am I now grown. - 52 Sir, go thy way: I cannot strive - Nor hope now further to advance, - So fallen I. - - _Angel._ But two steps more to where doth live - She who will give - To thee celestial sustenance - Charitably. - 53 Thither shalt thou go and rest, - And shalt taste there of that fare - New strength to borrow: - Unrivalled is that hostess blest - To give of the best - To those who weeping come to her, - Laden with sorrow. - - 54 _Soul._ Is it far off? - - _Angel._ Nay, very near. - Be not downcast, but now be brave, - And let us go, - For every remedy and cheer - Is certain here. - And whatsoever thou wouldst have - We can bestow. - 55 Such grace is hers that nought can smirch, - Such favours will she show to thee, - That innkeeper. - - _Soul._ Her name? - - _Angel._ The Holy Mother Church. - And holy doctors thou shalt see - Are there with her. - - 56 Joyful thence shall thy going be, - Filled then with the Holy Spirit - And beautified: - O soul, take heart, courageously - One step for thee, - Nay, scarce one step, and thou shalt merit - To be a bride. - - 57 _Devil._ Stay, whither art thou going now? - Such haste is mere unseemly rage - And foolishness: - What, thou so puffed with pride, canst thou - Thus meekly bow - To go on churchward e'er old age - Doth on thee press? - 58 Let pleasure, pleasure rule thy ways, - For many hours in years to roll - To thee are given, - And when death comes to end thy days, - If prayer thou raise, - Then all sins that can vex a soul - Shall be forgiven. - 59 Look to thy wealth and property: - There is a group of houses should - Be thine by right, - Great source of income would they be, - Unhappily - At thy parents' death the matter stood - In no clear light. - 60 The case is simple, 'tis averred - Such lawsuits in a trice are won - At laughter's spell: - Next Tuesday let the case be heard - And, in a word, - Finish thou well what is begun. - Be sensible. - - 61 _Soul._ O silence, for the love of God, - Persecute me no more: thy hate - Doth it not suffice - High Heaven's heirs that it hinder should - From their abode? - My life to thee early and late - I sacrifice. - 62 But leave me: so I may efface - The cruel wrong that shamelessly - Thou hast thus wrought; - For now I have scarce breathing-space - To reach that place - Where for this poison there may be - Some antidote. - - 63 _Angel._ See the inn: a sure retreat, - Even for all those a true home - Who would have life. - - _Church._ O laden with sore toil and heat! - O tired feet! - - _Soul._ Yea, for I destined was to come - Weary of strife. - - 64 _Church._ Who art thou? whither wouldst thou win? - - _Soul._ I know not whither, outcast, fated - At fortune's whim, - A soul unholy, steepèd in - Its mortal sin, - Against the God who had created - Me like to Him. - 65 I am that soul ill-starred, unblest, - That by nature shone in gleaming - Robe of white, - Of angel's beauty once possessed, - Yea, loveliest, - Like a ray refulgent streaming - Filled with light. - 66 And by my ill-omened fate, - My atrocious devilries, - Sins treasonous, - More dead than death is now my state - Bowed with this weight - That nought can lighten, vanities - Most poisonous. - 67 I am a sinner obstinate, - Perverse, that know no remedy - For this my plight, - Oppressed by guilt most obdurate, - And profligate, - Inclined to evil constantly - And all delight. - 68 And I banished from my lore - All my perfect ornaments - And natural graces, - By prudence I set no store - But evermore - Rejoiced in all these vile vestments - And worldly places. - 69 At each step taken in earthly cares - I further sank away from praise, - Earning but blame: - Have mercy upon one who fares - Lost unawares: - For, innocence lost, I might not raise - Myself from shame. - 70 And, for my greater evil, I - Can no more repent me fully, - Since in new mood - My thoughts are mutinous and cry - For liberty, - Unwilling to obey me duly - As once they would. - 71 O help me, lady innkeeper, - For Satan even now his hand - Doth on me lay, - And so grievously I err - In my despair - That I know not if I go or stand - Or backward stray. - 72 Succour thou my helplessness - And strengthen me with holy fare, - For I perish, - Of thy noble saintliness - Liberal to bless, - For knowing my deserts I dare - No hope to cherish. - 73 I acknowledge all my sin - And before thee meekly thus - Forgiveness crave. - O Lady, let me now but win - Into thine inn, - Since One suffered even for us, - That He might save. - 74 Bid me welcome, Mother holy, - Shield of all who are forsaken - Utterly. - - _Church._ Enter to thy seat there lowly, - Yet come slowly, - For the viands thou seest were baken - By God most high. - 75 Lo ye my pillars, doctor, saint, - Ambrose, Thomas and Jerome - And Augustine, - In my service wax not faint, - Nor show constraint, - And to thee, soul, shall be welcome - This fare of mine. - 76 To the holy kitchen go: - Let us this frail soul restore, - That she find grace - To reach her journey's end and know - Her path, that so - By God brought hither she no more - Fail in life's race. - -(_Meanwhile Satan goes to and fro, cutting many capers, and another -devil comes and says:_) - - 77 _2nd D._ You're like a lion in a cage. - - _1st D._ I'm all afire, with anger blind. - - _2nd D._ Why, what's the matter? - - _1st D._ To be so taken in, my rage - Can nought assuage - Nor any rest be to my mind; - For, as I flatter - 78 Myself, I had by honeyed word - Deceived a certain soul, all quick - For fires of Hell. - - _2nd D._ Who made you throw it overboard? - - _1st D._ He of the sword. - - _2nd D._ He played just such another trick - On me as well. - 79 For I had overcome a soul, - Ready to hang itself, unsteady - In its despair; - Yes, it was given to us whole - And I myself was making ready - To drag't down there. - 80 And lo he made it weep and weep - So that the tears ran down along - The very ground: - You might have heard my curses deep - And cries of rage echo among - The hills around. - 81 But I have hopes that what I've lost - Some other day I shall regain, - So will we all. - - _1st D._ I, brother, cannot share your trust, - But I will tempt this soul again - Whate'er befall. - 82 With new promises will I woo her - When from the Church she shall have come - Forth to the street - Upon her journey: I will to her, - And beshrew her - If I turn not all their triumph - To defeat. - -(_The Soul enters with the Angel._) - - 83 _Soul._ O let not thy protection fail me, - Guardian angel, help thy child. - O foes most base, - Infidels, why would you assail me - Who to my God am reconciled - And in His grace? - 84 Leave me, O ye tempters, leave - Unto this most precious feast - Of Him who died, - Served to sinners for reprieve - Of those who grieve - For their Redeemer Lord, the Christ - And crucified. - -(_While the Soul is seated at the table and the Angel standing by her -side, the Doctors come with four covered kitchen dishes, singing -_Vexilla regis prodeunt_, and after placing them on the table, St -Augustine says:_) - - 85 _St Aug._ Lady, thou that to this feast, - Supper of celestial fare - Nobly divine, - Comest as a bidden guest, - Must now divest - Thyself of worldly thought and care - That once were thine. - 86 Thou thy body's eyes must close - And in fetters sure be tied - Fierce appetite, - Treacherous guides, infernal foes: - Thy ways are those - That are a safe support and guide - For the contrite. - - 87 _Church._ Sir, by thee be the table blest: - In thy benedictory prayer, - To bring relief - And new strength to this our guest, - Be there expressed - The Passion's glory in despair - And all its grief. - 88 Thou, O soul, with orisons, - The Virgin's sorrows contemplating - Abide even there, - And ye others make response - Since for this have you been waiting - Wrapped in prayer. - -(_St Augustine's prayer:_) - - 89 God whose might on high appears, - Who camest to this world - In human guise, - In this vale of many fears - And sullen tears - Thy great glory hast unfurled - Before our eyes; - 90 And thy Son most delicate - By His natural majesty - Of divine birth, - Ah, in blood and wounds prostrate - Is now his state - For our vile infirmity - And little worth. - 91 O Thou ruler of the sky, - High God of power divine, - Enduring might, - Who for thy creature, man, to die - Didst not deny - Thy Godhead, and madest Thine - Our mortal plight. - 92 And thy daughter, mother, bride, - Noble flower of the skies, - The Virgin blest, - Gentle Dove, when her Son died, - God crucified, - Ah what tears shed by those eyes - Her grief attest. - 93 O most precious tears that well - From that virgin heart distilled - One by one, - Flowing at thy sorrow's spell - They those perfect eyes have filled - And still flow on. - 94 Who but one of them might have - In it most manifestly - That grief to prove, - Even that woe and suffering grave - Which then overwhelmèd thee - For thy dear love. - 95 Fainting then with grief if failed - Thy tears, yet Him they might not fail, - Thy Life, thy Son, - Who unto the Cross was nailed, - Even fresh tears that could avail, - In prayer begun. - 96 For far greater woe was His - When He saw thee faint and languish - In thy distress, - More than His own agonies, - And doubled is - All His torture at thy anguish - Measureless. - 97 For no words have ever told - No prayer or litany wailed - Such grief and loss: - Our weak thought may not enfold - Nor thee behold - As thou wert when He was nailed - Upon the Cross. - 98 For to thee, O lovely face, - Wherein Heaven's beauty shone, - What woe was given - When the Cross on high they place - And thereupon - Nailèd the Son of Heaven, - Even thy Son! - 99 Over the crowd's heads on high - He who was ever thy delight - Came to thy sight, - To the Cross nailèd cruelly, - Thou standing by, - Thou the mother of Him who died - There crucified! - 100 O frail Queen of Holiness, - Who would not thus weep to see - Thee fainting fall - And lie there all motionless, - Thou patroness - Who dost still uphold and free - The life of all! - - 101 _St Ambrose._ Thus of yore did Jeremiah - On Mount Sion make lament - In days long spent, - For he knew that the Messiah - Was for our salvation sent. - 102 And he mourned the misery - Of ill-starred Jerusalem, - The murderess, - Who should kill unnaturally - Her God born in Bethlehem - Our life to bless. - - 103 _St Jerome._ O the Holy Lamb to see - Humble amid the wolves' despite, - With mockery fraught, - Condemned to suffer cruelly - Upon the Tree, - And that face, so fair and white, - Thus set at nought! - - _St Augustine. (He blesses the table.)_ - - 104 The Eternal Father's blessing rest, - And of the Son, who suffered thus - Even for us, - And of the Spirit holiest, - On thee our guest: - Spirit immortal, Father, Son, - The Three in One. - - 105 _Church._ Come now, bring water for the hands. - - _St Aug._ But thou must wash in tear on tear - Shed for thy past sins' misery, - Most thoroughly, - And then to this fair towel here - Thou mayst draw near, - A towel that is kept for thee - Worked cunningly - 106 With finest silk in painlessness - From out the Holy Virgin's veins - That issuèd, - Silk that was spun in bitterness - And dark distress, - And woven with increasing pains - And finishèd. - 107 Yet never shall thine eyes be dried: - This pattern sad will ever make - Thy tears downflow, - Such stitches here on either side - Doth it provide - That one's very heart must break - To see such woe. - 108 Presented here thou mayest see - With lovely face most natural - --And seeing weep-- - Embroiderèd with agony, - O mystery! - God fashioned, who created all, - In human shape. - -(_The towel here described is the veronica, which St Augustine takes -from among the dishes and shows to the Soul, and the Mother Church and -the Doctors adore it on their knees, singing _Salve sancta Facies_, and -the Mother Church then says:_) - - 109 _Church._ Let the first viand be - brought. - - _St Jerome._ It was preparèd joylessly - On a sad day, - With no pleasure was it fraught, - With suffering bought, - And its cook was Cruelty, - Eager to slay. - 110 With seasoning of tears and shame - Must this course by thee be eaten, - Sorrowfully, - Since the Messiah's holy frame, - Pure, free from blame, - Cruelly was scourged and beaten - For love of thee. - -(_The viand so described consists of the scourge which at this stage is -taken from the dishes and presented to the Soul and all kneel and adore, -singing _Ave flagellum_; and Jerome then says:_) - - 111 _St Jerome._ This second viand of noble worth, - This delicacy, - Must be slowly eaten by thee - In contemplation - Of what the Lord of all the earth - In agony - Sufferèd for thy salvation. - 112 This new torture suddenly - He allowed to reach His brain, - That so thy wit - And sense might be restored to thee, - That perished from thee utterly, - Yea that thou Paradise mightst gain - Endured He it. - -(_This second viand so described is the crown of thorns, and at this -stage they take it from the plates, and kneeling the holy Doctors -sing _Ave corona spinarum_ and afterwards the Mother Church says:_) - - 113 _Church._ Another bring in the same strain. - - _St Jerome._ This third viand that is brought to thee - Was prepared thrice - In places three, in each with gain - Of subtler pain, - With the wood of the Holy Tree, - Wood of great price. - 114 It must be eaten sorrowfully, - Since the Virgin glorious - Saw it garnished, - Her treasure nailèd cruelly - Then did she see, - And her pearl most precious - Pierced and tarnished. - -(_At this station St Augustine brings the nails and all kneel and adore -them, singing _Dulce lignum, dulcis clavus_, and when the adoration is -ended the Angel says to the Soul:_) - - 115 _Angel._ These trappings must thou - lay aside, - This new fare cannot, thou must know, - Be eaten thus: - By them are men's souls vilified - And in their pride - Puffed up with overweening show - Presumptuous. - -(_The Soul casts off the dress and jewels that the enemy gave her._) - - 116 _St Augustine._ O soul, well counselled! well bestowed - To each what is of each by right, - And earth to earth: - Now shalt thou speed along thy road, - Free of this load, - Faring by faith from this stern fight - Victorious forth. - - 117 _Church._ To the last course I thee - invite. - - _St Jerome._ This fourth viand is of a kind - So seasonèd, - It is of value infinite, - Most exquisite, - Prepared by the Divine mind - And perfected: - 118 Entrusted first in mystery - To a holy virgin came from Heaven - This secret thing, - Encompassed by divinity - And sanctity, - Then to the Eternal Father given - As offering. - -(_St Jerome presents to the Soul a Crucifix, which he takes from among -the dishes, and the Doctors adore it, singing _Domine Jesu Christe_, and -afterwards the Soul says:_) - - 119 _Soul._ With what heart and mind contrite - May I praise Thee sadly now - Who am nought, - Seeing Thee, God infinite, - To such plight - Of suffering and sorrow bow, - By my sin brought! - 120 Lord, how art Thou crushed and broken, - Thou, the Son of God, to die! - And Thy death - By whom ordered, by what token - The word spoken - Thee to judge and crucify, - Who gav'st us breath? - - 121 _St Aug._ For the fruit to end this feast, - On the altar given thee thus - Lovingly, - To the orchard go we all in quest, - Where lies at rest - The Redeemer, He who died for us - And set us free. - -(_And all with the Soul, singing _Te deum laudamus_, went to adore the -tomb._) - - LAVS DEO. - - - - -EXHORTAÇÃO DA GUERRA - - - _Exhortação da Guerra[154]._ - -_Interlocutores_: ¶ Nigromante, ZEBRON, DANOR, Diabos, POLICENA, -PANTASILEA, ARCHILES, ANIBAL, EYTOR, CEPIAM. - -_A Tragicomedia seguinte seu nome he Exortação da guerra. Foi -representada ao muyto alto & nobre Rey dom Manoel o primeyro em Portugal -deste nome na sua cidade de Lixboa na partida pera Azamor do illustre & -muy magnifico senhor dõ Gemes Duque de Bargança & de Guimarães, &c. Era -de M.D.xiiij annos._ - -¶ _Entra primeyramente hum clerigo nigromante & diz:_ - - CL. Famosos & esclarecidos - principes mui preciosos, - na terra vitoriosos - & no ceo muyto queridos, - 5 sou clerigo natural - de Portugal, - venho da coua Sebila - onde se esmera & estila - a sotileza infernal. - 10 E venho muy copioso - magico & nigromante, - feyticeyro muy galante, - astrologo bem auondoso. - Tantas artes diabris - 15 saber quis - que o mais forte diabo - darey preso polo rabo - ao iffante Dom Luis. - Sey modos dencantamentos - 20 quaes nunca soube ninguem, - artes para querer bem, - remedios a pensamentos. - Farey de hum coraçam duro - mais que muro - 25 como brando leytoayro, - e farei polo contrayro - que seja sempre seguro. - Sou muy grande encantador, - faço grandes marauilhas, - 30 as diabolicas sillas - sam todas em meu favor: - farey cousas impossiveis - muy terribeis, - milagres muy euidentes - 35 que he pera pasmar as gentes, - visiueis & invisiueis. - Farey que hũa dama esquiua - por mais çafara que seja - quando o galante a veja - 40 que ella folgue de ser viua; - farey a dous namorados - mui penados - questem cada hum per si, - & cousas farey aqui - 45 que estareis marauilhados. - Farey por meo vintem - que hũa dama muito fea - que de noyte sem candea - nam pareça mal nem bem; - 50 e outra fermosa & bella - como estrella - farey por sino forçado - que qualquer homem hõrrado - nam lhe pesasse um ella. - 55 Faruos ey mais pera verdes, - por esconjuro perfeyto, - que caseis todos a eyto - o milhor que vos poderdes; - e farey da noite dia - 60 per pura nigromanciia - se o sol alumear, - & farey yr polo ar - toda a van fantesia. - Faruos ey todos dormir - 65 em quanto o sono vos durar - & faruos ey acordar - sem a terra vos sentir; - e farey hum namorado - bem penado - 70 se amar bem de verdade - que lhe dure essa vontade - atee ter outro cuydado. - Faruos ey que desejeis - cousas que estão por fazer, - 75 e faruos ey receber - na hora que vos desposeis, - e farey que esta cidade - estee pedra sobre pedra, - e farey que quem nam medra - 80 nunca t̃e prosperidade. - Farey per magicas rasas - chuuas tam desatinadas - que estem as telhas deytadas - pelos telhados das casas; - 85 e farey a torre da See, - assi grande como he, - per graça da sua clima - que tenha o alicesse ao pee - & as ameas em cima. - 90 Nam me quero mais gabar. - Nome de San Cebriam - esconjurote Satam. - Senhores não espantar! - Zeet zeberet zerregud zebet - 95 oo filui soter - rehe zezegot relinzet - oo filui soter - oo chaues das profundezas - abri os porros da terra! - 100 Princepe[*] da eterna treua - pareçam tuas grandezas! - conjurote Satanas, - onde estaas, - polo bafo dos dragões, - 105 pola ira dos liões, - polo valle de Jurafas. - Polo fumo peçonhento - que sae da tua cadeyra - e pola ardente fugueyra, - 110 polo lago do tormento - esconjurote Satam, - de coraçam, - zezegot seluece soter, - conjurote, Lucifer, - 115 que ouças minha oraçam. - Polas neuoas ardentes - que estam nas tuas moradas, - pollas poças pouoadas - de bibaras & serpentes, - 120 e pello amargo tormento - muy sem tento - que daas aos encacerados, - pollos grytos dos danados - que nunca cessam momento: - 125 conjurote, Berzebu, - pola ceguidade Hebrayca - e polla malicia Judayca, - com a qual te alegras tu, - rezeegut Linteser - 130 zamzorep tisal - siroofee nafezeri. - -_Vêm os diabos Zebron & Danor & diz Zebron:_ - - _Z._ Que has tu, escomungado? - - _C._ Oo yrmãos, venhaes embora! - - _D._ Que nos queres tu agora? - - 135 _C._ Que me façaes hum mandado. - - _Z._ Polo altar de Satam, - dom vilam. - - _D._ Tomoo por essas gadelhas - & cortemoslhe as orelhas, - 140 que este clerigo he ladram. - - _C._ Manos, nam me façaes mal, - Compadres, primos, amigos! - - _Z._ Não te temos em dous figos. - - _C._ Como vay a Belial? - 145 sua corte estaa em paz? - - _D._ Dalhe aramaa hum bofete, - crismemos este rapaz - & chamemoslhe Zopete. - - _C._ Ora fallemos de siso: - 150 estais todos de saude? - - _Z._ Fideputa, meo almude, - que t̃es tu de ver com isso? - - _C._ Minhas potencias relaxo - & me abaxo, - 155 falayme doutra maneyra. - - _D._ Sois bispo vos da Landeyra - ou vigayro no Cartaxo? - - _Z._ He Cura do Lumear, - sochantre da Mealhada, - 160 acipreste de canada, - bebe sem desfolegar. - - _D._ É capelão terrantees, - bom Ingres, - patriarca em Ribatejo - 165 beberaa sobre hum cangrejo - as guelas dũ Frances. - - _Z._ Danor, dime, he Cardeal - Darruda ou de Caparica? - - _D._ Nenhũa cousa lhe fica - 170 senam sempre o vaso tal, - tem um grande Arcebispado - muito honrrado - junto da pedra da estrema - onda põe a diadema - 175 & a mitra o tal prelado. - Ladram, sabes o Seyxal - & Almada & pereli? - Oo fideputa alfaqui - albardeyro do Tojal. - - 180 _C._ Diabos, quereis fazer - o que eu quiser - por bem ou de outra feyçam? - - _D._ Oo fideputa ladram - auemoste dobedecer. - - 185 _C._ Ora eu vos mando & remando - pollas virtudes dos ceos - polla potencia de Deos, - em cujo seruiço ando, - conjurouos da sua parte - 190 sem mais arte - que façais o que eu mandar - polla terra & pollo ar, - aqui & em toda a parte. - - _Z._ Como te vai com as terças? - 195 É viuo aquelle alifante - que foy a Roma tão galante? - - _D._ Amargamte a ti estas verças? - - _C._ Esconjurote, Danor, - por amor de sam Paulo - 200 e de sam Polo. - - _Z._ Tu não tens nenhum miolo. - - _C._ Eu vos farey vir a dor. - Por esta madre de Deos - de tão alta dinidade, - 205 & polla sua humildade, - com que abrio os altos ceos, - polas veas virginaes - emperiaes - de que Christo foi humanado. - - 210 _Z._ Que queres, escomungado? - Mandanos, nam digas mais. - - _C._ Minha merce mãda & ordena - que tragais logo essas horas - diante destas senhoras - 215 a Troyana Policena - muyto bem atauiada - & concertada, - assi linda como era. - - _D._ Quanta pancada te dera - 220 se pudera, - mas t̃esma força quebrada. - - _C._ Venha por mar ou por terra - logo muyto sem referta. - - _Z._ E a terça da offerta - 225 tambem pagas pera a guerra? - - _C._ Trazei logo a Policena - muy sem pena - com sua festa diante. - - _Z._ Inda yraa outro alifante: - 230 pagaraas quarto & vintena. - -_Vem Policena & diz:_ - - _P._ Eu que venho aqui fazer? - Oo que gran pena me destes - pois por força me trouxestes - a um nouo padecer: - 235 que quem viue sem ventura, - em gram tristura - ver prazeres lhee mais morte. - Oo belenissima corte, - senhora da fermosura! - 240 Nam foy o paço Troyano - dino de vosso primor: - vejo hum Priamo mayor - hum Cesar muy soberano, - outra Ecuba mais alta, - 245 mui sem falta, - em poderosa, doce, humana, - a quem por Febo & Diana - cada vez Deos mais esmalta. - E vos, Principe excelente, - 250 dayme aluisaras liberais, - que vossas mostras são tais - que todo mundo he contente, - e aos planetas dos ceos - mandou Deos - 255 que vos dessem tais fauores - que em grandeza sejais vos - prima dos antecessores. - Por vos, mui fermosa flor, - Iffante Dona Isabel - 260 Foram juntos em torpel - por mandando do senhor - o ceo & sua companhia - & julgou Jupiter juiz - que fosseis Emperatriz - 265 de Castella & Alemanha. - Senhor Iffante Dom Fernãdo, - vosso sino he de prudencia, - Mercurio per excelencia - fauorece vosso bando, - 270 sereis rico & prosperado - e descansado, - sem cuydado & sem fadiga, - & sem guerra & sem briga: - isto vos estaa guardado. - 275 Iffante Dona Breatiz, - vos sois dos sinos julgada - que aueis de ser casada - nas partes de flor de lis: - mais bem do que vos cuydais, - 280 muyto mais, - vos tem o mundo guardado. - Perdey, senhores, cuydado - pois com Deos tanto priuais. - - _C._ Que dizeis vos destas rosas, - 285 deste val de fermosura? - - _P._ Tal fora minha ventura - como ellas sam de fermosas! - Oo que corte tam lozida - & guarnecida - 290 de lindezas para olhar! - quem me pudera ficar - nesta gloriosa vida! - - _D._ Nesta vida! la acharaas. - - _P._ Quem me trouxe a este fado? - - 295 _D._ Esse zote escomungado - te trouxe aqui onde estaas. - Perguntalhe que te quer - para ver. - - _P._ Homem, a que me trouxeste? - - 300 _C._ Quee? ainda agora vieste - e has me de responder! - Declara a estes senhores, - pois foste damor ferida, - qual achaste nesta vida - 305 que é a moor dor das dores, - e se as penas infernaes - se sam aas do amor yguaes, - ou se dam la mais tormentos - dos que ca dam pensamentos - 310 e as penas que nos daes. - - _P._ Muyto triste padecer - no inferno sinto eu - mas a dor que o amor me deu - nunca a mais pude esqueecer. - - 315 _C._ Que manhas, que gentileza - ha de ter o bom galante? - - _P._ A primeyra he ser constante, - fundado todo em firmeza; - nobre, secreto, calado, - 320 soffrido em ser desdañado, - sempre aberto o coração - pera receber payxão - mas nam pera ser mudado. - Ha de ser mui liberal, - 325 todo fundado em franqueza, - esta he a mor gentileza - do amante natural: - porque é tam desuiada - ser o escasso namorado - 330 como estar fogo em geada - ou hũa cousa pintada - ser o mesmo encorporado. - Ha de ser o seu comer - dous bocados suspirando - 335 & dormir meo velando - sem de todo adormecer. - Ha de ter muy doces modos, - humano, cortessa todos, - seruir sem esperar della, - 340 que quem ama com cautela - não segue a t̃eçam dos Godos. - - _C._ Qual he a cousa principal - porque deue ser amado? - - _P._ Que seja mui esforçado, - 345 isto he o que mais lhe val. - Porque hum velho dioso, - feo e muyto tossegoso, - se na guerra tem boa fama - com a mais fermosa dama - 350 merece de ser ditoso. - Senhores guerreyros, guerreyros! - & vos senhoras guerreyras - bandeyras & não gorgueyras - lauray pera os caualeyros. - 355 Que assi nas guerras Troyãs - eu mesma & minhas irmaãs - teciamos os estandartes - bordados de todas partes - com diuisas mui loucaãs. - 360 Com cantares e alegrias - dauamos nossos colares - e nossas joias a pares - per essas capitanias. - Renegay dos desfiados - 365 & dos pontos enleuados - destruase aquella terra - dos perros arrenegados. - Oo quem vio Pantasileea - com quarenta mil donzellas, - 370 armadas como as estrellas - no campo de Palomea. - - _C._ Venha aqui: trazeyma ca. - - _Z._ Deyxanos yeramaa. - - _C._ Ora sus, questais fazendo? - - 375 _D._ O' diabo que teu encomendo - & quem tal poder te daa. - - _Entra Pantiselea e diz:_ - - _P._ Que quereis e esta chorosa - rainha Pantasilea, - aa penada, triste, fea, - 380 pera corte tam fermosa? - Porque me quereis vos ver - diante vosso poder, - rey das grandes marauilhas - que com pequenas quadrilhas - 385 venceis quem quereis vencer? - Se eu, senhor, forra me vira, - do inferno solta agora, - e fora de mi senhora, - meu senhor, eu vos seruira, - 390 empregara bem meus dias - em vossas capitanias, - & minha frecha dourada - fora bem auenturada - & nam nas guerras vazias. - 395 Oo famoso Portugal - conhece teu bem profundo, - pois atee o Polo segundo - chega o teu poder real. - Auante, auante, senhores, - 400 pois que com grandes favores - todo o ceo vos fauorece: - el Rey de Fez esmorece, - & Marrocos daa clamores. - Oo deixay de edificar - 405 tantas camaras dobradas - Muy pintadas & douradas. - Que he gastar sem prestar. - Alabardas, alabardas! - espingardas, espingardas! - 410 Nam queyrais ser Genoeses - senam muyto Portugueses - & morar em casas pardas. - Cobray fama de ferozes, - nam de ricos, que he perigosa, - 415 douray a patria vossa - com mais nozes que as vozes. - Auante, auante Lisboa! - que por todo mundo soa - tua prospera fortuna: - 420 pois que fortuna temfuna - faze sempre de pessoa. - Archiles, que foy daqui - de perto desta cidade, - chamay-o: diraa a verdade - 425 se não quereis crer a mi. - - _C._ Ora sus, sus digo eu. - - _Z._ Este clerigo he sandeu. - Onde estou que o nam crismo! - oo fideputa judeu - 430 queres vazar o abismo? - -_Vem Archiles & diz:_ - - _A._ Quando Jupiter estaua - em toda sua fortaleza - & seu gran poder reynaua - & seu braço dominaua - 435 os cursos da natureza; - quando Martes influya - seus rayos de vencimento - & suas forças repartia; - quando Saturno dormia - 440 com todo seu firmamento; - e quando o Sol mais lozia - & seus rayos apuraua - & a Lũa aparecia - mais clara que o meo dia; - 445 & quando Venus cãtaua, - e quando Mercurio estaua - mais pronto em dar sapiencia; - & quando o ceo se alegraua - & o mar mais manso estaua - 450 & os ventos em clemencia; - e quando os sinos estauam - com mais gloria & alegria - & os poolos senfeytauam - & as nuũes se tirauam - 445 & a luz resplandecia; - e quando a alegria vera - foy em todas naturezas, - nesse dia, mes & era - quando tudo isto era - 460 naceram vossas altezas. - Eu Archiles fuy criado - nesta terra muytos dias - & sam bem auenturado - ver este reyno exalçado - 465 & honrrado por tantas vias. - Oo nobres seus naturaes, - por Deos nam vos descudees, - lembreuos que triumphaes; - oo prelados, nam dormais! - 470 clerigos, nam murmureis! - Quando Roma a todas velas - conquistaua toda a terra - todas, donas & donzelas, - dauam suas joyas belas - 475 pera manter os da guerra. - Oo pastores da Ygreja - moura a ceyta de Mafoma, - ajuday a tal peleja - que açoutados vos veja - 480 sem apelar pera Roma. - Deueis devender as taças, - empenhar os breuiayros, - fazer vasos de cabaças - & comer pão & rabaças - 485 por vencer vossos contrayros. - - _Z._ Assi, assi, aramaa! - dom zote, que te parece? - - _C._ E a mi que se me daa? - quem de seu renda nam ha - 490 as terças pouco lhe empece. - - _A._ Se viesse aqui Anibal - e Eytor e Cepiam - vereis o que vos diram - das cousas de Portugal - 495 com verdade & com razam. - - _C._ Sus Danor, e tu Zebram: - venham todos tres aqui. - - _D._ Fideputa, rapaz, cam, - perro, clerigo, ladram! - - 500 _Z._ Mao pesar vejeu de ti. - -_Vem Anibal, Eytor, Cepiam & diz Anibal:_ - - _A._ Que cousa tam escusada - he agora aqui Anibal, - que vossa corte he afamada - per todo mundo em geral. - - 505 _E._ Nem Eytor nam faz mister. - - _C._ Nem tampouco Cepiam. - - _A._ Deueis, senhores, esperar - em Deos que vos ha de dar - toda Africa na vossa mão. - 510 Africa foi de Christãos, - Mouros vola tem roubada: - Capitães, pondelhas mãos, - que vos vireis mais louçãos - com famosa nomeada. - 515 Oo senhoras Portuguesas, - gastay pedras preciosas, - donas, donzelas, duquesas, - que as taes guerras & empresas - sam propriamente vossas. - 520 É guerra de deuaçam - por honrra de vossa terra, - commettida com rezam, - formada com descriçam - contra aquella gente perra. - 525 Fazey contas de bugalhos, - & perlas de camarinhas, - firmaes de cabeças dalhos; - isto si, senhoras minhas, - & esses que tendes daylhos. - 530 Oo ̃q nam honrram vestidos - nem muy ricos atauios - mas os feytos nobrecidos, - nam briaes douro tecidos - com trepas de desuarios: - 535 dayos pera capacetes. - & vos, priores honrrados, - reparti os Priorados - a soyços & soldados, - _& centum pro vno accipietis_. - 540 A renda que apanhais - o milhor que vos podeis - nas ygrejas nam gastais, - aos proues pouca dais, - eu nam sey que lhe fazeis. - 545 Day a terça do que ouuerdes - pera Africa conquistar - com mais prazer que poderdes, - que quanto menos tiuerdes - menos tereis que guardar. - 550 Oo senhores cidadãos - Fidalgos & regedores - escutay os atambores - com ouuidos de Christãos! - E a gente popular - 555 auante! nam refusar! - Ponde a vida & a fazenda, - porque pera tal contenda - ninguem deue recear. - -_Todas estas figuras se ordenaram em caracol & a vozes cantaram & -representaram o que se segue, cantando todos:_ - - Ta la la la lam, ta la la la lam. - - 560 _A._ Auante, auante! senhores! - que na guerra com razam - anda Deos de capitam. - - _Cãtã._ Ta la la la lam, ta la la la lam. - - _A._ Guerra, guerra, todo estado! - 565 guerra, guerra muy cruel! - que o gran Rey Dom Manoel - contra Mouros estaa viado. - Tem promettido & jurado - dentro no seu coraçam - 570 que poucos lhescaparão. - - _Cãtã._ Ta la la la lam, ta la la la lam. - - _Anfalado._ Sua Alteza detremina - por acrescentar a fee - fazer da Mesquita See - 575 em Fez por graça diuina. - Guerra, guerra muy contina - he sua grande tençam. - - _Cãtã._ Ta la la la lam, ta la la la lam. - - _A._ Este Rey tam excelente, - 580 muyto bem afortunado, - tem o mundo rodeado - doriente ao Ponente: - Deos mui alto, omnipotente, - o seu real coraçam - 585 tem posto na sua mão. - - _Cãtã._ Ta la la la lam, ta la la la lam. - -_E com esta soyça se sayram e fenece a susodita Tragicomedia._ - - -NOTES: - -0. _Era de M.D.xiiij_ A. 1513 C, D, E. - -25. _leituairo_ C. - -100. _Princepes_ A. - -117. _estan_ A. - -118. _pocas_ A. - -119. _viboras_ C. - -131. _Lisó fé_ C. - -148. _zobete_ C. - -167. _Cardial_ C. - -221. _tens-me a_ C. - -238. _bellenissima_ C. - -260. _tropel_ C. - -346. _idoso_ C. - -347. _muito socegado_ C. - -375. _Ó Diabo qu'eu t'encommendo_ C. - -515. _senhores Portugueses_ A. - - -FOOTNOTES: - -[154] This play was omitted in B. - - -ENGLISH TRANSLATION: - - _Exhortation to War._ - -_Dramatis personae_: A necromancer, ZEBRON and DANOR, devils, POLYXENA, -PENTHESILEA, ACHILLES, HANNIBAL, HECTOR, SCIPIO. - -_The following tragicomedy is called Exhortation to War. It was played -before the very high and noble King Dom Manuel I of Portugal in his city -of Lisbon on the departure for Azamor of the illustrious and very -magnificent Lord Dom James, Duke of Braganza, Guimarães, etc., in the -year 1513._ - -¶ _A necromancer priest first enters and says:_ - - Princes of most noble worth, - To whom high renown is given, - Who, victorious on earth, - Are beloved of God in Heaven, - 5 I a priest am and my home - Is Portugal, - From the Sibyl's cave I come - Where fumes diabolical - Are distilled and brought to birth. - 10 In magic and necromancy - I'm a skilled practitioner, - A most accomplished sorcerer, - Well versed in astrology. - In so many a devil's art - 15 Would I have part - That o'er the strongest I'll prevail - And just seize him by the tail - And hand him to prince Luis there. - Sorcerers of past time ne'er - 20 Knew the enchantments that I know, - Ways of making love to grow - And of freeing from love's care. - For of hearts I will take one - Harder than stone - 25 And will it soft as syrup make, - And so change others, to changes prone, - That nothing shall their firmness shake. - Truly a great wizard I - And great marvels can I work, - 30 All the powers of Hell that lurk - Favour me exceedingly, - As deeds impossible shall attest - Of awful shape, - Miracles most manifest - 35 Such that all shall see and gape, - Visibly and invisibly. - For I'll make a lady coy, - Though love's guerdon she defer, - If her lover look on her, - 40 The very breath of life enjoy; - And two lovers, love's curse under - Kept asunder, - Will I leave to grieve apart, - And achieve by this my art - 45 Things at which you'll gaze in wonder. - For a lady most ungainly - For a halfpenny at night - Will I cause without a light - To look nor ill nor well too plainly. - 50 To another loveliest, - As star in heaven - Shall this destiny be given - That of noblest men and best - None against her love protest. - 55 And the better to display - The perfection of my spell - I'll cause you all to marry well, - That is, I mean, as best you may; - And I'll turn night into day - 60 All by this good art of mine, - If the sun should chance to shine, - And, too, light as air shall be - Every foolish fantasy. - I will cause you all to sleep - 65 While sleep has you in its keeping, - And I'll cause you to awake - Without therefore the earth quaking; - And a lover by the thorn - Of love forlorn - 70 If most real be his love - I will make his fancy prove - Steadfast till it be forsworn. - I will make you wish to see - Things which scarcely can be parried, - 75 And when each of you is married - Then truly shall his wedding be. - And I'll make this city stand - Stone o'er stone on either hand, - And that those who do not flourish - 80 No prosperity shall nourish. - For my magic art's more proof - I'll bring mighty rains whereat - All the tiles shall lie down flat - Above the houses, on the roof. - 85 And the great Cathedral tower - For all its size will I uproot - And despite its special power - Its battlements on high will put, - Its foundation at its foot. - 90 In my praise no more be said. - In St Cyprian's name most holy, - Satan, I conjure thee. - (Gentlemen, be not afraid.) - - Zeet zeberet zerregud zebet - 95 oo filui soter - rehe zezegot relinzet - oo filui soter. - - Keys of the depths, abysses rending, - Open up Earth's every pore! - 100 Prince of Darkness never-ending, - Show thy great works evermore! - Satan, wheresoe'er thou be, - I conjure thee - By the mighty dragons' breath - 105 And the raging lions' roar - And Jehoshaphat's vale of death. - By the smoke that issueth - Poisonous from out thy chair, - By the fire that none may slake, - 110 By the torments of thy lake, - From my heart right earnestly - Satan, I conjure thee, - Zezegot seluece soter, - Unto thee my prayer I make, - 115 Lucifer, listen to my prayer! - By the mists of liquid fire - That thy regions drear distil, - By the vipers, snakes that fill - All its wells, abysses dire, - 120 By the pangs relentlessly - Given by thee - To the prisoners of thy pit, - By the shrieks of those in it - That unceasing echo still, - 125 Beelzebub, I thee invite - By the blindness of the Jews - Who the wrong in malice choose - And thereby thy heart delight - rezeegut Linteser - 130 zamzorep tisal - siroofee nafezeri. - -_The devils Zebron and Danor come and Zebron says:_ - - _Z._ What's the matter, priest accursed? - - _P._ Welcome, brothers, welcome first. - - _D._ What now with us wouldst thou have? - - 135 _P._ That my bidding you should do. - - _Z._ By Satan's altar, this thou'lt rue, - Arrogant knave. - - _D._ Come, I'll seize him by the hair - And off with his ears at least, - 140 For a robber is this priest. - - _P._ Hurt me not, good brothers, cease, - Comrades, cousins, friends, I pray. - - _Z._ Not two figs for you we care. - - _P._ How is Belial to-day? - 145 And his court, is it at peace? - - _D._ With a box o' the ear chastise him, - Even so will we baptise him - And we'll christen him a fool. - - _P._ Come, let's speak more seriously: - 150 Are you all quite well and cool? - - _Z._ Villain, wineskin, Bacchus' tool, - What has that to do with thee? - - _P._ Nay, my powers I'll efface, - Myself abase, - 155 Only speak not thus to me. - - _D._ Do you hold Landeira's see - Or are you Cartaxo's vicar? - - _Z._ He's priest of Lumear, I think, - Mealhada's precentor he, - 160 Archpriest of a pint of liquor - Since he ceases not to drink. - - _D._ And this chaplain of our town - Is a good Englishman, for mark, - This Ribatejo Patriarch - 165 Will drink even a Frenchman down, - And nothing think of it at all. - - _Z._ Danor, say, is he Cardinal - Of Arruda or Caparica? - - _D._ He has nought left thin or thick - 170 Save always his glass of liquor - And a great Archbishopric, - An honour given but to few - Near the boundary stone, the same - On which he sets his diadem, - 175 This prelate, and his mitre too. - Dost thou know Seixal, thou thief, - Almada and thereabouts? - Tojal packsaddler, of louts - And of villain knaves the chief. - - 180 _P._ Devils, will you now in brief - My bidding do - Or must I take other ways with you? - - _D._ Cursèd robber, only say - What you'd have and we'll obey. - - 185 _P._ I command you instantly - By the power of the sky - And the might of God on high, - In whose service priest I am, - I conjure you in His name - 190 That you my behests obey - Now straightway, - On the earth and in the air, - Here and there and everywhere. - - _Z._ How are the tithes, and--another matter-- - 195 Is the fine elephant alive - That went to Rome for the Pope to shrive? - - _D._ Are your feelings hurt by this chatter? - - _P._ Danor, now I conjure thee - By Saint Pol and by Saint Paul - 200 Hearken to me. - - _Z._ Your intelligence is small. - - _P._ Then shall you hark unwillingly. - By the Mother of God most holy - And her heavenly dignity, - 205 Her humility on earth - That had power to scale high Heaven, - And her own imperial worth - Whereby in the Virgin birth - The incarnate Christ to earth was given. - - 210 _Z._ Say no more, accursed knave, - We'll obey: what wouldst thou have? - - _P._ 'Tis my will and my desire - That unto those ladies there - This very hour you should have care - 215 Polyxena of Troy to bring: - Come she, for beauty's heightening, - In rich attire, - Fair as she was fair of yore. - - _D._ With what a thrashing shouldst thou rue it - 220 Could I but do it. - But thou hast taken my strength away. - - _P._ Let her come by land or sea - Straightway and most peacefully. - - _Z._ And as to subscriptions for the war - 225 Hast thou any tithe to pay? - - _P._ Without delay Polyxena bring - And joyfully - Before her shall you dance and sing. - - _Z._ They'll send another elephant yet - 230 And you'll have to pay the tax for it. - -_Polyxena comes and says:_ - - _Pol._ Wherefore hither am I come? - O how great my affliction is - Since against my will you bring - Me to further suffering. - 235 For he who lives in misery's stress - Can but borrow - From seen pleasures a new sorrow. - But what a fairy court is this - In which beauty has its home! - 240 The palace of Troy was not your peer - Nor rival in magnificence, - I see a greater Priam here - Cesar of sovran excellence, - A Hecuba of nobler mien, - 245 A flawless queen - In power humanely gentle: hence - Apollo's and Diana's reign - Heaven confirmeth in the twain. - And you, Prince most excellent, - 250 Give me liberal reward: - From your promise is none debarred, - It fills all men with content, - And the planets of Heaven's abode - Had word of God - 255 That to you be greatness sent - And fortune's favour even more - Than to those who reigned before. - And for you, most lovely flower, - Princess Dona Isabel, - 260 The Lord of Heaven in His power - Marshalled in host innumerable - The sky and all its company, - And Jove as judge did then ordain - That as empress you should reign - 265 O'er Castille and Germany. - You, O Prince Dom Ferdinand, - Since prudence is your special share - And with favourable wand - Mercury holds you in his arms, - 270 Wealth and prosperity shall bless - In quietness - Without toil or any care, - Turmoil or loud war's alarms: - This for you the gods have planned. - 275 For you, Princess Beatrice, - Your sure destiny it is - To be married happily - Unto France's fleur-de-lys. - And the world has more in store - 280 For you, yea more - Than you imagine shall be given. - Princes, leave all cares of yore - Since you have the ear of Heaven. - - _P._ What say you to the roses there - 285 And this vale of loveliness? - - _Pol._ Would that fortune were no less - Fair to me than they are fair! - How gleams the Court in radiancy, - What an array - 290 Of beauty is there here to see! - O that it were given me - Ever in this life to stay! - - _D._ In _this_ life! Thine another school. - - _Pol._ Who brought me to this destiny? - - 295 _D._ That excommunicated fool, - Thou camest here at his suggestion. - Ask him what he wants of thee, - Just to see. - - _Pol._ Why then have you brought me here? - - 300 _P._ What, no sooner you appear - Than you would begin to question! - Tell these lordlings instantly, - Since you suffered from love's wound, - What in this life here you found - 305 The greatest of all woes to be, - Tell them if the pains of Hell - Be as deep as those of love, - Or if torments there excel - Those that here from love's thoughts well, - 310 Griefs that every lover prove. - - _Pol._ Awful in intensity - Are Hell's tortures unto me, - Grievously I suffer, yet - Ne'er could I love's wound forget. - - 315 _P._ What the arts and qualities - That should a true lover grace? - - _Pol._ Constancy has the first place - And resolution; and, with these, - Noble must he be, discreet, - 320 Silent, patient of disdain - With heart e'er open to love's strain - In passion's service to compete, - But not to change and change again. - And he must be liberal, - 325 Generous exceedingly, - Since there is no quality - That for lovers is so meet. - For to a lover avarice - Is as uncongenial - 330 As would be a fire in ice - Or if a picture were to be - Itself and its original - For his food he must but take - A mouthful barely, and with sighs, - 335 And when he asleeping lies - He must still be half awake. - Very gentle-mannered he, - Humane and courteous, must be - And serve his lady without hope, - 340 For he who loveth grudgingly - Proves himself of little scope. - - _P._ What his qualities among - Should most bring him love for love? - - _Pol._ That he should be brave and strong, - 345 That will his best vantage prove. - For a man advanced in years, - Ill-favoured though be and weak, - If name famed in war he bears - Even in the fairest lady's ears - 350 Should for him his actions speak. - On, on ye lords, to war, to war! - And ladies not as heretofore - Embroider wimples for your wear - But banners for the knights to bear. - 355 For thus amid the wars of Troy - I and my sisters did employ - Our time and all our artifice: - Standards, with many a fair device - Embroidered, did we weave for them; - 360 And on them lavished many a gem - And gaily with glad songs of joy - Our necklaces we freely gave, - Tiara and diadem. - Then leave your points and hem-stitch leave, - 365 Your millinery and your lace, - And utterly from off earth's face - These renegade dogs destroy. - O to see Penthesilea again - With forty thousand warriors, - 370 Armed maidens gleaming like the stars - On the Palomean plain. - - _P._ Come bring her here this very hour. - - _Z._ Cannot you leave us one instant alone? - - _P._ What are you doing? Come on, come on. - - 375 _D._ To the devil would I see you gone - And whoso gives you this power. - -_Penthesilea enters and says:_ - - _Pen._ What would you of this hapless queen - Penthesilea woe-begone, - Who in tears and sorrow thus appear - 380 Ill-favoured in this court's fair sheen? - Why should you wish to see me here - Before your high imperial throne, - Great king of marvels, who alone - With your small armies scatter still - 385 Your victories abroad at will? - Were I now, Sir, at liberty, - From Hell's grim dominion free - And mistress of my destiny - I would serve you willingly. - 390 All my days would I spend then - With your armies to my gain, - My golden arrow then with zest - Would serve you in a service blest - And not in useless wars and vain. - 395 O renownèd Portugal, - Learn to know thy noble worth - Since thy power imperial - Reaches to the ends of Earth. - Forward, forward, lord and knight - 400 Since Heaven's favours on you crowd, - Forward, forward in your might - That doth the King of Fez affright, - And Morocco cries aloud. - O cease ye eagerly to build - 405 So many a richly furnished chamber, - And to paint them and to gild. - Money so spent will nothing yield. - With halberds only now remember - And with rifles to excel. - 410 Not for Genoese fashions strive - But as Portuguese to live - And in houses plain to dwell. - As fierce warriors win renown, - Not for wealth most perilous, - 415 Give your country a golden crown - Of deeds, not words that mock at us. - Forward, Lisbon! All descry - Thy good fortune far and nigh, - And the fame thou dost inherit, - 420 Since fortune raises thee on high, - Win it sturdily by merit. - Achilles when he went away - From near this city went, - Call him: you'll hear truth evident - 425 If you doubt what I have said. - - _P._ Let him come up, come up, I say. - - _Z._ This priest has gone quite off his head. - I don't know what I am about - That I don't give the Jew a clout: - 430 Would you empty Hell of its dead? - -_Achilles comes and says:_ - - _A._ When Jupiter in all his might - Was seated on his throne - And in his strength ordered aright - By his right hand alone - 435 The courses of the day and night; - And warrior Mars to Earth had lent - His bolts of victory - And parted with his armament; - When Saturn still slept peacefully - 440 With all his firmament; - When the Sun shone with clearer light - And an intenser ray - And the Moon's beams illumed the night, - More brightly than noonday, - 445 And Venus sang her loveliest lay; - When wisdom, that he now doth keep, - Was given by Mercury, - And mirth flashed o'er the heaven's steep - And the winds were gently hushed asleep - 450 And a calm lay on the sea; - When joy and fame together checked - The hands of destiny - And glory's flags the poles bedecked - And the heavens, by no clouds beflecked, - 455 Gleamed in their radiancy; - When every heart with unfeigned cheer - Was merry upon Earth, - In that day and month and year, - When all these portents did appear, - 460 Your Highnesses had birth. - Now I, Achilles, in my youth - Lived here for many days - And happy am I in good sooth - To see the kingdom's splendid growth - 465 Honoured in countless ways. - Its noble sons these honours reap, - But let no careless strain - Prevent you what you win to keep; - Ye prelates, 'tis no time for sleep! - 470 Ye priests, do not complain! - When mighty Rome was in full sail - Conquering all the Earth - The girls and matrons without fail, - That so the soldiers should prevail, - 475 Gave all their jewels' worth. - Then O ye shepherds of the Church - Down, down with Mahomet's creed! - Leave not the fighters in the lurch! - For if to scourge yourselves you speed - 480 Then Rome may spare the birch. - You should sell your chalices, - Yes and pawn your breviaries, - Turn your gourds into flasks, and e'er - Of bread and parsnips make your fare, - 485 To vanquish thus your enemies. - - _Z._ Aha, aha. A splendid rule! - What do you think of that, Sir Fool? - - _P._ What is't to me? what should I care? - For he who has no revenues - 490 Can by the tithes but little lose. - - _A._ If hither came but Hannibal, - Hector and Scipio - You shall see what they will show - Of the things of Portugal, - 495 What reason and truth would have you know. - - _P._ Come Danor, and Zebron, hither - Bring all three of them together. - - _D._ Rascal cleric, villain, cur, - Thief, dog, that I for you should stir! - - 500 _Z._ May a curse your power wither! - - _Hannibal, Hector and Scipio come, and Hannibal says:_ - - _Han._ Easily you might forego - Poor Hannibal's presence here, - For your Court's fame far and near - The furthest of Earth's regions know. - - 505 _Hect._ Nor need Hector here appear. - - _S._ Nor is there room for Scipio. - - _Han._ Sirs, you should trust in God, that he - All Africa presently - Will reduce beneath your sway. - 510 Africa was Christian land, - Moors have ta'en your own away. - To the work, Captains, set your hand, - For so with clearer ray shall burn - Your renown when you return. - 515 And, O ladies of Portugal, - Spend, spend jewel and precious stone, - Duchesses, ladies, maidens, all - Since such enterprises shall - Properly be yours alone. - 520 A religious war it is - For the honour of your land, - Against those vile enemies, - Undertaken reasonably - And with good discretion planned. - 525 Of beads be every rosary, - Each pearl replaced by bilberry, - Brooches of the heads of leek; - Such ornaments, my ladies, seek - And those you have give every one. - 530 For little honour now is there - In dresses and adornments fair, - Honour give noble deeds alone, - Not costly robes inwrought with gold - And pranked with trimmings manifold: - 535 Give these now to help helmets make. - And ye, good priors, I bid you take - And divide all that you hold - Among the soldiers of the guard - And great shall be your reward. - 540 For of the income you obtain - By whatever means you may - The churches have but little gain, - And from alms you still abstain: - How you spend it who shall say? - 545 For the conquest of Africa - Give a tithe of your possessions, - Give it, if you can, with pleasure, - For the less you have of treasure - The less need you fear oppressions. - 550 And O rulers and noblemen, - Yea and every citizen, - Listen, listen to the drums, - Hark to them with Christian ears! - And ye people, hold not back, - 555 Forward, forward to the attack! - Give your lives and your incomes, - For in such a conflict holy - None should harbour any fears. - -_All these figures ordered themselves in winding circles and by turns -sang and acted the following, all singing:_ - - Ta la la la lam, ta la la la lam. - - 560 _Hannibal._ On, on! go forward, lord and knight, - Since in war waged for the right - God as Captain leads the fight. - - _They sing._ Ta la la la lam, ta la la la lam. - - _H._ To war, to war, both rich and poor, - 565 To war, to war, most ruthlessly - Since the great King Manuel's wrath - Is gone forth against the Moor. - And he sworn and promised hath - In his inmost heart that he - 570 Will destroy them from his path. - - _They sing._ Ta la la la lam, ta la la la lam. - - _H._ And his Highness for a sign - Of our Holy Faith's increase - Wills that at Fez by grace divine - 575 The mosque shall a cathedral be. - War, war ever without cease - Is his purpose mightily. - - _They sing._ Ta la la la lam, ta la la la lam. - - _H._ This our King most excellent - 580 And with great good fortune blest - Is lord of every continent - From the East unto the West: - And the high God omnipotent - In his gracious keeping still - 585 Guards his royal heart from ill. - - _They sing._ Ta la la la lam, ta la la la lam. - -_And with this chorus they went out and the above Tragicomedy ends._ - - - - -FARSA DOS ALMOCREVES - - - _Farça dos Almocreves._ - -_Esta seguinte farsa foy feyta & representada ao muyto poderoso & -excelente Rey dom Ioam o terceyro em Portugal deste nome na sua cidade -de Coimbra na era do S̃ehor de MDXXVI. Seu fundamento he que hum fidalgo -de muyto pouca renda vsaua muyto estado, tinha capelam seu & ouriuez -seu, & outros officiaes, aos quaes nunca pagaua. E vendose o seu capelam -esfarrapado & sem nada de seu entra dizendo:_ - - _Capelã._ ¶ Pois que nam posso rezar - por me ver tão esquipado - por aqui por este Arnado - quero hum pouco passear - por espaçar meu cuydado, - e grosarey o romance - de Yo me estaba en Coimbra - pois Coimbra assim nos cimbra - que nam ha quem preto alcance. - 10 ¶ Yo me estaba en Coimbra - cidade bem assentada, - pelos campos de Mondego - nam vi palha nem ceuada. - Quando aquilo vi mezquinho - entendi que era cilada - contra os cauallos da corte - & minha mula pelada. - Logo tiue a mao sinal - tanta milham apanhada - 20 e a peso de dinheiro: - ó mula desemparada! - Vi vir ao longo do rio - hũa batalha ordenada, - nam de gentes mas de mus, - com muita raya pisada. - A carne estaa em Bretanha - & as couves em Biscaya. - Sam capelam dum fidalgo - que nam tem renda nem nada; - 30 quer ter muytos aparatos - & a casa anda esfaymada, - toma ratinhos por pag̃es - anda ja a cousa danada. - Querolhe pedir licença, - pagueme minha soldada. - -¶ _Chega o capelam a casa do fidalgo, & falando com elle diz:_ - - _Cap._ ¶ Senhor, ja seraa rezam. - - _Fid._ Auante, padre, falay. - - _C._ Digo que em tres annos vay - que sam vosso capelam. - - 40 _F._ He grande verdade, auante. - - _C._ Eu fora ja do ifante, - e podera ser del Rey. - - _F._ A bofé, padre, não sey. - - _C._ Si, senhor, que eu sou destante - Aindaque ca mempreguei. - ¶ Ora pois veja, senhor, - que he o que me ha de dar, - porque alem do altar - seruia de comprador. - - 50 _F._ Nam volo ey de negar. - Fazeyme hũa petiçam - de tudo o que requereis. - - _C._ Senhor, nam me perlongueis, - que isso nam traz concrusam - nem vejo que a quereis. - ¶ Porque me fiz polo vosso - clericus & negoceatores. - - _F._ Assi vos dey eu fauores - & disso pouco que eu posso - 60 vos fiz mais que outros señores. - Ora um clerigo que mais quer - de renda nem outro bem - que darlhe homem de comer, - que he cada dia hum vintem, - & mais muyto a seu prazer? - ¶ Ora a honrra que se monta: - he capelam de foam! - - _C._ E do vestir nam fazeis conta, - & esse comer com payxam, - 70 & dormir com tanta afronta - que a coroa jaz no cham - sem cabeçal, e aa hũa hora, - & missa sempre de caça? - & por vos cayr em graça - serviauos tambem de fora, - atee comprar sibas na praça; - ¶ E outros carregozinhos - desonestos pera mi. - Isto, senhor, he assi. - 80 & azemel nesses caminhos, - arre aqui & arre ali, - & ter carrego dos gatos - & dos negros da cozinha - & alimparvolos çapatos - & outras cousas que eu fazia. - - _F._ ¶ Assi fiey eu de vos - toda a minha esmolaria - & daueis polo amor de Deos - sem vos tomar conta hum dia. - - 90 _C._ Dos tres annos que eu alego - dalaey logo sem pendenças: - mandastes dar a hum cego - hum real por Endoenças. - - _F._ Eu isso nam volo nego. - - _C._ ¶ E logo dahi a um anno - pera ajuda de casar - hũa orfaã mandastes dar - meo couado de pano - Dalcobaça por tosar. - 100 E nos dous annos primeyros - repartistes tres pescadas - por todos estes mosteyros - na Pederneyra compradas - daquestes mesmos dinheyros. - ¶ Ora eu recebi cem reaes - em tres annos, contay bem, - tenho aqui meo vintem. - - _F._ Padre, boa conta daes, - ponde tudo num item - 110 & falay ao meu doutor - que elle me falaraa nisso. - - _C._ Deyxe vossa Merce ysso - pera el Rey nosso senhor, - & vos falay me de siso. - Que coma, senhor, me ficastes - ysto dentro em Santarem - de me pagardes muy bem. - - _F._ Em quantas missas machastes? - das vossas digo eu porem. - - 120 _C._ Que culpa vos tem çamora? - Por vos estam ellas nos çeos. - - _F._ Mas tomay as pera vos - & guarday as muytembora, - entam paguevolas Deos. - ¶ Que eu não gasto meus dinheyros - em missas atabalhoadas. - - _C._ & vos fazeys foliadas - & nam pagaes o gaiteyro? - Isso sam balcarriadas. - 130 se vossas merces nam ham - cordel pera tantos nos - vyuey vos a aquem de vos - & nam compreis gauiam - pois que não tendes pios. - ¶ Uos trazeis seis moços de pee - & acrecentaylos a capa - coma Rey, & por merce, - nam tendo as terras do Papa - nem os tratos de Guine: - 140 antes vossa renda encurta - coma pano Dalcobaça. - - _F._ Tudo o fidalgo da raça - em que a renda seja curta - he per força que isso faça. - ¶ Padre, muy bem vos entendo: - foy sempre a vontade minha - daruos a el Rey ou ha Raynha. - - _C._ Isso me vay parecendo - bom trigo se der farinha. - 150 Senhor, se misso fizer - grande merce me faraa. - - _F._ Eu vos direy que seraa: - dizey agora hum profaceo, a ver - que voz tendes pera laa. - - _C._ Folgarey eu de o dizer, - mas quem me responderaa? - - _F._ Eu. _C._ Per omnia secula seculorum. - - _F._ Am̃e. _C._ Dominus vobiscum. - - _F._ Auante. _C._ Sursum corda. - - 160 _F._ Tendes essa voz tam gorda - que pareceis Alifante - depois de farto daçorda. - - _C._ ¶ Pior voz tem Simão vaz - tesoureyro e capelam, - & pior o Adayam - que canta como alcatraz, - e outros que por hi estam. - Quereys que acabe acantiga - & vereys onde vou ter. - - 170 _F._ Padre, eu ey de ter fadiga, - mas del Rey aueis de ser, - escusada he mais briga. - - _C._ ¶ Sabeis em que estaa a contenda? - direys: he meu capelam. - & el Rey sabe a vossa renda - & rirse ha, se vem aa mam, - & remetermaa aa Fazenda. - - _F._ Se vos foreis entoado. - - _C._ Que bem posso eu cantar - 180 onde dam sempre pescado - & de dous annos salgado, - o pior que ha no mar? - - ¶ _Vem um pagem do fidalgo & diz:_ - - _Pag._ ¶ Senhor, o oriuez see alli. - - _F._ Entre. Quereraa dinheyro. - Venhaes embora, caualeyro, - cobri a cabeça, cobri. - Tendes grande amigo em mi - & mais vosso pregoeyro. - Gabeyuos ontem a el Rey - 190 quanto se pode gabar. - & sey que vos ha dacupar, - & eu vos ajudarey - cada vez que mi achar: - ¶ Porque aas vezes estas ajudas - sam milhores que cristeis, - porque soo a fama que aueis - & outras cousas meudas - o que valem ja o sabeis. - - _Our._ Senhor eu o seruirey - 200 & nam quero outro senhor. - - _F._ Sabeis que tendes milhor, - eu o disse logo a el Rey - & faz em vosso louvor, - ¶ Não vos da mais ̃q vos pagũe - que vos deyxem de pagar. - Nunca vi tal esperar - nunca vi tal auantagem - nem tal modo dagradar. - - _O._ Nossa conta he tam pequena, - 210 & ha tanto que he deuida, - que morre de prometida, - & peçoa ja com tanta pena - que depenno a minha vida. - - _F._ ¶ Ora olhay ese falar - como vay bem martelado! - Folgo nam vos ter pagado - por vos ouuir martelar - marteladas dauisado. - - _O._ Senhor, beyjovolas mãos - 220 mas o meu queria eu na mão. - - _F._ Tambem isso he cortesam: - 'Senhor, beyjovolas mãos, - o meu queria eu na mão.' - Que bastiães tam louçãos! - ¶ Quanto pesaua o saleyro? - - _O._ Dous marcos bem, ouro & fio. - - _F._ Essa he a prata: & o feitio? - - _O._ Assaz de pouco dinheyro. - - _F._ Que val com feytio & prata? - - 230 _O._ Justos noue mil reaes. - & nam posso esperar mais - que o vosso esperar me mata. - - _F._ Rijamente mapertaes. - E fazeisme mentiroso, - que eu gabeyuos doutro geyto - & seu tornar ao deffeito - nam seraa proueyto vosso. - - _O._ Assi que o meu saleyro peito? - - _F._ Elle he dos mais maos saleiros - 240 que eu em minha vida comprey. - - _O._ Ainda o eu tomarey - a cabo de tres Janeyros - que ha que volo eu fiey. - - _F._ ¶ Jagora não he rezam: - eu nam quero que vos percais. - - _O._ Pois porque me nam pagais? - Que eu mesmo comprey caruão - com que mencaruoiçaes. - - _F._ Moço vayme ver que faz el Rey, - 250 se parecem damas la, - este dia nam se va - em pagaraas, nam pagarey. - & vos tornay outro dia ca - se nam achardes a mi - falay com o meu Camareyro - porque elle tem o dinheyro - que cadano vem aqui - da renda do meu celeyro, - e delle recebereys - 260 o mais certo pagamento. - - _O._ E pagaisme ahi co vento - ou co as outras merces? - - _F._ Tomaylhe vos la o tento. - -¶ _Indose o capelam vay dizendo:_ - - _C._ ¶ Estes ham dir ao parayso? - nam creo eu logo nelle. - Eu lhes mudarey a pelle: - daqui auante siso, siso, - juro a Deos queu mabruquele. - -¶ _Vem o pagem com recado e diz:_ - - _P._ ¶ Senhor, in Rey see no paço. - - 270 _F._ Em ̃q casa? - - _P._ Isto abasta. - - _F._ O recado que elle da! - ratinho es de maa casta. - - _P._ Abõda, bem sey eu o ̃q eu faço. - - _F._ Abonda! olhay o vilam. - Damas parecem per hi? - - _P._ Si, senhor, damas vi, - andauam pelo balcam. - - _F._ ¶ E qũe erã? - - _P._ Damas mesmas. - - _F._ Como as chamã? - - _P._ Nam as chamaua ñigũe. - - 280 _F._ Ratinhos sã abãtesmas - & quem por pag̃es os tem. - Eu ey de fazer por auer - hum pagem de boa casta. - - _P._ Ainda eu ey de crecer, - castiço sam eu que basta - se me Deos deyxar viuer. - ¶ Pois o mais deprenderey - como outros como eu peri. - - _F._ Pois fazeo tu assi, - 290 porque has de ser del Rey, - moço da camara ainda. - - _P._ Boa foy logo ca vinda. - Assi que atee os pastores - ham de ser del Rey samica! - Por isso esta terra he rica - de pão, porque os lauradores - fazem os filhos paçãos: - ¶ Cedo não ha dauer vilãos, - todos del Rey, todos del Rey. - - 300 _F._ E tu zõbas? - - _P._ Nam mas antes sey - que tambem alguns Christãos - hã de deyxar a costura. - -¶ _Torna o capelam._ - - _C._ ¶ Vossa merce per ventura - falou ja a el Rey em mi? - - _F._ Ainda geyto nam vi. - - _C._ Nam seja tam longa a cura - como o tempo que serui. - - _F._ Anda el Rey tam acupado - co este Turco, co este Papa, - 310 co esta França, co esta trapa - que nam acho vao aazado - porque tudo anda solapa. - Eu entro sempre ao vestir, - porém para arrecadar - ha mister grande vagar. - Podeis me em tanto seruir - atee que eu veja lugar. - - _C._ Senhor queria concrusam. - - _F._ Concrusam quereis? Bem, bem, - 320 concrusam ha em alguem. - - _C._ Concrusam quer concrusam, - & nam ha concrusam em nada. - Senhor, eu tenho gastada - hũa capa & hum mantam: - pagayme minha soldada. - - _F._ Se vos podesseis achar - a altura de Leste a Oeste, - pois nam tendes voz que preste, - perequi era o medrar. - - 330 _C._ & vos pagaisme co ar? - Mão caminho vejo eu este. - -¶ _Vayse._ - - _P._ Deueo el Rey de tomar - que luta como danado: - elle é do nosso lugar, - de moço guardaua gado - agora veo a bispar. - ¶ Mas nam sinto capelam - que lhe chãte hum par de quedas, - e chamase o labaredas. - - 340 _F._ E ca chamase cotão, - mais fidalgo que os azedas. - Satisfaçam me pedia, - que he pior de fazer - que queymar toda Turquia, - porque do satisfazer - naceo a melanconia. - -¶ _Vem Pero vaz, almocreue, que traz hum pouco de fato do fidalgo & vem -tangendo a chocalhada & cantando:_ - - ¶ A serra he alta, fria & neuosa, - vi venir serrana, gentil, graciosa. - -Falando. - - ¶ Arre mulo namorado - 350 que custaste no mercado - sete mil & nouecentos - & hum traque pera o siseyro. - Apre ruço, acrecentado - a moradia de quinhentos - paga per Nuno ribeyro. - Dix pera a paga & pera ti. - Arre, arre, arre embora - que ja as tardes sam damigo, - apre besta do roim, - 360 uxtix, o atafal vay por fora - & a cilha no embigo. - Sam diabos pera os ratos - estes vinhos da candosa. - -Canta. - - ¶ A serra he alta, fria & neuosa, - vi venir serrana, gentil, graciosa. - -Fala. - - ¶ Apre ca yeramaa - que te vas todo torcendo - como jogador de bola. - Huxtix, huxte xulo ca, - 370 que teu dou yraas gemendo - e resoprando sob a cola. - Aa corpo de mi tareja - descobrisuos vos na cama. - Parece? dix pera vossa ama, - nam criaraas tu hi bareja. - -Canta. - - ¶ Vi venir serrana g̃etil graciosa, - chegueime pera ella con grã cortesia. - -Fala. - - Mandovos eu sospirar - pola padeyra Daueiro, - 380 que haueis de chegar aa venda - & entam ali desalbardar - & albardar o vendeyro - senam teuer que nos venda - vinho a seis, cabra a tres, - pam de calo, fillhos de mãteyga, - moça fermosa, l̃eçoes de veludo, - casa juncada, noyte longa, - chuua com pedra, telhado nouo, - a candea morta & a gaita a porta. - 390 Apre, zambro, empeçarás? - Olha tu nam te ponha eu - oculos na rabadilha - & veraas por onde vas. - Demo que teu dou por seu - & andaraas la de silha. - ¶ Chegueime a ella de grã cortesia, - disselhe: Señora, quereis cõpanhia? - -¶ _Vem Vasco afonso, outro almocreve, & topam se ambos no caminho & diz -Pero vaz:_ - - _P._ ¶ Ou, Vasco Afonso, onde vas? - - _V._ Huxtix, per esse cham. - - 400 _P._ Nam traes chocalhos nem nada? - - _V._ Furtarão mos la detras - na venda da repeydada. - - _P._ Hi bebemos nos aa vinda. - - _V._ Cujo he o fato, Pero vaz? - - _P._ Dum fidalgo, dou oo diabo - o fato & seu dono coelle. - - _V._ Valente almofreyxe traz. - - _P._ Tomo o mu de cabo a rabo. - - _V._ Par deos carrega leua elle. - - 410 _P._ ¶ Uxtix, agora nam paceram elles - & la por essas charnecas - vem roendo as vrzeyras. - - _V._ Leixos tu, Pero vaz, que elles - acham aqui as eruas secas - & nam comem giesteyras. - & quanto te dam por besta? - - _P._ Nam sey, assi Deos majude. - - _V._ Nam fizeste logo o preço? - mal aas tu de liurar desta. - - 420 _P._ Leyxeyo em sua virtude, - no que elle vir que eu mereço. - - _V._ ¶ Em sua virtude o deixaste? - & trala elle com sigo - ou ha dir buscala ainda? - Oo que aramaa te fartaste! - Queres apostar comigo - que te renegues da vinda? - - _P._ Elle pos desta maneyra - a mão na barba & me jurou - 430 de meus dinheyros pagalos. - - _V._ Essa barba era inteyra - a mesma em que te jurou - ou bigodezinhos ralos? - - _P._ ¶ Ora Deos sabe o que faz - & o juiz de çamora: - de fidalgo he manter fee. - - _V._ Bem sabes tu, Pero vaz, - que fidalgo ha jagora - que nam sabe se o he. - 440 Como vay a ta molher - & todo teu gasalhado? - - _P._ O gasalhado hi ficou. - - _V._ E a molher? _P._ Fugio. _V._ Nam pode ser. - Como estaraas magoado, - yeramaa. _P._ Bofa nam estou. - ¶ Huxtix, sempre has dandar - debayxo dos souereyros? - & a mi que me da disso? - - _V._ Per força ta de pesar - 450 se rirem de ti os vendeyros. - - _P._ Nam tenho de ver co isso. - ¶ Vay, Vasco afonso, ao teu mu - que se quer deytar no cham. - - _V._ Pesate mas desingulas. - - _P._ Nam pesa: bem sabes tu - que as molheres nam sam - todo o verã senã pulgas. - Isto quanto aa saudade - que eu della posso ter; - 460 & quanto ao rir das gentes - ella faz sua vontade: - foyse perhi a perder - & eu nã perdi os dentes. - ¶ Ainda aqui estou enteyro, - Vasco afonso, como dantes, - filho de Afonso vaz - e neto de Jam diz pedreyro - & de Branca Anes Dabrantes, - nam me faz nem me desfaz. - 470 Do que me fica gram noo - que teue rezam de se hir - & em parte nam he culpada; - porque ella dormia soo - & eu sempre hia dormir - cos meus muus aa meyjoada. - ¶ Queria a eu yr poupando - pera la pera a velhice - como colcha de Medina - & ella mosca Fernando - 480 quando vio minha pequice - foy descobrir outra mina. - - _V._ E agora que faraas? - - _P._ Yrey dormir aa Cornaga - e aamenhaã aa Cucanha. - E tu vay, embora vas, - que eu vou seruir esta praga - & veremos que se ganha. - -¶ _Vai cantando._ - - ¶ Disselhe: señora ̃qreis cõpanhia? - Dixeme: escudeyro segui vossa via. - - 490 _Pag._ Senhor, o almocreue he ãqlle - que os chocalhos ouço eu, - este he o fato, senhor. - - _Fid._ Ponde todos cobro nelle. - - _Per._ Uxtix mulo do judeu. - O fato hu saa de por? - - _Pa._ Venhaes embora, pero vaz. - - _Pe._ Mãtenha deos vossa merce. - - _Pa._ Viestes polas folgosas? - - _Pe._ Ahi estiue eu oje faz - 500 oyto dias pee por pee - em casa de hũas tias vossas. - - _Pa._ Ora meu pai que fazia? - - _Pe._ Cauaua andando o bacelo - bem cansado e bem suado. - - _Pa._ E minha mãy? - - _Pe._ Leuaua o gado - la pera val de cubelo, - mal roupada que ella ia. - Huxtix, que mao lambaz. - & vossa merce que faz? - - 510 _Pa._ Estou louçam coma que. - - _Pe._ E abofee creceis açaz, - saude que vos Deos dee. - - _Pa._ ¶ Eu sou pagem de meu senhor, - se Deos quiser pagem da lança. - - _Pe._ E hum fidalgo tanto alcança? - Isso he Demperador - ora prenda el Rey de França. - - _Pa._ Ainda eu ey de perchegar - a caualeyro fidalgo. - - 520 _Pe._ Pardeos, João crespo penaluo, - que isso seria esperar - de mao rafeyro ser galgo. - ¶ Mais fermoso estaa ao vilam - mao burel que mao frisado - & romper matos maninhos, - & ao fidalgo de naçam - ter quatro homes de recado - e leyxar laurar ratinhos; - que em Frandes & Alemanha - 530 em toda França & Veneza, - que vivem por siso e manha - por nam viver em tristeza; - ¶ nam he como nesta terra. - Porque o filho do laurador - casa la com lauradora - & nunca sobem mais nada; - & o filho do broslador - casa com a brosladora, - isto por ley ordenada. - 540 E os fidalgos de casta - seruem os Reis & altos senhores - de tudo sem presunçam, - tam chãos ̃q pouco lhes basta; - & os filhos dos lauradores - pera todos lauram pam. - - _Pa._ ¶ Quero hir dizer de vos. - - _Pe._ Ora yde dizer de mi; - que se grave he Deos dos ceos - mais graves deoses ha qui. - - 550 _Pa._ Senhor ali vem o fato - & estaa ha porta o almocreue, - vede quem lha a de pagar - isso tal que se lhe deue. - - _F._ ¶ Isto he com que meu mato. - quem te manda procurar? - Atenta tu polo meu - & arrecado muyto bem - & nam cures de ninguem. - - _Pa._ Elle he dapar de Viseu - 560 & homem que me pertem, - pois a porta lhabri eu. - -¶ _Entra dentro o almocreue & diz:_ - - ¶ _Pe._ Senhor, trouxe a frascaria - do vossa merce aqui. - Hi estam os mus albardados. - - _Fid._ Essa he a mais nova arauia - d'almocreue que eu vi: - dou-te vinte mil cruzados. - - _Pe._ Mas pagueme vossa merce - o meu aluguer, no mais, - 570 que me quero logo hir. - - _F._ O aluguer quanto he? - - _Pe._ Mil & seis centos reaes, - & isto por vos seruir. - - _F._ ¶ Falay co meu azemel, - porque he doutor das bestas - & estrologo dos mus: - que assente em hum papel - per aualiações honestas - o que se monta, ora sus; - 580 porque esta he a ordenança - & estilo de minha casa. - & se o azemel for fora, - como cuydo que he em França, - dareis outra volta aa massa - & hiruos eis por agora. - ¶ Vossa paga he nas mãos. - - _Pe._ Ja a eu quisera nos pees, - oo pesar de minha mãy! - - _F._ E tens tu pay & yrmãos? - - 590 _Pe._ Pagay, senhor, não zombeis, - que sam dalem da sertãy - & nam posso ca tornar. - - _F._ Se ca vieres aa corte - pousaraas aqui cos meus. - - _Pe._ Nunca mais ey de fiar - em fidalgo desta sorte, - em que o mande sam Mateus. - - _F._ ¶ Faze por teres amigos - & mais tal homem comeu - 600 porque dinheyro he hum vento. - - _Pe._ Dou eu ja oo demo os amigos - que me a mi levam o meu. - -¶ _Vayse o almocreue & vem outro Fidalgo & diz o fidalgo primeyro:_ - - _F. 1^o._ ¶ Oo que grande saber vir - & que gram saber maa vontade. - - _F. 2^o._ Pois, senhor, que vos parece? - desejo de vos seruir - & nam quero ̃q venha aa cidade - hum quem nam parece esquece. - - _F. 1^o._ Paguey soma de dinheyro - 610 a hum ouriuez agora - de prata que me laurou - & paguey a hum recoueiro - que he a dar dinheyros fora - a quem nam sei como os ganhou. - - _F. 2^o._ Ganhã-nos tã mal ganhados - que vos roubam as orelhas. - - _F. 1^o._ Pola hostia consagrada - & polo Deos consagrado - que os lobos nas ouelhas - 620 nam dam tã crua pancada. - Polos sanctos auangelhos - e polo omnium sanctorum - que atee o meu capelam - per mesinhas de coelhos - & hũa secula seculorum - lhe dou por missa hum tostam. - ¶ Não ha ja homem em Portugal - tam sogeyto em pagar - nem tam forro pera molheres. - - 630 _F. 2^o._ Guarday vos esse bem tal - que a mi ham me de matar - bem me queres, mal me queres. - - _F. 1^o._ Per quantas damas Deos t̃e - nã daria nemigalha: - olhay que descubro isto. - - _F. 2^o._ Sam tam fino em querer bem - que de fino tomo a palha - pola fee de Jesu Christo. - ¶ Quem quereis que veja olhinhos - 640 que se nam perca por elles - la per hũs geytinhos lindos - que vos metem em caminhos - & nam ha caminhos nelles - senam espinhos infindos. - - _F. 1^o._ Eu ja nam ey de penar - por amores de ninguem; - mas dama de bom morgado - aqui vay o remirar, - aqui vay o querer bem, - 650 & tudo bem empregado. - ¶ Que porque dance muy bem - nem baylar com muyta graça, - seja discreta, auisada, - fermosa quanto Deos tem, - senhor, boa prol lhe faça - se seu pay nam tiuer nada. - Nam sejaes vos tam mancias, - que isso passa ja damor - & cousas desesperadas. - - 660 _F. 2^o._ Porem la por vossas vias - vou vos esperar, senhor, - a rendeyro das jugadas. - ¶ Porque galante caseyro - he pera por em historia. - - _F. 1^o._ Mas zombay, senhor, zombay. - - _F. 2^o._ Senhor, o homem inteiro - nam lha de vir ha memoria - co a dama o de seu pay; - nem ha mais de desejar - 670 nem querer outra alegria - que so los tus cabellos niña: - nam ha hi mais que esperar - onde he esta canteguinha, - e todo mal he quem no tem, - e se o disserem digão, alma minha, - quem vos anojou meu bem. - Ey os todos de grosar - ¶ ainda que sejam velhos. - - _F. 1^o._ Vos, senhor, vindes tão brauo - 680 que eu eyuos medo ja: - polos sanctos auangelhos - que leuais tudo ao cabo - la onde cabo nam ha. - - _F. 2^o._ Zombaes, & daes a entender - zombando que mentendeis. - Pois de vos muy alto sou, - porque deueis de saber - que se damor nam sabeis - nam podeis yr onde vou. - 690 ¶ Quando fordes namorado - vireis a ser mais profundo, - mais discreto e mais sotil, - porque o mundo namorado - he la, senhor, outro mundo, - que estaa alem do Brasil. - Oo meu mundo verdadeyro! - oo minha justa batalha! - mundo do meu doce engano! - - _F. 1^o._ Oo palha do meu palheyro, - 700 que tenho hum mundo de palha, - palha ainda dora a hum anno; - e tenho hum mundo de trigo - para vender a essa gente: - bom cabeça tem Morale. - Nam quero damor, amigo - andar gemente & flente - in hac lachrymarum valle. - - _F._ 2^o. Voume: vos não sois sentido, - sois muy duro do pescoço, - 710 não val isso nemigalha: - pesame de ver perdido - hum homem fidalgo ençosso, - pois tem a vida na palha. - - FINIS - -19. _milhaam_ B. _milhan_ C. - -21. _desamparada_ B. - -24. _gentes_ A, B. _gente_ C, D, E. - -25. _raya_ A, B. _raiva_ C, D, E. - -43. _Habofee_ B. - -52. _o que_ A, B. _quanto_ C, D, E. - -53. _perlongueis_ A, B. _prolongueis_ C, D, E. - -57. _et negociatores_ C. - -62. _d'outro_ C. - -103. _Pedreneyra_ B. - -115. _coma_ A. _como_ B. - -128. _o gaiteyro_ A. _ó gaiteiro_ C, D, E. - -135. _Uos trazeis_ A. _Trazeis_ C, D, E. - -142. _da raça_ A. _de raça_ C. - -153. _dizey ora_ B. - -157. _Penonia_ A. _Per omnia_ C. - -167. _perhi_ B. - -174. _direyis_ A. - -180. _honde_ B. - -183. _oriuez_ and infra _our._ A; _oriuz_ B. _see_ A; _seee_ B; _s'he_ -C. - -191. _de occupar_ C. - -198. _ja o sabeis_ A. _ja sabeis_ C. - -205. B omits 205 and prints 206 twice. - -236. _desfeyto_ B. - -239. B. omits _mais_. - -240. _que em_ C. - -249. _ver o que faz_ C. - -255. _com o_ A. _c'o_ C. - -257. _anno_ B. - -263-4. _capelam, ourives?_ - -268. _que m'abruquele_ C. B omits 268. - -269. _s'he_ C. - -271. _O recado qu'elle dá! Madraço,_ ? - -286. _deixa_ C. - -287. _o amais_ B. _o mais o_ C. - -288. _com os outros_ B. - -292. _ca a vinda_ C. - -308. _acupado_ A, B. _occupado_ C. - -325. _minha_ A, B. _a minha_ C. - -346. _melancholia_ C. _chocallada_ B. - -369. _uxtix, uxte_ C. - -372. _Aa corpo_ A. _ao corpo_ C, D, E. - -375. _vareja_ C. - -377. _pa_ B. - -383. _que nos_ A, B. _que vos_ C. - -389. _a candeia morta, gaita_ C. - -395. _cilha_ C. - -397. _senhora_ B. - -406. _e o seu_ C. - -419. _as_ B. - -422. _leixaste_ C. - -425. _fretaste_ C. - -443. _fogio_ B. - -449. _t'ha_ C. - -465. _Afonso_ B. - -466. _Affonso_ B. - -467. _Iam diz_ B. _Jan Diz_ C. - -470. _gram noo_ A. _gran dó_ C. - -471. _razam_ B. - -484. _aa menhaa_ B. - -488. _señora_ A, B. - -491. _chocallos_ B. - -495. _s'ha_ C. - -503. _Cauaua andando o bacelo_ A, B. _Cavando andava bacelo_ C. - -506. _Cobelo_ C. - -513. _sou_ A; _sam_ C [cf. 591]. _señor_ B. - -518. _ey de perchegar_ A, B. _hei de chegar_ C. - -524. _bom frisado_ B. - -535. _casalo_ B. - -536. _sobem_ A, B. _sabem_ C. - -549. _haqui_ B. _ha aqui_ C. - -552. _lha a_ A. _lha_ B. _lhe ha_ C. - -559. _da par_ B. - -562. _frescaria_ B. - -576. _astrologo_ C. - -591. _sam_ A; _sou_ C [cf. 513]. _da Sertãy_ A, B; _do sertão_ C. - -604. _maa_ A. _me a_ C. _& gran saber maa_ B. - -617. B omits 617-626. - -634. _nem migalha_ C. - -644. _enfindos_ A. B omits 644. - -666. _enteyro_ B. - -671. que so _Los tus cabellos niña_ C. - -675. _e se o disserem digão_--_Alma minha_ C. - -681. _auangelhos_ A, B. _evangelhos_ C. - -689. _onde eu vou_ C. - -692. _subtil_ C. - -703. _vender essa essa gente_ A. _a essa_ B, C. - -704. _bom_ A, B. _boa_ C. - -707. _vale_ A. - -712. _ençosso_ A. _ensoço_ C. - -FINIS. B omits _Finis_ and has: _Vanse estas figuras & acabouse esta -farsa. Laus Deo_ - - -ENGLISH TRANSLATION: - - _The Carriers._ - -_The following farce was played before the very powerful and excellent -King Dom João III of Portugal in his city of Coimbra in the year of the -Lord 1526. Its argument is that a nobleman with a very small income -lived in great state and had his own chaplain, goldsmith and other -officials, whom he never paid. His chaplain seeing himself penniless and -in tatters enters, saying:_ - - _Chaplain._ In such straits I cannot pray, - So to lessen my distress - And to win lightheartedness - I'll walk along this Sandy Way - And, the cares that on me press - To soothe, the old romance I'll gloss - "I was in Coimbra city" - Since Coimbra without pity - Brings us to such dearth and loss. - 10 I was in Coimbra city - That is built so gracefully, - In the plains of the Mondego - Straw nor barley could I see. - Thereupon, ah me! I reckoned - 'Twas a trap set artfully - For the horses of the Court - And the mule that carried me - Ill I augured when I saw - The young maize cut so lavishly - 20 And selling for its weight in gold: - O my mule, I grieve for thee! - In the plain along the river - I saw a host in battle free - Not of men, of mice the host was, - They were fighting furiously. - There are cabbages--in Biscay - And there's meat--in Brittany. - I'm chaplain to a nobleman, - Poor as a church-mouse is he; - 30 On great show his heart is set - Although his household famished be, - Rustic louts he has for pages - And all goes disastrously. - Now will I ask leave of him - And demand my salary. - -_The chaplain arrives at the nobleman's room and converses with him -thus:_ - - _C._ Sir, it is high time, I ween.... - - _N._ Say on, good padre, say on. - - _C._ I say three years are wellnigh gone - Since your chaplain I have been. - - 40 _N._ Say on, for such a truth convinces. - - _C._ And I might have been the Prince's - Yes, and might have been the King's. - - _N._ In good sooth that's not so clear. - - _C._ For I'm meant for higher things - Though I stayed to serve you here. - So then, sir, please to consider - What I am to gain thereby, - For besides priest's service I - Served as buyer and as bidder. - - 50 _N._ That I surely won't deny. - Come now, make out a petition - Of all you would have me pay. - - _C._ Sir, put me not off, I pray, - For indeed your one condition - Seems delay and still delay. - In your service I became - Priest and man of business too. - - _N._ Yes, and I bestowed on you - Many a favour for the same, - 60 More than most are wont to do. - What more should a priest require - Of money or emolument - Than his meals beside the fire - --That's daily one penny spent-- - All things to his heart's desire? - And besides there is the glory: - He's chaplain to Lord So-and-so. - - _C._ Of dress you think not, nor the worry - Of meals e'er taken in a flurry, - 70 And sleeping with my head so low - My tonsure touched the ground, and no - Comfort nor pillow for my head, - And early mass, and late to bed. - And I, your favour for to win, - Served out-of-doors as well as in, - Bought shell-fish in the market-place, - To many an errand set my face - --You know, sir, it is as I say-- - That ill became my dignity. - 80 Your carrier on the highway - --Gee-up, gee-wo, the livelong day-- - Was I, and charge was given me - Of the kitchen-negroes and the cats, - I cleaned your boots, I brushed your hats, - And might add other things to these. - - _N._ Yes, for so 'twas my intent - To trust you with my charities, - And for the love of God you spent, - Nor asked I how the money went. - - 90 _C._ For the three years of which I speak - I'll tell you now without ado: - To a blind man a farthing you - Once bade me give in Holy Week. - - _N._ I'm not denying that it's true. - - _C._ And then just one year afterward, - An orphan's dower to help to find, - You bade give cloth--the roughest kind - Of Alcobaça--half a yard. - And also, perhaps you bear in mind, - 100 Three lots of fish you bade divide - Among the convents round about - During these first three years: supplied - Were they from Pederneira, out - Of that same fund must I provide. - Now in three years I did receive - One hundred réis, and at this rate - Just this one halfpenny they leave. - - _N._ I see you are most accurate. - But come now, without more debate, - 110 Make one account of everything - And give't my secretary, he - Will the matter to my notice bring. - - _C._ O Sir, leave all that for the King - Our master, and speak seriously. - My services your promise was, - Sir, when we were at Santarem, - That you would pay right well for them. - - _N._ How often saw you me at Mass? - --I mean when 'twas you said the same. - - 120 _C._ If that was so am _I_ to blame? - They have been said on your behalf. - - _N._ O keep them, keep them for yourself, - You're very welcome to them--so, - God will your due reward bestow. - My money I waste not that way - On masses muttered anyhow. - - _C._ What, would you have your mummeries now - And think you need no fiddler pay? - This is presumption's height, I trow. - 130 Unless your lordship's purse possesses - Means for pomp and state so high - To reduce them and spend less is - Merely not a hawk to buy - If you are without its jesses. - Pages six in cloaks arrayed - Wait upon you in the street - In state that for a king were meet. - Yet you have not, I'm afraid, - The Pope's lands nor Guinea's trade. - 140 For your revenues shrink and shrink - Much like Alcobaça cloth. - - _N._ Even so every noble doth - Who to high birth small means must link. - There's no other way, I think. - But I see, padre, what you want, - And my wish has always been - To give you to the King or Queen. - - _C._ That would be good wheat, I grant, - If its flour could be seen. - 150 Sir, if that should come to pass - At your kindness I'll rejoice. - - _N._ Well then, without more ado, - That so I may judge your voice, - Sing a preface of the Mass. - - _C._ That will I most gladly do, - But who will the responses say? - - _N._ I. _C._ _Per omnia secula._ - - _N._ _Amen._ _C._ _Dominus vobiscum._ - - _N._ Sing on, padre. _C._ _Sursum corda._ - - 160 _N._ Your voice, less soft than a recorder, - Is thick as an elephant's that has fed - Its fill of soup--and no more said. - - _C._ Worse voice has Simão Vaz, I ween, - Yet he's Treasurer and King's - Chaplain, worse voice has the Dean - --Like a pelican _he_ sings-- - And others that may be seen - In the palace. Let me end - My singing and great things you'll see. - - 170 _N._ I think I'm rather tired, friend. - But the King's you'll surely be, - Nor need we further effort spend. - - _C._ Sir, the difficulty's this: - For you'll say: 'My chaplain he,' - The King knows what your income is - And he'll laugh right merrily - And send me to the Treasury. - - _N._ If you had but a good ear! - - _C._ How sing well when 'tis your use - 180 To give me everlasting cheer - Of stockfish salted yesteryear, - The worst that all the seas produce? - -_One of the nobleman's pages comes and says:_ - - _Page._ My lord, the goldsmith's at the door. - - _N._ Show him in.--He's come for more - Money.--Come in, Sir, good-day. - Put your hat on, I implore, - I'm your great friend, you may say, - Since I e'er your praises sing. - Only last night to the King - 190 You most highly I commended - And I know that he intended - To employ you. I'll insist - Every time I see him, for - Such mention oft advances more - Than directly to assist, - And these little things, you know, - May to a great value grow - As your name and fame have grown. - - _G._ No other patron would I own, - 200 Sir, I'll serve him with all zest. - - _N._ Know you what I like the best - In you? (To the King I said it - And it's greatly to your credit) - That you ne'er for payment pressed - Nor your creditors molest. - Ne'er such patience did I see, - Such superiority - And anxiety to please. - - _G._ Our account's so small a thing - 210 And is so long overdue, - 'Tis half dead of promises, - So that when I bring it you - I but a dead promise bring. - - _N._ How most cunningly inlaid - And enamelled is each word! - I rejoice not to have paid - For the sake of having heard - Phrases with such skill arrayed. - - _G._ Sir, I kiss your hands, but still - 220 What is mine would see in mine. - - _N._ Another courtier's phrase so fine! - 'Sir, I kiss your hands, but still - What is mine would see in mine!' - Fair flowers of speech are yours at will. - What did the salt-cellar weigh? - - _G._ A good two marks, most accurately. - - _N._ The silver. And your work, I pray? - - _G._ That may almost be ignored. - - _N._ In all what may its value be? - - 230 _G._ Just nine thousand réis, my lord. - And I can no longer wait - For I'm killed by your delay. - - _N._ Your insistence, Sir, is great - And I shall have told a lie - For quite differently I - Praised you. Praise may turn to gibe: you - Surely will not gain thereby. - - _G._ With the cellar must I bribe you? - - _N._ 'Tis of salt-cellars the worst - 240 For which I e'er gave a shilling. - - _G._ Though three years have passed since first - I let you have it I am willing - To retake it even now. - - _N._ No, no, that I won't allow - For I would not have you lose. - - _G._ Why then pay me not my dues? - For myself the charcoal bought - With which you turn my hopes to nought. - - _N._ Boy, go see what does the King, - 250 And if there are ladies to be seen, - The whole day shall not pass, I ween, - In pay and won't pay: no such thing. - And you return some other day: - And if you find that I'm away - Then speak unto my Chamberlain, - He of all moneys that accrue - Has charge and of the revenue - That yearly comes from tithe and grain: - And from him you will obtain - 260 Most certainly what is your due. - - _G._ And do you pay me with parade - Of words and other bounties vain? - - _N._ See to it you that you are paid. - -_As the chaplain goes out he says:_ - - _C._ Shall such men go to paradise? - If so I'll not believe in it. - But I'll be even with them yet: - Henceforth, proof against each device, - I'll countermine them by my wit. - -_The page comes with a message and says:_ - - _P._ The King be in the palace, Sir. - - 270 _N._ In what room? - - _P._ No more I know. - - _N._ Low-born villain, is it so - That a message you deliver? - - _P._ Arrah, I know what I'm about. - - _N._ Arrah! just listen to the lout! - Are any ladies present there? - - _P._ Yes, I saw ladies, I aver, - For they upon the terrace were. - - _N._ Who were they? - - _P._ They were ladies, Sir. - - _N._ How called? - - _P._ My lord, no one was calling. - - 280 _N._ These rustic churls are too appalling. - And serve me right for keeping such. - Henceforth I really must contrive - To have a page of better stuff. - - _P._ Sir, I'll grow speedily enough - To please you, yes and will do much - Provided God leaves me alive: - And the rest I'll quickly learn - As others who good wages earn. - - _N._ Well do so, and then I will see - 290 How you may come to serve the King - And even page of the Chamber be. - - _P._ So I did well to leave my home. - Since even shepherds may become - Attendants on the King, the King! - So thrives with corn the land, bereft - Of labourers, whom their fathers send - To Court their fortunes for to mend, - And soon there'll be no peasants left, - For all will on the King attend. - - 300 _N._ What mockery's this? - - _P._ Nay, Sir, I know - That some poor Christians even so - From toil shall have deliverance. - -_Re-enter the Chaplain._ - - _C._ Have you, my lord, by any chance - Yet spoken to the King of me? - - _N._ I've had no opportunity. - - _C._ The remedy may be delayed - Another three years, I'm afraid. - - _N._ The King's so busy, now with France, - Now with the Turk, and now the Pope, - 310 And other matters of high scope, - And with such careful secrecy - That I can see but little hope. - I'm always there at the levée, - But get no long talk with the King - In which to settle anything. - Meanwhile you may still serve with me - Until I find an opening. - - _C._ Sir, I would have the matter brought - To a conclusion. - - _N._ To conclusion? - 320 Yes, and perhaps better than you thought. - - _C._ Conclusion here I see in nought, - In everything only confusion. - Sir, a cope and a chasuble too - Have I in your service quite worn out: - Pay me the wages that are due. - - _N._ Could you now but from East to West - Discover us the latitude - So, since your voice's not of the best, - You might win the King's gratitude. - - 330 _C._ Sir, I perceive you do but jest: - Would you pay me with a platitude? - -(_He goes out._) - - _P._ The King should take him, since he's cheap - At any price, is such a fighter: - He's from our village, and the sheep - Was in his boyhood wont to keep, - And now he's searching for a mitre. - But there's no chaplain of them all - Could ever bring him to a fall, - And Labaredas is his name. - - 340 _N._ But here Cotão's yclept the same, - The noblest in the land withal. - Now he demands what's his by right - As though 'twere not as easy quite - For me all Turkey's lands to burn, - Since any service to requite - Gives one a melancholy turn. - -_Pero Vaz, a carrier, comes with a parcel of clothes for the nobleman -and enters with jingling of bells, singing:_ - - The snow is on the hills, - the hills so cold and high, - I saw a maiden of the hills, - graceful and fair, pass by. - -(_Speaking:_) - - Go on there, _arré_, my fine mule, - 350 You cost me in the market-place - Seven thousand and nine hundred réis - And a kick in the eye for the tax-gatherer fool. - Get on, my roan. And add thereto - The portion of five hundred too - That Nuno Ribeiro had to pay: - All this, my mule, was paid for you. - Get on, _arré_, upon your way, - For the afternoons now are the best of the day, - Get on, you brute, get on, I say, - 360 Look you the crupper's all awry - And see, right round is pulled the girth: - Candosa wines bring little mirth - To any such poor fool as I. - -(_He sings:_) - - The snow is on the hills, - the hills so cold and high, - I saw a maiden of the hills, - graceful and fair, pass by. - -(_He speaks:_) - - Curse you, go on, _arré_, I say, - And now you're going all askew - As one who would at skittles play: - Come up, my mule, _arré_, _arré_. - 370 But if I once begin with you - I'll make you groan upon your way. - By my Theresa, you'd lose your load, - You would, would you, upon the road? - But I'll not give you any rest - Nor leave flies leisure to molest. - -(_He sings:_) - - I saw a maiden of the hills, graceful and fair, pass by, - And towards her then went I with great courtesy. - -(_He speaks:_) - - Yes, and I would have you sigh - For the Aveiro bakeress, - 380 For the inn you'll come to by and by - And then we'll off with the packsaddle - And the innkeeper we'll straddle - If he have not, to slake our thirstiness, - Good wine at threepence and kid at less, - And for hard bread soft buttermilk, - A fair wench to serve and sheets of silk, - If the floor's strewn with rushes the night be long, - If it hails, be the roof both new and strong, - When the lamp burns dim welcome fiddler's strain. - 390 Hold up, there! At your tricks again? - Bandy-legged brute, shall I prevail, - If I rain down barnacles on your tail, - To make you look where you are going. - To the Devil with you! He'll be knowing - How to handle your like without fail. - 'And towards her then went I with great courtesy: - Will you, said I, lady, of my company?' - -_Vasco Afonso, another carrier, comes along and they meet on the road, -and Pero Vaz says:_ - - _P._ Ho, Vasco Afonso, where goest thou? - - _V._ Look you, I go along the road. - - 400 _P._ Without thy bells nor any load? - - _V._ They were stolen from me even now - By a cursed robber at the inn. - - _P._ We had a drink there as we came. - - _V._ Whose, Pero Vaz, is all this stuff? - - _P._ A nobleman's, Devil take the same, - Him and his suit of clothes and all. - - _V._ Yes, 'tis a bundle large enough. - - _P._ It takes the mule from head to tail. - - _V._ One cannot say it's load is small. - - 410 _P._ Look you, now they will not graze - And when through open moors we pass - They nibble at the heather roots. - - _V._ Leave them, Pero Vaz, to go their ways, - For very parched is here the grass, - And they won't touch the broom's green shoots. - What is to thee for carriage given? - - _P._ I do not know, so help me Heaven. - - _V._ What! didst thou not then fix a price? - Thou'st caught then in a pretty vice. - - 420 _P._ I left it to his good faith to pay - Whate'er he saw was due to me. - - _V._ Left it to his good faith, you say! - And what then if he hasn't any - And has to go to look for it? - O thou hast done most foolishly: - I'll wager thee an honest penny - That thou'lt repent thy coming yet. - - _P._ He put his hand--see here how-- - Upon his beard and swore that I - 430 Should be paid my money faithfully. - - _V._ Was it a proper beard, look you now, - On which this oath of his was heard, - Or a mere straggling moustache? - - _P._ Nay, as there is a God above, - A judge who will the right approve, - A nobleman will keep his word. - - _V._ Thou knowest right well, Pero Vaz, - There are nobles now who scarcely know - Whether they're noblemen or no. - 440 How is thy wife now? Is she well? - And thy other property? - - _P._ That's there all right. - - _V._ Well, and she? - - _P._ She ran away. _V._ Impossible! - How sad thou must be feeling, why - Bad luck to it. _P._ In faith not I. - [_To his mule_] Come up there, must you ever go - Just where the cork-trees come so low?-- - What has it to do with me? - - _V._ Thou must needs be hurt thereby - 450 When the innkeepers laugh at thee. - - _P._ No, that doesn't make me tremble. - Vasco Afonso, look to thy mule, - It's going to lie down on the ground. - - _V._ Thou feelest it but canst dissemble. - - _P._ O no, I don't. Thou know'st as a rule - What women are all the summer round: - So much for any regret that I - Might feel for her now she is gone. - 460 And as for people's laughter, why - As was her will so has she done: - She went away to her own loss - And leaves me not one tooth the worse. - I'm hale and hearty as I was, - Vasco Afonso, no change there is: - The son still of Afonso Vaz, - Grandson of the mason Jan Diz - And Branca Annes my grandmother - Of Abrantes: nor one way nor the other - 470 It touches me. And yet I grieve - That she was partly in the right - And was not utterly to blame, - For I was ever wont to leave - Her lonely there while every night - To sleep at the inn with my mules I came. - I wished thus that she might remain - As a refuge for my old age, - Like a Medina counterpane, - But she saw through me and alack - 480 Must view the matter in a rage - And go off on another track. - - _V._ And what wilt thou do now, I pray? - - _P._ I'll sleep at Cornaga's inn to-day - And at Cucanha's to-morrow. - So get thee on upon thy way, - And I'll on this errand to my sorrow - And we'll see how it will pay. - -_He goes singing:_ - - 'Will you,' said I, 'lady, of my company?' - But 'Sir knight, pass on your way,' said she unto me. - - 490 _Page._ Sir, the carrier is here, - He has brought the clothes for you, - For the sound of the bells I hear. - - _N._ Look to it all of you with care. - - _Pero._ Hold up mule, you son of a Jew. - Where shall I put the clothes, say, where? - - _P._ Good morrow to you, good Pero. - - _Pe._ God keep your worship even so. - - _P._ By the Folgosas did you go? - - _Pe._ Yes, that way was my journey made - 500 And to-day is just a week ago - Since in your aunts' house there I stayed. - - _P._ What was my father doing now? - - _Pe._ Hoeing the vines in the sweat of his brow, - In great heat and weariness. - - _P._ And my mother? - - _Pe._ She was up the dale - Driving the herd--all in tatters her dress-- - Out towards Cobelo's Vale. - [_To the mule_] Be quiet there. The greedy brute. - And yourself how do these times suit? - - 510 _P._ I'm flourishing like anything. - - _Pe._ In faith you're growing fine and tall, - And may God give you health withal. - - _P._ I'm my lord's page and may advance - To be the page who bears the lance. - - _Pe._ What, is a nobleman so great? - That's for an Emperor, and the King - Of France, I see, must mind his state. - - _P._ And more, I may go on to be - A knight of the nobility. - - 520 _Pe._ Nay, by the Lord, John, listen to me: - That were t'expect without good ground - A watch-dog to become a hound. - To the peasant far more honour doth - Coarse sacking than your flimsy cloth. - And to set his hand to till the soil - And for the nobleman by birth - To have men on his ways to toil - And let the rustic plough the earth. - For in Flanders and in Germany, - 530 In Venice and the whole of France, - They live well and reasonably - And thus win deliverance - From the woes that are here to hand. - For there the peasant on the land - Doth the peasant's daughter wed, - Nor further seeks to raise his head, - And even so the skilled workmen too - Those only of their own class woo, - By law is it so orderèd. - 540 And there the nobility - Serve kings and lords of high degree - And do so with a lowly heart - And simple, for their needs are small, - And the sons of the peasants for their part - Sow and reap the crops for all. - - _P._ I'll go and announce you now. - - _Pe._ Go and announce to your heart's fill: - By the solemn God of Heaven I vow - There are gods here more solemn still. - - 550 _P._ Sir, they've brought the clothes for you, - And the carrier's at the door; - Please to tell me, Sir, therefore, - Who is to pay him what is due. - - _N._ That's what I should like to know. - What business is it of yours? You go - And look to what they've brought for me: - Stow it away in safety - And trouble about nothing more. - - _P._ From over against Viseu is he - 560 And properly belongs to me - Since I it was answered the door. - -_The carrier comes in and says:_ - - _Pe._ Sir, I've brought the goods, you see, - For your worship, they're not small, - Here they are, pack-mules and all. - - _N._ This is the strangest carrier's jargon - That has ever come my way. - A thousand crowns for you, a bargain. - - _Pe._ Nay, Sir, I would have you pay - Simply what you owe to me, - 570 For I must straightway be gone. - - _N._ And what may the carriage be? - - _Pe._ Sixteen hundred reis: you alone - Would I charge so little, Sir. - - _N._ Go speak with my head messenger - For he's master of the horses - And the mules' astrologer: - Let him in a neat account - Fairly reckon the amount, - What is due, and how bought, how sold, - 580 For this customary course is - Ever followed in my household. - And if he's absent by some chance, - And I _believe_ he is in France, - Then return some other day - And for the present go your way. - And your pay is in your hand. - - _Pe._ I wish I had it in my feet. - O woe is me, O by my mother! - - _N._ And have you a father and a brother? - - 590 _Pe._ Jest not but pay me as is meet, - For I come from beyond the moor, - Return I cannot to the Court. - - _N._ Whenever you come to town my door - Is open: lodge with my men you must. - - _Pe._ Never again will I put trust - In any noble of this sort, - Not though St Matthew himself exhort. - - _N._ To making friends your thoughts incline, - Such friends as I especially, - 600 For money is but vanity. - - _Pe._ To the devil with such friends, say I, - Who cozen me of what is mine. - -_The carrier goes away and another nobleman comes and the first nobleman -says:_ - - _1st N._ O how well you time your visit - And your coming is most kind. - - _2nd N._ Sir, it is not doubtful, is it?, - That to serve you I'm inclined. - And I would not have it said - Out of sight is out of mind. - - _1st N._ A large sum of money I - 610 To a goldsmith have just paid - For some silver he inlaid. - To a carrier too, though why - I should pay him scarce appears, - Or how he won what he obtains. - - _2nd N._ So ill-gotten are their gains - That they rob your very ears. - - _1st N._ Nay by the consecrated Host - And the Holy God of Heaven - Their onslaught is more fierce almost - 620 Than that of wolves on a sheepfold even. - Why my very chaplain too - For the little work he does for me - By whatever saints there be - Yea and by the Gospels true - For his prayers I must be willing - To give him for each mass a shilling. - There's not in Portugal a man - More liable to pay than I: - Nor one who is from love so free. - - 630 _2nd N._ Ah keep yourself from its fell ban, - For lovers' joys and misery - I think will be the end of me. - - _1st N._ For all the ladies upon earth - I would not give a halfpenny: - Frankly I say that's what they're worth. - - _2nd N._ A lover gentle, you must know, - As I excels in delicacy, - By my faith 'tis even so. - And who should a fair lady's eyes - 640 Behold and not be lost in sighs? - And their pretty ways that lead - You to toils in which indeed - You will find no thoroughfare: - Only infinite thorns and care. - - _1st N._ Nevermore for lady I - Shall be made to pine or sigh. - But if she have fine estate - Thither then will my eyes turn - And my heart begin to burn, - 650 Let the profit be but great. - Dance she ne'er so gracefully, - Skilfully with nimble feet, - Be she sensible, discreet, - And fairest of all fair to see: - If of her father I have no profit, - Much good, I say, may she have of it. - Do not you be so lovelorn, - For 'tis scarcely to be borne, - Love? nay madness, verily. - - 660 _2nd N._ By your way of it, I see, - I the husbandman discover - And in very sooth 'twill be - A fine story this for me - Of the farmer turning lover. - - _1st N._ O mock me, Sir, if mock you can. - - _2nd N._ Sir, the perfect gentleman - Doth not link his lady fair - With what her father may possess. - Nor descries he other scope, - 670 Nor sighs for greater happiness - Than 'In the tresses of thy hair,' - For indeed is all his hope - Centred in that single song, - And 'Sorrows to him alone belong,' - And 'If they say so, let it be,' - And 'Who, my love, hath vexèd thee?' - I will sing and gloss them too, - All these songs both old and new. - - _1st N._ Sir, you are so fierce and brave - 680 That I'm half afraid of you: - By the holy books you have - A wont to carry with high hand - Even what you can't command. - - _2nd N._ You mock me, yet 'tis but to prove - That as you mock you understand. - For I must far above you stand, - Since if you are exempt from love - 'Tis at least for you to know - That where I go you cannot go. - 690 When you are a lover, then - A discretion more profound - And subtlety your mind may fill: - The lover's world's beyond your ken, - A different world that's to be found - In regions further than Brazil. - O my world, the only true one, - O the right I fight for oft, - Sweet illusions that pursue one! - - _1st N._ O the straw that's in my loft! - 700 For a world of straw is mine - That all wants for a year will meet, - And I have a world of wheat - And will sell to all beholders, - And a head upon my shoulders. - But, my friend, I will not pine - For love, nor weep throughout the years - Mourning in this vale of tears. - - _2nd N._ Farewell, you have no sentiment - And are stiff-necked exceedingly, - 710 All that's not worth an ancient saw. - But me it grieves to see so spent - A noble's life most witlessly, - Since he's become a man of straw. - - FINIS - - - - -TRAGICOMEDIA PASTORIL DA SERRA DA ESTRELLA - - - Tragicomedia Pastoril da Serra da Estrella. - -Tragicomedia pastoril feyta & representada ao muyto poderoso & catholico -Rey dom Ioam o terceyro deste nome em Portugal ao parto da serenissima & -muy alta Raynha dona Caterina nossa senhora & nacimento da illustrissima -iffante dona Maria, que depois foy princesa de Castella, na cidade de -Coimbra na era do senhor de M.D.xxvij. - -Entra logo a serra da estrela & diz: - - ¶ Prazer que fez abalar - tal serra comeu da estrela - faraa engrandecer o mar - e faraa baylar Castela - 5 & o ceo tambem cantar. - Determino logo essora - ir a Coimbra assi inteyra - em figura de pastora, - feyta serrana da beyra - 10 como quem na beyra mora. - ¶ E leuarey la comigo - minhas serranas trigueyras, - cada qual com seu amigo, - & todalas ouelheyras - 15 que andam no meu pacigo. - E das vacas mais pintadas - & das ouelhas meyrinhas - pera dar apresentadas - aa Raynha das Raynhas, - 20 cume das bem assombradas. - ¶ Sendo Raynha tamanha - veo ca aa serra embora - parir na nossa montanha - outra princesa despanha - 25 como lhe demos agora, - hũa rosa imperial - como a muy alta Isabel, - imagem de Gabriel, - repouso de Portugal, - 30 seu precioso esperauel. - ¶ Bem sabe Deos o que faz. - - PARVO. Bofe nam sabe nem isto; - a virgem Maria si; - mas cantelle nam he bo - 35 nega pera queymar vinhas. - - SERRA. Isso has tu de dizer? - - PARVO. Quem? Deos? juro a Deos - que nam faz nega o que quer. - La em Coimbra estaueu - 40 quando a mesma raynha - pario mesmo em cas din Rey, - eu vos direy como foy. - Ella mesma, benzaa Deos, - estaua mesmo no paço, - 45 quella, quando ha de parir, - poucas vezes anda fora. - ¶ Ora a mesma camareyra - porque he mesma de Castella, - rogou aa mesma parteyra - 50 que fizesse delle ella-- - pere qui vay a carreyra-- - sabeis porque? - Porque a mesma Empenatriz - pario mesmo Empenador - 55 e agora estam auiados. - Mas quando minha mãy paria - como a virgem a liuraua - tanto se lhe dauella - que fosse aquelle como aquella - 60 se nam ouos hũa vez. - - ¶ Vem Gonçalo, hũ pastor da serra, ̃q - vem da corte & vem cantando: - - ¶ Volaua la pega y vayse. - Quem me la tomasse! - Andaua la pega - no meu cerrado, - 65 olhos morenos, bico dourado - quem me la tomasse! - -Falado. - - ¶ Pardeos muy aluoraçada - anda a nossa serra agora. - - 70 SERRA. Gonçalo, venhas embora - porque eu estou abalada - pera sair de mi fora. - Queriauos ajuntar - logo logo muyto asinha - 75 pera yrmos visitar - nossa Senhora a Raynha, - querendo Deos ajudar. - - GONÇ. ¶ Eu venho agora de la - & segundo o que eu vi - 80 que vamos la bem seraa: - isto crede vos quee assi: - porque dizem que a princesa, - a menina que naceo, - parece cousa do ceo, - 85 hũa estrela muyto acesa - que na terra apareceo. - - SERRA. ¶ Gonçalo, eu te direy: - ella ja naceo em serra - e do mais fermoso Rey - 90 que ha na face da terra, - e de Raynha muyto bella; - & mais naceo em cidade - muyto ditosa pareella - & de grande autoridade. - 95 ¶ E mais naceo em bom dia - Martes, deos dos vencim̃etos, - & trouxeram logo os ventos - agoa que se requeria - pera todos mantimentos. - - 100 PARVO. Aas vezes faz Deos cousas, - cousas faz elle aas vezes, - atrauees como homem diz. - ¶ Nega se meu embeleco - vay poer as pipas em seco - 105 & enche dagoa o Mondego: - faraa mais hum demenesteco? - engorda os vereadores - & seca as pernas nas moças - de cima bem toos artelhos, - 110 & faz os frades vermelhos - & os leygos amarelos - & faz os velhos murzelos. - ¶ Enruça os mancebelhões - & nam atenta por nada. - 115 Pedemlhe em Coimbra ceuada - & elle delhes mexilhões - & das solhas em cambada. - - GONÇ. Vos, serra, se aueis dir - com serranas & pastores - 120 primeyro se ham dauyr - hũa manada damores - que nam querem concrudir. - ¶ Eu trago na fantesia - de casar com Madanela - 125 mas nam sey se querra ella - perol eu bofee queria. - -¶ Vem Felipa pastora da serra cãtãdo: - - ¶ A mi seguem os dous açores, - hum delles moriraa damores. - Dous açores que eu auia - 130 aqui andam nesta baylia - hum delles moriraa damores. - -Falado. - - Gonçalo, viste o meu gado? - dize se o viste embora. - - GONÇ. Venho eu da corte agora - 135 & diz que lhe de recado. - - FEL. Pois ja tu ca es casado, - nega que esperam por ti. - - GONÇ. E sem mi me casam a mi? - Ora estou bem auiado. - - 140 FEL. ¶ Nam ha hi nega casar logo - & fazer vida com ella - senam for com Madanela. - - GONÇ. Tiromeu fora do jogo. - - FEL. Essa he a milhor do jogo. - - 145 GONÇ. Essoutra sera alvarenga? - - FEL. Mas Catherina meygengra. - - GONÇ. Antes me queime mao fogo. - ¶ Nam vem a Meygengra a cõto, - que he descuydada perdida, - 150 traz a saya descosida - e nam lhe daraa hum ponto. - Oo quantas lend̃es vi nella - e pentear nemigalha, - e por dame aquella palha - 155 he mayor o riso quella. - ¶ Varre & leyxa o lixo em casa, - come & leyxa ali o bacio, - cada dia a espanca o tio - nega porque tam devassa; - 160 Madanela mata a brasa. - Nam cures de mais arenga - e dize tu, mana, a Meygengra - que va amassar outra massa. - - FEL. ¶ Ja teu pay tem dada a mão - 165 & dada a mão feyto he. - - GONÇ. Par deos darlhey eu de pee - comaa casca do melão. - Raivo eu de coração - damores de Madanela. - - 170 FEL. Meygengra he mais rica quella; - quessa nam tem nem tostam. - - GONÇ. Arrenega tu do argem - que me vem a dar tormento, - porque hum soo contentamento - 175 val quanto ouro Deos tem. - Deos me dee quem quero bem - ou me tire a vida toda, - com a morte seja a boda - antes que outra me dem. - - 180 FEL. Eu me you pee ante pee - ver o meu gado onde vay. - - GONÇ. E eu quero yr ver meu pay, - veremos comisto he. - - ¶ Vem Caterina Meyg̃egra cantando: - - ¶ A serra es alta, - 185 o amor he grande, - se nos ouuirane. - - FEL. ¶ Onde vas Meygengra mana? - - CAT. A novilha vou buscar, - viste ma tu ca andar? - - 190 FEL. Nam na vi esta somana. - Agora estora vay daqui - Gonçalo que vem da corte; - mana, pesoulhe de sorte - quando lhe faley em ti - 195 como se foras a morte, - tente tamanho fastio. - - CAT. Inde bem, por minha vida, - porque eu mana sam perdida - por Fernando de meu tio. - 200 Seu com elle nam casar - damores mey de finar. - Aborreceme Gonçalo - como o cu do nosso galo, - nam no queria sonhar. - - 205 FEL. ¶ Se tu nam queres a elle - nem elle tampouco a ti. - - CAT. Quanta selle quer a mi - negras maas nouas van delle. - Deos me case com Fernando - 210 & moura logo esse dia, - porque me mate a alegria - como o nojo vay matando. - ¶ Oo Fernando de meu tio - que eu vi polo meu pecado! - - 215 FEL. Fernando, esse teu damado, - casaua comigo a furto. - - CAT. Dize, rogoto, ha muito? - - FEL. Este sabado passado. - - CAT. Oo Jesu, como he maluado, - 220 & os hom̃es cheos denganos, - que por mi vay em tres annos - que diz que he demoninhado. - ¶ Felipa, gingras tu ou nam? - Isso creo que he chufar, - 225 e se tu queres gingrar - nam me des no coraçam, - que o que doe nam he zõbar. - - FEL. Elle veo ter comigo - bem oo penedo da palma - 230 & disse: Felipa, minhalma, - rayuo por casar com tigo; - Digo eu, digo: - Vay, vay nadar, que faz calma. - - CAT. ¶ Olha tu se zombaua elle. - - 235 FEL. Bem conheço eu zombaria: - vi eu, porque eu nam queria, - correr as lagrimas delle. - - CAT. Maos choros chorem por elle, - que assi chora elle comigo - 240 & vayselhe o gado oo trigo - & sois nam olha parelle. - - FEL. ¶ Eu vou casuso ao cabeço - por ver se vejo o meu gado. - - CAT. Tal me deyxas por meu fado - 245 que do meu todo mesqueço. - Quem soubesse no começo - o cabo do que começa - porque logo se conheça - o queu jagora conheço. - -¶ Vem Fernando cantando: - - 250 ¶ Com que olhos me olhaste - que tam bem vos pareci? - Tam asinha moluidaste? - quem te disse mal de mi? - - CAT. ¶ A que ṽes, Fernãdo hõrrado? - 255 Ver Felipa tua senhora? - Venhas muito da maa hora - pera ti e pera o gado. - - FERN. Catalina! Catalina! assi - tolhes ma fala, Catalina? - 260 Olha yeramaa pera mi, - pois que me tu sees assi - carrancuda e tam mofina - quem te disse mal de mi? - Com que olhos me olhaste, &c. - - 265 CAT. ¶ Dize, rogoto, Fernando, - porque me trazes vendida? - Se Felipa he a tua querida - porque me andas enganando? - - FERN. Eu mouro, tu estaas zombando. - - 270 CAT. Oo que nam zombo, Jesu. - Nam casauas coella tu? - - FERN. Eu estou della chufando. - ¶ Catalina, esta he a verdade, - nam creias a ninguem nada, - 275 que tu me tens bem atada - alma & a vida & a vontade. - - CAT. Pois que choraste coella - nam ha hi mais no querer. - - FERN. De chorar bem pode ser - 280 mas nam choraueu por ella. - ¶ Felipa auultase contigo, - vendoa fosteme lembrar, - entam puseme a chorar - as lembranças do meu perigo. - 285 Se ella o tomou por si - que culpa lhe tenho eu? - Mas este amor quem mo deu - deumo todo para ti - & bem sabes tu quee teu. - - 290 CAT. Oo que grande amor te tenho - & que grande mal te quero. - - FERN. Ja de tudo desespero, - que ja mal nem bem nam quero. - - Teu pae tem te ja casada - 295 com Gonçalo dantemão - & eu fico por esse chão - sem me ficar de ti nada - senam dor de coraçom. - ¶ Vertaas em outro poder - 300 vertaas em outro logar, - eu logo sem mais tardar - frade prometo de ser - pois os diabos quiseram - & ali me deyxaram - 305 tanta de maginaçam - quanta teus olhos me deram - desdo dia dacençam. - - CAT. ¶ Mas casemos, daa ca mão - & dirlhey que sam casada. - - 310 FERN. Ja tenho palaura dada - a Deos de religiam. - Ja nam tenho em mi nada. - - CAT. Oo quantos perigos tem - este triste mar damores - 315 & cada vez sam mayores - as tormentas que lhe vem. - ¶ Se tu a ser frade vas - nunca me veram marido: - tu seraas frade metido, - 320 porem tu me meteraas - na fim da Raynha Dido. - - FERN. Nam se poderaa escusar - de casares com Gonçalo - & querendo tu escusalo - 325 nam no podes acabar, - que teu pae ha dacabalo. - - CAT. ¶ Se libera nos a malo! - Nunca Deos ha de querer - & Gonçalo nam me quer - 330 nem eu nam quero a Gonçalo. - Eylo vem, velo Fernando? - bem em cima na portela; - diante vem Madanela, - aquella andelle buscando. - - 335 ¶ [FERN.] Vamolos nos espreitar - ali detras do valado - & veremos seu cuydado - se te da em que cuydar - ou se fala desuiado. - -340 ¶ Vem Madanela cantando & Gonçalo detras della. - -Cantiga. - - ¶ Quando aqui choue & neva - que faraa na serra? - Na serra de Coimbra - 345 neuaua & chouia, - que faraa na serra? - -Falado. - - ¶ Gonçalo, tu a que vens? - - GONÇ. Madanela, Madanela! - - 350 MAD. Tornate maa hora & nella - que tam pouco empacho t̃es! - - GONÇ. Madanela, Madanela! - - MAD. Oo decho dou eu a amargura - quasi magasta, Jesu. - 355 Ora tras mi te ṽes tu? - - GONÇ. Pois a mi se mafigura - que nam maas de comer cru. - ¶ Se tu me queres matar - por teu ter boa vontade - 360 nam pode ser de verdade. - - MAD. Gonçalo, torna a laurar - que isso tudo he vaidade. - - GONÇ. Que rezam me das tu a mi - pera nam casar comigo? - 365 Eu ey de ter muyto trigo - & ey te de ter a ti - mais doce que hum pintisirgo. - ¶ Nam quero que vas mondar, - nam quero que andes oo sol, - 370 pera ti seja o folgar - e pera mi fazer prol. - Queres Madanela? - - MAD. Gonçalo, torna a laurar - porque eu nam ey de casar - 375 em toda a serra destrella - nem te presta prefiar. - ¶ Catalina he muyto boa, - fermosa quanto lhabasta, - querte bem, he de boa casta - 380 & bem sesuda pessoa. - Toma tu o que te dão - em paga do que desejas. - - GONÇ. Ay rogote que nam sejas - aya do meu coraçam. - - 385 MAD. Vayte di, que paruoejas. - - GONÇ. ¶ Nam quero casar coella. - - MAD. Nem eu tam pouco com tigo. - Vees? casuso vem Rodrigo - tras Felipa, que he aquella - 390 que nam no estima num figo. - -¶ Vem Rodrigo cantando: - - Vayamonos ãbos, amor, vayamos, - vayamonos ambos. - Felipa & Rodrigo passaram o rio, - amor vayamonos. - 395 ¶ Felipa, como te vay? - - FEL. Que t̃es tu de ver co isso? - Dias ha que teu auiso - que vas gingrar com teu pay. - - ROD. Nam estou eu, mana, nisso. - - 400 FEL. Quem te mette a ti comigo? - - ROD. Felipa, olha pera ca, - dame essa mão eyaramaa. - - FEL. Tirte, tirte eramaa laa, - tu que diabo has comigo? - - 405 ROD. ¶ Felipa, ja tu aqui es? - - FEL. Rodrigo, ja tu começas? - Tu t̃es das maas vãs cabeças, - nam quero ser descortees. - - ROD. Nem queyras tu er ser assi - 410 grauisca & escandalosa; - mas tem graça pera mi, - como tu es graciosa - & fermosa pera ti. - - FEL. Cada hum saa de regrar - 415 em pedir o que he rezam: - tu pedesmo coraçam - & eu nam to ey de dar - porquee muy fora de mão. - E quanto monta a casar - 420 ainda queu guarde gado - meu pay he juyz honrrado - dos melhores do lugar - & o mais aparentado. - ¶ E andou na corte assaz - 425 & faloulhe el Rey ja - dizendo-lhe: Affonso vaz - em fronteyra e moncarraz - como val o trigo la? - Ora eu pera casar ca, - 430 Rodrigo, nam he rezam. - - ROD. Se casasses com paaçom - que grande graça seraa - & minha consolaçam. - ¶ Que te chame de ratinha - 435 tinhosa cada mea hora, - inda que a alma me chora, - folgarey por vida minha. - Pois engeytas quem tadora; - e te diga: tirte la, - 440 que me cheyras a cartaxo. - Pois te desprezas do bayxo - o alto tabaxaraa. - - FEL. ¶ Quando vejo hum cortesam - com pantufos de veludo - 445 & hũa viola na mão - tresandamo coraçam - & leuame a alma & tudo. - - ROD. Gonçalo, vayme ajudar - aacabar minha charrua - 450 & eu tajudarey aa tua. - Que estoutro sa dacabar - quando a dita vir a sua. - - GONÇ. Eu sam ja desenganado - quanto monta a Madanella. - - 455 ROD. Deuetela dir com ella - como mami vay mal peccado - com Felipa. - - GONÇ. Assi he ella. - - ROD. E tu, Rodrigo, em que estaas? - - FERN. Estou em muito & em nada, - 460 porque a vida namorada - tem cousas boas & maas. - -¶ Vem hum hermitam & diz: - - HERM. ¶ Fazeyme esmola, pastores, - por amor do senhor Deos. - - ROD. Mas faça elle esmola a nos, - 465 & seja que estes amores - se atem com senhos nos. - - HERM. O casar Deos o prouee - & de Deos vem a ventura, - da ventura aa criatura - 470 mas com dita he por merce - & tambem serue a cordura. - ¶ Pondevos nas suas mãos - & não cureis descolher, - tomay o que vos vier - 475 porque estes amores vãos - teram certo arrepender. - Filhas, aqui estais escritas, - Filhos, tomay vossa sorte, - & cada hum se comporte - 480 dando graças infinitas - a Deos & a el Rey & a corte. - -¶ Tirou o ermitam da manga tres papelinhos & os deu aos pastores, que -tomasse cada hum sua sorte & diz Fernando: - - ¶ Rodrigo tome primeyro, - veremos como se guia. - - ROD. Nome da virgem Maria! - 485 lede, padre, esse letreyro, - se me cega ou alumia. - - Escri. Deos & a ventura manda - que quem esta sorte ouuer - tome logo por molher - 490 Felipa sem mais demanda. - - ROD. ¶ Vencida tenho eu a batalha, - Felipa, mana, vem caa. - - FEL. Tirte, tirte, eramaa laa, - & tu cuydas que te valha? - 495 Nunca teu olho veraa. - - GONÇ. Ora vay, Fernando, tu, - veremos que te viraa. - - FERN. Alto nome de Jesu! - lede, padre, que vay la? - -Escrito. - - 500 ¶ A sentença he ja dada - & a sustancia della - que cases com Madanela. - - MAD. Fernando, nam me da nada, - seja muytembora & nella. - - 505 FERN. Dias ha que to eu digo - & tu tinhas me fastio. - - CAT. Oo Fernando de meu tio - quem me casara com tigo! - - GONÇ. ¶ Oo Madanela, yeramaa, - 510 se me cayras em sorte! - - CAT. Ante eu morrera maa morte - que Fernando ficar laa - tam contrayro do meu norte. - E porem nam me da nada, - 515 ja me tu a mi pareces bem, - Gonçalo. - - GONÇ. E tu a mi - Catalina; mudate di - y passea per hi alem, - verey que aar das de ti. - - 520 FEL. ¶ Estouteu, Rodrigo, olhando, - & vou sendo ja contente. - - ROD. Se de mi nam es contente - nam tey dandar mais rogando. - Eu andote namorando - 525 & tu acossasme cada dia. - - CAT. Inda queu isso fazia, - Rodrigo, de quando em quãdo, - muy grande bem te queria. - ¶ E quando eu refusaua - 530 de te tomar por amigo - nam ja porque eu nam folgaua - mas porque te examinaua - se eras tu moço atreuido. - - HERM. Agoro quero eu dizer - 535 o que aqui venho buscar. - Eu desejo dabitar - hũa ermida a meu prazer - onde podesse folgar. - E queriaa eu achar feyta - 540 por nam cãsar em fazela, - que fosse a minha cella - antes bem larga que estreyta - & que podesse eu dançar nella. - E que fosse num deserto - 545 denfindo vinho & pão, - & a fonte muyto perto - & longe a contemplação. - ¶ Muyta caça & pescaria - que podesse eu ter coutada - 550 & a casa temperada: - no veram que fosse fria - & quente na inuernada. - A cama muyto mimosa - & hum crauo aa cabeceyra, - 555 de cedro a sua madeyra; - porque a vida religiosa - queria eu desta maneyra. - ¶ E fosse o meu repousar - & dormir atee tais horas - 560 que nam podesse rezar - por ouuir cantar pastoras - & outras assouiar. - Aa cea & jantar perdiz, - o almoço moxama, - 565 & vinho do seu matiz, - & que a filha do juyz - me fizesse sempre a cama. - ¶ E em quanto eu rezasse - esquecesse ella as ouelhas - 570 & na cela me abraçasse - & mordesse nas orelhas, - inda que me lastimasse. - Irmãos pois deueis saber - da serra toda a guarida - 575 prazauos de me dizer - onde poderey fazer - esta minha sancta vida. - - GONÇ. ¶ Estaa alli, padre, hum siluado - viçoso, verde, florido, - 580 com espinho tam comprido, - e vos nuu alli deytado - perderieis o proido. - Yuos, nam esteis hi mais, - porque a vida que buscais - 585 nam na da Deos verdadeyro - inda que lha vos peçais. - - SERRA. ¶ Ora, filhos, logo essora, - cada hum com sua esposa, - vamos ver a poderosa - 590 Raynha nossa Senhora, - sem nenhum de vos por grosa, - porque he forçoso que va, - que segundo minha fama - da Raynha ey de ser ama - 595 & a isso vou eu la. - ¶ Que tal leyte como o meu - nam no ha em Portugal, - que tenho tanto & tal - e tam fino Deos mo deu - 600 que he manteyga & nam al. - E pois ha de ser senhora - de tam grande gado & terra - quem outra ama lhe der erra, - porque a perfeyta pastora - 605 ha de ser da minha serra. - - GONÇ. ¶ Ha mester grandes presentes - das vilas, casaes & aldea. - - SERRA. Mandaraa a vila de Sea - quinhentos queyjos resentes, - 610 todos feytos aa candea, - e mais trezentas bezerras - & mil ouelhas meyrinhas - & dozentas cordeyrinhas - taes que em nenhũas serras - 615 nam se achem tam gordinhas. - ¶ E Gouuea mandaraa - dous mil sacos de castanha - tam grossa, tam san, tamanha - que se marauilharaa - 620 onde tal cousa se apanha. - E Manteygas lhe daraa - leyte para quatorze annos, - & Couilham muytos panos - finos que se fazem laa. - 625 ¶ Mandaraam desses casaes - que estam no cume da serra - pena pera cabeçaes - toda de aguias Reaes, - naturaes mesmo da terra. - 630 E os do val dos penados - & montes dos tres caminhos - que estam em fortes montados - mandarão empresentados - trezentos forros darminhos - 635 pera forrar os borcados. - ¶ Eu ey lhe de presentar - minas douro que eu sey - com tanto que ella ou el Rey - o mandem ca apanhar, - 640 abasta que lho criey. - - GONÇ. E afora ainda aos presentes - auemos lhe de cantar - muyto alegres & contentes - polla Deos alumiar - 645 por alegria das gentes. - -Vem dous foliões do Sardoal, hum se chama Jorge e outro Lopo, & diz a -Serra: - - ¶ Sois vos de Castella, manos, - ou la debayxo do estremo? - - JOR. Agora nos faria o demo - a nos outros Castellanos. - 650 Queria antes ser lagarto - polos sanctos auangelhos. - - SERRA. Donde sois? - - JOR. Do Sardoal, - & ou bebela ou vertela, - vimos ca desafiar - 655 a toda a serra da estrela - a cantar & a baylar. - - ROD. ¶ Soberba he isso perem - pois haqui tantos pastores - & tam finos bayladores - 660 que nam ham medo a ninguem. - - LOPO. Muytos ratinhos vam la - de ca da serra a ganhar - & la os vemos cantar - & baylar bem coma ca - 665 & he assi desta feyçam. - -¶ Canta Lopo & bayla, arremedando os da serra. - - ¶ E se ponerey la mano en vos - Garrido amor! - ¶ Hum amigo que eu auia - mançanas douro menuia, - 670 Garrido amor! - ¶ Hum amigo que eu amaua - mançanas douro me manda, - Garrido amor! - ¶ Mançanas douro menuia - 675 a milhor era partida, - Garrido amor! - ¶ [Mançanas douro me manda, - a milhor era quebrada, - Garrido amor!] - -Falado. - - 680 ¶ Isso he, ou bem ou mal, - assi como o vos fazeis. - - SERRA. Peçouolo que canteis - aa guisa do Sardoal. - - LOPO. Esse he outro carrascal, - 685 esperay ora & vereis: - ¶ Ja nam quer minha senhora - que lhe fale em apartado. - Oo que mal tam alongado! - ¶ Minha senhora me disse - 690 que me quer falar um dia - agora por meu peccado - disseme que nam podia. - Oo que mal tam alongado! - ¶ Minha senhora me disse - 695 que me queria falar, - agora por meu peccado - nam me quer ver nem olhar. - Oo que mal tam alongado! - Agora por meu peccado - 700 disseme que nam podia, - yrmey triste polo mundo - onde me leuar a dita. - Oo que mal tam alongado! - -¶ Esta cantiga cantarão & baylarão de terreyro os foliões, & acabada diz -Felipa: - - ¶ Nam vos vades vos assi, - 705 leixay ora a gayta vir - & o nosso tamboril, - & yreis mortos daqui - sem vos saberdes bolir. - - CAT. Em tanto por vida minha - 710 seraa bem que ordenemos - a nossa chacotezinha - & con ella nos yremos - ver el Rey e a Raynha. - -¶ Ordenaramse todos estes pastores em chacota, como la se costuma, porem -a cantiga della foy cantada de canto dorgam, & a letra he a seguinte: - - ¶ Nam me firais, madre, - 715 que eu direy a verdade. - ¶ Madre, hum escudeyro - da nossa Raynha - falou me damores, - vereis que dezia, - 720 eu direy a verdade. - ¶ Falou me damores, - vereis que dezia: - quem te me tiuesse - desnuda em camisa! - 725 Eu direi a verdade. - -¶ E com esta chacota se sayram & assi se acabou. - - ¶ LAUS DEO. - - -NOTES: - -0. _Esta tragecomedia pastoril foy feyta_ B. - -0. _com hum parvo & diz_ C. - -2. _estrella_ B. - -4. _Castella_ B. - -7. _yr_ B. - -24. _despaña_ B. - -34. _quant'elle_ C. - -53, 54. _Imperatriz_, _Imperador_ C. - -100. _faz un rey cousas_ B. - -102. _atraues_ B. _a través_ C. - -109. _tós_ C. - -116. _dá-lhe_ C. - -123. _phantesia_ C. - -125. _querera_ B. - -127. _seguem dous açores_ C. - -135. _reccado_ C. - -152. _lendes_ C. - -159. _porque_ A, B, C, D, E. _porqu'é_ ? - -161. _cures_ A, B. _cuides_ C. - -167. _do melão_ A, B. _de melão_ C. - -172. _Arrenega tu_ A, B. _Arrenego eu_ C. - -179. _outra_ A, B. _outrem_ C. - -196. _tem-te_ C. - -197. _Inda_ C. - -231. _com tigo_ A, B. _comtigo_ C. - -261. _sês_ C. - -265. _rogoto_ A. _rogo-te_ C. - -276. _alma_ A. _a alma_ C. - -284. _do_ A. _de_ C. - -299, 300. _ver-te-has_ C. - -308. _ca mão_ A, B. _ca a mão_ C. - -327. _libara_ B. - -328. _querelo_ A, B. _querê-lo_ C, D, E. - -332. _bem_ A, B. _vem_ C, D, E. - -353. _eu amargura_ B. - -354. _quasi_ A, B. _qu'assi_ C. - -378. _lhe basta_ C. - -392. _vayamonos_ A. _vayamos_ C. - -407. _maas_ A. _mais_ C. - -408. _descortees_ A. _descortes_ B. _descortez_ C. - -427. _moncarraz_ A, B. _Monçarraz_ C. - -456. _mami_ A. _a mi_ C. - -462. Desunt 462-577 in B. - -469. _a creatura_ C. - -477. _escriptas_ C. - -482. _& diz Fernando_ A. _& diz o Ermitão_ C. - -487. _Escri._ A. _(Lê o Ermitão o escrito)_ C. - -498. _alto, nome_ C. - -499-500. _Escrito_ A. _(Lê o Ermitão)_ C. - -530: _amigo_ A, B, C, D, E. _marido_ ? - -545: _D'infindo_ C. - -566. Desunt 566-8 in C. - -608. _Cea_ C. - -609. _recentes_ C. - -613. _duzentas_ C. - -618. _tan grossa, tam san._ B. - -628. _Aguias reaes._ B. - -630. _penedos._ B. _Penados._ C. - -635. _brocados._ C. - -645-6. Desunt _hum se chama._ et _outro._ in C. _Iorge._ C. - -647. _extremo._ C. - -649. _Castelhanos._ C. - -655. _estrella_ B. - -660. _ham_ A. _ha hi_ C. - -668. _auia, havia_ A, B, C, D, E. _queria_? - -685-6. _Cantiga_ B. - -711. _chacotezinha_ A, B. _chacotazinha_ C. - -713-4. _he a seguinte Cantiga_ C. - -Note. ad fin. ¶ _Laus Deo_ B. - - -ENGLISH TRANSLATION: - - _Pastoral tragicomedy of the Serra da Estrella._ - -_A pastoral tragicomedy made in honour of and played before the very -powerful and catholic King Dom John III of Portugal on the delivery of -the most high Queen Dona Caterina our lady and the birth of the most -illustrious Infanta Dona Maria, afterwards Princess of Castille, in the -city of Coimbra in the Year of the Lord 1527._ - -_Enters the Serra da Estrella and says:_ - - Joy that shakes and wakes the hill, - The mighty mountain-range of me, - Will increase the swelling sea - And the sky with singing fill - 5 Till Castilla dance in glee. - And in this hour it is my will - That the whole of me, no less, - To Coimbra as a shepherdess, - A Beira peasant-girl, shall come, - 10 Since in Beira is my home. - With me thither they who are mine, - The hill-girls of nut-brown tresses, - Each with her lover shall repair, - Yea and all the shepherdesses - 15 Who flocks upon my pastures keep. - And the choicest of the kine - And of the merino sheep, - That I may have to offer there - A present to our Queen of Queens - 20 Who is fairest of the fair. - Mistress she of broad demesnes - Came unto our mountain land - And among the hills hath she - Borne a new princess of Spain - 25 That we give to her again, - Even a rose imperial - As the most high Isabel, - An image of Gabriel - For the repose of Portugal, - 30 Its precious ward and canopy. - So clearly is God's purpose planned. - - _Fool._ Good faith, no, not a whit he knows - But the Virgin Mary knows. - But he unto no good inclines - 35 And only serves to burn the vines. - - _Serra._ What a thing for thee to say! - - _Fool._ Who? God? why, now, I swear to God - That He must always have His way. - For I was at Coimbra, I, - 40 At the time this very queen - In the palace bore a daughter: - I will tell you all about it. - This same queen, and may God bless her, - The queen herself was in the palace, - 45 For, you know, on such occasions - She is rarely seen outside it. - And the Lady of the Bedchamber, - For she's from Castille, they say - At this very time began to pray - 50 A girl, not a boy, be given her. - (Even here, see, goes our way) - And would you know the reason why? - The Empress had just before - Given birth unto an Emperor, - 55 And they will marry by and by. - 'Twas different with my mother, she - Cared not whether it might be - A boy or eke a girl by chance - But unto the Virgin Mary - 60 Prayed she for deliverance. - -_Enter Gonçalo, a shepherd of the Serra, who comes from the Court, -singing:_ - - Flying, the magpie has flown away, - O that 'twere brought to me again: - In yonder covert - 'Twas mine at will, - 65 With its dark-brown eyes - And its golden bill. - O that 'twere brought to me again! - By Heaven in fine trim to-day - Our Serra is and all aglow! - - 70 _S._ Come, Gonçalo, come away, - For I minded am to go, - Leaving these my haunts straightway, - Gathering you all together - Forthwith and without delay - 75 That we may all journey thither - A visit to our queen to pay - If God assist us on our way. - - _G._ I am now come even thence - And from all that I could tell - 80 Our going thither will be well, - Aye, 'twill be no vain pretence, - For the child of royal line, - The princess that has now had birth - Seems, they say, a thing divine, - 85 A star that ceases not to shine - Though it has appeared on earth. - - _S._ I'll tell thee how it is, I ween: - Her birth is in a hill-country, - Of a king fairest to be seen - 90 Of all that are upon the earth - And of a most lovely queen. - And she is born in a city - Which will bless her and blest has been - And of great authority. - 95 On lucky day too was she born, - Of Mars, the god of victory, - And the winds that very morn - Brought rain needed instantly - For the birth of grass and corn. - - 100 _Fool._ Sometimes God, it is a fact, - Sometimes, I say, God doth act - All upside down, as one might say. - For unless I'm much mistaken - Mondego will be in flood - 105 And all the wine from the casks be taken: - Could a demon do less good? - For He so brings it about - That the aldermen grow stout - And like dry sticks girls wither away, - 110 Purple the friars wax and red, - Yellow and jaundiced are the lay, - And lusty they whose youth is fled - While the young grow weak and grey - And for nothing doth He care. - 115 At Coimbra when for oats they pray - Of mussels enough and e'en to spare - And fish likewise He sends straightway. - - _G._ Serra, if you would fain go - With shepherds and with shepherdesses - 120 First their loves of long ago - Must mutual agreement show - That as yet no ending blesses. - And for my part willingly - Would I Madanela wed, - 125 That design is in my head - But I know not if she'll agree. - -_Enter Felipa, a shepherdess of the Serra, singing:_ - - Two falcons to follow me have I, - But one of them of love shall die. - Two falcons had I, and the twain - 130 Are here with me, being of love's train, - But one of them of love shall die. - -(_Spoken:_) - - _F._ Gonçalo, hast thou seen my sheep, - Tell me hast thou seen them now? - - _G._ From the town I am just returned and trow - 135 That I for thee thy flocks must keep. - - _F._ Well, thou hast been married here: - They only for thy coming stay. - - _G._ What, married ere I can appear? - Then am I in a pretty way. - - 140 _F._ Nay thou must marry on thy return - And must go and live with her - Unless Madanela thou wouldst prefer. - - _G._ From the game's chance aside I turn. - - _F._ Wouldst thou the best of them all thus spurn? - - 145 _G._ Is it, is it Alvarenga? - - _F._ No, but Catherine Meigengra. - - _G._ In evil fire would I rather burn. - Of Meigengra is no question here: - The greatest slattern, I assert, - 150 Is she and if unsewn her skirt - Not a stitch will it get from her, - And though she covered be with dirt - Yet will she never comb her hair, - And at the merest word will she - 155 Be vanquished of laughter utterly. - She sweeps and lets the sweepings lie, - She eats and will never wash the dishes, - Her uncle beats her hourly, - So laxly doth she flout his wishes. - 160 Madanela's the apple of my eye. - And there is no more to be said - But tell Meigengra presently - To reckon on another head. - - _F._ Thy father has given his hand, thus clinching - 165 The matter beyond any flinching. - - _G._ To give her my foot would I be willing - As if she were a melon's rind, - But as for me, my heart and mind - With love of Madanela are thrilling. - - 170 _F._ Yet richer Meigengra thou'lt find, - For Madanela has not a shilling. - - _G._ A curse upon money, say I, - Which only brings me fresh distress: - A single hour of happiness - 175 'S worth all the gold beneath the sky. - God give me but the girl I love - Or deprive me of life's breath, - And my marriage be with death - If to her I faithless prove. - - 180 _F._ Well, I must go instantly - After my flocks and see how they fare. - - _G._ And I to my father will repair - And find out how this thing may be. - -_Enter Catherina Meigengra, singing:_ - - Lofty the mountain-height, - 185 But stronger is love's might, - Could he but hear! - - _F._ Whither, Meigengra, sister, away? - - _C._ 'Tis the heifer I go to seek, - Hast thou seen it here, I pray? - - 190 _F._ I have not seen it all this week. - But Gonçalo is just gone hence, - Even from the Court came he - And I gave him great offence - When I spoke to him of thee, - 195 As if thou wert a pestilence, - Such disaffection hast thou won. - - _C._ And by my life I'm glad of it - For, sister, I have lost my wit - For Ferdinand, my uncle's son. - 200 If I do not marry him - I will surely die of love. - But Gonçalo can only move - My thoughts, yes even in a dream, - To distaste and weariness. - - 205 _F._ If for him thou dost not care - He for thee cares even less. - - _C._ Bad luck to him through all the land - If to think of me he dare. - But if Heaven only planned - 210 My marriage with Ferdinand - Death to me that day welcome were, - Joy's victim, not of this distress. - O Ferdinand, my uncle's son, - For thee was all this love begun! - - 215 _F._ This your love, your Ferdinand, - Secretly offered me his hand. - - _C._ Was that long ago, I pray? - - _F._ It was but on last Saturday. - - _C._ What a villain then is he, - 220 And men how full of all deceits, - For he these last three years repeats - That he's distraught for love of me. - Felipa, dost thou speak in jest? - I think indeed thou triflest, - 225 But if with words thou wouldest play, - Do not play upon my heart - Since no jest is in the smart. - - _F._ He came to me in the heat of the day, - To the rock of the palm came he, - 230 'Felipa, my life,' said he straightway, - 'I am mad to marry thee.' - And I say, say I to him: - 'Go away and have a swim.' - - _C._ Perhaps he was but mocking thee. - - 235 _F._ Nay I know what's mockery - And because I said him No - I could see his tears downflow. - - _C._ Ill be the tears that are so shed, - For with me also he will weep, - 240 And the crops may be eaten by his sheep, - He does not even turn his head. - - _F._ Well, I must go up the hill, - Perhaps my flock may be in sight. - - _C._ Thou leavest me in a plight so ill - 245 That I've forgotten mine outright. - If one could but only know - All the end in the beginning - That one might have straightway so - Knowledge that I now am winning! - -_Enter Ferdinand, singing:_ - - 250 With what eyes thou lookedst upon me - That so fair I seemed to thee: - How have other thoughts now won thee? - Who has spoken ill of me? - - _C._ Good Ferdinand, art thou here - 255 To see Felipa, thy lady dear? - But may thy coming even be - Ill for thy flock and ill for thee. - - _F._ Catherina, thus wouldst thou - Deprive me of all power of speech? - 260 Look straight at me, I beseech. - But if thus thou changest now - With lowering and angry brow, - 'Who has spoken ill of me? - With what eyes thou lookedst upon me?' etc. - - 265 _C._ Tell me, Ferdinand, I pray - Why thou wouldest me betray? - If Felipa is thy love, - Why me thus with treachery prove? - - _F._ By my life, thou'rt mocking me today. - - 270 _C._ O no, I jest not: didst not say - That thou with her wouldst gladly wed? - - _F._ 'Twas but for fun the words were said. - In what I say will truth be found - And believe no one else, I pray. - 275 For as for me my life alway - And soul and will in thee are bound. - - _C._ With weeping since thy eyes were red - Needs must be that thou lov'st her well. - - _F._ I may have wept, I cannot tell, - 280 But not for her my tears were shed. - Felipa's not unlike thee, so - At sight of her I thought of thee - And fell to weeping bitterly - At memory of all my woe. - 285 And if she thought my tears did flow - For her, how should I be to blame? - For my love ever is the same - On thee, thee only to bestow, - And that it's thine well dost thou know. - - 290 _C._ How I hate thee, how I love thee, - Ferdinand, were it mine to prove thee! - - _F._ Now despair I utterly, - Yes, I am most desperate, - And good and ill come all too late. - For thy father has married thee - 295 To Gonçalo, and desolate - I here remain, alone, deserted, - Nothing of thee left to me - But to be thus broken-hearted. - And another's shalt thou be, - 300 Taken to another place, - And I, by the Devil's grace, - Promise that I instantly - Will a monk become: in fine - So much of thee shall be mine - 305 In imagination's play - As was given me on that day - When thine eyes began to shine. - - _C._ Nay, but give me thy hand instead - And I will say that I am wed. - - 310 _F._ Alas I have nothing now to give. - My promise is already said - That I will in a convent live. - - _C._ How many perils mar the peace - Of this gloomy sea of love, - 315 From day to day they still increase - And its tempests greater prove. - If a monk then thou must be - Husband mine will ne'er be seen: - If a monk thou must be, for me - 320 Thou leavest of necessity - The fate of Dido, hapless queen. - - _F._ Thou wilt find no sure escape - With Gonçalo not to marry, - For whatever plans thou shape - 325 Thou wilt never round the cape - And thy father the day will carry. - - _C._ O deliver us from ill! - May such never be my lot, - For Gonçalo loves me not, - 330 And Gonçalo I love less still. - But there he comes, see, Ferdinand, - Above there in the mountain pass, - And Madanela goes before, - She it is that he searches for. - - 335 _F._ Behind this hedge here we will stand - And listen to them as they pass - And we will see what's in his mind - And if to thee he be inclined - Or if thou art given o'er. - - 340 _Enter Madanela, singing, and behind her Gonçalo:_ - -(_Song:_) - - When here below there's rain and snow - What will it be on the mountain-height? - On the hills of Coimbra 'twas snowing - 345 and raining, - What will it be on the mountain-height? - -(_Spoken:_) - - Gonçalo, what is your pretence? - - _G._ Madanela, Madanela! - - 350 _M._ Go back at once, I say, go hence, - Since thou hast so little sense. - - _G._ Madanela, Madanela! - - _M._ What another plague is here, - What annoyance, by my soul! - 355 What, wouldst thou now follow me? - - _G._ I suppose I need not fear - That thou shouldst eat me whole. - But if me thou wouldest kill - Because of this my love for thee - 360 Not serious surely is thy will. - - _M._ Gonçalo, go back, go back to thy plough, - For all this is but vanity. - - _G._ What reason canst thou give me now - To refuse to marry me? - 365 I shall have of wheat enow - And thy life with me shall be - As a goldfinch's free from toil. - I will not have thee hoe the soil, - I will not have thee work in the sun, - 370 But thou shalt sit and take thy ease - And by me all the work be done. - Art thou willing, Madanela? - - _M._ Gonçalo, go back, go back to thy plough, - With none will I marry, I avow, - 375 In the whole Serra da Estrella, - In vain wilt thou persist and tease. - Catalina is a very good girl - And fair enough, though not a pearl, - Comes of good stock and loves thee well, - 380 And she is very sensible. - Then take what's offered thee and so - Shalt balm of thy desire know. - - _G._ Nay, but I pray thee do not seek - To teach my heart what way to go. - - 385 _M._ Go hence, if nonsense thou must speak. - - _G._ I say I will not marry her. - - _M._ And I will not marry thee. - But yonder comes Rodrigo, see, - After Felipa, and I aver - 390 That not a fig for him cares she. - -_Enter Rodrigo, singing:_ - - My love, let's be going, be going together, - Be going together. - Rodrigo and Felipa were crossing the river, - My love, let's be going. - 395 How is it, Felipa, with thee? - - _F._ And what business is that of thine? - Days past I've bidden thee thy chatter - To thy father to confine. - - _R._ But that, my dear, does not suit me. - - 400 _F._ And why drag me into the matter? - - _R._ Felipa, turn thy eyes this way - And give me that fair hand of thine. - - _F._ Away, away with thee, I say, - What art thou to me, in the name of evil? - - 405 _R._ So, Felipa, thou art here, I see. - - _F._ Rodrigo, wouldst thou begin again? - If ever there was feather-brain, - But I would not be uncivil. - - _R._ Would then that thou mightest be - 410 Now less shrewish and unkind. - Yet even that is to my mind, - So charming art thou unto me - So graceful and so fair to see. - - _F._ Everyone should regulate - 415 At reason's bidding his request, - Thou my heart requirest - But I cannot give thee that - Nor listen to thee save in jest. - And as to my marrying I wis, - 420 Although I keep the sheep, withal - An honoured judge my father is - And by his side the rest are small, - He's best related of them all. - At Court too he's been many a day - 425 And the king once spoke to him, to say: - 'In the district of Monsarraz - And Fronteira, Affonso Vaz, - What is the price of wheat, I pray?' - So that here to marry would be for me, - 430 Rodrigo, to act unreasonably. - - _R._ Shouldest thou a courtier marry - What amusement unto me - And consolation that would carry! - For if as a country-lout he harry - 435 Thee all day and for evermore, - Would I, what though my heart should grieve, - Rejoice, since, though I thee adore, - Me thus contemptuously dost thou leave, - And if he bid thee keep thy place - 440 As being but of low degree: - Since thou despisest such as me - Thee shall the mighty then abase. - - _F._ When I see a courtier fine - With his velvet slippers, and - 445 His viola in his hand, - 'Tis all up with this heart of mine - Nor can I his ways withstand. - - _R._ Gonçalo, come help me now - At the labour of my plough - 450 And I'll help thee anon with thine. - For as to the other 'twill be in fine - When its fortune shall allow. - - _G._ As for Madanela, I - Have ceased at last my luck to try. - - 455 _R._ Ah! then the same thing it must be - As with Felipa and me. - - _G._ Yes, 'tis even so we stand. - - _R._ And how is't with thee, Ferdinand? - - _F._ I am in both smiles and frowns, - 460 And a lover's life is planned - In a maze of ups and downs. - -_Enters a hermit who says:_ - - _H._ Shepherds, for love of God, on me - Pray bestow your charity. - - _R._ Rather him it now behoves - 465 Charitable towards us to be - And tie the knots of all our loves. - - _H._ Marrying is in God's hand - And from Him comes fortune too, - For by His especial grace - 470 All men fortune may embrace - And good sense assists thereto. - Place yourselves beneath His sway, - Take not any thought to choose - But receive what comes your way, - 475 For these idle loves, I say, - You'll in sure repentance lose. - Your names, my daughters, here you - leave; - My sons, now each your lot receive: - Behave yourselves in such a sort - 480 That you your infinite thanks shall give - To God, and to the King and Court. - -_The hermit takes from his sleeve three small written pieces of paper -and gives them to the shepherds that each may take his lot, and -Ferdinand says:_ - - Rodrigo shall the first lot claim. - We'll see now if he acts aright. - - _R._ In the Virgin Mary's name - 485 Read it, padre, for the same - Brings to me my day or night. - -_The hermit reads the writing:_ - - 'By Fortune's and by God's command - Whosoever draws this lot - Shall to Felipa give his hand, - 490 Shall do so and reason not.' - - _R._ I have won the victory, - Felipa, come hither to me, my dear. - - _F._ Away with thee, away, dost hear, - Thinkest thou this will profit thee? - 495 Ne'er such a victory shalt thou see. - - _G._ Draw thy lot now, Ferdinand, - Let's see what for thee is planned. - - _F._ Here goes then in the name of Heaven; - Read, padre, what is written there. - -_The hermit reads:_ - - 500 'The sentence is already given - And its substance doth declare - That thou shalt Madanela wed.' - - _M._ Well, Ferdinand, I do not care, - If it must be so, no more be said. - - 505 _F._ Many a day hast thou heard that from me - But thou e'er hadst me in disdain. - - _C._ O Ferdinand, my uncle's swain, - Would that I might marry thee! - - _G._ O Madanela, if only now - 510 We had come together, I and thou. - - _C._ Rather might I straight expire - Than that Ferdinand should stay there - So remote from my desire. - Yet I do not greatly care, - 515 Since to thee I am inclined, - Gonçalo. - - _G._ And even so, - Catalina, art thou to my mind, - But come away that I may know - What graces I in thee shall find. - - 520 _F._ Rodrigo, as I look upon thee - I begin to grow content. - - _R._ If to that I have not won thee - By me no further prayers be spent. - For while I have courted thee - 525 Daily hast thou flouted me. - - _C._ Though from time to time I thus, - Rodrigo, behaved, truly - Very fond was I of thee. - And when most contemptuous - 530 Thy wife I refused to be - 'Twas not that I had no love - But, that I tested thee, to prove - The heart of thy audacity. - - _Hermit._ Now I have a mind to say - 535 What I came to look for here. - For my wish it is to stay - In a hermitage that may - Yield me plenty of good cheer. - Ready-made would I find it: ill - 540 Could I all these joys fulfil - Worn out by toil and labour fell. - Wide not narrow be my cell - That I may dance therein at will; - Be it in a desert land - 545 Yielding wine and wheat alway, - With a fountain near at hand - And contemplation far away. - Much fish and game in brake and pool - Must I have for my own preserve - 550 And as for my house it must never swerve - From an even temperature, cool - In summer and in winter warm. - Yes, and a comfortable bed - Would not do me any harm, - 555 All of it of cedar-wood, - A harpsichord hung at its head: - So do I find a monk's life good. - I would lie and take my rest - And sleep on far into the day - 560 So that I could not my matins say - For noise of the whistling and the singing - Of shepherdesses' songs clear ringing. - On partridge would I sup and dine, - Of stockfish should my luncheon be - 565 And of wine the very best. - And the Judge's daughter should make for me - The bed on which I would recline. - And even as my beads I tell - She should forget her flock of sheep - 570 And embrace me in my cell - And bite my ears and make me weep: - Yes, even thus it would be well. - My brothers, since you know, I trow - The recesses of each vale and hill - 575 Be good enough to tell me now - Where best I may so have my will - And this holy life fulfil. - - _G._ Yonder, padre, there's a briar - All in flower, thick and green, - 580 And its thorns are long and dire: - Naked laid thereon, I ween - You would soon lose your desire. - Go and make no further stay, - For the life you wish to live - 585 The true God will never give - Howsoe'er for it you pray. - - _Serra._ Come, my sons, now come away, - Each with his fair bride to-day, - That our Queen and Sovereign we - 590 May go visit speedily, - And let none of you gainsay, - For you must go all together, - Since, if report say true, I ween - I as nurse must serve the Queen - 595 And therefore do I go thither. - Such milk as mine you will not find - No, not in all Portugal, - So plentiful and such kind - As God has blessèd me withal: - 600 Pure butter were not more refined. - And since she will be princess - Of such flocks and all this land, - No other nurse shall be to hand, - For the perfect shepherdess - 605 My hill-sides alone command. - - _G._ From every village, house and town - Great presents must with us come down. - - _S._ The town of Sea of its store - Shall five hundred cheeses send - 610 All home-made, and furthermore - Of calves will she send thrice five score - And of her merino sheep - A thousand, and lambs two hundred keep - So fat that on no hills you'll find - 615 Any more unto your mind. - And two thousand sacks Gouvea - Of chestnuts that there abound - Of such size, so fine and round - That all men will wonder where - 620 Things so excellent are found. - And Manteigas will prepare - A store of milk for years twice seven, - By Covilham much fine cloth be given - That is manufactured there. - 625 From the houses in the heather - High upon the mountain-top, - For pillows shall be sent a crop - All of royal eagles' feather - That men there are wont to gather. - 630 From the Penados vale below - And the hills where three roads meet - That through rough mountain country go - They will send as present meet - Three hundred ermines white as snow - 635 As edging of brocades to show. - Mines of gold too I will bring - And give all I have within - If the Queen and if the King - Order it to be brought in: - 640 Plenty is there there to win. - - _G._ And with presents none the less - Will we in her honour sing - With great joy and revelling - That God hath willed the Queen to bless - 645 For her people's happiness. - -_Enter two players from Sardoal, Jorge and Lopo, and the Serra says:_ - - From Castille, brothers, do you hale - Or from down yonder in the vale? - - _J._ Now in the devil's name, amen, - They would have us be Castilian men - 650 A lizard I would rather be - By the Holy Gospels verily. - - _S._ Well and from what land come you then? - - _J._ From Sardoal, and by your leave - We are come hither to defy - 655 The Serra our challenge to receive - With us in song and dance to vie. - - _R._ 'Tis a proud challenge for your ill, - For shepherds are so many here - And their dancing of such skill - 660 That of none need they have fear. - - _L._ Many peasants come yonder too - From the hills for sustenance - And we watch them sing and dance - Even as up here they do: - 665 Their way of it shall you see at a glance. - -_Lopo sings and dances in imitation of the men of the Serra:_ - - Ah, should I lay my hand on you, - Love, fair my love. - A friend of mine, a friend of old, - Sends unto me apples of gold, - 670 How fair is love! - A friend I loved, even my friend, - Apples, apples of gold doth send. - So fair is love! - Apples of gold he sends amain, - 675 The best of them was cleft in twain, - So fair is love! - [Apples of gold he sends to me, - The best was cleft for all to see. - How fair is love!] - -(_Spoken:_) - - 680 That I think is, well or ill, - How you dance on fell and hill. - _S._ But now I would have you sing - As in Sardoal they do. - _L._ That is quite another thing, - 685 Wait then and I'll show it you: - Now no more my lady wills - That I speak with her alone. - How am I now woe-begone! - On a day my lady said - 690 That she would fain speak with me, - Now I for my sins atone - Since she says it may not be. - How am I now woe-begone! - For to me my lady said - 695 That she fain would speak with me, - Now I for my sins atone - Since me now she will not see. - How am I now woe-begone! - Now I for my sins atone - 700 Since she says it may not be, - Through the world will I begone - Where'er fortune carry me. - How am I now woe-begone! - -_The players sing this song, dancing together, and when it is finished -Felipa says:_ - - I pray you go not away so, - 705 But wait until the fiddle come, - O wait until you hear the drum, - Then how to move you'll scarcely know - So dead with dancing shall you go. - - _C._ And meanwhile by my life I ween - 710 'Twere well that we our dance and song - Should order here upon the green - And we will go with it along - To see the King and see the Queen. - -_All these shepherds took their places in the dance after their custom, -but its song was sung to the accompaniment of the organ and with the -following words:_ - - O strike me not, mother, - 715 The truth I'm confessing. - For, mother, a squire - Of our queen all on fire - With love came to woo me: - Of what he said to me - 720 The truth I'm confessing. - He came for to woo me - And 'O,' said he to me, - 'Were you in my power, - Alone without dower!' - 725 The truth I'm confessing. - -_And with this dance they went out and the play ended._ - - ¶ LAUS DEO. - - - - -NOTES - - -AUTO DA ALMA - -PAGE 1 - -The _Auto da Alma_, produced probably in 1518, which in some sense forms -a Portuguese pendant to the _Recuerde el alma_ of Jorge Manrique -(1440?-79), is a Passion play, corresponding to the modern _Stabat_ on -the eve of Good Friday, and was suggested, perhaps, by Juan del Enzina's -_Representacion a la muy bendita pasion y muerte de nuestro precioso -Redentor._ It was not, however, acted in a convent or church, but in the -new riverside palace which saw so many splendid _serões_ during King -Manuel's reign (1495-1521). King Manuel was now in the full tide of -prosperity. His sister, Queen Lianor or Eleanor (1458-1525), Gil -Vicente's patroness, who so keenly encouraged Portuguese art and -literature, was the widow (and first cousin) of his predecessor, King -João II. The theme of the play, the contention of Angel and Devil for -the possession of a human soul, was far from new. Its treatment, -however, was original and the versification is clear-cut and well -sustained throughout, while a deep sincerity and glowing fervour raise -the whole play to the loftiest heights. The metre is mostly in verses of -seven short (8848484) lines (_abcaabc_) with an occasional slight -variation. There is a French version of the play, presumably in verse -(see _Durendal_, No. 10: Oct. 1913: _Le Mystère de l'Âme_; tr. J. -Vandervelden and Luis de Almeida Braga), but the difficult task of -translating it would require, to be successful, the delicate precision -of a Théophile Gautier. In his hands it might have become in French a -thing of beauty and a joy for ever, as it is in the original Portuguese. -As to the text, without emulating the pedantry of the critic who added a -fourth season to Shelley's three, and thereby provoked a splendid -outburst of wrath from Swinburne, we may assume that in passages where -Vicente appears to have gone out of his way to avoid a required rhyme, -this is merely a case of corruption repeated in successive editions. -Thus in the _Auto Pastoril Portugues_, where _Catalina minha dama_ -rhymes with _toucada_ we may perhaps substitute _fada_ for _dama_. (Cf. -_Serra da Estrella_, l. 530: _amigo_ for _marido_.) So here verse 114 -must read _tristeza_, not _tristura_, to rhyme with _crueza_. In 3 one -of the _mantimentos_ should perhaps be _alimentos_: see Lucas Fernández, -_Farsas_ (1867), p. 247 (cf. the two _vaydades_ in 14); in 26 _fortunas_ -should probably read _farturas_ (cf. _essas farturas_ in the _Dialogo -sobre a Ressurreiçam_); in 35 the words _mui fermosos_, or a single -longer word, have evidently dropped out; in 54 _tendes_ was perhaps an -alteration by some critic who did not realize that the Angel might -naturally associate itself with the Church (or with the Soul) and say -_temos_; the last line of 100 was perhaps the word _pecadora_ or _e -senhora_ (cf. Fr. Luis de León, _Los Nombres de Cristo_, Bk I: _mi única -abogada y señora_); in 108 also a line is missing and a rhyme required -for _figura_ (_lavrado_ must go with _Deos_, _triste_ with _vereis_, -omitting _seu_). On the other hand it is hardly necessary to alter 42 or -45 (although here _esmaltado_ is in the air) or 46 so as to make them -exactly fit the metre. - -1 _perigos dos immigos_, cf. _Os Trabalhos de Jesus_, 1665 ed. p. 94: _o -caminho do Ceo he cercado de inimigos e perigos para o perder. Qualibus -in tenebris vitae quantisque periclis Degitur hoc aevi quodcunque est!_ - -7 Cf. Newman, _The Dream of Gerontius_, l. 292 _et seq._: - - O man, strange composite of heaven and earth, - Majesty dwarfed to baseness, fragrant flower, etc. - -7-10 These exquisite verses have something of the scent and perfection -of wild flowers, and that mystic rapture which is not to be found in -Goethe's more worldly _Faust_. We may, if we like, call the _Auto da -Alma_ (as also the witch-scene in the _Auto das Fadas)_ a 16th century -_Faust_, but really no parallel can be drawn between the two plays. The -ethereal beauty of Vicente's lyrical _auto_, carved in delicate ivory, -is far less varied and human: it has scarcely a touch of the cynicism -and not a touch of the coarseness of Goethe's splendid work cast in -bronze. It can be compared at most with such lyrical passages as _Christ -ist erstanden_ or _Ach neige, Du Schmerzenreiche, Dein Antlitz gnädig -meiner Not_, and as a whole is a mere lily of the valley by the side of -a purple hyacinth. - -9 _Planta sois e caminheira_. Cf. the white-flowered 'wayfaring tree.' - -16-17 This passage resembles those in the Spanish plays _Prevaricación -de Adán_ and _La Residencia del Hombre_ quoted in the _Revista de -Filología Española_, t. IV (1917), No. 1, p. 15-17. - -17 Cf. _The Dream of Gerontius_, l. 280 _et seq._: 'Then was I sent from -Heaven to set right, etc.' - -18 _porá grosa_, attack, criticize, gloss. (= _glosar_. Cf. the modern -'to grouse.') - -35 Cf. Antonio Prestes, _Auto dos Cantarinhos_ (_Obras_, 1871 ed. p. -457): _todo Valença em chapins_. The _chapim_ was rather a high-heeled -shoe than a slipper. The reference is to the Spanish city Valencia del -Cid. Cf. Fr. Juan de la Cerda ap. R. Altamira, _Historia de España_, -III, 728: 'En una mujer ataviada se ve un mundo: mirando los chapines se -verá a Valencia'; Alonso Jerónimo de Salas Barbadillo in _El Cortesano -Descortés_ (1621) speaks of 'un presente de chapines valencianos'; and -in _La Pícara Justina_ (1912 ed. vol. I, p. 70) we have 'un chapin -valenciano.' - -38 _marcante_. In the _Auto da Feira_ the Devil is similarly a -_bufarinheiro_ (pedlar) and _mercante_. - -43 _a for da corte_. _For_ = _foro_ (v. Gonçalvez Viana, _A postilas_, -vol. I, p. 353). - -58 Cf. Plato, _Respublica_, 365: ̃̓αδικητέον κὰι θυτέον ̓απ̀ο τ̑ων -αδικημάτων, κ.τ.λ. Vicente in his plays often inculcates the need of -something more than a formal religion. - -_xiquer_. Cf. _Auto da Barca do Inferno_: _Isto hi xiquer irá_. - -59-60 These two verses are in the true spirit of Goethe's -Mephistopheles. - -62 _esta peçonha_. Would Vicente have written thus (cf. 66 and _Obras_, -III, 344, sermon addressed to Queen Lianor; and also Garcia de Resende, -_Miscellanea_, 1917 ed. p. 50) of the soul had there been the slightest -gossip or suspicion that his patroness, Queen Lianor, had poisoned her -husband? (See the most interesting studies in _Critica e Historia_, por -Anselmo Braamcamp Freire, vol. I. Lisbon, 1910.) - -71 Cf. _The Dream of Gerontius_, l. 210-1: - - Nor do I know my attitude, - Nor if I stand or lie or sit or kneel. - -73 _day passada_ = _perdoai_, _dai licença_. Cf. Jorge Ferreira de -Vasconcellos, _Eufrosina_, II, 5. 1616 ed. f. 79 v. - -77 In Basque _pastorales_ one of the main attributes of the devils and -the wicked is that they are never quiet on the stage. In the _Auto da -Cananea_ (1534), a play in many ways resembling the _Auto da Alma_, the -line _Como andas desosegado_ recurs, addressed by Belzebu to Satanas. It -is the 'incessant pacing to and fro' of _The Dream of Gerontius_ (l. -446). In its beauty and intensity as a whole and in many details -Cardinal Newman's _The Dream of Gerontius_ is strikingly similar to the -_Auto da Alma_. But in it the strife is o'er, the battle won, and the -sanctified soul, rising refreshed from sleep with a feeling of 'an -inexpressive lightness and sense of freedom,' passes serenely, -accompanied by its guardian angel, above the 'sullen howl' of the demons -in the middle region. Cf. _Calte por amor de Deus, leixai-me, não me -persigais_ with 'But hark! upon my sense Comes a fierce hubbub which -would make me fear _Could I be frighted_' (l. 395-7). - -80 Cf. Amador Arraez, _Dialogos_, No. 1, 1604 ed. f. lv.: _S. Jeronimo -diz que é grande o reino, potencia e alçada das lagrimas...atormentam -mais aos Demonios que a pena infernal_. - -84 The author of the _Vexilla regis_ hymn was Venantius Fortunatus -(530-600). - -95 Cf. Antonio Feo, _Trattados Quadragesimais_ (1609), II f. 23: _assy -na Cruz como no monte Oliueto chorou porque vio vir a quem ouuera de -chorar_. - -97 Cf. Gomez Manrique, _Fechas para la Semana Santa_ (ap. M. Pelayo, -_Antología_, t. III, p. 92). - -108 Cf. Juan del Enzina, _Teatro_ (1893), p. 39: _Veis aqui donde vereis -Su figura figurada Del original sacada_. - -116 _dais o seu a cujo he_, cf. _Triunfo do Inverno_: _Porque se devem -de dar As cousas a cujas são_; _C. Res._ I (1910), p. 64: _dar o seu a -cujo hee_. - -121 Cf. Gomez Manrique, _Fechas_ (_Antolog._ t. III, p. 93): - - Y vamos, vamos al huerto - Do veredes sepultado - Vuestro fijo muy prouado - De muy cruda muerte muerto. - - -EXHORTAÇAO DA GUERRA - -PAGE 23 - -The expedition to capture from the Moors the important town of Azamor in -N. W. Africa consisted of over 400 ships (Luis Anriquez in his poem in -the _Cancioneiro Geral_ says 450) and a force of 18,000 soldiers, of -which 3000 were provided by James, Duke of Braganza, who commanded the -expedition. It set sail from Lisbon on the 17th of August, 1513. (Damião -de Goes and Osorio say the 17th, Luis Anriquez the 15th, which was -evidently the day (the Feast of the Assumption) fixed for departure.) It -was entirely successful and the news of the fall of Azamor caused great -rejoicings both at Lisbon and Rome. The play was evidently touched up -afterwards, for it includes the sending of the elephant to Rome (1514) -and the marriages of the princesses. It is barely possible that it was -written after the victory, in which case the words _na partida_ would be -retrospective and the date given in the 1st edition was not a slip. -Parts of the play suit 1514 better than 1513. Tristão da Cunha's special -mission (cf. lines 195-6) to the Pope (with Garcia de Resende for -secretary) left early in 1514 and entered Rome on March 12. One of the -objects of the mission was to obtain a grant of the tithes (ll. 194, -224) for the Crown to use for the war in Africa. (The request was -granted but King Manuel subsequently renounced them in return for -150,000 gold coins.) The exhortations of l. 351 _et seq._, l. 514 _et -seq._, l. 559 _et seq._ are better suited to a time when more men and -money were needed actively to continue the war than when an army of -18,000 was equipped and ready to leave. The Pope in 1514 promised -indulgences to all those who should contribute money for the African war -and also granted King Manuel a portion of church property in Portugal -(cf. ll. 475-84 and 535-48) for the same object (l. 546: _pera Africa -conquistar_). The King's aim is now to build a cathedral in Fez (l. -573-4). There is no mention of Azamor. This was the first of the great -patriotic outbursts (cf. the _Auto da Fama_ and other plays) in which -Vicente appears not as a satirist or religious reformer but as an -enthusiastic imperialist, and which still delight and stir his -countrymen. - -18 Prince Luis (1506-55), one of the most gallant, talented and -interesting of Portuguese _infantes_, was no doubt present at the -_serão_ and would be delighted by this reference. (The youngest princes, -Afonso, born in 1509, and Henrique, born in 1512, are not mentioned. -They both became Cardinals and the latter King of Portugal, 1578-80.) -The princes are similarly addressed in the _Cortes de Jupiter_ in 1521. - -46 Mercury opens the _Auto da Feira_ with a similar string of -absurdities (suggested by Enzina's _perogrulladas_), e.g. _Que se o ceo -fora quadrado Não fora redondo, Senhor; E se o sol fora azulado D'azul -fora seu cor_. (If square the sky were found then it would not be round, -and if the sun were blue then blue would be its hue.) _Os disparates de -'Joan de Lenzina'_ (Ferreira, _Ulys._ IV, 7) were well-known in -Portugal. - -94, 113, 129 No meaning is to be squeezed out of these cabbalistic -words. - -116 We have an even more detailed description in the _Sumario da -Historia de Deos_: - - A furna das trevas, ponte de navalhas, - o lago dos prantos, a horta dos dragos, - os tanques da ira, os lagos da neve, - os raios ardentes, sala dos tormentos, - varanda das dores, cozinha dos gritos, - Açougue das pragas, a torre dos pingos, - o valle das forcas. - -125 Vicente was more tolerant than most contemporary writers who -inveighed against the blindness and malice of the Jews. - -132 The necromancer evokes spirits which he is unable to control. He -calls them brothers but they answer in effect: 'Du gleich'st dem Geist -den du begreif'st, nicht mir.' - -151 The _almude_ = 12 gallons. - -156 Cabrela e Landeira is a village near Montemôr-o-Novo. Cf. _Sum. da -Hist. de Deos_: - - _Satanas_: Sabes Rio-frio e toda aquela terra, - aldea Gallega, a Landeira e Ranginha - e de Lavra a Coruche? Tudo é terra minha. - -157 Cartaxo, a small town in the district of Santarem. - -158 The village of Lumiar is now connected with Lisbon by a tramway. - -159 Mealhada, a parish in the district of Aveiro. - -162 Cf. _uva terrantes_ (indigenous). - -164 Ribatejo = the country along the river Tejo (Tagus). Cf. _Auto da -Feira_: _Vai-te ao sino do Cranguejo, Signum Cancer, Ribatejo._ - -168 Arruda dos Vinhos and Caparica are villages in a vine-growing -district on the left bank of the Tagus opposite Lisbon, near Almada. - -173 _estrema_ = _marco_ (Sp. _mojon_). Cf. _Auto da Festa_, ed. Conde de -Sabugosa (1906), p. 110: _Este he da pedra do estremo_. - -174 _diadema_ is usually masculine, but Antonio Vieira has it both ways. - -176 Seixal (2500-3000 inh.) in the district of Almada. - -177 Almada, formerly Almadãa (Arab = the mine, but as Englishmen settled -there in the 12th century it was later given the fanciful derivation All -made or All made it), a town of 10,000 inh., opposite Lisbon on the left -bank of the Tagus. - -179 Tojal (= whin-moor, gorse-common), a small village near Olivaes -(= olive groves), in the Lisbon district. - -195 The impression produced by the arrival in Rome of King Manuel's -elephant, panther and other magnificent gifts was vividly described by -several writers. Cf. Damião de Goes, _Chron. de D. Manuel_, Pt 3, cap. -55, 56, 57 (1619 ed. f. 223 v.-227). According to Ulrich von Hutten the -elephant 'fuit mirabile animal, habens longum rostrum in magna -quantitate; et quando vidit Papam tunc geniculavit ei et dixit cum -terribili voce _bar, bar, bar_' (apud Theophilo Braga, _Gil Vicente e as -Origens do Theatro Nacional_ (1898), p. 191). Cf. also Manuel Bernardez, -_Nova Floresta_, V, 93-4. The head of this celebrated elephant forms the -background to a portrait of Tristão da Cunha (head of the embassy to the -Pope) reproduced in Senhor Joaquim de Vasconcellos' edition of Francisco -de Hollanda's _Da Pintura Antigva_ (Porto, 1918). - -229 In 1517 among other exotic presents a rhinoceros was sent to the -Pope. It was however shipwrecked and drowned on the way. It had the -honour of being drawn by Albrecht Dürer. - -238 Vicente seems to have coined this intensive of _bellisima_. - -243-4 Cesar = King Manuel. Hecuba=his second wife, Queen Maria, daughter -of Ferdinand and Isabella of Spain. - -249 Prince João, born in 1502, afterwards King João III (1521-57). - -259 The Infanta Isabel (1503-39) married her first cousin the Emperor -Charles V, and in her honour on that occasion Vicente composed his -_Templo de Apolo_ (1526). Her marriage may have already been planned in -1513, but more probably Vicente altered the passage when he was -preparing the 1st edition of his works during the last months of his -life. Gil Vicente more than once refers to her great beauty. Her -portrait by Titian in the Madrid Prado fully bears out his praises and -the expression on her face places this among the most fascinating -portraits of women. The Empress is sitting by a window looking on to a -beautiful country of woods and blue mountains, in her hand is a book; -but one feels that she is thinking of neither book nor scenery but that -her thoughts go back in _saudade_ to the soft air and merry days of -Lisbon. It might indeed be a picture of _Saudade_. There is a slight -flush on her pale oval face. Her almond-shaped eyes are grey-green, her -nose delicately aquiline. In the eyes and in the general expression -there is a look of undeniable sadness. Her dress of plum, cherry-pink, -gold and brown gives a gorgeously mellow effect and the curtain at the -back is plum-brown. If the colouring seems at first too rich this is due -to the criminal gold frame which clashes with the dress and the -chestnut-golden hair. In a dark frame the picture would be twice as -beautiful. The Empress' dress gleams with pearls and she has a jewel -with pearls--set perhaps by Gil Vicente--in her hair, large pearl -earrings and a necklace of large pearls. She died at Toledo at the age -of 36 and lies in the grim Pantheon of the Kings in the Escorial crypt. - -266 Of Prince Fernando, born in 1507, Damião de Goes, who knew him -personally, says: 'assi na mocidade como depois de ser homem foi de bom -parecer e bem disposto, muito inclinado a letras e dado ao estudo das -historias verdadeiras e imigo das fabulosas... Era colerico e apressado -em seus negocios e muito animoso, com mostra e desejo de se achar em -algun grande feito de guerra, mas nem o tempo nem o estudo do Regno -deram pera isso lugar' (_Chron. de D. Manuel_, II, xix). Cf. Osorio, _De -Rebvs Emmanvelis_ (1571), p. 189: 'Fuit in antiquitate pervestiganda -valde curiosus: maximarum rerum studio flagrabat multisque virtutibus -illo loco dignis praeditus erat.' - -275 Princess Beatrice as a matter of fact married Charles, Duke of -Savoy, and on the occasion of her departure from Lisbon by sea with a -magnificent suite Vicente wrote the _Cortes de Jupiter_ (1521) with the -_romance_: - - Nina era la Ifanta, Dona Beatriz se dezia, - Nieta del buen Rei Hernando, el mejor rei de Castilla, - Hija del Rei Don Manuel y Reina Doña Maria, etc. - -284 Cf. the _Auto das Fadas_ (with which this play has many points of -resemblance): _Feiticeira_ (ao principle e infantes): _ó que joias -esmaltadas, ó que boninas dos ceos, ó que rosas perfumadas!_ - -331-2 Cf. _Divisa da Cidade de Coimbra_: _Vai delas a eles tão grande -avantagem... como haverá...do vivo a hũa imagem_. - -341 _Godos_, Goths, i.e. of ancient race, 'Norman blood.' - -346 For _dioso_ = _idoso_ v. _C. Geral_, vol. II (1910), p. 153. Fernam -Lopez, _Chron. J. I._ Pt. 2, cap. 10, has _deoso_. - -384 _pequenas quadrilhas_. When Afonso de Albuquerque began his glorious -career (1509-15) there were in India but a few hundred Portuguese -fighting men, and most of these badly armed. The whole population of -Portugal during this time of fighting and discovery in N.-West, West and -East Africa and India is by some calculated at a million and a half, by -others at between two and three millions. - -416 Prov. _mais são as vozes que as nozes_. - -418 For this line cf. Pedro Ferrus: _Que por todo el mundo suena_ (ap. -Menéndez y Pelayo, _Antología_, t. I, p. 159 and Enzina, _Egloga_, V -(_ib._ t. VII, p. 57)). - -420 _pois que...pessoa_, a homely version of Goethe's _Was du ererbt von -deinen Vätern hast Erwirb' es um es zu besitzen_. - -470-4 These lines are translated from the Spanish poet Gomez Manrique -(1415?-1490?). See Menéndez y Pelayo, _Antología_, t. VII, p. ccx. - -Cf. Jorge Ferreira de Vasconcellos, _Ulysippo_, V, 7: _Vos quando vos -tirarem de Ansias e passiones mias e guando Roma conquistava_. - -487 _dom zote_. Cf. supra _zopete_ and Sp. _zote_, _zopo_, _zopenco_, -_zoquete_ (a dolt); low Latin _sottus_; Dutch _zot_; Fr. _sot_; Eng. -_sot_ (_bebe sem desfolegar_). _Zote_ occurs twice in the _Auto Pastoril -Portugues_: _muito gamenho_ (cf. Fr. _gamin_) _zote_ and _Auto da Fé_, -l. 5. - -534 _trepas_ is the Span. form (Port, _tripas_?). - -538 _soyços_ the old, _soldados_ the new, word for 'soldiers.' Cf. Lucas -Fernández, _Farsas_ (1867), p. 89: _Entra el soldado, o soizo, o -infante_. - -559 This rousing chorus fitly ends a play from every page of which -breathes the most ardent patriotism. Small wonder that King Sebastião -(1557-78), with his visions of conquest and glory, read Vicente with -pleasure as a boy. - -561 Cf. Gaspar Correa, _Lendas da India_, IV, 561-2: _o Governador logo -sobio e o frade diante dele bradando a grandes brados, dizendo: 'O fieis -Christãos, olhai para Christo, vosso capitão, que vai diante'_ (1546). - - -FARSA DOS ALMOCREVES - -PAGE 37 - -This is one of the most famous of those lively farces with which Gil -Vicente for a quarter of a century delighted the Portuguese Court and -which still hold the reader by their vividness and charm. Its fame rests -on the portraiture of the poverty-stricken but magnificent nobleman who -has been a favourite object of satire with writers in the Peninsula -since the time of Martial, and who in a poem of the _Cancioneiro Geral_ -is described in almost the identical words of Vicente's prefatory note: - - o gram estado - e a renda casi nada - (_Arrenegos que que fez Gregoryo Affonsso_). - -An alternative title of the play is _Auto do Fidalgo Pobre_, but the -extremely natural presentment of the two carriers in the second part -justifies the more popular name. The Court, fleeing from plague at -Lisbon, was in the celebrated little university town of Coimbra on the -Mondego and here Gil Vicente in the following year staged his _Divisa da -Cidade de Coimbra_, the _Farsa dos Almocreves_, and (in October) the -_Tragicomedia da Serra da Estrella_ and Sá de Miranda, in open rivalry, -produced his _Fabula do Mondego_. But Gil Vicente was not to be silenced -by the introduction of the new poetry from Italy and to these two years, -1526 and 1527, belong no less than seven (or perhaps eight) of his -plays. Yet what a difference in his own position and in the state of the -nation since his first farce--_Quem tem farelos?_ twenty years before! -The magnificent King Manuel was dead, and his son, the more care-ridden -João III, was on the throne: - - tão ocupado - co'este Turco, co'este Papa - co'esta França. - -There was plague and famine in the land. The discovery of a direct route -to the East and its apparently inexhaustible wealth had not brought -prosperity to the Portuguese provinces. There the chief effect had been -to make men discontented with their lot and to lure away even the -humblest workers to seek their fortune and often to find death or a far -less independent poverty: - - até os pastores - hão de ser d'el-Rei samica. - -The result was that the old rustic jollity which Vicente had known so -well in his youth was dying out, and the very songs of the peasants took -a plaintive air: - - E no mais triste ratinho - s'enxergava hũa alegria - que agora não tem caminho. - Se olhardes as cantigas - do prazer acostumado - todas tem som lamentado, - carregado de fadigas, - longe do tempo passado. - O d' então era cantar - e bailar como ha de ser, - o cantar pera folgar, - o bailar pera prazer, - que agora é mao d'achar[155]. - -Nor could it be expected that the rich _parvenu_, the mushroom courtier, -the _fidalgo 'que não sabe se o é,'_ the palace page fresh from keeping -goats in the _serra_, the Court chaplain anxious to hide his humble -origin, would greatly relish Vicente's plays which satirized them and in -which rustic scenes and songs and memories appeared at every turn. It -was much like mentioning the rope in the house of the hanged, and these -dainty and sophisticated persons would turn with relief to the revival -of the more decorous ancient drama inaugurated by Trissino in Italy and -in Portugal by Sá de Miranda. - -3 _este Arnado_. Cf. Bernardo de Brito, _Chronica de Cister_, III, 18: -'se foi [Afonso Henriquez] ao longo do Mondego por um campo ̃q então e -no tempo de agora se chama o Arnado, trocado ja pelas enchentes do rio -de campo cuberto de flores em um areal esteril e sem nenhũa verdura.' -Cf. _Cancioneiro da Vaticana_, No. 1014: 'en Coimbra caeu ben provado, -caeu en Runa ata en o Arnado.' - -7 See the Spanish _romance_ (ap. Menéndez y Pelayo. _Antología_, t. -VIII, p. 124): 'Yo me estaba allá en Coimbra que yo me la hube ganado.' - -8, 9 The sense of these two obscure lines is apparently: 'Since Coimbra -so chastises us that we are left without a penny.' Ruy Moniz in the -_Canc. Geral_, vol. II (1910), p. 142, has _çimbrar ou casar_. In -Spanish _cimbrar_ = 'to brandish a rod,' 'to bend.' In the _Auto del -Repelon_, printed in 1509, Enzina has: _El palo bien assimado Cimbrado -naquella tiesta_ (_Teatro_ (1893), p. 236) and Fernández (p. 25) _No vos -cimbre yo el cayado_. Cf. Antonio Prestes, _Autos_ (ed. 1871), p. 211: -_E o vilão vindo me zimbra: reprender-me!_ and João Gomes de Abreu (_C. -Ger._ vol. IV (1915), p. 304) _seraa rrijo çimbrado_. _preto_ = _real -preto_, contrasted with the white (i.e. silver) _real_. - -12 _Pelos campos de Mondego cavaleiros vi somar_ were two very -well-known lines apparently belonging to a real historical Portuguese -_romance_ on the death of Ines de Castro. They occur in Garcia de -Resende's poem on her death. See C. Michaëlis de Vasconcellos, _Estudos -sobre o romanceiro peninsular_. - -13 Cf. _Tragicomedia da Serra da Estrella_ (1527): _Pedem-lhe em Coimbra -cevada E elle dá-lhe mexilhões_. - -19 _milham_, green maize cut young for fodder. - -32 _ratinhos_, peasants from Beira. They play a large part in Portuguese -comedy. - -80 _azemel_ = _almocreve_. Both words are of Arabic origin. Cf. -_almofreixe_ infra. - -93 _Endoenças_ = _indulgentiae_. _Semana de Endoenças_ = Holy Week. - -103 In the _Auto da Lusitania_ Vicente says jestingly, perhaps in -imitation of the Spanish _romances_, that he was born at Pederneira (a -small sea-side town in the district of Leiria). He mentions it again in -the _Cortes de Jupiter_ and in the _Templo de Apolo_. - -109 Cf. Alvaro Barreto in _Cancioneiro Geral_, vol. I (1910), p. 322: -_põe me tudo em huũ item_. - -120 It was the plea of Arias Gonzalo that the inhabitants of Zamora were -not answerable for the guilt of Vellido Dolfos who had treacherously -killed King Sancho: - - ¿Qué culpa tienen los viejos? ¿qué culpa tienen los niños? - ¿qué culpa tienen los muertos...? - -129 _balcarriadas_. Cf. _Auto das Fadas_: _Venhas muitieramá com tuas -balcarriadas;_ _Auto da Festa_: _tão grão balcarriada_; _Auto da Barca -do Purgatorio_: _Nunca tal balcarriada Nem maré tão desastrada_. Couto, -_Asia_, VII, 5, vii: _Tal balcarriada_ (act of folly) _foi esta_. The -_Canc. Geral_, vol. IV (1915), p. 370, has the form _barquarryadas_. - -134 Cf. _Auto da Lusitania_: _um aito bem acordado Que tenha ave e piós_ -(= well-proportioned). - -135 The numerous servants of the starving _fidalgos_ are satirized by -Nicolaus Clenardus and others. Like the English as described by a German -in the 18th century they were 'lovers of show, liking to be followed -wherever they go by whole troops of servants' (_A Journey into England_, -by Paul Hentzer. Trans. Horace Walpole, 1757). Clenardus in his -celebrated letter from Evora (1535) says that a Portuguese is followed -by more servants in the streets than he spends sixpences in his house. -He mentions specifically the number eight. - -141 Alcobaça is the town famous for its beautiful Cistercian convent. - -161 _Alifante._ Cf. infra, _avangelho_. _A_ for _e_ is still common in -Galicia: e.g. _mamoria_ (memory). Cf. Span. Basque _barri_ (new), for -Fr. Basque _berri_. - -165 The Dean was Diogo Ortiz de Vilhegas († 1544) successively Bishop -of São Tomé (1534) and Ceuta (1540). See A. Braamcamp Freire in _Revista -de Historia_, No. 25 (1918), p. 3. - -224 _bastiães = _bestiães_, figures in relief. Gomez Manrique has -_bestiones_ in this sense. - -247 In Antonio Prestes' play _Auto do Mouro Encantado_ the golden apples -prove to be pieces of coal. So Mello in his _Apologos Dialogaes_ speaks -of the treasure of _moiras encantadas_ which all turns to coal. - -269 _In Rey_, the popular form of _El-Rei_ (the king) is frequent also -in the plays of Simão Machado, who died about a century after Vicente. - -272 It is tempting to add the word _madraço_ (fool, ignoramus) for the -sake of the rhyme. If _O recado que elle dá_ were spoken very fast the -line would bear the addition. - -293 Here, as often, the deeper purpose of Vicente's satire appears -beneath his fun. The growing depopulation of the provinces was becoming -painfully evident to those who cared for Portugal. - -302 Jorge Ferreira, _Ulysippo_, III, 5: _não haveria corpo, por mais que -fosse de aço milanes, que podesse sofrer quanta costura lhe seria -necessaria_; _ib._ III, 7: _temos muita costura esta noite; muita -costura e tarefa_; Antonio Vieira, _Cartas_: _tambem aqui teremos -costura_ (1 de agosto de 1673). - -310 _trapa_ in Port. = 'a gin,' 'a trap,' but in Sp., as perhaps here, = -'noise,' 'uproar.' - -327 Cf. _Farsa dos Fisicos_: _Praticamos ali O Leste e o Oeste e o -Brasil_ and III, 377; Chiado, _Auto da Natural Invençam_, ed. Conde de -Sabugosa (1917), p. 74. - -348 The carrier comes along singing snatches of a _pastorela_ of which -we have other examples, of more intricate rhythm, in the _Cancioneiro da -Vaticana_ and the poems of the Archpriest of Hita and the Marqués de -Santillana. A modern Galician _cantiga_ says that - - O cantar d'os arrieiros - E um cantariño guapo: - Ten unha volta n'o medio - Para dicir 'Arré macho.' - -(Pérez Ballesteros, _Cancionero Popular Gallego_, vol II, p. 215.) - -355 Cf. _O Clerigo da Beira_: _Nuno Ribeiro Que nunca paga dinheiro E -sempre arreganha os dentes_; and _Ah Deos! quem te furtasse Bolsa, Nuna -Ribeiro. Homem vai buscar dinheiro, A todo ele disse: Ja dinheiro feito -é_. - -360 _uxtix_, _uxte_. Ferreira de Vasconcellos, _Eufrosina_, II, 4: -_Tanto me deu por uxte como por arre_. - -_atafal_. Cf. _Barca do Purgatorio_ (I, 258): _amanhade-lhe o atafal_ -(not _amanhã dé-lhe_). - -363 Candosa, a village of some 1400 inh. in the district of Coimbra. - -369 _xulo_ = _chulo_, _pícaro_. The derivation of _chulo_ is uncertain -(v. Gonçalvez Viana, _Apostilas_, vol. I (1906), p. 299). While Dozy -derives it from Arabic _xul_, A. A. Koster suggests the same origin as -that of Fr. _joli_, It. _giulivo_, Catalan _joliu_ [= gay. Cf. Eng. -_jolly_ and the Portuguese word used by D. João de Castro: _joliz_], -viz. the Old German word _jol_ (gaiety). Vid. _Quelques mots espagnols -et portugais d'origine orientale_ (_Zeitschrift für rom. Philologie_, -Bd. 38 (1914), S. 481-2). The Valencian form for July (_Choliol_) may -strengthen this view. - -372 Tareja is the old Portuguese form of Theresa. - -375 _bareja_ = _mosca varejeira_. - -379 Aveiro. A town of about 7500 inh., 40 miles S. of Oporto. It was -nearly taken by the Royalists in 1919. - -398 For the naturalness of this conversation cf. that of the peasants -Amancio Vaz and Deniz Lourenço in the _Auto da Feira_. - -410 Pero Vaz' point is that the mules will not stop to feed in the cool -shade of the trees but do so in the shelterless _charneca_. - -429 Cf. the act of D. João de Castro (1500-48) as before him of Afonso -de Albuquerque in pawning hairs of his beard, and the proverb _Queixadas -sem barbas não merecem ser honradas_. - -435 _O juiz de çamora_. In the _romance Ya se sale Diego Ordoñez_ Arias -Gonzalo of Zamora says: 'A Dios pongo por juez porque es justo su -juicio.' So that the judge of Zamora = God. - -438-9 No one was better situated than Gil Vicente to criticize--and -suffer the slights of--the brand-new nobility of the Portuguese Court. -The nearer they were to the plough the more disdainful were they likely -to be to a mere goldsmith and poet. - -454 _desingulas_ (= _dissimulas_). Cf. _Auto Pastoril Portugues_: _não o -dessengules mais_. Duarte Nunes de Leão, _Origem da Lingva Portvgvesa_ -(1606), cap. 18, includes _dissingular_ (= dissimular) among the -_vocabulos que vsão os plebeios ou idiotas que os homens polidos não -deuem vsar_. - -467 For the form Diz cf. _Auto das Fadas_: Estevão Dis, and _O Juiz da -Beira_: Anna Dias, Diez, Diz (= Diaz). - -473 Pero Vaz evidently did not know the _cantiga:_ - - A molher do almocreve - Passa vida regalada - Sem se importar se o marido - Fica morto na estrada. - -Cf. the Galician quatrain (Pérez Ballesteros, _Canc. Pop. Gall._ II, -219): - - A vida d'o carreteiro - É unha vida penada, - Non vai o domingo á misa - Nin dorme n'a sua cama. - -478 Vicente refers to the Medina fair in the _Auto da Feira_ and again -in _O Juiz da Beira_: _morador en Carrion Y mercader en Medina_. - -498 _Folgosas_. There are two small villages in Portugal called Folgosa, -but reference here is no doubt to an inn or small group of houses. - -506 Vicente several times refers to _Val de Cobelo_, e.g. _Comedia de -Rubena_: _E achasse os meus porquinhos Cajuso em Val de Cobelo_, and the -shepherd in the _Auto da Barca do Purgatorio_: _estando em Val de -Cobelo_. - -529-30 Cf. Sá de Miranda, 1885 ed., No. 108, l. 261: _Inda hoje vemos -que em França Vivem nisto mais á antiga_, etc. Couto (_Dec._ V, vi, 4) -speaking of the mingling of classes, says: 'no nosso Portugal anda isto -mui corrupto.' - -537 Cf. _Comedia de Rubena_: _E broslados (= bordados) uns letreiros Que -dizem Amores Amores._ - -559 The ancient town of Viseu or Vizeu (9000 inh.) in Beira has now sunk -from its former importance. - -560 _pertem_ for _pertence_. - -565 _arauia_ = _algaravia_. So _ingresia_, _germania_, etc. (cf. the -French word _charabia_). - -586 Cf. _O Juiz da Beira_: _pois tem a morte na mão_ (= not 'there is -death in that hand' as was said of Keats, but 'he is at death's door'). - -591 The original reading _da sertãy_ (rhyming with _mãy_ in l. 588) is -confirmed by the _Auto da Lusitania_: _rendeiro na Sertãe_. The town of -Certã in the district of Castello Branco now has some 5000 inh. - -603 Cf. Jorge Ferreira, _Aulegrafia_, I, 4: _Ó senhor, grão saber vir_. - -657 _tam mancias_, i.e. _Macias, o Namorado_, the prince of lovers. For -the form _Mancias_ cf. _palanciana_ used for _palaciana_. - -671 _los tus cabellos niña_. Cf. Ferreira de Vasconcellos, _Aulegrafia_, -f. 113: _Sob los teus cabelos, ninha, dormiria_. - -675 Cf. Jorge Ferreira, _Eufrosina_. _Prologo_: _Eu por mim digo com a -cantiga se o dizem digão_, etc.; _Cortes de Jupiter_: _Cantará c'os -atabaques: Se disserão digão, alma minha_ and Barbieri, _Cancionero -Musical_, No. 127: _Si lo dicen digan, Alma mia_, etc. E wrongly gives -the words _alma minha_ to the next quotation. - -676 Cf. _Auto da India_: _Quem vos anojou, meu bem, Bem anojado me tem_. - -707 Cf. _Auto das Fadas_: _Son los suspiros que damos In hac vita -lachrymarum_. - -713 Camões, _Filodemo_, IV, 4, has _tudo terei numa palha_, 'I will not -care a straw' (cf. Vicente in the _Auto da Festa_: _Que os homens -verdadeiros não são tidos numa palha_), but here the meaning is -different. - - -TRAGICOMEDIA PASTORIL DA SERRA DA ESTRELLA - -PAGE 55 - -It is remarkable that just at the time when Sá de Miranda had returned -to Portugal with the new metres from Italy and was frankly contemptuous -of Gil Vicente's rough mirth and rustic verse, Gil Vicente felt his -position strong enough to present this lengthy play before the King and -Court at Coimbra on occasion of the birth of the King's daughter Maria. -There is no action in the play, and King Manuel would perhaps have -yawned at these shepherds' quarrels, relieved not at all by the -_parvo's_ wit or the hermit's grossness and only occasionally by a touch -of lyric poetry; but perhaps these simple scenes were welcome to the -growing artificiality of the Court. For us the beautiful _cossante Um -amigo que eu havia_ stands out like a single orange gleaming from a -dark-foliaged tree. The interest lies in the customs of the shepherds -and their snatches of song and in the intimate knowledge of the Serra da -Estrella shown by the author. - -10 The Serra da Estrella, the highest mountain-range in Portugal (6500 -ft), is in the province of Beira. - -17 _meyrinhas_ = _maiorinho_ (merino). - -30 _esperauel_ (as here and in _Comedia de Rubena_), or _esparavel_. Cf. -Damião de Goes, _Chron. de D. Manuel_ (1617), f. 25 v.: a _modo de -sobreceo d'esparavel_. - -32 Cf. the _vilão's_ complaints of God in the _Romagem de Aggravados_. - -35 _nega_ = _senão_. - -51 As in Browning's _A Grammarian's Funeral_ they are advancing as they -converse: 'thither our path lies.' - -103 _Nega se meu embeleco_ = _se não me engano_. This line occurs in the -_Templo de Apolo_. The _Auto da Festa_ text has _nego se meu embaleco_. - -113 _mancebelhões_. Cf. Correa, _Lendas_, IV, 426: _Folgara de ser mais -mancebelhão_. - -127 The corresponding _a_-lines might be: - - Dous açores que eu amava - Aqui andam nesta casa. - -172 _argem_ for _prata_. Similarly in Spanish there is the old form -_argen_ for _argento_ (= _plata_). Cf. the proverb _Quien tiene argen -tiene todo bien_. - -190 _somana_ for _semana_. So _romendo_ for _remendo_ and v. infra: -_perem_ for _porem_. - -225 _gingrar_. Nuno Pereira in the _Cancioneiro Geral_ (1910 ed., vol. -I, p. 305) has _o gingrar de meu caseiro_. Cf. Enzina, _Auto del -Repelon_: _Hora déjalos gingrar_ (_Teatro_, 1893, p. 241). - -241 _sois_. Cf. _Barca do Purgatorio_: _sem sois motrete de pão_; _Farsa -dos Fisicos_: _não vos quer sois olhar_. - -290-1 = _odi et amo_. - -322 As a rule Vicente's shepherds are natural enough but we may be -permitted to doubt whether any shepherdess of the Serra da Estrella -would have spoken of 'ending like Queen Dido.' She had probably been -reading Lucas Fernández, _Farsas_ (1867), p. 56. - -328 A, B, C, D and E unaccountably print _querê-lo_ (through the bad -attraction of _malo_) although _querer_ is needed to rhyme with _quer_. - -367 _pintisirgo_ = _pintasilgo_. - -410 _grauisca_. Vicente appears to have coined the word from _grave_ and -_arisca_. - -427 Fronteira, a village of nearly 3000 inh. in the district of -Portalegre. Monsarraz is of about the same size, in the district of -Evora. - -435 _tinhosa cada mea hora_. Cf. Jorge Ferreira de Vasconcellos, -_Aulegrafia_, f. 89: _he hũa tinhosa que ontem guardava patas em -Barquerena_. - -440 _cartaxo_. Cf. _Aulegrafia_, f. 10: _figo bafureiro em unhas de -cartaixo_. - -443 A pleasant sketch of the presumptuous peasant, then become a common -type in Portugal. Felipa considers that to marry a shepherd would be -beneath her and her heart leaps up when she beholds a courtier in velvet -slippers. - -462 The hermit was of course a part of the stock-in-trade of mediaeval -plays. He appears in Vicente as early as 1503 (_Auto dos Reis Magos_). -The most interesting alteration in the heavily censored (1586) edition -of the _Serra da Estrella_ is not the excision of over a hundred lines -about the evil-minded hermit but the substitution in l. 100 of _un rey_ -for _Dios_. Regalist Vicente would never have allowed himself to say -that 'a king sometimes acts awry.' - -530 For _amigo_ we should probably read _marido_ to rhyme with -_atrevido_. - -564 _moxama_ = salted tuna (Sp. _mojama_ or _almojama_). - -566 Cf. J. Ferreira de Vasconcellos, _Aulegrafia_ (1619), f. 84: _sejais -bem casada com a filha do juiz_. - -608 Sea, Cea or Ceia, a pleasant little town of some 3000 inh. in the -heart of the Serra. (Sea, Sintra, etc. is the 16th cent, spelling, now -restored.) - -616 Gouvea or Gouveia in the same district and about the same size as -Sea. The three other Gouveas in Portugal are smaller villages. - -621 Manteigas, a small picturesque town immediately below the highest -part of the Serra and nearly 2500 ft above sea-level. - -623 Covilham, a larger town (15000 inh.), still known for its cloth -factories. - -652 Sardoal has about 5000 inh. For its ancient reputation for dancing -cf. _O Juiz da Beira_: - - Eu bailei em Santarem, - Sendo os Iffantes pequenos, - E bailei no Sardoal. - -666 This _cossante_ needs for its completion a fourth verse. This was so -obvious that it was omitted in the writing of the play. - -684 _Esse he outro carrascal_, a rural form of the phrase _une autre -paire de manches_. The contrast is between the rustic _cossante_ and the -more 'cultivated' or Court _cantigas_ that follow (_Ja não quer_ and -_Não me firais_). - -711 The _chacota, chacotasinha_ was a peasant's dance accompanied by a -simple song the structure of which answered to the movements of the -dance. Here, however, it is danced to the sound of the organ and the -words of a Court song in which, nevertheless, the repetition of the -rustic _dance-cossantes_ is preserved. - -724 Cf. _Farsa de Ines Pereira_: _Eu vos trago um bom marido...diz que -em camisa vos quer_ (= 'sans dot'). - - -FOOTNOTES: - -[155] _Triunfo do Inverno_ (1529), l. 13-25. - - - - -LIST OF PROVERBS IN GIL VICENTE'S WORKS - - - A amiga e o amigo mais aquenta que bom lenho III, 127 - A candea morta gaita á porta II, 215 - Ado corre [el río] más manso allí está más peligroso II, 169 - Amor louco, eu por ti e tu por outro I, 139 - Ante a Pascoa vem os Ramos III, 124 - A ruim comprador llevar-lhe ruim borcado I, 160 - Asegundo sam os tempos assi hão de ser os tentos I, 103 - Asegun fuere el señor ansi abrirá camino a ser servido II, 86 - Asno muerto cevada I, 279 - 10 Asno que me leve quero e nam cavalo folão III, 154 - Ausencia aparta amor II, 276 - Bem passa de guloso o que come o que não tem III, 370 - Cada louco com sua teima III, 135 - Caza mata el porfiar III, 302 - Come e folga terás boa vida I, 343 - Dá-me tu a mi dinheiro e dá ao demo o conselho I, 167 - Del mal lo menos I, 231 - Donde vindes? D'Almolina. Que trazedes? Farinha. - Tornae lá, que nam é minha III, 107 - Dormirei, dormirei, boas novas acharei II, 26 - 20 El amor verdadero, el más firme es el primero II, 275 - El diabo no es tan feo como Apeles lo pintaba II, 267 - El que pergunta no yerra I, 69 - É melhor que vamos sos que nam mal acompanhadas II, 525 - Em tempo de figos nam ha hi nenhuns amigos III, 370 - Fala com Deus, serás bom rendeiro I, 344 - Filho nam comas nam rebentarás I, 343 - França e Roma nam se fez num dia I, 335 - Frol de pessegueiro, fermosa e nam presta nada II, 40 - Grão a grão gallo farta III, 249 - 30 Maior é o ano que o mes III, 124 - Mais quero asno que me leve que cavalo que me derrube III, 121 - Mata o cavalo de sela e bo é o asno que me leva III, 130 - Nam achegues á forca nam te enforcarão I, 343 - Nam comas quente nam perderás o dente I, 343 - Nam peques na lei nam temerás rei I, 344 - Nam sejas pobre morrerás honrado I, 344 - Nam se tomam trutas a bragas enxutas III, 177 - No se cogen las flores sino espina sofriendo III, 322 - Nos ninhos d'ora a um ano nam ha passaro ogano III, 370 - 40 O dar quebra os penedos I, 237 - Onde força ha perdemos direito I, 310 - O que ha de ser ha de ser II, 16; III, 144, 295 - O que nam haveis de comer leixae-o a outrem mexer III, 137 - Pared cayada papel de locos III, 336 - Perdida é a decoada na cabeça d'asno pegada III, 166 - Pobreza e alegria nunca dormem n'hũa cama II, 518 - Por bem querer mal haver I, 135 - Porfia mata caza II, 301 - Poupa em queimada bem pintada e mal lograda II, 40 - 50 Pusóse el perro em bragas de acero III, 334 - Quando perderes põe-te de lodo I, 344 - Quando te dam o porquinho vae logo c'o baracinho II, 466 - Quem bem renega bem cre I, 271 - Quem bem tem e mal escolhe por mal que lhe vem nam se - enoje III, 150 - Quem casa por amores nam vos é nega dolores I, 128 - Quem chora ou canta más fadas espanta I, 343 - Quem com mal anda chore e nam cante I, 343 - Quem com mal anda nam cuide ninguem que lhe venha bem I, 343 - Quem espera padece III, 382 - 60 Quem muito pede muito fede III, 372 - Quem nam faz mal nam merece pena I, 343 - Quem nam mente nam vem de boa gente I, 343 - Quem nam parece esquece III, 382 - Quem nam pede nam tem III, 382 - Quem porcos acha menos em cada mouta lhe roncam - (cf. III, 26) III, 279 - Quem quer fogo busque a lenha III, 371 - Quem quiser comer comigo traga em que se assentar III, 371 - Quem sempre faz mal poucas vezes faz bem I, 344 - Quem so se aconselha so se depena I, 343 - 70 Quereis conhecer o ruim dae-lhe o oficio a servir II, 390 - Quien al cordojo se dió más cordojo se lhe pega I, 12 - Quien canta no tiene tormento II, 453 - Quien no anda no gana II, 117 - Quien no se aventura no espere por ventura II, 116 - Quien paga los trabajos dé el afan II, 85 - Se nada ganhares nam sejas siseiro I, 344 - Se sempre calares nunca mentirás I, 343 - Se tu te guardares eu te guardarei I, 344 - Sob mao pano está o bom bebedor I, 162 - 80 Sol de Janeiro sempre anda traz do outeiro II, 40 - Todo o mal é de quem o tem I, 337 - Todos los caminos a la puente van a dar III, 198 - Una cosa piensa el bayo y otra quien lo ensilla III, 369 - Viguela sin lanza, etc. III, 295 - Vilão forte, pé dormente III, 12 - - - - -BIBLIOGRAPHY OF GIL VICENTE[156] - -(1) _Catalogo dos Autores_ ap. _Diccionario da Lingua Portugueza_ -(1793), p. cxxviii-ix. - -(2) F. 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(1882), vol. -I, p. 297-306. - -(33) P. DUCARME. _Les 'Autos' de G. V._ in _Le Muséon_, vol. V (1885), -p. 369-74, 649-56; vol. VI, p. 120-30, 155-62. - -(34) A. LOISEAU. _Hist. de la Litt. Port._ (1886), p. 119-36. - -(35) A. DA CUNHA. _Os Autos de G. V._ in _Revista Intellectual -Contemporanea_, anno 1, No. 3 (1886), p. 21-24. - -(36) GALLARDO. _Ensayo_, tom. IV (1889), col. 1565-8. - -(37) A. JEANROY. _Les Origines de la poésie lyrique en France_ (1889), -p. 330-4. - -(38) J. DE SOUSA MONTEIRO. _A Dansa Macabra (Nota preliminar a tres -autos de G. V.)_ in _Revista de Portugal_, vol. I (1889), p. 233-50. - -(39) VISCONDE DE OUGUELLA. _G. V._ Lisboa, 1890. - -(40) A. SCHAEFFER. _Geschichte des Spanischen Nationaldramas_ (1890), -vol. I, p. 26-33. - -(41) D. GARCIA PERES. _Catálogo Razonado_ (1890), p. 564-8. - -(42) J. LEITE DE VASCONCELLOS. _Nota sobre a linguagem de G. V._ in -_Revista Lusitana_ (1891), p. 340-2. - -(43) W. STORCK. _Aus Portugal und Brasilien_ (1892). Notes, p. 258-62. - -(44) C. MICHAËLIS DE VASCONCELLOS. _Grundriss der rom. Phil._ (1894), -Bd. 2, Abtg. 2, p. 280-7. - -(45) VISCONDE SANCHES DE BAENA. _G. V._ Marinha Grande, 1894 [Review by -C. Michaëlis de Vasconcellos in _Litteraturblatt für germanische und -romanische Philologie_, Bd. XVII (1896), p. 87-97]. - -(46) VISCONDE JULIO DE CASTILHO. _Mocidade de G. V. (O Poeta)._ Lisboa, -1896. - -(47) D. JOÃO DA CAMARA. _Natal e G. V._ in _O Occidente_, vol. XIX -(1896), p. 282-5. - -(48) J. I. BRITO REBELLO. _G. V._ in _Revista de Educação e Ensino_, -anno 12 (1897), p. 241-58, 308-15, 394-406. - -(49) E. PRESTAGE. _The Portuguese Drama in the Sixteenth Century: G. V._ -in _The Manchester Quarterly_, vol. XVI (July 1897). - -(50) M. MENÉNDEZ Y PELAYO in _Antología de poetas líricos_, tom. VII -(1898), p. clxiii-ccxxv. - -(51) TH. BRAGA. _G. V. e as origens do theatro nacional._ Porto, 1898. - -(52) TH. BRAGA. _Eschola de G. V._ Porto, 1898. - -(53) VISCONDE J. DE CASTILHO and A. BRAAMCAMP FREIRE, _Indices do -Cancioneiro de Resende e das Obras de G. V._ Lisboa, 1900. Repr. in G. -V. _Obras_, vol. III (1914). - -(54) J. DA ANNUNCIAÇÃO [† 1847]. _G. V._ in _Revista Lusitana_, vol. -VI (1900), p. 59-63. - -(55) G. A. DE VASCONCELLOS ABREU. _Contos, Apologos e Fabulas da India: -influencia indirecta no Auto de Mofina Mendez de G. V._ Lisboa, 1902. - -(56) A. R. GONÇALVEZ VIANA. _Lusismos no castellano de G. V._ in -_Revista do Conservatorio Real de Lisboa_ (1902). Repr. in _Palestras -Filolójicas_ (1910), p. 243-67. - -(57) J. I. BRITO REBELLO. _G. V._ in _O Occidente_, vol. XXV (1902), p. -122-3. - -(58) DAMASCENO NUNES. _G. V. e o theatro nacional_ in _O Occidente_, -vol. XXV, p. 127-8. - -(59) TH. BRAGA. _G. V. e o nacionalismo_ in _Revista de Guimarães_, vol. -XIX (1902), p. 53-5. - -(60) C. MALHEIRO DIAS. _G. V. Algumas determinantes do seu genio -litterario_ in _Revista de Guimarães_, vol. XIX, p. 57-66. - -(61) A. F. BARATA. _G. V. e Evora._ Evora, 1902. - -(62) J. LEITE DE VASCONCELLOS. _G. V. e a linguagem popular._ Lisboa, -1902. - -(63) G. DE ABREU. _G. V. A independencia do seu espiritu_ in _Revista de -Guimarães_, vol. XIX, p. 84-96. - -(64) _G. V. e a fundação do theatro portuguez_ [three articles in _O -Diario de Noticias_, June 7, 8, 9, 1902]. - -(65) A. HERMANO. _G. V._ in _Revista de Guimarães_, vol. XIX, p. 71-83. - -(66) J. I. BRITO REBELLO. _Ementas Historicas. II. G. V._ Lisboa, 1902. - -(67) W. E. A. AXON. _G. V. and Lafontaine._ London and Dorking, 1903. - -(68) F. M. DE SOUSA VITERBO. _G. V. Dois traços para a sua biographia_ -in _Archivo Historico Portuguez_, anno 1 (1903), p. 219-28. - -(69) J. RIBEIRO. _G. V._ in _Paginas de Esthetica_ (1905), p. 77-83. - -(70) CONDE DE SABUGOSA. _Auto da Festa_ (_Explicação previa_, p. 7-94). -Lisboa, 1906. - -(71) CONDE DE SABUGOSA. _Um auto de G. V. Processo de Vasco Abul_ in -_Embrechados_ (1907), p. 65-80. - -(72) A. L. STIEFEL. _Zu G. V._ in _Archiv für das Studium der neueren -Sprachen_, vol. CXIX (1907), p. 192-5. - -(73) SILEX [i.e. A. Braamcamp Freire]. _G. V., Poeta-ourives_ in _O -Jornal do Commercio_, Feb. 5-9, 14, 19, 1907. - -(74) J. MENDES DOS REMEDIOS in _Obras de G. V._, vol. I (1907), -_Prefacio_, p. v-lix. - -(75) C. MICHAËLIS DE VASCONCELLOS. _Estudos sobre o romanceiro -peninsular_ (1907-9), p. 318-20. - -(76) J. J. NUNES. _As cantigas parallelisticas de G. V._ in _Revista -Lusitana_, vol. XII (1909), p. 241-67. - -(77) M. A. VAZ DE CARVALHO in _No meu cantinho_ (1909). - -(78) J. DE SOUSA MONTEIRO. _Estudo sobre o 'Auto Pastoril Castelhano' de -G. V._ in _Boletim da Segunda Classe da Ac. das Sciencias de Lisboa_, -vol. II (1910), p. 235-41. - -(79) J. LEITE DE VASCONCELLOS in _Lições de Philologia Portuguesa_ -(1911), p. 355-60. - -(80) O. DE PRATT. _O Auto da Festa de G. V._ in _Revista Lusitana_ -(1911), p. 238-46. - -(81) _Sobre um verso de G. V._ in _Diario de Noticias_ (1912); Repr. in -_Revista Lusitana_ (1912), p. 268-89. - -(82) A. BRAAMCAMP FREIRE. _G. V._ in _Diario de Noticias_, Dec. 16, -1912. - -(83) J. I. BRITO REBELLO. _G. V._ Lisboa, 1912. - -(84) C. MICHAËLIS DE VASCONCELLOS. _Notas Vicentinas I_ in _Revista da -Universidade de Coimbra_, vol. I (1912), p. 205-93. - -(85) J. M. DE QUEIROZ VELLOSO. _G. V. e a sua obra._ Lisboa, 1914. - -(86) A. LOPES VIEIRA. _A Campanha Vicentina._ Lisboa, 1914. - -(87) F. DE ALMEIDA. _A Reforma protestante e as irreverencias de G. V._ -in _Lusitana_, anno 1 (1914), p. 207-13; Repr. in _Historia da Igreja em -Portugal_, vol. III, pt 2 (1917), p. 119-226. - -(88) A. BRAAMCAMP FREIRE. _G. V. poeta-ourives. (Novas notas.)_ Coimbra, -1914. - -(89) TH. BRAGA. _G. V. e a creação do theatro nacional_ in _Hist. da -Litt. Port. II. Renascença_ (1914), p. 36-102. - -(90) C. MICHAËLIS DE VASCONCELLOS. _Notas sobre a canção perdida Este es -calbi orabi_ in _Revista Lusitana_ (1915), p. 1-15. - -(91) J. CEJADOR Y FRAUCA. _Hist. de la lengua y lit. castellana_ (1915), -vol. I, p. 457-60. - -(92) F. DE FIGUEIREDO. _Caracteristicas da litt. portuguesa_ (1915), p. -27-30. Eng. tr. (1916), p. 18-22. - -(93) O. DE PRATT. _Sobre um verso de G. V._ Lisboa, 1915. - -(94) A. LOPES VIEIRA. _Autos de G. V._ (1916), _Prefacio_, p. 9-30. - -(95) J. I. BRITO REBELLO. _A proposito de G. V._ in _Boletim da Segunda -Classe da Ac. das Sciencias de Lisboa_, vol. X (1916), p. 315-8. - -(96) W. S. HENDRIX. _The 'Auto da Barca do Inferno of G. V.' and the -Spanish 'Tragicomedia Alegórica del Parayso y del Infierno'_ in _Modern -Philology_, vol. XIII (1916), p. 173-84. - -(97) A. BRAAMCAMP FREIRE. _G. V., trovador, mestre da balança_ in -_Revista de Historia_, Nos. 21, 22, 24, 25, 26 (1917-8). - -(98) A. COELHO DE MAGALHÃES. _Tentativas pedagógicas. II. A obra -vicentina no ensino secundario_ in _A Águia_, Nos. 67-8 (1917), p. 5-16. - -(99) A. A. MARQUES. _G. V. e as suas obras._ Portalegre, 1917. - -(100) F. DE FIGUEIREDO. _Hist. da Litt. Classica_ (1917), p. 61-108. - -(101) C. MICHAËLIS DE VASCONCELLOS. _Notas Vicentinas II_ in _Rev. da -Univ. de Coimbra_, vol. VI (1918), p. 263-303. - -(102) C. MICHAËLIS DE VASCONCELLOS. _Notas Vicentinas III_, _ib._ vol. -VII (1919), p. 35-51. - - -FOOTNOTES: - -[156] For a more detailed account of some of the works here recorded see -C. Michaëlis de Vasconcellos, _Notas Vicentinas I_ (1912). - - - - -CHRONOLOGICAL TABLE OF GIL VICENTE'S LIFE - - - G.V.'s Life - Order of G.V.'s Plays - Contemporary Events - - c.1465? Birth of G.V. - c.1465 Death of François Villon. - 1466 Death of Donatello. - 1467 Birth of Desiderius Erasmus. - 1469 Death of Jorge Manrique. - -- Birth of Niccolò Machiavelli. - 1469? Birth of Juan del Enzina. - 1470 Birth of Pietro Bembo. - -- Birth of Garcia de Resende. - 1471 Birth of Albrecht Dürer. - 1474 Birth of Lodovico Ariosto. - 1475 Birth of Michael Angelo. - 1477 Birth of Titian. - 1478 Birth of Baldassare Castiglione - († 1526). - -- Birth of Gian Giorgio Trissino. - -- Birth of Sir Thomas More. - 1481 Accession of João II. - 1482 Birth of Bernardim Ribeiro. - 1483 Birth of Raffael. - -- Birth of Martin Luther. - -- Birth of Francesco Guicciardini. - -- Beheadal of Duke of Braganza. - [1484-6 Snr Braamcamp Freire assigns G.V.'s first marriage to one of - these years] - 1484 King João II stabs to death the - Duke of Viseu. - 1485 [or later] Birth of Sá de Miranda. - [1486-8 Acc. to Snr Braamcamp Freire, birth of G. V.'s eldest son] - 1486 Birth of Andrea del Sarto. - -- Death of Andrea Verrocchio. - 1487 Cape of Good Hope rounded by - Bartholomeu Dias. - 1489 Birth of Thomas Cranmer. - 1490? G.V. comes to Court at Evora? - c.1490? G.V.'s first marriage [to Branca Bezerra]? - 1490 Marriage of Prince Afonso and - Isabel, d. of the Catholic Kings. - -- Birth of Vittoria Colonna. - 1491 Death of Prince Afonso at - Santarem. - -- Birth of S. Ignacio de Loyola. - -- Christopher Columbus sails for - America. - -- First Portuguese book printed in - Portugal. - c.1492? Birth of G.V.'s eldest son, Gaspar? - 1492 Conquest of Granada. - 1493 Columbus arrives at Lisbon (6 - March) after discovering America. - -- Birth of André de Resende. - 1493 or 4 Birth of Nicolaus Clenardus. - 1494 Death of Angelo Poliziano. - 1494 or 5 Birth of François Rabelais. - 1495 (25 Oct.) Accession of King Manuel. - 1496? Birth of Clément Marot († 1544). - 1497 (July) Vasco da Gama leaves Lisbon. - -- Forced conversion of Jews in - Portugal. - -- Birth of Hans Holbein. - -- Birth of Philip Melancthon. - 1498 Girolamo Savonarola burnt at - Florence. - 1499 (Sept.) Return of Gama from India. - 1500 Pedro Alvarez Cabral discovers - Brazil. - -- Death of Sandro Botticelli. - -- Birth of Benvenuto Cellini. - -- Birth of Emperor Charles V. - -- Birth of Dom João de Castro. - 1502 (6 June) Birth of João III. - 1502 (Lisbon, - 7 or 8 June) _Auto da Visitaçam_(1). - -- (Lisbon, - Christmas) _Auto Pastoril Castelhano_(2). - 1503-6 G.V. fashions the celebrated Belem monstrance with the first - tribute of gold from India. - 1503 (Lisbon, - 6 Jan.) _Auto dos Reis Magos_ (3). - 1503 Birth of Garci Lasso de la Vega. - -- Birth of Sir Thomas Wyatt. - -- Famine and plague in Portugal. - -- The cousins Albuquerque and Duarte - Pacheco Pereira sail for India. - -- (24 Oct.) Birth of Infanta (afterwards - Empress) Isabel. - 1504 (Lisbon) _Auto de S. Martinho_ (4). - 1504 Heroic campaign of D. Pacheco - Pereira in India. - -- (31 Dec.) Birth of Inf. Beatriz. - 1505? Birth of G.V.'s second son, - Belchior. - 1505 Riots against Jews at Evora. - 1505 (end July) Arrival at Lisbon of 15 ships - laden with spices. Solemn - procession in honor of D. Pacheco. - 1506 G.V. preaches a sermon in verse on the birth of Prince Luis - (3 March). - 1506 (Low Sunday, _Pascoela_) Massacre of Jews at Lisbon. - -- Birth of S. Francis Xavier. - -- Birth of Inf. Luis († 1555). - -- (30 Sept.) Death of D. Beatriz (King Manuel's - mother). - 1507 (5 June) Birth of Inf. Fernando. - 1508 The King raises interdict placed - on Lisbon after massacre of Jews. - 1508 (Dec.) or - 1509 (Jan.) (Lisbon) _Quem tem farelos?_ (5). - -- News brought to the King at Evora - of the siege of Arzila. - 1509? G.V. writes some verses for a poetical contest at Almada, - printed in the _Canc. de Resende_ (1516). - 1509 (Jan.) D. Pacheco defeats the French - pirate Mondragon. - 1509 (15 Feb.) G.V. is appointed _Vedor_ (overseer) of all works in - gold and silver in the Convent of Thomar, the Hospital of All - Saints, Lisbon, and the Convent of Belem. - 1509 (Almada, - Holy Week?) _Auto da India_ (6). - -- (23 Ap.) Birth of Inf. Afonso. - 1509 Birth of Jean Calvin. - -- Afonso de Albuquerque Governor of - India. - 1510 Death of Dom Francisco de Almeida, - first Viceroy of India. - -- Albuquerque attacks Calicut and - takes Goa. - 1510? Birth of Lope de Rueda. - 1510 (Almeirim, - Christmas) _Auto da Fé_ (7). - 1511 Albuquerque takes Malaca. - 1511 (Lisbon, - Carnival?) _Auto das Fadas_ (8). - -- Henry VIII of England sends King - Manuel, his brother-in-law, the - Order of the Garter. - 1512 (31 Jan.) Birth of Cardinal-King Henrique - († 1580). - 1512 (Lisbon, - early in the year) _Farsa dos Fisicos_ (9). - 1512 (21 Dec.) G.V. is elected one of the Twenty-four by the Lisbon - Guild of Goldsmiths. - 1513 James, Duke of Braganza, sets sail - from Lisbon with a - splendidly-equipped fleet of 450 - vessels to capture Azamor. - -- Albuquerque in the Red Sea and at - Aden. - 1513 (4 Feb.) G.V. is appointed _Mestre da Balança_. - 1513 (Lisbon, - Holy Week?) _O Velho da Horta_ (10). - -- (Lisbon, August) _Exhortação da Guerra_ (11). - -- (17 Oct.) G.V. is elected by the Twenty-four to be one of their - four representatives on the Lisbon Town Council. - 1513? (Lisbon, - Christmas) _Auto da Sibila Cassandra_ (12). - -- Leo X, son of Lorenzo de' Medici, - becomes Pope. - 1514 (1512-14?) G.V. loses his first wife, Branca Bezerra. - 1514 (Lisbon) _Comedia do Viuvo_ (13). - 1514 Portuguese Embassy to Pope Leo X - with magnificent presents from the - East. Garcia de Resende and the - rest of the Mission reach Italy - end of Jan. 1514. - 1515 (7 Sept.) Birth of Inf. Duarte. - -- (21 Sept.) G.V. receives a grant of 20 milreis for the dowry of his - sister Felipa Borges. - 1515? (Lisbon, - 2nd half of year) _Auto da Fama_ (14). - [Snr Braamcamp Freire assigns the _Auto da Festa_ - to this year 1515.] - -- (Dec.) Death of Albuquerque in India. - -- Birth of Santa Teresa at Avila. - 1516 (9 Sept.) Birth of Inf. Antonio. - 1516? (Lisbon, - Christmas) _Auto dos Quatro Tempos_ (15). - -- Discovery of Mexico. - -- Garcia de Resende's _Cancioneiro - Geral_ published. - -- Death of Giovanni Bellini. - 1517 Luther starts the Reformation. - -- (Feb.) King Manuel organises a fight - between a rhinoceros and an - elephant in an enclosed space in - front of Lisbon's _Casa da - Contrataçam da India_. - -- (7 March) Death of Queen Maria. - 1517 (Lisbon) _Auto da Barca do Inferno_ (16). - 1517 (6 Aug.) G.V. resigns the post of _Mestre da Balança_ in favour of - Diogo Rodriguez. - 1517? G.V. marries Melicia Rodriguez. - 1518? (Lisbon, - Holy Week) _Auto da Alma_ (17). - 1517 or 18 Birth of Francisco de Hollanda. - 1518 (23 Nov.) Queen Lianor (King Manuel's third - wife) arrives in Portugal. - 1518 (Lisbon, - Christmas) _Auto da Barca do Purgatorio_ (18). - [General Brito Rebello, Dr Theophilo Braga and - Senhor Braamcamp Freire assign the verses to the - Conde de Vimioso to this year 1518.] - -- Birth of Tintoretto. - c.1519? Birth of G.V.'s eldest daughter, Paula. - 1519 (Lisbon, - Holy Week) _Auto da Barca da Gloria_ (19). - 1519 King Charles of Spain elected - Emperor (Charles V). - -- Death of Leonardo da Vinci. - -- Death of John Colet. - 1520 G.V. makes arrangements for the royal entry into Lisbon. - 1520? Birth of G.V.'s son Luis. - -- (18 Feb.) Birth of Inf. Carlos at Evora - († Lisbon, 15 Ap. 1521). - -- Death of Raffael. - -- Death of John Skelton. - -- Fernão de Magalhães discovers the - 'Straits of Magellan.' - 1521 (Jan.) King and Queen's entry into - Lisbon. - -- (Lisbon, - Holy Week?) _Comedia de Rubena_ (20). - -- (Lisbon, - 4 Aug.) _Cortes de Jupiter_ (21). - -- (8 June) Birth of Inf. Maria († 1577). - -- Solemn reception in Lisbon of - Embassy from Venice. - -- Departure of Inf. Beatriz to wed - the Duke of Savoy. - -- (13 Dec.) Death of King Manuel. - -- (Dec.) Proclamation of João III. - -- Death of Magalhães. - 1522 _Pranto de Maria Parda._ - -- Famine in Portugal. - 1523 G.V. receives the sum of six milreis. - -- Clement VII becomes Pope. - -- (Thomar, - July-Sept.) _Farsa de Ines Pereira_ (22). - - -- (Evora, - Christmas) _Auto Pastoril Portugues_ (23). - - 1524 G.V. receives two pensions (12 and 8 milreis). - -- (Evora, 2nd - half of year) _Fragoa de Amor_ (24) - -- Birth of Pierre Ronsard. - -- Birth of Luis de Camões. - -- Death of Dom Vasco da Gama. - 1525 G.V. receives a pension of three bushels of wheat. - 1525? (Evora, - Holy Week) _Farsa das Ciganas_ (25). - -- (Lisbon?) _Dom Duardos_ (26). - -- (Almeirim, - Oct.-Nov.?) _O Juiz da Beira_ (27). - -- (Evora, - Christmas) _Auto da Festa_ (28). - -- _Trovas ao Conde de Vimioso._ - -- Plague and famine at Lisbon. - -- François I taken prisoner at - battle of Pavia. - -- (17 Nov.) Death of Queen Lianor (widow of - João II). - -- Birth of Joachim du Bellay. - - 1526 (Lisbon, Jan.) _Templo de Apolo_ (29). - 1526-8 (Almeirim) _Sumario da Historia de Deos_ (30). - -- (Almeirim) _Dialogo sobre a Ressurreiçam_ (31). - 1526 Marriage of Emperor Charles V and - Isabel, d. of King Manuel. - -- Sá de Miranda returns from Italy. - -- Boscán tackles the - hendecasyllable. - 1527 (Lisbon) _Nao de Amores_ (32). - -- (Coimbra) _Divisa da Cidade de Coimbra_ (33). - -- (Coimbra) _Farsa dos Almocreves_ (34). - -- (Coimbra) _Tragicomedia da Serra da Estrella_ (35). - -- Birth of Inf. Maria. - -- Birth of Fray Luis de León. - -- Birth of Philip II of Spain. - -- Sack of Rome. - -- Death of Machiavelli. - -- _Trovas a Dom João III._ - 1528 G.V. receives a further pension of 12 milreis. - 1528 (Lisbon, - Christmas) _Auto da Feira_ (36). - 1528 Death of Dürer. - -- Birth of Antonio Ferreira. - 1529 Birth of Inf. Isabel. - 1529? Death of Juan del Enzina. - 1529 (Lisbon, April) _Triunfo do Inverno_ (37). - 1529-30 (Lisbon, Christmas? Between Sept. 1529 and Feb. 19, 1530) - _O Clerigo da Beira_ (38). - c.1530? Birth of G.V.'s daughter Valeria Borges. - 1530 (15 Feb.) Birth of Inf. Beatriz. - 1531 (Jan.) G.V. preaches a sermon to the monks at Santarem on occasion - of the earthquake. - c.1530 _Trovas a Felipe Guilhen._ - 1531 _Jubileu de Amores_ acted at Brussels. - -- Birth of Inf. Manuel. - -- (Jan.) Great earthquake at Lisbon and - other towns. - -- First Bull for establishment of - Inquisition in Portugal. - 1531? Death of Bartolomé de Torres - Naharro. - 1532 (Lisbon) _Auto da Lusitania_ (39). - 1533 (Evora) _Romagem de Aggravados_ (40). - -- (Evora) _Amadis de Gaula_ (41). - -- Birth of Michel de Montaigne. - -- Clenardus comes to Portugal from - Salamanca. - 1533? Death of Duarte Pacheco. - 1534 (Oudivellas) _Auto da Cananea_ (42). - -- (Evora, - Christmas) _Auto da Mofina Mendes_ (43). - -- Birth of Fernando de Herrera, _el - Divino_. - 1535 G.V. receives 8 milreis as dress allowance (_vestiaria_). - -- [The Conde de Sabugosa assigns the _Auto da - Festa_ to this year.] - -- Sir Thomas More executed. - 1536 (Evora) _Floresta de Enganos_ (44). - 1536 Death of Erasmus. - -- Death of Garci Lasso de la Vega. - -- Death of Garcia de Resende. - -- Introduction of Inquisition into - Portugal. - 1536? Death of G.V. at Evora. - - - - -INDEX OF PERSONS AND PLACES - - - _Abrantes_, 48 - Abul (Vasco), xviii - _Aden_, xxi - Afonso V, x - Afonso Prince, xii, xiii - Afonso (Gregorio), xxxviii - _Africa_, x, xix, xxii, 34, 75 - Alarcón (Pedro Antonio de), l - Albuquerque (Afonso de), xix, xxi, xxxv, 77 - _Alcobaça_, 39, 40 - Aleandro, Cardinal, xxvii, xxx - Alfonso X, xl - _Almada_, xix, 27, 76 - Almeida (Dom Francisco de), xxxv - Almeida Garrett, Visconde, xlii, li - _Almeirim_, xix, xxii, xxvi, xli - Alvarez (Francisco), xxix - _Amadis de Gaula_, xxx, xlv - Anriquez (Luis), xiii - _Apolonio, Libro de_, xlvii - Aristotle, xxxvi, xliii, xlvi - _Arruda_, 27, 76 - _Arzila_, xix - Astorga, Marqués de, xxxi - _Aulegrafia_, xxxix - _Aveiro_, 46, 81 - _Azamor_, xx, xxi, 23, 75 - - _Barcellos_, x - Barros (João de), xviii - Beatriz, Dona, xiv, xv - Beatriz, Duchess of Savoy, xxiii, 29, 77 - _Beira_, xi, xxxvii, xxxix, xl, xliii, 55, 71 - _Belem_, xv, xvi, xviii, xxxv - Berceo (Gonzalo de), xxxvii - Bezerra (Branca), xxi - _Bible, The_, xxx, xxxvii, xlii, xliii, xlviii - _Biscay_, 37 - Borges (Felipa), xiii - Borges (Valeria), xxxi - Braamcamp Freire (Anselmo), vi, ix, xii, xvi, xix, xx, xxii, xxv, xxvi, - xxvii, xxix - Braga (Theophilo), ix, xvi - Braganza, Ferdinand, Duke of, x - Braganza, James, Duke of, xx, 23, 75 - _Brazil_, xiv, 53 - Brito Rebello (Jacinto Ignacio), x, xviii, xxvi - _Brittany_, 37 - Browning (Robert), xlix, 82 - _Brussels_, xxx - - Calderón (Pedro), xliv, li - Camões (Luis de), xxv - _Cananor_, xv - _Cancioneiro da Vaticana_, xlii - _Cancioneiro Geral_, ix, xiii, xxxvii, xlii, xliii, xlv - _Candosa_, 80 - _Caparica_, 27, 76 - _Cartaxo_, 26, 76 - _Castilla_, xxviii, xxxii, xlv, 55, 69 - Catharine, Queen, xxv, xxix, xlv - Caviceo (Jacopo), xliv - _Cea_. See _Sea_ - Celestina, xlvi - _Cent Nouvelles Nouvelles, Les_, l - _Certã_. See _Sertãe_ - Cervantes (Miguel de), li - Charles V, xxv - Chiado. _See_ Ribeiro (A.) - _Cintra_. See _Sintra_ - Clenardus (Nicolaus), 80 - _Cochin_, x - _Coimbra_, xxix, xli, 37, 55, 56, 57, 63, 78 - _Colares_, xxii - Colón (Fernando), xliv - Columbus (Christopher), xiv - _Conde Lucanor, El_, xlviii, l - Correa Garcão (Pedro Antonio), li - Coutinho, Marshal, xix - _Covilham_, 68, 83 - _Crato_, xxii - _Crete_, xxxii - _Cronica Troyana_, xx - Cunha (Tristão da), xix, 75, 76 - - Dante Alighieri, xliii - _Danza de la Muerte_, xxiv, xxxvii, xxxviii, xli, xlii, xliv - Diaz (Hernando), xliv - Dürer (Albrecht), 76 - - _England_, xlvii - Enzina (Juan del), xi, xiii, xx, xxi, xxxi, xli, xlii, xliv, xlv, 73, 75 - _Evora_, x, xii, xiii, xxii, xxv, xxviii, xxx, xxxi, xli, xliii - - Felipe, Infante, xxx - Ferdinand the Catholic, xxi, xxxvii - Fernández (Lucas), xi, xxii, xxxvi, 73, 83 - Fernando, Infante, 29, 77 - _Fez_, 31, 35 - _Flanders_, 49 - Fortunatus (Venantius), 74 - _France_, xlii, xlvii, 26, 44, 49, 50, 81 - François I, xxx - _Fronteira_, 64, 83 - - Gama (Vasco da), xv - Gaunt (John of), x - Gautier (Théophile), 73 - _Germany_, 49 - _Gesta Romanorum_, xlvii - _Goa_, xxi - Goes (Damião de), xi, xxiii, xxxii, 77 - Goethe (Johann Wolfgang von), 11, 73, 74 - _Gouvea_, 68, 83 - Gower (John), xlvii - _Granada_, xiv - _Guimarães, x_, xii - _Guinea_, 40 - - Henry, Cardinal-King, 75 - Henry, the Navigator, x - Herculano (Alexandre), ix - Hita, Archpriest of. _See_ Ruiz - _Holland_, xlvii - Hollanda (Francisco de), 76 - Hutten (Ulrich von), 76 - - _India_, xiv, xv, xix, xxi, xl - Isabel, Empress, xxiii, xxviii, 35, 56, 76-7 - Isabel, Infanta, xii, xiii - Isabel, d. of João III, xxix - Isabella the Catholic, xv - Iseu, xlv - _Italy_, xi, xxix, xlvii, 82 - - Jews, xxxii, xxxiii, xlix - João I, Master of Avis, x - João II, x, xii, xiii, xiv, xxxiv - João III, xiv, xxiii, xxiv, xxv, xxix, xxx, xxxii, xxxiii, 28 - Juan Manuel, Infante, xlviii, l - - La Fontaine (Jean de), l - Lancaster, Philippa of. _See_ Philippa - _Landeira_, 26, 76 - _Lazarillo de Tormes_, xliii - Leite de Vasconcellos (José), vi, ix, xi - Lianor, Queen Consort of João II, xii-xv, xvii-xxiii, xxv, l, 73, 74 - Lianor, Queen Consort of Manuel I, xxii, xxiii, xxxviii - _Lisbon_, x, xiii-xvi, xviii-xxiv, xxvi, xxvii, xxxviii-xl, xlviii - Luis, Infante, xviii, xxiii, 23, 75 - _Lumiar_, 26, 76 - Luther (Martin), xxxiii, xxxvi - - Machado (Simão), 80 - Macias, xliv, 82 - _Malaca_, xxi - Manrique (Gomez), xxi, 75, 77 - Manrique (Jorge), 73 - _Manteigas_, 68, 83 - Manuel I, xi, xiv, xv, xviii-xxiv, xxxii, xxxvii, xlvi, 73 - Maria, Queen, xiv, xxii, xlvi - Martial, 78 - _Mealhada_, 26, 76 - _Medina_, 48, 81 - Menander, xxxi - Menéndez y Pelayo (Marcelino), v, xvi, xxv, xliv - Michaëlis de Vasconcellos (Carolina), vi, ix, x - Miguel, Infante, xliii - _Minho_, x - _Monsarraz_, 64 - _Morocco_, 31 - - Newman (John Henry), Cardinal, xxx, li, 73, 74 - Nun' Alvarez Pereira, x - - Ortiz de Vilhegas (Diogo), 80 - Osorio (Jeronimo), xxiii - _Oudivellas_, xxx - - Pacheco Pereira (Duarte), 90, 91 - _Pederneira_, 39, 79 - Penella, Conde de, xxxiv - Philippa, Queen, x - Pinto (Frei Heitor), xlix - Plautus, xxxi, xliii - _Portugal_, x, xx, xxiv, xxxv, xxxvi, xxxvii, xli, xlvii, 31, 77, 78, - 81 - Portugal (Dom Martinho de), xxviii - Pradilla, El Bachiller de la, xxii - Prestes (Antonio), l - _Prevaricación de Adán_, 74 - _Primaleon_, xxv - _Psalm LI_, xxv - - _Quiloa_, xv - - _Représentation d'Adam_, xlviii - Resende (André de), xviii - Resende (Garcia de), ix, xii, xvi, xvii, xxxi, xxxiv, 75, 79 - _Residencia del Hombre, La_, 74 - _Ribatejo_, 26, 76 - Ribeiro (Antonio), _O Chiado_, xxvi, xxvii, l - Ribeiro (Bernardim), xvi - Ribeiro (Nuno), 45, 80 - Rodriguez (Diogo), xxii - Rodriguez (Melicia), xxii, xxv - _Rome_, xxx, xxxi, xxxiii, xxxix, 27, 33, 75, 76 - _Roncesvalles_, xlvi - Rueda (Lope de), 1 - Ruiz (Juan), xliii - - Sabugosa, Conde de, xii, xxvi - Sacchetti (Franco), xxxviii - Sá de Miranda (Francisco de), xxix, xliii, xlviii, 78, 79, 82 - _Salamanca_, xliii - Sanches de Baena, Visconde, xvii - Sanchez de Badajoz (Garci), xix - San Pedro (Diego de), xliv - _Santarem_, xxix, xxx, xxxii, xl, xli, 39 - _Santiago de Compostela_, xv - _Sardoal_, 69, 70, 83 - _Sea_, 68, 83 - _Seixal_, 27, 76 - _Sergas de Esplandian, Las_, xviii - _Serra da Estrella_, x, xi, 55-71, 82 - _Sertãe_, 51, 82 - _Sevilla_, xliii - Shakespeare (William), ix, xlvii, xlviii - Shelley (Percy Bysshe), 73 - _Sintra_, xxii - Sousa Viterbo (Francisco Marques de), xliii - Southey (Robert), xxxiv - _Spain_, xlii, xlviĩϴαρρε̂ιν - Swinburne (Algernon Charles), 73 - - _Taming of a Shrew_, xlviii - Tentugal, Conde de, xxxiv - Terence, xliii - _Testament de Pathelin_, xlv - _Thomar_, xviii, xxiv, xli - Ticknor (George), xvii - Timoneda (Juan de), xlvii - _Tojal_, 27, 76 - Torres Naharro (Bartolomé), xi, xxxvi, xlv - _Torres Vedras_, xxii - _Tragicomedia alegórica del Paraiso y del Infierno_, 1 - Trissino (Gian Giorgio), xliii, 79 - _Turkey_, 44, 45 - Twine (Lawrence), xlvii - - _Val de Cobelo_, 49, 81 - Valdés (Alfonso de), xxix - Valdés (Juan de), xxix, xliv - _Valencia_, 7 - Vasconcellos (Joaquim de), 76 - Vaz (Simão), 40 - Vega (Lope de), xvi, li - Velázquez (Diego), xxxii - _Venice_, 49 - Vicente (Belchior), xiii, xviii, 90 - Vicente (Gaspar), 90 - VICENTE (GIL), his birthplace, x, xi; - date of his birth, xii-xiii; - at Court, xii, 81; - as goldsmith, xiv-xviii; - his house in Lisbon, xv; - his plays, xiv-li; - his first wife, xxi; - _Mestre da Balança_, xviii; - relations with King João III, xxx; - his financial position, xxv; - his second marriage, xxii; - date of his illness, xxvi; - his _Caça dos Segredos_, xxvi, xxviii; - journey from Coimbra, xxix; - at Almada, xix; - Coimbra, xxix; - Almeirim, xix, xxvi; - Thomar, xviii, xxiv; - Santarem, xxix, xxx, xxxii; - Evora, xxv, xxviii, xxx, xxxi; - his Brussels play, xxvii, xxx; - children of his second marriage, xxxi; - his death, xxxi; - his character, xxxi-xxxvii; - his attitude towards Spain, xxxii; - priests, xxxii, xxxvii; - Jews, xxxiii; - monks, xxxiv; - his religion, xxxiv, 74; - his love of Nature, xxxiv; - his friends, xxxiv; - his attitude towards royalty, xxxiii xxxiv, 83; - towards Sá de Miranda and the new style, xxix, xliii; - his patriotism, xx, xxxv; - his critics, xxiv, xli; - his attempts to reform abuses, xxxiii, xxxv, xxxvi; - his view concerning the position of women, xxxvi, xlvii; - his many-sidedness, xxxvi; - his satirical sketches, xxxvii-xli; - his lyrism, xli, l; - his originality, xli, xlii, xlv; - his sources, xli-l; - debt to Spain, xlii, xliii; - his influence in Portugal, l; - in Spain, l, li; - edition of his plays, xvi, xxxi, xxxv, li; - _Visitaçam_, xi, xiii, xiv, xxiii, xlvi; - _Auto Pastoril Castelhano_, xi, xv, xlvi, 73; - _Reis Magos_, xi, xv, xlvi; - _Auto de S. Martinho_, xv; Sermon, xviii, xix; - _Quem tem farelos?_, xv, xix, xxvii, xliii, xlv, xlvi, xlix; - _Auto da India_, xix; - _Auto da Fé_, xix, xxxiii, xliii, xlviii; - _Auto das Fadas_, xix, xxiv, xliii, xlvi, 73, 77; - _Farsa dos Fisicos_, xx, xliii, xlvi; - _O Velho da Horta_, xiii, xx, xliv; - _Exhortação da Guerra_, v, xx, xxi, xxviii, xliv, xlv, 23-35, 75-8; - _Auto da Sibila Cassandra_, xv, xx, xliv; - _Comedia do Viuvo_, xi, xxi, xxiv, xlvi; - _Auto da Fama_, xxi, xlii, xlvii; - _Auto dos Quatro Tempos_, xv, xxi, xliv, xlvii; - _Barca do Inferno_, xxii, xxxiii, xli, xliv, xlv, xlvii, li; - _Auto da Alma_, v, vi, xvii, xxi, xxii, xxxii, xlv, xlvii, li, 1-21, - 73, 74; - _Barca do Purgatorio_, xxii, xxxiii, xli, xliv, xlv, xlvii, li; - _Barca da Gloria_, xxii, xxiv, xxxiii, xli, xliv, xlv, xlvii, li; - _Comedia de Rubena_, xx, xxiii, xxiv, xliv, xlv, xlvii; - _Cortes de Jupiter_, xxiii, xxiv, xliv, xlvii, 75; - _Pranto de Maria Parda_, xxiv, xxviii; - _Farsa de Ines Pereira_, xviii, xxiv, xxv, xxvi, xxviii, xlv, xlvii; - _Auto Pastoril Portugues_, xxv, xlv; - _Fragoa de Amor_, xxv, xxviii; - _Farsa das Ciganas_, xxv, xxviii, xlv; - _Dom Duardos_, xvii, xxv, xliv, xlv, xlviii; - _O Juiz da Beira_, xxvi, xlv, xlviii; - _Auto da Festa_, xii, xiii, xxv, xxvii, xxviii, xlviii; - _Auto da Aderencia do Paço_, xxvii; - _Trovas ao Conde de Vimioso_, xxv, xxvi, xxviii; - _Templo de Apolo_, xiii, xvi, xxvi, xxviii, xlviii; - _Sumario da Historia de Deos_, xxix, xxxiii, xlii, xlviii, xlix; - _Dialogo sobre a Ressurreiçam_, xxix, xlviii; - _Nao de Amores_, xxix, xlix, li; - _Divisa da Cidade de Coimbra_, xxix, xlix; - _Farsa dos Almocreves_, v, xvii, xxix, xlix, 37-53, 78-82; - _Tragicomedia da Serra da Estrella_, v, xxix, xlix, 55-71, 82, 83; - _Trovas a Dom João III_, xxix; - _Auto da Feira_, xvii, xxvii, xxix, xxxiii, xlv, xlix, 74, 81; - _Triunfo do Inverno_, xxi, xxix, xlv, xlix; - _O Clerigo da Beira_, xxvii, xxix, xlv, xlix; - _Trovas a Felipe Guilhen_, 94; - _Jubileu de Amores_, xxvii, xxx; - _Caça dos Segredos_, xxvi, xxviii; - _Auto da Lusitania_, xxviii, xxx, xlix; - _Romagem de Aggravados_, xxvii, xxx, xlvi, l; - _Auto da Vida de Paço_, xxvii; - _Amadis de Gaula_, xxx, xlv, xlviii; - _Auto da Cananea_, xxx, xxxiii, 74; - _Mofina Mendes_, xi, xxi, xxvii, xxxi, l; - _Floresta de Enganos_, xii, xxxi, l - Vicente (Luis), xxv, xxxi - Vicente (Martim), xii - Vicente (Paula), xxxi - Villa Nova, Conde de, xxiii - Vimioso, Conde de, xxv, xxxiv - Virgil, xiii, xliii - _Viseu_, 50, 81 - Viseu, Duque de, x - - Wilkins (George), xlvii - Wordsworth (William), xxxiv - - _Zamora_, 79, 81 - - - - - -End of Project Gutenberg's Four Plays of Gil Vicente, by Gil Vicente - -*** END OF THIS PROJECT GUTENBERG EBOOK FOUR PLAYS OF GIL VICENTE *** - -***** This file should be named 28399-0.txt or 28399-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/2/8/3/9/28399/ - -Produced by David Starner, Júlio Reis and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Four Plays of Gil Vicente - -Author: Gil Vicente - -Editor: Aubrey F. G. Bell - -Release Date: March 24, 2009 [EBook #28399] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK FOUR PLAYS OF GIL VICENTE *** - - - - -Produced by David Starner, Júlio Reis and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - -<!-- Autogenerated TOC. Modify or delete as required. --> -<div class="mynote"> -<p>TABLE OF CONTENTS:</p> -<ul> -<li><a href="#frontispiece">[Frontispiece]</a></li> -<li><a href="#PREFACE">PREFACE</a></li> -<li><a href="#CONTENTS">CONTENTS</a></li> -<li><a href="#INTRODUCTION">INTRODUCTION</a></li> -<li><a href="#AUTO_DA_ALMA">AUTO DA ALMA</a></li> -<li><a href="#EXHORTACAO_DA_GUERRA">EXHORTAÇÃO -DA GUERRA</a></li> -<li><a href="#FARSA_DOS_ALMOCREVES">FARSA DOS -ALMOCREVES</a></li> -<li><a href="#TRAGICOMEDIA_PASTORIL_DA_SERRA">TRAGICOMEDIA -PASTORIL DA SERRA DA ESTRELLA</a></li> -<li><a href="#NOTES">NOTES</a></li> -<li> -<ul> -<li><a href="#NOTES_AUTO_DA_ALMA">AUTO DA ALMA</a></li> -<li><a href="#NOTES_EXHORTACAO_DA_GUERRA">EXHORTAÇAO -DA GUERRA</a></li> -<li><a href="#NOTES_FARSA_DOS_ALMOCREVES">FARSA -DOS -ALMOCREVES</a></li> -<li><a href="#NOTES_TRAGICOMEDIA_PASTORIL_DA_SERRA_DA_ESTRELLA">TRAGICOMEDIA -PASTORIL DA SERRA DA ESTRELLA</a></li> -</ul> -</li> -<li><a href="#LIST_OF_PROVERBS_IN_GIL_VICENTES_WORKS">LIST -OF PROVERBS IN GIL VICENTE'S WORKS</a></li> -<li><a href="#BIBLIOGRAPHY_OF_GIL_VICENTE">BIBLIOGRAPHY -OF GIL VICENTE</a></li> -<li><a href="#CHRONOLOGICAL_TABLE_OF_GIL_VICENTES_LIFE">CHRONOLOGICAL -TABLE OF GIL VICENTE'S LIFE</a></li> -<li><a href="#INDEX_OF_PERSONS_AND_PLACES">INDEX -OF PERSONS AND PLACES</a></li> -</ul> -<hr /> -<p>TRANSCRIBER'S NOTES:</p> -<ul> -<li>textual variant notes have been marked in the text with -<span class="tvanchor">[v]</span></li> -<li><span class="fnanchor"></span>endnotes -have been marked in the text with -<span class="enanchor">[n]</span></li> -</ul> -</div> -<!-- End Autogenerated TOC. --> -<p><span class="pagenum"><a name="Page_i" id="Page_i">[Pg i]</a></span></p> -<div class="cover"> -<p><b><big style="font-size: 200%;"><big>❧</big> -COPILACAM DE</big></b><br /> -TODALAS OBRAS DE GIL VICENTE, A QVAL SE<br /> -REPARTE EM CINCO LIVROS O PRIMEYRO HE DE TODAS<br /> -suas cousas de deuaçam. O segundo as comedias. O terceyro as -tragicomedias. No quarto as farsas. No quinto as -obras meudas.</p> -<p>¶ Empremiose em a muy nobre & sempre leal -cidade de Lixboa -em casa de Ioam Aluarez impressor del Rey nosso senhor -Anno de M D LXII</p> -<p>¶ Foy visto polos deputados da Sancta -Inquisiçam.</p> -<p>COM PRIVILEGIO REAL.</p> -<p>(⁂)</p> -<p>¶ Vendem se a cruzado em papel em casa de Francisco -fernandez na rua noua.</p> -</div> -<div class="center"> <a id="frontispiece" name="frontispiece"></a> -<img src="images/image00.png" alt="Facsimile of title-page of the first edition (1562) of Gil Vicente's works" title="Facsimile of title-page of the first edition (1562) of Gil Vicente's works" /></div> -<p class="center">TITLE-PAGE OF THE FIRST (1562) EDITION -OF GIL VICENTE'S WORKS</p> -<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></span></p> -<div class="cover"> -<h1 style="line-height: 125%;">FOUR PLAYS OF GIL VICENTE</h1> -<p>Edited from the <i>editio princeps</i> (1562), -with<br /> -Translation and Notes, by<br /> -<br /> -AUBREY F. G. BELL<br /> -</p> -<p> -Θαρρει̂ν -χρὴ -τὸν -καὶ -σμικρόν -τι -δυνάμεηοη -εἰς τὸ -πρόσθεν -ἀεὶ -προϊέναι.</p> -<p class="right"><span class="smcap">Plato</span>, -<i>Sophistes</i>.</p> -<p> -CAMBRIDGE<br /> -AT THE UNIVERSITY PRESS<br /> -1920</p><p>KRAUS REPRINT CO.<br />New York<br />1969</p> -</div> -<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg iii]</a></span></p> -<div class="cover"> -<p>TO ALL THOSE WHO HAVE LABOURED IN<br /> -THE VICENTIAN VINEYARD</p><p>LC 24-15201</p><p><i>First Published 1920<br />Reprinted by permission of the Cambridge University Press</i><br />KRAUS REPRINT CO.<br />A U. S. Division of Kraus-Thomson Organization Limited</p><p>Printed in U. S. A.</p> -</div> -<hr style="width: 65%;" /> -<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p> -<h1><a name="PREFACE" id="PREFACE"></a>PREFACE</h1> -<p>Gil -Vicente, that sovereign genius<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a>, is too popular and -indigenous for -translation and this may account for the fact that he has not been -presented -to English readers. It is hoped, however, that a fairly accurate -version, with the text in view<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a>, may give some idea of his -genius. The -religious, the patriotic-imperial, the satirical and the pastoral sides -of -his drama are represented respectively by the <i>Auto da Alma</i>, -the -<i>Exhortação</i>, the <i>Almocreves</i> -and the <i>Serra da Estrella</i>, while his lyrical -vein is seen in the <i>Auto da Alma</i> and in two -delightful songs: the -<i>serranilha</i> of the <i>Almocreves</i> and -the <i>cossante</i> of the <i>Serra da Estrella</i>. -Many of his plays, including some of the most charming of his lyrics, -were written in Spanish and this limited the choice from the point of -view of Portuguese literature, but there are others of the Portuguese -plays fully as well worth reading as the four here given.</p> -<p>The text is that of the exceedingly rare first edition (1562). -Apart -from accents and punctuation, it is reproduced without alteration, -unless -a passage is marked by an asterisk, when the text of the <i>editio -princeps</i> -will be found in the foot-notes, in which variants of other editions -are -also given.</p> -<p>In these notes <abbr title="Copilaçam de todalas obras (1562)">A</abbr> -represents the <i>editio princeps</i> -(1562): <i>Copilaçam -de todalas obras de Gil Vicente, a qual se reparte em cinco livros. O -primeyro he de todas suas cousas de deuaçam. O segundo as -comedias. -O terceyro as tragicomedias. No quarto as farsas. No quinto as obras -meudas. Empremiose em a muy nobre & sempre leal cidade de -Lixboa -em casa de Ioam Aluarez impressor del Rey nosso senhor. Anno de -<span class="smcap">MDLXII</span></i>. The -second (1586) -edition (<abbr title="Copilaçam de todalas obras (1586)">B</abbr>) -is the <i>Copilaçam de todalas -obras de Gil Vicente... Lixboa, por Andres Lobato, Anno de <span class="smcap">MDLXXXVJ</span></i>. -A third edition in three volumes appeared in 1834 (<abbr title="Obras de Gil Vicente (1834)">C</abbr>): <i>Obras -de Gil -Vicente, correctas e emendadas pelo cuidado e diligencia de J. V. -Barreto -Feio e J. G. Monteiro</i>. Hamburgo, 1834. This was based, -although -not always with scrupulous accuracy, on the <i>editio princeps</i>, -and subsequent -editions have faithfully adhered to that of 1834: <i>Obras</i>, -3 vol. -Lisboa, 1852 (<abbr title="Obras (1852)">D</abbr>), -and <i>Obras</i>, ed. Mendes dos -Remedios, 3 vol. Coimbra,<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span> -1907, 12, 14 [<i>Subsidios</i>, vol. 11, 15, 17]<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> -(<abbr title="Obras (1907)">E</abbr>). Although -there has been -a tendency of late to multiply editions of Gil Vicente, no attempt has -been made to produce a critical edition. It is generally felt that that -must be left to the master hand of Dona Carolina Michaëlis de -Vasconcellos<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a>. -Since the plays of Vicente number over forty the present -volume is only a tentative step in this direction, but it may serve to -show the need of referring to, and occasionally emending, the <i>editio -princeps</i> in any future edition of the most national poet of -Portugal<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a>.</p> -<p class="right">AUBREY F. G. BELL.<br /> -</p> -<p><i>8 April 1920.</i></p> -<div class="footnotes"> -<h3>FOOTNOTES:</h3> -<div class="footnote"> -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> -<i>Este soberano ingenio.</i> Marcelino Menéndez y -Pelayo, <i>Antologia</i>, tom. 7, p. clxiii.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> -Although the text has been given without alteration it has not been -thought -necessary to provide a precise rendering of the coarser passages.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> -The Paris 1843 edition is the Hamburg 1834 edition with a different -title-page. -The <i>Auto da Alma</i> was published separately at Lisbon -in 1902 and again (in part) in -<i>Autos de Gil Vicente. Compilação e prefacio -de Affonso Lopes Vieira</i>, Porto, 1916; while -extracts appeared in <i>Portugal. An Anthology, edited with -English versions, by George Young.</i> -Oxford, 1916. The present text and translation are reprinted, by -permission of the Editor, -from <i>The Modern Language Review</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> -I understand that the eminent philologist Dr José Leite de -Vasconcellos is also -preparing an edition.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> -Facsimiles of the title-pages of the two early editions of Vicente's -works are reproduced -here through the courtesy of Senhor Anselmo Braamcamp Freire.</p> -</div> -</div> -<hr style="width: 65%;" /> -<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p> -<h1><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h1> -<table> -<tbody> -<tr> -<td></td> -<td class="right"><small>PAGE</small></td> -</tr> -<tr> -<td>PREFACE</td> -<td class="right"><a href="#Page_v">v</a></td> -</tr> -<tr> -<td>INTRODUCTION</td> -<td class="right"><a href="#Page_ix">ix</a></td> -</tr> -<tr> -<td>AUTO DA ALMA (<span class="smcap">The -Soul's Journey</span>)</td> -<td class="right"><a href="#Page_1">1</a></td> -</tr> -<tr> -<td>EXHORTAÇAO DA GUERRA (<span class="smcap">Exhortation -to War</span>)</td> -<td class="right"><a href="#Page_23">23</a></td> -</tr> -<tr> -<td>FARSA DOS ALMOCREVES (<span class="smcap">The -Carriers</span>)</td> -<td class="right"><a href="#Page_37">37</a></td> -</tr> -<tr> -<td>TRAGICOMEDIA PASTORIL DA SERRA DA ESTRELLA</td> -<td class="right"><a href="#Page_55">55</a></td> -</tr> -<tr> -<td>NOTES</td> -<td class="right"><a href="#Page_73">73</a></td> -</tr> -<tr> -<td>LIST OF PROVERBS IN GIL VICENTE'S WORKS</td> -<td class="right"><a href="#Page_84">84</a></td> -</tr> -<tr> -<td>BIBLIOGRAPHY OF GIL VICENTE</td> -<td class="right"><a href="#Page_86">86</a></td> -</tr> -<tr> -<td>CHRONOLOGICAL TABLE OF GIL VICENTE'S LIFE AND WORKS</td> -<td class="right"><a href="#Page_89">89</a></td> -</tr> -<tr> -<td>INDEX OF PERSONS AND PLACES</td> -<td class="right"><a href="#Page_95">95</a></td> -</tr> -<tr> -<td colspan="2"> -<hr style="width: 45%;" /></td> -</tr> -<tr> -<td>FACSIMILE OF TITLE-PAGE OF THE FIRST EDITION (1562)<br /> -OF GIL VICENTE'S WORKS</td> -<td><i><a href="#frontispiece">Frontispiece</a></i></td> -</tr> -<tr> -<td>FACSIMILE OF TITLE-PAGE OF THE SECOND EDITION (1586)</td> -<td><i><a href="#Page_lii">page </a><a href="#Page_lii">lii</a></i></td> -</tr> -</tbody> -</table> -<hr style="width: 65%;" /> -<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p> -<h1><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION</h1> -<h2>I. LIFE AND PLAYS OF GIL VICENTE</h2> -<p>Those who read the voluminous song-book edited by jolly Garcia -de -Resende in 1516 are astonished at its narrowness and aridity. There is -scarcely a breath of poetry or of Nature in these Court verses. In the -pages of Gil Vicente<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a>, -who had begun to write fourteen years before the -<i>Cancioneiro Geral</i> was published, the Court is still -present, yet the -atmosphere is totally different. There are many passages in his plays -which correspond to the conventional love-poems of the courtiers and he -maintains the personal satire to be found both in the <span class="pagenum"><a name="Page_x" id="Page_x">[Pg -x]</a></span><i>Cancioneiro da -Vaticana</i> and the <i>Cancioneiro de Resende</i>. -But he is also a child of Nature, -with a marvellous lyrical gift and the insight to revive and renew the -genuine poetry which had existed in Galicia and the north of Portugal -before the advent of the Provençal love-poetry, had sprung -into a splendid -harvest in rivalry with that poetry and died down under the Spanish -influence of the fourteenth and fifteenth centuries. He was moreover a -national and imperial poet, embracing the whole of Portuguese life and -the whole rapidly growing Portuguese empire. We can only account -for the difference by saying that Gil Vicente was a genius, the only -great genius of that day in Portugal, and the most gifted poet of his -time. -It is therefore all the more tantalizing that we should know so little -about him. A few documents recently unearthed, one or two scanty -references by contemporary or later authors, are all the information we -have apart from that which may be gleaned from the rubrics and -colophons of his plays and from the plays themselves. The labours of -Dona -Carolina Michaëlis de Vasconcellos, Dr José Leite de -Vasconcellos<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> -and -Snr Anselmo Braamcamp Freire are likely to provide us before long with -the first critical edition of his plays. The ingenious suppositions of -Dr Theophilo Braga<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> -have, as usual, led to much discussion and research. -He is the Mofina Mendes of critics, putting forward a hypothesis, -translating -it a few pages further on into a certainty and building rapidly on -these foundations till an argument adduced or a document discovered by -another critic brings the whole edifice toppling to the ground. The -documents -brought to light by General Brito Rebello<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> and Senhor Anselmo -Braamcamp Freire<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> -enable us to construct a sketch of Gil Vicente's life, -while D. Carolina Michaëlis has shed a flood of light upon -certain points<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a>. -The chronological table at the end of this volume is founded mainly, as -to the order of the plays, on the documents and arguments recently set -forth by one of the most distinguished of modern historical critics, -Senhor -Anselmo Braamcamp Freire. The plays, read in this order, throw a -certain -amount of new light on Gil Vicente's life and give it a new cohesion. -Whether we consider it from the point of view of his own country or of -the world, or of literature, art and science, his life coincides with -one of -the most wonderful periods in the world's history. At his birth -Portugal -was a sturdy mediaeval country, proud of her traditions and heroic -past. -Her heroes were so national as scarcely to be known beyond her own -borders. Nun' Alvarez (1360-1431), one of the greatest men of all time, -is even now unknown to Europe. And Portugal herself as yet hardly<span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg -xi]</a></span> -appraised at its true worth the life and work of Prince Henry the -Navigator -(1394-1460), at whose incentive she was still groping persistently -along the western coast of Africa. His nephew Afonso V, the amiable -grandson of Nun' Alvarez' friend, the Master of Avis, and the English -princess Philippa of Lancaster, daughter of John of Gaunt, was on the -throne, to be succeeded by his stern and resolute son João II -in 1481. In -his boyhood, spent in the country, somewhere in the green hills of -Minho -or the rugged grandeur and bare, flowered steeps of the Serra da -Estrella, -all <i>ossos e burel</i><a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a>, Gil Vicente might hear -dramatic stories of the doings at -the capital and Court, of the beginning of the new reign, of the -beheadal -of the Duke of Braganza in the Rocio of Evora, of the stabbing by the -King's own hand of his cousin and brother-in-law, the young Duke of -Viseu, of the baptism and death at Lisbon of a native prince from -Guinea.</p> -<p>The place of his birth is not certain. Biographers have -hesitated -between Lisbon, Guimarães and Barcellos: perhaps he was not -born in -any of these towns but in some small village of the north of Portugal. -We can at least say that he was not brought up at Lisbon. The proof -is his knowledge and love of Nature and his intimate acquaintance with -the ways of villagers, their character, customs, amusements, dances, -songs and language. It is legitimate to draw certain -inferences—provided -we do not attach too great importance to them—from his plays, -especially -since we know that he himself staged them and acted in them<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a>. -His earliest compositions are especially personal and we may be quite -sure that the parts of the herdsman in the <i>Visitaçam</i> -(1502) and of the -mystically inclined shepherd, Gil Terron, in the <i>Auto -Pastoril Castelhano</i> -(1502) and the <i>rustico pastor</i> in the <i>Auto -dos Reis Magos</i> (1503) were -played by Vicente himself. It is therefore well to note the passage in -which Silvestre and Bras express surprise at Gil's learning:</p> -<blockquote> -<p><i>S.</i> Mudando vas la pelleja,<br /> -Sabes de achaque de igreja!<br /> -<br /> -<i>G.</i> Ahora lo deprendi....<br /> -<br /> -<i>B.</i> Quien te viese no dirá<br /> -Que naciste en serranía.<br /> -<br /> -<i>G.</i> Dios hace estas maravillas.<br /> -</p> -</blockquote> -<p>It is possible that Gil Vicente, like Gil Terron, had been -born <i>en -serranía</i>. Dr Leite de Vasconcellos was the first to -call attention to his -special knowledge of the province of Beira, and the reference to the<span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg -xii]</a></span> -Serra da Estrella dragged into the <i>Comedia do Viuvo</i> -is of even more -significance than the conventional <i>beirão</i> -talk of his peasants. Nor is the -learning in his plays such as to give a moment's support to the theory -that -he had, like Enzina, received a university education, or, as some, -relying -on an unreliable <i>nobiliario</i>, have held, was tutor (<i>mestre -de rhetorica</i>) to -Prince, afterwards King, Manuel. The King, according to Damião -de Goes, -'knew enough Latin to judge of its style.' Probably he did not know -much more of it than Gil Vicente himself. His first productions are -without the least pretension to learning: they are close imitations of -Enzina's eclogues. Later his outlook widened; he read voraciously<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> -and seems to have pounced on any new publication that came to the -palace, among them the works of two slightly later Spanish playwrights, -Lucas Fernández and Bartolomé de Torres Naharro. With -the quickness -of genius and spurred forward by the malicious criticism of his -audience, -their love of new things and the growing opposition of the introducers -of -the new style from Italy, he picked up a little French and Italian, -while -Church Latin and law Latin early began to creep into his plays. The -parade -of erudition (which is also a satire on pedants) at the beginning of -the <i>Auto -da Mofina Mendes</i> is, however, that of a comparatively -uneducated man -in a library, of rustic Gil Vicente in the palace. Rather we would -believe -that he spent his early life in peasant surroundings, perhaps actually -keeping goats in the scented hills like his Prince of Wales, Dom -Duardos: -<i>De mozo guardé ganado</i>, and then becoming an -apprentice in the goldsmith's -art, perhaps to his father or uncle, Martim Vicente, at -Guimarães. -It is extremely probable that he was drawn to the Court, then at Evora, -for the first time in 1490 by the unprecedented festivities in honour -of -the wedding of the Crown Prince and Isabel, daughter of the Catholic -Kings, and was one of the many goldsmiths who came thither on that -occasion<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a>. -If that was so, his work may have at once attracted the -attention of King João II, who, as Garcia de Resende tells us, -keenly -encouraged the talents of the young men in his service, and the -protection -of his wife, Queen Lianor. He may have been about 25 years old -at the time. The date of his birth has become a fascinating problem, <span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg -xiii]</a></span>over -which many critics have argued and disagreed. As to the exact year it -is best frankly to confess our ignorance. The information is so flimsy -and -conflicting as to make the acutest critics waver. While a perfectly -unwarranted -importance has been given to a passage in Vicente's last -<i>comedia</i>, the <i>Floresta de Enganos</i> -(1536), in which a judge declares that -he is 66 (therefore Gil Vicente was born in 1470), sufficient stress -has -perhaps not been laid on the lines in the play from the Conde de -Sabugosa's -library, the <i>Auto da Festa</i>, in which Gil Vicente is -declared to be -'very stout and over 60.' This cannot be dismissed like the former -passage, for it is evidently a personal reference to Gil Vicente. It -was the -comedian's ambition to raise a laugh in his audience and this might be -effected by saying the exact opposite of what the audience knew to be -true: e.g. to speak of Gil Vicente as very stout and over 60 if he was -very young and spectre-thin. But Vicente was certainly not very young -when this play was written and we may doubt whether the victim of -<i>calentura</i> and hater of heat (he treats summer -scurvily in his <i>Auto dos -Quatro Tempos</i>) was thin. We have to accept the fact that he -was over -60 when the <i>Auto da Festa</i> was written. But when was -it written? Its -editor, the Conde de Sabugosa, to whom all Vicente lovers owe so deep -a debt of gratitude<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a>, assigned it to 1535, while -Senhor Braamcamp -Freire, who uses Vicente's age as a double-edged weapon<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a>, -places it -twenty years earlier, in 1515. This was indeed necessary if the year -1452 -was to be maintained as the date of his birth. The theory of the exact -date 1452 was due to another passage of the plays: the old man in <i>O -Velho -da Horta</i>, formerly assigned to 1512, is 60 (III. 75). Yet -there is something -slightly comical in stout old Gil Vicente beginning his actor's career -at -the age of 50 and keeping it up till he was 86. Other facts that may -throw light on his age are as follows: in 1502 he almost certainly -acted -the boisterous part of <i>vaqueiro</i> in the <i>Visitaçam</i><a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a>. -In 1512 he is over 40 -and married (inference from his appointment as one of the 24 -representatives -of Lisbon guilds in that year). In 1512 a 'son of Gil Vicente' -is in India. His son Belchior is a small boy in 1518. In 1515 he -received -a sum of money to enable his sister Felipa Borges to marry. In 1531 he -declares himself to be 'near death'<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a>, -although evidently not ill -at the time. -He died very probably at the end of 1536 or beginning of 1537<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a>. -Accepting -the fact that the <i>Auto da Festa</i> was written before -the <i>Templo de -Apolo</i> (1526) I would place it as late as possible, i.e. in -the year 1525, and -subtracting 60 believe that the date <i>c.</i> 1465 for -Gil Vicente's <span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span>birth will -be found to agree best with the various facts given above.</p> -<p>The wedding of the Crown Prince of Portugal and the Infanta -Isabel -was celebrated most gorgeously at Evora. The Court gleamed with -plate and jewellery<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a>. There were banquets and -tournaments, <i>ricos -momos</i> and <i>singulares antremeses</i>, -pantomimes or interludes produced -with great splendour—e.g. a sailing ship moved on the stage -over what -appeared to be waves of the sea, a band of twenty pilgrims advanced -with gilt staffs, etc., etc.—all the luxurious show which had -made the -<i>entremeses</i> of Portugal famous and from which Vicente -must have taken -many an idea for the staging of his plays. Next year the tragic death -of -the young prince, still in his teens, owing to a fall from his horse at -Santarem, turned all the joy to ashes. Gil Vicente was certainly not -less -impressed than Luis Anriquez, who laments the death of Prince Afonso -in the <i>Cancioneiro Geral</i>, or Juan del Enzina, who -made it the subject -of his version or paraphrase of Virgil's 5th eclogue. Vicente's -acquaintance -with Enzina's works may date from this period, although we need -not press Enzina's words <i>yo vi</i> too literally to -mean that he was actually -present at the Portuguese Court. Vicente may have accompanied the -King and Queen to Lisbon in October of this year, but for the next ten -years we know as much of his life as for the preceding twenty, that is -to say, we know nothing at all. The only reference to his sojourn at -the -Court of King João II occurs in the mouth of Gil Terron (I, 9):</p> -<blockquote> -<p><span style="margin-left: -0.6em;">¿Conociste -a Juan domado</span><br /> -Que era pastor de pastores?<br /> -Yo lo vi entre estas flores<br /> -Con gran hato de ganado<br /> -Con su cayado real. -</p> -</blockquote> -<p>A note in the <i>editio princeps</i> declares the -reference to be to King -João II. If we read <i>domado</i> it can only be -applied to the indomitable -João II in the sense of having yielded to the will of Queen -Lianor in -acknowledging as heir her brother Manuel in preference to his -illegitimate -son Jorge. Perhaps however it is best to read <i>damado</i>, -which -recurs in the same play. Perhaps we may even see in the passage an -allusion merely to an incident occurring in the time of João -II and<span class="pagenum"><a name="Page_xv" id="Page_xv">[Pg xv]</a></span> not -to the King himself<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a>. We may surmise that about -this time, perhaps as -early as 1490, Vicente became goldsmith to Queen Lianor. The events -of this wonderful decade must have moved him profoundly, events -sufficient to stir even a dullard's imagination as new world after new -world swept into his ken: the conquest of Granada from the Moors in -1492, the arrival of Columbus at Lisbon from America in 1493, the -similar return of Vasco da Gama six years later from India, the -discovery -of Brazil in 1500. Two years later Vicente emerges into the light of -day. -King Manuel had succeeded to the throne on the death of King -João -(25 Oct. 1495) and had married the princess Maria, daughter of the -Catholic Kings. Their eldest son, João, who was to rule -Portugal as King -João III from 1521 to 1557, was born on June 6, 1502, on which -day a -great storm swept over Lisbon. On the following evening<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> -or on the -evening of June 8 Gil Vicente, dressed as a herdsman, broke into the -Queen's chamber in the presence of the Queen, King Manuel, his mother -Dona Beatriz, his sister Queen Lianor, who was one of the prince's -godmothers, -and others, and recited in Spanish a brief monologue of 114 -lines. Having expressed rustic wonder at the splendour of the palace -and the universal joy at the birth of an heir to the throne he calls in -some thirty companions to offer their humble gifts of eggs, milk, -curds, -cheese and honey. Queen Lianor was so pleased with this 'new -thing'—for -hitherto there had been no literary entertainments to vary either -the profane <i>serãos de dansas e bailos</i> or -the religious solemnities of the -court—that she wished Vicente to repeat the performance at -Christmas. -He preferred, however, to compose a new <i>auto</i> more -suitable to the occasion -and duly produced the <i>Auto Pastoril Castelhano</i>. -King Manuel had -just returned to Lisbon from a pilgrimage to Santiago de Compostela in -Galicia in thanksgiving for the discovery of the sea-route to India. He -found the Queen in the palace of Santos o Velho and was received <i>com -muita alegria</i>. But no allusion to great contemporary events -troubles -the rustic peace of this <i>auto</i>, which is some four -times as long as the -<i>Visitaçam</i>, and which introduces several -simple shepherds to whom the -Angel announces the birth of the Redeemer. Queen Lianor was delighted -(<i>muito satisfeita</i>) and a few days later, on the Day -of Kings (6 Jan. -1503), a third pastoral play, the <i>Auto dos Reis Magos</i>, -was acted, the -introduction of a knight and a hermit giving it a greater variety. The -<i>Auto da Sibila Cassandra</i> has been assigned to the -same year<span class="pagenum"><a name="Page_xvi" id="Page_xvi">[Pg xvi]</a></span>, and the -<i>Auto dos Quatro Tempos</i> and <i>Quem tem -farelos?</i> to 1505, but there are -good reasons for giving them a later date. The only play that can be -confidently asserted to have been produced by Vicente between January -1503 and the end of 1508 is the brief dialogue between the beggar and -St Martin: the <i>Auto de S. Martinho</i>, in ten Spanish -verses <i>de rima cuadrada</i>, -recited before Queen Lianor in the Caldas church during the Corpus -Christi procession of 1504. The reasons for this silence are not far to -seek. In September 1503, Dom Vasco da Gama returned from his second -voyage to India with the first tribute of gold: 'The lords and nobles -who were then at Court went to visit him on his ship and accompanied -him to the palace. A page went before him bearing in a bason the 2000 -<i>miticaes</i> of gold of the tribute of the King of -Quiloa and the agreement -made with him and the Kings of Cananor and Cochin. Of this gold -King Manuel ordered a monstrance to be wrought for the service of the -altar, adorned with precious stones, and commanded that it should be -presented to the Convent of Bethlehem<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a>.' At this monstrance, still -the -pride of Portuguese art, Gil Vicente worked during three years -(1503-6). -He was perhaps already living in the Lisbon house in the <i>Rua -de Jerusalem</i> -assigned to him by his patroness, Queen Lianor<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a>. -There were -other reasons for his silence. The death of Queen Isabella of Spain in -1504 and again the death of King Manuel's mother, Dona Beatriz, in -1506, threw the Portuguese Court into mourning. Plague and famine -raged at Lisbon from 1505 to 1507, while, after the awful massacre of -Jews at Easter 1506, during which some thousands were stabbed or -burnt to death, the city of Lisbon was placed under an interdict which -was not raised till 1508.</p> -<p>Let us take advantage of Vicente's long silence to explain why -it can -be asserted so confidently that he was now at work on the Belem <i>custodia</i>. -The burden of producing some definite document to show that Gil Vicente -the poet and Gil Vicente the goldsmith were two different persons rests -on the opponents of identity. The late Marcelino Menéndez y -Pelayo, -whose death in 1912 was a great blow to Portuguese as well as to -Spanish -literature, would certainly have changed his view if he had lived. In -his -brilliant study of Gil Vicente, a 'sovereign genius,' 'the most national<span class="pagenum"><a name="Page_xvii" id="Page_xvii">[Pg -xvii]</a></span> -playwright before Lope de Vega<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a>,' 'the greatest figure of -our primitive -theatre<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a>,' -he remarked that if Vicente had been a goldsmith and one of -such skill he must infallibly have left some trace of it in his -dramatic -works and that the contemporaries who mention him would not have -preserved a profound silence as to his artistic talent<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a>; -yet Menéndez y -Pelayo himself speaks of Vicente's <i>alma de artista</i><a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> -and of the plastic -character which the most fantastic allegorical figures receive at his -hands<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a>. -If we were assured that the dreamy Bernardim Ribeiro had fashioned the -Belem monstrance we might well remain sceptical, but Vicente stands -out from among the vaguer poets of Portugal in having, like Garcia de -Resende, an extremely definite style, and his imagination, as in his -dream -of fair women in the <i>Templo de Apolo</i>, coins -concrete figures, not intellectual -abstractions. Resende, we know, was a skilled draughtsman as well -as poet, chronicler and musician, and it is curious that the very -phrase -applied by Vicente to Resende, <i>de tudo entende</i> (<span class="smcap">II</span>, 406), is used of Vicente -himself in an anecdote quoted by Senhor Braamcamp Freire. As to his -own silence and that of his contemporaries, their silence<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> -concerning the -presence of two Gil Vicentes at Court would be quite as astonishing, -especially as they distinguish between other homonyms of the time<span class="pagenum"><a name="Page_xviii" id="Page_xviii">[Pg xviii]</a></span>, and -the silent satellite dogged the poet Vicente's steps with the strangest -persistence. According to the discoveries or inventions of the Visconde -Sanches de Baena<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> -he was the poet's uncle; according to Dr Theophilo -Braga they were cousins<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a>. The poet, as many passages -in his plays show, -was interested in the goldsmith's art<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a>; the goldsmith wrote verses<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a>. -The -poet made his first appearance in 1502, the artist in 1503. Splendid as -was the Portuguese Court and although its members had almost doubled -in number in less than a century<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a>, the King did not keep men -there -merely on the chance of their producing 'a new thing.' The sovereign -of a great and growing empire had something better to do than to -indulge -in forecasts as to the potential talents of his subjects. When Gil -Vicente -in 1502 produced a new thing in Portugal his presence in the palace can -only be explained by his having an employment there, and since we know -that Queen Lianor had a goldsmith called Gil Vicente who wrote verses -and since the poet wrote all his earlier plays for Queen Lianor<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a>, -it is -rational to suppose that this employment was that of goldsmith to the -Queen-Dowager. His presence at Court was certainly not by right of -birth: Vicente was not a 'gentleman of good family,' as Ticknor and -others have supposed, but the noble art of the goldsmith (its practice -was forbidden in the following century to slaves and negroes) would -enable him to associate familiarly with the courtiers. In 1509 or -later<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> -the poet joined, at the request of Queen Lianor, in a poetical contest -concerning a gold chain, in which another poet, addressing Vicente, -refers especially to necklaces and jewels. In the same year Gil Vicente -is appointed overseer of works of gold and silver at the Convent of the -Order of Christ, Thomar, the Hospital of All Saints, Lisbon, and the -Convent of Belem. At the Hospital of All Saints the poet staged one of -his plays. To Thomar and its fevers he refers more than once and -presented -the <i>Farsa de Ines Pereira</i> there in 1523. In 1513 he -is appointed -<i>Mestre da Balança</i>, in 1517 he resigns and -in 1521 the poet alludes to the -goldsmith's former colleagues: <i>os da Moeda</i>, while -his production as -playwright increases after the resignation and his complaints of -poverty -become more frequent<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a>. In 1520 Gil Vicente the -goldsmith is entrusted -by King Manuel with the preparations for the royal entry into Lisbon, -an <i>auto</i> figuring in the programme. If there was -nothing new in a gol<span class="pagenum"><a name="Page_xix" id="Page_xix">[Pg xix]</a></span>dsmith -writing verses the drama of Vicente was an innovation and João -de Barros would quite naturally refer (as André de Resende -before him) -to the poet-goldsmith as <i>Gil Vicente comico</i>. On the -other hand there is -an almost brutal egoism in the silence concerning his unfortunate uncle -(or cousin) maintained by Gil Vicente, who refers to himself as poet -more -than once, with evident pride in his <i>autos</i>. -Recently General Brito Rebello -(1830-1920), whose researches helped to give shape and substance to Gil -Vicente's life, discovered a document of 1535 in which the poet's -signature -differs notably from that of the goldsmith in 1515<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a>. -It is, however, -possible to maintain that the former signature is not that of Gil -Vicente -at all and that the words of the document <i>per seu filho -Belchior Vicente</i> -mean that Belchior signed in his father's name; or, alternatively, we -can -only say that Gil Vicente's handwriting had changed, a change -especially -frequent in artists. To those who examine all the evidence impartially -there can remain very little doubt that Gil Vicente was first known at -Court for his skill as goldsmith, and that he began writing verses and -plays at the suggestion of his patroness, Queen Lianor.</p> -<p>On March 3, 1506, Vicente momentarily resumed his literary -character -and composed for Queen Lianor a long lay sermon, spoken before the King -on the occasion of the birth of the Infante Luis (1506-55), who was -himself -a poet and the friend and patron of men of letters. The envious feared -that Vicente was playing too many parts and contended that this was -no time for a sermon by a layman, but Vicente excused himself with the -saying, commonly attributed to Garci Sanchez de Badajoz, that if they -would permit him to play the fool this once he would leave it to them -for the rest of their lives, and launched into the exposition of his -text: -<i>Non volo, volo et deficior</i>. His -next play <i>Quem tem farelos?</i> is assigned by -Senhor Braamcamp Freire to December 1508 or January 1509<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a>. -The -reference to the <i>embate</i> in Africa in all -probability alludes to the siege of -Arzila in 1508. King Manuel had made preparations to set sail for an -African campaign in 1501 and 1503, but the word <i>embate</i> -implies something -more definite. The later date (it was formerly assigned to 1505) -is more suitable to the finished art of this first farce and to the -fact that -its success—so great that the people gave it the name by -which it is<span class="pagenum"><a name="Page_xx" id="Page_xx">[Pg xx]</a></span> -still known, i.e. the first three words of the play—would be -likely to -cause its author to produce another farce without delay. Its successor, -the <i>Auto da India</i>, acted before Queen Lianor at -Almada in 1509, has -not the same unity and its action begins in 1506 and ends in 1509. It -displays a broader outlook and the influence of the discovery of India -on the home-life of Portugal. In 1509 the fleet sailed from Lisbon -under -Marshal Coutinho on March 12 and <i>Maio</i> (III. 28) -might be a misprint -for <i>Março</i>; the <i>partida</i> -alluded to, however, is that of Tristão da Cunha -and Afonso de Albuquerque in 1506. It is just possible that <i>Quem -tem -farelos</i>? was begun in 1505 (the date of its rubric) and the <i>Auto -da India</i> -in 1506. Early in this year 1509 (Feb. 15) Vicente received the -appointment -of <i>Vedor</i> and at Christmas of the following year he -produced a -play at Almeirim, a favourite residence of King Manuel, who spent a -part of most winters there in the pleasures of the chase<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a>. -This <i>Auto da Fé</i> -is but a simple conversation between Faith and two peasants, who -marvel at the richness of the Royal Chapel. In 1511, perhaps at -Carnival<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a>, -the <i>Auto das Fadas</i> further shows the expansion, -perhaps we -may say the warping, of his natural genius, for although we may rejoice -in the presentation of the witch Genebra Pereira, the play soon turns -aside to satirical allusions to courtiers, while the Devil gabbles in -picardese. Peasants' <i>beirão</i> with a few -scraps of biblical Latin had -hitherto been Vicente's only theatrical resource as regards language. -The <i>Farsa dos Fisicos</i> is now<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> -assigned to 1512, early in the year. It is -leap year (III. 317) and Senhor Braamcamp Freire sees in the lines -(III. -323):</p> -<blockquote> -<p>Voyme a la huerta de amores<br /> -Y traeré una ensalada<br /> -Por Gil Vicente guisada<br /> -Y diz que otra de mas flores<br /> -Para Pascoa tien sembrada<br /> -</p> -</blockquote> -<p>a reference to <i>O Velho da Horta</i>, acted -before King Manuel in 1512. -In August of the following year James, Duke of Braganza, set sail from -Lisbon with a fleet of 450 ships to conquer Azamor:</p> -<blockquote> -<p>Foi hũa das cousas mais para notar<br /> -Que vimos nem vio a gente passada<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a>.<br /> -</p> -</blockquote> -<p>Gil Vicente was in the most successful period of his life. In -December 1512 he was chosen by the Guild of Goldsmiths to be one of<span class="pagenum"><a name="Page_xxi" id="Page_xxi">[Pg -xxi]</a></span> -the twenty-four Lisbon guild representatives and some months later -he was selected by the twenty-four to be one of their four proctors, -with a seat in the Lisbon Town Council. On February 4, 1513, he had -become Master of the Lisbon Mint. For the departure of the fleet -against -Azamor he comes forward as the poet laureate of the nation and -vehemently -inveighs against sloth and luxury while he sings a hymn to the -glories of Portugal. The play alludes to the gifts sent to the Pope in -the -following year and this probably led to the date of the rubric (1514), -but it also refers to the royal marriages of 1521, 1525 and 1530, and -we -may thus assume that it was written in 1513 and touched up for a later -production or for the collection of Vicente's plays. Perhaps at -Christmas -of this year was acted before Queen Lianor in the Convent of Enxobregas -at Lisbon the <i>Auto da Sibila Cassandra</i>, hitherto -placed ten years earlier. -Senhor Braamcamp Freire points out that the Convent was only founded -in 1509<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a>. -A scarcely less cogent argument for the later date is the finish -of the verse and the exquisiteness of the lyrics, although the action -is -simple and the reminiscences of Enzina are many<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> -(a fact which does not -necessarily imply an early date: Enzina's echo verses are imitated in -the -<i>Comedia de Rubena</i>, 1521). We may note that the story -of Troy is running -in Vicente's head as in the <i>Exhortação</i> -of 1513 (he had probably just -read the <i>Cronica Troyana</i>). The last lyric, <i>A -la guerra, caballeros</i>, is out -of keeping with the rest of the play, but fighting in Africa was so -frequent -that it cannot help to determine the play's date. It is in this period -(1512-14) -that it is customary to place the death of Vicente's first wife Branca -Bezerra, leaving him two sons, Gaspar and Belchior. She was buried at -Evora with the epitaph:</p> -<blockquote> -<p>Aqui jaz a mui prudente<br /> -Senhora Branca Becerra<br /> -Mulher de Gil Vicente<br /> -Feita terra.<br /> -</p> -</blockquote> -<p>This gives the <i>Comedia do Viuvo</i>, acted in -1514, a personal note, -which is emphasized by the names of the widower's daughters, Paula, -the name of Gil Vicente's eldest daughter, and Melicia, the name of his -second wife. In the following year private grief was merged in the -growing renown of Portugal in the <i>Auto da Fama</i>, -which the rubric -attributes to 1510, although it alludes to the siege of Goa (1510), the -capture of Malaca (1511), the victorious expedition against Azamor<span class="pagenum"><a name="Page_xxii" id="Page_xxii">[Pg -xxii]</a></span> -(1513), and the attack on Aden (1513). It was acted first before Queen -Lianor and then before King Manuel at Lisbon, and we may surmise -that it was written or begun when the first news of Albuquerque's -successes reached Lisbon and recast in 1515. The year 1516 has also -been suggested, but the death of King Ferdinand the Catholic in January -of that year and the death of Albuquerque in December 1515 render -this date unsuitable. Even if the play was acted at Christmas 1515, -there is the ironical circumstance that, at the moment when the Court -was ringing with praises of the Portuguese deeds in India, the great -Governor was lying dead at Goa. The date of the <i>Auto dos -Quatro Tempos</i> -is equally problematic. It was acted before King Manuel at the command -of Queen Lianor in the S. Miguel Chapel of the Alcaçova palace -on a -Christmas morning. The name of the palace indicates the year 1505 or -an earlier date<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a>, -and it has been assigned to the year 1503 or 1504; but -the superior development of the play's structure and even of its -thought -(e.g. <span class="smcap">I</span>. 78), its -resemblance to the <i>Triunfo do Inverno</i> (1529), the -introduction -of a French song, of the gods of Greece and of a psalm similar -to that in the <i>Auto da Mofina Mendes</i> (1534)<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> -and the perfection of the -metre all indicate a fairly late date, while imitations of Enzina<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> -are not -conclusive. On the whole the intrinsic evidence counterbalances the -statement of the rubric as to the Alcaçova palace and we may -boldly -assign this delightful piece to Christmas 1516<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a>, -while admitting that in -a rougher form it may have been presented to Queen Lianor<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a> -at a much -earlier date.</p> -<p>The approximate date of the next play, the <i>Auto da -Barca do -Inferno</i>, is certain. This first part of Vicente's remarkable -trilogy of -<i>Barcas</i> was acted 'in the Queen's chamber for the -consolation of the very -catholic and holy Queen Dona Maria in the illness of which she died in -1517.' If we manipulate the commas so as to make the date refer to the -play as well as to the Queen's death, the remedy proved fatal, for she -died on March 7, but it is possible that it was acted earlier, towards t<span class="pagenum"><a name="Page_xxiii" id="Page_xxiii">[Pg xxiii]</a></span>he -end of 1516. The subject was a gloomy one but its treatment was -intended -to raise many a laugh and it ends with the famous brief invocation -of the Angel to the knights who had died fighting in Africa. On August -6, 1517, Vicente resigned the post of Master of the Mint in favour of -Diogo Rodriguez and probably about this time he married his second -wife, Melicia Rodriguez. The second and third parts of the <i>Barcas</i> -trilogy were given in 1518 and 1519, but between the first and third -parts Senhor Braamcamp Freire now places the <i>Auto da Alma</i>, -and his -scholarly suggestion<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> is amply borne out by the -maturity and perfection -of this beautiful play<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a> and by the likelihood that -Vicente when he wrote -it was acquainted with Lucas Fernández' <i>Auto de la -Pasion</i> (1514). The -<i>Auto da Barca do Purgatorio</i> was acted before Queen -Lianor on Christmas -morning, 1518, at the <i>Hospital de Todolos Santos</i> -(Lisbon). King Manuel -had been at Lisbon in July of this year, going thence to Sintra, -Collares, -Torres Vedras and Almeirim, whence at the end of November he proceeded -to Crato to welcome his new Queen, Dona Lianor. They returned -together to Almeirim and the next months were spent there 'in great -bullfights, jousts, balls and other entertainments till the beginning -of -Spring [May] when the King went to Evora<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a>.' The <i>Auto da -Barca da -Gloria</i> was played before his Majesty in Holy Week, 1519, and -the fact -that it is in Spanish and treats not of 'low figures,' but of nobles -and -prelates, reveals the taste of the Court and the wish to please the -young -Queen. In the following year (Nov. 29, 1520) Vicente was sent from -Evora -to Lisbon to prepare for the entry of the King and Queen into their -capital -(January 1521). He seems to have worked hard in arranging and directing -the festivities, and in the same year (1521) he staged both the <i>Comedia -de Rubena</i> and the <i>Cortes de Jupiter</i>. The -latter is the only Vicente play -of which we have a contemporary description. It was acted on the -departure -of the King's daughter, Beatriz, at the age of sixteen to espouse -the Duke of Savoy. Her dowry, including precious stones, pearls and -necklaces, was magnificent, and after brilliant rejoicings at Lisbon -she -embarked on a ship of a thousand tons in a fleet commanded by the -Conde de Villa Nova. She was accompanied by the Archbishop of Lisbon -and many nobles. On the evening of August 4, in the Ribeira palace 'in -a large hall all adorned with rich tapestry of gold, well carpeted, -with -canopy, chairs and cushions of rich brocade, began a great ball in -which -the King our lord danced with the lady Infanta Duchess his dau<span class="pagenum"><a name="Page_xxiv" id="Page_xxiv">[Pg -xxiv]</a></span>ghter and -the Queen our lady with the Infanta D. Isabel, and the Prince our lord -and the Infante D. Luis with ladies they chose; and so all the -courtiers -danced who were going to Savoy and many other gentlemen and -courtiers for a long space. And the dancing over, began an excellent -and well devised comedy with many most natural and well adorned -figures, written and acted for the marriage and departure of the -Infanta; -and with this very skilful and suitable play the evening ended<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a>.'</p> -<p>Twenty weeks after these splendid scenes and the <i>alegrias -d'aquelas -naves tam belas</i><a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a> the King was dead. He died -(13 Dec. 1521) in the full -tide of apparent prosperity. As he watched the slow funeral procession -passing in the night from the palace to Belem amid 600 burning torches<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> -Gil Vicente must have thought of his own altered position. King Manuel -had treated his sister's goldsmith generously<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> and had personally attended -the acting of many of his plays. The diversion of elephant and -rhinoceros -had been only a momentary backsliding, and he had sat through the -whole of the <i>Barca da Gloria</i>, in which a King and -an Emperor fared so -lamentably at the hands of the modern Silenus. But he does not appear -to have done anything to secure the poet's well-being. King Manuel's -sister, Vicente's faithful patroness, was, however, still alive, and he -had -much to hope from the new king who had grown up along with the -Vicentian drama. Vicente's first literary production had celebrated his -birth, at the age of nine the prince had been given a special verse in -the -<i>Auto das Fadas</i> (<span class="smcap">III</span>. -111), at the age of twelve he had actually intervened -in the acting of the <i>Comedia do Viuvo</i> (<span class="smcap">II</span>. 99), although his part was -confined to a single sentence. Finally, in the very year of his -accession, -he had been represented as a second Alexander in the <i>Cortes -de Jupiter</i>, -and the <i>Comedia de Rubena</i> had been acted especially -for him<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a>. -But King -João III had not the careless temperament or graceful -magnificence of -his father, and while he evidently trusted Vicente and showed him -constant -goodwill—we have the proof in the pensions received by -Vicente -during this reign—the favourite of one king rarely finds the -same atmosphere -in the <i>entourage</i> of his successor, however friendly -the king himself. -Thus while João III brooded over affairs of Church and State -the -<i>detractores</i> had more opportunity to attack the Court -dramatist. On -December 19 the new king was proclaimed at Lisbon and Vicente, -placed too far away to hear what was said at the ceremony, invented -verses which he placed on the lips of the various courtiers as they -kissed hands (<span class="smcap">III</span>. -358-64). It was not only the king but the times that -had changed, and King Manuel died not a moment too soon if he wished -not to see the reverse side of the brightly coloured tapestry of his -reign. -Vicente ends his verses with the significant words:</p> -<p><span class="pagenum"><a name="Page_xxv" id="Page_xxv">[Pg xxv]</a></span></p> -<blockquote> -<p>Diria o povo em geral:<br /> -Bonança nos seja dada,<br /> -Que a tormenta passada<br /> -Foi tanta e tam desigual.<br /> -</p> -</blockquote> -<p>In the following year he wrote a burlesque lamentation and -testament, -entitled <i>Pranto de Maria Parda</i>, 'because she saw so -few branches -in the streets of Lisbon and wine so dear, and she could not live -without -it<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a>.' -In the late summer of 1523 in the celebrated convent of Thomar -he presented one of his most famous farces before the King: <i>Farsa -de -Ines Pereira</i>. The critics were already gaining ground and -'certain men -of good learning' doubted whether he was the author of his plays or -stole them from others, a doubt suggested perhaps by the somewhat close -resemblance of the <i>Barca da Gloria</i> to the Spanish <i>Danza -de la Muerte</i>.</p> -<p>Vicente vindicated his originality by taking as his theme the -proverb -'Better an ass that carries me than a horse that throws me,' and -developing -it into this elaborate comedy. At Christmas of the same year at -Evora, in the introductory speech of the <i>Auto Pastoril -Portugues</i>, placed -in the mouth of a <i>beirão</i> peasant, the -audience is informed that poor -Gil who writes plays for the King is without a farthing and cannot be -expected to produce them as splendidly as when he had the means -(<span class="smcap">I</span>. 129). He was probably -disappointed that the 6 milreis which he had -received that year (May 1523) was not a regular pension. His complaint -fell on listening ears and in 1524 (the year of Camões' birth) -he was -granted two pensions, of 12 and of 8 milreis, while in January 1525 he -received a yet further pension of three bushels of wheat. Thus, -although -his possession of an estate near Torres Vedras, not far from Lisbon, -has -been proved to be a myth and we know that the entire fortune of his -widow consisted in 1566 of ten milreis and that of his son <span class="pagenum"><a name="Page_xxvi" id="Page_xxvi">[Pg -xxvi]</a></span>Luis of thirty<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a>, -and while we must remember his expenses in travelling and in the -production -of his plays, his financial position compares very favourably -with that of Luis de Camões half a century later.</p> -<p>The <i>Fragoa de Amor</i>, wrongly assigned to -1525, belongs to the year -1524, the occasion being the betrothal of King João III to -Catharina, -sister of the Emperor Charles V<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a>. The year 1525 is the most -discussed -date in the Vicentian chronology. Two plays are doubtfully assigned to -it and we may perhaps add a third, the <i>Auto da Festa</i>, -as well as the <i>trovas</i> -addressed to the Conde de Vimioso. Senhor Braamcamp Freire<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> -plausibly -places in this year the <i>Farsa das Ciganas</i>, although -the date of the rubric -is 1521, the year perhaps in which the idea of this slight piece took -shape -in the poet's brain. There is a more definite reason for assigning <i>Dom -Duardos</i> to this year. It is a play based on the romance of -chivalry commonly -known as <i>Primaleon</i>, of which a new edition appeared -at Seville in -October 1524<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a>, -and we know from Gil Vicente's dedication that Queen -Lianor († 17 Dec. 1525) was still alive<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a>. -Yet we are still in the region of -hypothesis, for the adventures of Dom Duardos were in print since -1512 (Salamanca)<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a>, -and we may perhaps doubt whether this 'delicious -idyl<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a>,' -the longest of Vicente's works, was ready a year after the publication -of the Seville edition, although as Senhor Braamcamp Freire -points out<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a>, -the betrothal of the Emperor Charles V to the King's sister -was a suitable occasion for the production of the play<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a>. -The only play -assigned with some certainty to 1525 is that in which the husband of -Ines Pereira reappears as a rustic judge <i>à la Sancho -Panza: O Juiz da -Beira</i>, acted before the King at Almeirim.</p> -<p>It was a year of famine and plague at Lisbon. The fact that -the verses -addressed by Vicente to the Conde de Vimioso inform us that Vicente's -household was down with the plague and his own life in danger (<span class="smcap">III</span>. 38) -bind these verses to no particular date, the plague being then all too -common -a visitation. Indeed General Brito Rebello and Senhor Braamcamp -Freire both attribute this poem to 1518. His complaints of poverty woul<span class="pagenum"><a name="Page_xxvii" id="Page_xxvii">[Pg xxvii]</a></span>d -thus have begun immediately after his resignation of the lucrative post -of Master of the Mint and before he had received his pensions. 'He who -does not beg receives nothing,' he says, and later on in the same poem -'If hard work and merit spelt success I would have enough to live on -and -give and leave in my will' (<span class="smcap">III</span>. -382-3). The general tone of these verses is -more in accordance with that of his later plays<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a>, -and the occasion was -more probably that in which he composed the <i>Templo de Apolo</i>, -written -when he was <i>enfermo de grandes febres</i> (<span class="smcap">II</span>. 371), and acted in January -1526<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a>. -In his verses he tells the Conde de Vimioso that 'I have now in -hand a fine farce. I call it <i>A Caça dos Segredos</i>. -It will make you very -gay.' 'I call it'; but the name given by the author was more than once -ousted by a popular title. This implied popularity of Gil Vicente's -plays, -acted before the Court and not published in a collected edition till a -quarter of a century after his death, might seem unaccountable were it -not for the fact that some of his pieces, printed separately, were -eagerly -read, and that the people might be present in fairly large numbers when -his plays were represented in church or convent. We know too that -plays were acted in private houses. The publication of Antonio Ribeiro -Chiado's <i>Auto da Natural Invençam</i> (<i>c.</i> -1550) by the Conde de Sabugosa -throws much light on this subject. This <i>auto</i>, acted -a few years after -Vicente's death, contains the description of the presentation of a play -in a private house at Lisbon. The play was to begin at 10 or 11 p.m., -the actors having to play first at two other private houses. So great -is -the interest that not only is the house crowded and its door besieged -but the throng in the street outside is so thick that the players have -much difficulty in forcing their way through it. The owner of the house -had given 10 cruzados for the play<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a>. Vicente's <i>Auto da -Festa</i> was -similarly acted in a private house. The most interesting of all the -facts -recorded by Chiado is the eagerness of the people. Uninvited persons -from the crowd outside kept pressing in at the door. Thus we can easily -understand how the people could give their own name to a play, -fastening -on words or incident that especially struck them. The Farce of the Poor -Squire became <i>Quem tem farelos?</i><a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a>, -the author's name for the <i>Auto da -Mofina Mendes</i> was <i>Os Mysterios da Virgem</i> (<span class="smcap">I</span>. 103), the <i>Clerigo da -Beira</i> was also known as the <i>Auto de Pedreanes</i><a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a>. -Therefore when we -come upon a new title of a Vicente play unknown to us we need not<span class="pagenum"><a name="Page_xxviii" id="Page_xxviii">[Pg xxviii]</a></span> -conclude that it is a new play.</p> -<p>Of the seven Vicente plays<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a> placed on the Portuguese <i>Index</i> -of 1551 -four are known to us. The <i>Auto da Vida do Paço</i> -may be identified with -some probability with the <i>Romagem de Aggravados</i><a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a>. -If we may not -identify the <i>Jubileu de Amores</i> with the <i>Auto -da Feira</i> its disappearance -must be accounted for by the wrath of the Church of Rome, which fell -upon it when produced at Brussels in 1531<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a>. The remaining play <i>O -Auto -da Aderencia do Paço</i> can scarcely be identified with -the <i>Auto da Festa</i> -on the ground that the <i>vilão</i> says (1906 -ed., p. 123):</p> -<blockquote> -<p>Quem quiser ter que comer<br /> -Trabalhe por aderencia:<br /> -Haverá quanto quiser.<br /> -Vosoutros que andais no paço....<br /> -</p> -</blockquote> - -<p>especially as there was scarcely anything for the Censorship -to condemn: -merely the mention of the <i>Priol's</i> two sons (p. 111) -and the ease with -which the old woman obtains a Bull from the Nuncio (pp. 120, 124). There is far more reason, 'in my simple conjectures,' for -believing that -<i>A Caça dos Segredos</i> altered its name before -or after it was produced and -became <i>A farsa chamada Auto da Lusitania</i>. In the -burlesque passage -concerning Gil Vicente in this play (<span class="smcap">III</span>. -275-6) we learn that he was -instructed for seven years and a day in the Sibyl's cave and informed -by -the Sibyl of the secrets which she knew about the past:</p> -<blockquote> -<p>E ali foi ensinado<br /> -Sete anos e mais um dia<br /> -E da Sibila informado<br /> -Dos segredos que sabia<br /> -Do antigo tempo passado.<br /> -</p> -</blockquote> -<p>If the <i>Trovas ao Conde de Vimioso</i> were -written in 1525, the seven years -du<span class="pagenum"><a name="Page_xxix" id="Page_xxix">[Pg xxix]</a></span>ring which -Vicente hunted for secrets bring us to 1532, the date of the -<i>Auto da Lusitania</i>. The necessary allusions to the -birth of the Prince -were inserted, but the play had been ready long before<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a>.</p> -<p>The <i>Auto da Festa</i> was probably acted in a -private house at Evora. -It contains scarcely an indication as to its date<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a>, -but it has passages -similar to others in the <i>Farsa de Ines Pereira</i> -(1523), the <i>Fragoa de Amor</i><a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a> -(1524) and the <i>Farsa das Ciganas</i> (1525?)<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a>. -That the play was prior to -the <i>Templo de Apolo</i> seems evident, and the author -would be unlikely to -copy from what he calls an <i>obra doliente</i> (<span class="smcap">II</span>. 373) with Portuguese passages -introduced to prop up a play originally written wholly in Spanish (<i>ibid.</i>). -Nor need the anti-Spanish passages tell against the year of the -betrothal -of Charles V and the Infanta Isabel, for they are placed in the mouth -of a <i>vilão</i> and the play was performed in -private. In the <i>Templo de -Apolo</i> the anti-Spanish atmosphere has not quite vanished, but -the <i>vilão</i> -contents himself with saying that <i>Deos não -é castelhano</i>, and even so -Apollo feels bound to present his excuses:</p> -<blockquote> -<p>Villano ser descortés<br /> -No es mucho de espantar.<br /> -</p> -</blockquote> -<p><i>Quem não parece esquece</i>, says -Vicente in his <i>trovas</i> to Vimioso. <i>Les -absents ont tort</i>. After a quarter of a century he could no -longer describe -his <i>autos</i> as a new thing and he was now confronted -by the formidable -novelty of the hendecasyllabic metre introduced by Sá de -Miranda -from Italy. He felt that he had his back against the wall<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a>. -He made a -prodigious effort to vary the themes of his plays and to produce them -with increasing frequency. The year 1527 is his <i>annus -mirabilis</i>. The -<i>Sumario da Historia de Deos</i> and the <i>Dialogo -sobre a Ressurreiçam</i> are -assigned, if not to this year, to the period 1526-8<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a>. -The <i>Nao de Amores</i> -celebrated the entry of Queen Catharina into Lisbon in 1527, and before -the autumn<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a> -three plays, the <i>Divisa da Cidade de Coimbra</i>, the <i>Farsa -dos -Almocreves</i> and the <i>Tragicomedia da Serra da Estrella</i>, -h<span class="pagenum"><a name="Page_xxx" id="Page_xxx">[Pg xxx]</a></span>ad been -presented -before the Court at the charming old town of Coimbra which ten -years later definitively became the University town of Portugal. His -great efforts were not unrewarded, for in the following year he -received -a yet further pension of 12 milreis. On his way back from Coimbra to -Santarem he fell among some Spanish carriers who took advantage of the -new Queen's favour to fleece the poet, and he wrote some verses of -comic complaint to the King (<span class="smcap">II</span>. -383-4). The rubric assigns to the same -year the famous <i>Auto da Feira</i> (Lisbon: Christmas -1527) but Snr -Braamcamp Freire<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a> -points out that King João did not spend Christmas -of this year at Lisbon and assigns it to 1528, the year in which the -celebrated -Dialogues of Alfonso and Juan de Valdés saw the light. In -April -1529 the <i>Triunfo do Inverno</i> celebrated the birth of -the Infanta Isabel. -The author introduced the play in a long lament in verse over the -forgotten -jollity of earlier times and then, to show that his own hand had -lost none of its cunning, he gave his audience a feast of lyrical -passages -in the Triumphs of Winter and Spring.</p> -<p>In 1527 Vicente seems clearly to have aimed his allusions to -the -sons of priests at Francisco de Sá de Miranda, whose father -was a -priest and who was born at Coimbra. And now in <i>O Clerigo da -Beira</i><a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a> -we have a priest addressing his son Francisco and telling him that -a priest's son will never come to any good. On his part the grave -Sá de Miranda had protested against the introduction of scenes -from the -Bible into the <i>farsas</i>: the allusion to Vicente was -clear although his -treatment of such scenes was usually reverent. Vicente still had the -ear -of the Court and Sá de Miranda could only lament that the new -style -had at first so little vogue in Portugal. That the King, when he had -leisure, consulted Vicente on weightier matters than the production of -Court plays is proved by a passage<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a> in the letter addressed to -him by -the poet from Santarem. A terrible earthquake shock on Jan. 26, 1531, -followed by other severe shocks, kept the people in a panic for fifty -days. -<i>Terruerant satis haec pavidam praesagia plebem</i>, and -to make matters -worse the monks of Santarem, with an eye on the new Christians, spoke -of the wrath of God and announced another earthquake as calmly as if -they were giving out the hour of evensong. Vicente, who in his letter -to -the King<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a> -says, like Newman's Gerontius, 'I am near to death,' assembled -the monks and preached them an eloquent sermon. The prestige -of the Court poet restrained their zeal and probably avoided another -massacre such as he had seen at Lisbon a quarter of a century before. -It was in December of this year that the <i>Jubileu de Amores</i> -was -acted in the house of the Portuguese Ambassador at Brussels, to the<span class="pagenum"><a name="Page_xxxi" id="Page_xxxi">[Pg -xxxi]</a></span> -horror of Cardinal Aleandro, who almost persuaded himself that he was -witnessing the sack of Rome four years earlier. It was perhaps before -this that King João commanded Vicente to publish his works, -but he -could not be greatly perturbed that a play by Vicente had given offence -to the Holy See, with which he was himself often in unpleasant -relations -at this time. At all events Vicente continued to produce his plays. In -1532 the birth of the long desired heir to the throne was celebrated at -Lisbon, and Vicente presented the <i>Auto da Lusitania</i>, -while two long -plays, the <i>Romagem de Aggravados</i> and <i>Amadis -de Gaula</i>, belong to the -following year. The former was acted at Evora in honour of the birth of -the Infante Felipe (May 1533). <i>Amadis de Gaula</i> -perhaps shows some -signs of weariness, and if he played the part of Amadis he would apply -to himself the lines</p> -<blockquote> -<p>Que ya veis que soy pasado<br /> -A la vida de los muertos (II. 282).<br /> -</p> -</blockquote> -<p>The <i>Auto da Cananea</i> was written at the -request of the Abbess of -Oudivellas and acted at that convent near Lisbon in 1534. It contains -perhaps a reference to the earthquake of 1531 (<span class="smcap">I</span>. -373). The <i>Auto da -Mofina Mendes</i> may have been written some years before it was -acted -in the presence of the King at Evora on Christmas morning 1534: it -alludes to the capture of Francis I at Pavia (1525) and to the sack of -Rome (1527). Vicente had returned to Evora at least as early as August -1535, and in 1536 he produced there before the King his last play, the -<i>Floresta de Enganos</i>, which may well have been a -collection of farcical -scenes written at various periods of his career<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a>. -We know that he was -dead on April 16, 1540. He did not follow the Court to Lisbon in August -1537 and his death may be assigned with some plausibility to the end -of 1536 at Evora<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a>. -The children of his second marriage were almost<span class="pagenum"><a name="Page_xxxii" id="Page_xxxii">[Pg xxxii]</a></span> -certainly with him, Paula and Luis, who edited his works in 1562 and -were now still in their teens, and the even younger Valeria. Paula -seems -to have inherited her father's versatility and his musical, dramatic -and -literary tastes. Tradition connects her closely with him and would even -assign her a part in the composition of his plays. Another and a more -reliable tradition says that he was buried in the Church of S. -Francisco -at Evora. His life had been full and strenuous and we leave him in this -quiet little town <i>depois da vida cansada descansando</i><a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a>.</p> -<h2>II. CHARACTER AND IDEAS</h2> -<p>If we were limited to the information about Gil Vicente -furnished -by his contemporaries, we should but know that he had introduced into -Portugal <i>representações</i> of -eloquent style and novel invention imitating -Enzina's eclogues with great skill and wit<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a>, and that the mordant comic -poet Gil Vicente, who hid a serious aim beneath his gaiety and was -skilled in veiling his satire in light-hearted jests, might have -excelled -Menander, Plautus and Terence if he had written in Latin instead of in -the vulgar tongue<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a>. -That is, we should have known nothing that we -could not learn from his plays and it is to his plays that we must go -if -we would be more closely acquainted with his character and his attitude -towards the problems of his day. King Manuel, says Damião de -Goes, -always kept at his Court Spanish buffoons as a corrective of the -manners -and habits of the courtiers<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a>. The King may have had -something of the -sort in his mind in encouraging Gil Vicente, and probably he especially -favoured his allusions to the courtiers; but we cannot for a moment -consider that Vicente, friend and adviser of King João III, -the grave -town-councillor whose influence could check the fanaticism of the -monks at Santarem—can we imagine them bowing before a mere -mountebank, a strolling player?—was looked upon simply as a -Court -jester. The impression left by his plays is, rather, that of the worthy -thoughtful face of Velazquez as painted in his <i>Las Meninas</i> -picture, a -figure closely familiar with the Court yet still somewhat aloof, <i>apartado</i>. -like Gil Terron. Vicente regards himself as a <i>rustico -peregrino</i> (<span class="smcap">III</span>. -390), -an <i>ignorante sabedor</i> (<span class="smcap">I</span>. -373) as opposed to the ignorant-malicious or -ignorant-presumptuous of the Court. But Vicente was no ascetic, his -was a genial, generous nature, he liked to have enough to spend and -give -and leave in his will. Kindly and chivalrous, he was a champion of the -down-trodden but had first-hand knowledge of the malice and intrigu<span class="pagenum"><a name="Page_xxxiii" id="Page_xxxiii">[Pg xxxiii]</a></span>es -of the peasants and of the poor in the towns. Above all he was -thoroughly -Portuguese. He might place his scene in Crete but in that very scene -he would refer to things so Portuguese as the <i>janeiras</i> -and <i>lampas de -S. João</i>. Portugal is</p> -<blockquote> -<p>Pequeno e muy grandioso,<br /> -Pouca gente e muito feito,<br /> -Forte e mui victorioso,<br /> -Mui ousado e furioso<br /> -Em tudo o que toma a peito,<br /> -</p> -</blockquote> -<p>and he appears to have shared the popular prejudice against -Spain. -Did he also share the people's hostility towards the priests and the -Jews? It cannot be said that the priests presented in his plays are -patterns of morality. As to the Jews he knows of their corrupt -practices -and describes them in a late play as <i>a mais falsa -ralé</i><a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a>. It was during the -last ten years of Vicente's life that the question of the new -Christians -came especially to the front (from 1525). In earlier plays Vicente -seems -more sympathetic towards them and the pleasant sketch of the Jewish -family in Lisbon is as late as 1532<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a>. In 1506, the very year of -the -massacre of Jews at Lisbon, he had gone to the root of the question -when he declared in his lay sermon that:</p> -<blockquote> -<p>Es por demás pedir al judío<br /> -Que sea cristiano en el corazón ...<br /> -Que es por demás al que es mal cristiano<br /> -Doctrina de Cristo por fuerza ni ruego<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a>.<br /> -</p> -</blockquote> -<p>And twenty-five years later he said to the monks at Santarem: -'If there -are some here who are still strangers to our faith it is perhaps for -the -greater glory of God<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a>.' That is to say: if you -force the Jews to become -Christians you will only make them hypocrites; far better to treat them -frankly as Jews and not expect figs from thistles. That Vicente himself -was a devout Christian and Catholic and a deeply religious man such -plays as the <i>Auto da Alma</i>, the <i>Barcas</i>, -the <i>Sumario</i>, the <i>Auto da Cananea</i> -are sufficient proof. He had much of the Erasmian spirit but nothing -in common with the Reformation. His irreverence is wholly external, -it was abuses not doctrine that he attacked, the ministers of the -Church and not the Church itself. He may have been in the secret of -King João's somewhat stormy negotiations with the Holy See and -he -took the national and regalist view: in the <i>Auto da Feira</i> -Mercury -addresses Rome as follows:</p> -<blockquote> -<p>Nam culpes aos reis da terra,<br /> -Que tudo te vem de cima (<span class="smcap">I</span>. -166).<span class="pagenum"><a name="Page_xxxiv" id="Page_xxxiv">[Pg xxxiv]</a></span><br /> -</p> -</blockquote> -<p>He wished to reform the Church from within. All are perversely -asleep, -a sleep of death<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a>. -Many prayers do not suffice without <i>almas limpas e -puras</i><a name="FNanchor_101_101" id="FNanchor_101_101"></a><a href="#Footnote_101_101" class="fnanchor">[101]</a>. -Men must be judged by their works<a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a>. -In the <i>Auto da Fé</i> (1510) -we have a simple declaration of faith:</p> -<blockquote> -<p>Fé he amar a Deos só por elle<br /> -Quanto se pode amar,<br /> -Por ser elle singular,<br /> -Nam por interesse delle;<br /> -E se mais quereis saber,<br /> -Crer na Madre Igreja Santa<br /> -E cantar o que ella canta<br /> -E querer o que ella quer<a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a>.<br /> -</p> -</blockquote> -<p>But four years earlier and ten before Luther's formal protest -against -the papal indulgences we find Vicente in his lay sermon referring to -the -question 'whether the Pope may grant so many pardons' and laughing -at the hair-splitting of preachers: was the fruit that Eve ate an -apple, a -pear or a melon<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a>? -His own religion certainly had a mystical and pantheistic -tendency<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a>. -It was as deep as was his love of Nature. He would -have the hearts of men dance with jocund May<a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a>:</p> -<blockquote> -<p>Hei de cantar e folgar<br /> -E bailar c'os corações,<br /> -</p> -</blockquote> -<p>and he had an eye for the humblest flower that -blows—chicory and -camomile, hedge flowerets, honeysuckle and wild roses:</p> -<blockquote> -<p>Almeirones y magarzas,<br /> -Florecitas por las zarzas,<br /> -Madresilvas y rosillas (<span class="smcap">I</span>. -95. Cf. <span class="smcap">II</span>. 29).<br /> -</p> -</blockquote> -<p>And he sympathized closely with what was nearest to Nature: -peasants -and children. Of the people of the towns he was probably less enamoured -and he speaks of <i>a desvairada opinião do vulgo</i> -and of the folly of pandering -to it<a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a>. -At Court he certainly had many friends. A friendly -rivalry in art and letters bound him to Garcia de Resende for probably -over forty years and he was no doubt on excellent terms with the -<i>dadivoso</i> Conde de Penella (<span class="smcap">II</span>. -511), the <i>muito jucundo</i> Conde de -Tentugal (<span class="smcap">III</span>. 360) and -the Conde de Vimioso. High rank was no certain -shelter from the shafts of Vicente's wit, but when it was a case of -princes -he<span class="pagenum"><a name="Page_xxxv" id="Page_xxxv">[Pg xxxv]</a></span> was more -careful:</p> -<blockquote> -<p>Agora cumpre atentar<br /> -Como poemos as mãos,<br /> -</p> -</blockquote> -<p>as he ingenuously remarks<a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a>. -King João II had seen to it that no class -or individual should dispute the power of the throne, and now the King -reigned supreme. Kings, says Vicente, are the image of God<a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a>. -That was -in 1533, when it might seem to him that the authority of the throne was -more than ever necessary to cope with the confusion of the times. The -King's power stood for the nation, that of a noble might mean mere -private ambition or power in the hands of one unworthy, and Gil Vicente -asks nobly:</p> -<blockquote> -<p>Quem não é senhor de si<br /> -Porqué o será de ninguem?<br /> -(Who himself cannot control<br /> -Why should he o'er others rule?)<br /> -</p> -</blockquote> -<p>He had witnessed many changes, and looking back as an old man -his -memory might well be overwhelmed by a period so crowded<a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a>. -He had -seen the provinces and capital of Portugal transformed by the overseas -discoveries. We may be sure that he had watched with more interest -than the ordinary <i>lisboeta</i> the extension of the -Portuguese empire and -the deeds of the unfortunate Dom Francisco de Almeida ('Tomou -Quiloa e Mombaça, Parece cousa de graça Ver de que -morte acabou') and -the redoubtable Afonso de Albuquerque, who snatched victories from -defeat in the teeth of all manner of obstruction and indifference and -placed Portugal's glory on a pinnacle scarcely dreamed of even in the -intoxicating moment of Gama's first return to Belem in 1499:</p> -<blockquote> -<p>Outro mundo encuberto<br /> -Vimos então descubrir<br /> -Que se tinha por incerto:<br /> -Pasma homem de ouvir.<br /> -</p> -</blockquote> -<p>Meanwhile Vicente never lost sight of the fact that the -nation's -strength lay not in rich imports, however fabulous and envied, but in<span class="pagenum"><a name="Page_xxxvi" id="Page_xxxvi">[Pg xxxvi]</a></span> the -good use of its own soil and capacities and in the vigour, energy and -discipline of its inhabitants, and a note of warning sounded again and -again in his plays as he saw the old simplicity sink and disappear -before -wave on wave of luxury, ambition and hollow display. He had felt the -good old times, content with rustic dance and song, vanishing since -1510:</p> -<blockquote> -<p>De vinte annos a ca<br /> -Não ha hi gaita nem gaiteiro<a name="FNanchor_111_111" id="FNanchor_111_111"></a><a href="#Footnote_111_111" class="fnanchor">[111]</a>.<br /> -</p> -</blockquote> -<p>Now no one is content: <i>ninguem se contenta da -maneira que sohia</i><a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a>. -<i>Tudo -bem se vai ao fundo</i><a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a>. -He especially deplored the new confusion between -the classes<a name="FNanchor_114_114" id="FNanchor_114_114"></a><a href="#Footnote_114_114" class="fnanchor">[114]</a>. -Shepherd, page and priest all wish to serve the King, that -is, to become an official and to idle for a fixed wage while the land -remained unploughed. The peasants do not know what they want and -<i>murmuram sem entender</i><a name="FNanchor_115_115" id="FNanchor_115_115"></a><a href="#Footnote_115_115" class="fnanchor">[115]</a>. -There is slackness everywhere (<i>todos somos -negligentes</i>)<a name="FNanchor_116_116" id="FNanchor_116_116"></a><a href="#Footnote_116_116" class="fnanchor">[116]</a>. -Portugal was suffering from a crisis similar to that of -four centuries later and men were inclined to leave their professions -in -order to theorize or in the hope of growing rich by a short cut or by -chance instead of by hard, steady work; and the result was a period of -upheaval and disquiet. Vicente suffered like the rest. He had embodied -in his plays the simple pastimes of the Portuguese people, their -delight -in the processions, services and dramatic displays of the Church, in -the -mimicry of the early <i>arremedillos</i>, in the rich -fancy-dress <i>momos</i> which -were an essential element at great festivities. But his drama was not -classical, often it was not drama. Technically he is less dramatic than -Lucas Fernández or Torres Naharro. He defied every rule of -Aristotle -and mingled together the grave and gay, coarse and courtly in a way -faithful to life rather than to any accepted theories of the stage. -While he continued to produce these natural and delightful plays all -kinds of new conditions arose. It was the irony of circumstance that -when the old Portuguese poetry held the field the taste of the Court -for -personal satire and magnificent show could scarcely appreciate at its<span class="pagenum"><a name="Page_xxxvii" id="Page_xxxvii">[Pg xxxvii]</a></span> -true value the lyrical gift of Vicente; and later, after King Manuel's -death, Vicente found himself confronted by a new school in which -classicism carried the day, the long Italian metres superseded the -merry -native <i>redondilha</i> of eight syllables, and the -latinisers began to transform -the language and shuddered like <i>femmes savantes</i> at -Vicente's barbarisms -and uncouth <i>voquibles</i>. His attitude towards his -critics was one of -humility and good humour. It is at least good to know that Vicente -with his <i>redondilhas</i> continued to triumph -personally in his old age and -it was only the hand of death that drove him from the scene. Nor did -he cease to point out abuses: the increase of <i>a falsa mentira</i>, -the corruption -of justice<a name="FNanchor_117_117" id="FNanchor_117_117"></a><a href="#Footnote_117_117" class="fnanchor">[117]</a>, -the greed for money<a name="FNanchor_118_118" id="FNanchor_118_118"></a><a href="#Footnote_118_118" class="fnanchor">[118]</a> -and the growth of luxury<a name="FNanchor_119_119" id="FNanchor_119_119"></a><a href="#Footnote_119_119" class="fnanchor">[119]</a>. -He -pillories the ignorance of pilots<a name="FNanchor_120_120" id="FNanchor_120_120"></a><a href="#Footnote_120_120" class="fnanchor">[120]</a> -by which so many ships were lost now -and later, and he seems to doubt the wisdom of keeping women shut up -like nuns both before<a name="FNanchor_121_121" id="FNanchor_121_121"></a><a href="#Footnote_121_121" class="fnanchor">[121]</a> -and after<a name="FNanchor_122_122" id="FNanchor_122_122"></a><a href="#Footnote_122_122" class="fnanchor">[122]</a> -marriage. If in many respects Vicente -belonged to the Middle Ages, in his curiosity and many-sidedness he was -a true child of the Renaissance. He dabbled in astrology and -witchcraft, -loved music (he wrote tunes for some of his lyrics), poetry, reading, -acting and the goldsmith's art, and maintained his zest in old age: -<i>Mofina Mendes</i> was probably written when he was over -sixty. Attempts -to represent him as a Lutheran reformer, a deep philosopher or an -authority in questions philological fall to the ground. He was a jovial -poet and a keen observer who loved his country, and when he saw its -inhabitants all at sixes and sevens he would willingly have brought -them -back to what he called <i>a boa diligencia</i>.</p> -<h2>III. TYPES SKETCHED IN HIS PLAYS</h2> -<p>In Vicente's notes and sketches of the Portugal of his day we -may -see the master hand of the goldsmith accustomed to set jewels. His -miniatures are so distinct and the types described are so various that -had we no other record of the first third of the sixteenth century in -Portugal we might form a very fair and singularly vivid estimate from -his plays. With a comic poet we have, of course, to be on our guard. -When Vicente introduces the <i>lavrador</i> who steals his -neighbour's land, -is he drawing from life or from Berceo's <i>mal labrador</i> -or from the <i>Danza -de la Muerte</i> (<i>fasiendo furto en la tierra agena</i>) -or from the Bible: 'Cursed -be he that removeth his neighbour's landmark'? When he presents the<span class="pagenum"><a name="Page_xxxviii" id="Page_xxxviii">[Pg xxxviii]</a></span> -poverty-stricken nobleman, the dissipated priest, rustics from Beira, -or negro slaves, for how much does the conventional satire of the day -stand in these portraits and how much is drawn from Nature? Are they -merely literary types? It is obvious that these themes were a great -resource for the satirists of that time but their value to the satirist -lay -in their truth. The sad existence of the poor gentleman and the -splendour -maintained by penniless nobles are all too well attested. As to the -priests, -when we find King Manuel joining with King Ferdinand of Spain in a -protest to the Pope to the effect that the whole of Christendom was -scandalized by the dissolute life of the clergy and by the traffic in -Bulls<a name="FNanchor_123_123" id="FNanchor_123_123"></a><a href="#Footnote_123_123" class="fnanchor">[123]</a>, -and grave ecclesiastics in Spain and friends of grave ecclesiastics, -like -Franco Sacchetti<a name="FNanchor_124_124" id="FNanchor_124_124"></a><a href="#Footnote_124_124" class="fnanchor">[124]</a> -earlier in Italy, using language even more violent than -that of Vicente, we need not doubt the truth of his sketches. He was -perhaps more vivid than the other critics and his satire penetrated -deeply -for the very reason that he was a realist. There was no doubt some -professional -exaggeration in the language of his <i>beirão</i> -rustics, but his sympathy -with the peasants and his wide knowledge of the province of Beira -prove that his object was not merely mockery: <i>zombar da gente -da Beira</i><a name="FNanchor_125_125" id="FNanchor_125_125"></a><a href="#Footnote_125_125" class="fnanchor">[125]</a>. -Many of his types are foreshadowed in the <i>Cancioneiro Geral</i>, -and -especially in the <i>Arrenegos</i> of Gregorio Afonso, of -the household of the -Bishop of Evora: the 'priest who lives like a layman,' 'the gentleman -who has not enough to eat,' 'the man of great estate and small income,' -the <i>preciosos</i>, the <i>borrachas</i>, -the <i>fantasticos</i>, the <i>alcouviteira</i>, -'the peasants -placed in a position of importance.' In developing these figures -Vicente -was always careful to keep close to Nature. Each speaks in his own -language, 'the negro as a negro, the old man as an old man.' This is -carried to such a length that the Spanish Queen in the lament on the -death of King Manuel is made to speak her few lines in Spanish, the -rest -of the poem being in Portuguese<a name="FNanchor_126_126" id="FNanchor_126_126"></a><a href="#Footnote_126_126" class="fnanchor">[126]</a>.</p> -<p>Vicente is not an easy writer because his styles are so many -and his -allusions so local. But we must be infinitely grateful to him for the -way -in which he portrays a type in a few lines and for the fact that -although -they are types they are evidently taken from individuals whom he had -observed and who continue to live for us in his pages. His gallery of -priests is for all time. Frei Paço comes, with his velvet cap -and gilt -sword, 'mincing like a very sweet courtier'; Frei Narciso starves and -studies, tinging his complexion to an artificial yellow in the hope t<span class="pagenum"><a name="Page_xxxix" id="Page_xxxix">[Pg xxxix]</a></span>hat -his hypocritical asceticism may win him a bishopric; the worldly -courtier -monk fences and sings and woos; the Lisbon priest, like his confessor -one of Love's train, fares well on rabbits and sausages and good red -wine, even as the portly pleasure-loving Lisbon canons; the country -priest resembles a kite pouncing on chickens; the ambitious chaplain -accepts the most menial tasks, compared with whom the sporting priest -of Beira is at least pleasantly independent; and there are the -luxurious -hermit, the dissipated village priest who never prayed the hours, the -inconstant monk who had been carrier and carpenter and now wishes -to be unfrocked in order to join more freely in dance and pilgrimage, -the -mad friar Frei Martinho persecuted by dogs and Lisbon <i>gamins</i>, -the ambitious -preacher who glosses over men's sins. If the priests fared well -in this life the satirists were determined that they should not be -equally -fortunate after their death. Vicente's proud Bishop is to be boiled and -roasted, the grasping Archbishop is left perpetually aboiling, the -ambitious Cardinal is to be devoured by dogs and dragons in a den of -lions, while the sensual and simoniacal Pope is to have his flesh torn -with -red-hot iron. And we have—although here Vicente discreetly -went to the -<i>Danza de la Muerte</i> for his satire—the -vainglorious and tyrannical -Emperor, the Duke who had adored himself and the King who had -allowed himself to be adored. There are the careless hedonistic Count -more given to love than to charity or churchgoing, the <i>fidalgo -de raça</i>, -the haughty <i>fidalgo de solar</i> with a page to carry -his chair, the judge -who through his wife accepts bribes from the Jews, the rhetorical -goldsmith, the usurer (<i>onzeneiro</i>) with his heart in -his <i>cassette</i> (<i>arca</i>)<a name="FNanchor_127_127" id="FNanchor_127_127"></a><a href="#Footnote_127_127" class="fnanchor">[127]</a>. -There too the pert servant-girl, the gossiping maidservant, the witch -busy at night over a hanged man at the cross-roads, the faithless wife -of the India-bound <i>lisboeta</i>, the Lisbon old woman -copious in malediction, -her genteel daughter Isabel, the wife who in her husband's -absence only leaves her house to go to church or pilgrimage, the <i>mal -maridada</i> imprisoned by her husband, the peasant bride singing -and -dancing in skirt of scarlet, the woman superstitiously devout, the <i>beata -alcouviteira</i> who would not have escaped the Inquisition had -she been -printed like Aulegrafia in the seventeenth century, lisping gypsies, -the -<i>alcouviteiras</i> Anna and Branca and Brigida, the <i>curandera</i> -with her quack -remedies, the poor farmer's daughter brought to be a Court lady and -still -stained from the winepress, the old woman desirous of a young husband, -the slattern Catherina Meigengra, the market-woman who plays the -<i>pandero</i> in the market-place, the peasant girls with -pretentio<span class="pagenum"><a name="Page_xl" id="Page_xl">[Pg xl]</a></span>us names -coming down to market basket on head from the hills, the shrew Branca -and the timid wife Marta, the two irrepressible Lisbon fishwives, the -voluble <i>saloia</i> who sells milk well watered and -charges cruel prices for -her eggs and other wares, the country priest's greedy 'wife' who eats -the baptism cake and is continually roasting chestnuts, the mystical -ingenuous little shepherdess Margarida who sees visions on the hills, -the -superior daughter of the peasant judge who had once spoken to the King, -the small Beira girl keeping ducks, Lediça the affectedly -ingenuous -daughter of the Jewish tailor, Cezilia of Beira possessed by a familiar -spirit.</p> -<p>Or, again, we have the ceremonious Lisbon lover Lemos, the -high-flown -Castilian of fearful presence and a lion's heart, however threadbare -his -<i>capa</i><a name="FNanchor_128_128" id="FNanchor_128_128"></a><a href="#Footnote_128_128" class="fnanchor">[128]</a>, -the starving gentleman who makes a <i>tostão</i> -(= 5<i>d</i>.) last a month -and dines off a turnip and a crust of bread, another—a -sixteenth century -Porthos—who imagines himself a <i>grand seigneur</i> -and has not a sixpence -to his name but hires a showy suit of clothes to go to the palace, -another -who is an intimate at Court (<i>o mesmo paço</i>) -but who to satisfy a passing -passion has to sell boots and viola and pawn his saddle, the poor -gentleman's -servant (<i>moço</i>) who sleeps on a chest, or is -rudely awakened at -midnight to light the lamp and hold the inkpot while his master writes -down his latest inspiration in his song-book, the incompetent Lisbon -doctors with their stereotyped formulas, the frivolous persons who are -bored by three prayers at church but spend nights and days listening -to <i>novellas</i>, the <i>parvo</i>, -predecessor of the Spanish <i>gracioso</i>, the Lisbon -courtier descended from Aeneas, the astronomer, unpractical in daily -life -as he gazes on the stars, the old man amorous, rose in buttonhole, -playing -on a viola, the Jewish marriage-brokers, the country bumpkin, the lazy -peasant lying by the fire, the poor but happy gardener and his wife, -the -quarrelsome blacksmith with his wife the bakeress, the carriers -jingling -along the road and amply acquainted with the wayside inns, the aspiring -<i>vilão</i>, the peasant who complains bitterly -of the ways of God, the <i>lavrador</i> -with his plough who did not forget his prayers and was charitable to -tramps but skimped his tithes, the illiterate but not unmalicious <i>beirão</i> -shepherd who had led a hard life and whose chief offence was to have -stolen grapes from time to time, the devout bootmaker who had -industriously -robbed the people during thirty years, the card-player -blasphemous as the <i>taful</i> of King Alfonso's <i>Cantigas -de Santa Maria</i>, -the delinquent from Lisbon's prison (the <i>Limoeiro</i>) -whom his confessor -had deceived before his hanging with promises of Paradise, the peasant<span class="pagenum"><a name="Page_xli" id="Page_xli">[Pg -xli]</a></span> -<i>O Moreno</i> who knows the dances of Beira, the negro -chattering in his -pigeon-Portuguese 'like a red mullet in a fig-tree,' the deceitful -negro -expressing the strangest philosophy in Portuguese equally strange, the -rustic clown Gonçalo with his baskets of fruit and capons, who -when his -hare is stolen turns it like a canny peasant to a kind of posthumous -account: <i>leve-a por amor de Deos pola alma de meus finados</i>, -the Jew -Alonso Lopez who had formerly been prosperous in Spain but is now a -poor new Christian cobbler at Lisbon, the Jewish tailor who in the -streets -gives himself <i>fidalgo</i> airs and is overjoyed at the -regard shown him by -officials and who at home sings songs of battle as he sits at his work<a name="FNanchor_129_129" id="FNanchor_129_129"></a><a href="#Footnote_129_129" class="fnanchor">[129]</a>.</p> -<p>In the actions and conversation of this motley crowd of -persons -high and low we are given many a glimpse of the times: the beflagged -ship from India lying in the Tagus, the modest dinner (<i>a -panela cosida</i>) -of the rich <i>lavrador</i>, the supper of bread and wine, -shellfish and cherries -bought in Lisbon's celebrated Ribeira market, the Lisbon Jew's dinner -of kid and cucumber, the distaff bought by the shepherd at Santarem -as a present for his love, the rustic gifts of acorns, bread and bacon, -the shepherdess' simple dowry or the more considerable dowry of a girl -somewhat higher in society (consisting of a loom, a donkey, an orchard, -a mill and a mule), the migratory shepherds' ass, laden with the -milk-jugs -and bells, and with a leathern wallet, yokes and shackles, the -sheepskin -coats of the shepherds, bristling masks for their dogs (as a defence -against wolves), loaves of bread, onions and garlic. Thus in town and -village, palace and attic, house and street, on road and mountain and -sea the Portugal of the early sixteenth century is clearly and -charmingly -conveyed to us, and we can realize better the conditions of Gil -Vicente's -life at Court or as he journeyed on muleback to Evora or Coimbra, -Thomar or Santarem or Almeirim.</p> -<h2>IV. ORIGINALITY AND INFLUENCE</h2> -<p>In 1523 the 'men of good learning' doubted Vicente's -originality. -They might point to the imitations of Enzina or to the resemblance -between the trilogy of <i>Barcas</i> and the <i>Danza -de la Muerte</i> or they m<span class="pagenum"><a name="Page_xlii" id="Page_xlii">[Pg xlii]</a></span>ight -reveal the origin of many a verse and phrase used by Vicente in his -plays and already familiar in the song-books of Spain and Portugal. -Vicente could well afford to let his critics strain at these gnats. He -had -the larger originality of genius and while realizing that 'there is -nothing -new under the sun<a name="FNanchor_130_130" id="FNanchor_130_130"></a><a href="#Footnote_130_130" class="fnanchor">[130]</a>' -he could transform all his borrowings into definite -images or lyrical magic. (There are flashes of poetry even in the -absurd -<i>ensalada</i> of <span class="smcap">III</span>. -323-4.) He was the greatest lyrical poet of his day and, -in a strictly limited sense, the greatest dramatist. He is Portugal's -only -dramatist, without forerunners or successors, for the playwrights of -the -Vicentian school lacked his genius and only attain some measure of -success when they closely copy their master, while the classical school -produced no great drama in Portugal: it is impossible to except even -Antonio Ferreira's <i>Ines de Castro</i> from this -sweeping assertion. But that -is not to say that Vicente stands entirely isolated, self-sufficing and -self-contained. -Genius is never self-sufficing. Talent may live apart in an -ivory palace but genius overflows in many relations, is acted on and -reacts and has the generosity to receive as well as to give. The -influences -that acted upon Gil Vicente were numerous: the Middle Ages and the -humanism of the first days of the Renaissance, the old national -Portugal -with its popular traditions and the new imperial Portugal of the first -third of the sixteenth century, the Bible and the <i>Cancioneiro -de Resende</i>, -the whole literature of Spain and Portugal, the services of the Church, -the book of Nature. But before examining how these influences work -out in his plays it may be well to consider whether their sources may -be -yet further extended.</p> -<p>Court relations between Portugal and France had never entirely -ceased and the 1516 <i>Cancioneiro</i> contains many -allusions to the prevailing -familiarity with things French. But Vicente's genius was not -inspired by the Court: it would be truer to say that, while he was -encouraged by Queen Lianor and the King, the Court's taste for new -things, superficial fashions and personal allusions tended to thwart -his genius. When he introduces a French song in his plays this does -not imply any intimate acquaintance with the lyrical poetry of France<span class="pagenum"><a name="Page_xliii" id="Page_xliii">[Pg xliii]</a></span> -but rather deference to the taste of the Court. He would pick up -words of foreign languages with the same quickness with which he -initiated himself into the way of witch or pilot, fishwife or doctor, -but -we have an excellent proof that his knowledge of neither French nor -Italian was profound. We know how consistently he makes his characters -speak each in his own language. Yet in the <i>Auto da Fama</i>, -whereas the -Spaniard speaks Spanish only, the Frenchman and Italian murder their -own language and eke it out with Portuguese<a name="FNanchor_131_131" id="FNanchor_131_131"></a><a href="#Footnote_131_131" class="fnanchor">[131]</a>. -Vicente read what he -could find to read, but we may be sure that his reading was mainly -confined to Portuguese and Spanish. The very words in his letter to -King João III in which he speaks of his reading are another -echo of -Enzina<a name="FNanchor_132_132" id="FNanchor_132_132"></a><a href="#Footnote_132_132" class="fnanchor">[132]</a>, -and although it cannot be asserted that he was not acquainted -with this or that piece of French literature and with the early French -drama, it may be maintained that whatever influence France exercised -upon him came mainly through Spain, whether the connecting link is -extant, as in the case of the <i>Danza de la Muerte</i>, -or lost, as in that of the -<i>Sumario da Historia de Deos</i>. Probably Vicente knew -of French <i>mystères</i> -little more than the name<a name="FNanchor_133_133" id="FNanchor_133_133"></a><a href="#Footnote_133_133" class="fnanchor">[133]</a>. -As to the literature of Greece, Rome and -Italy the conclusion is even more definite. Vicente had not read -Plautus -or Terence, his knowledge of <i>el gran poeta Virgilio</i> -(<span class="smcap">III</span>. 104) does not -extend beyond the quotation <i>omnia vincit amor</i>. -Aristotle is a name -<i>et praeterea nihil</i>. With the classical tragedy of -Trissino and others he -had nothing in common, and if he lived to read or see Sá de -Miranda's -<i>Cleopatra</i> he probably had his own very marked -opinion as to its value. -Dante was, of course, a closed book to him as to most of his -contemporaries. -With Spanish literature the case is very different. The fourteenth -and fifteenth centuries were the most Spanish period of Portuguese -literature. The <i>Cancioneiro de Resende</i> is nearly as -Spanish as it is -Portuguese. Portuguese poets were, almost without exception, bilingual. -The horsemen stationed to bring the news of the wedding from Seville -to Evora in 1490 were emblematic of the close relations between the -two countries. Men were in continual expectation that they would come -to form one kingdom<a name="FNanchor_134_134" id="FNanchor_134_134"></a><a href="#Footnote_134_134" class="fnanchor">[134]</a>. -King Manuel's infant son was heir to Spain and -Portugal and the empires in Africa and America.</p> -<p>Vicente's close acquaintance with Spanish literature shows -itself at -every turn, and if we examine his plays we find but slight traces of -the -influence of any other literature. His first pieces were written in -Spanish,<span class="pagenum"><a name="Page_xliv" id="Page_xliv">[Pg xliv]</a></span> -and the Spanish is that of Enzina. Lines and phrases are taken bodily -from the Spanish poet and words belonging to the conventional <i>sayagués</i> -(in which there was already a Portuguese element: cf. <i>ollos</i> -for <i>ojos</i>) -placed on the lips of <i>charros</i> by Enzina are -transferred from Salamanca -to Beira. The Enzina eclogues imitated by Vicente were based on those -of Virgil, but in Vicente's imitation there is no vestige of any -knowledge -of the classics. The only Latin that occurs is the quotation by Gil -Terron -of three lines from the Bible. A little later the hungry <i>escudero</i> -of <i>Quem -tem farelos?</i> was in all probability derived from Spanish -literature, either -from the Archpriest of Hita's <i>Libro de Buen Amor</i> or -from some popular -sketch such as that contained later in <i>Lazarillo de Tormes</i> -(1554)<a name="FNanchor_135_135" id="FNanchor_135_135"></a><a href="#Footnote_135_135" class="fnanchor">[135]</a>. -The only French element in the <i>Auto da Fé</i> -is the <i>fatrasie</i> or <i>enselada</i> -'which came from France,' but its text is not given. The classical -allusions to Virgil and the Judgment of Paris in the <i>Auto das -Fadas</i> are -perfectly superficial. A little medical Latin is introduced in the <i>Farsa -dos Fisicos</i>. <i>O Velho da Horta</i>, which -opens with the Lord's Prayer, half -in Latin, half in Portuguese<a name="FNanchor_136_136" id="FNanchor_136_136"></a><a href="#Footnote_136_136" class="fnanchor">[136]</a>, -is written in Portuguese with the exception -of the fragment of song and the lyric <i>¿Cual es la -niña?</i> There is a reference -to Macias, a name which had become a commonplace in Portuguese -poetry as the type of the constant lover. Spanish influence is shown in -the introduction of the <i>alcouviteira</i> Branca Gil, -probably suggested by -Juan Ruiz' <i>trotaconventos</i> or by Celestina. The <i>Exhortação -da Guerra</i> begins -with humorous platitudes, <i>perogrulladas</i>, after the -fashion of Enzina. Gil -Terron has increased his classical lore, and Trojan and Greek heroes -are -brought from the underworld, the <i>dramatis personae</i> -including Polyxena, -Penthesilea, Achilles, Hannibal, Hector and Scipio. The influence of -Enzina is still evident in the <i>Auto da Sibila Cassandra</i>, -the <i>bellíssimo auto</i> -wherein Menéndez y Pelayo saw the first germ of the symbolical -<i>autos</i> in -which Calderón excelled<a name="FNanchor_137_137" id="FNanchor_137_137"></a><a href="#Footnote_137_137" class="fnanchor">[137]</a>, -and in the <i>Auto dos Quatro Tempos</i>. The immediate -influence on the <i>Barcas</i> is plainly Spanish, this -being especially -marked in the <i>Barca da Gloria</i>. When the <i>Diabo</i> -addresses the King:</p> -<blockquote> -<p>Nunca aca senti<br /> -Que aprovechase aderencia<br /> -Ni lisonjas, crer mentiras<br /> -... Ni diamanes ni zafiras (<span class="smcap">i</span>. -285)<br /> -</p> -</blockquote> -<p>he is copying the words of Death in the <i>Danza de la -Muerte</i>:</p> -<blockquote> -<p><span class="pagenum"><a name="Page_xlv" id="Page_xlv">[Pg xlv]</a></span><span style="margin-left: 10.5em;">non es tiempo tal</span><br /> -Que librar vos pueda imperio nin gente<br /> -Oro nin plata nin otro metal<a name="FNanchor_138_138" id="FNanchor_138_138"></a><a href="#Footnote_138_138" class="fnanchor">[138]</a>.<br /> -</p> -</blockquote> -<p>Vicente's Devil taxes the Archbishop with fleecing the poor (<span class="smcap">i</span>. 294) in -much the same words as those of the Spanish Death to the Dean (t. 2, -p. 12). The Devil in the <i>Barca do Purgatorio</i> (<span class="smcap">i</span>. 251) and Death (t. 2, -p. 17) both reproach the <i>labrador</i> with the same -offence: surreptitiously -extending the boundaries of his land. It must be admitted that these -signs of imitation are more direct than the French traces indicated in -the introduction of the 1834 edition of Vicente's works. The whole -treatment of the <i>Barcas</i> closely follows the <i>Danza -de la Muerte</i>. The idea -of a satirical review of the dead is of course nearly as old as -literature. -In the <i>Barca da Gloria</i> Vicente begins to quote -Spanish <i>romances</i><a name="FNanchor_139_139" id="FNanchor_139_139"></a><a href="#Footnote_139_139" class="fnanchor">[139]</a>, -and -this is continued on a larger scale in the <i>Comedia de Rubena</i> -(cf. also the -Spanish songs in the <i>Cortes de Jupiter</i>) and in <i>Dom -Duardos</i>, in which -reference is also made to two Spanish books, Diego de San Pedro's <i>Carcel -de Amor</i> and Hernando Diaz' translation <i>El Pelegrino -Amador</i><a name="FNanchor_140_140" id="FNanchor_140_140"></a><a href="#Footnote_140_140" class="fnanchor">[140]</a>. -Maria -Parda's will was probably suggested rather by such burlesque testaments -as that of the dying mule in the <i>Cancioneiro de Resende</i> -than by the -<i>Testament de Pathelin</i>. The criticism of the <i>homens -de bom saber</i> seems to -have turned Vicente to more peculiarly Portuguese themes in the <i>Farsa -de Ines Pereira</i> and the <i>Auto Pastoril Portugues</i>, -and in the <i>Fragoa de -Amor</i>, written for the new Queen from Spain, he presents -national types: -<i>serranas</i>, pilgrims, nigger, monk, idiot. In the <i>Ciganas</i> -we have a passing -reference to 'the white hands of Iseult,' a lady already well known in -Spanish and Portuguese literature. <i>Dom Duardos</i> is -of course based -entirely on a Spanish romance of chivalry. In <i>O Juiz da Beira</i> -he returns -to the <i>escudeiro</i> and <i>alcouviteira</i>; -the figures are, however, thoroughly -Portuguese with the exception of a new Christian from Castille. The -title of the <i>Nao de Amores</i> already existed in -Spanish literature<a name="FNanchor_141_141" id="FNanchor_141_141"></a><a href="#Footnote_141_141" class="fnanchor">[141]</a>. -After -this we have a group of thoroughly Portuguese plays, those presented -at Coimbra, the anticlerical <i>Auto da Feira</i>, the <i>Triunfo -do Inverno</i>, <i>O -Clerigo da Beira</i>. It is not till <i>Amadis de Gaula</i> -that Vicente again has -recourse to Spanish literature<a name="FNanchor_142_142" id="FNanchor_142_142"></a><a href="#Footnote_142_142" class="fnanchor">[142]</a>, -and we may be sure that if he had known -of a Portuguese text he would have written his drama in Portuguese.</p> - -<p>Although Vicente owed much to Spanish literature we have only -to<span class="pagenum"><a name="Page_xlvi" id="Page_xlvi">[Pg xlvi]</a></span> -compare his plays with those of Juan del Enzina or Bartolomé -de Torres -Naharro, or his first attempts with his later dramas to realize his -genius -and originality. The variety of his plays is very striking and the -farce -<i>Quem tem farelos?</i> (1508?), the patriotic <i>Exhortação</i> -(1513), the <i>Barca</i> -trilogy (1517-9), the religious <i>Auto da Alma</i> -(1518), the three-act -<i>Comedia de Rubena</i> (1521), the character comedy <i>Farsa -de Ines Pereira</i> -(1523), the idyllic <i>Dom Duardos</i> (1525?) mark new -departures in the -development of his genius. No doubt his plays are 'totally unlike any -regular plays and rude both in design and execution<a name="FNanchor_143_143" id="FNanchor_143_143"></a><a href="#Footnote_143_143" class="fnanchor">[143]</a>.' -Vicente divided -them into religious plays (<i>obras de devaçam</i>), -farces, comedies and tragicomedies, -but the kinds overlap and there is nothing to separate some -of the comedies and tragicomedies from the farces, while some of the -farces are religious both in subject and occasion. How artificial the -division was may be seen from the rubric to the <i>Barca do -Inferno</i>, -which informs us that the play is counted among the religious plays -because the second and third parts (<i>Barca do Purgatorio</i> -and <i>Barca da -Gloria</i>) were represented in the Royal Chapel, although this -first part -was given in the Queen's chamber, as though the subject and treatment -of the three plays were not sufficient to class them together. Again, -the -rubric of the <i>Romagem de Aggravados</i> runs: 'The -following tragicomedy is -a satire.' Really only its length separates it from the early farces. Vicente's plays were a development of the earlier Christmas, -Holy -Week and Easter <i>representaciones</i>, religious shows -to which special -pomp was given at King Manuel's Court. When he began to write the -classical drama was unknown and it is absurd to judge his work by the -Aristotelean theory of the unities of time and place. His idea of drama -was not dramatic action nor the development of character but realistic -portrayal of types and the contrast between them. His first piece, <i>Auto -da Visitaçam</i>, has not even dialogue—its -alternative title is <i>O Monologo -do Vaqueiro</i>—and for comic element it relies on the -contrast between -Court and country as shown by the herdsman's gaping wonder. The -<i>Auto Pastoril Castelhano</i> contains six shepherds and -contrasts the -serious mystical Gil with his ruder companions.</p> -<p>The action of the <i>Auto dos Reis Magos</i> is -as simple as that of the two -preceding plays. <i>Quem tem farelos?</i> however is a -quite new development. -'The argument,' says the rubric, 'is that a young squire called Aires -Rosado played the viola and although his salary [as one of the Court] -was -very small he was continually in love.' He is contrasted with another -penniless <i>escudeiro</i> who gives himself martial airs -and willingly speaks of -the heroic deeds of Roncesvalles, but runs away if two cats begin to -fight. -Only five persons appear o<span class="pagenum"><a name="Page_xlvii" id="Page_xlvii">[Pg xlvii]</a></span>n -the stage, but with considerable skill Vicente -enlarges the scene so as to include a vivid picture of the second -squire -as described by his servant as well as the barking of dogs, mewing of -cats and crowing of cocks and the conversation of Isabel with Rosado, -which is conjectured from his answers. No doubt the two <i>moços</i> -owe -something to Sempronio and Parmeno of the <i>Celestina</i>, -but this first -farce is thoroughly Portuguese and gives us a concrete and living -picture of Lisbon manners. Not all the farces have this unity. The -<i>Auto das Fadas</i> loses itself in a long series of -verses addressed to the -Court. The <i>Farsa dos Fisicos</i> has no such extraneous -matter: it confines -itself to the lovelorn priest and the contrast between the four -doctors. -The <i>Comedia do Viuvo</i> is not a farce and only a -comedy by virtue of -its happy ending. A merchant of Burgos laments the death of his wife -and is comforted by a kindly priest and by a friend who wishes that his -own wife were as the merchant's (the simple mediaeval contrast common -in Vicente). Meanwhile Don Rosvel, Prince of Huxonia, has fallen in -love with both the daughters of the merchant, whom he agrees to serve -in all kinds of manual labour as Juan de las Brozas. His brother, Don -Gilberto, arrives in search of him and a quaintly charming and -technically -skilful play ends with a double wedding (the Crown Prince of Portugal, -present at the acting of this play, had to decide for Don Rosvel which -daughter he should marry).</p> -<p>The <i>Auto da Fama</i> is Vicente's second great -hymn to the glory of -Portugal. Portuguese Fame, in the person of a humble girl of Beira, is -envied and wooed in vain by Castille, France and -Italy—England and -Holland were then scarcely in the running—and narrates in -ringing verses -the deeds of the Portuguese in the East, without, however, mentioning -the -great name of Albuquerque, a name which inspired many of the courtiers -with more fear than affection. The <i>Auto dos Quatro Tempos</i> -is a pastoral-religious -play, the main theme being, as its title indicates, a contrast -between the four seasons. David appears as a shepherd and Jupiter also -takes a considerable part in the conversation. Action there is none.</p> -<p>Vicente's satirical vein found excellent occasion in the -ancient theme -of scrutinizing the past lives of men as Death reaps them, high and -low, -but his profoundly religious temperament raises the <i>Barcas</i> -into an atmosphere -of sublime if gloomy splendour, which is surpassed in the <i>Auto -da Alma</i>, the most perfect and consistent of his religious -plays—even the -symbolical character of the latter part can hardly be called a defect. -In -the <i>Comedia de Rubena</i> the development of Vicente's -art is perhaps more -superficial than real. It is divided into three long scenes or acts and -is thus -more like a regular comedy than his other plays. The acts, however, are -isolated, the action occupies fifteen years and occurs in Castille, -Lisbon -and Crete. English readers of the play must be struck by its resembla<span class="pagenum"><a name="Page_xlviii" id="Page_xlviii">[Pg xlviii]</a></span>nce -to <i>Pericles, Prince of Tyre</i>. Written fifty-five -years before Lawrence -Twine's <i>The Patterne of Painful Adventures</i> (1576) -and eighty-seven -before George Wilkins and William Shakespeare produced their play -(1608), the <i>Comedia de Rubena</i> is in fact a link in -a long chain beginning -in a lost fifth century Greek romance concerning Apollonius of Tyre and -continued after Gil Vicente's death in Timoneda's <i>Tarsiana</i> -and in -<i>Pericles</i>. Vicente, however, in all probability did -not derive his Cismena, -cold and chaste predecessor of Marina, from the <i>Gesta -Romanorum</i> or the -<i>Libro de Apolonio</i> but from the version in John -Gower's <i>Confessio Amantis</i>, -of which a translation, as we know, was early available in Portugal. -After -an exclusively Court piece, the <i>Cortes de Jupiter</i>, -Vicente wrote the <i>Farsa -de Ines Pereira</i>, in which there is more action and -development of -character than in his preceding, or indeed his subsequent, plays. He -represents the aspirations and repentance of Ines, the 'very flighty -daughter of a woman of low estate.' Despite the warnings of her -sensible -mother she rejects the suit of simple and uncouth Pero Marques for that -of a gentleman (<i>escudeiro</i>) whose pretensions are far -greater than his -possessions. The mother gives them a house and retires to a small -cottage. But the <i>escudeiro</i> married confirms the -wisdom of the Sibyl -Cassandra (<span class="smcap">i</span>. 40). He -keeps his wife shut up 'like a nun of Oudivellas.' -The windows are nailed up, she is not allowed to leave the house even -to go to church. Thus the hopes and ambitions of Ines Pereira de -Grãa -are tamed, although she was never a shrew<a name="FNanchor_144_144" id="FNanchor_144_144"></a><a href="#Footnote_144_144" class="fnanchor">[144]</a>. -Presently, however, the -<i>escudeiro</i> resolves to cross over to Africa to win -his knighthood:</p> -<blockquote> -<p><span style="margin-left: 5.5em;">ás -partes dalem</span><br /> -Vou me fazer cavaleiro,<br /> -</p> -</blockquote> -<p>and he leaves his wife imprisoned in their house, the key -being entrusted -to the servant (<i>moço</i>). Ines, singing at her -work, is declaring that if ever -she have to choose another husband <i>on ne m'y prendra plus</i> -when a letter -arrives from her brother announcing that her husband, as he fled from -battle towards Arzila, had been killed by a Moorish shepherd. The -faithful Pero Marques again presses his suit. He is accepted and is -made -to suffer the whims and infidelity of the emancipated Ines. The -question -of women's rights was a burning one in the sixteenth century.</p> -<p>Vicente's versatility enabled him to laugh at his critics to -the end of -the chapter. In <i>Dom Duardos</i> he gave them an -elaborate and very successful -dramatization of a Spanish romance of chivalry. The treatment -has both unity and lyrical charm. It was so successful that the -experiment -was repeated in 1533 with the earlier romance of <i>Amadis de -Gaula</i><span class="pagenum"><a name="Page_xlix" id="Page_xlix">[Pg xlix]</a></span> -(1508), out of which Vicente wrought an equally skilful but less -fascinating -play<a name="FNanchor_145_145" id="FNanchor_145_145"></a><a href="#Footnote_145_145" class="fnanchor">[145]</a>. -But Vicente had not given up writing farces and the -sojourn of Ines Pereira's husband in town enables the author to -introduce -various Lisbon types in <i>O Juiz da Beira</i>. It indeed -completely resembles -the early farces, while the <i>Auto da Festa</i> with its -peasant scene and -allegorical <i>Verdade</i> is of the <i>Auto da -Fé</i> type but adds the theme of the -old woman in search of a husband. The <i>Templo de Apolo</i>, -composed for -a special Court occasion, shows no development, but in the <i>Sumario</i> -we -have a fuller religious play than he had hitherto written. It proves, -like -<i>Dom Duardos</i>, his power of concentration and his -skill in seizing on and -emphasizing essential points in a long action (the period here covered -is -from Adam to Christ<a name="FNanchor_146_146" id="FNanchor_146_146"></a><a href="#Footnote_146_146" class="fnanchor">[146]</a>). -It is closely moulded on the Bible and contains, -besides an exquisite <i>vilancete</i> (<i>Adorae -montanhas</i>), passages of noble poetry -and soaring fervour—Eve's invocation to Adam:</p> -<blockquote> -<p>Ó como os ramos do nosso pomar<br /> -Ficam cubertos de celestes rosas (<span class="smcap">i</span>. -314);<br /> -</p> -</blockquote> -<p>Job's lament 'Man that is born of woman' (<span class="smcap">i</span>. 324); the paraphrase or -rather translation of 'I know that my Redeemer liveth' (<span class="smcap">i</span>. 322). Nothing -here, surely, to warrant the complaints of Sá de Miranda as to -the -desecration of the Scriptures. This play was followed by the <i>Dialogo -sobre a Ressurreiçam</i> by way of epilogue; it is a -conversation between -three Jews and is treated in the cynical manner that Browning brought -to similar scenes. The <i>Sumario</i> or <i>Auto da -Historia de Deos</i> was acted -before the Court at Almeirim and must have won the sincere admiration -of the devout João III. If the courtiers were less favourably -impressed -they were mollified by the splendid display of the <i>Nao de -Amores</i> with -its much music, its Prince of Normandy and its miniature ship fully -rigged. Vicente was now fighting an uphill battle and in the <i>Divisa -da -Cidade de Coimbra</i> he attempted a task beyond the strength of -a poet -and more suitable for a sermon such as Frei Heitor Pinto preached on -the same subject: the arms of the city of Coimbra. Even Vicente could -not make this a living play; it is, rather, a museum of antiquities and -ends with praises of Court families. It is pathetic to find the merry -satirist reduced to admitting (in the argument of this play) that -merely -farcical farces are not very refined. Yet we would willingly give the -whole play for another brief farce such as <i>Quem tem farelos?</i>:</p> -<blockquote> -<p><span style="margin-left: 7em;">Ya sabeis, -senhores,</span><br /> -Que toda a comedia começa em dolores,<br /> -E inda que toque cousas lastimeiras<br /> -Sabei que as farças todas chocarreiras<br /> -Não sam muito finas sem outros primores (<span class="smcap">ii</span>. -108).<br /> -</p> -</blockquote> -<p><span class="pagenum"><a name="Page_l" id="Page_l">[Pg l]</a></span></p> -<p>Fortunately he returned to the plain farce in <i>Os -Almocreves</i>, the <i>Auto da -Feira</i> and <i>O Clerigo da Beira</i> (which, -however, ends with a series of -Court references) with all his old wealth of satire, touches of comedy -and vivid portraiture. He also returned to the pastoral play in the -<i>Serra da Estrella</i>, while his exquisite lyrism -flowers afresh in the -<i>Triunfo do Inverno</i>, a tragicomedy which is really a -medley of farces. -It is not a great drama but it is a typical Vicentian piece, combining -vividly sketched types with a splendid lyrical vein. Winter, that -banishes -the swallows and swells the voice of ocean streams, first triumphs -on hills and sea and then Spring comes in singing the lovely lyric <i>Del -rosal vengo</i> in the Serra de Sintra. The play ends on a -serious and mystic -note, for Spring's flowers wither but those of the holy garden of God -bloom without fading:</p> -<blockquote> -<p>E o santo jardim de Deos<br /> -Florece sem fenecer.<br /> -</p> -</blockquote> -<p>The <i>Auto da Lusitania</i> is divided into two -parts, the first of which is -complete in itself and gives a description of a Jewish household at -Lisbon, while the second is a medley which contains the celebrated -scene of Everyman and Noman: Everyman seeks money, worldly -honour, praise, life, paradise, lies and flattery; Noman is for -conscience, -virtue, truth. In the <i>Romagem de Aggravados</i> the -fashionable and -affected Court priest, Frei Paço, is the connecting link for a -series of -farcical scenes in which a peasant brings his son to become a priest, -two noblemen discourse on love, two fishwives lament the excesses of -the courtiers, Cerro Ventoso and Frei Narciso betray their mounting -ambition, civil and ecclesiastic, the poor farmer Aparicianes implores -Frei Paço to make a Court lady of his slovenly daughter, two -nuns -bewail their fate and two shepherdesses discuss their marriage -prospects. -The <i>Auto da Mofina Mendes</i> is especially celebrated -because Mofina -Mendes, personification of ill-luck, with her pot of oil is the -forerunner -of La Fontaine's <i>Pierrette et son pot au lait</i>: it -was perhaps suggested to -Vicente by the tale of Doña Truhana's pot of honey in <i>El -Conde Lucanor</i>; -the theme of counting one's chickens before they are hatched also forms -the subject of one of the <i>pasos</i>, entitled <i>Las -Aceitunas</i>, of the goldbeater -of Seville, Lope de Rueda<a name="FNanchor_147_147" id="FNanchor_147_147"></a><a href="#Footnote_147_147" class="fnanchor">[147]</a>. -Vicente's piece consists, like some picture of -El Greco, of a <i>gloria</i>, called, as Rueda's scenes, a -<i>passo</i>, in which appear -the Virgin and the Virtues (Prudence, Poverty, Humility and Faith) an<span class="pagenum"><a name="Page_li" id="Page_li">[Pg -li]</a></span>d -an earthly shepherd scene. It is thus a combination of farce and -religious -and pastoral play. Vicente's last play, the <i>Floresta de -Enganos</i>, is composed -of scenes so disconnected that one of them is even omitted in the -summary given after the first deceit: that in which a popular -traditional -theme, derived directly or indirectly from a French (perhaps originally -Italian) source, <i>Les Cent Nouvelles Nouvelles</i>, is -presented, akin to that -so piquantly narrated by Alarcón in <i>El Sombrero de -Tres Picos</i> in the -nineteenth century, the judge playing the part of the Corregidor and -the -malicious and sensible servant-girl that of the miller's wife.</p> -<p>In these last plays we see little or no advance: there is no -attempt -at unity or development of plot. We cannot deny that the creator -of the penniless-splendid nobleman and the mincing courtier-priest -and the author of such touches as the death of Ines' husband or -the sudden ignominious flight of the judge possessed a true vein of -comedy, but he remained to the end not technically a great dramatist -but a wonderful lyric poet and a fascinating satirical observer of -life. -His influence was felt throughout the sixteenth and seventeenth -centuries -in Portugal, by Camões and in the plays of Chiado, Prestes and -a score of -less celebrated dramatists, as well as in a considerable number of -anonymous -plays, but confined itself to the <i>auto</i>, which, -combated by the -followers of the classical drama and the Latin plays of the Jesuits, -soon -tended to deteriorate and lose its charm. In Spain his influence would -seem -to have been more widely felt, which is not surprising when we remember -how many of his plays were Spanish in origin or language<a name="FNanchor_148_148" id="FNanchor_148_148"></a><a href="#Footnote_148_148" class="fnanchor">[148]</a>. -We may be -sure that Lope de Rueda was acquainted with his plays and that several -of them were known to Cervantes—the servant Benita insisting -on telling -her simple stories to her afflicted mistress is Sancho Panza to the -life:</p> -<blockquote> -<p><i>Benita.</i> Diz que era un escudero....<br /> -<br /> -<i>Rubena.</i> O quien no fuera nacida:<br /> -¿Viendome salir la vida<br /> -Paraste a contar patrañas?<br /> -<br /> -<i>Benita.</i> Pues otra sé de un carnero....<br /> -</p> -</blockquote> -<p>Lope de Vega was likewise certainly familiar with some of -Vicente's -plays. If we consider these passages in <i>El Viaje del Alma</i>, -the <i>representación -moral</i> contained in <i>El Peregrino en su Patria</i> -(1604), we must be -convinced that the trilogy of <i>Barcas</i>, the <i>Auto -da Alma</i>, and perhaps the -<i>Nao de Amores</i> were not unknown to him:</p> -<blockquote> -<p>Alma para Dios criada<br /> -Y hecha a imagen de Dios, etc.;<br /> -Hoy la Nave del deleite<br /> -Se quiere hacer a la mar:<br /> -¿Hay quien se quiera embarcar?;<br /> -Esta es la Nave donde cabe<br /> -Todo contento y placer<a name="FNanchor_149_149" id="FNanchor_149_149"></a><a href="#Footnote_149_149" class="fnanchor">[149]</a>.<br /> -</p> -</blockquote> -<p>The alleged imitation by Calderón in <i>El -Lirio y la Azucena</i> is perhaps -more doubtful. Vicente was already half forgotten in Calderon's day. -In the artificial literature of the eighteenth century he suffered -total -eclipse although Correa Garção was able to appreciate -him, nor need we -see any direct influence in that of the nineteenth<a name="FNanchor_150_150" id="FNanchor_150_150"></a><a href="#Footnote_150_150" class="fnanchor">[150]</a> -except that on Almeida -Garrett: the similar passages in Goethe's <i>Faust</i> and -Cardinal Newman's -<i>Dream of Gerontius</i> were no doubt purely accidental. -Happily, however, -we are able to point to a certain influence of the great national poet -of -Portugal on some of the Portuguese poets of the twentieth century. The -promised edition of his plays will increase this influence and render -him -secure from that neglect which during three centuries practically -deprived -Portugal and the world of one of the most charming and inspired of the -world's poets.</p> -<div class="footnotes"> -<h3>FOOTNOTES:</h3> -<div class="footnote"> -<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> -<i>Falamos do nosso Shakespeare, de Gil Vicente</i> (A. -Herculano, <i>Historia da Inquisição -em Portugal</i>, ed. 1906, vol. <span class="smcap">I.</span> -p. 223). The references throughout are to the Hamburg -3 vol. 1834 edition.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> -See infra <i>Bibliography</i>, p. <a href="#Page_86">86</a>, -Nos. <a href="#Bibliography_42">42</a>, <a href="#Bibliography_62">62</a>, <a href="#Bibliography_79">79</a>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> -<i>Bibliography</i>, Nos. -<a href="#Bibliography_21">21</a>, -<a href="#Bibliography_24">24</a>, -<a href="#Bibliography_25">25</a>, -<a href="#Bibliography_26">26</a>, -<a href="#Bibliography_30">30</a>, -<a href="#Bibliography_51">51</a>, -<a href="#Bibliography_52">52</a>, -<a href="#Bibliography_59">59</a>, -<a href="#Bibliography_89">89</a>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> -<i>Bibliography</i>, Nos. <a href="#Bibliography_29">29</a>, -<a href="#Bibliography_48">48</a>, -<a href="#Bibliography_57">57</a>, -<a href="#Bibliography_66">66</a>, -<a href="#Bibliography_83">83</a>, -<a href="#Bibliography_95">95</a>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> -<i>Bibliography</i>, Nos. <a href="#Bibliography_53">53</a>, -<a href="#Bibliography_73">73</a>, -<a href="#Bibliography_82">82</a>, -<a href="#Bibliography_88">88</a>, -<a href="#Bibliography_97">97</a>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> -<i>Bibliography</i>, Nos. <a href="#Bibliography_44">44</a>, -<a href="#Bibliography_84">84</a>, -<a href="#Bibliography_90">90</a>, -<a href="#Bibliography_101">101</a>, -<a href="#Bibliography_102">102</a>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> -Guerra Junqueiro, <i>Os Simples</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> -Cf. André de Resende, <i>Gillo auctor et actor</i>. -(For the accurate text of this passage see -C. Michaëlis de Vasconcellos, <i>Notas Vicentinas</i>, -I. p. 17.)</p> -</div> -<div class="footnote"> -<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> -<i>Os livros das obras que escritas vi</i> (Letter of G. V. -to King João III).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> -'E assi mandou de Castella e outras partes vir muitos ouriveis para -fazerem arreos e -outras cousas esmaltadas.' (Garcia de Resende, <i>Cronica del -Rei D. João II</i>, cap. 117.)</p> -</div> -<div class="footnote"> -<p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> -<i>Bibliography</i>, Nos. <a href="#Bibliography_70">70</a>, -<a href="#Bibliography_71">71</a>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> -He argues that Vicente was not old enough to be King Manuel's tutor, -but in other -passages he is clearly in favour of the date 1460 or 1452. He is born -'considerably before' -1470 (<i>Revista de Historia</i>, t. 21, p. 11), in 1460? (<i>ib.</i> -p. 27), in 1452? (<i>ib</i>. pp. 28, 31, and -t. 22, p. 155), 'about 1460' (t. 22, p. 150), he is from two to seven -years younger than King -Manuel, born in 1469 (t. 21, p. 35). He is nearly 80 in 1531 (<i>ib</i>. -p. 30). His marriage is placed -between 1484 and 1492, preferably in the years 1484-6 (<i>ib</i>. -p. 35).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> -Gil Terron in the same year is <i>alegre y bien asombrado</i> -(I. 12).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> -Cf. <i>Nao de Amores</i> (1527), <i>Viejo, vuestro -mundo es ido</i>, and II. 478 (1529).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> -See A. Braamcamp Freire in <i>Revista de Historia</i>, t. -26, p. 123.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> -<i>Grandes baxillas y pedraria</i> (<i>Canc. Geral</i>, -vol. III. (1913), p. 57).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> -Cf. <i>Canc. Geral</i>, vol. I. (1910), p. 259: -</p> -<blockquote> -<p>Vejam huns autos Damado,<br /> -Huũ judeu que foi queimado<br /> -No rressyo por seu mal.<br /> -</p> -</blockquote> -</div> -<div class="footnote"> -<p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> -There is a slight confusion. The 'second night of the birth' of the -rubric may mean -the night following that of the birth (June 6-7), i.e. the evening of -June 7, or the second -night <i>after</i> the birth, i.e. the evening of June 8; -but the former is the more probable.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> -Damião de Goes, <i>Chronica do felicissimo Rey Dom -Emanuel</i>, Pt I. cap. 69.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> -See A. Braamcamp Freire in <i>Revista de Historia</i>, -vol. XXII. (1917), p. 124 and <i>Critica e -Historia</i>, vol. I. (1910), p. 325; Brito Rebello, <i>Gil -Vicente</i> (1902), p. 106-8.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> -<i>Antología de poetas líricos castellanos</i>, -t. 7, p. clxiii.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> -<i>Orígenes de la Novela</i>, t. 3, p. cxlv.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> -<i>Antol.</i> t. 7, p. clxvi.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> -<i>Ib.</i> p. clxxvi.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> -<i>Ib.</i> p. clxiv.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> -Especially that of Garcia de Resende, who in one verse (185) of his <i>Miscellanea</i> -mentions the goldsmiths and in the next verse the plays of Gil Vicente.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> -<i>Bibliography</i>, No. <a href="#Bibliography_45">45</a>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> -Cf. his earlier studies, in favour of identity, with his later works, -maintaining -cousinhood.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> -Cf. <i>Obras</i>, I. 154 (Jupiter is the god of precious -stones), I. 93, 286; II. 38, 46, 47, -210, 216, 367, 384, 405; III. 67, 70, 86, 296, etc. Cf. passages in the -<i>Auto da Alma</i> and -especially the <i>Farsa dos Almocreves</i>. Vicente -evidently sympathizes with the goldsmith to -whom the <i>fidalgo</i> is in debt, and if the poet took -the part of <i>Diabo</i> in the <i>Auto da Feira</i> -(1528) the following passage gains in point if we see in it an allusion -to the debts of courtiers -to him as goldsmith: -</p> -<blockquote> -<p>Eu não tenho nem ceitil<br /> -E bem honrados te digo<br /> -E homens de muita renda<br /> -Que tem divedo comigo (I. 158).</p> -</blockquote> -</div> -<div class="footnote"> -<p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> -The MS. note by a sixteenth century official written above the document -appointing -Gil Vicente to the post of <i>Mestre da Balança</i> -should be conclusive as to the identity of poet -and goldsmith: <i>Gil V<sup>te</sup> trouador mestre -da balança</i> -(<i>Registos da Cancellaria de D. Manuel</i>, -vol. XLII. f. 20 v. in the <i>Torre do Tombo</i>, Lisbon).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> -Garcia de Resende († 1536) was of opinion that it -had no -rival in Europe: -</p> -<blockquote> -<p><span style="margin-left: 6em;">nam ha outra -igual</span><br /> -na Christamdade no meu ver.<br /> -<br /> -(<i>Miscellanea</i>, v. 281, ed. Mendes dos Remedios -(1917), p. 97.)<br /> -</p> -</blockquote> -<p> -It contained 5000 <i>moradores</i> (<i>ibid.</i>). -In the days of King Duarte (1433-8) the number was -3000.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> -Cf. the dedication of <i>Dom Duardos</i> (<i>folha -volante</i> of the Bib. Municipal of Oporto, -N. 8. 74) to Prince João: 'Como quiera Excelente Principe y -Rey mui poderoso que las -Comedias, Farças y Moralidades que he compuesto en servicio de -la Reyna vuestra tia....'</p> -</div> -<div class="footnote"> -<p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> -The date 1509 is not barred by the reference to the <i>Sergas de -Esplandian</i>, which -certainly existed in an earlier edition than the earliest we now -possess (1510). A certain -Vasco Abul had given a girl at Alenquer a chain of gold for dancing a <i>ballo -vylam ou -mourysco</i> and could not get it back from the <i>gentil -bayladeyra</i>. Gil Vicente contributes -but a few lines: <i>O parecer de gil vycente neste proceso de -vasco abul á rraynha dona lianor</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> -It is absurd to argue that during the years of his chief activity as -goldsmith he had -not time to produce the sixteen plays that may be assigned to the years -1502-17.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> -<i>Gil Vicente</i> (1912), p. 11-13.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> -The dates in the rubrics are given in Roman figures and the alteration -from MDV to -MDIX is very slight.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> -Cf. Bartolomé Villalba y Estaña, <i>El -Pelegrino Curioso y Grandezas de España</i> -[printed from MS. of last third of sixteenth century]. <i>Bibliófilos -Españoles</i>, t. 23, 2 t. -1886, 9, t. 2, p. 37: 'Almerin, un lugar que los reyes de Portugal -tienen para el ynvierno, -con un bosque de muchas cabras, corzos y otros generos de caza.'</p> -</div> -<div class="footnote"> -<p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> -See A. Braamcamp Freire in <i>Revista de Historia</i>, -vol. <span class="smcap">XXII</span>. p. 129.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> -A. Braamcamp Freire in <i>Rev. de Hist</i>. vol. <span class="smcap">XXII</span>. p. 133-4.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> -Luis Anriquez in <i>Canc. Geral</i>, vol. <span class="smcap">III</span>. (1913), p. 106.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> -See <i>Rev. de Hist.</i> vol. <span class="smcap">XXII</span>. -p. 122; vol. <span class="smcap">XXIV</span>. p. -290.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> -E.g. the words <i>ahotas</i> and <i>chapado</i> -and the expression <i>en velloritas</i> (<span class="smcap">I</span>. 41), cf. Enzina, -<i>Egloga</i> <span class="smcap">I</span>.: -<i>ni estaré ya tendido en belloritas</i> = in -clover, lit. in cowslips: <i>belloritas de jacinto</i> -(<i>Egl.</i> <span class="smcap">III</span>.).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> -A. Braamcamp Freire in <i>Rev. de Hist.</i> vol. <span class="smcap">XXIV</span>. p. 290.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> -There are, however, several such psalms in the works of Enzina.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> -Cf. <span class="smcap">I</span>. 85: <i>huele -de dos mil maneras</i> with Enzina, <i>Egloga</i> <span class="smcap">II</span>: <i>y ervas de dos mil -maneras</i>. -In the <i>Auto da Alma</i>, probably written about this -time, there are imitations of Gomez -Manrique (<i>c.</i> 1415-90). Cf. the passage in the <i>Exhortação</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> -That the illness of the Queen would not prevent the entertainment is -proved by -the fact that in the month before her death King Manuel was present at -a fight between -a rhinoceros and an elephant in a court in front of Lisbon's India -House. We do not -know if Vicente was present nor what he thought of this new thing.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> -In December 1517 El Bachiller de la Pradilla published some verses in -praise of <i>la -muy esclarecida Señora Infanta Madama Leonor, Rey[na] de -Portugal</i> (v. Menéndez y -Pelayo, <i>Antología</i>, t. 6, p. cccxxxviii).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> -He argues that such a form as MD & viii was never used and must -be a misprint -for MDxviii.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> -Cf. also the resemblance of certain passages in the <i>Auto da -Alma</i> and in the <i>Auto da -Barca da Gloria</i> (1519). They must strike any reader of the -two plays.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> -Goes, <i>Chronica</i>, <span class="smcap">IV</span>. -34.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> -Garcia de Resende, <i>Hida da Infanta Dona Beatriz pera Saboya</i> -in <i>Chronica...del -Rey Dom Ioam II</i>, ed. 1752, f. 99 <span class="smcap">V</span>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> -Gil Vicente, <i>Á morte del Rei D. Manuel</i> (<span class="smcap">III</span>. 347).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> -Gil Vicente, <i>Romance</i> (<span class="smcap">III</span>. -350).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> -Goes says generally that King Manuel <i>foi muito inclinado a -letras e letrados</i> (<i>Chronica</i>, -1619 ed., f. 342. <i>Favebat plurimum literis</i>, says -Osorio, <i>De rebus</i>, 1561, p. 479).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> -<span class="smcap">II</span>. 4: <i>Foi -feita ao muito poderoso e nobre Rei D. João III. sendo -principe, era de MDXXI</i> -(rubric of <i>Comedia de Rubena</i>).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> -<span class="smcap">II</span>. 364. Although 'good -wine needs no bush' the custom of hanging a branch above -tavern doors still prevails.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> -A. Braamcamp Freire in <i>Rev. de Hist.</i> vol. <span class="smcap">XXII</span>. p. 162.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> -<i>Id. ib.</i> vol. <span class="smcap">XXIV</span>. -p. 307. It is astonishing how slight errors in the rubrics of Vicente's -plays have been permitted to survive, just as Psalm LI, of which -Vicente perhaps at about -this time wrote a remarkable paraphrase, still appears in all editions -of his works as Ps. L.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> -<i>Ib.</i> vol. <span class="smcap">XXIV</span>. -p. 312-3.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> -Th. Braga, <i>Historia da Litteratura Portuguesa. <span class="smcap">II</span>. </i><i>Renascença</i> -(1914), p. 85.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> -J. I. Brito Rebello, <i>Gil Vicente</i> (1902), p. 64.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> -H. Thomas, <i>The Palmerin Romances</i> (London, 1916), p. -10-12.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> -M. Menéndez y Pelayo, <i>Antología</i>, -t. 7, p. cci; <i>Oríg. de la Novela</i>, I. -cclxvii: <i>toda la -pieza es un delicioso idilio</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> -<i>Rev. de Hist.</i> vol. <span class="smcap">XXIV</span>. -p. 315.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> -It should be noted that the lines in <i>Dom Duardos</i> (<span class="smcap">II</span>. 212): -</p> -<blockquote> -<p>Consuelo vete de ahi<br /> -No perdas tiempo conmigo<br /> -</p> -</blockquote> -<p> -are from the song in the <i>Comedia de Rubena</i> (1521): -</p> -<blockquote> -<p>Consuelo vete con Dios (<span class="smcap">II</span>. -53).</p> -</blockquote> -</div> -<div class="footnote"> -<p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> -Cf. <i>O Clerigo da Beira: não fazem bem [na corte] -senão a quem menos faz</i> (<span class="smcap">III</span>. -320); -<i>Auto da Festa: os homens verdadeiros não são -tidos nũa palha</i>, etc.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> -<i>Vejo minha morte em casa</i> say the verses to the Conde -de Vimioso; <i>La muerte puesta a -mis lados</i> says the <i>Templo de Apolo</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> -<i>Auto da Natural Invençam</i> (Lisboa, 1917), -pp. 64, 65, 68, 69, 70, 88, 89.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> -<i>Este nome pos-lho o vulgo</i> (<span class="smcap">III</span>. -4). Cf. the title <i>Os Almocreves</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> -<i>Rol dos livros defesos</i> (1551) ap. C. -Michaëlis de Vasconcellos, <i>Notas Vicentinas</i>, -<span class="smcap">i.</span>. -p. 31. We might assume that the second part of <i>O Clerigo da -Beira</i> (<span class="smcap">III</span>. -250-9) was printed -separately under the title <i>Auto de Pedreanes</i> but -for the words <i>por causa das matinas</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> -<i>Ib.</i> p. 30-1.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> -The probability is shown by the fact that the idea of their identity -had occurred to me -before reading the same suggestion made by Snr Braamcamp Freire in the <i>Revista -de Historia</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> -See <i>Notas Vicentinas</i>, <span class="smcap">I</span>. -(1912). The <i>Auto da Feira</i> answers in some respects -to Cardinal -Aleandro's description of the <i>Jubileu de Amores</i>, -and Rome (the Church, not the city) might -conceivably have been crowned with a Cardinal's hat, but Aleandro's -letter refutes this -suggestion: <i>uno principal che parlava ... fingeasi Vescovo</i>. -Rome in the <i>Auto da Feira</i> (<span class="smcap">I</span>. -162) -is a <i>senhora</i>. One can only say that the <i>Auto -da Feira</i> may perhaps have been adapted -for the occasion, with an altered title, Spanish being added, to suit -the foreign audience.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> -<i>E como sempre isto guardasse Este mui leal autor Até -que Deos enviasse O Principe -nosso senhor Nam quis que outrem o gozasse</i> (<span class="smcap">III</span>. 276).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> -The familiarity with which the Nuncio is treated would be more suitable -if he was the -Portuguese D. Martinho de Portugal, but then the date would have to be -after 1527.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> -Cf. <span class="smcap">II</span>. 343: <i>Salga -esotra ave de pena ... Son perdices</i> and <i>Auto da -Festa</i>, p. 101. The latter -text is corrupt (<i>penitas</i> for <i>peitas</i>, -and <i>cousas fritas</i> has ousted the required rhyme <i>juizes</i>).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> -The line <i>nega se m'eu embeleco</i> occurs here and in -the <i>Serra da Estrella</i> (1527). Arguments -as to date from such repetitions are not entirely groundless. Cf. <i>com -saudade -suspirando</i> (<i>Cortes de Jupiter</i>, 1521) and <i>sam -suspiros de saudade</i> (<i>Pranto de Maria Parda</i>, -1522); <i>Que dirá a vezinhança?</i> <span class="smcap">III</span>. 21 (1508-9), <i>A -vezinhança que dirá?</i> <span class="smcap">III</span>. -34 (1509); <i>Ó demo -que t'eu encomendo</i>, <span class="smcap">III</span>. -99 (1511), <i>Ó diabo que t'eu encomendo</i>, <span class="smcap">II</span>. 362 (1513). The <i>Exhortação</i> -(1513), which has passages similar to those in the <i>Farsa de -Ines Pereira</i> (1523) and the <i>Pranto -de Maria Parda</i> (1522), probably became a kind of national -anthem and was touched up for -each performance. Curiously, the mention of <i>a pedra d'estrema</i> -in the <i>Pranto</i> and in the -<i>Auto da Festa</i> might correspond to a first (1521) and -second (1525) revision of the <i>Exhortação</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> -The very success of his plays incited emulation. A play written in -Latin, <i>Hispaniola</i>, -was acted at the Portuguese Court before his death (Gallardo, ap. Sousa -Viterbo, <i>A Litt. -Hesp. em Portugal</i> (1915), p. xxiv).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> -See A. Braamcamp Freire in <i>Rev. de Hist.</i> vol. <span class="smcap">XXIV</span>. p. 331.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> -Francisco Alvarez arrived at the Court at Coimbra in the late summer of -1527 and -he says: <i>nam se tardou muito que el Rey nosso senhor se -partisse com sua corte via dalmeirim. -Verdadeira Informaçam</i> (1540), modern reprint, p. 191.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> -<i>Rev. de Hist.</i> vol. <span class="smcap">XXV</span>. -p. 89.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> -According to Snr Braamcamp Freire this play must be assigned to the -months -between September 1529 and February 1530.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> -O mandei a V. A. por escrito até lhe Deos dar descanso e -contentamento... pera que -por minha arte lhe diga o que aqui falece (III. 388).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> -In this letter, written in the very year of the first Bull for the -introduction of the -Inquisition into Portugal, Vicente uses the expression 'May I be burnt -if.'</p> -</div> -<div class="footnote"> -<p><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a> -The line <i>A quien contaré mis quejas</i> (<span class="smcap">II</span>. 147) is repeated from the <i>Trovas</i> -addressed -to King João in 1527. It is taken from a poem by the -Marqués de Astorga printed in the -<i>Cancionero General</i> (1511): -</p> -<blockquote> -<p><span style="margin-left: -0.5em;">¿A -quien contaré mis quexas</span><br /> -Si a ti no?<br /> -</p> -</blockquote> -<p> -Cf. <i>Comedia de Rubena</i> (<span class="smcap">II</span>. -6): <i>¿A quien contaré mi pena?</i> The -comical rôle of the Justiça -Maior may have been taken by Garcia de Resende, who added acting to his -other accomplishments. -He was 66, and he died at Evora in this year.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> -See A. Braamcamp Freire in <i>Rev. de Hist.</i> vol. <span class="smcap">XXVI</span>. p. 122-3.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a> -From Gil Vicente's epitaph written by himself.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a> -Garcia de Resende (1470-1536), <i>Miscellanea</i>, 1752 -ed., f. 113.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> -André de Resende, <i>Genethliacon Principis Lusitani</i> -(1532), ap. C. Michaëlis de -Vasconcellos, <i>Notas Vicentinas</i>, <span class="smcap">I</span>. (1912), p. 17.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a> -<i>Chronica do fel. Rey Dom Emanvel</i>, Pt <span class="smcap">IV</span>. cap. 84 (1619 ed., f. 341): -Trazia continuadamente -na sua corte choquarreiros castelhanos, com os motes & ditos -dos quaes folgaua, -nam porque gostasse tanto do q̃ diziam como o fazia das -dissimuladas reprehensões [<i>jocis -perstringere mores</i>] q̃ com geitos e palauras -trocadas dauam aos moradores de sua casa -fazendolhes conhecer as manhas, viços & modos que -tinhão, de que se muitos tirauam & emmendauam, -tomando o q̃ estes truães diziam com graças -por espelho do que aviam de fazer.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a> -<i>Auto da Cananea</i> (1534).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> -<i>Auto da Lusitania.</i></p> -</div> -<div class="footnote"> -<p><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98"><span class="label">[98]</span></a> -<i>Sermão</i> (<span class="smcap">III</span>. -346).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a> -<i>Carta</i> (<span class="smcap">III</span>. -388).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_100_100" id="Footnote_100_100"></a><a href="#FNanchor_100_100"><span class="label">[100]</span></a> -<i>Auto da Mofina Mendes</i> (<span class="smcap">I</span>. -120, 121).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_101_101" id="Footnote_101_101"></a><a href="#FNanchor_101_101"><span class="label">[101]</span></a> -<i>Auto da Cananea</i> (<span class="smcap">I</span>. -365).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_102_102" id="Footnote_102_102"></a><a href="#FNanchor_102_102"><span class="label">[102]</span></a> -<i>Sumario da Historia de Deos</i> (<span class="smcap">I</span>. -338).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_103_103" id="Footnote_103_103"></a><a href="#FNanchor_103_103"><span class="label">[103]</span></a> -<span class="smcap">I</span>. 69. His own knowledge -of the Bible was extensive and he often follows it closely, -e.g. <i>Auto da Sibila Cassandra</i> (<span class="smcap">I</span>. 47, 48 = Genesis i.).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_104_104" id="Footnote_104_104"></a><a href="#FNanchor_104_104"><span class="label">[104]</span></a> -<span class="smcap">III</span>. 337, 338. His -quarrel with the monks was that they did not serve the State. Cf. -<i>Fragoa de Amor</i> (<span class="smcap">II</span>. -345); <i>Exhortação da Guerra</i> (<span class="smcap">II</span>. 367).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105"><span class="label">[105]</span></a> -Cf. the passage in the <i>Sumario da Historia de Deos</i> -in which Abraham complains that -men worship stocks and stones and have no knowledge of God, <i>criador -dos spiritos, eternal -spirito</i> (<span class="smcap">I</span>. -326).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_106_106" id="Footnote_106_106"></a><a href="#FNanchor_106_106"><span class="label">[106]</span></a> -<span class="smcap">III</span>. 284. A critic -upbraided Wordsworth for saying that his heart danced with the -daffodils—no doubt Southey's 'my bosom bounds' was more -poetical—yet Shakespeare -and Vicente had used the phrase before him.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_107_107" id="Footnote_107_107"></a><a href="#FNanchor_107_107"><span class="label">[107]</span></a> -<i>Carta</i> (<span class="smcap">III</span>. -388).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_108_108" id="Footnote_108_108"></a><a href="#FNanchor_108_108"><span class="label">[108]</span></a> -<i>Cortes de Jupiter</i> (<span class="smcap">II</span>. -405).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a> -<i>Romagem de Aggravados</i> (<span class="smcap">II</span>. -507).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_110_110" id="Footnote_110_110"></a><a href="#FNanchor_110_110"><span class="label">[110]</span></a> -The preparation of his plays for the press was, he says, a burden in -his old age. Some -of the plays had been acted in more than one year, others had been -composed years before -they were acted, others had been printed separately. Hence the -uncertainty of some of -the rubric dates.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_111_111" id="Footnote_111_111"></a><a href="#FNanchor_111_111"><span class="label">[111]</span></a> -<i>Triunfo do Inverno</i> (1529), <span class="smcap">II</span>. -447.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_112_112" id="Footnote_112_112"></a><a href="#FNanchor_112_112"><span class="label">[112]</span></a> -<i>Romagem de Aggravados</i> (1533), <span class="smcap">II</span>. -524-5.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_113_113" id="Footnote_113_113"></a><a href="#FNanchor_113_113"><span class="label">[113]</span></a> -<i>Auto Pastoril Portugues</i> (1523), <span class="smcap">I</span>. 129.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_114_114" id="Footnote_114_114"></a><a href="#FNanchor_114_114"><span class="label">[114]</span></a> -<i>Farsa dos Almocreves</i> (1527), <span class="smcap">III</span>. -219.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_115_115" id="Footnote_115_115"></a><a href="#FNanchor_115_115"><span class="label">[115]</span></a> -<i>Triunfo do Inverno</i> (1529), <span class="smcap">II</span>. -487.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_116_116" id="Footnote_116_116"></a><a href="#FNanchor_116_116"><span class="label">[116]</span></a> -<i>Auto da Feira</i> (1528), <span class="smcap">I</span>. -175.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_117_117" id="Footnote_117_117"></a><a href="#FNanchor_117_117"><span class="label">[117]</span></a> -See the <i>Fragoa de Amor</i> and the <i>Auto da -Festa</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_118_118" id="Footnote_118_118"></a><a href="#FNanchor_118_118"><span class="label">[118]</span></a> -<span class="smcap">iii</span>. 289 (1532).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_119_119" id="Footnote_119_119"></a><a href="#FNanchor_119_119"><span class="label">[119]</span></a> -<span class="smcap">ii</span>. 363 (as early as -1513).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_120_120" id="Footnote_120_120"></a><a href="#FNanchor_120_120"><span class="label">[120]</span></a> -<span class="smcap">ii</span>. 467-75.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_121_121" id="Footnote_121_121"></a><a href="#FNanchor_121_121"><span class="label">[121]</span></a> -<span class="smcap">iii</span>. 122.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_122_122" id="Footnote_122_122"></a><a href="#FNanchor_122_122"><span class="label">[122]</span></a> -<span class="smcap">iii</span>. 148 (cf. <span class="smcap">i</span>. 40, <span class="smcap">iii</span>. -41).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_123_123" id="Footnote_123_123"></a><a href="#FNanchor_123_123"><span class="label">[123]</span></a> -Goes, <i>Chronica do fel. Rey Dom Emanvel</i>, Pt <span class="smcap">i</span>. cap. 33 (1619 ed., f. 20).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_124_124" id="Footnote_124_124"></a><a href="#FNanchor_124_124"><span class="label">[124]</span></a> -E.g. <i>Novella</i> 35: sotto apparenza onesta di -religione ogni vizio di gola, di lussuria e -degli altri, como loro appetito desidera, sanza niuno mezzo usano; <i>Novella</i> -36: hanno meno -discrezione che gli animali irrazionali.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_125_125" id="Footnote_125_125"></a><a href="#FNanchor_125_125"><span class="label">[125]</span></a> -<i>Auto da Festa</i>, ed. 1906, p. 115.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_126_126" id="Footnote_126_126"></a><a href="#FNanchor_126_126"><span class="label">[126]</span></a> -Vicente, who could write such pure and idiomatic Portuguese, often used -peculiar -Spanish, not perhaps so much from ignorance as from a wish to make the -best of both -languages. Thus he uses the personal infinitive and makes words rhyme -which he must -have known could not possibly rhyme in Spanish, e.g. <i>parezca</i> -with <i>cabeza</i> (Portug. <i>pareça</i>—<i>cabeça</i>). -So <i>mucho</i> rhymes with <i>fruto</i>, <i>demueño</i> -with <i>sueño</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_127_127" id="Footnote_127_127"></a><a href="#FNanchor_127_127"><span class="label">[127]</span></a> -The miser, <i>o verdadeiro avaro</i> (<span class="smcap">iii</span>. 287), is barely mentioned. -Perhaps Vicente felt -that he would have been too much of an abstract type, not a living -person.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_128_128" id="Footnote_128_128"></a><a href="#FNanchor_128_128"><span class="label">[128]</span></a> -The boastful Spaniard appears (in Goethe's <i>Italienische Reise</i>) -in the Rome Carnival -at the end of the eighteenth century.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_129_129" id="Footnote_129_129"></a><a href="#FNanchor_129_129"><span class="label">[129]</span></a> -There are abundant signs of the cosmopolitanism of Lisbon: A Basque and -a Castilian -tavernkeeper, a Spanish seller of vinegar and a red-faced German friar -are mentioned, -while Spaniards, Jews, Moors, negroes, a Frenchman, an Italian are -among Vicente's -<i>dramatis personae</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_130_130" id="Footnote_130_130"></a><a href="#FNanchor_130_130"><span class="label">[130]</span></a> -It is very curious to find echoes of Enzina in Vicente's apparently -quite personal -prose as well as in his poetry. <i>No ay cosa que no -esté dicha</i>, says Enzina, and Vicente -repeats the wise quotation and imitates the whole passage. Enzina -addressing the Catholic -Kings speaks of himself as <i>muy flaca para navegar por el gran -mar de vuestras alabanzas</i>. -Vicente similarly speaks of 'crowding more sail on his poor boat.' -Enzina, in his dedication -to Prince Juan, mentions, like Vicente, <i>maliciosos</i> -and <i>maldizientes</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_131_131" id="Footnote_131_131"></a><a href="#FNanchor_131_131"><span class="label">[131]</span></a> -In this play the French <i>tais-toi</i> is written <i>tétoi</i>. -In an age of few books such phonetic -spelling must have been common. It has been suggested that the <i>vair</i> -(grey) of early -French poetry was mistaken for <i>vert</i> (green). The -green eyes of the heroines in Portuguese -literature from the <i>Cancioneiro da Vaticana</i> to -Almeida Garrett would thus be based not -on reality but, like Cinderella's glass slippers, on a confusion of -homonyms (see Alfred -Jeanroy, <i>Origines de la poésie lyrique en France</i>, -p. 329).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_132_132" id="Footnote_132_132"></a><a href="#FNanchor_132_132"><span class="label">[132]</span></a> -See his <i>Arte de Poesía Castellana</i>, ap. -Menéndez y Pelayo, <i>Antología</i>, t. -5, p. 32.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_133_133" id="Footnote_133_133"></a><a href="#FNanchor_133_133"><span class="label">[133]</span></a> -<i>Os autos de Gil Vicente resentem-se muito dos Mysterios -franceses</i>. This was, in 1890, -the opinion of Sousa Viterbo (<i>A Litteratura Hespanhola em -Portugal</i> (1915), p. ix), but -surely Menéndez y Pelayo's view is more correct.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_134_134" id="Footnote_134_134"></a><a href="#FNanchor_134_134"><span class="label">[134]</span></a> -In Resende's <i>Miscellanea</i> the line <i>nõ -hos quer deos jũtos ver</i> (1917 ed., p. 16) reads in -the 1752 ed., f. 105 v. <i>ja hos quer</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_135_135" id="Footnote_135_135"></a><a href="#FNanchor_135_135"><span class="label">[135]</span></a> -Cf. <i>Tratado tercero: llevandolo a la boca -començó a dar en el tan fieros bocados</i> -(1897 -ed., p. 50) and <i>Quem tem farelos?: e chanta nelle bocado coma -cão</i> (i. 7).</p> -</div> -<div class="footnote"> -<p><a name="Footnote_136_136" id="Footnote_136_136"></a><a href="#FNanchor_136_136"><span class="label">[136]</span></a> -The <i>Canc. Geral</i> has a <i>Pater noster -grosado por Luys anrryquez</i>, vol. <span class="smcap">iii</span>. -(1913), p. 87.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_137_137" id="Footnote_137_137"></a><a href="#FNanchor_137_137"><span class="label">[137]</span></a> -<i>Antología</i>, t. 7, pp. clxxii, clxxiv.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_138_138" id="Footnote_138_138"></a><a href="#FNanchor_138_138"><span class="label">[138]</span></a> -<i>Antología</i>, t. 2, p. 6.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_139_139" id="Footnote_139_139"></a><a href="#FNanchor_139_139"><span class="label">[139]</span></a> -<span class="smcap">i</span>. 298. <i>Vuelta -vuelta los Franceses</i> from the <i>romance Domingo era -de Ramos, la Pasion -quieren decir</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_140_140" id="Footnote_140_140"></a><a href="#FNanchor_140_140"><span class="label">[140]</span></a> -<i>Comedia de Rubena</i>, <span class="smcap">ii</span>. -40. The earliest known edition of the Spanish version of -Jacopo Caviceo's <i>Il Pellegrino</i> (1508) is dated 1527 -but that mentioned in Fernando -Colón's catalogue (no. 4147) was no doubt earlier. In 1521 -Vicente can already bracket -the Spanish translation with the popular <i>Carcel de Amor</i> -printed in 1492, and indeed it -ran to many editions. Its full title was <i>Historia de los -honestos amores de Peregrino y -Ginebra.</i> Valdés (<i>Dialogo de la Lengua</i>) -ranks <i>El Pelegrino</i> as a translation with -Boscán's -version of <i>Il Cortegiano: estan mui bien romançados</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_141_141" id="Footnote_141_141"></a><a href="#FNanchor_141_141"><span class="label">[141]</span></a> -E.g. the <i>Nao de Amor</i> of Juan de Dueñas.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_142_142" id="Footnote_142_142"></a><a href="#FNanchor_142_142"><span class="label">[142]</span></a> -The Everyman-Noman theme in the <i>Auto da Lusitania</i> -is, like that of <i>Mofina Mendes</i>, -common to many countries and old as the hills.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_143_143" id="Footnote_143_143"></a><a href="#FNanchor_143_143"><span class="label">[143]</span></a> -Henry Hallam, <i>Introduction to the Literature of Europe</i> -(Paris, 1839), vol. <span class="smcap">i</span>. -p. 206.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_144_144" id="Footnote_144_144"></a><a href="#FNanchor_144_144"><span class="label">[144]</span></a> -Cf. the story <i>del mancebo que casó con una mujer muy -fuerte et muy brava</i> in Don -Juan Manuel's <i>El Conde Lucanor</i> (<i>c.</i> -1535). Shakespeare's <i>The Taming of the Shrew</i> was -written exactly a century after <i>Ines Pereira</i>; the -anonymous <i>Taming of a Shrew</i> in 1594.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_145_145" id="Footnote_145_145"></a><a href="#FNanchor_145_145"><span class="label">[145]</span></a> -The author of a sixteenth century Spanish play published in <i>Biblióf. -Esp.</i> t. 6 (1870) -declares that, in order to write it, he has 'trastornado todo <i>Amadis</i> -y la <i>Demanda del -Sancto Grial</i> de pe a pa.' The result, according to the -colophon, is 'un deleitoso jardin -de hermosas y olientes flores,' a description which would better suit a -Vicente-play.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_146_146" id="Footnote_146_146"></a><a href="#FNanchor_146_146"><span class="label">[146]</span></a> -Cf. the twelfth century <i>Représentation d'Adam</i>. -The <i>Sumario</i> has 18 figures. The <i>Auto -da Feira</i> has 22, but over half of these consist of a group of -peasants from the hills.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_147_147" id="Footnote_147_147"></a><a href="#FNanchor_147_147"><span class="label">[147]</span></a> -<i>Obras</i> (1908), t. 2, p. 217-24.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_148_148" id="Footnote_148_148"></a><a href="#FNanchor_148_148"><span class="label">[148]</span></a> -The anonymous <i>Tragicomedia Alegórica del Paraiso y -del Inferno</i> (Burgos, 1539) -followed hard upon his death. It is not the work of Vicente, who, -although in his Spanish -he used <i>allen</i>, would not have translated <i>nas -partes de alem</i> into an African town: <i>en Allen</i>.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_149_149" id="Footnote_149_149"></a><a href="#FNanchor_149_149"><span class="label">[149]</span></a> -<i>3a impr.</i> (Madrid, 1733), p. 35; -p. 37 (the 1733 text has <i>Oi</i> and <i>Ai</i>); -p. 39.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_150_150" id="Footnote_150_150"></a><a href="#FNanchor_150_150"><span class="label">[150]</span></a> -As late as 1870 Dr Theophilo Braga could say 'Nobody now studies -Vicente' (<i>Vida -de Gil Vicente</i>, p. 59).</p> -</div> -</div> -<p><span class="pagenum"><a name="Page_lii" id="Page_lii">[Pg lii]</a></span></p> -<div class="cover"> -<p><span style="font-size: 250%; line-height: 125%;">COPILACAM</span><br /> -<span style="font-size: 200%; line-height: 125%;">DE -TODALAS OBRAS</span><br /> -<span style="font-size: 150%; line-height: 125%;">DE GIL -VICENTE, A QVAL SE</span><br /> -reparte em cinco Liuros. O Primeyro he de todas suas<br /> -cousas de deuaçam. O segundo as Comedias. O terceyro<br /> -as Tragicomedias. No quarto as Farsas.<br /> -No quinto, às obras<br /> -meudas.<br /> -(;)<br /> -</p> -<p>¶Vam emmendadas polo Sancto Officio,<br /> -como se manda no Cathalogo<br /> -deste Regno.<br /> -¶<br /> -</p> -<p>¶Foy impresso em a muy nobre & sempre leal -Cidade -de Lixboa, por Andres Lobato.<br /> -Anno de M. D. Lxxxyj<br /> -<br /> -<small>¶Foy visto polos Deputados da Sancta -Inquisiçam</small><br /> -<br /> -COM PRIVILEGIO REAL.<br /> -(⁂)<br /> -<br /> -<span class="pilcrow">¶</span>E la -taxado em papel a reis</p> -</div> -<p class="center">TITLE-PAGE OF THE SECOND (1586) EDITION -OF GIL VICENTE'S WORKS</p> -<div class="center"> <a id="frontispiece2" name="frontispiece2"></a> -<img src="images/image-lii.png" alt="Facsimile of title-page of the second edition (1586)" title="Facsimile of title-page of the second edition (1586)" /></div> -<hr style="width: 65%;" /> -<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> -<h1><a name="AUTO_DA_ALMA" id="AUTO_DA_ALMA"></a>AUTO -DA ALMA<a title="endnote" href="#Endnote_1_0" class="enanchor">[n]</a></h1> -<blockquote> -<p>L'Angel di Dio mi prese e quel d' Inferno<br /> -Gridava: O tu dal Ciel, perchè mi privi?<br /> -<span style="margin-left: 12em;"><span class="smcap">Dante</span>, -<i>Purg.</i> v.</span><br /> -</p> -</blockquote> -<table class="translated"> -<tbody> -<tr class="justify"> -<td><i>Auto da Alma</i>.</td> -<td class="justify"><i>The Soul's Journey.</i></td> -</tr> -<tr> -<td class="justify"> -Este auto presente foy feyto aa -muyto deuota raynha dona Lianor & -representado ao muyto poderoso & -nobre Rey dom Emmanuel, seu yrmão, -por seu mandado, na cidade de Lisboa -nos paços da ribeyra em a noyte de -endoenças. Era do Senhor de M.D. -& viij<a name="FNanchor_151_151" id="FNanchor_151_151"></a><a href="#Footnote_151_151" class="fnanchor">[151]</a>. -</td> -<td class="justify"> -<i>This play was written for the very -devout Queen Lianor and played before -the very powerful and noble King -Manuel, her brother, by his command, -in the city of Lisbon at the Ribeira -palace on the night of Good Friday in -the year 1508.</i> -</td> -</tr> -<tr> -<td class="justify">Argvmento.</td> -<td class="justify"><i>Argument.</i></td> -</tr> -<tr> -<td class="justify"> -Assi como foy cousa muyto necessaria -auer nos caminhos estalagens -pera repouso & refeyçam dos cansados -caminhantes, assi foy cousa conveniente -que nesta caminhante vida ouuesse -hũa estalajadeyra para refeição & -descanso -das almas que vam caminhantes -pera a eterna morada<a name="FNanchor_152_152" id="FNanchor_152_152"></a><a href="#Footnote_152_152" class="fnanchor">[152]</a> -de Deos. Esta -estalajadeyra das almas he a madre -sancta ygreja, a mesa he o altar, os -mãjares as insignias da payxã. E -desta perfiguraçã<a name="FNanchor_153_153" id="FNanchor_153_153"></a><a href="#Footnote_153_153" class="fnanchor">[153]</a> -trata a obra seguinte. -</td> -<td class="justify"> -<i>As it was very necessary that there -should be inns upon the roads for -the repose and refreshment of weary -wayfarers, so it was fitting that in this -transitory life there should be an innkeeper -for the refreshment and rest of -the souls that go journeying to the everlasting -abode of God. This innkeeper -of souls is the Holy Mother Church, the -table is the altar, the fare the emblems -of the Passion. And this allegory -is the theme of the following play.</i> -</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Está posta hũa mesa cõ -hũa cadeyra: -vẽ a madre sancta ygreja cõ seus -quatro doctores, Sancto Thomas, Sam -Hieronymo, Sancto Ambrosio, Sancto -Agostinho, & diz Agostinho.</td> -<td>(<i>A table laid, with a chair. The -Holy Mother Church comes with her -four doctors, St Thomas, St Jerome, -St Ambrose and St Augustine, who -says:</i>)</td> -</tr> -<tr> -<td><span class="smcap">Agost.</span> -Necessario foy, amigos,<br /> -que nesta triste carreyra<br /> -desta vida<br /> -pera os mui perigosos perigos<br /> -dos immigos<a title="textual variant" href="#Variantnote_1_1" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_1_1" class="enanchor">[n]</a><br /> -ouuesse algũa maneyra<br /> -de guarida.<br /> -Porque a humana transitoria<br /> -natureza vay cansada<br /> -<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> -em varias calmas<br /> -nesta carreyra da gloria<br /> -meritoria<br /> -foi necessario pensada<a title="textual variant" href="#Variantnote_1_2" class="tvanchor">[v]</a><br /> -pera as almas.<br /> -<span class="pilcrow">¶</span> -Pousada com mantimentos,<a title="textual variant" href="#Variantnote_1_3" class="tvanchor">[v]</a><br /> -mesa posta em clara luz,<br /> -sempre esperando,<br /> -com dobrados mantimentos<br /> -dos tormentos<br /> -que o filho de Deos na Cruz<br /> -comprou penando.<br /> -Sua morte foy auença,<br /> -dando, por darnos parayso,<br /> -a sua vida<br /> -apreçada sem detença,<a title="textual variant" href="#Variantnote_1_4" class="tvanchor">[v]</a><br /> -por sentença<br /> -julgada a paga em prouiso<br /> -& recebida.<br /> -<span class="pilcrow">¶</span> Ha sua -mortal empresa<br /> -foy sancta estalajadeyra<br /> -ygreja madre<br /> -consolar aa sua despesa<br /> -nesta mesa<br /> -qualquer alma caminheyra<br /> -com ho padre<br /> -e o anjo custodio ayo.<br /> -Alma que lhe he encomendada<br /> -se enfraquece<br /> -& lhe vay tomando rayo<br /> -de desmayo<br /> -se chegando a esta pousada<a title="textual variant" href="#Variantnote_1_6" class="tvanchor">[v]</a><br /> -se guarece.</td> -<td><i>St Aug.</i> Friends, 'twas of necessity <span class="poetrynumber"><a id="linenumber_1_1" name="linenumber_1_1"></a>1</span><br /> -That upon the gloomy way<br /> -Of this our life<br /> -Some sure refuge there should be<br /> -From the enemy<br /> -And dread dangers that alway<br /> -Therein are rife.<br /> -Since man's spirit migratory <span class="poetrynumber"><a id="linenumber_1_2" name="linenumber_1_2"></a>2</span><br /> -In the journey to its goal<br /> -Is oft oppressed,<br /> -Weary in this transitory<br /> -Path to glory,<br /> -An inn was needed for the soul<br /> -To stay and rest.<br /> -An inn provided with its fare, <span class="poetrynumber"><a id="linenumber_1_3" name="linenumber_1_3"></a>3</span><br /> -In clear light a table spread<br /> -Expectantly,<br /> -And laden with a double share<br /> -Of torments rare<br /> -That the Son of God, His life-blood shed,<br /> -Bought on the Tree.<br /> -Since by the covenant of His death <span class="poetrynumber"><a id="linenumber_1_4" name="linenumber_1_4"></a>4</span><br /> -He gave, to give us Paradise,<br /> -Even His life,<br /> -Unwavering He rendereth<br /> -For us His breath,<br /> -Paying the full required price<br /> -Free from all strife.<br /> -His work as man was to enable <span class="poetrynumber"><a id="linenumber_1_5" name="linenumber_1_5"></a>5</span><br /> -Our Mother Church thus to console,<br /> -Innkeeper lowly,<br /> -And minister at this very table,<br /> -Most serviceable,<br /> -Unto every wayfaring soul,<br /> -With the Father Holy<br /> -And its Guardian Angel's care. <span class="poetrynumber"><a id="linenumber_1_6" name="linenumber_1_6"></a>6</span><br /> -The soul to her protection given<br /> -If, weak with sin<br /> -And yielding almost to despair,<br /> -It onward fare<br /> -And to reach this inn have striven,<br /> -Finds health within.</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Vẽ o anjo custodio cõ a -alma &<br /> -diz.<br /> -<span class="smcap"></span></td> -<td> -(<i>The Guardian Angel comes with the<br /> -Soul and says</i>:)</td> -</tr> -<tr> -<td><span class="smcap">Anjo.</span> <span class="pilcrow">¶</span> -Alma -humana formada<a title="endnote" href="#Endnote_1_7" class="enanchor">[n]</a><br /> -de nenhũa cousa feyta<br /> -muy preciosa,<br /> -de corrupçam separada,<br /> -& esmaltada<br /> -naquella fragoa perfeyta<br /> -gloriosa;<br /> -<span class="pilcrow">¶</span> planta -neste valle posta<br /> -pera dar celestes flores<br /> -olorosas<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span><br /> -& pera serdes tresposta<br /> -em a alta costa<br /> -onde se criam primores<br /> -mais que rosas;<br /> -planta soes & caminheyra,<a title="endnote" href="#Endnote_1_9" class="enanchor">[n]</a><br /> -que ainda que estais vos his<br /> -donde viestes;<br /> -vossa patria verdadeyra<br /> -he ser herdeyra<br /> -da gloria que conseguis,<br /> -anday prestes.<br /> -<span class="pilcrow">¶</span> Alma -bemauenturada,<br /> -dos anjos tanto querida,<br /> -nam durmais,<br /> -hum punto nam esteis parada,<br /> -que a jornada<br /> -muyto em breue he fenecida<br /> -se atentais.</td> -<td><i>Angel</i>. Human soul, by God created <span class="poetrynumber"><a id="linenumber_1_7" name="linenumber_1_7"></a>7</span><br /> -Out of nothingness yet wrought<br /> -As of great price,<br /> -From corruption separated,<br /> -Sublimated,<br /> -To glorious perfection brought<br /> -By skilled device;<br /> -Plant that in this valley growest <span class="poetrynumber"><a id="linenumber_1_8" name="linenumber_1_8"></a>8</span><br /> -Flowers celestial for to give<br /> -Of fairest scent,<br /> -<span class="smcap"></span>Hence to that high -hill thou goest<br /> -Where thou knowest<br /> -Even than roses graces thrive<br /> -More excellent.<br /> -Plant wayfaring, since thy spirit, <span class="poetrynumber"><a id="linenumber_1_9" name="linenumber_1_9"></a>9</span><br /> -Scarce staying, to its first origin<br /> -Must still begone,<br /> -Thy true country is to inherit<br /> -By thy merit<br /> -That glory that thou mayest win:<br /> -O hasten on.<br /> -Soul that art thus trebly blest <span class="poetrynumber"><a id="linenumber_1_10" name="linenumber_1_10"></a>10</span><br /> -By such angels' love attended,<br /> -Sink not asleep,<br /> -Nor one instant pause nor rest,<br /> -Thou journeyest<br /> -On a way that soon is ended<br /> -If watch thou keep.</td> -</tr> -<tr> -<td><span class="smcap">Alma</span>. -Anjo que soes minha -guarda<br /> -Olhay por minha fraqueza<br /> -terreal:<br /> -de toda a parte aja resguarda<br /> -que nam arda<br /> -a minha preciosa riqueza<br /> -principal.<br /> -<span class="pilcrow">¶</span> -Cercayme sempre oo redor<br /> -porque vin muy temerosa<br /> -da contenda:<br /> -Oo precioso defensor,<br /> -meu favor,<br /> -vossa espada lumiosa<br /> -me defenda.<br /> -<span class="pilcrow">¶</span> Tende -sempre mão em mim<br /> -porque ey medo de empeçar<br /> -& de cayr.</td> -<td><i>Soul</i>. Guardian angel, o'er me still <span class="poetrynumber"><a id="linenumber_1_11" name="linenumber_1_11"></a>11</span><br /> -Keep thy ward that am so frail<br /> -And of the earth,<br /> -On all sides thy watch fulfil<br /> -That nothing kill<br /> -My true wealth nor e'er prevail<br /> -O'er its high worth.<br /> -Ever encompass me and shield, <span class="poetrynumber"><a id="linenumber_1_12" name="linenumber_1_12"></a>12</span><br /> -For this conflict with great fear<br /> -Fills all my sense,<br /> -Noble protector in this field,<br /> -Lest I should yield,<br /> -Let thy gleaming sword be near<br /> -For my defence.<br /> -Still uphold me and sustain <span class="poetrynumber"><a id="linenumber_1_13" name="linenumber_1_13"></a>13</span><br /> -For I fear lest I may stumble,<br /> -Fail and fall.</td> -</tr> -<tr> -<td><span class="smcap">Anjo</span>. -Pera isso sam -& a isso vim<br /> -mas em fim<br /> -cumpreuos de me ajudar<br /> -a resistir.<a title="textual variant" href="#Variantnote_1_13" class="tvanchor">[v]</a><br /> -Nam vos occupem vaydades,<br /> -riquezas nem seus debates,<br /> -olhay por vos:<br /> -que pompas, honrras, herdades,<br /> -& vaydades<br /> -sam embates & combates<br /> -pera vos.<br /> -<span class="pilcrow">¶</span> Vosso -liure aluidrio,<br /> -isento, forro, poderoso,<br /> -<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> -vos he dado<br /> -pollo diuinal poderio<br /> -& senhorio,<br /> -que possais fazer glorioso<br /> -vosso estado.<br /> -Deuvos liure entendimento<a title="endnote" href="#Endnote_1_16" class="enanchor">[n]</a><br /> -& vontade libertada<br /> -& a memoria,<br /> -que tenhais em vosso tento<br /> -fundamento<br /> -que soes por elle criada<br /> -pera a gloria.<br /> -<span class="pilcrow">¶</span> E -vendo Deos -que o metal,<a title="endnote" href="#Endnote_1_17" class="enanchor">[n]</a><br /> -em que vos pos a estilar<br /> -pera merecer,<br /> -que era muyto fraco & mortal,<br /> -& por tal<br /> -me manda a vos ajudar<br /> -& defender.<br /> -Andemos a estrada nossa,<br /> -olhay nam torneis a tras<a title="textual variant" href="#Variantnote_1_18" class="tvanchor">[v]</a><br /> -que o ĩmigo<a title="textual variant" href="#Variantnote_1_18" class="tvanchor">[v]</a><br /> -aa vossa vida gloriosa<br /> -pora grosa.<a title="endnote" href="#Endnote_1_18" class="enanchor">[n]</a><br /> -Nam creaes a Satanas,<br /> -vosso perigo.<br /> -<span class="pilcrow">¶</span> -Continuay -ter cuydado<br /> -na fim de vossa jornada<br /> -& a memoria<br /> -que o spirito atalayado<br /> -do peccado<br /> -caminha sem temer nada<br /> -pera a gloria.<br /> -e nos laços infernaes<br /> -& nas redes de tristura<a title="textual variant" href="#Variantnote_1_20" class="tvanchor">[v]</a><br /> -tenebrosas<br /> -da carreyra que passaes<br /> -nam cayaes:<br /> -sigua vossa fermosura<br /> -as gloriosas. -</td> -<td><i>Angel</i>. Therefore came I, nor in vain,<br /> -Yet amain<br /> -Must thou help me too, and humble<br /> -Resist all:<br /> -Even all the world's debate <span class="poetrynumber"><a id="linenumber_1_14" name="linenumber_1_14"></a>14</span><br /> -Of riches and of vanity,<br /> -Seek thou for grace,<br /> -Since pomp and honour, high estate<br /> -Vainly elate,<br /> -Are but a stumbling-block to thee,<br /> -No resting-place.<br /> -Power uncontrolled is thine, <span class="poetrynumber"><a id="linenumber_1_15" name="linenumber_1_15"></a>15</span><br /> -And an independent will<br /> -Unbound by fate:<br /> -Even so in His might divine<br /> -Did God design<br /> -That thou in glory mightst fulfil<br /> -Thy heavenly state.<br /> -He gave thee understanding pure, <span class="poetrynumber"><a id="linenumber_1_16" name="linenumber_1_16"></a>16</span><br /> -Imparted to thee memory,<br /> -Free will is thine,<br /> -That so thou mayest e'er endure<br /> -With purpose sure,<br /> -Knowing that He has fashioned thee<br /> -To be divine.<br /> -And since God knew the mortal frame <span class="poetrynumber"><a id="linenumber_1_17" name="linenumber_1_17"></a>17</span><br /> -Wherein He placed thee to distil,<br /> -(So to win His praise)<br /> -Was metal weak and prone to shame,<br /> -Therefore I came<br /> -Thee to protect—it was His will—<br /> -And to upraise.<br /> -Let us go forth upon our way. <span class="poetrynumber"><a id="linenumber_1_18" name="linenumber_1_18"></a>18</span><br /> -Turn not thou back, for then indeed<br /> -The enemy<br /> -Upon thy glorious life straightway<br /> -Will make assay.<br /> -But unto Satan pay no heed<br /> -Who lurks for thee.<br /> -And still the goal seek thou to win <span class="poetrynumber"><a id="linenumber_1_19" name="linenumber_1_19"></a>19</span><br /> -Carefully at thy journey's end.<br /> -And be it clear<br /> -That the spirit e'er at watch within<br /> -Against all sin<br /> -Upon salvation's path may wend<br /> -Without a fear.<br /> -In snares of Hell that shall waylay, <span class="poetrynumber"><a id="linenumber_1_20" name="linenumber_1_20"></a>20</span><br /> -Dark and awful wiles among,<br /> -Thee to molest,<br /> -As thou advancest on thy way<br /> -Fall not nor stray,<br /> -But let thy beauty join the throng<br /> -Of spirits blest.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Adiantase o -Anjo e vem o diabo a ella e diz o diabo.<a title="textual variant" href="#Variantnote_1_20" class="tvanchor">[v]</a></td> -<td class="justify">(<i>The Angel goes forward -and the Devil comes to the Soul and says:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Tam -depressa, oo delicada<br /> -alua pomba, pera onde his?<br /> -quem vos engana,<br /> -& vos leua tam cansada<br /> -por estrada<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> -<br /> -que soomente nam sentis<br /> -se soes humana?<br /> -Nam cureis de vos matar<br /> -que ainda estais em idade<br /> -de crecer.<br /> -Tempo hahi pera folgar<br /> -& caminhar,<br /> -Viuey aa vossa vontade<br /> -& a avey prazer.<a title="textual variant" href="#Variantnote_1_22" class="tvanchor">[v]</a><br /> -<span class="pilcrow">¶</span> Gozay, -gozay -dos bẽs da terra,<br /> -procuray por senhorios<br /> -& aueres.<a title="textual variant" href="#Variantnote_1_23" class="tvanchor">[v]</a><br /> -Quẽ da vida vos desterra<a title="textual variant" href="#Variantnote_1_23" class="tvanchor">[v]</a><br /> -aa triste serra?<br /> -quem vos falla em desuarios<br /> -por prazeres?<br /> -Esta vida he descanso<br /> -doce & manso,<br /> -nam cureis doutro parayso:<br /> -quem vos põe em vosso siso<br /> -outro remanso?</td> -<td><i>Devil.</i> Whither so swift thy flight, <span class="poetrynumber"><a id="linenumber_1_21" name="linenumber_1_21"></a>21</span><br /> -Delicate dove most white?<br /> -Who thus deceives thee?<br /> -And weary still doth goad<br /> -Along this road,<br /> -Yea and of human sense,<br /> -Even, bereaves thee?<br /> -Seek not to hasten hence <span class="poetrynumber"><a id="linenumber_1_22" name="linenumber_1_22"></a>22</span><br /> -Since thou hast life and youth<br /> -For further growth.<br /> -There is a time for haste,<br /> -A time for leisure:<br /> -Live at thy will and rest,<br /> -Taking thy pleasure.<br /> -Enjoy, enjoy the goods of Earth, <span class="poetrynumber"><a id="linenumber_1_23" name="linenumber_1_23"></a>23</span><br /> -And great estates seek to possess<br /> -And worldly treasures.<br /> -Who to the hills, exiled from mirth,<br /> -Thus sends thee forth?<br /> -Who speaks to thee of foolishness<br /> -Instead of pleasures?<br /> -This life is all a pleasaunce fair, <span class="poetrynumber"><a id="linenumber_1_24" name="linenumber_1_24"></a>24</span><br /> -Soft, debonair,<br /> -Look for no other paradise:<br /> -Who bids thee seek, with false advice,<br /> -Refuge elsewhere?</td> -</tr> -<tr> -<td><span class="smcap">Alma.</span> <span class="pilcrow">¶</span> Nam me -detenhaes aqui,<br /> -Deyxayme yr, q̃ em al me fundo.</td> -<td><i>Soul.</i> Hinder me not here nor stay, <span class="poetrynumber"><a id="linenumber_1_25" name="linenumber_1_25"></a>25</span><br /> -For far other thoughts are mine.</td> -</tr> -<tr> -<td><span class="smcap">Diabo.</span> Oo -descansay neste -mundo,<br /> -que todos fazem assi.<br /> -Nam sam em balde os aueres,<br /> -Nam sam em balde os deleytes<a title="textual variant" href="#Variantnote_1_26" class="tvanchor">[v]</a><br /> -& farturas[*],<a title="textual variant" href="#Variantnote_1_26" class="tvanchor">[v]</a><br /> -nam sam de balde os prazeres<br /> -& comeres,<br /> -tudo sam puros affeytes<br /> -das creaturas:<a title="textual variant" href="#Variantnote_1_26" class="tvanchor">[v]</a><br /> -pera os homẽs se criarão.<br /> -Dae folga a vossa possagem<a title="textual variant" href="#Variantnote_1_27" class="tvanchor">[v]</a><br /> -doje a mais,<br /> -descansay, pois descansarão<br /> -os que passaram<br /> -por esta mesma romagem<br /> -que leuais.<br /> -O que a vontade quiser,<br /> -quanto o corpo desejar,<br /> -tudo se faça:<br /> -zombay de quem vos quiser<br /> -reprender,<br /> -querendovos marteyrar<br /> -<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> -tam de graça.<br /> -Tornarame se a vos fora,<br /> -his tam triste, atribulada<br /> -que he tormenta:<br /> -senhora, vos soes senhora<br /> -emperadora,<br /> -nam deueis a ninguem nada,<br /> -sede isenta.</td> -<td><i>Devil.</i> To worldly ease thy thought -incline<br /> -Since all men incline this way.<br /> -And not for nothing are delights, <span class="poetrynumber"><a id="linenumber_1_26" name="linenumber_1_26"></a>26</span><br /> -And not in vain possessions sent<br /> -And fortune's prize,<br /> -And not for nought are pleasure's rites<br /> -And banquet-nights:<br /> -All these are for man's ornament<br /> -And galliardize;<br /> -For mortal men is their array. <span class="poetrynumber"><a id="linenumber_1_27" name="linenumber_1_27"></a>27</span><br /> -So let delight thy woes assuage,<br /> -Henceforth recline<br /> -And rest, since rest likewise had they<br /> -Who went this way,<br /> -Even this very pilgrimage<br /> -That now is thine.<br /> -And whatsoe'er thy body crave, <span class="poetrynumber"><a id="linenumber_1_28" name="linenumber_1_28"></a>28</span><br /> -Even as thy will desire,<br /> -So let it be;<br /> -And laugh thou at the censors grave,<br /> -Whoso would have<br /> -Thee torturèd by sufferings dire<br /> -So uselessly.<br /> -I would not, being thou, go forth, <span class="poetrynumber"><a id="linenumber_1_29" name="linenumber_1_29"></a>29</span><br /> -So sad and troubled lies the way,<br /> -'Tis cruelty,<br /> -And thou art of imperial worth<br /> -And royal birth,<br /> -To none thou needest homage pay,<br /> -Then be thou free.</td> -</tr> -<tr> -<td><span class="smcap">Anjo.</span> Oo -anday, quem vos -detem?<br /> -Como vindes pera a gloria<br /> -devagar!<br /> -Oo meu Deos, oo summo bem!<br /> -Ja ninguem<br /> -nam se preza da vitoria<br /> -em se saluar.<br /> -Ja cansais, alma preciosa?<br /> -Tão asinha desmayaes?<br /> -Sede esforçada:<br /> -Oo como virieis trigosa<br /> -& desejosa,<br /> -se visseis quanto ganhaes<br /> -nesta jornada.<br /> -Caminhemos, caminhemos,<br /> -esforçay ora, alma sancta<br /> -esclarecida.</td> -<td><i>Angel.</i> O who thus hinders thee? On, -on! <span class="poetrynumber"><a id="linenumber_1_30" name="linenumber_1_30"></a>30</span><br /> -How loiterest thou on glory's path<br /> -So slowly!<br /> -O God, sole consolation!<br /> -Now is there none<br /> -Who of that victory honour hath<br /> -That is most holy.<br /> -Soul, already dost thou tire <span class="poetrynumber"><a id="linenumber_1_31" name="linenumber_1_31"></a>31</span><br /> -Sinking so soon beneath thy burden?<br /> -Nay, soul, take heart!<br /> -Ah, with what a glowing fire<br /> -Of desire<br /> -Cam'st thou couldst thou see what guerdon<br /> -Were then thy part.<br /> -Forward, forward let us go: <span class="poetrynumber"><a id="linenumber_1_32" name="linenumber_1_32"></a>32</span><br /> -Be of good cheer, O soul made holy<br /> -By this thy strife.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Adiantase o -anjo & torna Satanas.</td> -<td class="justify">(<i>The Angel goes forward -and Satan returns.</i>)</td> -</tr> -<tr> -<td>Que vaydades & que estremos<br /> -tam supremos!<br /> -Pera que he essa pressa tanta?<br /> -Tende vida.<br /> -<span class="pilcrow">¶</span> His -muy -desautorizada,<br /> -descalça, pobre, perdida<br /> -de remate,<br /> -nam leuais de vosso nada<br /> -amargurada:<br /> -assi passais esta vida<br /> -em disparate.<br /> -<span class="pilcrow">¶</span> Vesti -ora -este brial,<br /> -metey o braço por aqui,<br /> -ora esperay.<br /> -Oo como vem tão real!<br /> -isto tal<br /> -me parece bem a mi:<br /> -ora anday.<br /> -<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> -Hũs chapins aueis mister<br /> -de Valença, muy fermosos[*],<a title="endnote" href="#Endnote_1_35" class="enanchor">[n]</a><br /> -eylos aqui:<a title="textual variant" href="#Variantnote_1_35" class="tvanchor">[v]</a><br /> -Agora estais vos molher<br /> -de parecer.<br /> -Põde os braços presumptuosos,<br /> -isso si,<br /> -passeayuos muy pomposa,<br /> -<span class="pilcrow">¶</span> daqui -pera -ali & de laa por ca,<a title="textual variant" href="#Variantnote_1_36" class="tvanchor">[v]</a><br /> -& fantasiay.<br /> -Agora estais vos fermosa<br /> -como a rosa,<br /> -tudo vos muy bem estaa:<br /> -descansay.</td> -<td><i>Devil.</i> But what is all this coil and -woe?<br /> -Why to and fro<br /> -Flutterest thou in haste and folly?<br /> -Nay, live thy life.<br /> -For very piteous is thy plight, <span class="poetrynumber"><a id="linenumber_1_33" name="linenumber_1_33"></a>33</span><br /> -Poor, barefoot, ruined utterly,<br /> -In bitterness,<br /> -Carrying nothing to delight<br /> -As thine by right,<br /> -And all thy life is thus to thee<br /> -A thing senseless.<br /> -But don this dress, thy arm goes there, <span class="poetrynumber"><a id="linenumber_1_34" name="linenumber_1_34"></a>34</span><br /> -Put it through now, even thus, now stay<br /> -Awhile. What grace,<br /> -What finery! I do declare<br /> -It pleases me. Now walk away<br /> -A little space.<br /> -<br /> -So: I trow shoes are now thy need <span class="poetrynumber"><a id="linenumber_1_35" name="linenumber_1_35"></a>35</span><br /> -With a pair from Valencia, fair to see,<br /> -I thee endow.<br /> -Now beautiful, as I decreed,<br /> -Art thou indeed;<br /> -Now fold thy arms presumptuously:<br /> -Ev'n so; and now<br /> -Strut airily, show off thy power, <span class="poetrynumber"><a id="linenumber_1_36" name="linenumber_1_36"></a>36</span><br /> -This way and that and up and down<br /> -Just as thou please;<br /> -Fair now as fairest rose in flower<br /> -Thy beauty's dower,<br /> -And all becomes thee as thine own:<br /> -Now take thine ease.</td> -</tr> -<tr> -<td class="justify">Torna o anjo a alma -dizẽdo.</td> -<td class="justify">(<i>The Angel returns to -the Soul, saying:</i>)</td> -</tr> -<tr> -<td><span class="smcap">Anjo</span>. <span class="pilcrow">¶</span> Que -andais aqui fazendo?</td> -<td><i>Angel</i>. What is this that thou art -doing? <span class="poetrynumber"><a id="linenumber_1_37" name="linenumber_1_37"></a>37</span></td> -</tr> -<tr> -<td><span class="smcap">Alma</span>. -Faço o -q̃ vejo fazer<br /> -pollo mundo.</td> -<td><i>Soul</i>. In the world's mirror ev'n as -I see<br /> -I do in this.</td> -</tr> -<tr> -<td><span class="smcap">Anjo</span>. Oo -Alma, hisuos -perdẽdo,<br /> -correndo vos his meter<br /> -no profundo.<br /> -Quanto caminhais auante<br /> -tanto vos tornais a tras<br /> -& a trauees,<br /> -tomastes ante com ante<br /> -por marcante<a title="textual variant" href="#Variantnote_1_38" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_1_38" class="enanchor">[n]</a><br /> -o cossayro satanas<br /> -porque querees.<a title="textual variant" href="#Variantnote_1_38" class="tvanchor">[v]</a><br /> -<span class="pilcrow">¶</span> Oo -caminhay -com cuydado<br /> -que a Virgem gloriosa<br /> -vos espera:<br /> -deyxais vosso principado<br /> -desherdado,<br /> -engeytais a gloria vossa<br /> -& patria vera.<br /> -Deyxay esses chapins ora<br /> -& esses rabos tam sobejos,<br /> -que his carregada,<br /> -nam vos tome a morte agora<br /> -tam senhora,<br /> -nem sejais com tais desejos<br /> -sepultada.</td> -<td><i>Angel</i>. O soul, thou compassest thy -ruin<br /> -And rushest forward foolishly<br /> -To the abyss.<br /> -For every step that onward fares <span class="poetrynumber"><a id="linenumber_1_38" name="linenumber_1_38"></a>38</span><br /> -One step back, one step aside<br /> -Thou takest still,<br /> -And buyest eagerly the wares<br /> -That pirate bears,<br /> -Even Satan, by thee glorified<br /> -Of thy free will.<br /> -O journey onward still with care <span class="poetrynumber"><a id="linenumber_1_39" name="linenumber_1_39"></a>39</span><br /> -For the Virgin with the elect<br /> -Doth thee await:<br /> -Thou leavest desolate and bare<br /> -Thy kingdom rare,<br /> -And thine own glory dost reject<br /> -And true estate.<br /> -But cast these slippers now aside, <span class="poetrynumber"><a id="linenumber_1_40" name="linenumber_1_40"></a>40</span><br /> -This gaudy dress and its long train,<br /> -Thou art all bowed,<br /> -Lest Death come on thee unespied<br /> -And in thy pride<br /> -These thy desires and trappings vain<br /> -Prove but thy shroud.</td> -</tr> -<tr> -<td> -<p><span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p> -<span class="smcap">Alma.</span> <span class="pilcrow">¶</span> Anday, -day me ca essa mão:<br /> -anday vos, que eu yrey<br /> -quanto poder.<a title="textual variant" href="#Variantnote_1_41" class="tvanchor">[v]</a></td> -<td><span class="smcap"></span><i>Soul.</i> -Go forward, stretch thy hand <span class="poetrynumber"><a id="linenumber_1_41" name="linenumber_1_41"></a>41</span><br /> -to save,<br /> -Go forward, I will follow thee<br /> -As best I may.</td> -</tr> -<tr> -<td class="justify">Adiãtese o anjo -& torna o diabo.</td> -<td class="justify">(<i>The Angel goes forward -and the Devil returns.</i>)</td> -</tr> -<tr> -<td><span class="smcap">Diabo.</span> -Todas as cousas -cõ rezão<br /> -tem çazam.<a title="textual variant" href="#Variantnote_1_41" class="tvanchor">[v]</a><br /> -Senhora, eu vos direy<br /> -meu parecer:<br /> -hahi tempo de folgar<br /> -& idade de crecer<br /> -& outra idade<br /> -de mandar e triumphar,<br /> -& apanhar<br /> -& acquirir prosperidade<br /> -a que poder.<a title="textual variant" href="#Variantnote_1_42" class="tvanchor">[v]</a><br /> -<span class="pilcrow">¶</span> Ainda -he -cedo pera a morte:<br /> -tempo ha de arrepender<br /> -e yr ao ceo.<br /> -Pondevos a for da corte,<a title="endnote" href="#Endnote_1_43" class="enanchor">[n]</a><br /> -desta sorte<br /> -viua vosso parecer,<br /> -que tal naceo.<a title="textual variant" href="#Variantnote_1_43" class="tvanchor">[v]</a><br /> -O ouro pera que he?<br /> -& as pedras preciosas<br /> -& brocados,<br /> -& as sedas pera que?<br /> -Tende per fee<br /> -q̃ pera as almas mais ditosas<br /> -foram dados*.<a title="textual variant" href="#Variantnote_1_44" class="tvanchor">[v]</a><br /> -<span class="pilcrow">¶</span> Vedes -aqui -hum colar<br /> -douro muy bem esmaltado<a title="textual variant" href="#Variantnote_1_45" class="tvanchor">[v]</a><br /> -& dez aneis.<br /> -Agora estais vos pera casar<br /> -& namorar:<br /> -neste espelho vos vereis<a title="textual variant" href="#Variantnote_1_45" class="tvanchor">[v]</a><br /> -& sabereis<a title="textual variant" href="#Variantnote_1_45" class="tvanchor">[v]</a><br /> -q̃ nam vos ey de enganar.<br /> -E poreis estes pendentes,<br /> -em cada orelha seu,<a title="textual variant" href="#Variantnote_1_46" class="tvanchor">[v]</a><br /> -isso si,<br /> -<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> -que as pessoas diligentes<br /> -sam prudentes:<br /> -agora vos digo eu<br /> -que you contente daqui. -</td> -<td><i>Devil.</i> All things in light of reason -grave<br /> -Their seasons have.<br /> -And I to thee will, O lady,<br /> -My counsel say:<br /> -There is a time here for delight <span class="poetrynumber"><a id="linenumber_1_42" name="linenumber_1_42"></a>42</span><br /> -And an age is given for growth,<br /> -Another age<br /> -To tread in lordly triumph's might<br /> -In the world's despite,<br /> -Gaining ease and riches both<br /> -On life's full stage.<br /> -It is too early yet to die, <span class="poetrynumber"><a id="linenumber_1_43" name="linenumber_1_43"></a>43</span><br /> -Time later to repent on earth<br /> -And to seek Heaven.<br /> -Then cease with fashion's rule to vie,<br /> -And quietly<br /> -Enjoy the nature that at birth<br /> -To thee was given.<br /> -What, think'st thou, is the use for gold <span class="poetrynumber"><a id="linenumber_1_44" name="linenumber_1_44"></a>44</span><br /> -And what the use for precious stones<br /> -And for brocade,<br /> -And all these silks so manifold?<br /> -Ah surely hold<br /> -That for the souls, the blessed ones,<br /> -They were all made.<br /> -See here a necklace in its pride <span class="poetrynumber"><a id="linenumber_1_45" name="linenumber_1_45"></a>45</span><br /> -Of skilfully enamelled gold,<br /> -Here are rings ten:<br /> -Now mayst thou win the hearts of men,<br /> -Fit for a bride.<br /> -In this mirror thou mayst behold<br /> -Thyself and see<br /> -That I am not deceiving thee.<br /> -And here are ear-rings, put them on <span class="poetrynumber"><a id="linenumber_1_46" name="linenumber_1_46"></a>46</span><br /> -One in each ear duly now:<br /> -Even so;<br /> -For things thus diligently done<br /> -Prove wisdom won,<br /> -And now I may to thee avow<br /> -That right well pleased I hence shall go.</td> -</tr> -<tr> -<td><span class="smcap">Alma</span>. <span class="pilcrow">¶</span> Oo como -estou preciosa,<br /> -tam dina pera seruir<br /> -& sancta pera adorar!</td> -<td><i>Soul</i>. O how lovely is my state, <span class="poetrynumber"><a id="linenumber_1_47" name="linenumber_1_47"></a>47</span><br /> -How is it for service meet,<br /> -And for holy adoration!</td> -</tr> -<tr> -<td><span class="smcap">Anjo</span>. Oo -alma despiadosa,<a title="textual variant" href="#Variantnote_1_47" class="tvanchor">[v]</a><br /> -perfiosa,<br /> -quem vos deuesse fugir<br /> -mais que guardar!<br /> -Pondes terra sobre terra,<br /> -que esses ouros terra sam:<br /> -oo senhor,<br /> -porque permites tal guerra<br /> -que desterra<br /> -ao reyno da confusam<br /> -o teu lauor?<br /> -<span class="pilcrow">¶</span> Nam -hieis -mais despejada<br /> -& mais liure da primeyra<br /> -pera andar?<br /> -Agora estais carregada<br /> -& embaraçada<br /> -com cousas que ha derradeyra<a title="textual variant" href="#Variantnote_1_49" class="tvanchor">[v]</a><br /> -ham de ficar.<br /> -Tudo isso se descarrega<br /> -ao porto da sepultura:<br /> -alma sancta, quem vos cega,<br /> -vos carrega<br /> -dessa vaã<a title="textual variant" href="#Variantnote_1_50" class="tvanchor">[v]</a> -desauentura?</td> -<td><i>Angel</i>. Cruel soul and obstinate,<br /> -Rather thereat<br /> -Should I shun thee than still treat<br /> -Of thy salvation.<br /> -Earth upon earth is this thy store, <span class="poetrynumber"><a id="linenumber_1_48" name="linenumber_1_48"></a>48</span><br /> -Since but earth is all this gold.<br /> -O God most high,<br /> -Wherefore permittest thou such war<br /> -That, as of yore,<br /> -To Babel's kingdom from thy fold<br /> -Thy creatures hie?<br /> -Was it not easier journeying <span class="poetrynumber"><a id="linenumber_1_49" name="linenumber_1_49"></a>49</span><br /> -At first, more free than that thou hast<br /> -With all this train,<br /> -Hampered and bowed with many a thing<br /> -That now doth cling<br /> -About thee, but which at the last<br /> -Must here remain?<br /> -All is disgorged and left behind <span class="poetrynumber"><a id="linenumber_1_50" name="linenumber_1_50"></a>50</span><br /> -At the entrance to the tomb.<br /> -Who, holy soul, doth thee thus blind<br /> -Thyself to bind<br /> -With such vain misfortune's doom?</td> -</tr> -<tr> -<td><span class="smcap">Alma</span>. -Isto nam me pesa -nada<br /> -mas a fraca natureza<br /> -me embaraça.<br /> -Ja nam posso dar passada<br /> -de cansada:<br /> -tanta é minha fraqueza<br /> -& tam sem graça.<br /> -Senhor hidevos embora,<br /> -que remedio em mi<a title="textual variant" href="#Variantnote_1_52" class="tvanchor">[v]</a> -nam sento,<br /> -ja estou tal.</td> -<td><i>Soul</i>. Nay, this doth scarcely on me -weigh: <span class="poetrynumber"><a id="linenumber_1_51" name="linenumber_1_51"></a>51</span><br /> -It is my poor weak mortal nature<br /> -That bows me down.<br /> -So weary am I, I must stay<br /> -Nor go my way,<br /> -So void of grace, so frail a creature<br /> -Am I now grown.<br /> -Sir, go thy way: I cannot strive <span class="poetrynumber"><a id="linenumber_1_52" name="linenumber_1_52"></a>52</span><br /> -Nor hope now further to advance,<br /> -So fallen I.</td> -</tr> -<tr> -<td><span class="smcap">Anjo</span>. -Sequer day dous -passos ora<br /> -atee onde mora<br /> -a que tem o mantimento<br /> -celestial.<br /> -<span class="pilcrow">¶</span> Ireis -ali -repousar,<br /> -<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> -comereis algũs bocados<br /> -confortosos,<br /> -porque a hospeda he sem par<br /> -em agasalhar<br /> -os que vem atribulados<br /> -& chorosos.<br /> -</td> -<td><i>Angel.</i> But two steps more to where -doth live<br /> -She who will give<br /> -To thee celestial sustenance<br /> -Charitably.<br /> -Thither shalt thou go and rest, <span class="poetrynumber"><a id="linenumber_1_53" name="linenumber_1_53"></a>53</span><br /> -And shalt taste there of that fare<br /> -New strength to borrow:<br /> -Unrivalled is that hostess blest<br /> -To give of the best<br /> -To those who weeping come to her,<br /> -Laden with sorrow. -</td> -</tr> -<tr> -<td><span class="smcap">Alma.</span> He -lõge?</td> -<td><i>Soul.</i> Is it far off? <span class="poetrynumber"><a id="linenumber_1_54" name="linenumber_1_54"></a>54</span></td> -</tr> -<tr> -<td><span class="smcap">Anjo.</span> -Aqui muy perto.<br /> -Esforçay, nam desmayeis<br /> -& andemos,<br /> -que ali ha todo concerto<br /> -muy certo:<br /> -quantas cousas querereis<br /> -tudo temos*.<a title="textual variant" href="#Variantnote_1_54" class="tvanchor">[v]</a><br /> -<span class="pilcrow">¶</span> -A hospeda -tem graça tanta,<br /> -faruosha tantos fauores.</td> -<td><i>Angel.</i> Nay, very near.<br /> -Be not downcast, but now be brave,<br /> -And let us go,<br /> -For every remedy and cheer<br /> -Is certain here.<br /> -And whatsoever thou wouldst have<br /> -We can bestow.<br /> -Such grace is hers that nought can smirch, <span class="poetrynumber"><a id="linenumber_1_55" name="linenumber_1_55"></a>55</span><br /> -Such favours will she show to thee,<br /> -That innkeeper.</td> -</tr> -<tr> -<td><span class="smcap">Alma.</span> -Quem he ella?</td> -<td><i>Soul.</i> Her name?</td> -</tr> -<tr> -<td><span class="smcap">Anjo.</span> He -a madre ygreja -sancta,<br /> -e os seus sanctos doutores<br /> -i com ella.<br /> -Ireis di muy despejada<br /> -chea do Spirito<a title="textual variant" href="#Variantnote_1_56" class="tvanchor">[v]</a> -Sancto<br /> -& muy fermosa:<br /> -ho alma sede esforçada,<br /> -outra passada,<br /> -que nam tendes de andar tãto<br /> -a ser esposa.</td> -<td><i>Angel.</i> The Holy Mother Church.<br /> -And holy doctors thou shalt see<br /> -Are there with her.<br /> -Joyful thence shall thy going be, <span class="poetrynumber"><a id="linenumber_1_56" name="linenumber_1_56"></a>56</span><br /> -Filled then with the Holy Spirit<br /> -And beautified:<br /> -O soul, take heart, courageously<br /> -One step for thee,<br /> -Nay, scarce one step, and thou shalt merit<br /> -To be a bride.</td> -</tr> -<tr> -<td><span class="smcap">Diabo.</span> <span class="pilcrow">¶</span> -Esperay, onde vos his?<br /> -Essa pressa tam sobeja<br /> -He ja pequice.<br /> -Como, vos que presumis<br /> -consentis<br /> -continuardes a ygreja<br /> -sem velhice?<br /> -Dayuos, dayuos a prazer,<br /> -q̃ muytas horas ha nos annos<br /> -que laa vem.<br /> -Na hora que a morte vier<a title="endnote" href="#Endnote_1_58" class="enanchor">[n]</a><br /> -Como xiquer<a title="textual variant" href="#Variantnote_1_58" class="tvanchor">[v]</a><br /> -se perdoão quantos dannos<br /> -a alma tem.<br /> -Olhay por vossa fazenda:<br /> -tendes hũas scripturas<a title="textual variant" href="#Variantnote_1_59" class="tvanchor">[v]</a><br /> -de hũs casais<br /> -<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> -de que perdeis grande renda.<br /> -He contenda<br /> -que leyxarão aas escuras<br /> -vossos pays;<br /> -he demanda muy ligeyra,<br /> -litigios que sam vencidos<br /> -em um riso:<br /> -citay as partes terça feyra<br /> -de maneyra<br /> -como nam fiquem perdidos<br /> -& auey siso.<a title="endnote" href="#Endnote_1_59" class="enanchor">[n]</a> -</td> -<td><i>Devil.</i> Stay, whither art thou going -now? <span class="poetrynumber"><a id="linenumber_1_57" name="linenumber_1_57"></a>57</span><br /> -Such haste is mere unseemly rage<br /> -And foolishness:<br /> -What, thou so puffed with pride, canst thou<br /> -Thus meekly bow<br /> -To go on churchward e'er old age<br /> -Doth on thee press?<br /> -Let pleasure, pleasure rule thy ways, <span class="poetrynumber"><a id="linenumber_1_58" name="linenumber_1_58"></a>58</span><br /> -For many hours in years to roll<br /> -To thee are given,<br /> -And when death comes to end thy days,<br /> -If prayer thou raise,<br /> -Then all sins that can vex a soul<br /> -Shall be forgiven.<br /> -Look to thy wealth and property: <span class="poetrynumber"><a id="linenumber_1_59" name="linenumber_1_59"></a>59</span><br /> -There is a group of houses should<br /> -Be thine by right,<br /> -Great source of income would they be,<br /> -Unhappily<br /> -At thy parents' death the matter stood<br /> -In no clear light.<br /> -The case is simple, 'tis averred <span class="poetrynumber"><a id="linenumber_1_60" name="linenumber_1_60"></a>60</span><br /> -Such lawsuits in a trice are won<br /> -At laughter's spell:<br /> -Next Tuesday let the case be heard<br /> -And, in a word,<br /> -Finish thou well what is begun.<br /> -Be sensible.</td> -</tr> -<tr> -<td><span class="smcap">Alma.</span> -Calte por amor de -deos<br /> -leyxame, nam me persigas,<br /> -bem abasta<br /> -estoruares<a title="textual variant" href="#Variantnote_1_61" class="tvanchor">[v]</a> os ereos<a title="textual variant" href="#Variantnote_1_61" class="tvanchor">[v]</a><br /> -dos altos ceos,<br /> -que a vida em tuas brigas<br /> -se me gasta.<br /> -Leyxame remediar<br /> -o que tu cruel danaste<a title="textual variant" href="#Variantnote_1_62" class="tvanchor">[v]</a><br /> -sem vergonha,<br /> -que nam me posso abalar<br /> -nem chegar<br /> -ao logar onde gaste<br /> -esta peçonha.<a title="endnote" href="#Endnote_1_62" class="enanchor">[n]</a></td> -<td><i>Soul.</i> O silence, for the love of -God, <span class="poetrynumber"><a id="linenumber_1_61" name="linenumber_1_61"></a>61</span><br /> -Persecute me no more: thy hate<br /> -Doth it not suffice<br /> -High Heaven's heirs that it hinder should<br /> -From their abode?<br /> -My life to thee early and late<br /> -I sacrifice.<br /> -But leave me: so I may efface <span class="poetrynumber"><a id="linenumber_1_62" name="linenumber_1_62"></a>62</span><br /> -The cruel wrong that shamelessly<br /> -Thou hast thus wrought;<br /> -For now I have scarce breathing-space<br /> -To reach that place<br /> -Where for this poison there may be<br /> -Some antidote.</td> -</tr> -<tr> -<td><span class="smcap">Anjo.</span> <span class="pilcrow">¶</span> Vedes -aqui a pousada<br /> -verdadeyra & muy segura<br /> -a quem quer vida.</td> -<td><i>Angel.</i> See the inn: a sure retreat, <span class="poetrynumber"><a id="linenumber_1_63" name="linenumber_1_63"></a>63</span><br /> -Even for all those a true home<br /> -Who would have life.</td> -</tr> -<tr> -<td><span class="smcap">Ygreja.</span> -Oo como vindes -cansada<br /> -& carregada!</td> -<td><i>Church.</i> O laden with sore toil and -heat!<br /> -O tired feet!</td> -</tr> -<tr> -<td><span class="smcap">Alma.</span> -Venho por minha -ventura<br /> -amortecida.</td> -<td><i>Soul.</i> Yea, for I destined was to come<br /> -Weary of strife.</td> -</tr> -<tr> -<td><span class="smcap">Ygreja.</span> -Quem sois? pera -onde andais?</td> -<td><i>Church.</i> Who art thou? whither -wouldst thou win? <span class="poetrynumber"><a id="linenumber_1_64" name="linenumber_1_64"></a>64</span></td> -</tr> -<tr> -<td><span class="smcap">Alma.</span> Nam -sey pera onde -vou,<br /> -sou saluagem,<br /> -sou hũa alma que peccou<br /> -culpas mortaes<br /> -contra o Deos que me criou<br /> -aa sua imagem.<br /> -<span class="pilcrow">¶</span> Sou a -triste, sem ventura,<br /> -criada resplandecente<br /> -& preciosa,<br /> -angelica em fermosura<br /> -& per natura<br /> -come rayo<a title="textual variant" href="#Variantnote_1_65" class="tvanchor">[v]</a> reluzente<br /> -lumiosa.<br /> -E por minha triste sorte<br /> -<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> -& diabolicas maldades<br /> -violentas<a title="textual variant" href="#Variantnote_1_66" class="tvanchor">[v]</a><br /> -estou mais morta que a morte,<br /> -sem deporte,<br /> -carregada de vaydades<br /> -peçonhentas.<br /> -<span class="pilcrow">¶</span> Sou a -triste, sem meezinha,<a title="textual variant" href="#Variantnote_1_67" class="tvanchor">[v]</a><br /> -peccadora abstinada<a title="textual variant" href="#Variantnote_1_67" class="tvanchor">[v]</a><br /> -perfiosa,<br /> -pella triste culpa minha<br /> -mui mesquinha<br /> -a todo mal<a title="textual variant" href="#Variantnote_1_67" class="tvanchor">[v]</a> inclinada<br /> -& deleytosa.<br /> -Desterrey da minha mente<br /> -os meus perfeytos arreos<a title="textual variant" href="#Variantnote_1_68" class="tvanchor">[v]</a><br /> -naturaes,<br /> -nam me prezey de prudente<br /> -mas contente<br /> -me gozey com os trajos feos<a title="textual variant" href="#Variantnote_1_68" class="tvanchor">[v]</a><br /> -mundanaes.<br /> -<span class="pilcrow">¶</span> Cada -passo -me perdi<br /> -em lugar<a title="textual variant" href="#Variantnote_1_69" class="tvanchor">[v]</a> de merecer,<br /> -eu sou culpada:<br /> -auey piedade de mi<br /> -que nam me vi,<br /> -perdi meu inocente ser<br /> -& sou danada.<a title="textual variant" href="#Variantnote_1_69" class="tvanchor">[v]</a><br /> -E por mais graueza sento<br /> -nam poderme arrepender<br /> -quanto queria,<br /> -que meu triste pensamento<br /> -sendo isento<br /> -nam me quer obedecer<br /> -como soya.<br /> -<span class="pilcrow">¶</span> -Socorrey<a title="textual variant" href="#Variantnote_1_71" class="tvanchor">[v]</a>, -hospeda senhora,<br /> -que a mão de Satanas<br /> -me tocou,<br /> -e sou ja de mi tam fora<br /> -que agora<br /> -nam sey se auante se a traz<br /> -nem como vou.<a title="endnote" href="#Endnote_1_71" class="enanchor">[n]</a><br /> -Consolay minha fraqueza<br /> -com sagrada yguaria,<br /> -que pereço,<br /> -por vossa sancta nobreza,<br /> -que he franqueza,<br /> -<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> -porque o que eu merecia<br /> -bem conheço.<br /> -<span class="pilcrow">¶</span> -Conheçome por culpada<br /> -& digo diante vos<br /> -minha culpa.<br /> -Senhora, quero pousada,<br /> -day passada,<a title="endnote" href="#Endnote_1_73" class="enanchor">[n]</a><br /> -pois que padeceo por nos<br /> -quem nos desculpa.<br /> -Mandayme ora agasalhar,<br /> -capa dos desamparados,<br /> -ygreja madre.</td> -<td><i>Soul.</i> I know not whither, outcast, -fated<br /> -At fortune's whim,<br /> -A soul unholy, steepèd in<br /> -Its mortal sin,<br /> -Against the God who had created<br /> -Me like to Him.<br /> -I am that soul ill-starred, unblest, <span class="poetrynumber"><a id="linenumber_1_65" name="linenumber_1_65"></a>65</span><br /> -That by nature shone in gleaming<br /> -Robe of white,<br /> -Of angel's beauty once possessed,<br /> -Yea, loveliest,<br /> -Like a ray refulgent streaming<br /> -Filled with light.<br /> -And by my ill-omened fate, <br /> -<span class="poetrynumber"><a id="linenumber_1_66" name="linenumber_1_66"></a>66</span> -My atrocious devilries,<br /> -Sins treasonous,<br /> -More dead than death is now my state<br /> -Bowed with this weight<br /> -That nought can lighten, vanities<br /> -Most poisonous.<br /> -I am a sinner obstinate, <span class="poetrynumber"><a id="linenumber_1_67" name="linenumber_1_67"></a>67</span><br /> -Perverse, that know no remedy<br /> -For this my plight,<br /> -Oppressed by guilt most obdurate,<br /> -And profligate,<br /> -Inclined to evil constantly<br /> -And all delight.<br /> -And I banished from my lore <span class="poetrynumber"><a id="linenumber_1_68" name="linenumber_1_68"></a>68</span><br /> -All my perfect ornaments<br /> -And natural graces,<br /> -By prudence I set no store<br /> -But evermore<br /> -Rejoiced in all these vile vestments<br /> -And worldly places.<br /> -At each step taken in earthly cares <span class="poetrynumber"><a id="linenumber_1_69" name="linenumber_1_69"></a>69</span><br /> -I further sank away from praise,<br /> -Earning but blame:<br /> -Have mercy upon one who fares<br /> -Lost unawares:<br /> -For, innocence lost, I might not raise<br /> -Myself from shame.<br /> -And, for my greater evil, I <span class="poetrynumber"><a id="linenumber_1_70" name="linenumber_1_70"></a>70</span><br /> -Can no more repent me fully,<br /> -Since in new mood<br /> -My thoughts are mutinous and cry<br /> -For liberty,<br /> -Unwilling to obey me duly<br /> -As once they would.<br /> -O help me, lady innkeeper, <span class="poetrynumber"><a id="linenumber_1_71" name="linenumber_1_71"></a>71</span><br /> -For Satan even now his hand<br /> -Doth on me lay,<br /> -And so grievously I err<br /> -In my despair<br /> -That I know not if I go or stand<br /> -Or backward stray.<br /> -Succour thou my helplessness <span class="poetrynumber"><a id="linenumber_1_72" name="linenumber_1_72"></a>72</span><br /> -And strengthen me with holy fare,<br /> -For I perish,<br /> -Of thy noble saintliness<br /> -Liberal to bless,<br /> -For knowing my deserts I dare<br /> -No hope to cherish.<br /> -I acknowledge all my sin <span class="poetrynumber"><a id="linenumber_1_73" name="linenumber_1_73"></a>73</span><br /> -And before thee meekly thus<br /> -Forgiveness crave.<br /> -O Lady, let me now but win<br /> -Into thine inn,<br /> -Since One suffered even for us,<br /> -That He might save.<br /> -Bid me welcome, Mother holy, <span class="poetrynumber"><a id="linenumber_1_74" name="linenumber_1_74"></a>74</span><br /> -Shield of all who are forsaken<br /> -Utterly.<br /> -</td> -</tr> -<tr> -<td> -<span class="smcap">Ygreja.</span> Vindevos -aqui -assentar<br /> -muy de vagar,<a title="textual variant" href="#Variantnote_1_74" class="tvanchor">[v]</a><br /> -que os manjares são guisados<br /> -por Deos Padre.<br /> -<span class="pilcrow">¶</span> Sancto -Agostinho doutor,<br /> -Geronimo, Ambrosio, Sã Thomas,<a title="textual variant" href="#Variantnote_1_75" class="tvanchor">[v]</a><br /> -meus pilares,<br /> -serui aqui por meu amor<br /> -a qual milhor,<a title="textual variant" href="#Variantnote_1_75" class="tvanchor">[v]</a><br /> -& tu, alma, gostaraas<br /> -meus manjares.<br /> -Ide aa sancta cosinha,<br /> -tornemos esta alma em si,<br /> -porque mereça<br /> -de chegar onde caminha<br /> -& se detinha:<br /> -pois que Deos a trouxe<a title="textual variant" href="#Variantnote_1_76" class="tvanchor">[v]</a> -aqui<br /> -nam pereça.</td> -<td> -<i>Church</i>. Enter to thy seat there lowly,<br /> -Yet come slowly,<br /> -For the viands thou seest were baken<br /> -By God most high.<br /> -Lo ye my pillars, doctor, saint, <span class="poetrynumber"><a id="linenumber_1_75" name="linenumber_1_75"></a>75</span><br /> -Ambrose, Thomas and Jerome<br /> -And Augustine,<br /> -In my service wax not faint,<br /> -Nor show constraint,<br /> -And to thee, soul, shall be welcome<br /> -This fare of mine.<br /> -To the holy kitchen go: <span class="poetrynumber"><a id="linenumber_1_76" name="linenumber_1_76"></a>76</span><br /> -Let us this frail soul restore,<br /> -That she find grace<br /> -To reach her journey's end and know<br /> -Her path, that so<br /> -By God brought hither she no more<br /> -Fail in life's race.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Em -quanto estas cousas passam Satanas -passea<a title="textual variant" href="#Variantnote_1_76" class="tvanchor">[v]</a> fazendo muytas vascas -& -vem outro<a title="textual variant" href="#Variantnote_1_76" class="tvanchor">[v]</a> & diz.</td> -<td class="justify">(<i>Meanwhile Satan goes -to and fro, -cutting many capers, and another -devil comes and says:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Como andas -desasossegado.<a title="textual variant" href="#Variantnote_1_77" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_1_77" class="enanchor">[n]</a></td> -<td><i>2nd D.</i> You're like a lion in a cage. -<span class="poetrynumber"><a id="linenumber_1_77" name="linenumber_1_77"></a>77</span></td> -</tr> -<tr> -<td><span class="smcap">Diabo.</span> -Arço em -fogo de pesar.</td> -<td><i>1st D.</i> I'm all afire, with anger -blind.</td> -</tr> -<tr> -<td><span class="smcap">Outro.</span> -Que ouueste?</td> -<td><i>2nd D.</i> Why, what's the matter?</td> -</tr> -<tr> -<td><span class="smcap">Diabo.</span> -Ando tam desatinado<br /> -de enganado<br /> -que nam posso repousar<br /> -que me preste.<br /> -Tinha hũa alma enganada<br /> -ja quasi pera infernal<br /> -mui acesa.</td> -<td><i>1st D.</i> To be so taken in, my rage<br /> -Can nought assuage<br /> -Nor any rest be to my mind;<br /> -For, as I flatter<br /> -Myself, I had by honeyed word <span class="poetrynumber"><a id="linenumber_1_78" name="linenumber_1_78"></a>78</span><br /> -Deceived a certain soul, all quick<br /> -For fires of Hell.</td> -</tr> -<tr> -<td><span class="smcap">Outro.</span> E -quem ta levou -forçada?</td> -<td><i>2nd D.</i> Who made you throw it -overboard?</td> -</tr> -<tr> -<td><span class="smcap">Diabo.</span> O -da espada.</td> -<td><i>1st D.</i> He of the sword.</td> -</tr> -<tr> -<td><span class="smcap">Outro.</span> Ja -melle fez outra -tal<br /> -bulra como essa.<br /> -<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span><span class="pilcrow">¶</span> Tinha outra -alma ja vencida<a title="textual variant" href="#Variantnote_1_79" class="tvanchor">[v]</a><br /> -em ponto de se enforcar<br /> -de desesperada,<br /> -a nos toda offerecida<br /> -& eu prestes pera a levar<br /> -arrastada;<br /> -e elle fella<a title="textual variant" href="#Variantnote_1_80" class="tvanchor">[v]</a> -chorar tanto<br /> -que as lagrimas corriã<br /> -polla terra.<br /> -Blasfemey entonces tanto<br /> -que meus gritos retiniam<br /> -polla serra.<a title="endnote" href="#Endnote_1_80" class="enanchor">[n]</a><br /> -<span class="pilcrow">¶</span> Mas -faço conta que perdi,<br /> -outro dia ganharey,<br /> -e ganharemos.</td> -<td><i>2nd D.</i> He played just such another -trick<br /> -On me as well.<br /> -For I had overcome a soul, <span class="poetrynumber"><a id="linenumber_1_79" name="linenumber_1_79"></a>79</span><br /> -Ready to hang itself, unsteady<br /> -In its despair;<br /> -Yes, it was given to us whole<br /> -And I myself was making ready<br /> -To drag't down there.<br /> -And lo he made it weep and weep <span class="poetrynumber"><a id="linenumber_1_80" name="linenumber_1_80"></a>80</span><br /> -So that the tears ran down along<br /> -The very ground:<br /> -You might have heard my curses deep<br /> -And cries of rage echo among<br /> -The hills around.<br /> -But I have hopes that what I've lost <span class="poetrynumber"><a id="linenumber_1_81" name="linenumber_1_81"></a>81</span><br /> -Some other day I shall regain,<br /> -So will we all.</td> -</tr> -<tr> -<td><span class="smcap">Diabo.</span> -Nam digo eu, -yrmão, assi,<a title="textual variant" href="#Variantnote_1_81" class="tvanchor">[v]</a><br /> -mas a esta tornarey<br /> -& veremos.<br /> -Tornala ey a affogar<a title="textual variant" href="#Variantnote_1_82" class="tvanchor">[v]</a><br /> -depois que ella sayr fora<br /> -da ygreja<br /> -& começar de caminhar:<br /> -hei de apalpar<br /> -se venceram ainda agora<br /> -esta peleja.</td> -<td><i>1st D.</i> I, brother, cannot share your -trust,<br /> -But I will tempt this soul again<br /> -Whate'er befall.<br /> -With new promises will I woo her <span class="poetrynumber"><a id="linenumber_1_82" name="linenumber_1_82"></a>82</span><br /> -When from the Church she shall have come<br /> -Forth to the street<br /> -Upon her journey: I will to her,<br /> -And beshrew her<br /> -If I turn not all their triumph<br /> -To defeat.</td> -</tr> -<tr> -<td class="justify">Alma com o Anjo.<a title="textual variant" href="#Variantnote_1_82" class="tvanchor">[v]</a></td> -<td class="justify">(<i>The Soul enters with -the Angel.</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -<span class="smcap">Alma.</span> Vos nam -me desampareis,<br /> -senhor meu anjo custodio.<br /> -Oo increos<br /> -imigos, que me quereis<br /> -que ja sou fora do odio<br /> -de meu Deos?<br /> -Leyxaime ja, tentadores,<br /> -neste conuite prezado<br /> -do Senhor,<br /> -guisado aos peccadores<br /> -com as dores<br /> -de Christo crucificado,<br /> -Redemptor.</td> -<td><i>Soul</i>. O let not thy protection fail -me, <span class="poetrynumber"><a id="linenumber_1_83" name="linenumber_1_83"></a>83</span><br /> -Guardian angel, help thy child.<br /> -O foes most base,<br /> -Infidels, why would you assail me<br /> -Who to my God am reconciled<br /> -And in His grace?<br /> -Leave me, O ye tempters, leave <span class="poetrynumber"><a id="linenumber_1_84" name="linenumber_1_84"></a>84</span><br /> -Unto this most precious feast<br /> -Of Him who died,<br /> -Served to sinners for reprieve<br /> -Of those who grieve<br /> -For their Redeemer Lord, the Christ<br /> -And crucified.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Estas cousas estando a alma assentada -à mesa & o anjo junto com ella em -pee, vem os doutores com quatro bacios -de cosinha cubertos cantando Vexila -regis prodeunt*<a title="textual variant" href="#Variantnote_1_84" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_1_84" class="enanchor">[n]</a>. -E postos na mesa, -Sancto Agostinho diz.</td> -<td class="justify">(<i>While the Soul is -seated at the -table and the Angel standing by her -side, the Doctors come with four covered -kitchen dishes, singing </i>Vexilla regis -prodeunt<i>, and after placing them on -the table, St Augustine says:</i>)</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span><span class="smcap">Agost.</span> Vos, senhora -conuidada,<br /> -nesta cea soberana<br /> -celestial<br /> -aueis mister ser apartada<br /> -& transportada<br /> -de toda a cousa mundana<br /> -terreal.<br /> -Cerray os olhos corporaes,<br /> -deytay ferros aos danados<br /> -apetitos,<br /> -caminheyros infernaes,<br /> -pois buscaes<br /> -os caminhos bem guiados<br /> -dos contritos.</td> -<td><i>St Aug.</i> Lady, thou that to this -feast, <span class="poetrynumber"><a id="linenumber_1_85" name="linenumber_1_85"></a>85</span><br /> -Supper of celestial fare<br /> -Nobly divine,<br /> -Comest as a bidden guest,<br /> -Must now divest<br /> -Thyself of worldly thought and care<br /> -That once were thine.<br /> -Thou thy body's eyes must close <span class="poetrynumber"><a id="linenumber_1_86" name="linenumber_1_86"></a>86</span><br /> -And in fetters sure be tied<br /> -Fierce appetite,<br /> -Treacherous guides, infernal foes:<br /> -Thy ways are those<br /> -That are a safe support and guide<br /> -For the contrite.</td> -</tr> -<tr> -<td><span class="smcap">Ygreja.</span> -Benzey a mesa, -senhor,<br /> -& pera consolaçam<br /> -da conuidada,<br /> -seja a oraçam de dor<br /> -sobre o tenor<br /> -da gloriosa payxam<br /> -consagrada.<br /> -E vos, alma, rezareis,<br /> -contemplando as viuas dores<br /> -da senhora,<br /> -vos outros respondereis<br /> -pois que fostes rogadores<br /> -atee agora.<a title="textual variant" href="#Variantnote_1_88" class="tvanchor">[v]</a> -</td> -<td><i>Church.</i> Sir, by thee be the table -blest: <span class="poetrynumber"><a id="linenumber_1_87" name="linenumber_1_87"></a>87</span><br /> -In thy benedictory prayer,<br /> -To bring relief<br /> -And new strength to this our guest,<br /> -Be there expressed<br /> -The Passion's glory in despair<br /> -And all its grief.<br /> -Thou, O soul, with orisons, <span class="poetrynumber"><a id="linenumber_1_88" name="linenumber_1_88"></a>88</span><br /> -The Virgin's sorrows contemplating<br /> -Abide even there,<br /> -And ye others make response<br /> -Since for this have you been waiting<br /> -Wrapped in prayer.</td> -</tr> -<tr> -<td class="justify">Oraçã pa Santo -Agostinho.</td> -<td class="justify">(<i>St Augustine's prayer:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Alto Deos -marauilhoso<br /> -que o mundo visitaste<br /> -em carne humana,<br /> -neste valle temeroso<br /> -& lacrimoso<br /> -tua gloria nos mostraste<br /> -soberana;<br /> -e teu filho delicado,<br /> -mimoso da diuindade<br /> -& natureza,<br /> -per todas partes chagado<br /> -& muy sangrado<br /> -polla nossa<a title="textual variant" href="#Variantnote_1_90" class="tvanchor">[v]</a> infirmidade<br /> -& vil fraqueza.<br /> -<span class="pilcrow">¶</span> Oo -emperador -celeste,<br /> -Deos alto muy poderoso<br /> -essencial,<br /> -que pollo homem<a title="textual variant" href="#Variantnote_1_91" class="tvanchor">[v]</a> -que fizeste<br /> -offereceste<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> -<br /> -o teu estado glorioso<br /> -a ser mortal.<br /> -<span class="pilcrow">¶</span> E tua -filha, -madre, esposa,<br /> -horta nobre, frol dos ceos,<br /> -Virgem Maria,<br /> -mansa pomba gloriosa<br /> -o quam chorosa<br /> -quando o seu Filho e Deos*<br /> -padecia.<a title="textual variant" href="#Variantnote_1_92" class="tvanchor">[v]</a><br /> -Oo lagrymas preciosas,<br /> -de virginal coraçam<br /> -estilladas,<br /> -correntes das dores vossas<br /> -com os olhos<a title="textual variant" href="#Variantnote_1_93" class="tvanchor">[v]</a> -da perfeyçam<br /> -derramadas!<br /> -<span class="pilcrow">¶</span> Quem -hũa soo podera ver<a title="textual variant" href="#Variantnote_1_94" class="tvanchor">[v]</a><br /> -vira claramente nella<br /> -aquella dor,<br /> -aquella pena & padecer<br /> -com que choraueis, donzella,<br /> -vosso amor.<br /> -<span class="pilcrow">¶</span> E -quando vos -amortecida<br /> -se lagrymas vos faltauam<br /> -nam faltaua<br /> -a vosso filho & vossa vida<br /> -chorar as que lhe ficauam<br /> -de quando orava.<a title="endnote" href="#Endnote_1_95" class="enanchor">[n]</a><br /> -Porque muyto mais sentia<br /> -pollos seus padecimentos<br /> -vervos<a title="textual variant" href="#Variantnote_1_96" class="tvanchor">[v]</a> tal,<br /> -mais que quanto padecia<br /> -lhe doya,<br /> -& dobrava seus tormentos<br /> -vosso mal.<br /> -<span class="pilcrow">¶</span> Se se -podesse dizer,<a title="endnote" href="#Endnote_1_97" class="enanchor">[n]</a><br /> -se se podesse rezar<br /> -tanta dor;<br /> -se se podesse fazer<br /> -podermos ver<br /> -qual estaueis ao clauar<a title="textual variant" href="#Variantnote_1_97" class="tvanchor">[v]</a><br /> -do Redemptor.<br /> -Oo fermosa face bella,<br /> -oo resplandor divinal,<br /> -que sentistes<br /> -quando a cruz se pos aa vella<br /> -& posto nella<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> -<br /> -o filho celestial<br /> -que paristes!<br /> -Vendo por cima da gente<br /> -assomar vosso conforto<br /> -tam chagado,<br /> -crauado tam cruelmente,<br /> -& vos presente,<br /> -vendo vos ser mãy do morto<br /> -& justiçado.<br /> -O rainha delicada,<br /> -sanctidade escurecida<br /> -quem nam chora<br /> -em ver morta & debruçada<a title="textual variant" href="#Variantnote_1_100" class="tvanchor">[v]</a><br /> -a auogada,<br /> -a força de nossa vida<br /> -*[pecadora]!<a title="textual variant" href="#Variantnote_1_100" class="tvanchor">[v]</a></td> -<td>God whose might on high appears, <span class="poetrynumber"><a id="linenumber_1_89" name="linenumber_1_89"></a>89</span><br /> -Who camest to this world<br /> -In human guise,<br /> -In this vale of many fears<br /> -And sullen tears<br /> -Thy great glory hast unfurled<br /> -Before our eyes;<br /> -And thy Son most delicate <span class="poetrynumber"><a id="linenumber_1_90" name="linenumber_1_90"></a>90</span><br /> -By His natural majesty<br /> -Of divine birth,<br /> -Ah, in blood and wounds prostrate<br /> -Is now his state<br /> -For our vile infirmity<br /> -And little worth.<br /> -O Thou ruler of the sky, <span class="poetrynumber"><a id="linenumber_1_91" name="linenumber_1_91"></a>91</span><br /> -High God of power divine,<br /> -Enduring might,<br /> -Who for thy creature, man, to die<br /> -Didst not deny<br /> -Thy Godhead, and madest Thine<br /> -Our mortal plight.<br /> -And thy daughter, mother, bride, <span class="poetrynumber"><a id="linenumber_1_92" name="linenumber_1_92"></a>92</span><br /> -Noble flower of the skies,<br /> -The Virgin blest,<br /> -Gentle Dove, when her Son died,<br /> -God crucified,<br /> -Ah what tears shed by those eyes<br /> -Her grief attest.<br /> -O most precious tears that well <span class="poetrynumber"><a id="linenumber_1_93" name="linenumber_1_93"></a>93</span><br /> -From that virgin heart distilled<br /> -One by one,<br /> -Flowing at thy sorrow's spell<br /> -They those perfect eyes have filled<br /> -And still flow on.<br /> -Who but one of them might have <span class="poetrynumber"><a id="linenumber_1_94" name="linenumber_1_94"></a>94</span><br /> -In it most manifestly<br /> -That grief to prove,<br /> -Even that woe and suffering grave<br /> -Which then overwhelmèd thee<br /> -For thy dear love.<br /> -Fainting then with grief if failed <span class="poetrynumber"><a id="linenumber_1_95" name="linenumber_1_95"></a>95</span><br /> -Thy tears, yet Him they might not fail,<br /> -Thy Life, thy Son,<br /> -Who unto the Cross was nailed,<br /> -Even fresh tears that could avail,<br /> -In prayer begun.<br /> -For far greater woe was His <span class="poetrynumber"><a id="linenumber_1_96" name="linenumber_1_96"></a>96</span><br /> -When He saw thee faint and languish<br /> -In thy distress,<br /> -More than His own agonies,<br /> -And doubled is<br /> -All His torture at thy anguish<br /> -Measureless.<br /> -For no words have ever told <span class="poetrynumber"><a id="linenumber_1_97" name="linenumber_1_97"></a>97</span><br /> -No prayer or litany wailed<br /> -Such grief and loss:<br /> -Our weak thought may not enfold<br /> -Nor thee behold<br /> -As thou wert when He was nailed<br /> -Upon the Cross.<br /> -For to thee, O lovely face, <span class="poetrynumber"><a id="linenumber_1_98" name="linenumber_1_98"></a>98</span><br /> -Wherein Heaven's beauty shone,<br /> -What woe was given<br /> -When the Cross on high they place<br /> -And thereupon<br /> -Nailèd the Son of Heaven,<br /> -Even thy Son!<br /> -Over the crowd's heads on high <span class="poetrynumber"><a id="linenumber_1_99" name="linenumber_1_99"></a>99</span><br /> -He who was ever thy delight<br /> -Came to thy sight,<br /> -To the Cross nailèd cruelly,<br /> -Thou standing by,<br /> -Thou the mother of Him who died<br /> -There crucified!<br /> -O frail Queen of Holiness, <span class="poetrynumber"><a id="linenumber_1_100" name="linenumber_1_100"></a>100</span><br /> -Who would not thus weep to see<br /> -Thee fainting fall<br /> -And lie there all motionless,<br /> -Thou patroness<br /> -Who dost still uphold and free<br /> -The life of all!</td> -</tr> -<tr> -<td><span class="smcap">Ambrosio.</span> -Isto chorou -Hyeremias<br /> -sobre o monte de Sion<br /> -ha ja dias,<br /> -porque sentio que o Messias<a title="textual variant" href="#Variantnote_1_101" class="tvanchor">[v]</a><br /> -era nossa redempçam.<br /> -E choraua a sem<a title="textual variant" href="#Variantnote_1_102" class="tvanchor">[v]</a> -ventura<br /> -triste de Jerusalem<br /> -homecida,<br /> -matando contra natura<br /> -seu Deos nascido em Belem<br /> -nesta vida.</td> -<td><i>St Ambrose.</i> Thus of yore did -Jeremiah <span class="poetrynumber"><a id="linenumber_1_101" name="linenumber_1_101"></a>101</span><br /> -On Mount Sion make lament<br /> -In days long spent,<br /> -For he knew that the Messiah<br /> -Was for our salvation sent.<br /> -And he mourned the misery <span class="poetrynumber"><a id="linenumber_1_102" name="linenumber_1_102"></a>102</span><br /> -Of ill-starred Jerusalem,<br /> -The murderess,<br /> -Who should kill unnaturally<br /> -Her God born in Bethlehem<br /> -Our life to bless.</td> -</tr> -<tr> -<td><span class="smcap">Geronymo.</span> -Quem vira o -sancto cordeyro<br /> -antre os lobos humildoso<br /> -escarnecido,<br /> -julgado pera o marteyro<br /> -do madeyro,<br /> -seu rosto aluo & fermoso<br /> -muy cuspido!<a title="textual variant" href="#Variantnote_1_103" class="tvanchor">[v]</a></td> -<td><i>St Jerome.</i> O the Holy Lamb to see <span class="poetrynumber"><a id="linenumber_1_103" name="linenumber_1_103"></a>103</span><br /> -Humble amid the wolves' despite,<br /> -With mockery fraught,<br /> -Condemned to suffer cruelly<br /> -Upon the Tree,<br /> -And that face, so fair and white,<br /> -Thus set at nought!</td> -</tr> -<tr> -<td><span class="smcap">Agost.</span> -Bẽze a mesa.</td> -<td><i>St Augustine. (He blesses the table.)</i></td> -</tr> -<tr> -<td>A bençam do padre eternal<br /> -& do filho que por nos<br /> -sofreo tal dor<br /> -& do spirito sancto, igual<br /> -Deos immortal,<br /> -conuidada, benza a vos<br /> -por seu amor.</td> -<td> -The Eternal Father's blessing rest, <span class="poetrynumber"><a id="linenumber_1_104" name="linenumber_1_104"></a>104</span><br /> -And of the Son, who suffered thus<br /> -Even for us,<br /> -And of the Spirit holiest,<br /> -On thee our guest:<br /> -Spirit immortal, Father, Son,<br /> -The Three in One.</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span><span class="smcap">Ygreja.</span> Ora sus, venha agoa as -mãos.</td> -<td><i>Church.</i> Come now, bring water for -the hands. <span class="poetrynumber"><a id="linenumber_1_105" name="linenumber_1_105"></a>105</span></td> -</tr> -<tr> -<td><span class="smcap">Agost.</span> -Vos aveysuos<a title="textual variant" href="#Variantnote_1_105" class="tvanchor">[v]</a> -de -lavar<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> -<br /> -em lagrymas da culpa vossa<br /> -& bem lauada<br /> -& aueisuos de chegar<br /> -alimpar<a title="textual variant" href="#Variantnote_1_105" class="tvanchor">[v]</a><br /> -a hũa toalha fermosa<br /> -bem laurada<br /> -co sirgo das veas puras<br /> -da Virgem sem magoa nacido<br /> -& apurado,<br /> -torcido com amarguras<br /> -aas escuras,<br /> -com grande dor guarnecido<br /> -& acabado.<br /> -<span class="pilcrow">¶</span> Nam -que os -olhos alimpeis,<br /> -que a nam consentirão<br /> -os tristes laços<br /> -que taes pontos achareis<br /> -da face<a title="textual variant" href="#Variantnote_1_107" class="tvanchor">[v]</a> & enues,<br /> -que se rompe o coração<br /> -em pedaços.<br /> -Vereis*, triste, laurado<br /> -[com rosto de fermosura]*<br /> -natural,<a title="textual variant" href="#Variantnote_1_108" class="tvanchor">[v]</a><br /> -com tormentos pespontado<br /> -e figurado,<br /> -Deos criador, em figura<br /> -de mortal.<a title="endnote" href="#Endnote_1_108" class="enanchor">[n]</a></td> -<td><i>St Aug.</i> But thou must wash in tear -on tear<br /> -Shed for thy past sins' misery,<br /> -Most thoroughly,<br /> -And then to this fair towel here<br /> -Thou mayst draw near,<br /> -A towel that is kept for thee<br /> -Worked cunningly<br /> -With finest silk in painlessness <span class="poetrynumber"><a id="linenumber_1_106" name="linenumber_1_106"></a>106</span><br /> -From out the Holy Virgin's veins<br /> -That issuèd,<br /> -Silk that was spun in bitterness<br /> -And dark distress,<br /> -And woven with increasing pains<br /> -And finishèd.<br /> -Yet never shall thine eyes be dried: <span class="poetrynumber"><a id="linenumber_1_107" name="linenumber_1_107"></a>107</span><br /> -This pattern sad will ever make<br /> -Thy tears downflow,<br /> -Such stitches here on either side<br /> -Doth it provide<br /> -That one's very heart must break<br /> -To see such woe.<br /> -Presented here thou mayest see <span class="poetrynumber"><a id="linenumber_1_108" name="linenumber_1_108"></a>108</span><br /> -With lovely face most natural<br /> -—And seeing weep—<br /> -Embroiderèd with agony,<br /> -O mystery!<br /> -God fashioned, who created all,<br /> -In human shape.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Esta toalha que<a title="textual variant" href="#Variantnote_1_108" class="tvanchor">[v]</a> -aqui se falla he a varonica<a title="textual variant" href="#Variantnote_1_108" class="tvanchor">[v]</a>, -a qual Sancto Agostinho tira -dantre os bacios & a mostra<a title="textual variant" href="#Variantnote_1_108" class="tvanchor">[v]</a> -à Alma, -& -a madre ygreja con os doutores lhe -fazem adoração de joelhos, cantando -Salue sancta facies<a title="textual variant" href="#Variantnote_1_108" class="tvanchor">[v]</a>, -& acabando diz -a madre ygreja.</td> -<td class="justify">(<i>The towel here -described is the -veronica, which St Augustine takes -from among the dishes and shows to -the Soul, and the Mother Church and -the Doctors adore it on their knees, -singing </i>Salve sancta Facies<i>, and the -Mother Church then says:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Venha a -primeyra yguaria.</td> -<td><span class="poetrynumber"><a id="linenumber_1_109" name="linenumber_1_109"></a>109</span><i>Church.</i> -Let the first viand be brought.</td> -</tr> -<tr> -<td><span class="smcap">Gero.</span> -Esta yguaria -primeyra<br /> -foy, senhora,<br /> -guisada sem alegria<br /> -em triste dia,<br /> -a crueldade cozinheyra<br /> -& matadora.<br /> -Gostala eis com salsa & sal<br /> -de choros de muyta dor,<br /> -porque os costados<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> -<br /> -do Messias diuinal,<br /> -sancto sem mal,<br /> -forão pollo vosso amor<br /> -açoutados.</td> -<td><i>St Jerome.</i> It was preparèd<br /> -joylessly<br /> -On a sad day,<br /> -With no pleasure was it fraught,<br /> -With suffering bought,<br /> -And its cook was Cruelty,<br /> -Eager to slay.<br /> -With seasoning of tears and shame <span class="poetrynumber"><a id="linenumber_1_110" name="linenumber_1_110"></a>110</span><br /> -Must this course by thee be eaten, -Sorrowfully,<br /> -Since the Messiah's holy frame,<br /> -Pure, free from blame,<br /> -Cruelly was scourged and beaten<br /> -For love of thee.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Esta yguaria em q̃ aqui se falla<a title="textual variant" href="#Variantnote_1_110" class="tvanchor">[v]</a> -sam -os açoutes<a title="textual variant" href="#Variantnote_1_110" class="tvanchor">[v]</a>, -& em este passo os -tirã -dos bacios & os presentam a alma & -todos de joelhos adoram cantãdo Aue -flagellum, & despois diz Geronymo.</td> -<td class="justify">(<i>The viand so described -consists of -the scourge which at this stage is -taken from the dishes and presented -to the Soul and all kneel and adore, -singing </i>Ave flagellum<i>; and Jerome -then says:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Estoutro -manjar segundo<br /> -he yguaria<br /> -que aueis de mastigar<br /> -em contemplar<br /> -a dor que o senhor do mundo<br /> -padecia<br /> -pera vos remediar.<br /> -foi hum tromento<a title="textual variant" href="#Variantnote_1_112" class="tvanchor">[v]</a> -improuiso<br /> -que aos miolos lhe chegou<br /> -& consentio,<br /> -por remediar o siso<br /> -que a vosso siso faltou,<br /> -e pera ganhardes parayso<br /> -a sofrio.</td> -<td><i>St Jerome.</i> This second viand of -noble worth, <span class="poetrynumber"><a id="linenumber_1_111" name="linenumber_1_111"></a>111</span><br /> -This delicacy,<br /> -Must be slowly eaten by thee<br /> -In contemplation<br /> -Of what the Lord of all the earth<br /> -In agony<br /> -Sufferèd for thy salvation.<br /> -This new torture suddenly <span class="poetrynumber"><a id="linenumber_1_112" name="linenumber_1_112"></a>112</span><br /> -He allowed to reach His brain,<br /> -That so thy wit<br /> -And sense might be restored to thee,<br /> -That perished from thee utterly,<br /> -Yea that thou Paradise mightst gain<br /> -Endured He it.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Esta yguaria segunda de que aqui se -fala<a title="textual variant" href="#Variantnote_1_112" class="tvanchor">[v]</a> he a coroa de espinhos, e em -este -passo a tiram dos bacios & de joelhos -os sanctos doutores cantam Aue corona -espinearum<a title="textual variant" href="#Variantnote_1_112" class="tvanchor">[v]</a>, & acabando<a title="textual variant" href="#Variantnote_1_112" class="tvanchor">[v]</a> diz a madre -ygreja.</td> -<td class="justify">(<i>This second viand so -described is -the crown of thorns, and at this stage -they take it from the plates, and -kneeling the holy Doctors sing </i>Ave -corona spinarum<i> and afterwards the -Mother Church says:</i>)</td> -</tr> -<tr> -<td> -Venha outra do teor.<a title="textual variant" href="#Variantnote_1_113" class="tvanchor">[v]</a></td> -<td><i>Church.</i> Another bring in the same -strain. <span class="poetrynumber"><a id="linenumber_1_113" name="linenumber_1_113"></a>113</span></td> -</tr> -<tr> -<td><span class="smcap">Gero.</span> -Estoutro manjar -terceyro<br /> -foy guisado<br /> -em tres lugares de dor,<br /> -a qual maior,<br /> -com a lenha do madeyro<br /> -mais prezado.<br /> -Comese com gram tristeza*<a title="textual variant" href="#Variantnote_1_113" class="tvanchor">[v]</a><br /> -porque a virgem gloriosa<br /> -o vio guisar:<br /> -vio crauar com gram crueza<br /> -a sua riqueza<br /> -<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> -& sua perla preciosa<br /> -vio furar.</td> -<td><i>St Jerome</i>. This third viand that is -brought to thee<br /> -Was prepared thrice<br /> -In places three, in each with gain<br /> -Of subtler pain,<br /> -With the wood of the Holy Tree,<br /> -Wood of great price.<br /> -It must be eaten sorrowfully, <span class="poetrynumber"><a id="linenumber_1_114" name="linenumber_1_114"></a>114</span><br /> -Since the Virgin glorious<br /> -Saw it garnished,<br /> -Her treasure nailèd cruelly<br /> -Then did she see,<br /> -And her pearl most precious<br /> -Pierced and tarnished.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -E a -este passo tira sancto Agostinho -os crauos<a title="textual variant" href="#Variantnote_1_114" class="tvanchor">[v]</a>, & todos de joelhos -os adorão, -cantando Dulce lignum, dulcis clauus, -& acabada a adoraçam<a title="textual variant" href="#Variantnote_1_114" class="tvanchor">[v]</a> -diz o anjo à -alma.</td> -<td class="justify">(<i>At this station St -Augustine brings -the nails and all kneel and adore -them, singing </i>Dulce lignum, dulcis -clavus<i>, and when the adoration is -ended the Angel says to the Soul:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Leixay ora -esses arreos,<br /> -que estoutra nam se come assi<br /> -como cuydais:<br /> -pera as almas sam mui feos<br /> -e sam meos<br /> -con que nam andam em si<br /> -os mortais.</td> -<td><i>Angel</i>. These trappings must thou <span class="poetrynumber"><a id="linenumber_1_115" name="linenumber_1_115"></a>115</span><br /> -lay aside,<br /> -This new fare cannot, thou must know,<br /> -Be eaten thus:<br /> -By them are men's souls vilified<br /> -And in their pride<br /> -Puffed up with overweening show<br /> -Presumptuous.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Despe a alma o vestido & joyas que -lho imigo<a title="textual variant" href="#Variantnote_1_115" class="tvanchor">[v]</a> deu & diz Agostinho.</td> -<td class="justify">(<i>The Soul casts off the -dress and -jewels that the enemy gave her.</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Oo alma bem -aconselhada,<br /> -que dais o seu a cujo he,<a title="textual variant" href="#Variantnote_1_116" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_1_116" class="enanchor">[n]</a><br /> -o da terra ha terra:<br /> -agora yreis despejada<br /> -polla estrada,<br /> -porque vencestes com fee<br /> -forte guerra.</td> -<td><i>St Augustine.</i> O soul, well -counselled! <span class="poetrynumber"><a id="linenumber_1_116" name="linenumber_1_116"></a>116</span>well -bestowed<br /> -To each what is of each by right,<br /> -And earth to earth:<br /> -Now shalt thou speed along thy road,<br /> -Free of this load,<br /> -Faring by faith from this stern fight<br /> -Victorious forth.</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span><span class="smcap">Ygreja.</span> Venha -estoutra yguaria.</td> -<td><i>Church.</i> To the last course I thee <span class="poetrynumber"><a id="linenumber_1_117" name="linenumber_1_117"></a>117</span>invite.</td> -</tr> -<tr> -<td><span class="smcap">Gero.</span> A -quarta yguaria he -tal,<br /> -tam esmerada,<br /> -de tam infinda valia<br /> -& contia<br /> -que na mente diuinal<br /> -foy guisada,<br /> -por mysterio preparada<br /> -no sacrario virginal<br /> -muy cuberta,<br /> -da diuindade cercada<br /> -& consagrada,<br /> -despois ao padre eternal<br /> -dada em oferta.<a title="textual variant" href="#Variantnote_1_118" class="tvanchor">[v]</a></td> -<td><i>St Jerome.</i> This fourth viand is of a -kind<br /> -So seasonèd,<br /> -It is of value infinite,<br /> -Most exquisite,<br /> -Prepared by the Divine mind<br /> -And perfected:<br /> -Entrusted first in mystery <span class="poetrynumber"><a id="linenumber_1_118" name="linenumber_1_118"></a>118</span><br /> -To a holy virgin came from Heaven<br /> -This secret thing,<br /> -Encompassed by divinity<br /> -And sanctity,<br /> -Then to the Eternal Father given<br /> -As offering.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Apresenta sam Geronymo à alma hum -crucificio<a title="textual variant" href="#Variantnote_1_118" class="tvanchor">[v]</a> que tira dantre os pratos, -& os doutores o adoram cantando -Domine Jesu Christe, & acabando diz -a alma.</td> -<td class="justify">(<i>St Jerome presents to -the Soul a -Crucifix, which he takes from among -the dishes, and the Doctors adore it, -singing </i>Domine Jesu Christe<i>, and -afterwards the Soul says:</i>)</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> -<span class="pilcrow">¶</span> -Cõ -que forças, com q̃ spirito<a title="textual variant" href="#Variantnote_1_119" class="tvanchor">[v]</a><br /> -te darey, triste, louuores<a title="textual variant" href="#Variantnote_1_119" class="tvanchor">[v]</a><br /> -que sou nada,<br /> -vendote, Deos<a title="textual variant" href="#Variantnote_1_119" class="tvanchor">[v]</a> -infinito,<br /> -tam afflito,<br /> -padecendo tu as dores<br /> -& eu culpada?<br /> -Como estaas tam quebrantado,<br /> -filho de Deos immortal!<br /> -quem te matou?<br /> -Senhor per cujo mandado<br /> -es justiçado<br /> -sendo Deos vniuersal<br /> -que nos criou?</td> -<td><i>Soul.</i> With what heart and mind -contrite <span class="poetrynumber"><a id="linenumber_1_119" name="linenumber_1_119"></a>119</span><br /> -May I praise Thee sadly now<br /> -Who am nought,<br /> -Seeing Thee, God infinite,<br /> -To such plight<br /> -Of suffering and sorrow bow,<br /> -By my sin brought!<br /> -Lord, how art Thou crushed and broken, <span class="poetrynumber"><a id="linenumber_1_120" name="linenumber_1_120"></a>120</span><br /> -Thou, the Son of God, to die!<br /> -And Thy death<br /> -By whom ordered, by what token<br /> -The word spoken<br /> -Thee to judge and crucify,<br /> -Who gav'st us breath?</td> -</tr> -<tr> -<td><span class="smcap">Agost.</span> -¶ A -fruyta<a title="textual variant" href="#Variantnote_1_121" class="tvanchor">[v]</a> deste jantar,<br /> -que neste altar vos foy dado<br /> -com amor,<br /> -yremos todos buscar<br /> -ao pomar<br /> -adonde<a title="textual variant" href="#Variantnote_1_121" class="tvanchor">[v]</a> estaa sepultado<br /> -o redemptor.<a title="textual variant" href="#Variantnote_1_121" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_1_121" class="enanchor">[n]</a></td> -<td><i>St Aug.</i> For the fruit to end this -feast, <span class="poetrynumber"><a id="linenumber_1_121" name="linenumber_1_121"></a>121</span><br /> -On the altar given thee thus<br /> -Lovingly,<br /> -To the orchard go we all in quest,<br /> -Where lies at rest<br /> -The Redeemer, He who died for us<br /> -And set us free.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -E -todos com a alma, cantando Te -Deum laudamus, foram adorar ho -muymento.<a title="textual variant" href="#Variantnote_1_121" class="tvanchor">[v]</a></td> -<td class="justify">(<i>And all with the Soul, -singing -</i>Te deum laudamus<i>, went to adore -the tomb.</i>)</td> -</tr> -</tbody> -</table> -<p class="center">LAVS DEO.</p> -<hr /> -<div class="variantnotes"> -<h3>TEXTUAL VARIANT NOTES:</h3> -<p><span id="Variantnote_1_1" class="label"><a href="#linenumber_1_1">1</a>.</span> -<i>pera mui p'rigosos p'rigos</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>imigos</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_2" class="label"><a href="#linenumber_1_2">2</a>.</span> -<i>pensada</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>pousada</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>passada?</i> -cf. infra <a href="#linenumber_1_73">73</a> and J. -Ruiz <i>Cantar -de Ciegos</i>. -De los bienes deste siglo No tiuemos nos <i>pasada</i>.</p> -<p><span id="Variantnote_1_3" class="label"><a href="#linenumber_1_3">3</a>.</span> -<i>Pousada com alimentos?</i></p> -<p><span id="Variantnote_1_4" class="label"><a href="#linenumber_1_4">4</a>.</span> -<i>apressada</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_6" class="label"><a href="#linenumber_1_6">6</a>.</span> -<i>em chegando?</i></p> -<p><span id="Variantnote_1_13" class="label"><a href="#linenumber_1_13">13</a>.</span> -<i>a resistir</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <abbr title="Obras de Gil Vicente (1834)">C</abbr>; <i>e -resistir</i> <abbr title="Obras (1852)">D</abbr>.</p> -<p><span id="Variantnote_1_18" class="label"><a href="#linenumber_1_18">18</a>.</span> -<i>atras</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>imigo</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_20" class="label"><a href="#linenumber_1_20">20</a>.</span> -<i>trestura</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>vem -o -Diabo e diz</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_22" class="label"><a href="#linenumber_1_22">22</a>.</span> -<i>E havei prazer</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_23" class="label"><a href="#linenumber_1_23">23</a>.</span> -<i> & auereis?</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>cue -da vida vos desterra</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_26" class="label"><a href="#linenumber_1_26">26</a>.</span> -<i>nam som em balde os deleytes</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<i>fortunas</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>. <i>criaturas</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_27" class="label"><a href="#linenumber_1_27">27</a>.</span> -<i>possagem</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>passagem</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_35" class="label"><a href="#linenumber_1_35">35</a>.</span> -<i>Huns chapins aueis mister De -Valença, eylos aqui</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_1_36" class="label"><a href="#linenumber_1_36">36</a>.</span> -<i>de la pera ca</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_38" class="label"><a href="#linenumber_1_38">38</a>.</span> -<i>marcante</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>mercante</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>. <i>querês</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>.</p> -<p><span id="Variantnote_1_41" class="label"><a href="#linenumber_1_41">41</a>.</span> -<i>poder</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>; <i>puder</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>Todas -cousas com razão Tem sazão</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_42" class="label"><a href="#linenumber_1_42">42</a>.</span> -<i>poder</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>puder</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_43" class="label"><a href="#linenumber_1_43">43</a>.</span> -<i>naceo</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>nasceo</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr> -(cf. infra <a href="#linenumber_1_102">102</a> <i>nascido</i> -<abbr title="Copilaçam de todalas obras (1562)">A</abbr>; -<a href="#linenumber_1_106">106</a> <i>nacido</i> -A).</p> -<p><span id="Variantnote_1_44" class="label"><a href="#linenumber_1_44">44</a>.</span> -<i>dadas</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>dados</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_45" class="label"><a href="#linenumber_1_45">45</a>.</span> -<i>esmaltados</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>neste -espelho & sabereis</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>Neste -espelho bem -lavrado Vos vereis?</i> -(omitting <i>& sabereis—enganar</i>).</p> -<p><span id="Variantnote_1_46" class="label"><a href="#linenumber_1_46">46</a>.</span> -<i>em cada orelha o seu</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_47" class="label"><a href="#linenumber_1_47">47</a>.</span> -<i>despiedosa</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_49" class="label"><a href="#linenumber_1_49">49</a>.</span> -<i>á derradeira</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_50" class="label"><a href="#linenumber_1_50">50</a>.</span> -<i>van</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_52" class="label"><a href="#linenumber_1_52">52</a>.</span> -<i>mim</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_54" class="label"><a href="#linenumber_1_54">54</a>.</span> -<i>muito certo? tudo tendes</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_1_56" class="label"><a href="#linenumber_1_56">56</a>.</span> -<i>Siprito</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_58" class="label"><a href="#linenumber_1_58">58</a>.</span> -<i>como se quer</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_59" class="label"><a href="#linenumber_1_59">59</a>.</span> -<i>escripturas</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_61" class="label"><a href="#linenumber_1_61">61</a>.</span> -<i>estrouares</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>hereos</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_62" class="label"><a href="#linenumber_1_62">62</a>.</span> -<i>damnaste</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_65" class="label"><a href="#linenumber_1_65">65</a>.</span> -<i>como o raio</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_66" class="label"><a href="#linenumber_1_66">66</a>.</span> -<i>violentas</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>& -tromentas</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_67" class="label"><a href="#linenumber_1_67">67</a>.</span> -<i>mezinha</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>obstinada</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>a -todo o mal</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>; -<i>e todo o mal</i> -<abbr title="Obras (1852)">D</abbr>.</p> -<p><span id="Variantnote_1_68" class="label"><a href="#linenumber_1_68">68</a>.</span> -<i>arreos</i>, <i>feos</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>; <i>c'os -trajos</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_69" class="label"><a href="#linenumber_1_69">69</a>.</span> -<i>logar</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>. -<i>damnada</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_71" class="label"><a href="#linenumber_1_71">71</a>.</span> -<i>soccorey</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_74" class="label"><a href="#linenumber_1_74">74</a>.</span> -<i>devagar</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_75" class="label"><a href="#linenumber_1_75">75</a>.</span> -<i>Jeronimo, Ambrosio e Thomaz</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, -<abbr title="Obras (1852)">D</abbr>. <i>e qual</i> -<abbr title="Obras (1852)">D</abbr>. <i>melhor</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>.</p> -<p><span id="Variantnote_1_76" class="label"><a href="#linenumber_1_76">76</a>.</span> -<i>troxe</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>passeia</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>vem -outro Diabo</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_77" class="label"><a href="#linenumber_1_77">77</a>.</span> -<i>dessocegado</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>.</p> -<p><span id="Variantnote_1_79" class="label"><a href="#linenumber_1_79">79</a>.</span> -<i>Tinha outra alma vencida</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_80" class="label"><a href="#linenumber_1_80">80</a>.</span> -<i>fê-la</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>.</p> -<p><span id="Variantnote_1_81" class="label"><a href="#linenumber_1_81">81</a>.</span> -<i>asi</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_82" class="label"><a href="#linenumber_1_82">82</a>.</span> -<i>affogar</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>; <i>affagar</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>Entra -a Alma, con o Anjo</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>.</p> -<p><span id="Variantnote_1_84" class="label"><a href="#linenumber_1_84">84</a>.</span> -<i>Vexilla</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>. -<i>pro Deum</i> -<abbr title="Copilaçam de todalas obras (1562)">A</abbr>, -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<i>prodeunt</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_88" class="label"><a href="#linenumber_1_88">88</a>.</span> -<i>até 'gora</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>.</p> -<p><span id="Variantnote_1_90" class="label"><a href="#linenumber_1_90">90</a>.</span> -<i>pela nossa</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>.</p> -<p><span id="Variantnote_1_91" class="label"><a href="#linenumber_1_91">91</a>.</span> -<i>polo homem</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1907)">E</abbr>. <abbr title="Copilaçam de todalas obras (1586)">B</abbr> -omits <a href="#linenumber_1_90">90</a> and <a href="#linenumber_1_91">91</a>.</p> -<p><span id="Variantnote_1_92" class="label"><a href="#linenumber_1_92">92</a>.</span> -<i>O quão chorosa Quando o seu Deos -padecia</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_1_93" class="label"><a href="#linenumber_1_93">93</a>.</span> -<i>com os</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>c'os -olhos</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, -<abbr title="Obras (1852)">D</abbr>.</p> -<p><span id="Variantnote_1_94" class="label"><a href="#linenumber_1_94">94</a>.</span> -<i>podera ver</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>podera -haver</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, -<abbr title="Obras (1852)">D</abbr>.</p> -<p><span id="Variantnote_1_96" class="label"><a href="#linenumber_1_96">96</a>.</span> -<i>vermos</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_97" class="label"><a href="#linenumber_1_97">97</a>.</span> -<i>cravar</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_100" class="label"><a href="#linenumber_1_100">100</a>.</span> -<i>morta debruçada</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>de -nossa vida</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<i>da nossa vida</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>. <i>pecadora</i>? -or <i>e -senhora</i>? or <i>nesta hora</i>?</p> -<p><span id="Variantnote_1_101" class="label"><a href="#linenumber_1_101">101</a>.</span> -<i>Mesias</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_102" class="label"><a href="#linenumber_1_102">102</a>.</span> -<i>choraua sem</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_103" class="label"><a href="#linenumber_1_103">103</a>.</span> -<i>cospido</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_105" class="label"><a href="#linenumber_1_105">105</a>.</span> -<i>Vso aveysuos</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr><br /> -<i>a limpar</i> A [but cf. 107. <i>alimpeis</i> -(A)]; <i>alimpar</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>A -alimpar</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_107" class="label"><a href="#linenumber_1_107">107</a>.</span> -<i>de face</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_108" class="label"><a href="#linenumber_1_108">108</a>.</span> -<i>Vereis seu triste laurado Natural</i> -<abbr title="Copilaçam de todalas obras (1562)">A</abbr>, -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>. -<i>Esta toalha de que <abbr title="Obras de Gil Vicente (1834)">C</abbr>. Veronica -<abbr title="Obras de Gil Vicente (1834)">C</abbr>. -a mostra</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>; -<i>amostra</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>santa -facias</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_110" class="label"><a href="#linenumber_1_110">110</a>.</span> -<i>em q̃ se falla</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>açotes</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_112" class="label"><a href="#linenumber_1_112">112</a>.</span> -<i>tormento</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>fala</i> -<abbr title="Copilaçam de todalas obras (1562)">A</abbr>; -<i>falla</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>espiniarum</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>acabado</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_113" class="label"><a href="#linenumber_1_113">113</a>.</span> -<i>theor</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_114" class="label"><a href="#linenumber_1_114">114</a>.</span> -<i>gran</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>. -<i>tristura</i> -<abbr title="Copilaçam de todalas obras (1562)">A</abbr>, -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>. <i>clausos</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<i>acabada -a oração</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_115" class="label"><a href="#linenumber_1_115">115</a>.</span> -<i>inimigo</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_116" class="label"><a href="#linenumber_1_116">116</a>.</span> -<i>o seu a cujo he</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>o -seu cujo he</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, -<abbr title="Obras (1852)">D</abbr>.</p> -<p><span id="Variantnote_1_118" class="label"><a href="#linenumber_1_118">118</a>.</span> -<i>oferta</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>; <i>offerta</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<i>crucifixo</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_1_119" class="label"><a href="#linenumber_1_119">119</a>.</span> -<i>spirito</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>sprito</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>tristes -louvores</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, -<abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>. <i>dios</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_1_121" class="label"><a href="#linenumber_1_121">121</a>.</span> -<i>fruta</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>a -onde</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>redemtor</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<i>moymento</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>moimento</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -</div> -<div class="footnotes"> -<h3>FOOTNOTES:</h3> -<div class="footnote"> -<p><a name="Footnote_151_151" id="Footnote_151_151"></a><a href="#FNanchor_151_151"><span class="label">[151]</span></a> -<i>MDXVIII</i>. A. Braamcamp Freire.</p> -</div> -<div class="footnote"> -<p><a name="Footnote_152_152" id="Footnote_152_152"></a><a href="#FNanchor_152_152"><span class="label">[152]</span></a> -<i>pera eterna morada</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -</div> -<div class="footnote"> -<p><a name="Footnote_153_153" id="Footnote_153_153"></a><a href="#FNanchor_153_153"><span class="label">[153]</span></a> -<i>prefiguraçã</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -</div> -</div> -<hr style="width: 65%;" /> -<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> -<h2><a name="EXHORTACAO_DA_GUERRA" id="EXHORTACAO_DA_GUERRA"></a>EXHORTAÇÃO -DA GUERRA<a title="endnote" href="#Endnote_2_0" class="enanchor">[n]</a></h2> -<table class="translated"> -<tbody> -<tr> -<td id="linenumber_2_0"><i>Exhortação -da -Guerra†.<a title="textual variant" href="#Variantnote_2_0" class="tvanchor">[v]</a></i></td> -<td><i>Exhortation to War.</i></td> -</tr> -<tr> -<td><i>Interlocutores</i>:¶ -Nigromante, <span class="smcap">Zebron</span>, -<span class="smcap">Danor</span>, Diabos, <span class="smcap">Policena</span>, <span class="smcap">Pantasilea</span>, -<span class="smcap">Archiles</span>, <span class="smcap">Anibal</span>, <span class="smcap">Eytor</span>, -<span class="smcap">Cepiam</span>.</td> -<td><i>Dramatis personae</i>: A necromancer, -<span class="smcap">Zebron</span> and <span class="smcap">Danor</span>, devils, <span class="smcap">Polyxena</span>, -<span class="smcap">Penthesilea</span>, <span class="smcap">Achilles</span>, <span class="smcap">Hannibal</span>, -<span class="smcap">Hector</span>, <span class="smcap">Scipio</span>.</td> -</tr> -<tr> -<td class="justify"><i>A Tragicomedia seguinte -seu nome he -Exortação da guerra. Foi representada -ao muyto alto & nobre Rey dom Manoel -o primeyro em Portugal deste nome na -sua cidade de Lixboa na partida pera -Azamor do illustre & muy magnifico -senhor dõ Gemes Duque de Bargança & -de Guimarães, &c. Era de M.D.xiiij</i><i> -<a title="textual variant" href="#Variantnote_2_0" class="tvanchor">[v]</a></i><i> -annos.</i></td> -<td class="justify"><i>The following -tragicomedy is called -Exhortation to War. It was played -before the very high and noble King -Dom Manuel I of Portugal in his city -of Lisbon on the departure for Azamor -of the illustrious and very magnificent -Lord Dom James, Duke of Braganza, -Guimarães, etc., in the year 1513.</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -<i>Entra -primeyramente hum clerigo -nigromante -& diz:</i></td> -<td><span class="pilcrow">¶</span> -<i>A -necromancer priest first enters and -says:</i></td> -</tr> -<tr> -<td><span class="smcap">Cl.</span> -Famosos & -esclarecidos<br /> -principes mui preciosos,<br /> -na terra vitoriosos<br /> -& no ceo muyto queridos,<br /> -sou clerigo natural<br /> -de Portugal,<br /> -venho da coua Sebila<br /> -onde se esmera & estila<br /> -a sotileza infernal.<br /> -E venho muy copioso<br /> -magico & nigromante,<br /> -feyticeyro muy galante,<br /> -astrologo bem auondoso.<br /> -Tantas artes diabris<br /> -saber quis<br /> -que o mais forte diabo<br /> -darey preso polo rabo<br /> -ao iffante Dom Luis.<a title="endnote" href="#Endnote_2_18" class="enanchor">[n]</a><br /> -Sey modos dencantamentos<br /> -quaes nunca soube ninguem,<br /> -artes para querer bem,<br /> -remedios a pensamentos.<br /> -Farey de hum coraçam duro<br /> -mais que muro<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> -<br /> -como brando leytoayro,<a title="textual variant" href="#Variantnote_2_25" class="tvanchor">[v]</a><br /> -e farei polo contrayro<br /> -que seja sempre seguro.<br /> -Sou muy grande encantador,<br /> -faço grandes marauilhas,<br /> -as diabolicas sillas<br /> -sam todas em meu favor:<br /> -farey cousas impossiveis<br /> -muy terribeis,<br /> -milagres muy euidentes<br /> -que he pera pasmar as gentes,<br /> -visiueis & invisiueis.<br /> -Farey que hũa dama esquiua<br /> -por mais çafara que seja<br /> -quando o galante a veja<br /> -que ella folgue de ser viua;<br /> -farey a dous namorados<br /> -mui penados<br /> -questem cada hum per si,<br /> -& cousas farey aqui<br /> -que estareis marauilhados.<br /> -Farey por meo vintem<br /> -que hũa dama muito fea<br /> -que de noyte sem candea<br /> -nam pareça mal nem bem;<a title="endnote" href="#Endnote_2_46" class="enanchor">[n]</a><br /> -e outra fermosa & bella<br /> -como estrella<br /> -farey por sino forçado<br /> -que qualquer homem hõrrado<br /> -nam lhe pesasse um ella.<br /> -Faruos ey mais pera verdes,<br /> -por esconjuro perfeyto,<br /> -que caseis todos a eyto<br /> -o milhor que vos poderdes;<br /> -e farey da noite dia<br /> -per pura nigromanciia<br /> -se o sol alumear,<br /> -& farey yr polo ar<br /> -toda a van fantesia.<br /> -Faruos ey todos dormir<br /> -em quanto o sono vos durar<br /> -& faruos ey acordar<br /> -sem a terra vos sentir;<br /> -e farey hum namorado<br /> -bem penado<br /> -se amar bem de verdade<br /> -que lhe dure essa vontade<br /> -atee ter outro cuydado.<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> -<br /> -Faruos ey que desejeis<br /> -cousas que estão por fazer,<br /> -e faruos ey receber<br /> -na hora que vos desposeis,<br /> -e farey que esta cidade<br /> -estee pedra sobre pedra,<br /> -e farey que quem nam medra<br /> -nunca tẽ prosperidade.<br /> -Farey per magicas rasas<br /> -chuuas tam desatinadas<br /> -que estem as telhas deytadas<br /> -pelos telhados das casas;<br /> -e farey a torre da See,<br /> -assi grande como he,<br /> -per graça da sua clima<br /> -que tenha o alicesse ao pee<br /> -& as ameas em cima.<br /> -Nam me quero mais gabar.<br /> -Nome de San Cebriam<br /> -esconjurote Satam.<br /> -Senhores não espantar!<br /> -Zeet zeberet zerregud zebet<br /> -oo filui soter<br /> -rehe zezegot relinzet<br /> -oo filui soter<br /> -oo chaues das profundezas<br /> -abri os porros da terra!<br /> -Princepe*<a title="textual variant" href="#Variantnote_2_100" class="tvanchor">[v]</a> da eterna treua<br /> -pareçam tuas grandezas!<br /> -conjurote Satanas,<br /> -onde estaas,<br /> -polo bafo dos dragões,<br /> -pola ira dos liões,<br /> -polo valle de Jurafas.<br /> -Polo fumo peçonhento<br /> -que sae da tua cadeyra<br /> -e pola ardente fugueyra,<br /> -polo lago do tormento<br /> -esconjurote Satam,<br /> -de coraçam,<br /> -zezegot seluece soter,<a title="endnote" href="#Endnote_2_94" class="enanchor">[n]</a><br /> -conjurote, Lucifer,<br /> -que ouças minha oraçam.<br /> -Polas neuoas ardentes<br /> -que estam<a title="textual variant" href="#Variantnote_2_117" class="tvanchor">[v]</a> nas tuas moradas,<br /> -pollas poças<a title="textual variant" href="#Variantnote_2_118" class="tvanchor">[v]</a> -pouoadas<br /> -de bibaras<a title="textual variant" href="#Variantnote_2_119" class="tvanchor">[v]</a> & serpentes,<a title="endnote" href="#Endnote_2_116" class="enanchor">[n]</a><br /> -e pello amargo tormento<br /> -<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>muy sem tento<br /> -que daas aos encacerados,<br /> -pollos grytos dos danados<br /> -que nunca cessam momento:<br /> -conjurote, Berzebu,<br /> -pola ceguidade Hebrayca<a title="endnote" href="#Endnote_2_125" class="enanchor">[n]</a><br /> -e polla malicia Judayca,<br /> -com a qual te alegras tu,<br /> -rezeegut Linteser<a title="endnote" href="#Endnote_2_132" class="enanchor">[n]</a><br /> -zamzorep tisal<br /> -siroofee<a title="textual variant" href="#Variantnote_2_131" class="tvanchor">[v]</a> nafezeri.<a title="endnote" href="#Endnote_2_94" class="enanchor">[n]</a> -</td> -<td>Princes of most noble worth,<br /> -To whom high renown is given,<br /> -Who, victorious on earth,<br /> -Are beloved of God in Heaven,<br /> -I a priest am and my home <span class="poetrynumber"><a id="linenumber_2_5" name="linenumber_2_5"></a>5</span><br /> -Is Portugal,<br /> -From the Sibyl's cave I come<br /> -Where fumes diabolical<br /> -Are distilled and brought to birth.<br /> -In magic and necromancy <span class="poetrynumber"><a id="linenumber_2_10" name="linenumber_2_10"></a>10</span><br /> -I'm a skilled practitioner,<br /> -A most accomplished sorcerer,<br /> -Well versed in astrology.<br /> -In so many a devil's art<br /> -Would I have part <span class="poetrynumber"><a id="linenumber_2_15" name="linenumber_2_15"></a>15</span><br /> -That o'er the strongest I'll prevail<br /> -And just seize him by the tail<br /> -And hand him to prince Luis there.<br /> -Sorcerers of past time ne'er<br /> -Knew the enchantments that I know, <span class="poetrynumber"><a id="linenumber_2_20" name="linenumber_2_20"></a>20</span><br /> -Ways of making love to grow<br /> -And of freeing from love's care.<br /> -For of hearts I will take one<br /> -Harder than stone<br /> -And will it soft as syrup make, <span class="poetrynumber"><a id="linenumber_2_25" name="linenumber_2_25"></a>25</span><br /> -And so change others, to changes prone,<br /> -That nothing shall their firmness shake.<br /> -Truly a great wizard I<br /> -And great marvels can I work,<br /> -All the powers of Hell that lurk <span class="poetrynumber"><a id="linenumber_2_30" name="linenumber_2_30"></a>30</span><br /> -Favour me exceedingly,<br /> -As deeds impossible shall attest<br /> -Of awful shape,<br /> -Miracles most manifest<br /> -Such that all shall see and gape, <span class="poetrynumber"><a id="linenumber_2_35" name="linenumber_2_35"></a>35</span><br /> -Visibly and invisibly.<br /> -For I'll make a lady coy,<br /> -Though love's guerdon she defer,<br /> -If her lover look on her,<br /> -The very breath of life enjoy; <span class="poetrynumber"><a id="linenumber_2_40" name="linenumber_2_40"></a>40</span><br /> -And two lovers, love's curse under<br /> -Kept asunder,<br /> -Will I leave to grieve apart,<br /> -And achieve by this my art<br /> -Things at which you'll gaze in wonder. <span class="poetrynumber"><a id="linenumber_2_45" name="linenumber_2_45"></a>45</span><br /> -For a lady most ungainly<br /> -For a halfpenny at night<br /> -Will I cause without a light<br /> -To look nor ill nor well too plainly.<br /> -To another loveliest, <span class="poetrynumber"><a id="linenumber_2_50" name="linenumber_2_50"></a>50</span><br /> -As star in heaven<br /> -Shall this destiny be given<br /> -That of noblest men and best<br /> -None against her love protest.<br /> -And the better to display <span class="poetrynumber"><a id="linenumber_2_55" name="linenumber_2_55"></a>55</span><br /> -The perfection of my spell<br /> -I'll cause you all to marry well,<br /> -That is, I mean, as best you may;<br /> -And I'll turn night into day<br /> -All by this good art of mine, <span class="poetrynumber"><a id="linenumber_2_60" name="linenumber_2_60"></a>60</span><br /> -If the sun should chance to shine,<br /> -And, too, light as air shall be<br /> -Every foolish fantasy.<br /> -I will cause you all to sleep<br /> -While sleep has you in its keeping, <span class="poetrynumber"><a id="linenumber_2_65" name="linenumber_2_65"></a>65</span><br /> -And I'll cause you to awake<br /> -Without therefore the earth quaking;<br /> -And a lover by the thorn<br /> -Of love forlorn<br /> -If most real be his love <span class="poetrynumber"><a id="linenumber_2_70" name="linenumber_2_70"></a>70</span><br /> -I will make his fancy prove<br /> -Steadfast till it be forsworn.<br /> -I will make you wish to see<br /> -Things which scarcely can be parried,<br /> -And when each of you is married <span class="poetrynumber"><a id="linenumber_2_75" name="linenumber_2_75"></a>75</span><br /> -Then truly shall his wedding be.<br /> -And I'll make this city stand<br /> -Stone o'er stone on either hand,<br /> -And that those who do not flourish<br /> -No prosperity shall nourish. <span class="poetrynumber"><a id="linenumber_2_80" name="linenumber_2_80"></a>80</span><br /> -For my magic art's more proof<br /> -I'll bring mighty rains whereat<br /> -All the tiles shall lie down flat<br /> -Above the houses, on the roof.<br /> -And the great Cathedral tower <span class="poetrynumber"><a id="linenumber_2_85" name="linenumber_2_85"></a>85</span><br /> -For all its size will I uproot<br /> -And despite its special power<br /> -Its battlements on high will put,<br /> -Its foundation at its foot.<br /> -In my praise no more be said. <span class="poetrynumber"><a id="linenumber_2_90" name="linenumber_2_90"></a>90</span><br /> -In St Cyprian's name most holy,<br /> -Satan, I conjure thee.<br /> -(Gentlemen, be not afraid.)<br /> -Zeet zeberet zerregud zebet<br /> -oo filui soter <span class="poetrynumber"><a id="linenumber_2_95" name="linenumber_2_95"></a>95</span><br /> -rehe zezegot relinzet<br /> -oo filui soter.<a title="endnote" href="#Endnote_2_94" class="enanchor">[n]</a><br /> -Keys of the depths, abysses rending,<br /> -Open up Earth's every pore!<br /> -Prince of Darkness never-ending, <span class="poetrynumber"><a id="linenumber_2_100" name="linenumber_2_100"></a>100</span><br /> -Show thy great works evermore!<br /> -Satan, wheresoe'er thou be,<br /> -I conjure thee<br /> -By the mighty dragons' breath<br /> -And the raging lions' roar <span class="poetrynumber"><a id="linenumber_2_105" name="linenumber_2_105"></a>105</span><br /> -And Jehoshaphat's vale of death.<br /> -By the smoke that issueth<br /> -Poisonous from out thy chair,<br /> -By the fire that none may slake,<br /> -By the torments of thy lake, <span class="poetrynumber"><a id="linenumber_2_110" name="linenumber_2_110"></a>110</span><br /> -From my heart right earnestly<br /> -Satan, I conjure thee,<br /> -Zezegot seluece soter,<br /> -Unto thee my prayer I make,<br /> -Lucifer, listen to my prayer! <span class="poetrynumber"><a id="linenumber_2_115" name="linenumber_2_115"></a>115</span><br /> -By the mists of liquid fire<br /> -That thy regions drear distil,<br /> -By the vipers, snakes that fill<br /> -All its wells, abysses dire,<br /> -By the pangs relentlessly <span class="poetrynumber"><a id="linenumber_2_120" name="linenumber_2_120"></a>120</span><br /> -Given by thee<br /> -To the prisoners of thy pit,<br /> -By the shrieks of those in it<br /> -That unceasing echo still,<br /> -Beelzebub, I thee invite <span class="poetrynumber"><a id="linenumber_2_125" name="linenumber_2_125"></a>125</span><br /> -By the blindness of the Jews<br /> -Who the wrong in malice choose<br /> -And thereby thy heart delight<br /> -rezeegut Linteser<br /> -zamzorep tisal <span class="poetrynumber"><a id="linenumber_2_130" name="linenumber_2_130"></a>130</span><br /> -siroofee nafezeri.<br /> -</td> -</tr> -<tr> -<td class="justify"><i>Vêm os diabos -Zebron & Danor -& -diz Zebron:</i></td> -<td class="justify"><i>The devils Zebron and -Danor come and -Zebron says:</i></td> -</tr> -<tr> -<td><i>Z.</i> Que has tu, escomungado?</td> -<td><i>Z.</i> What's the matter, priest -accursed?</td> -</tr> -<tr> -<td><i>C.</i> Oo yrmãos, venhaes -embora!</td> -<td><i>P.</i> Welcome, brothers, welcome first.</td> -</tr> -<tr> -<td><i>D.</i> Que nos queres tu agora?</td> -<td><i>D.</i> What now with us wouldst thou -have?</td> -</tr> -<tr> -<td><i>C.</i> Que me façaes hum -mandado.</td> -<td><i>P.</i> That my bidding you should do. <span class="poetrynumber"><a id="linenumber_2_135" name="linenumber_2_135"></a>135</span></td> -</tr> -<tr> -<td><i>Z.</i> Polo altar de Satam,<br /> -dom vilam.</td> -<td><i>Z.</i> By Satan's altar, this thou'lt -rue,<br /> -Arrogant knave.</td> -</tr> -<tr> -<td><i>D.</i> Tomoo por essas gadelhas<br /> -& cortemoslhe as orelhas,<br /> -que este clerigo he ladram.<br /> -</td> -<td><i>D.</i> Come, I'll seize him by the hair<br /> -And off with his ears at least,<br /> -For a robber is this priest. <span class="poetrynumber"><a id="linenumber_2_140" name="linenumber_2_140"></a>140</span></td> -</tr> -<tr> -<td><i>C.</i> Manos, nam me façaes mal,<br /> -Compadres, primos, amigos!</td> -<td><i>P.</i> Hurt me not, good brothers, cease,<br /> -Comrades, cousins, friends, I pray.</td> -</tr> -<tr> -<td><i>Z.</i> Não te temos em dous -figos.</td> -<td><i>Z.</i> Not two figs for you we care.</td> -</tr> -<tr> -<td><i>C.</i> Como vay a Belial?<br /> -sua corte estaa em paz?</td> -<td><i>P.</i> How is Belial to-day?<br /> -And his court, is it at peace? <span class="poetrynumber"><a id="linenumber_2_145" name="linenumber_2_145"></a>145</span></td> -</tr> -<tr> -<td><i>D.</i> Dalhe aramaa hum bofete,<br /> -crismemos este rapaz<br /> -& chamemoslhe Zopete.<a title="textual variant" href="#Variantnote_2_148" class="tvanchor">[v]</a></td> -<td><i>D.</i> With a box o' the ear chastise -him,<br /> -Even so will we baptise him<br /> -And we'll christen him a fool.</td> -</tr> -<tr> -<td><i>C.</i> Ora fallemos de siso:<br /> -estais todos de saude?</td> -<td><i>P.</i> Come, let's speak more seriously:<br /> -Are you all quite well and cool? <span class="poetrynumber"><a id="linenumber_2_150" name="linenumber_2_150"></a>150</span></td> -</tr> -<tr> -<td><i>Z.</i> Fideputa, meo almude,<a title="endnote" href="#Endnote_2_151" class="enanchor">[n]</a><br /> -que tẽs tu de ver com isso?</td> -<td><i>Z.</i> Villain, wineskin, Bacchus' tool,<br /> -What has that to do with thee?</td> -</tr> -<tr> -<td><i>C.</i> Minhas potencias relaxo<br /> -& me abaxo,<br /> -falayme doutra maneyra.</td> -<td><i>P.</i> Nay, my powers I'll efface,<br /> -Myself abase,<br /> -Only speak not thus to me. <span class="poetrynumber"><a id="linenumber_2_155" name="linenumber_2_155"></a>155</span></td> -</tr> -<tr> -<td><i>D.</i> Sois bispo vos da Landeyra -<a title="endnote" href="#Endnote_2_156" class="enanchor">[n]</a><br /> -ou vigayro no Cartaxo?<a title="endnote" href="#Endnote_2_157" class="enanchor">[n]</a></td> -<td><i>D.</i> Do you hold Landeira's see<br /> -Or are you Cartaxo's vicar?</td> -</tr> -<tr> -<td><i>Z.</i> He Cura do Lumear,<a title="endnote" href="#Endnote_2_158" class="enanchor">[n]</a><br /> -sochantre da Mealhada,<a title="endnote" href="#Endnote_2_159" class="enanchor">[n]</a><br /> -acipreste de canada,<br /> -bebe sem desfolegar.<br /> -</td> -<td><i>Z.</i> He's priest of Lumear, I think,<br /> -Mealhada's precentor he,<br /> -Archpriest of a pint of liquor <span class="poetrynumber"><a id="linenumber_2_160" name="linenumber_2_160"></a>160</span><br /> -Since he ceases not to drink.</td> -</tr> -<tr> -<td><i>D.</i> É capelão -terrantees,<a title="endnote" href="#Endnote_2_162" class="enanchor">[n]</a><br /> -bom Ingres,<br /> -patriarca em Ribatejo<a title="endnote" href="#Endnote_2_164" class="enanchor">[n]</a><br /> -beberaa sobre hum cangrejo<br /> -as guelas dũ Frances.</td> -<td><i>D.</i> And this chaplain of our town<br /> -Is a good Englishman, for mark,<br /> -This Ribatejo Patriarch<br /> -Will drink even a Frenchman down, <span class="poetrynumber"><a id="linenumber_2_165" name="linenumber_2_165"></a>165</span><br /> -And nothing think of it at all.</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span><i>Z.</i> -Danor, dime, he Cardeal<a title="textual variant" href="#Variantnote_2_167" class="tvanchor">[v]</a><br /> -Darruda ou de Caparica?<a title="endnote" href="#Endnote_2_168" class="enanchor">[n]</a></td> -<td><i>Z.</i> Danor, say, is he Cardinal<br /> -Of Arruda or Caparica?</td> -</tr> -<tr> -<td><i>D.</i> Nenhũa cousa lhe fica<br /> -senam sempre o vaso tal,<br /> -tem um grande Arcebispado<br /> -muito honrrado<br /> -junto da pedra da estrema<a title="endnote" href="#Endnote_2_173" class="enanchor">[n]</a><br /> -onda põe a diadema<a title="endnote" href="#Endnote_2_174" class="enanchor">[n]</a><br /> -& a mitra o tal prelado.<br /> -Ladram, sabes o Seyxal<a title="endnote" href="#Endnote_2_176" class="enanchor">[n]</a><br /> -& Almada & pereli?<a title="endnote" href="#Endnote_2_177" class="enanchor">[n]</a><br /> -Oo fideputa alfaqui<br /> -albardeyro do Tojal.<a title="endnote" href="#Endnote_2_179" class="enanchor">[n]</a></td> -<td><i>D.</i> He has nought left thin or thick<br /> -Save always his glass of liquor <span class="poetrynumber"><a id="linenumber_2_170" name="linenumber_2_170"></a>170</span><br /> -And a great Archbishopric,<br /> -An honour given but to few<br /> -Near the boundary stone, the same<br /> -On which he sets his diadem,<br /> -This prelate, and his mitre too. <span class="poetrynumber"><a id="linenumber_2_175" name="linenumber_2_175"></a>175</span><br /> -Dost thou know Seixal, thou thief,<br /> -Almada and thereabouts?<br /> -Tojal packsaddler, of louts<br /> -And of villain knaves the chief.</td> -</tr> -<tr> -<td><i>C.</i> Diabos, quereis fazer<br /> -o que eu quiser<br /> -por bem ou de outra feyçam?</td> -<td><i>P.</i> Devils, will you now in brief <span class="poetrynumber"><a id="linenumber_2_180" name="linenumber_2_180"></a>180</span><br /> -My bidding do<br /> -Or must I take other ways with you?</td> -</tr> -<tr> -<td><i>D.</i> Oo fideputa ladram<br /> -auemoste dobedecer.</td> -<td><i>D.</i> Cursèd robber, only say<br /> -What you'd have and we'll obey.</td> -</tr> -<tr> -<td><i>C.</i> Ora eu vos mando & -remando<br /> -pollas virtudes dos ceos<br /> -polla potencia de Deos,<br /> -em cujo seruiço ando,<br /> -conjurouos da sua parte<br /> -sem mais arte<br /> -que façais o que eu mandar<br /> -polla terra & pollo ar,<br /> -aqui & em toda a parte.</td> -<td><i>P.</i> I command you instantly <span class="poetrynumber"><a id="linenumber_2_185" name="linenumber_2_185"></a>185</span><br /> -By the power of the sky<br /> -And the might of God on high,<br /> -In whose service priest I am,<br /> -I conjure you in His name<br /> -That you my behests obey <span class="poetrynumber"><a id="linenumber_2_190" name="linenumber_2_190"></a>190</span><br /> -Now straightway,<br /> -On the earth and in the air,<br /> -Here and there and everywhere.</td> -</tr> -<tr> -<td><i>Z.</i> Como te vai com as -terças?<br /> -É viuo aquelle alifante<br /> -que foy a Roma tão galante?<a title="endnote" href="#Endnote_2_195" class="enanchor">[n]</a></td> -<td><i>Z.</i> How are the tithes, -and—another -matter—<br /> -Is the fine elephant alive <span class="poetrynumber"><a id="linenumber_2_195" name="linenumber_2_195"></a>195</span><br /> -That went to Rome for the Pope to shrive?</td> -</tr> -<tr> -<td><i>D.</i> Amargamte a ti estas -verças?</td> -<td><i>D.</i> Are your feelings hurt by this -chatter?</td> -</tr> -<tr> -<td><i>C.</i> Esconjurote, Danor,<br /> -por amor de sam Paulo<br /> -e de sam Polo.</td> -<td><i>P.</i> Danor, now I conjure thee<br /> -By Saint Pol and by Saint Paul<br /> -Hearken to me. <span class="poetrynumber"><a id="linenumber_2_200" name="linenumber_2_200"></a>200</span></td> -</tr> -<tr> -<td><i>Z.</i> Tu não tens nenhum miolo.</td> -<td><i>Z.</i> Your intelligence is small.</td> -</tr> -<tr> -<td><i>C.</i> Eu vos farey vir a dor.<br /> -Por esta madre de Deos<br /> -de tão alta dinidade,<br /> -& polla sua humildade,<br /> -com que abrio os altos ceos,<br /> -polas veas virginaes<br /> -emperiaes<br /> -de que Christo foi humanado.</td> -<td><i>P.</i> Then shall you hark unwillingly.<br /> -By the Mother of God most holy<br /> -And her heavenly dignity,<br /> -Her humility on earth <span class="poetrynumber"><a id="linenumber_2_205" name="linenumber_2_205"></a>205</span><br /> -That had power to scale high Heaven,<br /> -And her own imperial worth<br /> -Whereby in the Virgin birth<br /> -The incarnate Christ to earth was given.</td> -</tr> -<tr> -<td><i>Z.</i> Que queres, escomungado?<br /> -Mandanos, nam digas mais.</td> -<td><i>Z.</i> Say no more, accursed knave, <span class="poetrynumber"><a id="linenumber_2_210" name="linenumber_2_210"></a>210</span><br /> -We'll obey: what wouldst thou have?</td> -</tr> -<tr> -<td><i>C.</i> Minha merce mãda -& ordena<br /> -que tragais logo essas horas<br /> -diante destas senhoras<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> -<br /> -a Troyana Policena<br /> -muyto bem atauiada<br /> -& concertada,<br /> -assi linda como era.</td> -<td><i>P.</i> 'Tis my will and my desire<br /> -That unto those ladies there<br /> -This very hour you should have care<br /> -Polyxena of Troy to bring: <span class="poetrynumber"><a id="linenumber_2_215" name="linenumber_2_215"></a>215</span><br /> -Come she, for beauty's heightening,<br /> -In rich attire,<br /> -Fair as she was fair of yore.</td> -</tr> -<tr> -<td><i>D.</i> Quanta pancada te dera<br /> -se pudera,<br /> -mas tẽsma<a title="textual variant" href="#Variantnote_2_221" class="tvanchor">[v]</a> -força quebrada.</td> -<td><i>D.</i> With what a thrashing shouldst -thou rue it<br /> -Could I but do it. <span class="poetrynumber"><a id="linenumber_2_220" name="linenumber_2_220"></a>220</span><br /> -But thou hast taken my strength away.</td> -</tr> -<tr> -<td><i>C.</i> Venha por mar ou por terra<br /> -logo muyto sem referta.</td> -<td><i>P.</i> Let her come by land or sea<br /> -Straightway and most peacefully.</td> -</tr> -<tr> -<td><i>Z.</i> E a terça da offerta<br /> -tambem pagas pera a guerra?</td> -<td><i>Z.</i> And as to subscriptions for the -war<br /> -Hast thou any tithe to pay? <span class="poetrynumber"><a id="linenumber_2_225" name="linenumber_2_225"></a>225</span></td> -</tr> -<tr> -<td><i>C.</i> Trazei logo a Policena<br /> -muy sem pena<br /> -com sua festa diante.</td> -<td><i>P.</i> Without delay Polyxena bring<br /> -And joyfully<br /> -Before her shall you dance and sing.</td> -</tr> -<tr> -<td><i>Z.</i> Inda yraa outro alifante:<a class="enanchor" title="endnote" href="#Endnote_2_229">[n]</a><br /> -pagaraas quarto & vintena.</td> -<td><i>Z.</i> They'll send another elephant yet<br /> -And you'll have to pay the tax for it. <span class="poetrynumber"><a id="linenumber_2_230" name="linenumber_2_230"></a>230</span></td> -</tr> -<tr> -<td><i>Vem Policena & diz:</i></td> -<td><i>Polyxena comes and says:</i></td> -</tr> -<tr> -<td><i>P.</i> Eu que venho aqui fazer?<br /> -Oo que gran pena me destes<br /> -pois por força me trouxestes<br /> -a um nouo padecer:<br /> -que quem viue sem ventura,<br /> -em gram tristura<br /> -ver prazeres lhee mais morte.<br /> -Oo belenissima<a title="textual variant" href="#Variantnote_2_238" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_2_238" class="enanchor">[n]</a> -corte,<br /> -senhora da fermosura!<br /> -Nam foy o paço Troyano<br /> -dino de vosso primor:<br /> -vejo hum Priamo mayor<br /> -hum Cesar<a title="endnote" href="#Endnote_2_243" class="enanchor">[n]</a> muy soberano,<br /> -outra Ecuba mais alta,<br /> -mui sem falta,<br /> -em poderosa, doce, humana,<br /> -a quem por Febo & Diana<br /> -cada vez Deos mais esmalta.<br /> -E vos, Principe excelente,<a title="endnote" href="#Endnote_2_249" class="enanchor">[n]</a><br /> -dayme aluisaras liberais,<br /> -que vossas mostras são tais<br /> -que todo mundo he contente,<br /> -e aos planetas dos ceos<br /> -mandou Deos<br /> -que vos dessem tais fauores<br /> -que em grandeza sejais vos<br /> -prima dos antecessores.<br /> -Por vos, mui fermosa flor,<br /> -Iffante Dona Isabel<a title="endnote" href="#Endnote_2_259" class="enanchor">[n]</a><br /> -Foram juntos em torpel<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> -<a title="textual variant" href="#Variantnote_2_260" class="tvanchor">[v]</a><br /> -por mandando do senhor<br /> -o ceo & sua companhia<br /> -& julgou Jupiter juiz<br /> -que fosseis Emperatriz<br /> -de Castella & Alemanha.<br /> -Senhor Iffante Dom Fernãdo,<a title="endnote" href="#Endnote_2_266" class="enanchor">[n]</a><br /> -vosso sino he de prudencia,<br /> -Mercurio per excelencia<br /> -fauorece vosso bando,<br /> -sereis rico & prosperado<br /> -e descansado,<br /> -sem cuydado & sem fadiga,<br /> -& sem guerra & sem briga:<br /> -isto vos estaa guardado.<br /> -Iffante Dona Breatiz,<a title="endnote" href="#Endnote_2_275" class="enanchor">[n]</a><br /> -vos sois dos sinos julgada<br /> -que aueis de ser casada<br /> -nas partes de flor de lis:<br /> -mais bem do que vos cuydais,<br /> -muyto mais,<br /> -vos tem o mundo guardado.<br /> -Perdey, senhores, cuydado<br /> -pois com Deos tanto priuais.</td> -<td><i>Pol.</i> Wherefore hither am I come?<br /> -O how great my affliction is<br /> -Since against my will you bring<br /> -Me to further suffering.<br /> -For he who lives in misery's stress <span class="poetrynumber"><a id="linenumber_2_235" name="linenumber_2_235"></a>235</span><br /> -Can but borrow<br /> -From seen pleasures a new sorrow.<br /> -But what a fairy court is this<br /> -In which beauty has its home!<br /> -The palace of Troy was not your peer <span class="poetrynumber"><a id="linenumber_2_240" name="linenumber_2_240"></a>240</span><br /> -Nor rival in magnificence,<br /> -I see a greater Priam here<br /> -Cesar of sovran excellence,<br /> -A Hecuba of nobler mien,<br /> -A flawless queen <span class="poetrynumber"><a id="linenumber_2_245" name="linenumber_2_245"></a>245</span><br /> -In power humanely gentle: hence<br /> -Apollo's and Diana's reign<br /> -Heaven confirmeth in the twain.<br /> -And you, Prince most excellent,<br /> -Give me liberal reward: <span class="poetrynumber"><a id="linenumber_2_250" name="linenumber_2_250"></a>250</span><br /> -From your promise is none debarred,<br /> -It fills all men with content,<br /> -And the planets of Heaven's abode<br /> -Had word of God<br /> -That to you be greatness sent <span class="poetrynumber"><a id="linenumber_2_255" name="linenumber_2_255"></a>255</span><br /> -And fortune's favour even more<br /> -Than to those who reigned before.<br /> -And for you, most lovely flower,<br /> -Princess Dona Isabel,<br /> -The Lord of Heaven in His power <span class="poetrynumber"><a id="linenumber_2_260" name="linenumber_2_260"></a>260</span><br /> -Marshalled in host innumerable<br /> -The sky and all its company,<br /> -And Jove as judge did then ordain<br /> -That as empress you should reign<br /> -O'er Castille and Germany. <span class="poetrynumber"><a id="linenumber_2_265" name="linenumber_2_265"></a>265</span><br /> -You, O Prince Dom Ferdinand,<br /> -Since prudence is your special share<br /> -And with favourable wand<br /> -Mercury holds you in his arms,<br /> -Wealth and prosperity shall bless <span class="poetrynumber"><a id="linenumber_2_270" name="linenumber_2_270"></a>270</span><br /> -In quietness<br /> -Without toil or any care,<br /> -Turmoil or loud war's alarms:<br /> -This for you the gods have planned.<br /> -For you, Princess Beatrice, <span class="poetrynumber"><a id="linenumber_2_275" name="linenumber_2_275"></a>275</span><br /> -Your sure destiny it is<br /> -To be married happily<br /> -Unto France's fleur-de-lys.<br /> -And the world has more in store<br /> -For you, yea more <span class="poetrynumber"><a id="linenumber_2_280" name="linenumber_2_280"></a>280</span><br /> -Than you imagine shall be given.<br /> -Princes, leave all cares of yore<br /> -Since you have the ear of Heaven.</td> -</tr> -<tr> -<td><i>C.</i> Que dizeis vos destas rosas, -<a href="#Endnote_2_284" title="endnote" class="enanchor">[n]</a><br /> -deste val de fermosura?</td> -<td><i>P.</i> What say you to the roses there<br /> -And this vale of loveliness? <span class="poetrynumber"><a id="linenumber_2_285" name="linenumber_2_285"></a>285</span></td> -</tr> -<tr> -<td><i>P.</i> Tal fora minha ventura<br /> -como ellas sam de fermosas!<br /> -Oo que corte tam lozida<br /> -& guarnecida<br /> -de lindezas para olhar!<br /> -quem me pudera ficar<br /> -nesta gloriosa vida!</td> -<td><i>Pol.</i> Would that fortune were no less<br /> -Fair to me than they are fair!<br /> -How gleams the Court in radiancy,<br /> -What an array<br /> -Of beauty is there here to see! <span class="poetrynumber"><a id="linenumber_2_290" name="linenumber_2_290"></a>290</span><br /> -O that it were given me<br /> -Ever in this life to stay!</td> -</tr> -<tr> -<td><i>D.</i> Nesta vida! la acharaas.</td> -<td><i>D.</i> In <i>this</i> life! -Thine another -school.</td> -</tr> -<tr> -<td><i>P.</i> Quem me trouxe a este fado?</td> -<td><i>Pol.</i> Who brought me to this destiny?</td> -</tr> -<tr> -<td><i>D.</i> Esse zote escomungado<br /> -te trouxe aqui onde estaas.<br /> -Perguntalhe que te quer<br /> -para ver.</td> -<td><i>D.</i> That excommunicated fool, <span class="poetrynumber"><a id="linenumber_2_295" name="linenumber_2_295"></a>295</span><br /> -Thou camest here at his suggestion.<br /> -Ask him what he wants of thee,<br /> -Just to see.</td> -</tr> -<tr> -<td><i>P.</i> Homem, a que me trouxeste?</td> -<td><i>Pol.</i> Why then have you brought me -here?</td> -</tr> -<tr> -<td><i>C.</i> Quee? ainda agora vieste<br /> -e has me de responder!<br /> -Declara a estes senhores,<br /> -pois foste damor ferida,<br /> -qual achaste nesta vida<br /> -que é a moor dor das dores,<br /> -e se as penas infernaes<br /> -se sam aas do amor yguaes,<br /> -ou se dam la mais tormentos<br /> -dos que ca dam pensamentos<br /> -e as penas que nos daes.</td> -<td><i>P.</i> What, no sooner you appear <span class="poetrynumber"><a id="linenumber_2_300" name="linenumber_2_300"></a>300</span><br /> -Than you would begin to question!<br /> -Tell these lordlings instantly,<br /> -Since you suffered from love's wound,<br /> -What in this life here you found<br /> -The greatest of all woes to be, <span class="poetrynumber"><a id="linenumber_2_305" name="linenumber_2_305"></a>305</span><br /> -Tell them if the pains of Hell<br /> -Be as deep as those of love,<br /> -Or if torments there excel<br /> -Those that here from love's thoughts well,<br /> -Griefs that every lover prove. <span class="poetrynumber"><a id="linenumber_2_310" name="linenumber_2_310"></a>310</span></td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> -<i>P.</i> Muyto triste padecer<br /> -no inferno sinto eu<br /> -mas a dor que o amor me deu<br /> -nunca a mais pude esqueecer.</td> -<td><i>Pol.</i> Awful in intensity<br /> -Are Hell's tortures unto me,<br /> -Grievously I suffer, yet<br /> -Ne'er could I love's wound forget.</td> -</tr> -<tr> -<td><i>C.</i> Que manhas, que gentileza<br /> -ha de ter o bom galante?</td> -<td><i>P.</i> What the arts and qualities <span class="poetrynumber"><a id="linenumber_2_315" name="linenumber_2_315"></a>315</span><br /> -That should a true lover grace?</td> -</tr> -<tr> -<td><i>P.</i> A primeyra he ser constante,<br /> -fundado todo em firmeza;<br /> -nobre, secreto, calado,<br /> -soffrido em ser desdañado,<br /> -sempre aberto o coração<br /> -pera receber payxão<br /> -mas nam pera ser mudado.<br /> -Ha de ser mui liberal,<br /> -todo fundado em franqueza,<br /> -esta he a mor gentileza<br /> -do amante natural:<br /> -porque é tam desuiada<br /> -ser o escasso namorado<br /> -como estar fogo em geada<br /> -ou hũa cousa pintada<br /> -ser o mesmo encorporado.<a title="endnote" href="#Endnote_2_331" class="enanchor">[n]</a><br /> -Ha de ser o seu comer<br /> -dous bocados suspirando<br /> -& dormir meo velando<br /> -sem de todo adormecer.<br /> -Ha de ter muy doces modos,<br /> -humano, cortessa todos,<br /> -seruir sem esperar della,<br /> -que quem ama com cautela<br /> -não segue a tẽçam dos Godos.<a title="endnote" href="#Endnote_2_341" class="enanchor">[n]</a></td> -<td><i>Pol.</i> Constancy has the first place<br /> -And resolution; and, with these,<br /> -Noble must he be, discreet,<br /> -Silent, patient of disdain <span class="poetrynumber"><a id="linenumber_2_320" name="linenumber_2_320"></a>320</span><br /> -With heart e'er open to love's strain<br /> -In passion's service to compete,<br /> -But not to change and change again.<br /> -And he must be liberal,<br /> -Generous exceedingly, <span class="poetrynumber"><a id="linenumber_2_325" name="linenumber_2_325"></a>325</span><br /> -Since there is no quality<br /> -That for lovers is so meet.<br /> -For to a lover avarice<br /> -Is as uncongenial<br /> -As would be a fire in ice <span class="poetrynumber"><a id="linenumber_2_330" name="linenumber_2_330"></a>330</span><br /> -Or if a picture were to be<br /> -Itself and its original<br /> -For his food he must but take<br /> -A mouthful barely, and with sighs,<br /> -And when he asleeping lies <span class="poetrynumber"><a id="linenumber_2_335" name="linenumber_2_335"></a>335</span><br /> -He must still be half awake.<br /> -Very gentle-mannered he,<br /> -Humane and courteous, must be<br /> -And serve his lady without hope,<br /> -For he who loveth grudgingly <span class="poetrynumber"><a id="linenumber_2_340" name="linenumber_2_340"></a>340</span><br /> -Proves himself of little scope.</td> -</tr> -<tr> -<td><i>C.</i> Qual he a cousa principal<br /> -porque deue ser amado?</td> -<td><i>P.</i> What his qualities among<br /> -Should most bring him love for love?</td> -</tr> -<tr> -<td><i>P.</i> Que seja mui esforçado,<br /> -isto he o que mais lhe val.<br /> -Porque hum velho dioso,<a title="textual variant" href="#Variantnote_2_346" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_2_346" class="enanchor">[n]</a><br /> -feo e muyto tossegoso,<a title="textual variant" href="#Variantnote_2_347" class="tvanchor">[v]</a><br /> -se na guerra tem boa fama<br /> -com a mais fermosa dama<br /> -merece de ser ditoso.<br /> -Senhores guerreyros, guerreyros!<br /> -& vos senhoras guerreyras<br /> -bandeyras & não gorgueyras<br /> -lauray pera os caualeyros.<br /> -Que assi nas guerras Troyãs<br /> -eu mesma & minhas irmaãs<br /> -teciamos os estandartes<br /> -bordados de todas partes<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> -<br /> -com diuisas mui loucaãs.<br /> -Com cantares e alegrias<br /> -dauamos nossos colares<br /> -e nossas joias a pares<br /> -per essas capitanias.<br /> -Renegay dos desfiados<br /> -& dos pontos enleuados<br /> -destruase aquella terra<br /> -dos perros arrenegados.<br /> -Oo quem vio Pantasileea<br /> -com quarenta mil donzellas,<br /> -armadas como as estrellas<br /> -no campo de Palomea.</td> -<td><i>Pol.</i> That he should be brave and -strong,<br /> -That will his best vantage prove. <span class="poetrynumber"><a id="linenumber_2_345" name="linenumber_2_345"></a>345</span><br /> -For a man advanced in years,<br /> -Ill-favoured though be and weak,<br /> -If name famed in war he bears<br /> -Even in the fairest lady's ears<br /> -Should for him his actions speak. <span class="poetrynumber"><a id="linenumber_2_350" name="linenumber_2_350"></a>350</span><br /> -On, on ye lords, to war, to war!<br /> -And ladies not as heretofore<br /> -Embroider wimples for your wear<br /> -But banners for the knights to bear.<br /> -For thus amid the wars of Troy <span class="poetrynumber"><a id="linenumber_2_355" name="linenumber_2_355"></a>355</span><br /> -I and my sisters did employ<br /> -Our time and all our artifice:<br /> -Standards, with many a fair device<br /> -Embroidered, did we weave for them;<br /> -And on them lavished many a gem <span class="poetrynumber"><a id="linenumber_2_360" name="linenumber_2_360"></a>360</span><br /> -And gaily with glad songs of joy<br /> -Our necklaces we freely gave,<br /> -Tiara and diadem.<br /> -Then leave your points and hem-stitch leave,<br /> -Your millinery and your lace, <span class="poetrynumber"><a id="linenumber_2_365" name="linenumber_2_365"></a>365</span><br /> -And utterly from off earth's face<br /> -These renegade dogs destroy.<br /> -O to see Penthesilea again<br /> -With forty thousand warriors,<br /> -Armed maidens gleaming like the stars <span class="poetrynumber"><a id="linenumber_2_370" name="linenumber_2_370"></a>370</span><br /> -On the Palomean plain.</td> -</tr> -<tr> -<td><i>C.</i> Venha aqui: trazeyma ca.</td> -<td><i>P.</i> Come bring her here this very -hour.</td> -</tr> -<tr> -<td><i>Z.</i> Deyxanos yeramaa.</td> -<td><i>Z.</i> Cannot you leave us one instant -alone?</td> -</tr> -<tr> -<td><i>C.</i> Ora sus, questais fazendo?</td> -<td><i>P.</i> What are you doing? Come on, come -on.</td> -</tr> -<tr> -<td><i>D.</i> O' diabo que teu encomendo -<a title="textual variant" href="#Variantnote_2_375" class="tvanchor">[v]</a><br /> -& quem tal poder te daa.</td> -<td><i>D.</i> To the devil would I see you gone -<span class="poetrynumber"><a id="linenumber_2_375" name="linenumber_2_375"></a>375</span><br /> -And whoso gives you this power.</td> -</tr> -<tr> -<td><i>Entra Pantiselea e diz:</i></td> -<td><i>Penthesilea enters and says:</i></td> -</tr> -<tr> -<td><i>P.</i> Que quereis e esta chorosa<br /> -rainha Pantasilea,<br /> -aa penada, triste, fea,<br /> -pera corte tam fermosa?<br /> -Porque me quereis vos ver<br /> -diante vosso poder,<br /> -rey das grandes marauilhas<br /> -que com pequenas quadrilhas<br /> -venceis quem quereis vencer?<a title="endnote" href="#Endnote_2_384" class="enanchor">[n]</a><br /> -Se eu, senhor, forra me vira,<br /> -do inferno solta agora,<br /> -e fora de mi senhora,<br /> -meu senhor, eu vos seruira,<br /> -empregara bem meus dias<br /> -em vossas capitanias,<br /> -& minha frecha dourada<br /> -fora bem auenturada<br /> -& nam nas guerras vazias.<br /> -Oo famoso Portugal<br /> -conhece teu bem profundo,<br /> -pois atee o Polo segundo<br /> -chega o teu poder real.<br /> -Auante, auante, senhores,<br /> -pois que com grandes favores<br /> -todo o ceo vos fauorece:<br /> -el Rey de Fez esmorece,<br /> -& Marrocos daa clamores.<br /> -Oo deixay de edificar<br /> -tantas camaras dobradas<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> -<br /> -Muy pintadas & douradas.<br /> -Que he gastar sem prestar.<br /> -Alabardas, alabardas!<br /> -espingardas, espingardas!<br /> -Nam queyrais ser Genoeses<br /> -senam muyto Portugueses<br /> -& morar em casas pardas.<br /> -Cobray fama de ferozes,<br /> -nam de ricos, que he perigosa,<br /> -douray a patria vossa<br /> -com mais nozes que as vozes.<a title="endnote" href="#Endnote_2_416" class="enanchor">[n]</a><br /> -Auante, auante Lisboa!<br /> -que por todo mundo soa<a title="endnote" href="#Endnote_2_418" class="enanchor">[n]</a><br /> -tua prospera fortuna:<br /> -pois que fortuna temfuna<br /> -faze sempre de pessoa.<a title="endnote" href="#Endnote_2_420" class="enanchor">[n]</a><br /> -Archiles, que foy daqui<br /> -de perto desta cidade,<br /> -chamay-o: diraa a verdade<br /> -se não quereis crer a mi.</td> -<td><i>Pen.</i> What would you of this hapless -queen<br /> -Penthesilea woe-begone,<br /> -Who in tears and sorrow thus appear<br /> -Ill-favoured in this court's fair sheen? <span class="poetrynumber"><a id="linenumber_2_380" name="linenumber_2_380"></a>380</span><br /> -Why should you wish to see me here<br /> -Before your high imperial throne,<br /> -Great king of marvels, who alone<br /> -With your small armies scatter still<br /> -Your victories abroad at will? <span class="poetrynumber"><a id="linenumber_2_385" name="linenumber_2_385"></a>385</span><br /> -Were I now, Sir, at liberty,<br /> -From Hell's grim dominion free<br /> -And mistress of my destiny<br /> -I would serve you willingly.<br /> -All my days would I spend then <span class="poetrynumber"><a id="linenumber_2_390" name="linenumber_2_390"></a>390</span><br /> -With your armies to my gain,<br /> -My golden arrow then with zest<br /> -Would serve you in a service blest<br /> -And not in useless wars and vain.<br /> -O renownèd Portugal, <span class="poetrynumber"><a id="linenumber_2_395" name="linenumber_2_395"></a>395</span><br /> -Learn to know thy noble worth<br /> -Since thy power imperial<br /> -Reaches to the ends of Earth.<br /> -Forward, forward, lord and knight<br /> -Since Heaven's favours on you crowd, <span class="poetrynumber"><a id="linenumber_2_400" name="linenumber_2_400"></a>400</span><br /> -Forward, forward in your might<br /> -That doth the King of Fez affright,<br /> -And Morocco cries aloud.<br /> -O cease ye eagerly to build<br /> -So many a richly furnished chamber, <span class="poetrynumber"><a id="linenumber_2_405" name="linenumber_2_405"></a>405</span><br /> -And to paint them and to gild.<br /> -Money so spent will nothing yield.<br /> -With halberds only now remember<br /> -And with rifles to excel.<br /> -Not for Genoese fashions strive <span class="poetrynumber"><a id="linenumber_2_410" name="linenumber_2_410"></a>410</span><br /> -But as Portuguese to live<br /> -And in houses plain to dwell.<br /> -As fierce warriors win renown,<br /> -Not for wealth most perilous,<br /> -Give your country a golden crown <span class="poetrynumber"><a id="linenumber_2_415" name="linenumber_2_415"></a>415</span><br /> -Of deeds, not words that mock at us.<br /> -Forward, Lisbon! All descry<br /> -Thy good fortune far and nigh,<br /> -And the fame thou dost inherit,<br /> -Since fortune raises thee on high, <span class="poetrynumber"><a id="linenumber_2_420" name="linenumber_2_420"></a>420</span><br /> -Win it sturdily by merit.<br /> -Achilles when he went away<br /> -From near this city went,<br /> -Call him: you'll hear truth evident<br /> -If you doubt what I have said. <span class="poetrynumber"><a id="linenumber_2_425" name="linenumber_2_425"></a>425</span></td> -</tr> -<tr> -<td><i>C.</i> Ora sus, sus digo eu.</td> -<td><i>P.</i> Let him come up, come up, I say.</td> -</tr> -<tr> -<td><i>Z.</i> Este clerigo he sandeu.<br /> -Onde estou que o nam crismo!<br /> -oo fideputa judeu<br /> -queres vazar o abismo?</td> -<td><i>Z.</i> This priest has gone quite off -his head.<br /> -I don't know what I am about<br /> -That I don't give the Jew a clout:<br /> -Would you empty Hell of its dead? <span class="poetrynumber"><a id="linenumber_2_430" name="linenumber_2_430"></a>430</span></td> -</tr> -<tr> -<td><i>Vem Archiles & diz:</i></td> -<td><i>Achilles comes and says:</i></td> -</tr> -<tr> -<td><i>A.</i> Quando Jupiter estaua<br /> -em toda sua fortaleza<br /> -& seu gran poder reynaua<br /> -& seu braço dominaua<br /> -os cursos da natureza;<br /> -quando Martes influya<br /> -seus rayos de vencimento<br /> -& suas forças repartia;<br /> -quando Saturno dormia<br /> -com todo seu firmamento;<br /> -e quando o Sol mais lozia<br /> -& seus rayos apuraua<br /> -& a Lũa aparecia<br /> -mais clara que o meo dia;<br /> -& quando Venus cãtaua,<br /> -e quando Mercurio estaua<br /> -mais pronto em dar sapiencia;<br /> -& quando o ceo se alegraua<br /> -& o mar mais manso estaua<br /> -& os ventos em clemencia;<br /> -e quando os sinos estauam<br /> -com mais gloria & alegria<br /> -& os poolos senfeytauam<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> -<br /> -& as nunẽs se tirauam<br /> -& a luz resplandecia;<br /> -e quando a alegria vera<br /> -foy em todas naturezas,<br /> -nesse dia, mes & era<br /> -quando tudo isto era<br /> -naceram vossas altezas.<br /> -Eu Archiles fuy criado<br /> -nesta terra muytos dias<br /> -& sam bem auenturado<br /> -ver este reyno exalçado<br /> -& honrrado por tantas vias.<br /> -Oo nobres seus naturaes,<br /> -por Deos nam vos descudees,<br /> -lembreuos que triumphaes;<br /> -oo prelados, nam dormais!<br /> -clerigos, nam murmureis!<a title="endnote" href="#Endnote_2_470" class="enanchor">[n]</a><br /> -Quando Roma a todas velas<br /> -conquistaua toda a terra<br /> -todas, donas & donzelas,<br /> -dauam suas joyas belas<br /> -pera manter os da guerra.<br /> -Oo pastores da Ygreja<br /> -moura a ceyta de Mafoma,<br /> -ajuday a tal peleja<br /> -que açoutados vos veja<br /> -sem apelar pera Roma.<br /> -Deueis devender as taças,<br /> -empenhar os breuiayros,<br /> -fazer vasos de cabaças<br /> -& comer pão & rabaças<br /> -por vencer vossos contrayros.</td> -<td><i>A.</i> When Jupiter in all his might<br /> -Was seated on his throne<br /> -And in his strength ordered aright<br /> -By his right hand alone<br /> -The courses of the day and night; <span class="poetrynumber"><a id="linenumber_2_435" name="linenumber_2_435"></a>435</span><br /> -And warrior Mars to Earth had lent<br /> -His bolts of victory<br /> -And parted with his armament;<br /> -When Saturn still slept peacefully<br /> -With all his firmament; <span class="poetrynumber"><a id="linenumber_2_440" name="linenumber_2_440"></a>440</span><br /> -When the Sun shone with clearer light<br /> -And an intenser ray<br /> -And the Moon's beams illumed the night,<br /> -More brightly than noonday,<br /> -And Venus sang her loveliest lay; <span class="poetrynumber"><a id="linenumber_2_445" name="linenumber_2_445"></a>445</span><br /> -When wisdom, that he now doth keep,<br /> -Was given by Mercury,<br /> -And mirth flashed o'er the heaven's steep<br /> -And the winds were gently hushed asleep<br /> -And a calm lay on the sea; <span class="poetrynumber"><a id="linenumber_2_450" name="linenumber_2_450"></a>450</span><br /> -When joy and fame together checked<br /> -The hands of destiny<br /> -And glory's flags the poles bedecked<br /> -And the heavens, by no clouds beflecked,<br /> -Gleamed in their radiancy; <span class="poetrynumber"><a id="linenumber_2_455" name="linenumber_2_455"></a>455</span><br /> -When every heart with unfeigned cheer<br /> -Was merry upon Earth,<br /> -In that day and month and year,<br /> -When all these portents did appear,<br /> -Your Highnesses had birth. <span class="poetrynumber"><a id="linenumber_2_460" name="linenumber_2_460"></a>460</span><br /> -Now I, Achilles, in my youth<br /> -Lived here for many days<br /> -And happy am I in good sooth<br /> -To see the kingdom's splendid growth<br /> -Honoured in countless ways. <span class="poetrynumber"><a id="linenumber_2_465" name="linenumber_2_465"></a>465</span><br /> -Its noble sons these honours reap,<br /> -But let no careless strain<br /> -Prevent you what you win to keep;<br /> -Ye prelates, 'tis no time for sleep!<br /> -Ye priests, do not complain! <span class="poetrynumber"><a id="linenumber_2_470" name="linenumber_2_470"></a>470</span><br /> -When mighty Rome was in full sail<br /> -Conquering all the Earth<br /> -The girls and matrons without fail,<br /> -That so the soldiers should prevail,<br /> -Gave all their jewels' worth. <span class="poetrynumber"><a id="linenumber_2_475" name="linenumber_2_475"></a>475</span><br /> -Then O ye shepherds of the Church<br /> -Down, down with Mahomet's creed!<br /> -Leave not the fighters in the lurch!<br /> -For if to scourge yourselves you speed<br /> -Then Rome may spare the birch. <span class="poetrynumber"><a id="linenumber_2_480" name="linenumber_2_480"></a>480</span><br /> -You should sell your chalices,<br /> -Yes and pawn your breviaries,<br /> -Turn your gourds into flasks, and e'er<br /> -Of bread and parsnips make your fare,<br /> -To vanquish thus your enemies. <span class="poetrynumber"><a id="linenumber_2_485" name="linenumber_2_485"></a>485</span></td> -</tr> -<tr> -<td><i>Z.</i> Assi, assi, aramaa!<br /> -dom zote, que te parece?<a title="endnote" href="#Endnote_2_487" class="enanchor">[n]</a></td> -<td><i>Z.</i> Aha, aha. A splendid rule!<br /> -What do you think of that, Sir Fool?</td> -</tr> -<tr> -<td><i>C.</i> E a mi que se me daa?<br /> -quem de seu renda nam ha<br /> -as terças pouco lhe empece.</td> -<td><i>P.</i> What is't to me? what should I -care?<br /> -For he who has no revenues<br /> -Can by the tithes but little lose. <span class="poetrynumber"><a id="linenumber_2_490" name="linenumber_2_490"></a>490</span></td> -</tr> -<tr> -<td><i>A.</i> Se viesse aqui Anibal<br /> -e Eytor e Cepiam<br /> -vereis o que vos diram<br /> -das cousas de Portugal<br /> -com verdade & com razam.</td> -<td><i>A.</i> If hither came but Hannibal,<br /> -Hector and Scipio<br /> -You shall see what they will show<br /> -Of the things of Portugal,<br /> -What reason and truth would have you know. <span class="poetrynumber"><a id="linenumber_2_495" name="linenumber_2_495"></a>495</span></td> -</tr> -<tr> -<td><i>C.</i> Sus Danor, e tu Zebram:<br /> -venham todos tres aqui.</td> -<td><i>P.</i> Come Danor, and Zebron, hither<br /> -Bring all three of them together.</td> -</tr> -<tr> -<td><i>D.</i> Fideputa, rapaz, cam,<br /> -perro, clerigo, ladram!</td> -<td><i>D.</i> Rascal cleric, villain, cur,<br /> -Thief, dog, that I for you should stir!</td> -</tr> -<tr> -<td><i>Z.</i> Mao pesar vejeu de ti.</td> -<td><i>Z.</i> May a curse your power wither! <span class="poetrynumber"><a id="linenumber_2_500" name="linenumber_2_500"></a>500</span></td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> -<i>Vem Anibal, Eytor, Cepiam & diz Anibal:</i></td> -<td class="justify"><i>Hannibal, Hector and -Scipio come, and -Hannibal says:</i></td> -</tr> -<tr> -<td><i>A.</i> Que cousa tam escusada<br /> -he agora aqui Anibal,<br /> -que vossa corte he afamada<br /> -per todo mundo em geral.</td> -<td><i>Han.</i> Easily you might forego<br /> -Poor Hannibal's presence here,<br /> -For your Court's fame far and near<br /> -The furthest of Earth's regions know.</td> -</tr> -<tr> -<td><i>E.</i> Nem Eytor nam faz mister.</td> -<td><i>Hect.</i> Nor need Hector here appear. -<span class="poetrynumber"><a id="linenumber_2_505" name="linenumber_2_505"></a>505</span></td> -</tr> -<tr> -<td><i>C.</i> Nem tampouco Cepiam.</td> -<td><i>S.</i> Nor is there room for Scipio.</td> -</tr> -<tr> -<td><i>A.</i> Deueis, senhores, esperar<br /> -em Deos que vos ha de dar<br /> -toda Africa na vossa mão.<br /> -Africa foi de Christãos,<br /> -Mouros vola tem roubada:<br /> -Capitães, pondelhas mãos,<br /> -que vos vireis mais louçãos<br /> -com famosa nomeada.<br /> -Oo senhoras Portuguesas,<a title="textual variant" href="#Variantnote_2_515" class="tvanchor">[v]</a><br /> -gastay pedras preciosas,<br /> -donas, donzelas, duquesas,<br /> -que as taes guerras & empresas<br /> -sam propriamente vossas.<br /> -É guerra de deuaçam<br /> -por honrra de vossa terra,<br /> -commettida com rezam,<br /> -formada com descriçam<br /> -contra aquella gente perra.<br /> -Fazey contas de bugalhos,<br /> -& perlas de camarinhas,<br /> -firmaes de cabeças dalhos;<br /> -isto si, senhoras minhas,<br /> -& esses que tendes daylhos.<br /> -Oo q̃ nam honrram vestidos<br /> -nem muy ricos atauios<br /> -mas os feytos nobrecidos,<br /> -nam briaes douro tecidos<br /> -com trepas de desuarios:<a title="endnote" href="#Endnote_2_534" class="enanchor">[n]</a><br /> -dayos pera capacetes.<br /> -& vos, priores honrrados,<br /> -reparti os Priorados<br /> -a soyços & soldados,<a title="endnote" href="#Endnote_2_538" class="enanchor">[n]</a><br /> -<i>& centum pro vno accipietis</i>.<br /> -A renda que apanhais<br /> -o milhor que vos podeis<br /> -nas ygrejas nam gastais,<br /> -aos proues pouca dais,<br /> -eu nam sey que lhe fazeis.<br /> -Day a terça do que ouuerdes<br /> -pera Africa conquistar<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> -<br /> -com mais prazer que poderdes,<br /> -que quanto menos tiuerdes<br /> -menos tereis que guardar.<br /> -Oo senhores cidadãos<br /> -Fidalgos & regedores<br /> -escutay os atambores<br /> -com ouuidos de Christãos!<br /> -E a gente popular<br /> -auante! nam refusar!<br /> -Ponde a vida & a fazenda,<br /> -porque pera tal contenda<br /> -ninguem deue recear.</td> -<td><i>Han.</i> Sirs, you should trust in God, -that he<br /> -All Africa presently<br /> -Will reduce beneath your sway.<br /> -Africa was Christian land, <span class="poetrynumber"><a id="linenumber_2_510" name="linenumber_2_510"></a>510</span><br /> -Moors have ta'en your own away.<br /> -To the work, Captains, set your hand,<br /> -For so with clearer ray shall burn<br /> -Your renown when you return.<br /> -And, O ladies of Portugal, <span class="poetrynumber"><a id="linenumber_2_515" name="linenumber_2_515"></a>515</span><br /> -Spend, spend jewel and precious stone,<br /> -Duchesses, ladies, maidens, all<br /> -Since such enterprises shall<br /> -Properly be yours alone.<br /> -A religious war it is <span class="poetrynumber"><a id="linenumber_2_520" name="linenumber_2_520"></a>520</span><br /> -For the honour of your land,<br /> -Against those vile enemies,<br /> -Undertaken reasonably<br /> -And with good discretion planned.<br /> -Of beads be every rosary, <span class="poetrynumber"><a id="linenumber_2_525" name="linenumber_2_525"></a>525</span><br /> -Each pearl replaced by bilberry,<br /> -Brooches of the heads of leek;<br /> -Such ornaments, my ladies, seek<br /> -And those you have give every one.<br /> -For little honour now is there <span class="poetrynumber"><a id="linenumber_2_530" name="linenumber_2_530"></a>530</span><br /> -In dresses and adornments fair,<br /> -Honour give noble deeds alone,<br /> -Not costly robes inwrought with gold<br /> -And pranked with trimmings manifold:<br /> -Give these now to help helmets make. <span class="poetrynumber"><a id="linenumber_2_535" name="linenumber_2_535"></a>535</span><br /> -And ye, good priors, I bid you take<br /> -And divide all that you hold<br /> -Among the soldiers of the guard<br /> -And great shall be your reward.<br /> -For of the income you obtain <span class="poetrynumber"><a id="linenumber_2_540" name="linenumber_2_540"></a>540</span><br /> -By whatever means you may<br /> -The churches have but little gain,<br /> -And from alms you still abstain:<br /> -How you spend it who shall say?<br /> -For the conquest of Africa <span class="poetrynumber"><a id="linenumber_2_545" name="linenumber_2_545"></a>545</span><br /> -Give a tithe of your possessions,<br /> -Give it, if you can, with pleasure,<br /> -For the less you have of treasure<br /> -The less need you fear oppressions.<br /> -And O rulers and noblemen, <span class="poetrynumber"><a id="linenumber_2_550" name="linenumber_2_550"></a>550</span><br /> -Yea and every citizen,<br /> -Listen, listen to the drums,<br /> -Hark to them with Christian ears!<br /> -And ye people, hold not back,<br /> -Forward, forward to the attack! <span class="poetrynumber"><a id="linenumber_2_555" name="linenumber_2_555"></a>555</span><br /> -Give your lives and your incomes,<br /> -For in such a conflict holy<br /> -None should harbour any fears.</td> -</tr> -<tr> -<td class="justify"><i>Todas estas figuras se -ordenaram -em caracol & a vozes cantaram & -representaram o que se segue, cantando -todos:</i></td> -<td class="justify"><i>All these figures -ordered themselves in -winding circles and by turns sang and -acted the following, all singing:</i></td> -</tr> -<tr> -<td>Ta la la la lam, ta la la la lam.</td> -<td>Ta la la la lam, ta la la la lam.</td> -</tr> -<tr> -<td><i>A.</i> Auante, auante! senhores! -<a href="#Endnote_2_559" title="endnote" class="enanchor">[n]</a><br /> -que na guerra com razam<br /> -anda Deos de capitam.<a title="endnote" href="#Endnote_2_561" class="enanchor">[n]</a></td> -<td><i>Hannibal.</i> On, on! go forward, lord -and -knight, <span class="poetrynumber"><a id="linenumber_2_560" name="linenumber_2_560"></a>560</span><br /> -Since in war waged for the right<br /> -God as Captain leads the fight.</td> -</tr> -<tr> -<td><i>Cãtã.</i> Ta la la la -lam, ta la la la -lam.</td> -<td><i>They sing.</i> Ta la la la lam, ta la la -la lam.</td> -</tr> -<tr> -<td><i>A.</i> Guerra, guerra, todo estado!<br /> -guerra, guerra muy cruel!<br /> -que o gran Rey Dom Manoel<br /> -contra Mouros estaa viado.<br /> -Tem promettido & jurado<br /> -dentro no seu coraçam<br /> -que poucos lhescaparão.</td> -<td><i>H.</i> To war, to war, both rich and -poor,<br /> -To war, to war, most ruthlessly <span class="poetrynumber"><a id="linenumber_2_565" name="linenumber_2_565"></a>565</span><br /> -Since the great King Manuel's wrath<br /> -Is gone forth against the Moor.<br /> -And he sworn and promised hath<br /> -In his inmost heart that he<br /> -Will destroy them from his path. <span class="poetrynumber"><a id="linenumber_2_570" name="linenumber_2_570"></a>570</span></td> -</tr> -<tr> -<td><i>Cãtã.</i> Ta la la la -lam, ta la la la -lam.</td> -<td><i>They sing.</i> Ta la la la lam, ta la la -la lam.</td> -</tr> -<tr> -<td><i>Anfalado.</i> Sua Alteza detremina<br /> -por acrescentar a fee<br /> -fazer da Mesquita See<br /> -em Fez por graça diuina.<br /> -Guerra, guerra muy contina<br /> -he sua grande tençam.</td> -<td><i>H.</i> And his Highness for a sign<br /> -Of our Holy Faith's increase<br /> -Wills that at Fez by grace divine<br /> -The mosque shall a cathedral be. <span class="poetrynumber"><a id="linenumber_2_575" name="linenumber_2_575"></a>575</span><br /> -War, war ever without cease<br /> -Is his purpose mightily.</td> -</tr> -<tr> -<td><i>Cãtã.</i> Ta la la la -lam, ta la la la -lam.</td> -<td><i>They sing.</i> Ta la la la lam, ta la la -la lam.</td> -</tr> -<tr> -<td><i>A.</i> Este Rey tam excelente,<br /> -muyto bem afortunado,<br /> -tem o mundo rodeado<br /> -doriente ao Ponente:<br /> -Deos mui alto, omnipotente,<br /> -o seu real coraçam<br /> -tem posto na sua mão.</td> -<td><i>H.</i> This our King most excellent<br /> -And with great good fortune blest <span class="poetrynumber"><a id="linenumber_2_580" name="linenumber_2_580"></a>580</span><br /> -Is lord of every continent<br /> -From the East unto the West:<br /> -And the high God omnipotent<br /> -In his gracious keeping still<br /> -Guards his royal heart from ill. <span class="poetrynumber"><a id="linenumber_2_585" name="linenumber_2_585"></a>585</span></td> -</tr> -<tr> -<td><i>Cãtã</i>. Ta la la la -lam, ta la la la -lam.</td> -<td><i>They sing.</i> Ta la la la lam, ta la la -la lam.</td> -</tr> -<tr> -<td class="justify"><i>E com esta -soyça se sayram e -fenece a susodita Tragicomedia.</i></td> -<td class="justify"><i>And with this chorus -they went out and -the above Tragicomedy ends.</i></td> -</tr> -</tbody> -</table> -<div class="variantnotes"> -<h3>TEXTUAL VARIANT NOTES:</h3> -<p><span id="Variantnote_2_0" class="label"><a href="#linenumber_2_0">inc</a>.</span> -This play was omitted in <abbr title="Copilaçam de todalas obras (1586)">B</abbr><abbr>.</abbr> -<i>Era de M.D.xiiij</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. -1513 -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_2_25" class="label"><a href="#linenumber_2_25">25</a>.</span> -<i>leituairo</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_2_100" class="label"><a href="#linenumber_2_100">100</a>.</span> -<i>Princepes</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>.</p> -<p><span id="Variantnote_2_117" class="label"><a href="#linenumber_2_115">117</a>.</span> -<i>estan</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>.</p> -<p><span id="Variantnote_2_118" class="label"><a href="#linenumber_2_115">118</a>.</span> -<i>pocas</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>.</p> -<p><span id="Variantnote_2_119" class="label"><a href="#linenumber_2_115">119</a>.</span> -<i>viboras</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_2_131" class="label"><a href="#linenumber_2_130">131</a>.</span> -<i>Lisó fé</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_2_148" class="label"><a href="#linenumber_2_145">148</a>.</span> -<i>zobete</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_2_167" class="label"><a href="#linenumber_2_165">167</a>.</span> -<i>Cardial</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span></p> -<p><span id="Variantnote_2_221" class="label"><a href="#linenumber_2_220">221</a>.</span> -<i>tens-me a</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_2_238" class="label"><a href="#linenumber_2_235">238</a>.</span> -<i>bellenissima</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_2_260" class="label"><a href="#linenumber_2_260">260</a>.</span> -<i>tropel</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_2_346" class="label"><a href="#linenumber_2_345">346</a>.</span> -<i>idoso</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_2_347" class="label"><a href="#linenumber_2_345">347</a>.</span> -<i>muito socegado</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_2_375" class="label"><a href="#linenumber_2_375">375</a>.</span> -<i>Ó Diabo qu'eu t'encommendo</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_2_515" class="label"><a href="#linenumber_2_515">515</a>.</span> -<i>senhores Portugueses</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. -</p> -</div> -<hr style="width: 65%;" /> -<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> -<h2><a name="FARSA_DOS_ALMOCREVES" id="FARSA_DOS_ALMOCREVES"></a>FARSA DOS ALMOCREVES -<a class="enanchor" href="#Endnote_3_0">[n]</a></h2> -<table class="translated"> -<tbody> -<tr> -<td id="linenumber_3_0"><i>Farça -dos Almocreves.</i></td> -<td><i>The Carriers.</i></td> -</tr> -<tr> -<td class="justify"><i>Esta seguinte farsa foy -feyta & -representada ao muyto poderoso & -excelente Rey dom Ioam o terceyro em -Portugal deste nome na sua cidade de -Coimbra na era do Sẽhor de MDXXVI. -Seu fundamento he que hum fidalgo de -muyto pouca renda vsaua muyto estado, -tinha capelam seu & ouriuez seu, & -outros officiaes, aos quaes nunca -pagaua. E vendose o seu capelam -esfarrapado & sem nada de seu entra -dizendo:</i></td> -<td class="justify"><i>The following farce was -played before the -very powerful and excellent King Dom João -III of Portugal in his city of Coimbra in -the year of the Lord 1526. Its argument is -that a nobleman with a very small income -lived in great state and had his own -chaplain, goldsmith and other officials, -whom he never paid. His chaplain seeing -himself penniless and in tatters enters, -saying:</i></td> -</tr> -<tr> -<td><i>Capelã.</i> <span class="pilcrow">¶</span> -Pois que nam posso rezar<br /> -por me ver tão esquipado<br /> -por aqui por este Arnado<a title="endnote" href="#Endnote_3_3" class="enanchor">[n]</a><br /> -quero hum pouco passear<br /> -por espaçar meu cuydado,<br /> -e grosarey o romance<br /> -de Yo me estaba en Coimbra<a title="endnote" href="#Endnote_3_7" class="enanchor">[n]</a><br /> -pois Coimbra assim nos cimbra<a title="endnote" href="#Endnote_3_8" class="enanchor">[n]</a><br /> -que nam ha quem preto alcance.<br /> -<span class="pilcrow">¶</span> Yo me -estaba -en Coimbra<br /> -cidade bem assentada,<br /> -pelos campos de Mondego<a title="endnote" href="#Endnote_3_12" class="enanchor">[n]</a><br /> -nam vi palha nem ceuada.<a title="endnote" href="#Endnote_3_13" class="enanchor">[n]</a><br /> -Quando aquilo vi mezquinho<br /> -entendi que era cilada<br /> -contra os cauallos da corte<br /> -& minha mula pelada.<br /> -Logo tiue a mao sinal<br /> -tanta milham<a title="textual variant" href="#Variantnote_3_19" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_3_19" class="enanchor">[n]</a> -apanhada<br /> -e a peso de dinheiro:<br /> -ó mula desemparada!<a title="textual variant" href="#Variantnote_3_21" class="tvanchor">[v]</a><br /> -Vi vir ao longo do rio<br /> -hũa batalha ordenada,<br /> -nam de gentes<a title="textual variant" href="#Variantnote_3_24" class="tvanchor">[v]</a> -mas de mus,<br /> -com muita raya<a title="textual variant" href="#Variantnote_3_25" class="tvanchor">[v]</a> -pisada.<br /> -A carne estaa em Bretanha<br /> -& as couves em Biscaya.<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> -<br /> -Sam capelam dum fidalgo<br /> -que nam tem renda nem nada;<br /> -quer ter muytos aparatos<br /> -& a casa anda esfaymada,<br /> -toma ratinhos<a title="endnote" href="#Endnote_3_32" class="enanchor">[n]</a> por pagẽs<br /> -anda ja a cousa danada.<br /> -Querolhe pedir licença,<br /> -pagueme minha soldada.</td> -<td><i>Chaplain.</i> In such straits I cannot -pray,<br /> -So to lessen my distress<br /> -And to win lightheartedness<br /> -I'll walk along this Sandy Way<br /> -And, the cares that on me press<br /> -To soothe, the old romance I'll gloss<br /> -"I was in Coimbra city"<br /> -Since Coimbra without pity<br /> -Brings us to such dearth and loss.<br /> -I was in Coimbra city <span class="poetrynumber"><a id="linenumber_3_10" name="linenumber_3_10"></a>10</span><br /> -That is built so gracefully,<br /> -In the plains of the Mondego<br /> -Straw nor barley could I see.<br /> -Thereupon, ah me! I reckoned<br /> -'Twas a trap set artfully<br /> -For the horses of the Court<br /> -And the mule that carried me<br /> -Ill I augured when I saw<br /> -The young maize cut so lavishly<br /> -And selling for its weight in gold: <span class="poetrynumber"><a id="linenumber_3_20" name="linenumber_3_20"></a>20</span><br /> -O my mule, I grieve for thee!<br /> -In the plain along the river<br /> -I saw a host in battle free<br /> -Not of men, of mice the host was,<br /> -They were fighting furiously.<br /> -There are cabbages—in Biscay<br /> -And there's meat—in Brittany.<br /> -I'm chaplain to a nobleman,<br /> -Poor as a church-mouse is he;<br /> -On great show his heart is set <span class="poetrynumber"><a id="linenumber_3_30" name="linenumber_3_30"></a>30</span><br /> -Although his household famished be,<br /> -Rustic louts he has for pages<br /> -And all goes disastrously.<br /> -Now will I ask leave of him<br /> -And demand my salary.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -<i>Chega -o capelam a casa do fidalgo, -& falando com elle diz:</i></td> -<td class="justify"><i>The chaplain arrives at -the nobleman's -room and converses with him thus:</i></td> -</tr> -<tr> -<td><i>Cap.</i> ¶ -Senhor, ja seraa rezam.</td> -<td><i>C.</i> Sir, it is high time, I ween....</td> -</tr> -<tr> -<td><i>Fid.</i> Auante, padre, falay.</td> -<td><i>N.</i> Say on, good padre, say on.</td> -</tr> -<tr> -<td><i>C.</i> Digo que em tres annos vay<br /> -que sam vosso capelam.</td> -<td><i>C.</i> I say three years are wellnigh -gone<br /> -Since your chaplain I have been.</td> -</tr> -<tr> -<td><i>F.</i> He grande verdade, auante.</td> -<td><i>N.</i> Say on, for such a truth -convinces. <span class="poetrynumber"><a id="linenumber_3_40" name="linenumber_3_40"></a>40</span></td> -</tr> -<tr> -<td><i>C.</i> Eu fora ja do ifante,<br /> -e podera ser del Rey.</td> -<td><i>C.</i> And I might have been the Prince's<br /> -Yes, and might have been the King's.</td> -</tr> -<tr> -<td><i>F.</i> A bofé<a title="textual variant" href="#Variantnote_3_43" class="tvanchor">[v]</a>, -padre, -não sey.</td> -<td><i>N.</i> In good sooth that's not so clear.</td> -</tr> -<tr> -<td><i>C.</i> Si, senhor, que eu sou destante<br /> -Aindaque ca mempreguei.<br /> -<span class="pilcrow">¶</span> Ora -pois -veja, senhor,<br /> -que he o que me ha de dar,<br /> -porque alem do altar<br /> -seruia de comprador.</td> -<td><i>C.</i> For I'm meant for higher things<br /> -Though I stayed to serve you here.<br /> -So then, sir, please to consider<br /> -What I am to gain thereby,<br /> -For besides priest's service I<br /> -Served as buyer and as bidder.</td> -</tr> -<tr> -<td><i>F.</i> Nam volo ey de negar.<br /> -Fazeyme hũa petiçam<br /> -de tudo o que<a title="textual variant" href="#Variantnote_3_52" class="tvanchor">[v]</a> -requereis.</td> -<td><i>N.</i> That I surely won't deny. <span class="poetrynumber"><a id="linenumber_3_50" name="linenumber_3_50"></a>50</span><br /> -Come now, make out a petition<br /> -Of all you would have me pay.</td> -</tr> -<tr> -<td><i>C.</i> Senhor, nam me perlongueis, -<a title="textual variant" href="#Variantnote_3_53" class="tvanchor">[v]</a><br /> -que isso nam traz concrusam<br /> -nem vejo que a quereis.<br /> -<span class="pilcrow">¶</span> Porque -me -fiz polo vosso<br /> -clericus & negoceatores.<a title="textual variant" href="#Variantnote_3_57" class="tvanchor">[v]</a></td> -<td><i>C.</i> Sir, put me not off, I pray,<br /> -For indeed your one condition<br /> -Seems delay and still delay.<br /> -In your service I became<br /> -Priest and man of business too.</td> -</tr> -<tr> -<td><i>F.</i> Assi vos dey eu fauores<br /> -& disso pouco que eu posso<br /> -vos fiz mais que outros señores.<br /> -Ora um clerigo que mais quer<br /> -de renda nem outro<a title="textual variant" href="#Variantnote_3_62" class="tvanchor">[v]</a> -bem<br /> -que darlhe homem de comer,<br /> -que he cada dia hum vintem,<br /> -& mais muyto a seu prazer?<br /> -<span class="pilcrow">¶</span> Ora a -honrra -que se monta:<br /> -he capelam de foam!</td> -<td><i>N.</i> Yes, and I bestowed on you<br /> -Many a favour for the same,<br /> -More than most are wont to do. <span class="poetrynumber"><a id="linenumber_3_60" name="linenumber_3_60"></a>60</span><br /> -What more should a priest require<br /> -Of money or emolument<br /> -Than his meals beside the fire<br /> -—That's daily one penny spent—<br /> -All things to his heart's desire?<br /> -And besides there is the glory:<br /> -He's chaplain to Lord So-and-so.</td> -</tr> -<tr> -<td><i>C.</i> E do vestir nam fazeis conta,<br /> -& esse comer com payxam,<br /> -& dormir com tanta afronta<br /> -que a coroa jaz no cham<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> -<br /> -sem cabeçal, e aa hũa hora,<br /> -& missa sempre de caça?<br /> -& por vos cayr em graça<br /> -serviauos tambem de fora,<br /> -atee comprar sibas na praça;<br /> -<span class="pilcrow">¶</span> E -outros -carregozinhos<br /> -desonestos pera mi.<br /> -Isto, senhor, he assi.<br /> -& azemel<a title="endnote" href="#Endnote_3_80" class="enanchor">[n]</a> nesses caminhos,<br /> -arre aqui & arre ali,<br /> -& ter carrego dos gatos<br /> -& dos negros da cozinha<br /> -& alimparvolos çapatos<br /> -& outras cousas que eu fazia.</td> -<td><i>C.</i> Of dress you think not, nor the -worry<br /> -Of meals e'er taken in a flurry,<br /> -And sleeping with my head so low <span class="poetrynumber"><a id="linenumber_3_70" name="linenumber_3_70"></a>70</span><br /> -My tonsure touched the ground, and no<br /> -Comfort nor pillow for my head,<br /> -And early mass, and late to bed.<br /> -And I, your favour for to win,<br /> -Served out-of-doors as well as in,<br /> -Bought shell-fish in the market-place,<br /> -To many an errand set my face<br /> -—You know, sir, it is as I say—<br /> -That ill became my dignity.<br /> -Your carrier on the highway <span class="poetrynumber"><a id="linenumber_3_80" name="linenumber_3_80"></a>80</span><br /> -—Gee-up, gee-wo, the livelong day—<br /> -Was I, and charge was given me<br /> -Of the kitchen-negroes and the cats,<br /> -I cleaned your boots, I brushed your hats,<br /> -And might add other things to these.</td> -</tr> -<tr> -<td><i>F.</i> ¶ -Assi fiey eu de vos<br /> -toda a minha esmolaria<br /> -& daueis polo amor de Deos<br /> -sem vos tomar conta hum dia.</td> -<td><i>N.</i> Yes, for so 'twas my intent<br /> -To trust you with my charities,<br /> -And for the love of God you spent,<br /> -Nor asked I how the money went.</td> -</tr> -<tr> -<td><i>C.</i> Dos tres annos que eu alego<br /> -dalaey logo sem pendenças:<br /> -mandastes dar a hum cego<br /> -hum real por Endoenças.<a title="endnote" href="#Endnote_3_93" class="enanchor">[n]</a></td> -<td><i>C.</i> For the three years of which I -speak <span class="poetrynumber"><a id="linenumber_3_90" name="linenumber_3_90"></a>90</span><br /> -I'll tell you now without ado:<br /> -To a blind man a farthing you<br /> -Once bade me give in Holy Week.</td> -</tr> -<tr> -<td><i>F.</i> Eu isso nam volo nego.</td> -<td><i>N.</i> I'm not denying that it's true.</td> -</tr> -<tr> -<td><i>C.</i> ¶ -E logo dahi a um anno<br /> -pera ajuda de casar<br /> -hũa orfaã mandastes dar<br /> -meo couado de pano<br /> -Dalcobaça por tosar.<br /> -E nos dous annos primeyros<br /> -repartistes tres pescadas<br /> -por todos estes mosteyros<br /> -na Pederneyra<a title="textual variant" href="#Variantnote_3_103" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_3_103" class="enanchor">[n]</a> -compradas<br /> -daquestes mesmos dinheyros.<br /> -<span class="pilcrow">¶</span> Ora eu -recebi cem reaes<br /> -em tres annos, contay bem,<br /> -tenho aqui meo vintem.</td> -<td><i>C.</i> And then just one year afterward,<br /> -An orphan's dower to help to find,<br /> -You bade give cloth—the roughest kind<br /> -Of Alcobaça—half a yard.<br /> -And also, perhaps you bear in mind,<br /> -Three lots of fish you bade divide <span class="poetrynumber"><a id="linenumber_3_100" name="linenumber_3_100"></a>100</span><br /> -Among the convents round about<br /> -During these first three years: supplied<br /> -Were they from Pederneira, out<br /> -Of that same fund must I provide.<br /> -Now in three years I did receive<br /> -One hundred réis, and at this rate<br /> -Just this one halfpenny they leave.</td> -</tr> -<tr> -<td><i>F.</i> Padre, boa conta daes,<br /> -ponde tudo num item<a title="endnote" href="#Endnote_3_109" class="enanchor">[n]</a><br /> -& falay ao meu doutor<br /> -que elle me falaraa nisso.</td> -<td><i>N.</i> I see you are most accurate.<br /> -But come now, without more debate,<br /> -Make one account of everything <span class="poetrynumber"><a id="linenumber_3_110" name="linenumber_3_110"></a>110</span><br /> -And give't my secretary, he<br /> -Will the matter to my notice bring.</td> -</tr> -<tr> -<td><i>C.</i> Deyxe vossa Merce ysso<br /> -pera el Rey nosso senhor,<br /> -& vos falay me de siso.<br /> -Que coma<a title="textual variant" href="#Variantnote_3_115" class="tvanchor">[v]</a>, senhor, me ficastes<br /> -ysto dentro em Santarem<br /> -de me pagardes muy bem.</td> -<td><i>C.</i> O Sir, leave all that for the King<br /> -Our master, and speak seriously.<br /> -My services your promise was,<br /> -Sir, when we were at Santarem,<br /> -That you would pay right well for them.</td> -</tr> -<tr> -<td><i>F.</i> Em quantas missas machastes?<br /> -das vossas digo eu porem.</td> -<td><i>N.</i> How often saw you me at Mass?<br /> -—I mean when 'twas you said the same.</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> -<i>C.</i> Que culpa vos tem çamora? -<a href="#Endnote_3_120" class="enanchor" title="endnote">[n]</a><br /> -Por vos estam ellas nos çeos.</td> -<td><i>C.</i> If that was so am <i>I</i> -to blame? <span class="poetrynumber"><a id="linenumber_3_120" name="linenumber_3_120"></a>120</span><br /> -They have been said on your behalf.</td> -</tr> -<tr> -<td><i>F.</i> Mas tomay as pera vos<br /> -& guarday as muytembora,<br /> -entam paguevolas Deos.<br /> -<span class="pilcrow">¶</span> Que eu -não gasto meus dinheyros<br /> -em missas atabalhoadas.</td> -<td><i>N.</i> O keep them, keep them for -yourself,<br /> -You're very welcome to them—so,<br /> -God will your due reward bestow.<br /> -My money I waste not that way<br /> -On masses muttered anyhow.</td> -</tr> -<tr> -<td><i>C.</i> & vos fazeys foliadas<br /> -& nam pagaes o gaiteyro?<a title="textual variant" href="#Variantnote_3_128" class="tvanchor">[v]</a><br /> -Isso sam balcarriadas.<a title="endnote" href="#Endnote_3_129" class="enanchor">[n]</a><br /> -se vossas merces nam ham<br /> -cordel pera tantos nos<br /> -vyuey vos a aquem de vos<br /> -& nam compreis gauiam<br /> -pois que não tendes pios.<a title="endnote" href="#Endnote_3_134" class="enanchor">[n]</a><br /> -<span class="pilcrow">¶</span> Uos -trazeis<a title="textual variant" href="#Variantnote_3_135" class="tvanchor">[v]</a> -seis moços de pee<a title="endnote" href="#Endnote_3_135" class="enanchor">[n]</a><br /> -& acrecentaylos a capa<br /> -coma Rey, & por merce,<br /> -nam tendo as terras do Papa<br /> -nem os tratos de Guine:<br /> -antes vossa renda encurta<br /> -coma pano Dalcobaça.<a title="endnote" href="#Endnote_3_141" class="enanchor">[n]</a></td> -<td><i>C.</i> What, would you have your -mummeries now<br /> -And think you need no fiddler pay?<br /> -This is presumption's height, I trow.<br /> -Unless your lordship's purse possesses <span class="poetrynumber"><a id="linenumber_3_130" name="linenumber_3_130"></a>130</span><br /> -Means for pomp and state so high<br /> -To reduce them and spend less is<br /> -Merely not a hawk to buy<br /> -If you are without its jesses.<br /> -Pages six in cloaks arrayed<br /> -Wait upon you in the street<br /> -In state that for a king were meet.<br /> -Yet you have not, I'm afraid,<br /> -The Pope's lands nor Guinea's trade.<br /> -For your revenues shrink and shrink <span class="poetrynumber"><a id="linenumber_3_140" name="linenumber_3_140"></a>140</span><br /> -Much like Alcobaça cloth.</td> -</tr> -<tr> -<td><i>F.</i> Tudo o fidalgo da raça -<a title="textual variant" href="#Variantnote_3_142" class="tvanchor">[v]</a><br /> -em que a renda seja curta<br /> -he per força que isso faça.<br /> -<span class="pilcrow">¶</span> Padre, -muy -bem vos entendo:<br /> -foy sempre a vontade minha<br /> -daruos a el Rey ou ha Raynha.</td> -<td><i>N.</i> Even so every noble doth<br /> -Who to high birth small means must link.<br /> -There's no other way, I think.<br /> -But I see, padre, what you want,<br /> -And my wish has always been<br /> -To give you to the King or Queen.</td> -</tr> -<tr> -<td><i>C.</i> Isso me vay parecendo<br /> -bom trigo se der farinha.<br /> -Senhor, se misso fizer<br /> -grande merce me faraa.</td> -<td><i>C.</i> That would be good wheat, I grant,<br /> -If its flour could be seen.<br /> -Sir, if that should come to pass <span class="poetrynumber"><a id="linenumber_3_150" name="linenumber_3_150"></a>150</span><br /> -At your kindness I'll rejoice.</td> -</tr> -<tr> -<td><i>F.</i> Eu vos direy que seraa:<br /> -dizey agora<a title="textual variant" href="#Variantnote_3_153" class="tvanchor">[v]</a> -hum profaceo, a ver<br /> -que voz tendes pera laa.</td> -<td><i>N.</i> Well then, without more ado,<br /> -That so I may judge your voice,<br /> -Sing a preface of the Mass.</td> -</tr> -<tr> -<td><i>C.</i> Folgarey eu de o dizer,<br /> -mas quem me responderaa?</td> -<td><i>C.</i> That will I most gladly do,<br /> -But who will the responses say?</td> -</tr> -<tr> -<td><i>F.</i> Eu. <i>C.</i> Per -omnia<a title="textual variant" href="#Variantnote_3_157" class="tvanchor">[v]</a> secula -seculorum.</td> -<td><i>N.</i> I. <i>C.</i> <i>Per -omnia -secula.</i></td> -</tr> -<tr> -<td><i>F.</i> Amẽ. <i>C.</i> -Dominus -vobiscum.</td> -<td><i>N.</i> <i>Amen.</i> <i>C.</i> -<i>Dominus -vobiscum.</i></td> -</tr> -<tr> -<td><i>F.</i> Auante. <i>C.</i> -Sursum corda.</td> -<td><i>N.</i> Sing on, padre. <i>C.</i> -<i>Sursum -corda.</i></td> -</tr> -<tr> -<td><i>F.</i> Tendes essa voz tam gorda<br /> -que pareceis Alifante<a title="endnote" href="#Endnote_3_161" class="enanchor">[n]</a><br /> -depois de farto daçorda.</td> -<td><i>N.</i> Your voice, less soft than a -recorder, <span class="poetrynumber"><a id="linenumber_3_160" name="linenumber_3_160"></a>160</span><br /> -Is thick as an elephant's that has fed<br /> -Its fill of soup—and no more said.</td> -</tr> -<tr> -<td><i>C.</i> <span class="pilcrow">¶</span> -Pior voz tem Simão vaz<br /> -tesoureyro e capelam,<br /> -& pior o Adayam<a href="#Endnote_3_165" class="enanchor" title="endnote">[n]</a><br /> -<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>que canta como -alcatraz,<br /> -e outros que por hi<a title="textual variant" href="#Variantnote_3_167" class="tvanchor">[v]</a> -estam.<br /> -Quereys que acabe acantiga<br /> -& vereys onde vou ter.</td> -<td><i>C.</i> Worse voice has Simão -Vaz, I ween,<br /> -Yet he's Treasurer and King's<br /> -Chaplain, worse voice has the Dean<br /> -—Like a pelican <i>he</i> sings—<br /> -And others that may be seen<br /> -In the palace. Let me end<br /> -My singing and great things you'll see.</td> -</tr> -<tr> -<td><i>F.</i> Padre, eu ey de ter fadiga,<br /> -mas del Rey aueis de ser,<br /> -escusada he mais briga.</td> -<td><i>N.</i> I think I'm rather tired, friend. -<span class="poetrynumber"><a id="linenumber_3_170" name="linenumber_3_170"></a>170</span><br /> -But the King's you'll surely be,<br /> -Nor need we further effort spend.</td> -</tr> -<tr> -<td><i>C.</i> ¶ -Sabeis em que estaa a contenda?<br /> -direys<a title="textual variant" href="#Variantnote_3_174" class="tvanchor">[v]</a>: he meu capelam.<br /> -& el Rey sabe a vossa renda<br /> -& rirse ha, se vem aa mam,<br /> -& remetermaa aa Fazenda.</td> -<td><i>C.</i> Sir, the difficulty's this:<br /> -For you'll say: 'My chaplain he,'<br /> -The King knows what your income is<br /> -And he'll laugh right merrily<br /> -And send me to the Treasury.</td> -</tr> -<tr> -<td><i>F.</i> Se vos foreis entoado.</td> -<td><i>N.</i> If you had but a good ear!</td> -</tr> -<tr> -<td><i>C.</i> Que bem posso eu cantar<br /> -onde<a title="textual variant" href="#Variantnote_3_180" class="tvanchor">[v]</a> dam sempre pescado<br /> -& de dous annos salgado,<br /> -o pior que ha no mar?</td> -<td><i>C.</i> How sing well when 'tis your use<br /> -To give me everlasting cheer <span class="poetrynumber"><a id="linenumber_3_180" name="linenumber_3_180"></a>180</span><br /> -Of stockfish salted yesteryear,<br /> -The worst that all the seas produce?</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -<i>Vem -um pagem do fidalgo & diz:</i></td> -<td class="justify"><i>One of the nobleman's -pages comes and -says:</i></td> -</tr> -<tr> -<td><i>Pag.</i> ¶ -Senhor, o oriuez see<a title="textual variant" href="#Variantnote_3_183" class="tvanchor">[v]</a> -alli.</td> -<td><i>Page.</i> My lord, the goldsmith's at -the door.</td> -</tr> -<tr> -<td><i>F.</i> Entre. Quereraa dinheyro.<br /> -Venhaes embora, caualeyro,<br /> -cobri a cabeça, cobri.<br /> -Tendes grande amigo em mi<br /> -& mais vosso pregoeyro.<br /> -Gabeyuos ontem a el Rey<br /> -quanto se pode gabar.<br /> -& sey que vos ha dacupar,<a title="textual variant" href="#Variantnote_3_191" class="tvanchor">[v]</a><br /> -& eu vos ajudarey<br /> -cada vez que mi achar:<br /> -<span class="pilcrow">¶</span> Porque -aas -vezes estas ajudas<br /> -sam milhores que cristeis,<br /> -porque soo a fama que aueis<br /> -& outras cousas meudas<br /> -o que valem ja o sabeis.<a title="textual variant" href="#Variantnote_3_198" class="tvanchor">[v]</a></td> -<td><i>N.</i> Show him in.—He's come -for more<br /> -Money.—Come in, Sir, good-day.<br /> -Put your hat on, I implore,<br /> -I'm your great friend, you may say,<br /> -Since I e'er your praises sing.<br /> -Only last night to the King<br /> -You most highly I commended <span class="poetrynumber"><a id="linenumber_3_190" name="linenumber_3_190"></a>190</span><br /> -And I know that he intended<br /> -To employ you. I'll insist<br /> -Every time I see him, for<br /> -Such mention oft advances more<br /> -Than directly to assist,<br /> -And these little things, you know,<br /> -May to a great value grow<br /> -As your name and fame have grown.</td> -</tr> -<tr> -<td><i>Our.</i> Senhor eu o seruirey<br /> -& nam quero outro senhor.</td> -<td><i>G.</i> No other patron would I own,<br /> -Sir, I'll serve him with all zest. <span class="poetrynumber"><a id="linenumber_3_200" name="linenumber_3_200"></a>200</span></td> -</tr> -<tr> -<td><i>F.</i> Sabeis que tendes milhor,<br /> -eu o disse logo a el Rey<br /> -& faz em vosso louvor,<br /> -<span class="pilcrow">¶</span> -Não -vos da mais q̃ vos paguẽ<br /> -que vos deyxem de pagar.<a title="textual variant" href="#Variantnote_3_205" class="tvanchor">[v]</a><br /> -Nunca vi tal esperar<br /> -nunca vi tal auantagem<br /> -nem tal modo dagradar.</td> -<td><i>N.</i> Know you what I like the best<br /> -In you? (To the King I said it<br /> -And it's greatly to your credit)<br /> -That you ne'er for payment pressed<br /> -Nor your creditors molest.<br /> -Ne'er such patience did I see,<br /> -Such superiority<br /> -And anxiety to please.</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> -<i>O.</i> Nossa conta he tam pequena,<br /> -& ha tanto que he deuida,<br /> -que morre de prometida,<br /> -& peçoa ja com tanta pena<br /> -que depenno a minha vida.</td> -<td><i>G.</i> Our account's so small a thing<br /> -And is so long overdue, <span class="poetrynumber"><a id="linenumber_3_210" name="linenumber_3_210"></a>210</span><br /> -'Tis half dead of promises,<br /> -So that when I bring it you<br /> -I but a dead promise bring.</td> -</tr> -<tr> -<td><i>F.</i> ¶ -Ora olhay ese falar<br /> -como vay bem martelado!<br /> -Folgo nam vos ter pagado<br /> -por vos ouuir martelar<br /> -marteladas dauisado.</td> -<td><i>N.</i> How most cunningly inlaid<br /> -And enamelled is each word!<br /> -I rejoice not to have paid<br /> -For the sake of having heard<br /> -Phrases with such skill arrayed.</td> -</tr> -<tr> -<td><i>O.</i> Senhor, beyjovolas mãos<br /> -mas o meu queria eu na mão.</td> -<td><i>G.</i> Sir, I kiss your hands, but still<br /> -What is mine would see in mine. <span class="poetrynumber"><a id="linenumber_3_220" name="linenumber_3_220"></a>220</span></td> -</tr> -<tr> -<td><i>F.</i> Tambem isso he cortesam:<br /> -'Senhor, beyjovolas mãos,<br /> -o meu queria eu na mão.'<br /> -Que bastiães<a title="endnote" href="#Endnote_3_224" class="enanchor">[n]</a> tam louçãos!<br /> -<span class="pilcrow">¶</span> Quanto -pesaua o saleyro?</td> -<td><i>N.</i> Another courtier's phrase so fine!<br /> -'Sir, I kiss your hands, but still<br /> -What is mine would see in mine!'<br /> -Fair flowers of speech are yours at will.<br /> -What did the salt-cellar weigh?</td> -</tr> -<tr> -<td><i>O.</i> Dous marcos bem, ouro & -fio.</td> -<td><i>G.</i> A good two marks, most accurately.</td> -</tr> -<tr> -<td><i>F.</i> Essa he a prata: & o -feitio?</td> -<td><i>N.</i> The silver. And your work, I pray?</td> -</tr> -<tr> -<td><i>O.</i> Assaz de pouco dinheyro.</td> -<td><i>G.</i> That may almost be ignored.</td> -</tr> -<tr> -<td><i>F.</i> Que val com feytio & -prata?</td> -<td><i>N.</i> In all what may its value be?</td> -</tr> -<tr> -<td><i>O.</i> Justos noue mil reaes.<br /> -& nam posso esperar mais<br /> -que o vosso esperar me mata.</td> -<td><i>G.</i> Just nine thousand réis, -my lord. <span class="poetrynumber"><a id="linenumber_3_230" name="linenumber_3_230"></a>230</span><br /> -And I can no longer wait<br /> -For I'm killed by your delay.</td> -</tr> -<tr> -<td><i>F.</i> Rijamente mapertaes.<br /> -E fazeisme mentiroso,<br /> -que eu gabeyuos doutro geyto<br /> -& seu tornar ao deffeito<a title="textual variant" href="#Variantnote_3_236" class="tvanchor">[v]</a><br /> -nam seraa proueyto vosso.</td> -<td><i>N.</i> Your insistence, Sir, is great<br /> -And I shall have told a lie<br /> -For quite differently I<br /> -Praised you. Praise may turn to gibe: you<br /> -Surely will not gain thereby.</td> -</tr> -<tr> -<td><i>O.</i> Assi que o meu saleyro peito?</td> -<td><i>G.</i> With the cellar must I bribe you?</td> -</tr> -<tr> -<td><i>F.</i> Elle he dos mais<a title="textual variant" href="#Variantnote_3_239" class="tvanchor">[v]</a> maos -saleiros<br /> -que eu em<a title="textual variant" href="#Variantnote_3_240" class="tvanchor">[v]</a> minha vida comprey.</td> -<td><i>N.</i> 'Tis of salt-cellars the worst<br /> -For which I e'er gave a shilling. <span class="poetrynumber"><a id="linenumber_3_240" name="linenumber_3_240"></a>240</span></td> -</tr> -<tr> -<td><i>O.</i> Ainda o eu tomarey<br /> -a cabo de tres Janeyros<br /> -que ha que volo eu fiey.</td> -<td><i>G.</i> Though three years have passed -since first<br /> -I let you have it I am willing<br /> -To retake it even now.</td> -</tr> -<tr> -<td><i>F.</i> ¶ -Jagora não he rezam:<br /> -eu nam quero que vos percais.</td> -<td><i>N.</i> No, no, that I won't allow<br /> -For I would not have you lose.</td> -</tr> -<tr> -<td><i>O.</i> Pois porque me nam pagais?<br /> -Que eu mesmo comprey caruão<a title="endnote" href="#Endnote_3_247" class="enanchor">[n]</a><br /> -com que mencaruoiçaes.</td> -<td><i>G.</i> Why then pay me not my dues?<br /> -For myself the charcoal bought<br /> -With which you turn my hopes to nought.</td> -</tr> -<tr> -<td><i>F.</i> Moço vayme ver que faz -<a title="textual variant" href="#Variantnote_3_249" class="tvanchor">[v]</a> -el Rey,<br /> -se parecem damas la,<br /> -este dia nam se va<br /> -em pagaraas, nam pagarey.<br /> -& vos tornay outro dia ca<br /> -se nam achardes a mi<br /> -falay com o<a title="textual variant" href="#Variantnote_3_255" class="tvanchor">[v]</a> -meu Camareyro<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> -<br /> -porque elle tem o dinheyro<br /> -que cadano<a title="textual variant" href="#Variantnote_3_257" class="tvanchor">[v]</a> vem aqui<br /> -da renda do meu celeyro,<br /> -e delle recebereys<br /> -o mais certo pagamento.</td> -<td><i>N.</i> Boy, go see what does the King,<br /> -And if there are ladies to be seen, <span class="poetrynumber"><a id="linenumber_3_250" name="linenumber_3_250"></a>250</span><br /> -The whole day shall not pass, I ween,<br /> -In pay and won't pay: no such thing.<br /> -And you return some other day:<br /> -And if you find that I'm away<br /> -Then speak unto my Chamberlain,<br /> -He of all moneys that accrue<br /> -Has charge and of the revenue<br /> -That yearly comes from tithe and grain:<br /> -And from him you will obtain<br /> -Most certainly what is your due. <span class="poetrynumber"><a id="linenumber_3_260" name="linenumber_3_260"></a>260</span></td> -</tr> -<tr> -<td><i>O.</i> E pagaisme ahi co vento<br /> -ou co as outras merces?</td> -<td><i>G.</i> And do you pay me with parade<br /> -Of words and other bounties vain?</td> -</tr> -<tr> -<td><i>F.</i> Tomaylhe vos la o tento.</td> -<td><i>N.</i> See to it you that you are paid.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -<i>Indose -o capelam<a title="textual variant" href="#Variantnote_3_263" class="tvanchor">[v]</a> vay dizendo:</i></td> -<td class="justify"><i>As the chaplain goes -out he says:</i></td> -</tr> -<tr> -<td><i>C.</i> <span class="pilcrow">¶</span> -Estes ham dir ao parayso?<br /> -nam creo eu logo nelle.<br /> -Eu lhes mudarey a pelle:<br /> -daqui auante siso, siso,<br /> -juro a Deos queu mabruquele.<a title="textual variant" href="#Variantnote_3_268" class="tvanchor">[v]</a></td> -<td><i>C.</i> Shall such men go to paradise?<br /> -If so I'll not believe in it.<br /> -But I'll be even with them yet:<br /> -Henceforth, proof against each device,<br /> -I'll countermine them by my wit.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -<i>Vem -o pagem com recado e diz:</i></td> -<td class="justify"><i>The page comes with a -message and says:</i></td> -</tr> -<tr> -<td><i>P.</i> ¶ -Senhor, in Rey see<a title="textual variant" href="#Variantnote_3_269" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_3_269" class="enanchor">[n]</a> -no paço.</td> -<td><i>P.</i> The King be in the palace, Sir.</td> -</tr> -<tr> -<td><i>F.</i> Em q̃ casa?</td> -<td><i>N.</i> In what room? <span class="poetrynumber"><a id="linenumber_3_270" name="linenumber_3_270"></a>270</span></td> -</tr> -<tr> -<td><i>P.</i> Isto abasta.</td> -<td><i>P.</i> No more I know.</td> -</tr> -<tr> -<td><i>F.</i> O recado que elle da!<a title="textual variant" href="#Variantnote_3_271" class="tvanchor">[v]</a> -<a href="#Endnote_3_272" class="enanchor" title="endnote">[n]</a><br /> -ratinho es de maa casta.</td> -<td><i>N.</i> Low-born villain, is it so<br /> -That a message you deliver?</td> -</tr> -<tr> -<td><i>P.</i> Abõda, bem sey eu o -q̃ eu -faço.</td> -<td><i>P.</i> Arrah, I know what I'm about.</td> -</tr> -<tr> -<td><i>F.</i> Abonda! olhay o vilam.<br /> -Damas parecem per hi?</td> -<td><i>N.</i> Arrah! just listen to the lout!<br /> -Are any ladies present there?</td> -</tr> -<tr> -<td><i>P.</i> Si, senhor, damas vi,<br /> -andauam pelo balcam.</td> -<td><i>P.</i> Yes, I saw ladies, I aver,<br /> -For they upon the terrace were.</td> -</tr> -<tr> -<td><i>F.</i> ¶ -E quẽ erã?</td> -<td><i>N.</i> Who were they?</td> -</tr> -<tr> -<td><i>P.</i> Damas mesmas.</td> -<td><i>P.</i> They were ladies, Sir.</td> -</tr> -<tr> -<td><i>F.</i> Como as chamã?</td> -<td><i>N.</i> How called?</td> -</tr> -<tr> -<td><i>P.</i> Nam as chamaua -nĩguẽ.</td> -<td><i>P.</i> My lord, no one was calling.</td> -</tr> -<tr> -<td><i>F.</i> Ratinhos sã -abãtesmas<br /> -& quem por pagẽs os tem.<br /> -Eu ey de fazer por auer<br /> -hum pagem de boa casta.</td> -<td><i>N.</i> These rustic churls are too -appalling. <span class="poetrynumber"><a id="linenumber_3_280" name="linenumber_3_280"></a>280</span><br /> -And serve me right for keeping such.<br /> -Henceforth I really must contrive<br /> -To have a page of better stuff.</td> -</tr> -<tr> -<td><i>P.</i> Ainda eu ey de crecer,<br /> -castiço sam eu que basta<br /> -se me Deos deyxar<a title="textual variant" href="#Variantnote_3_286" class="tvanchor">[v]</a> -viuer.<br /> -<span class="pilcrow">¶</span> Pois o -mais<a title="textual variant" href="#Variantnote_3_287" class="tvanchor">[v]</a> -deprenderey<br /> -como outros<a title="textual variant" href="#Variantnote_3_288" class="tvanchor">[v]</a> -como eu peri.</td> -<td><i>P.</i> Sir, I'll grow speedily enough<br /> -To please you, yes and will do much<br /> -Provided God leaves me alive:<br /> -And the rest I'll quickly learn<br /> -As others who good wages earn.</td> -</tr> -<tr> -<td><i>F.</i> Pois fazeo tu assi,<br /> -porque has de ser del Rey,<br /> -moço da camara ainda.</td> -<td><i>N.</i> Well do so, and then I will see<br /> -How you may come to serve the King <span class="poetrynumber"><a id="linenumber_3_290" name="linenumber_3_290"></a>290</span><br /> -And even page of the Chamber be.</td> -</tr> -<tr> -<td><i>P.</i> Boa foy logo ca vinda.<a title="textual variant" href="#Variantnote_3_292" class="tvanchor">[v]</a><br /> -Assi que atee os pastores<a title="endnote" href="#Endnote_3_293" class="enanchor">[n]</a><br /> -ham de ser del Rey samica!<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> -<br /> -Por isso esta terra he rica<br /> -de pão, porque os lauradores<br /> -fazem os filhos paçãos:<br /> -<span class="pilcrow">¶</span> Cedo -não ha dauer vilãos,<br /> -todos del Rey, todos del Rey.</td> -<td><i>P.</i> So I did well to leave my home.<br /> -Since even shepherds may become<br /> -Attendants on the King, the King!<br /> -So thrives with corn the land, bereft<br /> -Of labourers, whom their fathers send<br /> -To Court their fortunes for to mend,<br /> -And soon there'll be no peasants left,<br /> -For all will on the King attend.</td> -</tr> -<tr> -<td><i>F.</i> E tu zõbas?</td> -<td><i>N.</i> What mockery's this? <span class="poetrynumber"><a id="linenumber_3_300" name="linenumber_3_300"></a>300</span></td> -</tr> -<tr> -<td><i>P.</i> Nam mas antes sey<br /> -que tambem alguns Christãos<br /> -hã de deyxar a costura.<a title="endnote" href="#Endnote_3_302" class="enanchor">[n]</a></td> -<td><i>P.</i> Nay, Sir, I know<br /> -That some poor Christians even so<br /> -From toil shall have deliverance.</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -<i>Torna -o capelam.</i></td> -<td><i>Re-enter the Chaplain.</i></td> -</tr> -<tr> -<td><i>C.</i> ¶ -Vossa merce per ventura<br /> -falou ja a el Rey em mi?</td> -<td><i>C.</i> Have you, my lord, by any chance<br /> -Yet spoken to the King of me?</td> -</tr> -<tr> -<td><i>F.</i> Ainda geyto nam vi.</td> -<td><i>N.</i> I've had no opportunity.</td> -</tr> -<tr> -<td><i>C.</i> Nam seja tam longa a cura<br /> -como o tempo que serui.</td> -<td><i>C.</i> The remedy may be delayed<br /> -Another three years, I'm afraid.</td> -</tr> -<tr> -<td><i>F.</i> Anda el Rey tam acupado -<a title="textual variant" href="#Variantnote_3_308" class="tvanchor">[v]</a><br /> -co este Turco, co este Papa,<br /> -co esta França, co esta trapa<a title="endnote" href="#Endnote_3_310" class="enanchor">[n]</a><br /> -que nam acho vao aazado<br /> -porque tudo anda solapa.<br /> -Eu entro sempre ao vestir,<br /> -porém para arrecadar<br /> -ha mister grande vagar.<br /> -Podeis me em tanto seruir<br /> -atee que eu veja lugar.</td> -<td><i>N.</i> The King's so busy, now with -France,<br /> -Now with the Turk, and now the Pope,<br /> -And other matters of high scope, <span class="poetrynumber"><a id="linenumber_3_310" name="linenumber_3_310"></a>310</span><br /> -And with such careful secrecy<br /> -That I can see but little hope.<br /> -I'm always there at the levée,<br /> -But get no long talk with the King<br /> -In which to settle anything.<br /> -Meanwhile you may still serve with me<br /> -Until I find an opening.</td> -</tr> -<tr> -<td><i>C.</i> Senhor queria concrusam.<br /> -<i>F.</i> Concrusam quereis? Bem, bem,<br /> -concrusam ha em alguem.</td> -<td><i>C.</i> Sir, I would have the matter -brought<br /> -To a conclusion. <i>N.</i> To conclusion?<br /> -Yes, and perhaps better than you thought. <span class="poetrynumber"><a id="linenumber_3_320" name="linenumber_3_320"></a>320</span></td> -</tr> -<tr> -<td><i>C.</i> Concrusam quer concrusam,<br /> -& nam ha concrusam em nada.<br /> -Senhor, eu tenho gastada<br /> -hũa capa & hum mantam:<br /> -pagayme minha<a title="textual variant" href="#Variantnote_3_325" class="tvanchor">[v]</a> -soldada.</td> -<td><i>C.</i> Conclusion here I see in nought,<br /> -In everything only confusion.<br /> -Sir, a cope and a chasuble too<br /> -Have I in your service quite worn out:<br /> -Pay me the wages that are due.</td> -</tr> -<tr> -<td><i>F.</i> Se vos podesseis achar<br /> -a altura de Leste a Oeste,<a title="endnote" href="#Endnote_3_327" class="enanchor">[n]</a><br /> -pois nam tendes voz que preste,<br /> -perequi era o medrar.</td> -<td><i>N.</i> Could you now but from East to -West<br /> -Discover us the latitude<br /> -So, since your voice's not of the best,<br /> -You might win the King's gratitude.</td> -</tr> -<tr> -<td><i>C.</i> & vos pagaisme co ar?<br /> -Mão caminho vejo eu este.</td> -<td><i>C.</i> Sir, I perceive you do but jest: <span class="poetrynumber"><a id="linenumber_3_330" name="linenumber_3_330"></a>330</span><br /> -Would you pay me with a platitude?</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -<i>Vayse.</i></td> -<td>(<i>He goes out.</i>)</td> -</tr> -<tr> -<td><i>P.</i> Deueo el Rey de tomar<br /> -que luta como danado:<br /> -elle é do nosso lugar,<br /> -de moço guardaua gado<br /> -agora veo a bispar.<br /> -<span class="pilcrow">¶</span> Mas -nam -sinto capelam<br /> -que lhe chãte hum par de quedas,<br /> -e chamase o labaredas.</td> -<td><i>P.</i> The King should take him, since -he's cheap<br /> -At any price, is such a fighter:<br /> -He's from our village, and the sheep<br /> -Was in his boyhood wont to keep,<br /> -And now he's searching for a mitre.<br /> -But there's no chaplain of them all<br /> -Could ever bring him to a fall,<br /> -And Labaredas is his name.</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span><i>F</i>. -E ca chamase cotão,<br /> -mais fidalgo que os azedas.<br /> -Satisfaçam me pedia,<br /> -que he pior de fazer<br /> -que queymar toda Turquia,<br /> -porque do satisfazer<br /> -naceo a melanconia.<a title="textual variant" href="#Variantnote_3_346" class="tvanchor">[v]</a></td> -<td><i>N</i>. But here Cotão's yclept -the same, <span class="poetrynumber"><a id="linenumber_3_340" name="linenumber_3_340"></a>340</span><br /> -The noblest in the land withal.<br /> -Now he demands what's his by right<br /> -As though 'twere not as easy quite<br /> -For me all Turkey's lands to burn,<br /> -Since any service to requite<br /> -Gives one a melancholy turn.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -<i>Vem -Pero vaz, almocreue, que -traz hum pouco de fato do fidalgo & -vem tangendo a chocalhada<a title="textual variant" href="#Variantnote_3_346" class="tvanchor">[v]</a> -& cantando:</i></td> -<td class="justify"><i>Pero Vaz, a carrier, -comes with a parcel -of clothes for the nobleman and enters with -jingling of bells, singing:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -A serra he -alta, fria & neuosa,<br /> -vi venir serrana, gentil, graciosa.<a title="endnote" href="#Endnote_3_348" class="enanchor">[n]</a></td> -<td>The snow is on the hills,<br /> -<span style="margin-left: 2.5em;">the hills so cold -and -high,</span><br /> -I saw a maiden of the hills,<br /> -<span style="margin-left: 2.5em;">graceful and fair, -pass -by.</span></td> -</tr> -<tr> -<td>Falando.</td> -<td>(<i>Speaking:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Arre mulo -namorado<br /> -que custaste no mercado<br /> -sete mil & nouecentos<br /> -& hum traque pera o siseyro.<br /> -Apre ruço, acrecentado<br /> -a moradia de quinhentos<br /> -paga per Nuno ribeyro.<a title="endnote" href="#Endnote_3_355" class="enanchor">[n]</a><br /> -Dix pera a paga & pera ti.<br /> -Arre, arre, arre embora<br /> -que ja as tardes sam damigo,<br /> -apre besta do roim,<br /> -uxtix, o atafal vay por fora<a title="endnote" href="#Endnote_3_360" class="enanchor">[n]</a><br /> -& a cilha no embigo.<br /> -Sam diabos pera os ratos<br /> -estes vinhos da candosa.<a title="endnote" href="#Endnote_3_363" class="enanchor">[n]</a></td> -<td>Go on there, <i>arré</i>, my fine -mule,<br /> -You cost me in the market-place <span class="poetrynumber"><a id="linenumber_3_350" name="linenumber_3_350"></a>350</span><br /> -Seven thousand and nine hundred réis<br /> -And a kick in the eye for the tax-gatherer fool.<br /> -Get on, my roan. And add thereto<br /> -The portion of five hundred too<br /> -That Nuno Ribeiro had to pay:<br /> -All this, my mule, was paid for you.<br /> -Get on, <i>arré</i>, upon your way,<br /> -For the afternoons now are the best of the day,<br /> -Get on, you brute, get on, I say,<br /> -Look you the crupper's all awry <span class="poetrynumber"><a id="linenumber_3_360" name="linenumber_3_360"></a>360</span><br /> -And see, right round is pulled the girth:<br /> -Candosa wines bring little mirth<br /> -To any such poor fool as I.</td> -</tr> -<tr> -<td>Canta.</td> -<td>(<i>He sings:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -A serra he -alta, fria & neuosa,<br /> -vi venir serrana, gentil, graciosa.</td> -<td>The snow is on the hills,<br /> -<span style="margin-left: 2.5em;">the hills so cold -and -high,</span><br /> -I saw a maiden of the hills,<br /> -<span style="margin-left: 2.5em;">graceful and fair, -pass -by.</span></td> -</tr> -<tr> -<td>Fala.</td> -<td>(<i>Speaking:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Apre ca -yeramaa<br /> -que te vas todo torcendo<br /> -como jogador de bola.<br /> -Huxtix, huxte<a title="textual variant" href="#Variantnote_3_369" class="tvanchor">[v]</a> -xulo<a title="endnote" href="#Endnote_3_369" class="enanchor">[n]</a> ca,<br /> -que teu dou yraas gemendo<br /> -e resoprando sob a cola.<br /> -Aa corpo<a title="textual variant" href="#Variantnote_3_372" class="tvanchor">[v]</a> de mi tareja<a title="endnote" href="#Endnote_3_372" class="enanchor">[n]</a><br /> -descobrisuos vos na cama.<br /> -Parece? dix pera vossa ama,<br /> -nam criaraas tu hi bareja.<a title="textual variant" href="#Variantnote_3_375" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_3_375" class="enanchor">[n]</a></td> -<td>Curse you, go on, <i>arré</i>, I -say,<br /> -And now you're going all askew<br /> -As one who would at skittles play:<br /> -Come up, my mule, <i>arré</i>, <i>arré</i>.<br /> -But if I once begin with you <span class="poetrynumber"><a id="linenumber_3_370" name="linenumber_3_370"></a>370</span><br /> -I'll make you groan upon your way.<br /> -By my Theresa, you'd lose your load,<br /> -You would, would you, upon the road?<br /> -But I'll not give you any rest<br /> -Nor leave flies leisure to molest.</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>Canta.</td> -<td>(<i>He sings:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Vi venir -serrana gẽtil graciosa,<br /> -chegueime pera<a title="textual variant" href="#Variantnote_3_377" class="tvanchor">[v]</a> -ella con grã cortesia.</td> -<td>I saw a maiden of the hills, graceful and fair, pass by,<br /> -And towards her then went I with great courtesy.</td> -</tr> -<tr> -<td>Fala.</td> -<td>(<i>He speaks:</i>)</td> -</tr> -<tr> -<td>Mandovos eu sospirar<br /> -pola padeyra Daueiro,<a title="endnote" href="#Endnote_3_379" class="enanchor">[n]</a><br /> -que haueis de chegar aa venda<br /> -& entam ali desalbardar<br /> -& albardar o vendeyro<br /> -senam teuer que nos<a title="textual variant" href="#Variantnote_3_383" class="tvanchor">[v]</a> -venda<br /> -vinho a seis, cabra a tres,<br /> -pam de calo, fillhos de mãteyga,<br /> -moça fermosa, lẽçoes de veludo,<br /> -casa juncada, noyte longa,<br /> -chuua com pedra, telhado nouo,<br /> -a candea morta & a gaita<a title="textual variant" href="#Variantnote_3_389" class="tvanchor">[v]</a> -a porta.<br /> -Apre, zambro, empeçarás?<br /> -Olha tu nam te ponha eu<br /> -oculos na rabadilha<br /> -& veraas por onde vas.<br /> -Demo que teu dou por seu<br /> -& andaraas la de silha.<a title="textual variant" href="#Variantnote_3_395" class="tvanchor">[v]</a><br /> -<span class="pilcrow">¶</span> -Chegueime a -ella de grã cortesia,<br /> -disselhe: Señora,<a title="textual variant" href="#Variantnote_3_397" class="tvanchor">[v]</a> -quereis cõpanhia?</td> -<td>Yes, and I would have you sigh<br /> -For the Aveiro bakeress,<br /> -For the inn you'll come to by and by <span class="poetrynumber"><a id="linenumber_3_380" name="linenumber_3_380"></a>380</span><br /> -And then we'll off with the packsaddle<br /> -And the innkeeper we'll straddle<br /> -If he have not, to slake our thirstiness,<br /> -Good wine at threepence and kid at less,<br /> -And for hard bread soft buttermilk,<br /> -A fair wench to serve and sheets of silk,<br /> -If the floor's strewn with rushes the night be long,<br /> -If it hails, be the roof both new and strong,<br /> -When the lamp burns dim welcome fiddler's strain.<br /> -Hold up, there! At your tricks again? <span class="poetrynumber"><a id="linenumber_3_390" name="linenumber_3_390"></a>390</span><br /> -Bandy-legged brute, shall I prevail,<br /> -If I rain down barnacles on your tail,<br /> -To make you look where you are going.<br /> -To the Devil with you! He'll be knowing<br /> -How to handle your like without fail.<br /> -'And towards her then went I with great courtesy:<br /> -Will you, said I, lady, of my company?'</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -<i>Vem -Vasco afonso, outro almocreve, -& topam se ambos no caminho & diz -Pero vaz:</i></td> -<td class="justify"><i>Vasco Afonso, another -carrier, comes -along and they meet on the road, and Pero -Vaz says:</i></td> -</tr> -<tr> -<td><i>P.</i> ¶ -Ou, Vasco Afonso, onde vas?<a title="endnote" href="#Endnote_3_398" class="enanchor">[n]</a></td> -<td><i>P.</i> Ho, Vasco Afonso, where goest -thou?</td> -</tr> -<tr> -<td><i>V.</i> Huxtix, per esse cham.</td> -<td><i>V.</i> Look you, I go along the road.</td> -</tr> -<tr> -<td><i>P.</i> Nam traes chocalhos nem nada?</td> -<td><i>P.</i> Without thy bells nor any load? <span class="poetrynumber"><a id="linenumber_3_400" name="linenumber_3_400"></a>400</span></td> -</tr> -<tr> -<td><i>V.</i> Furtarão mos la detras<br /> -na venda da repeydada.</td> -<td><i>V.</i> They were stolen from me even now<br /> -By a cursed robber at the inn.</td> -</tr> -<tr> -<td><i>P.</i> Hi bebemos nos aa vinda.</td> -<td><i>P.</i> We had a drink there as we came.</td> -</tr> -<tr> -<td><i>V.</i> Cujo he o fato, Pero vaz?</td> -<td><i>V.</i> Whose, Pero Vaz, is all this -stuff?</td> -</tr> -<tr> -<td><i>P.</i> Dum fidalgo, dou oo diabo<br /> -o fato & seu<a title="textual variant" href="#Variantnote_3_406" class="tvanchor">[v]</a> -dono coelle.</td> -<td><i>P.</i> A nobleman's, Devil take the same,<br /> -Him and his suit of clothes and all.</td> -</tr> -<tr> -<td><i>V.</i> Valente almofreyxe traz.</td> -<td><i>V.</i> Yes, 'tis a bundle large enough.</td> -</tr> -<tr> -<td><i>P.</i> Tomo o mu de cabo a rabo.</td> -<td><i>P.</i> It takes the mule from head to -tail.</td> -</tr> -<tr> -<td><i>V.</i> Par deos carrega leua elle.</td> -<td><i>V.</i> One cannot say it's load is small.</td> -</tr> -<tr> -<td><i>P.</i> ¶ -Uxtix, agora nam paceram elles<a title="endnote" href="#Endnote_3_410" class="enanchor">[n]</a><br /> -& la por essas charnecas<br /> -vem roendo as vrzeyras.</td> -<td><i>P.</i> Look you, now they will not graze -<span class="poetrynumber"><a id="linenumber_3_410" name="linenumber_3_410"></a>410</span><br /> -And when through open moors we pass<br /> -They nibble at the heather roots.</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span><i>V.</i> -Leixos tu, Pero vaz, que elles<br /> -acham aqui as eruas secas<br /> -& nam comem giesteyras.<br /> -& quanto te dam por besta?</td> -<td><i>V.</i> Leave them, Pero Vaz, to go their -ways,<br /> -For very parched is here the grass,<br /> -And they won't touch the broom's green shoots.<br /> -What is to thee for carriage given?</td> -</tr> -<tr> -<td><i>P.</i> Nam sey, assi Deos majude.</td> -<td><i>P.</i> I do not know, so help me Heaven.</td> -</tr> -<tr> -<td><i>V.</i> Nam fizeste logo o preço?<br /> -mal aas<a title="textual variant" href="#Variantnote_3_419" class="tvanchor">[v]</a> tu de liurar desta.</td> -<td><i>V.</i> What! didst thou not then fix a -price?<br /> -Thou'st caught then in a pretty vice.</td> -</tr> -<tr> -<td><i>P.</i> Leyxeyo em sua virtude,<br /> -no que elle vir que eu mereço.</td> -<td><i>P.</i> I left it to his good faith to -pay <span class="poetrynumber"><a id="linenumber_3_420" name="linenumber_3_420"></a>420</span><br /> -Whate'er he saw was due to me.</td> -</tr> -<tr> -<td><i>V.</i> ¶ -Em sua virtude o deixaste?<a title="textual variant" href="#Variantnote_3_422" class="tvanchor">[v]</a><br /> -& trala elle com sigo<br /> -ou ha dir buscala ainda?<br /> -Oo que aramaa te fartaste!<a title="textual variant" href="#Variantnote_3_425" class="tvanchor">[v]</a><br /> -Queres apostar comigo<br /> -que te renegues da vinda?</td> -<td><i>V.</i> Left it to his good faith, you -say!<br /> -And what then if he hasn't any<br /> -And has to go to look for it?<br /> -O thou hast done most foolishly:<br /> -I'll wager thee an honest penny<br /> -That thou'lt repent thy coming yet.</td> -</tr> -<tr> -<td><i>P.</i> Elle pos desta maneyra<br /> -a mão na barba & me jurou<a title="endnote" href="#Endnote_3_429" class="enanchor">[n]</a><br /> -de meus dinheyros pagalos.</td> -<td><i>P.</i> He put his hand—see -here how—<br /> -Upon his beard and swore that I<br /> -Should be paid my money faithfully. <span class="poetrynumber"><a id="linenumber_3_430" name="linenumber_3_430"></a>430</span></td> -</tr> -<tr> -<td><i>V.</i> Essa barba era inteyra<br /> -a mesma em que te jurou<br /> -ou bigodezinhos ralos?</td> -<td><i>V.</i> Was it a proper beard, look you -now,<br /> -On which this oath of his was heard,<br /> -Or a mere straggling moustache?</td> -</tr> -<tr> -<td><i>P.</i> ¶ -Ora Deos sabe o que faz<br /> -& o juiz de çamora:<a title="endnote" href="#Endnote_3_435" class="enanchor">[n]</a><br /> -de fidalgo he manter fee.</td> -<td><i>P.</i> Nay, as there is a God above,<br /> -A judge who will the right approve,<br /> -A nobleman will keep his word.</td> -</tr> -<tr> -<td><i>V.</i> Bem sabes tu, Pero vaz,<br /> -que fidalgo ha jagora<br /> -que nam sabe se o he.<a title="endnote" href="#Endnote_3_438" class="enanchor">[n]</a><br /> -Como vay a ta molher<br /> -& todo teu gasalhado?</td> -<td><i>V.</i> Thou knowest right well, Pero Vaz,<br /> -There are nobles now who scarcely know<br /> -Whether they're noblemen or no.<br /> -How is thy wife now? Is she well? <span class="poetrynumber"><a id="linenumber_3_440" name="linenumber_3_440"></a>440</span><br /> -And thy other property?</td> -</tr> -<tr> -<td><i>P.</i> O gasalhado hi ficou.</td> -<td><i>P.</i> That's there all right.</td> -</tr> -<tr> -<td><i>V.</i> E a molher? </td> -<td><i>V.</i> Well, and she?</td> -</tr> -<tr> -<td><i>P.</i> Fugio.<a title="textual variant" href="#Variantnote_3_443" class="tvanchor">[v]</a> <i>V.</i> -Nam pode ser.<br /> -Como estaraas magoado,<br /> -yeramaa. <i>P.</i> Bofa nam estou.<br /> -<span class="pilcrow">¶</span> -Huxtix, -sempre has dandar<br /> -debayxo dos souereyros?<br /> -& a mi que me da disso?</td> -<td><i>P.</i> She ran away. <i>V.</i> -Impossible!<br /> -How sad thou must be feeling, why<br /> -Bad luck to it. <i>P.</i> In faith not I.<br /> -[<i>To his mule</i>] Come up there, must you ever go<br /> -Just where the cork-trees come so low?—<br /> -What has it to do with me?</td> -</tr> -<tr> -<td><i>V.</i> Per força ta<a title="textual variant" href="#Variantnote_3_449" class="tvanchor">[v]</a> -de pesar<br /> -se rirem de ti os vendeyros.</td> -<td><i>V.</i> Thou must needs be hurt thereby<br /> -When the innkeepers laugh at thee. <span class="poetrynumber"><a id="linenumber_3_450" name="linenumber_3_450"></a>450</span></td> -</tr> -<tr> -<td><i>P.</i> Nam tenho de ver co isso.<br /> -<span class="pilcrow">¶</span> Vay, -Vasco -afonso, ao teu mu<br /> -que se quer deytar no cham.</td> -<td><i>P.</i> No, that doesn't make me tremble.<br /> -Vasco Afonso, look to thy mule,<br /> -It's going to lie down on the ground.</td> -</tr> -<tr> -<td><i>V.</i> Pesate mas desingulas. -<a href="#Endnote_3_454" class="enanchor" title="endnote">[n]</a></td> -<td><i>V.</i> Thou feelest it but canst -dissemble.</td> -</tr> -<tr> -<td><i>P.</i> Nam pesa: bem sabes tu<br /> -que as molheres nam sam<br /> -todo o verã senã pulgas.</td> -<td><i>P.</i> O no, I don't. Thou know'st as a -rule<br /> -What women are all the summer round:</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span>Isto quanto aa -saudade<br /> -que eu della posso ter;<br /> -& quanto ao rir das gentes<br /> -ella faz sua vontade:<br /> -foyse perhi a perder<br /> -& eu nã perdi os dentes.<br /> -<span class="pilcrow">¶</span> Ainda -aqui -estou enteyro,<br /> -Vasco afonso<a title="textual variant" href="#Variantnote_3_465" class="tvanchor">[v]</a>, -como dantes,<br /> -filho de Afonso<a title="textual variant" href="#Variantnote_3_466" class="tvanchor">[v]</a> -vaz<br /> -e neto de Jam diz<a title="textual variant" href="#Variantnote_3_467" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_3_467" class="enanchor">[n]</a> -pedreyro<br /> -& de Branca Anes Dabrantes,<br /> -nam me faz nem me desfaz.<br /> -Do que me fica gram noo<a title="textual variant" href="#Variantnote_3_470" class="tvanchor">[v]</a><br /> -que teue rezam<a title="textual variant" href="#Variantnote_3_471" class="tvanchor">[v]</a> -de se hir<br /> -& em parte nam he culpada;<br /> -porque ella dormia soo<a title="endnote" href="#Endnote_3_473" class="enanchor">[n]</a><br /> -& eu sempre hia dormir<br /> -cos meus muus aa meyjoada.<br /> -<span class="pilcrow">¶</span> Queria -a eu -yr poupando<br /> -pera la pera a velhice<br /> -como colcha de Medina<a title="endnote" href="#Endnote_3_478" class="enanchor">[n]</a><br /> -& ella mosca Fernando<br /> -quando vio minha pequice<br /> -foy descobrir outra mina.</td> -<td>So much for any regret that I<br /> -Might feel for her now she is gone.<br /> -And as for people's laughter, why <span class="poetrynumber"><a id="linenumber_3_460" name="linenumber_3_460"></a>460</span><br /> -As was her will so has she done:<br /> -She went away to her own loss<br /> -And leaves me not one tooth the worse.<br /> -I'm hale and hearty as I was,<br /> -Vasco Afonso, no change there is:<br /> -The son still of Afonso Vaz,<br /> -Grandson of the mason Jan Diz<br /> -And Branca Annes my grandmother<br /> -Of Abrantes: nor one way nor the other<br /> -It touches me. And yet I grieve <span class="poetrynumber"><a id="linenumber_3_470" name="linenumber_3_470"></a>470</span><br /> -That she was partly in the right<br /> -And was not utterly to blame,<br /> -For I was ever wont to leave<br /> -Her lonely there while every night<br /> -To sleep at the inn with my mules I came.<br /> -I wished thus that she might remain<br /> -As a refuge for my old age,<br /> -Like a Medina counterpane,<br /> -But she saw through me and alack<br /> -Must view the matter in a rage <span class="poetrynumber"><a id="linenumber_3_480" name="linenumber_3_480"></a>480</span><br /> -And go off on another track.</td> -</tr> -<tr> -<td><i>V.</i> E agora que faraas?</td> -<td><i>V.</i> And what wilt thou do now, I pray?</td> -</tr> -<tr> -<td><i>P.</i> Yrey dormir aa Cornaga<br /> -e aamenhaã<a title="textual variant" href="#Variantnote_3_484" class="tvanchor">[v]</a> -aa Cucanha.<br /> -E tu vay, embora vas,<br /> -que eu vou seruir esta praga<br /> -& veremos que se ganha.</td> -<td><i>P.</i> I'll sleep at Cornaga's inn to-day<br /> -And at Cucanha's to-morrow.<br /> -So get thee on upon thy way,<br /> -And I'll on this errand to my sorrow<br /> -And we'll see how it will pay.</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -<i>Vai -cantando.</i></td> -<td><i>He goes singing:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Disselhe: -señora<a title="textual variant" href="#Variantnote_3_488" class="tvanchor">[v]</a> -q̃reis cõpanhia?<br /> -Dixeme: escudeyro segui vossa via.</td> -<td>'Will you,' said I, 'lady, of my company?'<br /> -But 'Sir knight, pass on your way,' said she unto me.</td> -</tr> -<tr> -<td><i>Pag.</i> Senhor, o almocreue he -aq̃lle<br /> -que os chocalhos<a title="textual variant" href="#Variantnote_3_491" class="tvanchor">[v]</a> -ouço eu,<br /> -este he o fato, senhor.</td> -<td><i>Page.</i> Sir, the carrier is here, <span class="poetrynumber"><a id="linenumber_3_490" name="linenumber_3_490"></a>490</span><br /> -He has brought the clothes for you,<br /> -For the sound of the bells I hear.</td> -</tr> -<tr> -<td><i>Fid.</i> Ponde todos cobro nelle.</td> -<td><i>N.</i> Look to it all of you with care.</td> -</tr> -<tr> -<td><i>Per.</i> Uxtix mulo do judeu.<br /> -O fato hu saa<a title="textual variant" href="#Variantnote_3_495" class="tvanchor">[v]</a> -de por?</td> -<td><i>Pero.</i> Hold up mule, you son of a Jew.<br /> -Where shall I put the clothes, say, where?</td> -</tr> -<tr> -<td><i>Pa.</i> Venhaes embora, pero vaz.</td> -<td><i>P.</i> Good morrow to you, good Pero.</td> -</tr> -<tr> -<td><i>Pe.</i> Mãtenha deos vossa -merce.</td> -<td><i>Pe.</i> God keep your worship even so.</td> -</tr> -<tr> -<td><i>Pa.</i> Viestes polas folgosas? -<a href="#Endnote_3_498" class="enanchor" title="endnote">[n]</a></td> -<td><i>P.</i> By the Folgosas did you go?</td> -</tr> -<tr> -<td><i>Pe.</i> Ahi estiue eu oje faz<br /> -oyto dias pee por pee<br /> -<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>em casa de -hũas tias vossas.</td> -<td><i>Pe.</i> Yes, that way was my journey made<br /> -And to-day is just a week ago <span class="poetrynumber"><a id="linenumber_3_500" name="linenumber_3_500"></a>500</span><br /> -Since in your aunts' house there I stayed.<br /> -</td> -</tr> -<tr> -<td><i>Pa.</i> Ora meu pai que fazia?</td> -<td><i>P.</i> What was my father doing now?</td> -</tr> -<tr> -<td><i>Pe.</i> Cauaua andando o bacelo -<a title="textual variant" href="#Variantnote_3_503" class="tvanchor">[v]</a><br /> -bem cansado e bem suado.</td> -<td><i>Pe.</i> Hoeing the vines in the sweat of -his brow,<br /> -In great heat and weariness.</td> -</tr> -<tr> -<td><i>Pa.</i> E minha mãy?</td> -<td><i>P.</i> And my mother?</td> -</tr> -<tr> -<td><i>Pe.</i> Leuaua o gado<br /> -la pera val de cubelo,<a title="textual variant" href="#Variantnote_3_506" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_3_506" class="enanchor">[n]</a><br /> -mal roupada que ella ia.<br /> -Huxtix, que mao lambaz.<br /> -& vossa merce que faz?</td> -<td><i>Pe.</i> She was up the dale<br /> -Driving the herd—all in tatters her dress—<br /> -Out towards Cobelo's Vale.<br /> -[<i>To the mule</i>] Be quiet there. The greedy brute.<br /> -And yourself how do these times suit?</td> -</tr> -<tr> -<td><i>Pa.</i> Estou louçam coma que.</td> -<td><i>P.</i> I'm flourishing like anything. <span class="poetrynumber"><a id="linenumber_3_510" name="linenumber_3_510"></a>510</span></td> -</tr> -<tr> -<td><i>Pe.</i> E abofee creceis açaz,<br /> -saude que vos Deos dee.</td> -<td><i>Pe.</i> In faith you're growing fine and -tall,<br /> -And may God give you health withal.</td> -</tr> -<tr> -<td><i>Pa.</i> ¶ -Eu sou pagem de meu senhor,<a title="textual variant" href="#Variantnote_3_513" class="tvanchor">[v]</a><br /> -se Deos quiser pagem da lança.</td> -<td><i>P.</i> I'm my lord's page and may advance<br /> -To be the page who bears the lance.</td> -</tr> -<tr> -<td><i>Pe.</i> E hum fidalgo tanto -alcança?<br /> -Isso he Demperador<br /> -ora prenda el Rey de França.</td> -<td><i>Pe.</i> What, is a nobleman so great?<br /> -That's for an Emperor, and the King<br /> -Of France, I see, must mind his state.</td> -</tr> -<tr> -<td><i>Pa.</i> Ainda eu ey de perchegar -<a title="textual variant" href="#Variantnote_3_518" class="tvanchor">[v]</a><br /> -a caualeyro fidalgo.</td> -<td><i>P.</i> And more, I may go on to be<br /> -A knight of the nobility.</td> -</tr> -<tr> -<td><i>Pe.</i> Pardeos, João crespo -penaluo,<br /> -que isso seria esperar<br /> -de mao rafeyro ser galgo.<br /> -<span class="pilcrow">¶</span> Mais -fermoso -estaa ao vilam<br /> -mao burel que mao frisado<a title="textual variant" href="#Variantnote_3_524" class="tvanchor">[v]</a><br /> -& romper matos maninhos,<br /> -& ao fidalgo de naçam<br /> -ter quatro homes de recado<br /> -e leyxar laurar ratinhos;<br /> -que em Frandes & Alemanha<br /> -em toda França & Veneza,<a title="endnote" href="#Endnote_3_529" class="enanchor">[n]</a><br /> -que vivem por siso e manha<br /> -por nam viver em tristeza;<br /> -<span class="pilcrow">¶</span> nam he -como -nesta terra.<br /> -Porque o filho do laurador<br /> -casa la<a title="textual variant" href="#Variantnote_3_535" class="tvanchor">[v]</a> com lauradora<br /> -& nunca sobem<a title="textual variant" href="#Variantnote_3_536" class="tvanchor">[v]</a> -mais nada;<br /> -& o filho do broslador<a title="endnote" href="#Endnote_3_537" class="enanchor">[n]</a><br /> -casa com a brosladora,<br /> -isto por ley ordenada.<br /> -E os fidalgos de casta<br /> -seruem os Reis & altos senhores<br /> -de tudo sem presunçam,<br /> -tam chãos q̃ pouco lhes basta;<br /> -& os filhos dos lauradores<br /> -<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>pera todos lauram -pam.</td> -<td><i>Pe.</i> Nay, by the Lord, John, listen -to me: <span class="poetrynumber"><a id="linenumber_3_520" name="linenumber_3_520"></a>520</span><br /> -That were t'expect without good ground<br /> -A watch-dog to become a hound.<br /> -To the peasant far more honour doth<br /> -Coarse sacking than your flimsy cloth.<br /> -And to set his hand to till the soil<br /> -And for the nobleman by birth<br /> -To have men on his ways to toil<br /> -And let the rustic plough the earth.<br /> -For in Flanders and in Germany,<br /> -In Venice and the whole of France, <span class="poetrynumber"><a id="linenumber_3_530" name="linenumber_3_530"></a>530</span><br /> -They live well and reasonably<br /> -And thus win deliverance<br /> -From the woes that are here to hand.<br /> -For there the peasant on the land<br /> -Doth the peasant's daughter wed,<br /> -Nor further seeks to raise his head,<br /> -And even so the skilled workmen too<br /> -Those only of their own class woo,<br /> -By law is it so orderèd.<br /> -And there the nobility <span class="poetrynumber"><a id="linenumber_3_540" name="linenumber_3_540"></a>540</span><br /> -Serve kings and lords of high degree<br /> -And do so with a lowly heart<br /> -And simple, for their needs are small,<br /> -And the sons of the peasants for their part<br /> -Sow and reap the crops for all.</td> -</tr> -<tr> -<td><i>Pa.</i> ¶ -Quero hir dizer de vos.</td> -<td><i>P.</i> I'll go and announce you now.</td> -</tr> -<tr> -<td><i>Pe.</i> Ora yde dizer de mi;<br /> -que se grave he Deos dos ceos<br /> -mais graves deoses ha qui.<a title="textual variant" href="#Variantnote_3_549" class="tvanchor">[v]</a></td> -<td><i>Pe.</i> Go and announce to your heart's -fill:<br /> -By the solemn God of Heaven I vow<br /> -There are gods here more solemn still.</td> -</tr> -<tr> -<td><i>Pa.</i> Senhor ali vem o fato<br /> -& estaa ha porta o almocreue,<br /> -vede quem lha a<a title="textual variant" href="#Variantnote_3_552" class="tvanchor">[v]</a> -de pagar<br /> -isso tal que se lhe deue.</td> -<td><i>P.</i> Sir, they've brought the clothes -for you, <span class="poetrynumber"><a id="linenumber_3_550" name="linenumber_3_550"></a>550</span><br /> -And the carrier's at the door;<br /> -Please to tell me, Sir, therefore,<br /> -Who is to pay him what is due.</td> -</tr> -<tr> -<td><i>F.</i> <span class="pilcrow">¶</span> -Isto he com que meu mato.<br /> -quem te manda procurar?<br /> -Atenta tu polo meu<br /> -& arrecado muyto bem<br /> -& nam cures de ninguem.</td> -<td><i>N.</i> That's what I should like to know.<br /> -What business is it of yours? You go<br /> -And look to what they've brought for me:<br /> -Stow it away in safety<br /> -And trouble about nothing more.</td> -</tr> -<tr> -<td><i>Pa.</i> Elle he dapar<a title="textual variant" href="#Variantnote_3_559" class="tvanchor">[v]</a> de -Viseu<a title="endnote" href="#Endnote_3_559" class="enanchor">[n]</a><br /> -& homem que me pertem,<a title="endnote" href="#Endnote_3_560" class="enanchor">[n]</a><br /> -pois a porta lhabri eu.</td> -<td><i>P.</i> From over against Viseu is he<br /> -And properly belongs to me <span class="poetrynumber"><a id="linenumber_3_560" name="linenumber_3_560"></a>560</span><br /> -Since I it was answered the door.</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -<i>Entra -dentro o almocreue & diz:</i></td> -<td><i>The carrier comes in and says:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -<i>Pe.</i> -Senhor, trouxe a frascaria<a title="textual variant" href="#Variantnote_3_562" class="tvanchor">[v]</a><br /> -do vossa merce aqui.<br /> -Hi estam os mus albardados.</td> -<td><i>Pe.</i> Sir, I've brought the goods, you -see,<br /> -For your worship, they're not small,<br /> -Here they are, pack-mules and all.</td> -</tr> -<tr> -<td><i>Fid.</i> Essa he a mais nova arauia -<a href="#Endnote_3_565" class="enanchor" title="endnote">[n]</a><br /> -d'almocreue que eu vi:<br /> -dou-te vinte mil cruzados.</td> -<td><i>N.</i> This is the strangest carrier's -jargon<br /> -That has ever come my way.<br /> -A thousand crowns for you, a bargain.</td> -</tr> -<tr> -<td><i>Pe.</i> Mas pagueme vossa merce<br /> -o meu aluguer, no mais,<br /> -que me quero logo hir.</td> -<td><i>Pe.</i> Nay, Sir, I would have you pay<br /> -Simply what you owe to me,<br /> -For I must straightway be gone. <span class="poetrynumber"><a id="linenumber_3_570" name="linenumber_3_570"></a>570</span></td> -</tr> -<tr> -<td><i>F.</i> O aluguer quanto he?</td> -<td><i>N.</i> And what may the carriage be?</td> -</tr> -<tr> -<td><i>Pe.</i> Mil & seis centos reaes,<br /> -& isto por vos seruir.</td> -<td><i>Pe.</i> Sixteen hundred reis: you alone<br /> -Would I charge so little, Sir.</td> -</tr> -<tr> -<td><i>F.</i> ¶ -Falay co meu azemel,<br /> -porque he doutor das bestas<br /> -& estrologo<a title="textual variant" href="#Variantnote_3_576" class="tvanchor">[v]</a> -dos mus:<br /> -que assente em hum papel<br /> -per aualiações honestas<br /> -o que se monta, ora sus;<br /> -porque esta he a ordenança<br /> -& estilo de minha casa.<br /> -& se o azemel for fora,<br /> -como cuydo que he em França,<br /> -dareis outra volta aa massa<br /> -& hiruos eis por agora.<br /> -<span class="pilcrow">¶</span> Vossa -paga -he nas mãos.<a title="endnote" href="#Endnote_3_586" class="enanchor">[n]</a></td> -<td><i>N.</i> Go speak with my head messenger<br /> -For he's master of the horses<br /> -And the mules' astrologer:<br /> -Let him in a neat account<br /> -Fairly reckon the amount,<br /> -What is due, and how bought, how sold,<br /> -For this customary course is <span class="poetrynumber"><a id="linenumber_3_580" name="linenumber_3_580"></a>580</span><br /> -Ever followed in my household.<br /> -And if he's absent by some chance,<br /> -And I <i>believe</i> he is in France,<br /> -Then return some other day<br /> -And for the present go your way.<br /> -And your pay is in your hand.</td> -</tr> -<tr> -<td><i>Pe.</i> Ja a eu quisera nos pees,<br /> -oo pesar de minha mãy!</td> -<td><i>Pe.</i> I wish I had it in my feet.<br /> -O woe is me, O by my mother!</td> -</tr> -<tr> -<td><i>F.</i> E tens tu pay & -yrmãos?</td> -<td><i>N.</i> And have you a father and a -brother?</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span><i>Pe.</i> -Pagay, senhor, não zombeis,<br /> -que sam dalem da sertãy<a title="textual variant" href="#Variantnote_3_591" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_3_591" class="enanchor">[n]</a><br /> -& nam posso ca tornar.</td> -<td><i>Pe.</i> Jest not but pay me as is meet, -<span class="poetrynumber"><a id="linenumber_3_590" name="linenumber_3_590"></a>590</span><br /> -For I come from beyond the moor,<br /> -Return I cannot to the Court.</td> -</tr> -<tr> -<td><i>F.</i> Se ca vieres aa corte<br /> -pousaraas aqui cos meus.</td> -<td><i>N.</i> Whenever you come to town my door<br /> -Is open: lodge with my men you must.</td> -</tr> -<tr> -<td><i>Pe.</i> Nunca mais ey de fiar<br /> -em fidalgo desta sorte,<br /> -em que o mande sam Mateus.</td> -<td><i>Pe.</i> Never again will I put trust<br /> -In any noble of this sort,<br /> -Not though St Matthew himself exhort.</td> -</tr> -<tr> -<td><i>F.</i> ¶ -Faze por teres amigos<br /> -& mais tal homem comeu<br /> -porque dinheyro he hum vento.</td> -<td><i>N.</i> To making friends your thoughts -incline,<br /> -Such friends as I especially,<br /> -For money is but vanity. <span class="poetrynumber"><a id="linenumber_3_600" name="linenumber_3_600"></a>600</span></td> -</tr> -<tr> -<td><i>Pe.</i> Dou eu ja oo demo os amigos<br /> -que me a mi levam o meu.</td> -<td><i>Pe.</i> To the devil with such friends, -say I,<br /> -Who cozen me of what is mine.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -<i>Vayse -o almocreue & vem outro -Fidalgo & diz o fidalgo primeyro:</i></td> -<td class="justify"><i>The carrier goes away -and another -nobleman comes and the first nobleman -says:</i></td> -</tr> -<tr> -<td><i>F. 1º.</i> ¶ -Oo que grande saber vir<a title="endnote" href="#Endnote_3_603" class="enanchor">[n]</a><br /> -& que gram saber maa<a title="textual variant" href="#Variantnote_3_604" class="tvanchor">[v]</a> -vontade.</td> -<td><i>1st N.</i> O how well you time your visit<br /> -And your coming is most kind.</td> -</tr> -<tr> -<td><i>F. 2º.</i> Pois, senhor, que -vos parece?<br /> -desejo de vos seruir<br /> -& nam quero q̃ venha aa cidade<br /> -hum quem nam parece esquece.</td> -<td><i>2nd N.</i> Sir, it is not doubtful, is -it?,<br /> -That to serve you I'm inclined.<br /> -And I would not have it said<br /> -Out of sight is out of mind.</td> -</tr> -<tr> -<td><i>F. 1º.</i> Paguey soma de -dinheyro<br /> -a hum ouriuez agora<br /> -de prata que me laurou<br /> -& paguey a hum recoueiro<br /> -que he a dar dinheyros fora<br /> -a quem nam sei como os ganhou.</td> -<td><i>1st N.</i> A large sum of money I<br /> -To a goldsmith have just paid <span class="poetrynumber"><a id="linenumber_3_610" name="linenumber_3_610"></a>610</span><br /> -For some silver he inlaid.<br /> -To a carrier too, though why<br /> -I should pay him scarce appears,<br /> -Or how he won what he obtains.</td> -</tr> -<tr> -<td><i>F. 2º.</i> Ganhã-nos -tã mal -ganhados<br /> -que vos roubam as orelhas.</td> -<td><i>2nd N.</i> So ill-gotten are their gains<br /> -That they rob your very ears.</td> -</tr> -<tr> -<td><i>F. 1º.</i> Pola hostia -consagrada<a title="textual variant" href="#Variantnote_3_617" class="tvanchor">[v]</a><br /> -& polo Deos consagrado<br /> -que os lobos nas ouelhas<br /> -nam dam tã crua pancada.<br /> -Polos sanctos auangelhos<br /> -e polo omnium sanctorum<br /> -que atee o meu capelam<br /> -per mesinhas de coelhos<br /> -& hũa secula seculorum<br /> -lhe dou por missa hum tostam.<a title="textual variant" href="#Variantnote_3_617" class="tvanchor">[v]</a><br /> -<span class="pilcrow">¶</span> -Não -ha ja homem em Portugal<br /> -tam sogeyto em pagar<br /> -nem tam forro pera molheres.</td> -<td><i>1st N.</i> Nay by the consecrated Host<br /> -And the Holy God of Heaven<br /> -Their onslaught is more fierce almost<br /> -Than that of wolves on a sheepfold even. <span class="poetrynumber"><a id="linenumber_3_620" name="linenumber_3_620"></a>620</span><br /> -Why my very chaplain too<br /> -For the little work he does for me<br /> -By whatever saints there be<br /> -Yea and by the Gospels true<br /> -For his prayers I must be willing<br /> -To give him for each mass a shilling.<br /> -There's not in Portugal a man<br /> -More liable to pay than I:<br /> -Nor one who is from love so free.</td> -</tr> -<tr> -<td><i>F. 2º.</i> Guarday vos esse bem -tal<br /> -que a mi ham me de matar<br /> -bem me queres, mal me queres.</td> -<td><i>2nd N.</i> Ah keep yourself from its -fell ban, <span class="poetrynumber"><a id="linenumber_3_630" name="linenumber_3_630"></a>630</span><br /> -For lovers' joys and misery<br /> -I think will be the end of me.</td> -</tr> -<tr> -<td><i>F. 1º.</i> Per quantas damas -Deos tẽ<br /> -<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>nã daria -nemigalha:<a title="textual variant" href="#Variantnote_3_634" class="tvanchor">[v]</a><br /> -olhay que descubro isto.</td> -<td><i>1st N.</i> For all the ladies upon earth<br /> -I would not give a halfpenny:<br /> -Frankly I say that's what they're worth.<br /> -</td> -</tr> -<tr> -<td><i>F. 2º.</i> Sam tam fino em -querer bem<br /> -que de fino tomo a palha<br /> -pola fee de Jesu Christo.<br /> -<span class="pilcrow">¶</span> Quem -quereis -que veja olhinhos<br /> -que se nam perca por elles<br /> -la per hũs geytinhos lindos<br /> -que vos metem em caminhos<br /> -& nam ha caminhos nelles<br /> -senam espinhos infindos.<a title="textual variant" href="#Variantnote_3_644" class="tvanchor">[v]</a></td> -<td><i>2nd N.</i> A lover gentle, you must know,<br /> -As I excels in delicacy,<br /> -By my faith 'tis even so.<br /> -And who should a fair lady's eyes<br /> -Behold and not be lost in sighs? <span class="poetrynumber"><a id="linenumber_3_640" name="linenumber_3_640"></a>640</span><br /> -And their pretty ways that lead<br /> -You to toils in which indeed<br /> -You will find no thoroughfare:<br /> -Only infinite thorns and care.</td> -</tr> -<tr> -<td><i>F. 1º.</i> Eu ja nam ey de penar<br /> -por amores de ninguem;<br /> -mas dama de bom morgado<br /> -aqui vay o remirar,<br /> -aqui vay o querer bem,<br /> -& tudo bem empregado.<br /> -<span class="pilcrow">¶</span> Que -porque -dance muy bem<br /> -nem baylar com muyta graça,<br /> -seja discreta, auisada,<br /> -fermosa quanto Deos tem,<br /> -senhor, boa prol lhe faça<br /> -se seu pay nam tiuer nada.<br /> -Nam sejaes vos tam mancias,<a title="endnote" href="#Endnote_3_657" class="enanchor">[n]</a><br /> -que isso passa ja damor<br /> -& cousas desesperadas.</td> -<td><i>1st N.</i> Nevermore for lady I<br /> -Shall be made to pine or sigh.<br /> -But if she have fine estate<br /> -Thither then will my eyes turn<br /> -And my heart begin to burn,<br /> -Let the profit be but great. <span class="poetrynumber"><a id="linenumber_3_650" name="linenumber_3_650"></a>650</span><br /> -Dance she ne'er so gracefully,<br /> -Skilfully with nimble feet,<br /> -Be she sensible, discreet,<br /> -And fairest of all fair to see:<br /> -If of her father I have no profit,<br /> -Much good, I say, may she have of it.<br /> -Do not you be so lovelorn,<br /> -For 'tis scarcely to be borne,<br /> -Love? nay madness, verily.</td> -</tr> -<tr> -<td><i>F. 2º.</i> Porem la por vossas -vias<br /> -vou vos esperar, senhor,<br /> -a rendeyro das jugadas.<br /> -<span class="pilcrow">¶</span> Porque -galante caseyro<br /> -he pera por em historia.</td> -<td><i>2nd N.</i> By your way of it, I see, <span class="poetrynumber"><a id="linenumber_3_660" name="linenumber_3_660"></a>660</span><br /> -I the husbandman discover<br /> -And in very sooth 'twill be<br /> -A fine story this for me<br /> -Of the farmer turning lover.</td> -</tr> -<tr> -<td><i>F. 1º.</i> Mas zombay, senhor, -zombay.</td> -<td><i>1st N.</i> O mock me, Sir, if mock you -can.</td> -</tr> -<tr> -<td><i>F. 2º.</i> Senhor, o homem -inteiro<a title="textual variant" href="#Variantnote_3_666" class="tvanchor">[v]</a><br /> -nam lha de vir ha memoria<br /> -co a dama o de seu pay;<br /> -nem ha mais de desejar<br /> -nem querer outra alegria<br /> -que so los tus cabellos niña:<a title="textual variant" href="#Variantnote_3_671" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_3_671" class="enanchor">[n]</a><br /> -nam ha hi mais que esperar<br /> -onde he esta canteguinha,<br /> -e todo mal he quem no tem,<br /> -e se o disserem digão, alma minha,<a title="textual variant" href="#Variantnote_3_675" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_3_675" class="enanchor">[n]</a><br /> -quem vos anojou meu bem.<a title="endnote" href="#Endnote_3_676" class="enanchor">[n]</a><br /> -Ey os todos de grosar<br /> -<span class="pilcrow">¶</span> ainda -que -sejam velhos.</td> -<td><i>2nd N.</i> Sir, the perfect gentleman<br /> -Doth not link his lady fair<br /> -With what her father may possess.<br /> -Nor descries he other scope,<br /> -Nor sighs for greater happiness <span class="poetrynumber"><a id="linenumber_3_670" name="linenumber_3_670"></a>670</span><br /> -Than 'In the tresses of thy hair,'<br /> -For indeed is all his hope<br /> -Centred in that single song,<br /> -And 'Sorrows to him alone belong,'<br /> -And 'If they say so, let it be,'<br /> -And 'Who, my love, hath vexèd thee?'<br /> -I will sing and gloss them too,<br /> -All these songs both old and new.</td> -</tr> -<tr> -<td><i>F. 1º.</i> Vos, senhor, vindes -tão -brauo<br /> -<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span>que eu eyuos medo -ja:<br /> -polos sanctos auangelhos<a title="textual variant" href="#Variantnote_3_681" class="tvanchor">[v]</a><br /> -que leuais tudo ao cabo<br /> -la onde cabo nam ha.</td> -<td><i>1st N.</i> Sir, you are so fierce and -brave<br /> -That I'm half afraid of you: <span class="poetrynumber"><a id="linenumber_3_680" name="linenumber_3_680"></a>680</span><br /> -By the holy books you have<br /> -A wont to carry with high hand<br /> -Even what you can't command.</td> -</tr> -<tr> -<td><i>F. 2º.</i> Zombaes, & -daes a entender<br /> -zombando que mentendeis.<br /> -Pois de vos muy alto sou,<br /> -porque deueis de saber<br /> -que se damor nam sabeis<br /> -nam podeis yr onde vou.<a title="textual variant" href="#Variantnote_3_689" class="tvanchor">[v]</a><br /> -<span class="pilcrow">¶</span> Quando -fordes namorado<br /> -vireis a ser mais profundo,<br /> -mais discreto e mais sotil,<a title="textual variant" href="#Variantnote_3_692" class="tvanchor">[v]</a><br /> -porque o mundo namorado<br /> -he la, senhor, outro mundo,<br /> -que estaa alem do Brasil.<br /> -Oo meu mundo verdadeyro!<br /> -oo minha justa batalha!<br /> -mundo do meu doce engano!</td> -<td><i>2nd N.</i> You mock me, yet 'tis but to -prove<br /> -That as you mock you understand.<br /> -For I must far above you stand,<br /> -Since if you are exempt from love<br /> -'Tis at least for you to know<br /> -That where I go you cannot go.<br /> -When you are a lover, then <span class="poetrynumber"><a id="linenumber_3_690" name="linenumber_3_690"></a>690</span><br /> -A discretion more profound<br /> -And subtlety your mind may fill:<br /> -The lover's world's beyond your ken,<br /> -A different world that's to be found<br /> -In regions further than Brazil.<br /> -O my world, the only true one,<br /> -O the right I fight for oft,<br /> -Sweet illusions that pursue one!</td> -</tr> -<tr> -<td><i>F. 1º.</i> Oo palha do meu -palheyro,<br /> -que tenho hum mundo de palha,<br /> -palha ainda dora a hum anno;<br /> -e tenho hum mundo de trigo<br /> -para vender a essa gente:<a title="textual variant" href="#Variantnote_3_703" class="tvanchor">[v]</a><br /> -bom<a title="textual variant" href="#Variantnote_3_704" class="tvanchor">[v]</a> cabeça tem Morale.<br /> -Nam quero damor, amigo<br /> -andar gemente & flente<br /> -in hac lachrymarum valle.<a title="textual variant" href="#Variantnote_3_707" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_3_707" class="enanchor">[n]</a></td> -<td><i>1st N.</i> O the straw that's in my loft!<br /> -For a world of straw is mine <span class="poetrynumber"><a id="linenumber_3_700" name="linenumber_3_700"></a>700</span><br /> -That all wants for a year will meet,<br /> -And I have a world of wheat<br /> -And will sell to all beholders,<br /> -And a head upon my shoulders.<br /> -But, my friend, I will not pine<br /> -For love, nor weep throughout the years<br /> -Mourning in this vale of tears.</td> -</tr> -<tr> -<td><i>F. 2º.</i> Voume: vos -não sois sentido,<br /> -sois muy duro do pescoço,<br /> -não val isso nemigalha:<br /> -pesame de ver perdido<br /> -hum homem fidalgo ençosso,<a title="textual variant" href="#Variantnote_3_712" class="tvanchor">[v]</a><br /> -pois tem a vida na palha.<a title="endnote" href="#Endnote_3_713" class="enanchor">[n]</a></td> -<td><i>2nd N.</i> Farewell, you have no -sentiment<br /> -And are stiff-necked exceedingly,<br /> -All that's not worth an ancient saw. <span class="poetrynumber"><a id="linenumber_3_710" name="linenumber_3_710"></a>710</span><br /> -But me it grieves to see so spent<br /> -A noble's life most witlessly,<br /> -Since he's become a man of straw.</td> -</tr> -</tbody> -</table> -<p id="linenumber_3_finis" class="center">FINIS<a title="textual variant" href="#Variantnote_3_finis" class="tvanchor">[v]</a></p> -<div class="variantnotes"> -<h3>TEXTUAL VARIANT NOTES:</h3> -<p><span id="Variantnote_3_19" class="label"><a href="#linenumber_3_10">19</a>.</span> -<i>milhaam</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>milhan</i> -C.</p> -<p><span id="Variantnote_3_21" class="label"><a href="#linenumber_3_20">21</a>.</span> -<i>desamparada</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_24" class="label"><a href="#linenumber_3_20">24</a>.</span> -<i>gentes</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>gente</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_3_25" class="label"><a href="#linenumber_3_20">25</a>.</span> -<i>raya</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>raiva</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_3_43" class="label"><a href="#linenumber_3_40">43</a>.</span> -<i>Habofee</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_52" class="label"><a href="#linenumber_3_50">52</a>.</span> -<i>o que</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>quanto</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_3_53" class="label"><a href="#linenumber_3_50">53</a>.</span> -<i>perlongueis</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>prolongueis</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_3_57" class="label"><a href="#linenumber_3_50">57</a>.</span> -<i>et negociatores</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_62" class="label"><a href="#linenumber_3_60">62</a>.</span> -<i>d'outro</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_103" class="label"><a href="#linenumber_3_100">103</a>.</span> -<i>Pedreneyra</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_115" class="label"><a href="#linenumber_3_110">115</a>.</span> -<i>coma</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>como</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_128" class="label"><a href="#linenumber_3_120">128</a>.</span> -<i>o gaiteyro</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>ó -gaiteiro</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, -<abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_3_135" class="label"><a href="#linenumber_3_130">135</a>.</span> -<i>Uos trazeis</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>Trazeis</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_3_142" class="label"><a href="#linenumber_3_140">142</a>.</span> -<i>da raça</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>de -raça</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_153" class="label"><a href="#linenumber_3_150">153</a>.</span> -<i>dizey ora</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_157" class="label"><a href="#linenumber_3_150">157</a>.</span> -<i>Penonia</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>Per -omnia</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_167" class="label"><a href="#linenumber_3_160">167</a>.</span> -<i>perhi</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_174" class="label"><a href="#linenumber_3_170">174</a>.</span> -<i>direyis</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>.</p> -<p><span id="Variantnote_3_180" class="label"><a href="#linenumber_3_180">180</a>.</span> -<i>honde</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_183" class="label"><a href="#linenumber_3_180">183</a>.</span> -<i>oriuez</i> and infra <i>our.</i> -<abbr title="Copilaçam de todalas obras (1562)">A</abbr>; -<i>oriuz</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>see</i> -<abbr title="Copilaçam de todalas obras (1562)">A</abbr>; -<i>seee</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<i>s'he</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_191" class="label"><a href="#linenumber_3_190">191</a>.</span> -<i>de occupar</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_198" class="label"><a href="#linenumber_3_190">198</a>.</span> -<i>ja o sabeis</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>ja -sabeis</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_205" class="label"><a href="#linenumber_3_200">205</a>.</span> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -omits 205 and prints 206 twice.</p> -<p><span id="Variantnote_3_236" class="label"><a href="#linenumber_3_230">236</a>.</span> -<i>desfeyto</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_239" class="label"><a href="#linenumber_3_230">239</a>.</span> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -omits <i>mais</i>.</p> -<p><span id="Variantnote_3_240" class="label"><a href="#linenumber_3_240">240</a>.</span> -<i>que em</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_249" class="label"><a href="#linenumber_3_240">249</a>.</span> -<i>ver o que faz</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_255" class="label"><a href="#linenumber_3_250">255</a>.</span> -<i>com o</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>c'o</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_257" class="label"><a href="#linenumber_3_250">257</a>.</span> -<i>anno</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_263" class="label"><a href="#linenumber_3_260">263-4</a>.</span> -<i>capelam, ourives?</i></p> -<p><span id="Variantnote_3_268" class="label"><a href="#linenumber_3_260">268</a>.</span> -<i>que m'abruquele</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>. <abbr title="Copilaçam de todalas obras (1586)">B</abbr> -omits 268.</p> -<p><span id="Variantnote_3_269" class="label"><a href="#linenumber_3_260">269</a>.</span> -<i>s'he</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_271" class="label"><a href="#linenumber_3_270">271</a>.</span> -<i>O recado qu'elle dá! -Madraço,</i> ?</p> -<p><span id="Variantnote_3_286" class="label"><a href="#linenumber_3_280">286</a>.</span> -<i>deixa</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_287" class="label"><a href="#linenumber_3_280">287</a>.</span> -<i>o amais</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>o -mais o</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_288" class="label"><a href="#linenumber_3_280">288</a>.</span> -<i>com os outros</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_292" class="label"><a href="#linenumber_3_290">292</a>.</span> -<i>ca a vinda</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_308" class="label"><a href="#linenumber_3_300">308</a>.</span> -<i>acupado</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>occupado</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_325" class="label"><a href="#linenumber_3_320">325</a>.</span> -<i>minha</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>a -minha</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_346" class="label"><a href="#linenumber_3_340">346</a>.</span> -<i>melancholia</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>chocallada</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_369" class="label"><a href="#linenumber_3_360">369</a>.</span> -<i>uxtix, uxte</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_372" class="label"><a href="#linenumber_3_370">372</a>.</span> -<i>Aa corpo</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>ao -corpo</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_3_375" class="label"><a href="#linenumber_3_370">375</a>.</span> -<i>vareja</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_377" class="label"><a href="#linenumber_3_370">377</a>.</span> -<i>pa</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_383" class="label"><a href="#linenumber_3_380">383</a>.</span> -<i>que nos</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>que -vos</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_389" class="label"><a href="#linenumber_3_380">389</a>.</span> -<i>a candeia morta, gaita</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_395" class="label"><a href="#linenumber_3_390">395</a>.</span> -<i>cilha</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_397" class="label"><a href="#linenumber_3_390">397</a>.</span> -<i>senhora</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_406" class="label"><a href="#linenumber_3_400">406</a>.</span> -<i>e o seu</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_419" class="label"><a href="#linenumber_3_410">419</a>.</span> -<i>as</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_422" class="label"><a href="#linenumber_3_420">422</a>.</span> -<i>leixaste</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_425" class="label"><a href="#linenumber_3_420">425</a>.</span> -<i>fretaste</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_443" class="label"><a href="#linenumber_3_440">443</a>.</span> -<i>fogio</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_449" class="label"><a href="#linenumber_3_440">449</a>.</span> -<i>t'ha</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_465" class="label"><a href="#linenumber_3_460">465</a>.</span> -<i>Afonso</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_466" class="label"><a href="#linenumber_3_460">466</a>.</span> -<i>Affonso</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_467" class="label"><a href="#linenumber_3_460">467</a>.</span> -<i>Iam diz</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>Jan -Diz</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_470" class="label"><a href="#linenumber_3_470">470</a>.</span> -<i>gram noo</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>gran -dó</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_471" class="label"><a href="#linenumber_3_470">471</a>.</span> -<i>razam</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_484" class="label"><a href="#linenumber_3_480">484</a>.</span> -<i>aa menhaa</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_488" class="label"><a href="#linenumber_3_480">488</a>.</span> -<i>señora</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_491" class="label"><a href="#linenumber_3_490">491</a>.</span> -<i>chocallos</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_495" class="label"><a href="#linenumber_3_490">495</a>.</span> -<i>s'ha</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_503" class="label"><a href="#linenumber_3_500">503</a>.</span> -<i>Cauaua andando o bacelo</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>Cavando -andava bacelo</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_506" class="label"><a href="#linenumber_3_500">506</a>.</span> -<i>Cobelo</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_513" class="label"><a href="#linenumber_3_510">513</a>.</span> -<i>sou</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>; <i>sam</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr> -[cf. <a href="#linenumber_3_590">591</a>]. <i>señor</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_518" class="label"><a href="#linenumber_3_510">518</a>.</span> -<i>ey de perchegar</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>hei -de chegar</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_524" class="label"><a href="#linenumber_3_520">524</a>.</span> -<i>bom frisado</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_535" class="label"><a href="#linenumber_3_530">535</a>.</span> -<i>casalo</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_536" class="label"><a href="#linenumber_3_530">536</a>.</span> -<i>sobem</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>sabem</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_549" class="label"><a href="#linenumber_3_540">549</a>.</span> -<i>haqui</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>ha -aqui</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_552" class="label"><a href="#linenumber_3_550">552</a>.</span> -<i>lha a</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>lha</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<i>lhe ha</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_559" class="label"><a href="#linenumber_3_550">559</a>.</span> -<i>da par</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_562" class="label"><a href="#linenumber_3_560">562</a>.</span> -<i>frescaria</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_576" class="label"><a href="#linenumber_3_570">576</a>.</span> -<i>astrologo</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_591" class="label"><a href="#linenumber_3_590">591</a>.</span> -<i>sam</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>; <i>sou</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr> -[cf. <a href="#linenumber_3_510">513</a>]. <i>da -Sertãy</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>do -sertão</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_604" class="label"><a href="#linenumber_3_600">604</a>.</span> -<i>maa</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>me -a</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>. <i>& -gran saber maa</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_617" class="label"><a href="#linenumber_3_610">617</a>.</span><abbr title="Copilaçam de todalas obras (1586)">B</abbr> -omits 617-626.</p> -<p><span id="Variantnote_3_634" class="label"><a href="#linenumber_3_630">634</a>.</span> -<i>nem migalha</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_644" class="label"><a href="#linenumber_3_640">644</a>.</span> -<i>enfindos</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -omits 644.</p> -<p><span id="Variantnote_3_666" class="label"><a href="#linenumber_3_660">666</a>.</span> -<i>enteyro</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_3_671" class="label"><a href="#linenumber_3_670">671</a>.</span> -que so <i>Los tus cabellos niña</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_675" class="label"><a href="#linenumber_3_670">675</a>.</span> -<i>e se o disserem digão</i>—<i>Alma -minha</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_681" class="label"><a href="#linenumber_3_680">681</a>.</span> -<i>auangelhos</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>evangelhos</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.<span class="pagenum"><a name="Page_54" id="Page_54">[Pg -54]</a></span></p> -<p><span id="Variantnote_3_689" class="label"><a href="#linenumber_3_680">689</a>.</span> -<i>onde eu vou</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_692" class="label"><a href="#linenumber_3_690">692</a>.</span> -<i>subtil</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_703" class="label"><a href="#linenumber_3_700">703</a>.</span> -<i>vender essa essa gente</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>a -essa</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_704" class="label"><a href="#linenumber_3_700">704</a>.</span> -<i>bom</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>boa</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_707" class="label"><a href="#linenumber_3_700">707</a>.</span> -<i>vale</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>.</p> -<p><span id="Variantnote_3_712" class="label"><a href="#linenumber_3_710">712</a>.</span> -<i>ençosso</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>ensoço</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_3_finis" class="label"><a href="#linenumber_3_finis">FINIS</a>.</span><abbr title="Copilaçam de todalas obras (1586)">B</abbr> -omits <i>Finis</i> and has: <i>Vanse estas figuras -& acabouse esta farsa. Laus Deo</i></p> -</div> -<hr style="width: 65%;" /> -<p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p> -<h2><a name="TRAGICOMEDIA_PASTORIL_DA_SERRA" id="TRAGICOMEDIA_PASTORIL_DA_SERRA"></a>TRAGICOMEDIA -PASTORIL DA SERRA DA ESTRELLA -</h2> -<p></p> -<table class="translated"> -<tbody> -<tr> -<td id="linenumber_4_0" class="justify">Tragicomedia -Pastoril da Serra -da Estrella.</td> -<td class="justify"><i>Pastoral tragicomedy of -the Serra da Estrella.</i></td> -</tr> -<tr> -<td class="justify">Tragicomedia pastoril feyta<a title="textual variant" href="#Variantnote_4_0" class="tvanchor">[v]</a> -& -representada ao muyto poderoso & -catholico Rey dom Ioam o terceyro -deste nome em Portugal ao parto da -serenissima & muy alta Raynha dona -Caterina nossa senhora & nacimento -da illustrissima iffante dona Maria, -que depois foy princesa de Castella, -na cidade de Coimbra na era do -senhor de M.D.xxvij.</td> -<td class="justify"><i>A pastoral tragicomedy -made in honour -of and played before the very powerful and -catholic King Dom John III of Portugal -on the delivery of the most high Queen -Dona Caterina our lady and the birth of -the most illustrious Infanta Dona Maria, -afterwards Princess of Castille, in the city -of Coimbra in the Year of the Lord 1527.</i></td> -</tr> -<tr> -<td class="justify">Entra logo a serra da estrela -& diz:<a title="textual variant" href="#Variantnote_4_0" class="tvanchor">[v]</a></td> -<td class="justify"><i>Enters the Serra da -Estrella and says:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Prazer que fez abalar<br /> -tal serra comeu da estrela<a title="textual variant" href="#Variantnote_4_2" class="tvanchor">[v]</a><br /> -faraa engrandecer o mar<br /> -e faraa baylar Castela<a title="textual variant" href="#Variantnote_4_4" class="tvanchor">[v]</a><br /> -& o ceo tambem cantar.<br /> -Determino logo essora<br /> -ir<a title="textual variant" href="#Variantnote_4_7" class="tvanchor">[v]</a> a Coimbra assi inteyra<br /> -em figura de pastora,<br /> -feyta serrana da beyra<br /> -como quem na beyra mora.<a title="endnote" href="#Endnote_4_10" class="enanchor">[n]</a><br /> -<span class="pilcrow">¶</span> E -leuarey la -comigo<br /> -minhas serranas trigueyras,<br /> -cada qual com seu amigo,<br /> -& todalas ouelheyras<br /> -que andam no meu pacigo.<br /> -E das vacas mais pintadas<br /> -& das ouelhas meyrinhas<a title="endnote" href="#Endnote_4_17" class="enanchor">[n]</a><br /> -pera dar apresentadas<br /> -aa Raynha das Raynhas,<br /> -cume das bem assombradas.<br /> -<span class="pilcrow">¶</span> Sendo -Raynha -tamanha<br /> -veo ca aa serra embora<br /> -parir na nossa montanha<br /> -outra princesa despanha<a title="textual variant" href="#Variantnote_4_24" class="tvanchor">[v]</a><br /> -como lhe demos agora,<br /> -hũa rosa imperial<br /> -como a muy alta Isabel,<br /> -<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>imagem de Gabriel,<br /> -repouso de Portugal,<br /> -seu precioso esperauel.<a title="endnote" href="#Endnote_4_30" class="enanchor">[n]</a><br /> -<span class="pilcrow">¶</span> Bem -sabe -Deos o que faz.</td> -<td>Joy that shakes and wakes the hill,<br /> -The mighty mountain-range of me,<br /> -Will increase the swelling sea<br /> -And the sky with singing fill<br /> -Till Castilla dance in glee. <span class="poetrynumber"><a id="linenumber_4_5" name="linenumber_4_5"></a>5</span><br /> -And in this hour it is my will<br /> -That the whole of me, no less,<br /> -To Coimbra as a shepherdess,<br /> -A Beira peasant-girl, shall come,<br /> -Since in Beira is my home. <span class="poetrynumber"><a id="linenumber_4_10" name="linenumber_4_10"></a>10</span><br /> -With me thither they who are mine,<br /> -The hill-girls of nut-brown tresses,<br /> -Each with her lover shall repair,<br /> -Yea and all the shepherdesses<br /> -Who flocks upon my pastures keep. <span class="poetrynumber"><a id="linenumber_4_15" name="linenumber_4_15"></a>15</span><br /> -And the choicest of the kine<br /> -And of the merino sheep,<br /> -That I may have to offer there<br /> -A present to our Queen of Queens<br /> -Who is fairest of the fair. <span class="poetrynumber"><a id="linenumber_4_20" name="linenumber_4_20"></a>20</span><br /> -Mistress she of broad demesnes<br /> -Came unto our mountain land<br /> -And among the hills hath she<br /> -Borne a new princess of Spain<br /> -That we give to her again, <span class="poetrynumber"><a id="linenumber_4_25" name="linenumber_4_25"></a>25</span><br /> -Even a rose imperial<br /> -As the most high Isabel,<br /> -An image of Gabriel<br /> -For the repose of Portugal,<br /> -Its precious ward and canopy. <span class="poetrynumber"><a id="linenumber_4_30" name="linenumber_4_30"></a>30</span><br /> -So clearly is God's purpose planned.</td> -</tr> -<tr> -<td><span class="smcap">Parvo</span>. -Bofe nam sabe nem -isto;<a title="endnote" href="#Endnote_4_32" class="enanchor">[n]</a><br /> -a virgem Maria si;<br /> -mas cantelle<a title="textual variant" href="#Variantnote_4_34" class="tvanchor">[v]</a> -nam he bo<br /> -nega<a title="endnote" href="#Endnote_4_35" class="enanchor">[n]</a> pera queymar vinhas.</td> -<td><i>Fool.</i> Good faith, no, not a whit he -knows<br /> -But the Virgin Mary knows.<br /> -But he unto no good inclines<br /> -And only serves to burn the vines. <span class="poetrynumber"><a id="linenumber_4_35" name="linenumber_4_35"></a>35</span></td> -</tr> -<tr> -<td><span class="smcap">Serra</span>. -Isso has tu de -dizer?</td> -<td><i>Serra.</i> What a thing for thee to say!</td> -</tr> -<tr> -<td><span class="smcap">Parvo</span>. -Quem? Deos? juro a -Deos<br /> -que nam faz nega o que quer.<br /> -La em Coimbra estaueu<br /> -quando a mesma raynha<br /> -pario mesmo em cas din Rey,<br /> -eu vos direy como foy.<br /> -Ella mesma, benzaa Deos,<br /> -estaua mesmo no paço,<br /> -quella, quando ha de parir,<br /> -poucas vezes anda fora.<br /> -<span class="pilcrow">¶</span> Ora a -mesma -camareyra<br /> -porque he mesma de Castella,<br /> -rogou aa mesma parteyra<br /> -que fizesse delle ella—<br /> -pere qui vay a carreyra—<a title="endnote" href="#Endnote_4_51" class="enanchor">[n]</a><br /> -sabeis porque?<br /> -Porque a mesma Empenatriz<a title="textual variant" href="#Variantnote_4_53" class="tvanchor">[v]</a><br /> -pario mesmo Empenador<a title="textual variant" href="#Variantnote_4_53" class="tvanchor">[v]</a><br /> -e agora estam auiados.<br /> -Mas quando minha mãy paria<br /> -como a virgem a liuraua<br /> -tanto se lhe dauella<br /> -que fosse aquelle como aquella<br /> -se nam ouos hũa vez.</td> -<td><i>Fool.</i> Who? God? why, now, I swear to -God<br /> -That He must always have His way.<br /> -For I was at Coimbra, I,<br /> -At the time this very queen <span class="poetrynumber"><a id="linenumber_4_40" name="linenumber_4_40"></a>40</span><br /> -In the palace bore a daughter:<br /> -I will tell you all about it.<br /> -This same queen, and may God bless her,<br /> -The queen herself was in the palace,<br /> -For, you know, on such occasions <span class="poetrynumber"><a id="linenumber_4_45" name="linenumber_4_45"></a>45</span><br /> -She is rarely seen outside it.<br /> -And the Lady of the Bedchamber,<br /> -For she's from Castille, they say<br /> -At this very time began to pray<br /> -A girl, not a boy, be given her. <span class="poetrynumber"><a id="linenumber_4_50" name="linenumber_4_50"></a>50</span><br /> -(Even here, see, goes our way)<br /> -And would you know the reason why?<br /> -The Empress had just before<br /> -Given birth unto an Emperor,<br /> -And they will marry by and by. <span class="poetrynumber"><a id="linenumber_4_55" name="linenumber_4_55"></a>55</span><br /> -'Twas different with my mother, she<br /> -Cared not whether it might be<br /> -A boy or eke a girl by chance<br /> -But unto the Virgin Mary<br /> -Prayed she for deliverance. <span class="poetrynumber"><a id="linenumber_4_60" name="linenumber_4_60"></a>60</span></td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Vem -Gonçalo, hũ pastor da serra, -q̃ -vem da corte & vem cantando:</td> -<td class="justify"><i>Enter Gonçalo, -a shepherd of the Serra, -who comes from the Court, singing:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Volaua la -pega y vayse.<br /> -Quem me la tomasse!<br /> -Andaua la pega<br /> -no meu cerrado,<br /> -olhos morenos, bico dourado<br /> -quem me la tomasse!<br /> -Falado.<br /> -<span class="pilcrow">¶</span> -Pardeos muy -aluoraçada<br /> -anda a nossa serra agora.</td> -<td>Flying, the magpie has flown away,<br /> -O that 'twere brought to me again:<br /> -In yonder covert<br /> -'Twas mine at will,<br /> -With its dark-brown eyes <span class="poetrynumber"><a id="linenumber_4_65" name="linenumber_4_65"></a>65</span><br /> -And its golden bill.<br /> -O that 'twere brought to me again!<br /> -By Heaven in fine trim to-day<br /> -Our Serra is and all aglow!</td> -</tr> -<tr> -<td><span class="smcap">Serra</span>. -Gonçalo, -venhas embora<br /> -porque eu estou abalada<br /> -pera sair de mi fora.<br /> -Queriauos ajuntar<br /> -<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>logo logo muyto -asinha<br /> -pera yrmos visitar<br /> -nossa Senhora a Raynha,<br /> -querendo Deos ajudar.</td> -<td><i>S.</i> Come, Gonçalo, come -away, <span class="poetrynumber"><a id="linenumber_4_70" name="linenumber_4_70"></a>70</span><br /> -For I minded am to go,<br /> -Leaving these my haunts straightway,<br /> -Gathering you all together<br /> -Forthwith and without delay<br /> -That we may all journey thither <span class="poetrynumber"><a id="linenumber_4_75" name="linenumber_4_75"></a>75</span><br /> -A visit to our queen to pay<br /> -If God assist us on our way.</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -<span class="pilcrow">¶</span> -Eu venho agora de la<br /> -& segundo o que eu vi<br /> -que vamos la bem seraa:<br /> -isto crede vos quee assi:<br /> -porque dizem que a princesa,<br /> -a menina que naceo,<br /> -parece cousa do ceo,<br /> -hũa estrela muyto acesa<br /> -que na terra apareceo.</td> -<td><i>G.</i> I am now come even thence<br /> -And from all that I could tell<br /> -Our going thither will be well, <span class="poetrynumber"><a id="linenumber_4_80" name="linenumber_4_80"></a>80</span><br /> -Aye, 'twill be no vain pretence,<br /> -For the child of royal line,<br /> -The princess that has now had birth<br /> -Seems, they say, a thing divine,<br /> -A star that ceases not to shine <span class="poetrynumber"><a id="linenumber_4_85" name="linenumber_4_85"></a>85</span><br /> -Though it has appeared on earth.</td> -</tr> -<tr> -<td><span class="smcap">Serra.</span> <span class="pilcrow">¶</span> -Gonçalo, eu te direy:<br /> -ella ja naceo em serra<br /> -e do mais fermoso Rey<br /> -que ha na face da terra,<br /> -e de Raynha muyto bella;<br /> -& mais naceo em cidade<br /> -muyto ditosa pareella<br /> -& de grande autoridade.<br /> -<span class="pilcrow">¶</span> E mais -naceo -em bom dia<br /> -Martes, deos dos vencimẽtos,<br /> -& trouxeram logo os ventos<br /> -agoa que se requeria<br /> -pera todos mantimentos.</td> -<td><i>S.</i> I'll tell thee how it is, I ween:<br /> -Her birth is in a hill-country,<br /> -Of a king fairest to be seen<br /> -Of all that are upon the earth <span class="poetrynumber"><a id="linenumber_4_90" name="linenumber_4_90"></a>90</span><br /> -And of a most lovely queen.<br /> -And she is born in a city<br /> -Which will bless her and blest has been<br /> -And of great authority.<br /> -On lucky day too was she born, <span class="poetrynumber"><a id="linenumber_4_95" name="linenumber_4_95"></a>95</span><br /> -Of Mars, the god of victory,<br /> -And the winds that very morn<br /> -Brought rain needed instantly<br /> -For the birth of grass and corn.</td> -</tr> -<tr> -<td><span class="smcap">Parvo.</span> -Aas vezes faz Deos -cousas,<a title="textual variant" href="#Variantnote_4_100" class="tvanchor">[v]</a><br /> -cousas faz elle aas vezes,<br /> -atrauees<a title="textual variant" href="#Variantnote_4_102" class="tvanchor">[v]</a> como homem diz.<br /> -<span class="pilcrow">¶</span> Nega -se meu -embeleco<a title="endnote" href="#Endnote_4_103" class="enanchor">[n]</a><br /> -vay poer as pipas em seco<br /> -& enche dagoa o Mondego:<br /> -faraa mais hum demenesteco?<br /> -engorda os vereadores<br /> -& seca as pernas nas moças<br /> -de cima bem toos<a title="textual variant" href="#Variantnote_4_109" class="tvanchor">[v]</a> -artelhos,<br /> -& faz os frades vermelhos<br /> -& os leygos amarelos<br /> -& faz os velhos murzelos.<br /> -<span class="pilcrow">¶</span> -Enruça os mancebelhões<a title="endnote" href="#Endnote_4_113" class="enanchor">[n]</a><br /> -& nam atenta por nada.<br /> -Pedemlhe em Coimbra ceuada<br /> -& elle delhes<a title="textual variant" href="#Variantnote_4_116" class="tvanchor">[v]</a> -mexilhões<br /> -& das solhas em cambada.</td> -<td><i>Fool.</i> Sometimes God, it is a fact, -<span class="poetrynumber"><a id="linenumber_4_100" name="linenumber_4_100"></a>100</span><br /> -Sometimes, I say, God doth act<br /> -All upside down, as one might say.<br /> -For unless I'm much mistaken<br /> -Mondego will be in flood<br /> -And all the wine from the casks be taken: <span class="poetrynumber"><a id="linenumber_4_105" name="linenumber_4_105"></a>105</span><br /> -Could a demon do less good?<br /> -For He so brings it about<br /> -That the aldermen grow stout<br /> -And like dry sticks girls wither away,<br /> -Purple the friars wax and red, <span class="poetrynumber"><a id="linenumber_4_110" name="linenumber_4_110"></a>110</span><br /> -Yellow and jaundiced are the lay,<br /> -And lusty they whose youth is fled<br /> -While the young grow weak and grey<br /> -And for nothing doth He care.<br /> -At Coimbra when for oats they pray <span class="poetrynumber"><a id="linenumber_4_115" name="linenumber_4_115"></a>115</span><br /> -Of mussels enough and e'en to spare<br /> -And fish likewise He sends straightway.</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Vos, -serra, se aueis dir<br /> -com serranas & pastores<br /> -primeyro se ham dauyr<br /> -<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>hũa -manada damores<br /> -que nam querem concrudir.<br /> -<span class="pilcrow">¶</span> Eu -trago na -fantesia<a title="textual variant" href="#Variantnote_4_123" class="tvanchor">[v]</a><br /> -de casar com Madanela<br /> -mas nam sey se querra<a title="textual variant" href="#Variantnote_4_125" class="tvanchor">[v]</a> -ella<br /> -perol eu bofee queria.</td> -<td><i>G</i>. Serra, if you would fain go<br /> -With shepherds and with shepherdesses<br /> -First their loves of long ago <span class="poetrynumber"><a id="linenumber_4_120" name="linenumber_4_120"></a>120</span><br /> -Must mutual agreement show<br /> -That as yet no ending blesses.<br /> -And for my part willingly<br /> -Would I Madanela wed,<br /> -That design is in my head <span class="poetrynumber"><a id="linenumber_4_125" name="linenumber_4_125"></a>125</span><br /> -But I know not if she'll agree.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Vem -Felipa pastora da serra -cãtãdo:</td> -<td class="justify"><i>Enter Felipa, a -shepherdess of the Serra, -singing:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -A mi seguem -os dous açores,<a title="textual variant" href="#Variantnote_4_127" class="tvanchor">[v]</a><br /> -hum delles moriraa damores.<a title="endnote" href="#Endnote_4_127" class="enanchor">[n]</a><br /> -Dous açores que eu auia<br /> -aqui andam nesta baylia<br /> -hum delles moriraa damores.</td> -<td>Two falcons to follow me have I,<br /> -But one of them of love shall die.<br /> -Two falcons had I, and the twain<br /> -Are here with me, being of love's train, <span class="poetrynumber"><a id="linenumber_4_130" name="linenumber_4_130"></a>130</span><br /> -But one of them of love shall die.</td> -</tr> -<tr> -<td>Falado.</td> -<td>(<i>Spoken:</i>)</td> -</tr> -<tr> -<td>Gonçalo, viste o meu gado?<br /> -dize se o viste embora.</td> -<td><i>F.</i> Gonçalo, hast thou seen -my sheep,<br /> -Tell me hast thou seen them now?</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Venho eu -da corte agora<br /> -& diz que lhe de recado.<a title="textual variant" href="#Variantnote_4_135" class="tvanchor">[v]</a></td> -<td><i>G.</i> From the town I am just returned -and trow<br /> -That I for thee thy flocks must keep. <span class="poetrynumber"><a id="linenumber_4_135" name="linenumber_4_135"></a>135</span></td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> Pois -ja tu ca es -casado,<br /> -nega que esperam por ti.</td> -<td><i>F.</i> Well, thou hast been married here:<br /> -They only for thy coming stay.</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -E sem mi -me casam a mi?<br /> -Ora estou bem auiado.</td> -<td><i>G.</i> What, married ere I can appear?<br /> -Then am I in a pretty way.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> <span class="pilcrow">¶</span> Nam ha hi -nega casar logo<br /> -& fazer vida com ella<br /> -senam for com Madanela.</td> -<td><i>F.</i> Nay thou must marry on thy return -<span class="poetrynumber"><a id="linenumber_4_140" name="linenumber_4_140"></a>140</span><br /> -And must go and live with her<br /> -Unless Madanela thou wouldst prefer.</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Tiromeu -fora do jogo.</td> -<td><i>G.</i> From the game's chance aside I -turn.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> Essa -he a milhor do -jogo.</td> -<td><i>F.</i> Wouldst thou the best of them all -thus spurn?</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Essoutra -sera alvarenga?</td> -<td><i>G.</i> Is it, is it Alvarenga? <span class="poetrynumber"><a id="linenumber_4_145" name="linenumber_4_145"></a>145</span></td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> Mas -Catherina -meygengra.</td> -<td><i>F.</i> No, but Catherine Meigengra.</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Antes me -queime mao fogo.<br /> -<span class="pilcrow">¶</span> Nam -vem a -Meygengra a cõto,<br /> -que he descuydada perdida,<br /> -traz a saya descosida<br /> -e nam lhe daraa hum ponto.<br /> -Oo quantas lendẽs<a title="textual variant" href="#Variantnote_4_152" class="tvanchor">[v]</a> -vi nella<br /> -e pentear nemigalha,<br /> -e por dame aquella palha<br /> -he mayor o riso quella.<br /> -<span class="pilcrow">¶</span> Varre -& leyxa o lixo em casa,<br /> -come & leyxa ali o bacio,<br /> -cada dia a espanca o tio<br /> -nega porque<a title="textual variant" href="#Variantnote_4_159" class="tvanchor">[v]</a> -tam devassa;<br /> -Madanela mata a brasa.<br /> -Nam cures<a title="textual variant" href="#Variantnote_4_161" class="tvanchor">[v]</a> de mais arenga<br /> -<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>e dize tu, mana, -a Meygengra<br /> -que va amassar outra massa.</td> -<td><i>G.</i> In evil fire would I rather burn.<br /> -Of Meigengra is no question here:<br /> -The greatest slattern, I assert,<br /> -Is she and if unsewn her skirt <span class="poetrynumber"><a id="linenumber_4_150" name="linenumber_4_150"></a>150</span><br /> -Not a stitch will it get from her,<br /> -And though she covered be with dirt<br /> -Yet will she never comb her hair,<br /> -And at the merest word will she<br /> -Be vanquished of laughter utterly. <span class="poetrynumber"><a id="linenumber_4_155" name="linenumber_4_155"></a>155</span><br /> -She sweeps and lets the sweepings lie,<br /> -She eats and will never wash the dishes,<br /> -Her uncle beats her hourly,<br /> -So laxly doth she flout his wishes.<br /> -Madanela's the apple of my eye. <span class="poetrynumber"><a id="linenumber_4_160" name="linenumber_4_160"></a>160</span><br /> -And there is no more to be said<br /> -But tell Meigengra presently<br /> -To reckon on another head.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> <span class="pilcrow">¶</span> Ja teu -pay tem dada a mão<br /> -& dada a mão feyto he.</td> -<td><i>F.</i> Thy father has given his hand, -thus clinching<br /> -The matter beyond any flinching. <span class="poetrynumber"><a id="linenumber_4_165" name="linenumber_4_165"></a>165</span></td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Par deos -darlhey eu de pee<br /> -comaa casca do melão.<a title="textual variant" href="#Variantnote_4_167" class="tvanchor">[v]</a><br /> -Raivo eu de coração<br /> -damores de Madanela.</td> -<td><i>G.</i> To give her my foot would I be -willing<br /> -As if she were a melon's rind,<br /> -But as for me, my heart and mind<br /> -With love of Madanela are thrilling.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> -Meygengra he mais -rica quella;<br /> -quessa nam tem nem tostam.</td> -<td><i>F.</i> Yet richer Meigengra thou'lt -find, <span class="poetrynumber"><a id="linenumber_4_170" name="linenumber_4_170"></a>170</span><br /> -For Madanela has not a shilling.</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Arrenega -tu<a title="textual variant" href="#Variantnote_4_172" class="tvanchor">[v]</a> do argem<a title="endnote" href="#Endnote_4_172" class="enanchor">[n]</a><br /> -que me vem a dar tormento,<br /> -porque hum soo contentamento<br /> -val quanto ouro Deos tem.<br /> -Deos me dee quem quero bem<br /> -ou me tire a vida toda,<br /> -com a morte seja a boda<br /> -antes que outra<a title="textual variant" href="#Variantnote_4_179" class="tvanchor">[v]</a> -me dem.</td> -<td><i>G.</i> A curse upon money, say I,<br /> -Which only brings me fresh distress:<br /> -A single hour of happiness<br /> -'S worth all the gold beneath the sky. <span class="poetrynumber"><a id="linenumber_4_175" name="linenumber_4_175"></a>175</span><br /> -God give me but the girl I love<br /> -Or deprive me of life's breath,<br /> -And my marriage be with death<br /> -If to her I faithless prove.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> Eu -me you pee ante -pee<br /> -ver o meu gado onde vay.</td> -<td><i>F.</i> Well, I must go instantly <span class="poetrynumber"><a id="linenumber_4_180" name="linenumber_4_180"></a>180</span><br /> -After my flocks and see how they fare.</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -E eu quero -yr ver meu pay,<br /> -veremos comisto he.</td> -<td><i>G.</i> And I to my father will repair<br /> -And find out how this thing may be.</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Vem -Caterina Meygẽgra cantando:</td> -<td><i>Enter Catherina Meigengra, singing:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -A serra es -alta,<br /> -o amor he grande,<br /> -se nos ouuirane.</td> -<td>Lofty the mountain-height,<br /> -But stronger is love's might, <span class="poetrynumber"><a id="linenumber_4_185" name="linenumber_4_185"></a>185</span><br /> -Could he but hear!</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> -¶ Onde vas -Meygengra mana?</td> -<td><i>F.</i> Whither, Meigengra, sister, away?</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> A -novilha vou buscar,<br /> -viste ma tu ca andar?</td> -<td><i>C.</i> 'Tis the heifer I go to seek,<br /> -Hast thou seen it here, I pray?</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> Nam -na vi esta -somana.<a title="endnote" href="#Endnote_4_190" class="enanchor">[n]</a><br /> -Agora estora vay daqui<br /> -Gonçalo que vem da corte;<br /> -mana, pesoulhe de sorte<br /> -quando lhe faley em ti<br /> -como se foras a morte,<br /> -tente<a title="textual variant" href="#Variantnote_4_196" class="tvanchor">[v]</a> tamanho fastio.</td> -<td><i>F.</i> I have not seen it all this week. -<span class="poetrynumber"><a id="linenumber_4_190" name="linenumber_4_190"></a>190</span><br /> -But Gonçalo is just gone hence,<br /> -Even from the Court came he<br /> -And I gave him great offence<br /> -When I spoke to him of thee,<br /> -As if thou wert a pestilence, <span class="poetrynumber"><a id="linenumber_4_195" name="linenumber_4_195"></a>195</span><br /> -Such disaffection hast thou won.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> Inde -<a title="textual variant" href="#Variantnote_4_197" class="tvanchor">[v]</a> -bem, por minha -vida,<br /> -porque eu mana sam perdida<br /> -por Fernando de meu tio.<br /> -Seu com elle nam casar<br /> -damores mey de finar.<br /> -Aborreceme Gonçalo<br /> -como o cu do nosso galo,<br /> -nam no queria sonhar.</td> -<td><i>C.</i> And by my life I'm glad of it<br /> -For, sister, I have lost my wit<br /> -For Ferdinand, my uncle's son.<br /> -If I do not marry him <span class="poetrynumber"><a id="linenumber_4_200" name="linenumber_4_200"></a>200</span><br /> -I will surely die of love.<br /> -But Gonçalo can only move<br /> -My thoughts, yes even in a dream,<br /> -To distaste and weariness.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> <span class="pilcrow">¶</span> Se tu nam -queres a elle<br /> -nem elle tampouco a ti.</td> -<td><i>F.</i> If for him thou dost not care <span class="poetrynumber"><a id="linenumber_4_205" name="linenumber_4_205"></a>205</span><br /> -He for thee cares even less.</td> -</tr> -<tr> -<td> -<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> -<span class="smcap">Cat.</span> Quanta -selle -quer a -mi<br /> -negras maas nouas van delle.<br /> -Deos me case com Fernando<br /> -& moura logo esse dia,<br /> -porque me mate a alegria<br /> -como o nojo vay matando.<br /> -<span class="pilcrow">¶</span> Oo -Fernando -de meu tio<br /> -que eu vi polo meu pecado!</td> -<td><i>C.</i> Bad luck to him through all the -land<br /> -If to think of me he dare.<br /> -But if Heaven only planned<br /> -My marriage with Ferdinand <span class="poetrynumber"><a id="linenumber_4_210" name="linenumber_4_210"></a>210</span><br /> -Death to me that day welcome were,<br /> -Joy's victim, not of this distress.<br /> -O Ferdinand, my uncle's son,<br /> -For thee was all this love begun!</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> -Fernando, esse teu -damado,<br /> -casaua comigo a furto.</td> -<td><i>F.</i> This your love, your Ferdinand, -<span class="poetrynumber"><a id="linenumber_4_215" name="linenumber_4_215"></a>215</span><br /> -Secretly offered me his hand.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> -Dize, rogoto, ha -muito?</td> -<td><i>C.</i> Was that long ago, I pray?</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> Este -sabado passado.</td> -<td><i>F.</i> It was but on last Saturday.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> Oo -Jesu, como he -maluado,<br /> -& os homẽs cheos denganos,<br /> -que por mi vay em tres annos<br /> -que diz que he demoninhado.<br /> -<span class="pilcrow">¶</span> -Felipa, -gingras tu ou nam?<br /> -Isso creo que he chufar,<br /> -e se tu queres gingrar<a title="endnote" href="#Endnote_4_225" class="enanchor">[n]</a><br /> -nam me des no coraçam,<br /> -que o que doe nam he zõbar.</td> -<td><i>C.</i> What a villain then is he,<br /> -And men how full of all deceits, <span class="poetrynumber"><a id="linenumber_4_220" name="linenumber_4_220"></a>220</span><br /> -For he these last three years repeats<br /> -That he's distraught for love of me.<br /> -Felipa, dost thou speak in jest?<br /> -I think indeed thou triflest,<br /> -But if with words thou wouldest play, <span class="poetrynumber"><a id="linenumber_4_225" name="linenumber_4_225"></a>225</span><br /> -Do not play upon my heart<br /> -Since no jest is in the smart.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> Elle -veo ter comigo<br /> -bem oo penedo da palma<br /> -& disse: Felipa, minhalma,<br /> -rayuo por casar com tigo;<a title="textual variant" href="#Variantnote_4_231" class="tvanchor">[v]</a><br /> -Digo eu, digo:<br /> -Vay, vay nadar, que faz calma.</td> -<td><i>F.</i> He came to me in the heat of the -day,<br /> -To the rock of the palm came he,<br /> -'Felipa, my life,' said he straightway, <span class="poetrynumber"><a id="linenumber_4_230" name="linenumber_4_230"></a>230</span><br /> -'I am mad to marry thee.'<br /> -And I say, say I to him:<br /> -'Go away and have a swim.'</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> -¶ Olha tu -se zombaua elle.</td> -<td><i>C.</i> Perhaps he was but mocking thee.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> Bem -conheço -eu zombaria:<br /> -vi eu, porque eu nam queria,<br /> -correr as lagrimas delle.</td> -<td><i>F.</i> Nay I know what's mockery <span class="poetrynumber"><a id="linenumber_4_235" name="linenumber_4_235"></a>235</span><br /> -And because I said him No<br /> -I could see his tears downflow.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> Maos -choros chorem -por elle,<br /> -que assi chora elle comigo<br /> -& vayselhe o gado oo trigo<br /> -& sois<a title="endnote" href="#Endnote_4_241" class="enanchor">[n]</a> nam olha parelle.</td> -<td><i>C.</i> Ill be the tears that are so shed,<br /> -For with me also he will weep,<br /> -And the crops may be eaten by his sheep, <span class="poetrynumber"><a id="linenumber_4_240" name="linenumber_4_240"></a>240</span><br /> -He does not even turn his head.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> <span class="pilcrow">¶</span> Eu vou -casuso ao cabeço<br /> -por ver se vejo o meu gado.</td> -<td><i>F.</i> Well, I must go up the hill,<br /> -Perhaps my flock may be in sight.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> Tal -me deyxas por -meu fado<br /> -que do meu todo mesqueço.<br /> -Quem soubesse no começo<br /> -o cabo do que começa<br /> -porque logo se conheça<br /> -o queu jagora conheço.</td> -<td><i>C.</i> Thou leavest me in a plight so ill<br /> -That I've forgotten mine outright. <span class="poetrynumber"><a id="linenumber_4_245" name="linenumber_4_245"></a>245</span><br /> -If one could but only know<br /> -All the end in the beginning<br /> -That one might have straightway so<br /> -Knowledge that I now am winning!</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Vem -Fernando cantando:</td> -<td><i>Enter Ferdinand, singing:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Com que -olhos me olhaste<br /> -que tam bem vos pareci?<br /> -Tam asinha moluidaste?<br /> -quem te disse mal de mi?</td> -<td>With what eyes thou lookedst upon me <span class="poetrynumber"><a id="linenumber_4_250" name="linenumber_4_250"></a>250</span><br /> -That so fair I seemed to thee:<br /> -How have other thoughts now won thee?<br /> -Who has spoken ill of me?</td> -</tr> -<tr> -<td> -<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> -<span class="smcap">Cat.</span> -¶ A que -vẽs, Fernãdo hõrrado?<br /> -Ver Felipa tua senhora?<br /> -Venhas muito da maa hora<br /> -pera ti e pera o gado.</td> -<td><i>C.</i> Good Ferdinand, art thou here<br /> -To see Felipa, thy lady dear? <span class="poetrynumber"><a id="linenumber_4_255" name="linenumber_4_255"></a>255</span><br /> -But may thy coming even be<br /> -Ill for thy flock and ill for thee.</td> -</tr> -<tr> -<td><span class="smcap">Fern.</span> -Catalina! Catalina! -assi<br /> -tolhes ma fala, Catalina?<br /> -Olha yeramaa pera mi,<br /> -pois que me tu sees<a title="textual variant" href="#Variantnote_4_261" class="tvanchor">[v]</a> -assi<br /> -carrancuda e tam mofina<br /> -quem te disse mal de mi?<br /> -Com que olhos me olhaste, &c.</td> -<td><i>F.</i> Catherina, thus wouldst thou<br /> -Deprive me of all power of speech?<br /> -Look straight at me, I beseech. <span class="poetrynumber"><a id="linenumber_4_260" name="linenumber_4_260"></a>260</span><br /> -But if thus thou changest now<br /> -With lowering and angry brow,<br /> -'Who has spoken ill of me?<br /> -With what eyes thou lookedst upon me?' etc.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> <span class="pilcrow">¶</span> Dize, -rogoto,<a title="textual variant" href="#Variantnote_4_265" class="tvanchor">[v]</a> Fernando,<br /> -porque me trazes vendida?<br /> -Se Felipa he a tua querida<br /> -porque me andas enganando?</td> -<td><i>C.</i> Tell me, Ferdinand, I pray <span class="poetrynumber"><a id="linenumber_4_265" name="linenumber_4_265"></a>265</span><br /> -Why thou wouldest me betray?<br /> -If Felipa is thy love,<br /> -Why me thus with treachery prove?</td> -</tr> -<tr> -<td><span class="smcap">Fern.</span> Eu -mouro, tu estaas -zombando.</td> -<td><i>F.</i> By my life, thou'rt mocking me -today.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> Oo -que nam zombo, -Jesu.<br /> -Nam casauas coella tu?</td> -<td><i>C.</i> O no, I jest not: didst not say -<span class="poetrynumber"><a id="linenumber_4_270" name="linenumber_4_270"></a>270</span><br /> -That thou with her wouldst gladly wed?</td> -</tr> -<tr> -<td><span class="smcap">Fern.</span> Eu -estou della -chufando.<br /> -<span class="pilcrow">¶</span> -Catalina, -esta he a verdade,<br /> -nam creias a ninguem nada,<br /> -que tu me tens bem atada<br /> -alma<a title="textual variant" href="#Variantnote_4_276" class="tvanchor">[v]</a> & a vida & a -vontade.</td> -<td><i>F.</i> 'Twas but for fun the words were -said.<br /> -In what I say will truth be found<br /> -And believe no one else, I pray.<br /> -For as for me my life alway <span class="poetrynumber"><a id="linenumber_4_275" name="linenumber_4_275"></a>275</span><br /> -And soul and will in thee are bound.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> Pois -que choraste -coella<br /> -nam ha hi mais no querer.</td> -<td><i>C.</i> With weeping since thy eyes were -red<br /> -Needs must be that thou lov'st her well.</td> -</tr> -<tr> -<td><span class="smcap">Fern.</span> De -chorar bem pode -ser<br /> -mas nam choraueu por ella.<br /> -<span class="pilcrow">¶</span> Felipa -auultase contigo,<br /> -vendoa fosteme lembrar,<br /> -entam puseme a chorar<br /> -as lembranças do<a title="textual variant" href="#Variantnote_4_284" class="tvanchor">[v]</a> -meu perigo.<br /> -Se ella o tomou por si<br /> -que culpa lhe tenho eu?<br /> -Mas este amor quem mo deu<br /> -deumo todo para ti<br /> -& bem sabes tu quee teu.</td> -<td><i>F.</i> I may have wept, I cannot tell,<br /> -But not for her my tears were shed. <span class="poetrynumber"><a id="linenumber_4_280" name="linenumber_4_280"></a>280</span><br /> -Felipa's not unlike thee, so<br /> -At sight of her I thought of thee<br /> -And fell to weeping bitterly<br /> -At memory of all my woe.<br /> -And if she thought my tears did flow <span class="poetrynumber"><a id="linenumber_4_285" name="linenumber_4_285"></a>285</span><br /> -For her, how should I be to blame?<br /> -For my love ever is the same<br /> -On thee, thee only to bestow,<br /> -And that it's thine well dost thou know.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> Oo -que grande amor -te tenho<br /> -& que grande mal te quero.<a title="endnote" href="#Endnote_4_290" class="enanchor">[n]</a></td> -<td><i>C.</i> How I hate thee, how I love thee, -<span class="poetrynumber"><a id="linenumber_4_290" name="linenumber_4_290"></a>290</span><br /> -Ferdinand, were it mine to prove thee!</td> -</tr> -<tr> -<td><span class="smcap">Fern.</span> Ja -de tudo -desespero,<br /> -que ja mal nem bem nam quero.<br /> -<br /> -Teu pae tem te ja casada<br /> -com Gonçalo dantemão<br /> -& eu fico por esse chão<br /> -sem me ficar de ti nada<br /> -senam dor de coraçom.<br /> -<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> -<span class="pilcrow">¶</span> -Vertaas<a title="textual variant" href="#Variantnote_4_299" class="tvanchor">[v]</a> em -outro poder<br /> -vertaas<a title="textual variant" href="#Variantnote_4_299" class="tvanchor">[v]</a> em outro logar,<br /> -eu logo sem mais tardar<br /> -frade prometo de ser<br /> -pois os diabos quiseram<br /> -& ali me deyxaram<br /> -tanta de maginaçam<br /> -quanta teus olhos me deram<br /> -desdo dia dacençam.</td> -<td><i>F.</i> Now despair I utterly,<br /> -Yes, I am most desperate,<br /> -And good and ill come all too late.<br /> -For thy father has married thee<br /> -To Gonçalo, and desolate <span class="poetrynumber"><a id="linenumber_4_295" name="linenumber_4_295"></a>295</span><br /> -I here remain, alone, deserted,<br /> -Nothing of thee left to me<br /> -But to be thus broken-hearted.<br /> -<span class="smcap"></span><span class="pilcrow"></span> -And another's shalt thou be,<br /> -Taken to another place, <span class="poetrynumber"><a id="linenumber_4_300" name="linenumber_4_300"></a>300</span><br /> -And I, by the Devil's grace,<br /> -Promise that I instantly<br /> -Will a monk become: in fine<br /> -So much of thee shall be mine<br /> -In imagination's play <span class="poetrynumber"><a id="linenumber_4_305" name="linenumber_4_305"></a>305</span><br /> -As was given me on that day<br /> -When thine eyes began to shine.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> <span class="pilcrow">¶</span> Mas -casemos, daa ca mão<a title="textual variant" href="#Variantnote_4_308" class="tvanchor">[v]</a><br /> -& dirlhey que sam casada.</td> -<td><i>C.</i> Nay, but give me thy hand instead<br /> -And I will say that I am wed.</td> -</tr> -<tr> -<td><span class="smcap">Fern.</span> Ja -tenho palaura -dada<br /> -a Deos de religiam.<br /> -Ja nam tenho em mi nada.</td> -<td><i>F.</i> Alas I have nothing now to give. -<span class="poetrynumber"><a id="linenumber_4_310" name="linenumber_4_310"></a>310</span><br /> -My promise is already said<br /> -That I will in a convent live.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> Oo -quantos perigos -tem<br /> -este triste mar damores<br /> -& cada vez sam mayores<br /> -as tormentas que lhe vem.<br /> -<span class="pilcrow">¶</span> Se tu -a ser -frade vas<br /> -nunca me veram marido:<br /> -tu seraas frade metido,<br /> -porem tu me meteraas<br /> -na fim da Raynha Dido.<a title="endnote" href="#Endnote_4_322" class="enanchor">[n]</a></td> -<td><i>C.</i> How many perils mar the peace<br /> -Of this gloomy sea of love,<br /> -From day to day they still increase <span class="poetrynumber"><a id="linenumber_4_315" name="linenumber_4_315"></a>315</span><br /> -And its tempests greater prove.<br /> -If a monk then thou must be<br /> -Husband mine will ne'er be seen:<br /> -If a monk thou must be, for me<br /> -Thou leavest of necessity <span class="poetrynumber"><a id="linenumber_4_320" name="linenumber_4_320"></a>320</span><br /> -The fate of Dido, hapless queen.</td> -</tr> -<tr> -<td><span class="smcap">Fern.</span> Nam -se poderaa -escusar<br /> -de casares com Gonçalo<br /> -& querendo tu escusalo<br /> -nam no podes acabar,<br /> -que teu pae ha dacabalo.</td> -<td><i>F.</i> Thou wilt find no sure escape<br /> -With Gonçalo not to marry,<br /> -For whatever plans thou shape<br /> -Thou wilt never round the cape <span class="poetrynumber"><a id="linenumber_4_325" name="linenumber_4_325"></a>325</span><br /> -And thy father the day will carry.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> <span class="pilcrow">¶</span> Se libera -<a title="textual variant" href="#Variantnote_4_327" class="tvanchor">[v]</a> -nos a malo!<br /> -Nunca Deos ha de querer<a title="textual variant" href="#Variantnote_4_328" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_4_328" class="enanchor">[n]</a><br /> -& Gonçalo nam me quer<br /> -nem eu nam quero a Gonçalo.<br /> -Eylo vem, velo Fernando?<br /> -bem<a title="textual variant" href="#Variantnote_4_332" class="tvanchor">[v]</a> em cima na portela;<br /> -diante vem Madanela,<br /> -aquella andelle buscando.</td> -<td><i>C.</i> O deliver us from ill!<br /> -May such never be my lot,<br /> -For Gonçalo loves me not,<br /> -And Gonçalo I love less still. <span class="poetrynumber"><a id="linenumber_4_330" name="linenumber_4_330"></a>330</span><br /> -But there he comes, see, Ferdinand,<br /> -Above there in the mountain pass,<br /> -And Madanela goes before,<br /> -She it is that he searches for.</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -[<span class="smcap">Fern.</span>] -Vamolos nos espreitar<br /> -ali detras do valado<br /> -& veremos seu cuydado<br /> -se te da em que cuydar<br /> -ou se fala desuiado.</td> -<td><i>F.</i> Behind this hedge here we will -stand <span class="poetrynumber"><a id="linenumber_4_335" name="linenumber_4_335"></a>335</span><br /> -And listen to them as they pass<br /> -And we will see what's in his mind<br /> -And if to thee he be inclined<br /> -Or if thou art given o'er.</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Vem -Madanela cantando & -Gonçalo detras della.</td> -<td><i>Enter Madanela, singing, and behind her -Gonçalo:</i><span class="poetrynumber"><a id="linenumber_4_340" name="linenumber_4_340"></a>340</span></td> -</tr> -<tr> -<td>Cantiga.</td> -<td>(<i>Song:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Quando aqui -choue & neva<br /> -que faraa na serra?<br /> -<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>Na serra de -Coimbra<br /> -neuaua & chouia,<br /> -que faraa na serra?</td> -<td>When here below there's rain and snow<br /> -What will it be on the mountain-height?<br /> -On the hills of Coimbra 'twas snowing and raining, - <span class="poetrynumber"><a id="linenumber_4_345" name="linenumber_4_345"></a>345</span><br /> -What will it be on the mountain-height?<br /> -</td> -</tr> -<tr> -<td>Falado.</td> -<td>(<i>Spoken:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Gonçalo, tu a que vens?</td> -<td>Gonçalo, what is your pretence?</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Madanela, -Madanela!</td> -<td><i>G.</i> Madanela, Madanela!</td> -</tr> -<tr> -<td><span class="smcap">Mad.</span> -Tornate maa hora -& nella<br /> -que tam pouco empacho tẽs!</td> -<td><i>M.</i> Go back at once, I say, go hence, -<span class="poetrynumber"><a id="linenumber_4_350" name="linenumber_4_350"></a>350</span><br /> -Since thou hast so little sense.</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Madanela, -Madanela!</td> -<td><i>G.</i> Madanela, Madanela!</td> -</tr> -<tr> -<td><span class="smcap">Mad.</span> Oo -decho dou eu a -amargura<a title="textual variant" href="#Variantnote_4_353" class="tvanchor">[v]</a><br /> -quasi<a title="textual variant" href="#Variantnote_4_354" class="tvanchor">[v]</a> magasta, Jesu.<br /> -Ora tras mi te vẽs tu?</td> -<td><i>M.</i> What another plague is here,<br /> -What annoyance, by my soul!<br /> -What, wouldst thou now follow me? <span class="poetrynumber"><a id="linenumber_4_355" name="linenumber_4_355"></a>355</span></td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Pois a mi -se mafigura<br /> -que nam maas de comer cru.<br /> -<span class="pilcrow">¶</span> Se tu -me -queres matar<br /> -por teu ter boa vontade<br /> -nam pode ser de verdade.</td> -<td><i>G.</i> I suppose I need not fear<br /> -That thou shouldst eat me whole.<br /> -But if me thou wouldest kill<br /> -Because of this my love for thee<br /> -Not serious surely is thy will. <span class="poetrynumber"><a id="linenumber_4_360" name="linenumber_4_360"></a>360</span></td> -</tr> -<tr> -<td><span class="smcap">Mad.</span> -Gonçalo, -torna a laurar<br /> -que isso tudo he vaidade.</td> -<td><i>M.</i> Gonçalo, go back, go -back to thy plough,<br /> -For all this is but vanity.</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Que rezam -me das tu a mi<br /> -pera nam casar comigo?<br /> -Eu ey de ter muyto trigo<br /> -& ey te de ter a ti<br /> -mais doce que hum pintisirgo.<a title="endnote" href="#Endnote_4_367" class="enanchor">[n]</a><br /> -<span class="pilcrow">¶</span> Nam -quero -que vas mondar,<br /> -nam quero que andes oo sol,<br /> -pera ti seja o folgar<br /> -e pera mi fazer prol.<br /> -Queres Madanela?</td> -<td><i>G.</i> What reason canst thou give me now<br /> -To refuse to marry me?<br /> -I shall have of wheat enow <span class="poetrynumber"><a id="linenumber_4_365" name="linenumber_4_365"></a>365</span><br /> -And thy life with me shall be<br /> -As a goldfinch's free from toil.<br /> -I will not have thee hoe the soil,<br /> -I will not have thee work in the sun,<br /> -But thou shalt sit and take thy ease <span class="poetrynumber"><a id="linenumber_4_370" name="linenumber_4_370"></a>370</span><br /> -And by me all the work be done.<br /> -Art thou willing, Madanela?</td> -</tr> -<tr> -<td><span class="smcap">Mad.</span> -Gonçalo, -torna a laurar<br /> -porque eu nam ey de casar<br /> -em toda a serra destrella<br /> -nem te presta prefiar.<br /> -<span class="pilcrow">¶</span> -Catalina he -muyto boa,<br /> -fermosa quanto lhabasta,<a title="textual variant" href="#Variantnote_4_378" class="tvanchor">[v]</a><br /> -querte bem, he de boa casta<br /> -& bem sesuda pessoa.<br /> -Toma tu o que te dão<br /> -em paga do que desejas.</td> -<td><i>M.</i> Gonçalo, go back, go -back to thy plough,<br /> -With none will I marry, I avow,<br /> -In the whole Serra da Estrella, <span class="poetrynumber"><a id="linenumber_4_375" name="linenumber_4_375"></a>375</span><br /> -In vain wilt thou persist and tease.<br /> -Catalina is a very good girl<br /> -And fair enough, though not a pearl,<br /> -Comes of good stock and loves thee well,<br /> -And she is very sensible. <span class="poetrynumber"><a id="linenumber_4_380" name="linenumber_4_380"></a>380</span><br /> -Then take what's offered thee and so<br /> -Shalt balm of thy desire know.</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Ay rogote -que nam sejas<br /> -aya do meu coraçam.</td> -<td><i>G.</i> Nay, but I pray thee do not seek<br /> -To teach my heart what way to go.</td> -</tr> -<tr> -<td><span class="smcap">Mad.</span> -Vayte di, que -paruoejas.</td> -<td><i>M.</i> Go hence, if nonsense thou must -speak. <span class="poetrynumber"><a id="linenumber_4_385" name="linenumber_4_385"></a>385</span></td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -¶ -Nam quero casar coella.</td> -<td><i>G.</i> I say I will not marry her.</td> -</tr> -<tr> -<td><span class="smcap">Mad.</span> Nem -eu tam pouco com -tigo.<br /> -Vees? casuso vem Rodrigo<br /> -tras Felipa, que he aquella<br /> -que nam no estima num figo.</td> -<td><i>M.</i> And I will not marry thee.<br /> -But yonder comes Rodrigo, see,<br /> -After Felipa, and I aver<br /> -That not a fig for him cares she. <span class="poetrynumber"><a id="linenumber_4_390" name="linenumber_4_390"></a>390</span></td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> -<span class="pilcrow">¶</span> Vem -Rodrigo cantando:</td> -<td><i>Enter Rodrigo, singing:</i></td> -</tr> -<tr> -<td>Vayamonos ãbos, amor, vayamos,<br /> -vayamonos<a title="textual variant" href="#Variantnote_4_392" class="tvanchor">[v]</a> ambos.<br /> -Felipa & Rodrigo passaram o rio,<br /> -amor vayamonos.<br /> -<span class="pilcrow">¶</span> -Felipa, como -te vay?</td> -<td>My love, let's be going, be going together,<br /> -Be going together.<br /> -Rodrigo and Felipa were crossing the river,<br /> -My love, let's be going.<br /> -How is it, Felipa, with thee? <span class="poetrynumber"><a id="linenumber_4_395" name="linenumber_4_395"></a>395</span></td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> Que -tẽs tu -de ver co isso?<br /> -Dias ha que teu auiso<br /> -que vas gingrar com teu pay.</td> -<td><i>F.</i> And what business is that of -thine?<br /> -Days past I've bidden thee thy chatter<br /> -To thy father to confine.</td> -</tr> -<tr> -<td><span class="smcap">Rod.</span> Nam -estou eu, mana, -nisso.</td> -<td><i>R.</i> But that, my dear, does not suit -me.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> Quem -te mette a ti -comigo?</td> -<td><i>F.</i> And why drag me into the matter? -<span class="poetrynumber"><a id="linenumber_4_400" name="linenumber_4_400"></a>400</span></td> -</tr> -<tr> -<td><span class="smcap">Rod.</span> -Felipa, olha pera ca,<br /> -dame essa mão eyaramaa.</td> -<td><i>R.</i> Felipa, turn thy eyes this way<br /> -And give me that fair hand of thine.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> -Tirte, tirte eramaa -laa,<br /> -tu que diabo has comigo?</td> -<td><i>F.</i> Away, away with thee, I say,<br /> -What art thou to me, in the name of evil?</td> -</tr> -<tr> -<td><span class="smcap">Rod.</span> -¶ Felipa, -ja tu aqui es?</td> -<td><i>R.</i> So, Felipa, thou art here, I see. -<span class="poetrynumber"><a id="linenumber_4_405" name="linenumber_4_405"></a>405</span></td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> -Rodrigo, ja tu -começas?<br /> -Tu tẽs das maas<a title="textual variant" href="#Variantnote_4_407" class="tvanchor">[v]</a> -vãs cabeças,<br /> -nam quero ser descortees.<a title="textual variant" href="#Variantnote_4_408" class="tvanchor">[v]</a></td> -<td><i>F.</i> Rodrigo, wouldst thou begin again?<br /> -If ever there was feather-brain,<br /> -But I would not be uncivil.</td> -</tr> -<tr> -<td><span class="smcap">Rod.</span> Nem -queyras tu er -ser assi<br /> -grauisca<a title="endnote" href="#Endnote_4_410" class="enanchor">[n]</a> & escandalosa;<br /> -mas tem graça pera mi,<br /> -como tu es graciosa<br /> -& fermosa pera ti.</td> -<td><i>R.</i> Would then that thou mightest be<br /> -Now less shrewish and unkind. <span class="poetrynumber"><a id="linenumber_4_410" name="linenumber_4_410"></a>410</span><br /> -Yet even that is to my mind,<br /> -So charming art thou unto me<br /> -So graceful and so fair to see.</td> -</tr> -<tr> -<td> <span class="smcap"></span><span class="smcap">Fel.</span> Cada hum saa de -regrar<br /> -em pedir o que he rezam:<br /> -tu pedesmo coraçam<br /> -& eu nam to ey de dar<br /> -porquee muy fora de mão.<br /> -E quanto monta a casar<br /> -ainda queu guarde gado<br /> -meu pay he juyz honrrado<br /> -dos melhores do lugar<br /> -& o mais aparentado.<br /> -<span class="pilcrow">¶</span> E -andou na -corte assaz<br /> -& faloulhe el Rey ja<br /> -dizendo-lhe: Affonso vaz<br /> -em fronteyra e moncarraz<a title="textual variant" href="#Variantnote_4_427" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_4_427" class="enanchor">[n]</a><br /> -como val o trigo la?<br /> -Ora eu pera casar ca,<br /> -Rodrigo, nam he rezam.</td> -<td><i>F.</i> Everyone should regulate<br /> -At reason's bidding his request, <span class="poetrynumber"><a id="linenumber_4_415" name="linenumber_4_415"></a>415</span><br /> -Thou my heart requirest<br /> -But I cannot give thee that<br /> -Nor listen to thee save in jest.<br /> -And as to my marrying I wis,<br /> -Although I keep the sheep, withal <span class="poetrynumber"><a id="linenumber_4_420" name="linenumber_4_420"></a>420</span><br /> -An honoured judge my father is<br /> -And by his side the rest are small,<br /> -He's best related of them all.<br /> -At Court too he's been many a day<br /> -And the king once spoke to him, to say: <span class="poetrynumber"><a id="linenumber_4_425" name="linenumber_4_425"></a>425</span><br /> -'In the district of Monsarraz<br /> -And Fronteira, Affonso Vaz,<br /> -What is the price of wheat, I pray?'<br /> -So that here to marry would be for me,<br /> -Rodrigo, to act unreasonably. <span class="poetrynumber"><a id="linenumber_4_430" name="linenumber_4_430"></a>430</span></td> -</tr> -<tr> -<td><span class="smcap">Rod.</span> Se -casasses com -paaçom<br /> -que grande graça seraa<br /> -& minha consolaçam.<br /> -<span class="pilcrow">¶</span> Que te -chame -de ratinha<br /> -tinhosa cada mea hora,<a title="endnote" href="#Endnote_4_435" class="enanchor">[n]</a><br /> -inda que a alma me chora,<br /> -<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span>folgarey por vida -minha.<br /> -Pois engeytas quem tadora;<br /> -e te diga: tirte la,<br /> -que me cheyras a cartaxo.<a title="endnote" href="#Endnote_4_440" class="enanchor">[n]</a><br /> -Pois te desprezas do bayxo<br /> -o alto tabaxaraa.</td> -<td><i>R.</i> Shouldest thou a courtier marry<br /> -What amusement unto me<br /> -And consolation that would carry!<br /> -For if as a country-lout he harry<br /> -Thee all day and for evermore, <span class="poetrynumber"><a id="linenumber_4_435" name="linenumber_4_435"></a>435</span><br /> -Would I, what though my heart should grieve,<br /> -Rejoice, since, though I thee adore,<br /> -Me thus contemptuously dost thou leave,<br /> -And if he bid thee keep thy place<br /> -As being but of low degree: <span class="poetrynumber"><a id="linenumber_4_440" name="linenumber_4_440"></a>440</span><br /> -Since thou despisest such as me<br /> -Thee shall the mighty then abase.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> <span class="pilcrow">¶</span> Quando -vejo hum cortesam<a title="endnote" href="#Endnote_4_443" class="enanchor">[n]</a><br /> -com pantufos de veludo<br /> -& hũa viola na mão<br /> -tresandamo coraçam<br /> -& leuame a alma & tudo.</td> -<td><i>F</i>. When I see a courtier fine<br /> -With his velvet slippers, and<br /> -His viola in his hand, <span class="poetrynumber"><a id="linenumber_4_445" name="linenumber_4_445"></a>445</span><br /> -'Tis all up with this heart of mine<br /> -Nor can I his ways withstand.</td> -</tr> -<tr> -<td><span class="smcap">Rod.</span> -Gonçalo, -vayme ajudar<br /> -aacabar minha charrua<br /> -& eu tajudarey aa tua.<br /> -Que estoutro sa dacabar<br /> -quando a dita vir a sua.</td> -<td><i>R</i>. Gonçalo, come help me now<br /> -At the labour of my plough<br /> -And I'll help thee anon with thine. <span class="poetrynumber"><a id="linenumber_4_450" name="linenumber_4_450"></a>450</span><br /> -For as to the other 'twill be in fine<br /> -When its fortune shall allow.</td> -</tr> -<tr> -<td><span class="smcap">Gonç</span>. -Eu sam ja -desenganado<br /> -quanto monta a Madanella.</td> -<td><i>G</i>. As for Madanela, I<br /> -Have ceased at last my luck to try.</td> -</tr> -<tr> -<td><span class="smcap">Rod</span>. -Deuetela dir com -ella<br /> -como mami<a title="textual variant" href="#Variantnote_4_456" class="tvanchor">[v]</a> vay mal peccado<br /> -com Felipa.</td> -<td><i>R</i>. Ah! then the same thing it must -be <span class="poetrynumber"><a id="linenumber_4_455" name="linenumber_4_455"></a>455</span><br /> -As with Felipa and me.</td> -</tr> -<tr> -<td><span class="smcap">Gonç</span>. -Assi he -ella.</td> -<td><i>G</i>. Yes, 'tis even so we stand.</td> -</tr> -<tr> -<td><span class="smcap">Rod</span>. E -tu, Rodrigo, em -que estaas?</td> -<td><i>R.</i> And how is't with thee, Ferdinand?</td> -</tr> -<tr> -<td><span class="smcap">Fern</span>. -Estou em muito -& em nada,<br /> -porque a vida namorada<br /> -tem cousas boas & maas.</td> -<td><i>F.</i> I am in both smiles and frowns,<br /> -And a lover's life is planned <span class="poetrynumber"><a id="linenumber_4_460" name="linenumber_4_460"></a>460</span><br /> -In a maze of ups and downs.</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Vem -hum hermitam & diz:<a title="textual variant" href="#Variantnote_4_462" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_4_462" class="enanchor">[n]</a></td> -<td><i>Enters a hermit who says:</i></td> -</tr> -<tr> -<td><span class="smcap">Herm</span>. -¶ Fazeyme -esmola, pastores,<br /> -por amor do senhor Deos.</td> -<td><i>H</i>. Shepherds, for love of God, on me<br /> -Pray bestow your charity.</td> -</tr> -<tr> -<td><span class="smcap">Rod</span>. Mas -faça -elle esmola a nos,<br /> -& seja que estes amores<br /> -se atem com senhos nos.</td> -<td><i>R</i>. Rather him it now behoves<br /> -Charitable towards us to be <span class="poetrynumber"><a id="linenumber_4_465" name="linenumber_4_465"></a>465</span><br /> -And tie the knots of all our loves.</td> -</tr> -<tr> -<td><span class="smcap">Herm</span>. O -casar Deos o -prouee<br /> -& de Deos vem a ventura,<br /> -da ventura aa criatura<a title="textual variant" href="#Variantnote_4_469" class="tvanchor">[v]</a><br /> -mas com dita he por merce<br /> -& tambem serue a cordura.<br /> -<span class="pilcrow">¶</span> -Pondevos nas -suas mãos<br /> -& não cureis descolher,<br /> -tomay o que vos vier<br /> -porque estes amores vãos<br /> -teram certo arrepender.<br /> -Filhas, aqui estais escritas,<a title="textual variant" href="#Variantnote_4_477" class="tvanchor">[v]</a><br /> -Filhos, tomay vossa sorte,<br /> -& cada hum se comporte<br /> -dando graças infinitas<br /> -<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span>a Deos & -a el Rey & a corte.</td> -<td><i>H</i>. Marrying is in God's hand<br /> -And from Him comes fortune too,<br /> -For by His especial grace<br /> -All men fortune may embrace <span class="poetrynumber"><a id="linenumber_4_470" name="linenumber_4_470"></a>470</span><br /> -And good sense assists thereto.<br /> -Place yourselves beneath His sway,<br /> -Take not any thought to choose<br /> -But receive what comes your way,<br /> -For these idle loves, I say, <span class="poetrynumber"><a id="linenumber_4_475" name="linenumber_4_475"></a>475</span><br /> -You'll in sure repentance lose.<br /> -Your names, my daughters, here you leave;<br /> -My sons, now each your lot receive:<br /> -Behave yourselves in such a sort<br /> -That you your infinite thanks shall give <span class="poetrynumber"><a id="linenumber_4_480" name="linenumber_4_480"></a>480</span><br /> -To God, and to the King and Court.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Tirou o ermitam da manga tres -papelinhos & os deu aos pastores, -que tomasse cada hum sua sorte & -diz Fernando:<a title="textual variant" href="#Variantnote_4_482" class="tvanchor">[v]</a></td> -<td class="justify"><i>The hermit takes from -his sleeve three -small written pieces of paper and gives -them to the shepherds that each may take -his lot, and Ferdinand says:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Rodrigo tome -primeyro,<br /> -veremos como se guia.</td> -<td>Rodrigo shall the first lot claim.<br /> -We'll see now if he acts aright.</td> -</tr> -<tr> -<td><span class="smcap">Rod.</span> Nome -da virgem Maria!<br /> -lede, padre, esse letreyro,<br /> -se me cega ou alumia.</td> -<td><i>R.</i> In the Virgin Mary's name<br /> -Read it, padre, for the same <span class="poetrynumber"><a id="linenumber_4_485" name="linenumber_4_485"></a>485</span><br /> -Brings to me my day or night.</td> -</tr> -<tr> -<td>Escri.<a title="textual variant" href="#Variantnote_4_487" class="tvanchor">[v]</a></td> -<td><i>The hermit reads the writing:</i></td> -</tr> -<tr> -<td> -Deos & a ventura manda<br /> -que quem esta sorte ouuer<br /> -tome logo por molher<br /> -Felipa sem mais demanda.</td> -<td>'By Fortune's and by God's command<br /> -Whosoever draws this lot<br /> -Shall to Felipa give his hand,<br /> -Shall do so and reason not.' <span class="poetrynumber"><a id="linenumber_4_490" name="linenumber_4_490"></a>490</span></td> -</tr> -<tr> -<td><span class="smcap">Rod.</span> -¶ Vencida -tenho eu a batalha,<br /> -Felipa, mana, vem caa.</td> -<td><i>R.</i> I have won the victory,<br /> -Felipa, come hither to me, my dear.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> -Tirte, tirte, eramaa -laa,<br /> -& tu cuydas que te valha?<br /> -Nunca teu olho veraa.</td> -<td><i>F.</i> Away with thee, away, dost hear,<br /> -Thinkest thou this will profit thee?<br /> -Ne'er such a victory shalt thou see. <span class="poetrynumber"><a id="linenumber_4_495" name="linenumber_4_495"></a>495</span></td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -Ora vay, -Fernando, tu,<br /> -veremos que te viraa.</td> -<td><i>G.</i> Draw thy lot now, Ferdinand,<br /> -Let's see what for thee is planned.</td> -</tr> -<tr> -<td><span class="smcap">Fern.</span> -Alto nome<a title="textual variant" href="#Variantnote_4_498" class="tvanchor">[v]</a> de Jesu!<br /> -lede, padre, que vay la?</td> -<td><i>F.</i> Here goes then in the name of -Heaven;<br /> -Read, padre, what is written there.</td> -</tr> -<tr> -<td>Escrito.<a title="textual variant" href="#Variantnote_4_499" class="tvanchor">[v]</a></td> -<td><i>The hermit reads:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -A -sentença he ja dada<br /> -& a sustancia della<br /> -que cases com Madanela.</td> -<td>'The sentence is already given <span class="poetrynumber"><a id="linenumber_4_500" name="linenumber_4_500"></a>500</span><br /> -And its substance doth declare<br /> -That thou shalt Madanela wed.'</td> -</tr> -<tr> -<td><span class="smcap">Mad.</span> -Fernando, nam me da -nada,<br /> -seja muytembora & nella.</td> -<td><i>M.</i> Well, Ferdinand, I do not care,<br /> -If it must be so, no more be said.</td> -</tr> -<tr> -<td><span class="smcap">Fern.</span> -Dias ha que to eu -digo<br /> -& tu tinhas me fastio.</td> -<td><i>F.</i> Many a day hast thou heard that -from me <span class="poetrynumber"><a id="linenumber_4_505" name="linenumber_4_505"></a>505</span><br /> -But thou e'er hadst me in disdain.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> Oo -Fernando de meu -tio<br /> -quem me casara com tigo!</td> -<td><i>C.</i> O Ferdinand, my uncle's swain,<br /> -Would that I might marry thee!</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -¶ -Oo Madanela, yeramaa,<br /> -se me cayras em sorte!</td> -<td><i>G.</i> O Madanela, if only now<br /> -We had come together, I and thou. <span class="poetrynumber"><a id="linenumber_4_510" name="linenumber_4_510"></a>510</span></td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> Ante -eu morrera maa -morte<br /> -que Fernando ficar laa<br /> -tam contrayro do meu norte.<br /> -E porem nam me da nada,<br /> -ja me tu a mi pareces bem,<br /> -Gonçalo.</td> -<td><i>C.</i> Rather might I straight expire<br /> -Than that Ferdinand should stay there<br /> -So remote from my desire.<br /> -Yet I do not greatly care,<br /> -Since to thee I am inclined, <span class="poetrynumber"><a id="linenumber_4_515" name="linenumber_4_515"></a>515</span><br /> -Gonçalo.</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -E tu a mi<br /> -Catalina; mudate di<br /> -y passea per hi alem,<br /> -<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span>verey que aar das -de ti.</td> -<td><i>G.</i> And even so,<br /> -Catalina, art thou to my mind,<br /> -But come away that I may know<br /> -What graces I in thee shall find.</td> -</tr> -<tr> -<td><span class="smcap">Fel.</span> -¶ Estouteu, -Rodrigo, olhando,<br /> -& vou sendo ja contente.</td> -<td><i>F.</i> Rodrigo, as I look upon thee <span class="poetrynumber"><a id="linenumber_4_520" name="linenumber_4_520"></a>520</span><br /> -I begin to grow content.</td> -</tr> -<tr> -<td><span class="smcap">Rod.</span> Se -de mi nam es -contente<br /> -nam tey dandar mais rogando.<br /> -Eu andote namorando<br /> -& tu acossasme cada dia.</td> -<td><i>R.</i> If to that I have not won thee<br /> -By me no further prayers be spent.<br /> -For while I have courted thee<br /> -Daily hast thou flouted me. <span class="poetrynumber"><a id="linenumber_4_525" name="linenumber_4_525"></a>525</span></td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> Inda -queu isso fazia,<br /> -Rodrigo, de quando em quãdo,<br /> -muy grande bem te queria.<br /> -<span class="pilcrow">¶</span> E -quando eu -refusaua<br /> -de te tomar por amigo<a title="textual variant" href="#Variantnote_4_530" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_4_530" class="enanchor">[n]</a><br /> -nam ja porque eu nam folgaua<br /> -mas porque te examinaua<br /> -se eras tu moço atreuido.</td> -<td><i>C.</i> Though from time to time I thus,<br /> -Rodrigo, behaved, truly<br /> -Very fond was I of thee.<br /> -And when most contemptuous<br /> -Thy wife I refused to be <span class="poetrynumber"><a id="linenumber_4_530" name="linenumber_4_530"></a>530</span><br /> -'Twas not that I had no love<br /> -But, that I tested thee, to prove<br /> -The heart of thy audacity.</td> -</tr> -<tr> -<td><span class="smcap">Herm.</span> -Agoro quero eu dizer<br /> -o que aqui venho buscar.<br /> -Eu desejo dabitar<br /> -hũa ermida a meu prazer<br /> -onde podesse folgar.<br /> -E queriaa eu achar feyta<br /> -por nam cãsar em fazela,<br /> -que fosse a minha cella<br /> -antes bem larga que estreyta<br /> -& que podesse eu dançar nella.<br /> -E que fosse num deserto<br /> -denfindo<a title="textual variant" href="#Variantnote_4_545" class="tvanchor">[v]</a> vinho & pão,<br /> -& a fonte muyto perto<br /> -& longe a contemplação.<br /> -<span class="pilcrow">¶</span> Muyta -caça & pescaria<br /> -que podesse eu ter coutada<br /> -& a casa temperada:<br /> -no veram que fosse fria<br /> -& quente na inuernada.<br /> -A cama muyto mimosa<br /> -& hum crauo aa cabeceyra,<br /> -de cedro a sua madeyra;<br /> -porque a vida religiosa<br /> -queria eu desta maneyra.<br /> -<span class="pilcrow">¶</span> E -fosse o -meu repousar<br /> -& dormir atee tais horas<br /> -que nam podesse rezar<br /> -por ouuir cantar pastoras<br /> -& outras assouiar.<br /> -Aa cea & jantar perdiz,<br /> -o almoço moxama,<a title="endnote" href="#Endnote_4_564" class="enanchor">[n]</a><br /> -& vinho do seu matiz,<br /> -<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span>& que a -filha do juyz<a title="endnote" href="#Endnote_4_566" class="enanchor">[n]</a><br /> -me fizesse sempre a cama.<br /> -<span class="pilcrow">¶</span> E em -quanto -eu rezasse<a title="textual variant" href="#Variantnote_4_566" class="tvanchor">[v]</a><br /> -esquecesse ella as ouelhas<br /> -& na cela me abraçasse<br /> -& mordesse nas orelhas,<br /> -inda que me lastimasse.<br /> -Irmãos pois deueis saber<br /> -da serra toda a guarida<br /> -prazauos de me dizer<br /> -onde poderey fazer<br /> -esta minha sancta vida.<a title="textual variant" href="#Variantnote_4_462" class="tvanchor">[v]</a></td> -<td><i>Hermit.</i> Now I have a mind to say<br /> -What I came to look for here. <span class="poetrynumber"><a id="linenumber_4_535" name="linenumber_4_535"></a>535</span><br /> -For my wish it is to stay<br /> -In a hermitage that may<br /> -Yield me plenty of good cheer.<br /> -Ready-made would I find it: ill<br /> -Could I all these joys fulfil <span class="poetrynumber"><a id="linenumber_4_540" name="linenumber_4_540"></a>540</span><br /> -Worn out by toil and labour fell.<br /> -Wide not narrow be my cell<br /> -That I may dance therein at will;<br /> -Be it in a desert land<br /> -Yielding wine and wheat alway, <span class="poetrynumber"><a id="linenumber_4_545" name="linenumber_4_545"></a>545</span><br /> -With a fountain near at hand<br /> -And contemplation far away.<br /> -Much fish and game in brake and pool<br /> -Must I have for my own preserve<br /> -And as for my house it must never swerve <span class="poetrynumber"><a id="linenumber_4_550" name="linenumber_4_550"></a>550</span><br /> -From an even temperature, cool<br /> -In summer and in winter warm.<br /> -Yes, and a comfortable bed<br /> -Would not do me any harm,<br /> -All of it of cedar-wood, <span class="poetrynumber"><a id="linenumber_4_555" name="linenumber_4_555"></a>555</span><br /> -A harpsichord hung at its head:<br /> -So do I find a monk's life good.<br /> -I would lie and take my rest<br /> -And sleep on far into the day<br /> -So that I could not my matins say <span class="poetrynumber"><a id="linenumber_4_560" name="linenumber_4_560"></a>560</span><br /> -For noise of the whistling and the singing<br /> -Of shepherdesses' songs clear ringing.<br /> -On partridge would I sup and dine,<br /> -Of stockfish should my luncheon be<br /> -And of wine the very best. <span class="poetrynumber"><a id="linenumber_4_565" name="linenumber_4_565"></a>565</span><br /> -And the Judge's daughter should make for me<br /> -The bed on which I would recline.<br /> -And even as my beads I tell<br /> -She should forget her flock of sheep<br /> -And embrace me in my cell <span class="poetrynumber"><a id="linenumber_4_570" name="linenumber_4_570"></a>570</span><br /> -And bite my ears and make me weep:<br /> -Yes, even thus it would be well.<br /> -My brothers, since you know, I trow<br /> -The recesses of each vale and hill<br /> -Be good enough to tell me now <span class="poetrynumber"><a id="linenumber_4_575" name="linenumber_4_575"></a>575</span><br /> -Where best I may so have my will<br /> -And this holy life fulfil.</td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -<span class="pilcrow">¶</span> -Estaa alli, padre, hum siluado<br /> -viçoso, verde, florido,<br /> -com espinho tam comprido,<br /> -e vos nuu alli deytado<br /> -perderieis o proido.<br /> -Yuos, nam esteis hi mais,<br /> -porque a vida que buscais<br /> -nam na da Deos verdadeyro<br /> -inda que lha vos peçais.</td> -<td><i>G.</i> Yonder, padre, there's a briar<br /> -All in flower, thick and green,<br /> -And its thorns are long and dire: <span class="poetrynumber"><a id="linenumber_4_580" name="linenumber_4_580"></a>580</span><br /> -Naked laid thereon, I ween<br /> -You would soon lose your desire.<br /> -Go and make no further stay,<br /> -For the life you wish to live<br /> -The true God will never give <span class="poetrynumber"><a id="linenumber_4_585" name="linenumber_4_585"></a>585</span><br /> -Howsoe'er for it you pray.</td> -</tr> -<tr> -<td><span class="smcap">Serra.</span> <span class="pilcrow">¶</span> Ora, -filhos, logo essora,<br /> -cada hum com sua esposa,<br /> -vamos ver a poderosa<br /> -Raynha nossa Senhora,<br /> -sem nenhum de vos por grosa,<br /> -porque he forçoso que va,<br /> -que segundo minha fama<br /> -da Raynha ey de ser ama<br /> -& a isso vou eu la.<br /> -<span class="pilcrow">¶</span> Que -tal -leyte como o meu<br /> -nam no ha em Portugal,<br /> -que tenho tanto & tal<br /> -e tam fino Deos mo deu<br /> -que he manteyga & nam al.<br /> -E pois ha de ser senhora<br /> -de tam grande gado & terra<br /> -quem outra ama lhe der erra,<br /> -porque a perfeyta pastora<br /> -ha de ser da minha serra.</td> -<td><i>Serra.</i> Come, my sons, now come away,<br /> -Each with his fair bride to-day,<br /> -That our Queen and Sovereign we<br /> -May go visit speedily, <span class="poetrynumber"><a id="linenumber_4_590" name="linenumber_4_590"></a>590</span><br /> -And let none of you gainsay,<br /> -For you must go all together,<br /> -Since, if report say true, I ween<br /> -I as nurse must serve the Queen<br /> -And therefore do I go thither. <span class="poetrynumber"><a id="linenumber_4_595" name="linenumber_4_595"></a>595</span><br /> -Such milk as mine you will not find<br /> -No, not in all Portugal,<br /> -So plentiful and such kind<br /> -As God has blessèd me withal:<br /> -Pure butter were not more refined. <span class="poetrynumber"><a id="linenumber_4_600" name="linenumber_4_600"></a>600</span><br /> -And since she will be princess<br /> -Of such flocks and all this land,<br /> -No other nurse shall be to hand,<br /> -For the perfect shepherdess<br /> -My hill-sides alone command. <span class="poetrynumber"><a id="linenumber_4_605" name="linenumber_4_605"></a>605</span></td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -<span class="pilcrow">¶</span> -Ha mester grandes presentes<br /> -das vilas, casaes & aldea.</td> -<td><i>G.</i> From every village, house and town<br /> -Great presents must with us come down.</td> -</tr> -<tr> -<td><span class="smcap">Serra.</span> -Mandaraa a vila de -Sea<a title="textual variant" href="#Variantnote_4_608" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_4_608" class="enanchor">[n]</a><br /> -quinhentos queyjos resentes,<a title="textual variant" href="#Variantnote_4_609" class="tvanchor">[v]</a><br /> -todos feytos aa candea,<br /> -e mais trezentas bezerras<br /> -& mil ouelhas meyrinhas<br /> -& dozentas<a title="textual variant" href="#Variantnote_4_613" class="tvanchor">[v]</a> -cordeyrinhas<br /> -<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>taes que em -nenhũas serras<br /> -nam se achem tam gordinhas.<br /> -<span class="pilcrow">¶</span> E -Gouuea<a title="endnote" href="#Endnote_4_616" class="enanchor">[n]</a> -mandaraa<br /> -dous mil sacos de castanha<br /> -tam grossa, tam san,<a title="textual variant" href="#Variantnote_4_618" class="tvanchor">[v]</a> -tamanha<br /> -que se marauilharaa<br /> -onde tal cousa se apanha.<br /> -E Manteygas<a title="endnote" href="#Endnote_4_621" class="enanchor">[n]</a> lhe daraa<br /> -leyte para quatorze annos,<br /> -& Couilham<a title="endnote" href="#Endnote_4_623" class="enanchor">[n]</a> muytos panos<br /> -finos que se fazem laa.<br /> -<span class="pilcrow">¶</span> -Mandaraam -desses casaes<br /> -que estam no cume da serra<br /> -pena pera cabeçaes<br /> -toda de aguias Reaes,<a title="textual variant" href="#Variantnote_4_628" class="tvanchor">[v]</a><br /> -naturaes mesmo da terra.<br /> -E os do val dos penados<a title="textual variant" href="#Variantnote_4_630" class="tvanchor">[v]</a><br /> -& montes dos tres caminhos<br /> -que estam em fortes montados<br /> -mandarão empresentados<br /> -trezentos forros darminhos<br /> -pera forrar os borcados.<a title="textual variant" href="#Variantnote_4_635" class="tvanchor">[v]</a><br /> -<span class="pilcrow">¶</span> Eu ey -lhe de -presentar<br /> -minas douro que eu sey<br /> -com tanto que ella ou el Rey<br /> -o mandem ca apanhar,<br /> -abasta que lho criey.</td> -<td><i>S.</i> The town of Sea of its store<br /> -Shall five hundred cheeses send<br /> -All home-made, and furthermore <span class="poetrynumber"><a id="linenumber_4_610" name="linenumber_4_610"></a>610</span><br /> -Of calves will she send thrice five score<br /> -And of her merino sheep<br /> -A thousand, and lambs two hundred keep<br /> -So fat that on no hills you'll find<br /> -Any more unto your mind. <span class="poetrynumber"><a id="linenumber_4_615" name="linenumber_4_615"></a>615</span><br /> -And two thousand sacks Gouvea<br /> -Of chestnuts that there abound<br /> -Of such size, so fine and round<br /> -That all men will wonder where<br /> -Things so excellent are found. <span class="poetrynumber"><a id="linenumber_4_620" name="linenumber_4_620"></a>620</span><br /> -And Manteigas will prepare<br /> -A store of milk for years twice seven,<br /> -By Covilham much fine cloth be given<br /> -That is manufactured there.<br /> -From the houses in the heather <span class="poetrynumber"><a id="linenumber_4_625" name="linenumber_4_625"></a>625</span><br /> -High upon the mountain-top,<br /> -For pillows shall be sent a crop<br /> -All of royal eagles' feather<br /> -That men there are wont to gather.<br /> -From the Penados vale below <span class="poetrynumber"><a id="linenumber_4_630" name="linenumber_4_630"></a>630</span><br /> -And the hills where three roads meet<br /> -That through rough mountain country go<br /> -They will send as present meet<br /> -Three hundred ermines white as snow<br /> -As edging of brocades to show. <span class="poetrynumber"><a id="linenumber_4_635" name="linenumber_4_635"></a>635</span><br /> -Mines of gold too I will bring<br /> -And give all I have within<br /> -If the Queen and if the King<br /> -Order it to be brought in:<br /> -Plenty is there there to win. <span class="poetrynumber"><a id="linenumber_4_640" name="linenumber_4_640"></a>640</span></td> -</tr> -<tr> -<td><span class="smcap">Gonç.</span> -E afora -ainda aos presentes<br /> -auemos lhe de cantar<br /> -muyto alegres & contentes<br /> -polla Deos alumiar<br /> -por alegria das gentes.</td> -<td><i>G.</i> And with presents none the less<br /> -Will we in her honour sing<br /> -With great joy and revelling<br /> -That God hath willed the Queen to bless<br /> -For her people's happiness. <span class="poetrynumber"><a id="linenumber_4_645" name="linenumber_4_645"></a>645</span></td> -</tr> -<tr> -<td class="justify">Vem dous foliões do -Sardoal, hum -se chama Jorge e outro Lopo,<a title="textual variant" href="#Variantnote_4_645" class="tvanchor">[v]</a> -& diz -a Serra:</td> -<td class="justify"><i>Enter two players from -Sardoal, Jorge -and Lopo, and the Serra says:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Sois vos de -Castella, manos,<br /> -ou la debayxo do estremo?<a title="textual variant" href="#Variantnote_4_647" class="tvanchor">[v]</a></td> -<td>From Castille, brothers, do you hale<br /> -Or from down yonder in the vale?</td> -</tr> -<tr> -<td><span class="smcap">Jor.</span> -Agora nos faria o -demo<br /> -a nos outros Castellanos.<a title="textual variant" href="#Variantnote_4_649" class="tvanchor">[v]</a><br /> -Queria antes ser lagarto<br /> -polos sanctos auangelhos.</td> -<td><i>J.</i> Now in the devil's name, amen,<br /> -They would have us be Castilian men<br /> -A lizard I would rather be <span class="poetrynumber"><a id="linenumber_4_650" name="linenumber_4_650"></a>650</span><br /> -By the Holy Gospels verily.</td> -</tr> -<tr> -<td><span class="smcap">Serra.</span> -Donde sois?</td> -<td><i>S.</i> Well and from what land come you -then?</td> -</tr> -<tr> -<td><span class="smcap">Jor.</span> - - Do -Sardoal,<a title="endnote" href="#Endnote_4_652" class="enanchor">[n]</a><br /> -& ou bebela ou vertela,<br /> -vimos ca desafiar<br /> -<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span>a toda a serra da -estrela<a title="textual variant" href="#Variantnote_4_655" class="tvanchor">[v]</a><br /> -a cantar & a baylar.</td> -<td><br /> -<i>J.</i> From Sardoal, and by your leave<br /> -We are come hither to defy<br /> -The Serra our challenge to receive <span class="poetrynumber"><a id="linenumber_4_655" name="linenumber_4_655"></a>655</span><br /> -With us in song and dance to vie.</td> -</tr> -<tr> -<td><span class="smcap">Rod.</span> -¶ Soberba -he isso perem<br /> -pois haqui tantos pastores<br /> -& tam finos bayladores<br /> -que nam ham<a title="textual variant" href="#Variantnote_4_660" class="tvanchor">[v]</a> -medo a ninguem.</td> -<td><i>R.</i> 'Tis a proud challenge for your -ill,<br /> -For shepherds are so many here<br /> -And their dancing of such skill<br /> -That of none need they have fear. <span class="poetrynumber"><a id="linenumber_4_660" name="linenumber_4_660"></a>660</span></td> -</tr> -<tr> -<td><span class="smcap">Lopo.</span> -Muytos ratinhos vam -la<br /> -de ca da serra a ganhar<br /> -& la os vemos cantar<br /> -& baylar bem coma ca<br /> -& he assi desta feyçam.</td> -<td><i>L.</i> Many peasants come yonder too<br /> -From the hills for sustenance<br /> -And we watch them sing and dance<br /> -Even as up here they do:<br /> -Their way of it shall you see at a glance. <span class="poetrynumber"><a id="linenumber_4_665" name="linenumber_4_665"></a>665</span></td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Canta Lopo & bayla, arremedando -os da serra.<a title="endnote" href="#Endnote_4_666" class="enanchor">[n]</a></td> -<td class="justify"><i>Lopo sings and dances -in imitation of -the men of the Serra:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -E se ponerey -la mano en vos<br /> -Garrido amor!<br /> -<span class="pilcrow">¶</span> Hum -amigo -que eu auia<a title="textual variant" href="#Variantnote_4_668" class="tvanchor">[v]</a><br /> -mançanas douro menuia,<br /> -Garrido amor!<br /> -<span class="pilcrow">¶</span> Hum -amigo -que eu amaua<br /> -mançanas douro me manda,<br /> -Garrido amor!<br /> -<span class="pilcrow">¶</span> -Mançanas douro menuia<br /> -a milhor era partida,<br /> -Garrido amor!<br /> -<span class="pilcrow">¶</span> -[Mançanas douro me manda,<br /> -a milhor era quebrada,<br /> -Garrido amor!]</td> -<td>Ah, should I lay my hand on you,<br /> -Love, fair my love.<br /> -A friend of mine, a friend of old,<br /> -Sends unto me apples of gold,<br /> -How fair is love! <span class="poetrynumber"><a id="linenumber_4_670" name="linenumber_4_670"></a>670</span><br /> -A friend I loved, even my friend,<br /> -Apples, apples of gold doth send.<br /> -So fair is love!<br /> -Apples of gold he sends amain,<br /> -The best of them was cleft in twain, <span class="poetrynumber"><a id="linenumber_4_675" name="linenumber_4_675"></a>675</span><br /> -So fair is love!<br /> -[Apples of gold he sends to me,<br /> -The best was cleft for all to see.<br /> -How fair is love!]</td> -</tr> -<tr> -<td>Falado.</td> -<td>(<i>Spoken:</i>)</td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Isso he, ou -bem ou mal,<br /> -assi como o vos fazeis.</td> -<td>That I think is, well or ill, <span class="poetrynumber"><a id="linenumber_4_680" name="linenumber_4_680"></a>680</span><br /> -How you dance on fell and hill.</td> -</tr> -<tr> -<td><span class="smcap">Serra.</span> -Peçouolo -que canteis<br /> -aa guisa do Sardoal.</td> -<td><i>S.</i> But now I would have you sing<br /> -As in Sardoal they do.</td> -</tr> -<tr> -<td><span class="smcap">Lopo.</span> -Esse he outro -carrascal,<a title="endnote" href="#Endnote_4_684" class="enanchor">[n]</a><br /> -esperay ora & vereis:<br /> -<span class="pilcrow">¶</span> Ja nam -quer -minha senhora<br /> -que lhe fale em apartado.<a title="textual variant" href="#Variantnote_4_685" class="tvanchor">[v]</a><br /> -Oo que mal tam alongado!<br /> -<span class="pilcrow">¶</span> Minha -senhora me disse<br /> -que me quer falar um dia<br /> -agora por meu peccado<br /> -disseme que nam podia.<br /> -Oo que mal tam alongado!<br /> -<span class="pilcrow">¶</span> Minha -senhora me disse<br /> -que me queria falar,<br /> -agora por meu peccado<br /> -nam me quer ver nem olhar.<br /> -Oo que mal tam alongado!<br /> -<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span>Agora por meu -peccado<br /> -disseme que nam podia,<br /> -yrmey triste polo mundo<br /> -onde me leuar a dita.<br /> -Oo que mal tam alongado!</td> -<td><i>L.</i> That is quite another thing,<br /> -Wait then and I'll show it you: <span class="poetrynumber"><a id="linenumber_4_685" name="linenumber_4_685"></a>685</span><br /> -Now no more my lady wills<br /> -That I speak with her alone.<br /> -How am I now woe-begone!<br /> -On a day my lady said<br /> -That she would fain speak with me, <span class="poetrynumber"><a id="linenumber_4_690" name="linenumber_4_690"></a>690</span><br /> -Now I for my sins atone<br /> -Since she says it may not be.<br /> -How am I now woe-begone!<br /> -For to me my lady said<br /> -That she fain would speak with me, <span class="poetrynumber"><a id="linenumber_4_695" name="linenumber_4_695"></a>695</span><br /> -Now I for my sins atone<br /> -Since me now she will not see.<br /> -How am I now woe-begone!<br /> -Now I for my sins atone<br /> -Since she says it may not be, <span class="poetrynumber"><a id="linenumber_4_700" name="linenumber_4_700"></a>700</span><br /> -Through the world will I begone<br /> -Where'er fortune carry me.<br /> -How am I now woe-begone!</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Esta cantiga cantarão & -baylarão -de terreyro os foliões, & acabada diz -Felipa:</td> -<td class="justify"><i>The players sing this -song, dancing -together, and when it is finished Felipa -says:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Nam vos -vades vos assi,<br /> -leixay ora a gayta vir<br /> -& o nosso tamboril,<br /> -& yreis mortos daqui<br /> -sem vos saberdes bolir.</td> -<td>I pray you go not away so,<br /> -But wait until the fiddle come, <span class="poetrynumber"><a id="linenumber_4_705" name="linenumber_4_705"></a>705</span><br /> -O wait until you hear the drum,<br /> -Then how to move you'll scarcely know<br /> -So dead with dancing shall you go.</td> -</tr> -<tr> -<td><span class="smcap">Cat.</span> Em -tanto por vida -minha<br /> -seraa bem que ordenemos<br /> -a nossa chacotezinha<a title="textual variant" href="#Variantnote_4_711" class="tvanchor">[v]</a><a title="endnote" href="#Endnote_4_711" class="enanchor">[n]</a><br /> -& con ella nos yremos<br /> -ver el Rey e a Raynha.</td> -<td><i>C.</i> And meanwhile by my life I ween<br /> -'Twere well that we our dance and song <span class="poetrynumber"><a id="linenumber_4_710" name="linenumber_4_710"></a>710</span><br /> -Should order here upon the green<br /> -And we will go with it along<br /> -To see the King and see the Queen.</td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -Ordenaramse todos estes pastores -em chacota, como la se costuma, -porem a cantiga della foy cantada -de canto dorgam, & a letra he a -seguinte:<a title="textual variant" href="#Variantnote_4_713" class="tvanchor">[v]</a></td> -<td class="justify"><i>All these shepherds -took their places in -the dance after their custom, but its song -was sung to the accompaniment of the -organ and with the following words:</i></td> -</tr> -<tr> -<td><span class="pilcrow">¶</span> -Nam me -firais, madre,<br /> -que eu direy a verdade.<br /> -<span class="pilcrow">¶</span> Madre, -hum -escudeyro<br /> -da nossa Raynha<br /> -falou me damores,<br /> -vereis que dezia,<br /> -eu direy a verdade.<br /> -<span class="pilcrow">¶</span> Falou -me -damores,<br /> -vereis que dezia:<br /> -quem te me tiuesse<br /> -desnuda em camisa!<a title="endnote" href="#Endnote_4_724" class="enanchor">[n]</a><br /> -Eu direi a verdade.</td> -<td>O strike me not, mother,<br /> -The truth I'm confessing. <span class="poetrynumber"><a id="linenumber_4_715" name="linenumber_4_715"></a>715</span><br /> -For, mother, a squire<br /> -Of our queen all on fire<br /> -With love came to woo me:<br /> -Of what he said to me<br /> -The truth I'm confessing. <span class="poetrynumber"><a id="linenumber_4_720" name="linenumber_4_720"></a>720</span><br /> -He came for to woo me<br /> -And 'O,' said he to me,<br /> -'Were you in my power,<br /> -Alone without dower!'<br /> -The truth I'm confessing. <span class="poetrynumber"><a id="linenumber_4_725" name="linenumber_4_725"></a>725</span></td> -</tr> -<tr> -<td class="justify"><span class="pilcrow">¶</span> -E com esta chacota se sayram & assi se acabou.</td> -<td class="justify"><i>And with this dance -they went out and -the play ended.</i></td> -</tr> -</tbody> -</table> -<p class="center" id="linenumber_4_adfin">¶ -<span class="smcap">LAUS -DEO.</span><a title="textual variant" href="#Variantnote_4_adfin" class="tvanchor">[v]</a></p> -<div class="variantnotes"> -<h3>TEXTUAL VARIANT NOTES:</h3> -<p><span id="Variantnote_4_0" class="label"><a href="#linenumber_4_0">inc</a>.</span><i>Esta -tragecomedia pastoril foy feyta</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr><br /> -<i>com hum parvo & diz</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_2" class="label"><a href="#linenumber_4_0">2</a>.</span> -<i>estrella</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_4" class="label"><a href="#linenumber_4_0">4</a>.</span> -<i>Castella</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_7" class="label"><a href="#linenumber_4_5">7</a>.</span> -<i>yr</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_24" class="label"><a href="#linenumber_4_20">24</a>.</span> -<i>despaña</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_34" class="label"><a href="#linenumber_4_30">34</a>.</span> -<i>quant'elle</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_53" class="label"><a href="#linenumber_4_50">53, 54</a>.</span> -<i>Imperatriz</i>, <i>Imperador</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_100" class="label"><a href="#linenumber_4_100">100</a>.</span> -<i>faz un rey cousas</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_102" class="label"><a href="#linenumber_4_100">102</a>.</span> -<i>atraues</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>a -través</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_109" class="label"><a href="#linenumber_4_105">109</a>.</span> -<i>tós</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_116" class="label"><a href="#linenumber_4_115">116</a>.</span> -<i>dá-lhe</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_123" class="label"><a href="#linenumber_4_120">123</a>.</span> -<i>phantesia</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_125" class="label"><a href="#linenumber_4_125">125</a>.</span> -<i>querera</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_127" class="label"><a href="#linenumber_4_125">127</a>.</span> -<i>seguem dous açores</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_135" class="label"><a href="#linenumber_4_135">135</a>.</span> -<i>reccado</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_152" class="label"><a href="#linenumber_4_150">152</a>.</span> -<i>lendes</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_159" class="label"><a href="#linenumber_4_155">159</a>.</span> -<i>porque</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>. <i>porqu'é</i> -?</p> -<p><span id="Variantnote_4_161" class="label"><a href="#linenumber_4_160">161</a>.</span> -<i>cures</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>cuides</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_167" class="label"><a href="#linenumber_4_165">167</a>.</span> -<i>do melão</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>de -melão</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_172" class="label"><a href="#linenumber_4_170">172</a>.</span> -<i>Arrenega tu</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>Arrenego -eu</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_179" class="label"><a href="#linenumber_4_175">179</a>.</span> -<i>outra</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>outrem</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_196" class="label"><a href="#linenumber_4_195">196</a>.</span> -<i>tem-te</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_197" class="label"><a href="#linenumber_4_195">197</a>.</span> -<i>Inda</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_231" class="label"><a href="#linenumber_4_230">231</a>.</span> -<i>com tigo</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>comtigo</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_261" class="label"><a href="#linenumber_4_260">261</a>.</span> -<i>sês</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_265" class="label"><a href="#linenumber_4_265">265</a>.</span> -<i>rogoto</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>rogo-te</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_276" class="label"><a href="#linenumber_4_275">276</a>.</span> -<i>alma</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>a -alma</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_284" class="label"><a href="#linenumber_4_280">284</a>.</span> -<i>do</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>de</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_299" class="label"><a href="#linenumber_4_295">299, -300</a>.</span> <i>ver-te-has</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_308" class="label"><a href="#linenumber_4_305">308</a>.</span> -<i>ca mão</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>ca -a mão</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_327" class="label"><a href="#linenumber_4_325">327</a>.</span> -<i>libara</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_328" class="label"><a href="#linenumber_4_325">328</a>.</span> -<i>querelo</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>querê-lo</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_4_332" class="label"><a href="#linenumber_4_330">332</a>.</span> -<i>bem</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>vem</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>.</p> -<p><span id="Variantnote_4_353" class="label"><a href="#linenumber_4_350">353</a>.</span> -<i>eu amargura</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_354" class="label"><a href="#linenumber_4_350">354</a>.</span> -<i>quasi</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>qu'assi</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_378" class="label"><a href="#linenumber_4_375">378</a>.</span> -<i>lhe basta</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_392" class="label"><a href="#linenumber_4_390">392</a>.</span> -<i>vayamonos</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>vayamos</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_407" class="label"><a href="#linenumber_4_405">407</a>.</span> -<i>maas</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>mais</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_408" class="label"><a href="#linenumber_4_405">408</a>.</span> -<i>descortees</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>descortes</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr> -<i>descortez</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_427" class="label"><a href="#linenumber_4_425">427</a>.</span> -<i>moncarraz</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>Monçarraz</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_456" class="label"><a href="#linenumber_4_455">456</a>.</span> -<i>mami</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>a -mi</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_462" class="label"><a href="#linenumber_4_460">462</a>.</span> -Desunt 462-<a href="#linenumber_4_575">577</a> in <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_469" class="label"><a href="#linenumber_4_465">469</a>.</span> -<i>a creatura</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_477" class="label"><a href="#linenumber_4_475">477</a>.</span> -<i>escriptas</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_482" class="label"><a href="#linenumber_4_480">482</a>.</span> -<i>& diz Fernando</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>& -diz o Ermitão</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_487" class="label"><a href="#linenumber_4_485">487</a>.</span> -<i>Escri.</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>(Lê -o Ermitão o escrito)</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_498" class="label"><a href="#linenumber_4_495">498</a>.</span> -<i>alto, nome</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_499" class="label"><a href="#linenumber_4_495">499-500</a>.</span> -<i>Escrito</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>(Lê -o Ermitão)</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_530" class="label"><a href="#linenumber_4_530">530</a>.</span> -<i>amigo</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>. <i>marido</i> -?</p> -<p><span id="Variantnote_4_545" class="label"><a href="#linenumber_4_545">545</a>.</span> -<i>D'infindo</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_566" class="label"><a href="#linenumber_4_565">566</a>.</span> -Desunt <a href="#linenumber_4_565">566-8</a> in <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_608" class="label"><a href="#linenumber_4_605">608</a>.</span> -<i>Cea</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_609" class="label"><a href="#linenumber_4_605">609</a>.</span> -<i>recentes</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_613" class="label"><a href="#linenumber_4_610">613</a>.</span> -<i>duzentas</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_618" class="label"><a href="#linenumber_4_615">618</a>.</span> -<i>tan grossa, tam san.</i><abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_628" class="label"><a href="#linenumber_4_625">628</a>.</span> -<i>Aguias reaes.</i><abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_630" class="label"><a href="#linenumber_4_630">630</a>.</span> -<i>penedos.</i><abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>Penados.</i><abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_635" class="label"><a href="#linenumber_4_635">635</a>.</span> -<i>brocados.</i><abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_645" class="label"><a href="#linenumber_4_645">645-6</a>.</span> -Desunt <i>hum se chama.</i> et <i>outro.</i> -in <abbr title="Obras de Gil Vicente (1834)">C</abbr>. -<i>Iorge.</i><abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_647" class="label"><a href="#linenumber_4_645">647</a>.</span> -<i>extremo.</i><abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_649" class="label"><a href="#linenumber_4_645">649</a>.</span> -<i>Castelhanos.</i><abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p> -<p><span id="Variantnote_4_655" class="label"><a href="#linenumber_4_655">655</a>.</span> -<i>estrella</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_660" class="label"><a href="#linenumber_4_660">660</a>.</span> -<i>ham</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>. <i>ha -hi</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_668" class="label"><a href="#linenumber_4_665">668</a>.</span> -<i>auia, havia</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr>, <abbr title="Obras (1907)">E</abbr>. <i>queria</i>?</p> -<p><span id="Variantnote_4_685" class="label"><a href="#linenumber_4_685">685-6</a>.</span> -<i>Cantiga</i> <abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -<p><span id="Variantnote_4_711" class="label"><a href="#linenumber_4_710">711</a>.</span> -<i>chacotezinha</i> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <i>chacotazinha</i> -<abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_713" class="label"><a href="#linenumber_4_710">713-4</a>.</span> <i>he -a seguinte Cantiga</i> <abbr title="Obras de Gil Vicente (1834)">C</abbr>.</p> -<p><span id="Variantnote_4_adfin" class="label"><a href="#linenumber_4_adfin">ad -fin</a>.</span> -¶ -<i>Laus Deo</i> -<abbr title="Copilaçam de todalas obras (1586)">B</abbr></p> -</div> -<hr style="width: 65%;" /> -<p><span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span></p> -<h1><a name="NOTES" id="NOTES"></a>NOTES</h1> -<h2><a name="NOTES_AUTO_DA_ALMA" id="NOTES_AUTO_DA_ALMA"></a>AUTO -DA ALMA</h2> -<p class="smcap center"><a href="#Page_1">Page -1</a></p> -<p id="Endnote_1_0">The <i>Auto da Alma</i>, -produced probably in -1518, which in some sense forms a Portuguese -pendant to the <i>Recuerde el alma</i> of Jorge Manrique -(1440?-79), is a Passion play, corresponding -to the modern <i>Stabat</i> on the eve of Good Friday, and -was suggested, perhaps, by -Juan del Enzina's <i>Representacion a la muy bendita pasion y -muerte de nuestro precioso -Redentor.</i> It was not, however, acted in a convent or church, -but in the new riverside -palace which saw so many splendid <i>serões</i> -during King Manuel's reign (1495-1521). King -Manuel was now in the full tide of prosperity. His sister, Queen Lianor -or Eleanor (1458-1525), -Gil Vicente's patroness, who so keenly encouraged Portuguese art and -literature, -was the widow (and first cousin) of his predecessor, King João -II. The theme of the play, -the contention of Angel and Devil for the possession of a human soul, -was far from new. -Its treatment, however, was original and the versification is clear-cut -and well sustained -throughout, while a deep sincerity and glowing fervour raise the whole -play to the loftiest -heights. The metre is mostly in verses of seven short (8848484) lines (<i>abcaabc</i>) -with an -occasional slight variation. There is a French version of the play, -presumably in verse -(see <i>Durendal</i>, No. 10: Oct. 1913: <i>Le -Mystère de l'Âme</i>; tr. J. Vandervelden and -Luis de -Almeida Braga), but the difficult task of translating it would require, -to be successful, the -delicate precision of a Théophile Gautier. In his hands it -might have become in French -a thing of beauty and a joy for ever, as it is in the original -Portuguese. As to the text, -without emulating the pedantry of the critic who added a fourth season -to Shelley's -three, and thereby provoked a splendid outburst of wrath from -Swinburne, we may -assume that in passages where Vicente appears to have gone out of his -way to avoid a -required rhyme, this is merely a case of corruption repeated in -successive editions. Thus -in the <i>Auto Pastoril Portugues</i>, where <i>Catalina -minha dama</i> rhymes with <i>toucada</i> we may -perhaps substitute <i>fada</i> for <i>dama</i>. -(Cf. <i>Serra da Estrella</i>, l. 530: <i>amigo</i> -for <i>marido</i>.) So here -verse 114 must read <i>tristeza</i>, not <i>tristura</i>, -to rhyme with <i>crueza</i>. In 3 one of the <i>mantimentos</i> -should perhaps be <i>alimentos</i>: see Lucas -Fernández, <i>Farsas</i> (1867), p. 247 (cf. the -two <i>vaydades</i> -in 14); in 26 <i>fortunas</i> should probably read <i>farturas</i> -(cf. <i>essas farturas</i> in the <i>Dialogo -sobre a Ressurreiçam</i>); in 35 the words <i>mui -fermosos</i>, or a single longer word, have evidently -dropped out; in 54 <i>tendes</i> was perhaps an alteration -by some critic who did not realize -that the Angel might naturally associate itself with the Church (or -with the Soul) and say -<i>temos</i>; the last line of 100 was perhaps the word <i>pecadora</i> -or <i>e senhora</i> (cf. Fr. Luis de León, -<i>Los Nombres de Cristo</i>, Bk I: <i>mi -única abogada y señora</i>); in 108 also a line -is missing and -a rhyme required for <i>figura</i> (<i>lavrado</i> -must go with <i>Deos</i>, <i>triste</i> with <i>vereis</i>, -omitting <i>seu</i>). -On the other hand it is hardly necessary to alter 42 or 45 (although -here <i>esmaltado</i> is in -the air) or 46 so as to make them exactly fit the metre.</p> -<p><a id="Endnote_1_1" name="Endnote_1_1"></a><a href="#linenumber_1_1">1</a> <i>perigos dos -immigos</i>, cf. <i>Os -Trabalhos de Jesus</i>, 1665 ed. p. 94: <i>o caminho do -Ceo he -cercado de inimigos e perigos para o perder. Qualibus in tenebris vitae -quantisque periclis -Degitur hoc aevi quodcunque est!</i></p> -<p><a id="Endnote_1_7" name="Endnote_1_7"></a><a href="#linenumber_1_7">7</a> Cf. -Newman, <i>The Dream of Gerontius</i>, l. -292 <i>et seq.</i>:</p> -<blockquote> -<p>O man, strange composite of heaven and earth,<br /> -Majesty dwarfed to baseness, fragrant flower, etc.<br /> -</p> -</blockquote> -<p><a href="#linenumber_1_7">7-10</a> These -exquisite -verses have something of the scent and -perfection of wild -flowers, and that mystic rapture which is not to be found in Goethe's -more worldly <i>Faust</i>. -We may, if we like, call the <i>Auto da Alma</i> (as also -the witch-scene in the <i>Auto das Fadas)</i> -a 16th century <i>Faust</i>, but really no parallel can be -drawn between the two plays. The -<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> -ethereal beauty of Vicente's lyrical <i>auto</i>, carved -in delicate ivory, is far less varied and -human: it has scarcely a touch of the cynicism and not a touch of the -coarseness of Goethe's -splendid work cast in bronze. It can be compared at most with such -lyrical passages as -<i>Christ ist erstanden</i> or <i>Ach neige, Du -Schmerzenreiche, Dein Antlitz gnädig meiner Not</i>, and -as a whole is a mere lily of the valley by the side of a purple -hyacinth.</p> -<p><a id="Endnote_1_9" name="Endnote_1_9"></a><a href="#linenumber_1_9">9</a> <i>Planta sois e -caminheira</i>. Cf. the -white-flowered 'wayfaring tree.'</p> -<p><a id="Endnote_1_16" name="Endnote_1_16"></a><a href="#linenumber_1_16">16-17</a> This passage -resembles those in the Spanish plays <i>Prevaricación -de Adán</i> and -<i>La Residencia del Hombre</i> quoted in the <i>Revista -de Filología Española</i>, t. <span class="smcap">IV</span> (1917), No. 1, -p. 15-17.</p> -<p><a id="Endnote_1_17" name="Endnote_1_17"></a><a href="#linenumber_1_17">17</a> Cf. <i>The Dream -of Gerontius</i>, l. 280 <i>et -seq.</i>: 'Then was I sent from Heaven to set -right, etc.'</p> -<p><a id="Endnote_1_18" name="Endnote_1_18"></a><a href="#linenumber_1_18">18</a> <i>porá -grosa</i>, attack, criticize, -gloss. (=<i> glosar</i>. Cf. the modern 'to grouse.')</p> -<p><a id="Endnote_1_35" name="Endnote_1_35"></a><a href="#linenumber_1_35">35</a> Cf. Antonio Prestes, <i>Auto -dos Cantarinhos</i> -(<i>Obras</i>, 1871 ed. p. 457): <i>todo -Valença -em chapins</i>. The <i>chapim</i> was rather a -high-heeled shoe than a slipper. The reference is -to the Spanish city Valencia del Cid. Cf. Fr. Juan de la Cerda ap. R. -Altamira, <i>Historia -de España</i>, <span class="smcap">III</span>, -728: 'En una mujer ataviada se ve un mundo: mirando los chapines se -verá a Valencia'; Alonso Jerónimo de Salas Barbadillo -in <i>El Cortesano Descortés</i> (1621) -speaks of 'un presente de chapines valencianos'; and in <i>La -Pícara Justina</i> (1912 ed. -vol. <span class="smcap">I</span>, p. 70) we have -'un chapin valenciano.'</p> -<p><a id="Endnote_1_38" name="Endnote_1_38"></a><a href="#linenumber_1_38">38</a> <i>marcante</i>. -In the <i>Auto da Feira</i> -the Devil is similarly a <i>bufarinheiro</i> (pedlar) and -<i>mercante</i>.</p> -<p><a id="Endnote_1_43" name="Endnote_1_43"></a><a href="#linenumber_1_43">43</a> <i>a for da corte</i>. -<i>For</i> = <i>foro</i> -(v. Gonçalvez Viana, <i>A postilas</i>, vol. <span class="smcap">I</span>, p. 353).</p> -<p><a id="Endnote_1_58" name="Endnote_1_58"></a><a href="#linenumber_1_58">58</a> Cf. Plato, <i>Respublica</i>, -365: -α̃̓δικητέον -καὶ -θυτέον -ἀπὸ -τω̑ν -αδικημάτων, -κ.τ.λ. Vicente in his plays often inculcates -the need of something more than a formal religion.</p> -<p><i>xiquer</i>. Cf. <i>Auto da Barca do -Inferno</i>: <i>Isto hi xiquer irá</i>.</p> -<p><a id="Endnote_1_59" name="Endnote_1_59"></a><a href="#linenumber_1_59">59</a>-60 These two verses are -in the true spirit of Goethe's -Mephistopheles.</p> -<p><a id="Endnote_1_62" name="Endnote_1_62"></a><a href="#linenumber_1_62">62</a> <i>esta -peçonha</i>. Would Vicente -have written thus (cf. 66 and <i>Obras</i>, <span class="smcap">III</span>, 344, sermon -addressed to Queen Lianor; and also Garcia de Resende, <i>Miscellanea</i>, -1917 ed. p. 50) of -the soul had there been the slightest gossip or suspicion that his -patroness, Queen Lianor, -had poisoned her husband? (See the most interesting studies in <i>Critica -e Historia</i>, por -Anselmo Braamcamp Freire, vol. <span class="smcap">I</span>. -Lisbon, 1910.)</p> -<p><a id="Endnote_1_71" name="Endnote_1_71"></a><a href="#linenumber_1_71">71</a> Cf. <i>The Dream -of Gerontius,</i>. l. 210-1:</p> -<blockquote> -<p>Nor do I know my attitude,<br /> -Nor if I stand or lie or sit or kneel.<br /> -</p> -</blockquote> -<p><a id="Endnote_1_73" name="Endnote_1_73"></a><a href="#linenumber_1_73">73</a> <i>day passada</i> = <i>perdoai</i>, -<i>dai licença</i>. Cf. Jorge Ferreira de -Vasconcellos, <i>Eufrosina</i>, -<span class="smcap">II</span>, 5. 1616 ed. f. 79 v.</p> -<p><a id="Endnote_1_77" name="Endnote_1_77"></a><a href="#linenumber_1_77">77</a> In Basque <i>pastorales</i> -one of the main -attributes of the devils and the wicked is -that they are never quiet on the stage. In the <i>Auto da Cananea</i> -(1534), a play in many -ways resembling the <i>Auto da Alma</i>, the line <i>Como -andas desosegado</i> recurs, addressed by -Belzebu to Satanas. It is the 'incessant pacing to and fro' of <i>The -Dream of Gerontius</i> -(l. 446). In its beauty and intensity as a whole and in many details -Cardinal Newman's -<i>The Dream of Gerontius</i> is strikingly similar to the <i>Auto -da Alma</i>. But in it the strife is -o'er, the battle won, and the sanctified soul, rising refreshed from -sleep with a feeling of -'an inexpressive lightness and sense of freedom,' passes serenely, -accompanied by its -guardian angel, above the 'sullen howl' of the demons in the middle -region. Cf. <i>Calte -por amor de Deus, leixai-me, não me persigais</i> with -'But hark! upon my sense Comes a fierce -hubbub which would make me fear <i>Could I be frighted</i>' -(l. 395-7).</p> -<p><a id="Endnote_1_80" name="Endnote_1_80"></a><a href="#linenumber_1_80">80</a> Cf. Amador Arraez, <i>Dialogos</i>, -No. 1, -1604 ed. f. lv.: <i>S. Jeronimo diz que é grande -o reino, potencia e alçada das lagrimas...atormentam -mais aos Demonios que a pena infernal.</i></p> -<p><a id="Endnote_1_84" name="Endnote_1_84"></a><a href="#linenumber_1_84">84</a> The author of the <i>Vexilla -regis</i> hymn -was Venantius Fortunatus (530-600).</p> -<p><a id="Endnote_1_95" name="Endnote_1_95"></a><a href="#linenumber_1_95">95</a> Cf. Antonio Feo, <i>Trattados -Quadragesimais</i> -(1609), <span class="smcap">II</span> f. 23: <i>assy -na Cruz como no -monte Oliueto chorou porque vio vir a quem ouuera de chorar</i>. -<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span></p> -<p><a id="Endnote_1_97" name="Endnote_1_97"></a><a href="#linenumber_1_97">97</a> Cf. Gomez Manrique, <i>Fechas -para la Semana Santa</i> -(ap. M. Pelayo, <i>Antología</i>, -t. <span class="smcap">III</span>, p. 92).</p> -<p><a id="Endnote_1_108" name="Endnote_1_108"></a><a href="#linenumber_1_108">108</a> Cf. Juan del Enzina, <i>Teatro</i> -(1893), p. -39: <i>Veis aqui donde vereis Su figura figurada -Del original sacada</i>.</p> -<p><a id="Endnote_1_116" name="Endnote_1_116"></a><a href="#linenumber_1_116">116</a> <i>dais o seu -a cujo he</i>, cf. <i>Triunfo -do Inverno</i>: <i>Porque se devem de dar As cousas a -cujas são</i>; <i>C. Res.</i> <span class="smcap">I</span> (1910), p. 64: <i>dar o -seu a cujo hee</i>.</p> -<p><a id="Endnote_1_121" name="Endnote_1_121"></a><a href="#linenumber_1_121">121</a> Cf. Gomez Manrique, <i>Fechas</i> -(<i>Antolog.</i> -t. <span class="smcap">III</span>, p. 93):</p> -<blockquote> -<p>Y vamos, vamos al huerto<br /> -Do veredes sepultado<br /> -Vuestro fijo muy prouado<br /> -De muy cruda muerte muerto.<br /> -</p> -</blockquote> -<hr style="width: 65%;" /> -<h2><a name="NOTES_EXHORTACAO_DA_GUERRA" id="NOTES_EXHORTACAO_DA_GUERRA"></a>EXHORTAÇAO -DA GUERRA</h2> -<p class="center smcap"><a href="#Page_23">Page -23</a></p> -<p id="Endnote_2_0">The expedition to capture from the -Moors the important town of -Azamor in N. W. Africa -consisted of over 400 ships (Luis Anriquez in his poem in the <i>Cancioneiro -Geral</i> says 450) -and a force of 18,000 soldiers, of which 3000 were provided by James, -Duke of Braganza, -who commanded the expedition. It set sail from Lisbon on the 17th of -August, 1513. -(Damião de Goes and Osorio say the 17th, Luis Anriquez the -15th, which was evidently -the day (the Feast of the Assumption) fixed for departure.) It was -entirely successful and -the news of the fall of Azamor caused great rejoicings both at Lisbon -and Rome. The play -was evidently touched up afterwards, for it includes the sending of the -elephant to Rome -(1514) and the marriages of the princesses. It is barely possible that -it was written after -the victory, in which case the words <i>na partida</i> -would be retrospective and the date given -in the 1st edition was not a slip. Parts of the play suit 1514 better -than 1513. Tristão da -Cunha's special mission (cf. lines 195-6) to the Pope (with Garcia de -Resende for secretary) -left early in 1514 and entered Rome on March 12. One of the objects of -the mission was to -obtain a grant of the tithes (ll. 194, 224) for the Crown to use for -the war in Africa. (The -request was granted but King Manuel subsequently renounced them in -return for 150,000 -gold coins.) The exhortations of l. 351 <i>et seq.</i>, l. -514 <i>et seq.</i>, l. 559 <i>et seq.</i> are -better suited -to a time when more men and money were needed actively to continue the -war than when an -army of 18,000 was equipped and ready to leave. The Pope in 1514 -promised indulgences -to all those who should contribute money for the African war and also -granted King -Manuel a portion of church property in Portugal (cf. ll. 475-84 and -535-48) for the same -object (l. 546: <i>pera Africa conquistar</i>). The King's -aim is now to build a cathedral in Fez -(l. 573-4). There is no mention of Azamor. This was the first of the -great patriotic outbursts -(cf. the <i>Auto da Fama</i> and other plays) in which -Vicente appears not as a satirist or -religious reformer but as an enthusiastic imperialist, and which still -delight and stir his -countrymen.</p> -<p><a id="Endnote_2_18" name="Endnote_2_18"></a><a href="#linenumber_2_15">18</a> Prince Luis (1506-55), -one of the most gallant, talented -and interesting of Portuguese -<i>infantes</i>, was no doubt present at the <i>serão</i> -and would be delighted by this reference. -(The youngest princes, Afonso, born in 1509, and Henrique, born in -1512, are not mentioned. -They both became Cardinals and the latter King of Portugal, 1578-80.) -The princes are -similarly addressed in the <i>Cortes de Jupiter</i> in -1521.</p> -<p><a id="Endnote_2_46" name="Endnote_2_46"></a><a href="#linenumber_2_45">46</a> Mercury opens the <i>Auto -da Feira</i> with a -similar string of absurdities (suggested -by Enzina's <i>perogrulladas</i>), e.g. <i>Que se o -ceo fora quadrado Não fora redondo, Senhor; E se o -sol fora azulado D'azul fora seu cor</i>. (If square the sky were -found then it would not be -round, and if the sun were blue then blue would be its hue.) <i>Os -disparates de 'Joan de -Lenzina'</i> (Ferreira, <i>Ulys.</i> <span class="smcap">IV</span>, 7) were well-known in -Portugal.</p> -<p><a id="Endnote_2_94" name="Endnote_2_94"></a><a href="#linenumber_2_90">94</a>, -<a href="#linenumber_2_110">113</a>, <a href="#linenumber_2_125">129</a> No meaning is -to be squeezed out of these -cabbalistic words. -<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p> -<p><a id="Endnote_2_116" name="Endnote_2_116"></a><a href="#linenumber_2_115">116</a> We have an even more -detailed description in the <i>Sumario -da Historia de Deos</i>:</p> -<blockquote> -<p>A furna das trevas, ponte de navalhas,<br /> -o lago dos prantos, a horta dos dragos,<br /> -os tanques da ira, os lagos da neve,<br /> -os raios ardentes, sala dos tormentos,<br /> -varanda das dores, cozinha dos gritos,<br /> -Açougue das pragas, a torre dos pingos,<br /> -o valle das forcas.<br /> -</p> -</blockquote> -<p><a id="Endnote_2_125" name="Endnote_2_125"></a><a href="#linenumber_2_125">125</a> Vicente was more -tolerant than most contemporary writers -who inveighed -against the blindness and malice of the Jews.</p> -<p><a id="Endnote_2_132" name="Endnote_2_132"></a><a href="#linenumber_2_130">132</a> The necromancer -evokes spirits which he is unable to -control. He calls them -brothers but they answer in effect: 'Du gleich'st dem Geist den du -begreif'st, nicht mir.'</p> -<p><a id="Endnote_2_151" name="Endnote_2_151"></a><a href="#linenumber_2_150">151</a> The <i>almude </i>= 12 -gallons.</p> -<p><a id="Endnote_2_156" name="Endnote_2_156"></a><a href="#linenumber_2_155">156</a> Cabrela e Landeira is -a village near -Montemôr-o-Novo. Cf. <i>Sum. da Hist. de Deos</i>:</p> -<blockquote> -<p><i>Satanas</i>: Sabes Rio-frio e toda aquela -terra,<br /> -<span style="margin-left: 4.5em;">aldea Gallega, a -Landeira e Ranginha</span><br /> -<span style="margin-left: 4.5em;">e de Lavra a Coruche? -Tudo é terra minha.</span><br /> -</p> -</blockquote> -<p><a id="Endnote_2_157" name="Endnote_2_157"></a><a href="#linenumber_2_155">157</a> Cartaxo, a small town -in the district of Santarem.</p> -<p><a id="Endnote_2_158" name="Endnote_2_158"></a><a href="#linenumber_2_155">158</a> The village of Lumiar -is now connected with Lisbon by a -tramway.</p> -<p><a id="Endnote_2_159" name="Endnote_2_159"></a><a href="#linenumber_2_155">159</a> Mealhada, a parish in -the district of Aveiro.</p> -<p><a id="Endnote_2_162" name="Endnote_2_162"></a><a href="#linenumber_2_160">162</a> Cf. <i>uva -terrantes</i> (indigenous).</p> -<p><a id="Endnote_2_164" name="Endnote_2_164"></a><a href="#linenumber_2_160">164</a> Ribatejo = the country -along the river Tejo (Tagus). Cf. <i>Auto -da Feira</i>: <i>Vai-te -ao sino do Cranguejo, Signum Cancer, Ribatejo.</i></p> -<p><a id="Endnote_2_168" name="Endnote_2_168"></a><a href="#linenumber_2_165">168</a> Arruda dos Vinhos and -Caparica are villages in a -vine-growing district on the -left bank of the Tagus opposite Lisbon, near Almada.</p> -<p><a id="Endnote_2_173" name="Endnote_2_173"></a><a href="#linenumber_2_170">173</a> <i>estrema</i> = <i>marco</i> -(Sp. <i>mojon</i>). -Cf. <i>Auto da Festa</i>, ed. Conde de Sabugosa (1906), -p. 110: <i>Este he da pedra do estremo</i>.</p> -<p><a id="Endnote_2_174" name="Endnote_2_174"></a><a href="#linenumber_2_170">174</a> <i>diadema</i> -is usually masculine, but -Antonio Vieira has it both ways.</p> -<p><a id="Endnote_2_176" name="Endnote_2_176"></a><a href="#linenumber_2_175">176</a> Seixal (2500-3000 -inh.) in the district of Almada.</p> -<p><a id="Endnote_2_177" name="Endnote_2_177"></a><a href="#linenumber_2_175">177</a> Almada, formerly -Almadãa (Arab = the mine, but as -Englishmen settled there -in the 12th century it was later given the fanciful derivation All made -or All made it), a -town of 10,000 inh., opposite Lisbon on the left bank of the Tagus.</p> -<p><a id="Endnote_2_179" name="Endnote_2_179"></a><a href="#linenumber_2_175">179</a> Tojal (= whin-moor, -gorse-common), a small village near -Olivaes (= olive groves), -in the Lisbon district.</p> -<p><a id="Endnote_2_195" name="Endnote_2_195"></a><a href="#linenumber_2_195">195</a> The impression -produced by the arrival in Rome of King -Manuel's elephant, -panther and other magnificent gifts was vividly described by several -writers. Cf. Damião -de Goes, <i>Chron. de D. Manuel</i>, Pt 3, cap. 55, 56, 57 -(1619 ed. f. 223 v.-227). According -to Ulrich von Hutten the elephant 'fuit mirabile animal, habens longum -rostrum -in magna quantitate; et quando vidit Papam tunc geniculavit ei et dixit -cum terribili -voce <i>bar, bar, bar</i>' (apud Theophilo Braga, <i>Gil -Vicente e as Origens do Theatro Nacional</i> -(1898), p. 191). Cf. also Manuel Bernardez, <i>Nova Floresta</i>, -<span class="smcap">V</span>, 93-4. The head of this -celebrated elephant forms the background to a portrait of -Tristão da Cunha (head of the -embassy to the Pope) reproduced in Senhor Joaquim de Vasconcellos' -edition of Francisco -de Hollanda's <i>Da Pintura Antigva</i> (Porto, 1918).</p> -<p><a id="Endnote_2_229" name="Endnote_2_229"></a><a href="#linenumber_2_225">229</a> In 1517 among other -exotic presents a rhinoceros was sent -to the Pope. It was -however shipwrecked and drowned on the way. It had the honour of being -drawn by -Albrecht Dürer.</p> -<p><a id="Endnote_2_238" name="Endnote_2_238"></a><a href="#linenumber_2_235">238</a> Vicente seems to have -coined this intensive of <i>bellisima</i>.</p> -<p><a id="Endnote_2_243" name="Endnote_2_243"></a><a href="#linenumber_2_240">243</a>-4 Cesar = King Manuel. -Hecuba = his second wife, Queen Maria, -daughter of -Ferdinand and Isabella of Spain.</p> -<p><a id="Endnote_2_249" name="Endnote_2_249"></a><a href="#linenumber_2_245">249</a> Prince João, -born in 1502, afterwards King -João III (1521-57).</p> -<p><a id="Endnote_2_259" name="Endnote_2_259"></a><a href="#linenumber_2_255">259</a> The Infanta Isabel -(1503-39) married her first cousin the -Emperor Charles V, -and in her honour on that occasion Vicente composed his <i>Templo -de Apolo</i> (1526). Her -<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> -marriage may have already been planned in 1513, but more probably -Vicente altered the -passage when he was preparing the 1st edition of his works during the -last months of his -life. Gil Vicente more than once refers to her great beauty. Her -portrait by Titian in the -Madrid Prado fully bears out his praises and the expression on her face -places this among -the most fascinating portraits of women. The Empress is sitting by a -window looking on -to a beautiful country of woods and blue mountains, in her hand is a -book; but one feels -that she is thinking of neither book nor scenery but that her thoughts -go back in <i>saudade</i> -to the soft air and merry days of Lisbon. It might indeed be a picture -of <i>Saudade</i>. There -is a slight flush on her pale oval face. Her almond-shaped eyes are -grey-green, her nose -delicately aquiline. In the eyes and in the general expression there is -a look of undeniable -sadness. Her dress of plum, cherry-pink, gold and brown gives a -gorgeously mellow effect -and the curtain at the back is plum-brown. If the colouring seems at -first too rich this is -due to the criminal gold frame which clashes with the dress and the -chestnut-golden hair. -In a dark frame the picture would be twice as beautiful. The Empress' -dress gleams with -pearls and she has a jewel with pearls—set perhaps by Gil -Vicente—in her hair, large -pearl earrings and a necklace of large pearls. She died at Toledo at -the age of 36 and lies -in the grim Pantheon of the Kings in the Escorial crypt.</p> -<p><a id="Endnote_2_266" name="Endnote_2_266"></a><a href="#linenumber_2_265">266</a> Of Prince Fernando, -born in 1507, Damião de Goes, -who knew him personally, -says: 'assi na mocidade como depois de ser homem foi de bom parecer e -bem disposto, -muito inclinado a letras e dado ao estudo das historias verdadeiras e -imigo das fabulosas... -Era colerico e apressado em seus negocios e muito animoso, com mostra e -desejo de se -achar em algun grande feito de guerra, mas nem o tempo nem o estudo do -Regno deram -pera isso lugar' (<i>Chron. de D. Manuel</i>, <span class="smcap">II</span>, xix). Cf. Osorio, <i>De -Rebvs Emmanvelis</i> (1571), -p. 189: 'Fuit in antiquitate pervestiganda valde curiosus: maximarum -rerum studio flagrabat -multisque virtutibus illo loco dignis praeditus erat.'</p> -<p><a id="Endnote_2_275" name="Endnote_2_275"></a><a href="#linenumber_2_275">275</a> Princess Beatrice as -a matter of fact married Charles, -Duke of Savoy, and on the -occasion of her departure from Lisbon by sea with a magnificent suite -Vicente wrote the -<i>Cortes de Jupiter</i> (1521) with the <i>romance</i>:</p> -<blockquote> -<p>Nina era la Ifanta, Dona Beatriz se -dezia,<br /> -Nieta del buen Rei Hernando, el mejor rei de -Castilla,<br /> -Hija del Rei Don Manuel y Reina Doña -Maria, etc.<br /> -</p> -</blockquote> -<p><a id="Endnote_2_284" name="Endnote_2_284"></a><a href="#linenumber_2_280">284</a> Cf. the <i>Auto -das Fadas</i> (with which -this play has many points of resemblance): -<i>Feiticeira</i> (ao principle e infantes): <i>ó -que joias esmaltadas, ó que boninas dos ceos, ó que -rosas perfumadas!</i></p> -<p><a id="Endnote_2_331" name="Endnote_2_331"></a><a href="#linenumber_2_330">331</a>-2 Cf. <i>Divisa -da Cidade de Coimbra</i>: <i>Vai -delas a eles tão grande avantagem... -como haverá...do vivo a hũa imagem</i>.</p> -<p><a id="Endnote_2_341" name="Endnote_2_341"></a><a href="#linenumber_2_340">341</a> <i>Godos</i>, -Goths, i.e. of ancient race, -'Norman blood.'</p> -<p><a id="Endnote_2_346" name="Endnote_2_346"></a><a href="#linenumber_2_345">346</a> For <i>dioso</i> = <i>idoso</i> -v. <i>C. -Geral</i>, vol. <span class="smcap">II</span> -(1910), p. 153. Fernam Lopez, <i>Chron. J. I.</i> -Pt. 2, cap. 10, has <i>deoso</i>.</p> -<p><a id="Endnote_2_384" name="Endnote_2_384"></a><a href="#linenumber_2_380">384</a> <i>pequenas -quadrilhas</i>. When Afonso de -Albuquerque began his glorious career -(1509-15) there were in India but a few hundred Portuguese fighting -men, and most of -these badly armed. The whole population of Portugal during this time of -fighting and -discovery in N.-West, West and East Africa and India is by some -calculated at a million -and a half, by others at between two and three millions.</p> -<p><a id="Endnote_2_416" name="Endnote_2_416"></a><a href="#linenumber_2_415">416</a> Prov. <i>mais -são as vozes que as nozes</i>.</p> -<p><a id="Endnote_2_418" name="Endnote_2_418"></a><a href="#linenumber_2_415">418</a> For this line cf. -Pedro Ferrus: <i>Que por todo el -mundo suena</i> (ap. Menéndez y -Pelayo, <i>Antología</i>, t. <span class="smcap">I</span>, p. 159 and Enzina, <i>Egloga</i>, -<span class="smcap">V</span> (<i>ib.</i> -t. <span class="smcap">VII</span>, p. 57)).</p> -<p><a id="Endnote_2_420" name="Endnote_2_420"></a><a href="#linenumber_2_420">420</a> <i>pois -que...pessoa</i>, a homely version of -Goethe's <i>Was du ererbt von deinen Vätern -hast Erwirb' es um es zu besitzen</i>.</p> -<p><a id="Endnote_2_470" name="Endnote_2_470"></a><a href="#linenumber_2_470">470</a>-4 These lines are -translated from the Spanish poet Gomez -Manrique (1415?-1490?). -See Menéndez y Pelayo, <i>Antología</i>, -t. <span class="smcap">VII</span>, p. ccx.</p> -<p>Cf. Jorge Ferreira de Vasconcellos, <i>Ulysippo</i>, -<span class="smcap">V</span>, 7: <i>Vos -quando vos tirarem de Ansias e -passiones mias e guando Roma conquistava</i>. -<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p> -<p><a id="Endnote_2_487" name="Endnote_2_487"></a><a href="#linenumber_2_485">487</a> <i>dom zote</i>. -Cf. supra <i>zopete</i> -and Sp. <i>zote</i>, <i>zopo</i>, <i>zopenco</i>, -<i>zoquete</i> (a dolt); low Latin -<i>sottus</i>; Dutch <i>zot</i>; Fr. <i>sot</i>; -Eng. <i>sot</i> (<i>bebe sem desfolegar</i>). <i>Zote</i> -occurs twice in the <i>Auto -Pastoril Portugues</i>: <i>muito gamenho</i> (cf. -Fr. <i>gamin</i>) <i>zote</i> and <i>Auto -da Fé</i>, l. 5.</p> -<p><a id="Endnote_2_534" name="Endnote_2_534"></a><a href="#linenumber_2_530">534</a> <i>trepas</i> -is the Span. form (Port, <i>tripas</i>?).</p> -<p><a id="Endnote_2_538" name="Endnote_2_538"></a><a href="#linenumber_2_535">538</a> <i>soyços</i> -the old, <i>soldados</i> -the new, word for 'soldiers.' Cf. Lucas Fernández, <i>Farsas</i> -(1867), p. 89: <i>Entra el soldado, o soizo, o infante</i>.</p> -<p><a id="Endnote_2_559" name="Endnote_2_559"></a><a href="#linenumber_2_555">559</a> This rousing chorus -fitly ends a play from every page of -which breathes the most -ardent patriotism. Small wonder that King Sebastião (1557-78), -with his visions of conquest -and glory, read Vicente with pleasure as a boy.</p> -<p><a id="Endnote_2_561" name="Endnote_2_561"></a><a href="#linenumber_2_560">561</a> Cf. Gaspar Correa, <i>Lendas -da India</i>, <span class="smcap">IV</span>, -561-2: <i>o Governador -logo sobio e o frade -diante dele bradando a grandes brados, dizendo: 'O fieis -Christãos, olhai para Christo, vosso -capitão, que vai diante'</i> (1546).</p> -<hr style="width: 65%;" /> -<h2><a name="NOTES_FARSA_DOS_ALMOCREVES" id="NOTES_FARSA_DOS_ALMOCREVES"></a>FARSA DOS -ALMOCREVES</h2> -<p class="smcap center"><a href="#Page_37">Page -37</a></p> -<p id="Endnote_3_0">This is one of the most famous of -those lively farces with -which Gil Vicente for a -quarter of a century delighted the Portuguese Court and which still -hold the reader by -their vividness and charm. Its fame rests on the portraiture of the -poverty-stricken but -magnificent nobleman who has been a favourite object of satire with -writers in the -Peninsula since the time of Martial, and who in a poem of the <i>Cancioneiro -Geral</i> is described -in almost the identical words of Vicente's prefatory note:</p> -<blockquote> -<p><span style="margin-left: 3em;">o gram -estado</span><br /> -e a renda casi nada<br /> -</p> -</blockquote> -<p>(<i>Arrenegos que que fez Gregoryo Affonsso</i>).<br /> -</p> -<p>An alternative title of the play is <i>Auto do Fidalgo -Pobre</i>, but the extremely natural presentment -of the two carriers in the second part justifies the more popular name. -The Court, -fleeing from plague at Lisbon, was in the celebrated little university -town of Coimbra on -the Mondego and here Gil Vicente in the following year staged his <i>Divisa -da Cidade de -Coimbra</i>, the <i>Farsa dos Almocreves</i>, and -(in October) the <i>Tragicomedia da Serra da Estrella</i> -and Sá de Miranda, in open rivalry, produced his <i>Fabula -do Mondego</i>. But Gil Vicente -was not to be silenced by the introduction of the new poetry from Italy -and to these two -years, 1526 and 1527, belong no less than seven (or perhaps eight) of -his plays. Yet what -a difference in his own position and in the state of the nation since -his first farce—<i>Quem -tem farelos?</i> twenty years before! The magnificent King Manuel -was dead, and his son, -the more care-ridden João III, was on the throne:</p> -<blockquote> -<p><span style="margin-left: 7em;">tão -ocupado</span><br /> -co'este Turco, co'este Papa<br /> -co'esta França.<br /> -</p> -</blockquote> -<p>There was plague and famine in the land. The discovery of a -direct route to the East and -its apparently inexhaustible wealth had not brought prosperity to the -Portuguese provinces. -There the chief effect had been to make men discontented with their lot -and to -lure away even the humblest workers to seek their fortune and often to -find death or a -far less independent poverty:</p> -<blockquote> -<p><span style="margin-left: 7em;">até os -pastores</span><br /> -hão de ser d'el-Rei samica.<br /> -</p> -</blockquote> -<p>The result was that the old rustic jollity which Vicente had -known so well in his youth -was dying out, and the very songs of the peasants took a plaintive air:</p> -<blockquote> -<p>E no mais triste ratinho<br /> -s'enxergava hũa alegria<br /> -que agora não tem caminho.<br /> -Se olhardes as cantigas<br /> -<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> -do prazer acostumado<br /> -todas tem som lamentado,<br /> -carregado de fadigas,<br /> -longe do tempo passado.<br /> -O d' então era cantar<br /> -e bailar como ha de ser,<br /> -o cantar pera folgar,<br /> -o bailar pera prazer,<br /> -que agora é mao d'achar<a name="FNanchor_154_154" id="FNanchor_154_154"></a><a href="#Footnote_154_154" class="fnanchor">[154]</a>.<br /> -</p> -</blockquote> -<p>Nor could it be expected that the rich <i>parvenu</i>, -the mushroom courtier, the <i>fidalgo 'que -não sabe se o é,'</i> the palace page fresh -from keeping goats in the <i>serra</i>, the Court chaplain -anxious to hide his humble origin, would greatly relish Vicente's plays -which satirized -them and in which rustic scenes and songs and memories appeared at -every turn. It was -much like mentioning the rope in the house of the hanged, and these -dainty and sophisticated -persons would turn with relief to the revival of the more decorous -ancient drama -inaugurated by Trissino in Italy and in Portugal by Sá de -Miranda.</p> -<p><a id="Endnote_3_3" name="Endnote_3_3"></a><a href="#linenumber_3_0">3</a> <i>este Arnado</i>. -Cf. Bernardo de Brito, <i>Chronica -de Cister</i>, <span class="smcap">III</span>, -18: 'se foi [Afonso -Henriquez] ao longo do Mondego por um campo q̃ então -e no tempo de agora se chama o -Arnado, trocado ja pelas enchentes do rio de campo cuberto de flores em -um areal esteril -e sem nenhũa verdura.' Cf. <i>Cancioneiro da Vaticana</i>, -No. 1014: 'en Coimbra caeu ben -provado, caeu en Runa ata en o Arnado.'</p> -<p><a id="Endnote_3_7" name="Endnote_3_7"></a><a href="#linenumber_3_0">7</a> See the Spanish <i>romance</i> -(ap. -Menéndez y Pelayo. <i>Antología</i>, t. <span class="smcap">VIII</span>, p. 124): 'Yo me -estaba allá en Coimbra que yo me la hube ganado.'</p> -<p><a id="Endnote_3_8" name="Endnote_3_8"></a><a href="#linenumber_3_0">8</a>, 9 The sense of these two -obscure lines is apparently: -'Since Coimbra so chastises -us that we are left without a penny.' Ruy Moniz in the <i>Canc. -Geral</i>, vol. <span class="smcap">II</span> -(1910), p. 142, -has <i>çimbrar ou casar</i>. In Spanish <i>cimbrar</i> = 'to -brandish a rod,' 'to bend.' In the <i>Auto -del Repelon</i>, printed in 1509, Enzina has: <i>El palo -bien assimado Cimbrado naquella tiesta</i> -(<i>Teatro</i> (1893), p. 236) and Fernández (p. -25) <i>No vos cimbre yo el cayado</i>. Cf. Antonio -Prestes, <i>Autos</i> (ed. 1871), p. 211: <i>E o -vilão vindo me zimbra: reprender-me!</i> and -João Gomes -de Abreu (<i>C. Ger.</i> vol. <span class="smcap">IV</span> -(1915), p. 304) <i>seraa rrijo çimbrado</i>. <i>preto</i> = <i>real -preto</i>, contrasted -with the white (i.e. silver) <i>real</i>.</p> -<p><a id="Endnote_3_12" name="Endnote_3_12"></a><a href="#linenumber_3_10">12</a> <i>Pelos campos -de Mondego cavaleiros vi somar</i> -were two very well-known lines -apparently belonging to a real historical Portuguese <i>romance</i> -on the death of Ines de -Castro. They occur in Garcia de Resende's poem on her death. See C. -Michaëlis de Vasconcellos, -<i>Estudos sobre o romanceiro peninsular</i>.</p> -<p><a id="Endnote_3_13" name="Endnote_3_13"></a><a href="#linenumber_3_10">13</a> Cf. <i>Tragicomedia -da Serra da Estrella</i> -(1527): <i>Pedem-lhe em Coimbra cevada E elle dá-lhe -mexilhões</i>.</p> -<p><a id="Endnote_3_19" name="Endnote_3_19"></a><a href="#linenumber_3_10">19</a> <i>milham</i>, -green maize cut young for -fodder.</p> -<p><a id="Endnote_3_32" name="Endnote_3_32"></a><a href="#linenumber_3_30">32</a> <i>ratinhos</i>, -peasants from Beira. They -play a large part in Portuguese comedy.</p> -<p><a id="Endnote_3_80" name="Endnote_3_80"></a><a href="#linenumber_3_80">80</a> <i>azemel</i> = <i>almocreve</i>. -Both words are of Arabic origin. Cf. <i>almofreixe</i> -infra.</p> -<p><a id="Endnote_3_93" name="Endnote_3_93"></a><a href="#linenumber_3_90">93</a> <i>Endoenças</i> = <i>indulgentiae</i>. -<i>Semana de Endoenças</i> = Holy Week.</p> -<p><a id="Endnote_3_103" name="Endnote_3_103"></a><a href="#linenumber_3_100">103</a> In the <i>Auto -da Lusitania</i> Vicente says -jestingly, perhaps in imitation of the -Spanish <i>romances</i>, that he was born at Pederneira (a -small sea-side town in the district of -Leiria). He mentions it again in the <i>Cortes de Jupiter</i> -and in the <i>Templo de Apolo</i>.</p> -<p><a id="Endnote_3_109" name="Endnote_3_109"></a><a href="#linenumber_3_100">109</a> Cf. Alvaro Barreto in -<i>Cancioneiro Geral</i>, -vol. <span class="smcap">I</span> (1910), p. 322: <i>poẽ -me tudo em -huũ item</i>.</p> -<p><a id="Endnote_3_120" name="Endnote_3_120"></a><a href="#linenumber_3_120">120</a> It was the plea of -Arias Gonzalo that the inhabitants of -Zamora were not -answerable for the guilt of Vellido Dolfos who had treacherously killed -King Sancho:</p> -<blockquote> -<p>¿Qué culpa tienen los viejos? -¿qué -culpa tienen los niños?<br /> -¿qué culpa tienen los muertos...?<br /> -</p> -</blockquote> -<p><a id="Endnote_3_129" name="Endnote_3_129"></a><a href="#linenumber_3_120">129</a> <i>balcarriadas</i>. -Cf. <i>Auto das -Fadas</i>: <i>Venhas muitieramá com tuas -balcarriadas;</i> -<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> -<i>Auto da Festa</i>: <i>tão -grão balcarriada</i>; <i>Auto da Barca do -Purgatorio</i>: <i>Nunca tal balcarriada -Nem maré tão desastrada</i>. Couto, <i>Asia</i>, -<span class="smcap">VII</span>, 5, vii: <i>Tal -balcarriada</i> (act of folly) <i>foi esta</i>. -The <i>Canc. Geral</i>, vol. <span class="smcap">IV</span> -(1915), p. 370, has the form <i>barquarryadas</i>.</p> -<p><a id="Endnote_3_134" name="Endnote_3_134"></a><a href="#linenumber_3_130">134</a> Cf. <i>Auto da -Lusitania</i>: <i>um -aito bem acordado Que tenha ave e piós</i> -(= well-proportioned).</p> -<p><a id="Endnote_3_135" name="Endnote_3_135"></a><a href="#linenumber_3_130">135</a> The numerous servants -of the starving <i>fidalgos</i> -are satirized by Nicolaus Clenardus -and others. Like the English as described by a German in the 18th -century they were -'lovers of show, liking to be followed wherever they go by whole troops -of servants' (<i>A -Journey into England</i>, by Paul Hentzer. Trans. Horace Walpole, -1757). Clenardus in his -celebrated letter from Evora (1535) says that a Portuguese is followed -by more servants in -the streets than he spends sixpences in his house. He mentions -specifically the number eight.</p> -<p><a id="Endnote_3_141" name="Endnote_3_141"></a><a href="#linenumber_3_140">141</a> Alcobaça is -the town famous for its beautiful -Cistercian convent.</p> -<p><a id="Endnote_3_161" name="Endnote_3_161"></a><a href="#linenumber_3_160">161</a> <i>Alifante.</i> -Cf. infra, <i>avangelho</i>. -<i>A</i> for <i>e</i> is still common in -Galicia: e.g. <i>mamoria</i> -(memory). Cf. Span. Basque <i>barri</i> (new), for Fr. -Basque <i>berri</i>.</p> -<p><a id="Endnote_3_165" name="Endnote_3_165"></a><a href="#linenumber_3_160">165</a> The Dean was Diogo -Ortiz de Vilhegas -(† 1544) -successively Bishop of São Tomé -(1534) and Ceuta (1540). See A. Braamcamp Freire in <i>Revista -de Historia</i>, No. 25 (1918), p. 3.</p> -<p><a id="Endnote_3_224" name="Endnote_3_224"></a><a href="#linenumber_3_220">224</a> <i>bastiães</i> = <i>bestiães</i>, -figures in relief. Gomez Manrique has <i>bestiones</i> in -this sense.</p> -<p><a id="Endnote_3_247" name="Endnote_3_247"></a><a href="#linenumber_3_240">247</a> In Antonio Prestes' -play <i>Auto do Mouro Encantado</i> -the golden apples prove to -be pieces of coal. So Mello in his <i>Apologos Dialogaes</i> -speaks of the treasure of <i>moiras -encantadas</i> which all turns to coal.</p> -<p><a id="Endnote_3_269" name="Endnote_3_269"></a><a href="#linenumber_3_260">269</a> <i>In Rey</i>, -the popular form of <i>El-Rei</i> -(the king) is frequent also in the plays of -Simão Machado, who died about a century after Vicente.</p> -<p><a id="Endnote_3_272" name="Endnote_3_272"></a><a href="#linenumber_3_270">272</a> It is tempting to add -the word <i>madraço</i> -(fool, ignoramus) for the sake of the -rhyme. If <i>O recado que elle dá</i> were spoken -very fast the line would bear the addition.</p> -<p><a id="Endnote_3_293" name="Endnote_3_293"></a><a href="#linenumber_3_290">293</a> Here, as often, the -deeper purpose of Vicente's satire -appears beneath his fun. -The growing depopulation of the provinces was becoming painfully -evident to those who -cared for Portugal.</p> -<p><a id="Endnote_3_302" name="Endnote_3_302"></a><a href="#linenumber_3_300">302</a> Jorge Ferreira, <i>Ulysippo</i>, -<span class="smcap">III</span>, 5: <i>não -haveria corpo, por mais que fosse de aço -milanes, que podesse sofrer quanta costura lhe seria necessaria</i>; -<i>ib</i>. <span class="smcap">III</span>, -7: <i>temos muita costura -esta noite; muita costura e tarefa</i>; Antonio Vieira, <i>Cartas</i>: -<i>tambem aqui teremos costura</i> -(1 de agosto de 1673).</p> -<p><a id="Endnote_3_310" name="Endnote_3_310"></a><a href="#linenumber_3_310">310</a> <i>trapa</i> -in Port. = 'a gin,' 'a trap,' but -in Sp., as perhaps here, = 'noise,' 'uproar.'</p> -<p><a id="Endnote_3_327" name="Endnote_3_327"></a><a href="#linenumber_3_320">327</a> Cf. <i>Farsa -dos Fisicos</i>: <i>Praticamos -ali O Leste e o Oeste e o Brasil</i> and <span class="smcap">III</span>, -377; -Chiado, <i>Auto da Natural Invençam</i>, ed. -Conde de Sabugosa (1917), p. 74.</p> -<p><a id="Endnote_3_348" name="Endnote_3_348"></a><a href="#linenumber_3_340">348</a> The carrier comes -along singing snatches of a <i>pastorela</i> -of which we have other -examples, of more intricate rhythm, in the <i>Cancioneiro da -Vaticana</i> and the poems of the -Archpriest of Hita and the Marqués de Santillana. A modern -Galician <i>cantiga</i> says that</p> -<blockquote> -<p>O cantar d'os arrieiros<br /> -E um cantariño guapo:<br /> -Ten unha volta n'o medio<br /> -Para dicir 'Arré macho.'<br /> -</p> -</blockquote> -<p>(Pérez Ballesteros, <i>Cancionero Popular -Gallego</i>, -vol <span class="smcap">II</span>, p. 215.)<br /> -</p> -<p><a id="Endnote_3_355" name="Endnote_3_355"></a><a href="#linenumber_3_350">355</a> Cf. <i>O -Clerigo da Beira</i>: <i>Nuno -Ribeiro Que nunca paga dinheiro E sempre arreganha -os dentes</i>; and <i>Ah Deos! quem te furtasse Bolsa, -Nuna Ribeiro. Homem vai buscar dinheiro,<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> -A todo ele disse: Ja dinheiro feito é</i>.</p> -<p><a id="Endnote_3_360" name="Endnote_3_360"></a><a href="#linenumber_3_360">360</a> <i>uxtix</i>, -<i>uxte</i>. -Ferreira de Vasconcellos, <i>Eufrosina</i>, <span class="smcap">II</span>, 4: <i>Tanto me deu por -uxte -como por arre</i>.</p> -<p><i>atafal</i>. Cf. <i>Barca do Purgatorio</i> -(<span class="smcap">I</span>, 258): <i>amanhade-lhe -o atafal</i> (not <i>amanhã dé-lhe</i>).</p> -<p><a id="Endnote_3_363" name="Endnote_3_363"></a><a href="#linenumber_3_360">363</a> Candosa, a village of -some 1400 inh. in the district of -Coimbra.</p> -<p><a id="Endnote_3_369" name="Endnote_3_369"></a><a href="#linenumber_3_360">369</a> <i>xulo</i> = <i>chulo</i>, -<i>pícaro</i>. -The derivation of <i>chulo</i> is uncertain (v. -Gonçalvez Viana, -<i>Apostilas</i>, vol. <span class="smcap">I</span> -(1906), p. 299). While Dozy derives it from Arabic <i>xul</i>, -A. A. Koster -suggests the same origin as that of Fr. <i>joli</i>, It. <i>giulivo</i>, -Catalan <i>joliu</i> [= gay. Cf. Eng. <i>jolly</i> -and the Portuguese word used by D. João de Castro: <i>joliz</i>], -viz. the Old German word <i>jol</i> -(gaiety). Vid. <i>Quelques mots espagnols et portugais d'origine -orientale</i> (<i>Zeitschrift für rom. -Philologie</i>, Bd. 38 (1914), S. 481-2). The Valencian form for -July (<i>Choliol</i>) may strengthen -this view.</p> -<p><a id="Endnote_3_372" name="Endnote_3_372"></a><a href="#linenumber_3_370">372</a> Tareja is the old -Portuguese form of Theresa.</p> -<p><a id="Endnote_3_375" name="Endnote_3_375"></a><a href="#linenumber_3_370">375</a> <i>bareja</i> = <i>mosca -varejeira</i>.</p> -<p><a id="Endnote_3_379" name="Endnote_3_379"></a><a href="#linenumber_3_370">379</a> Aveiro. A town of -about 7500 inh., 40 miles S. of Oporto. -It was nearly taken -by the Royalists in 1919.</p> -<p><a id="Endnote_3_398" name="Endnote_3_398"></a><a href="#linenumber_3_390">398</a> For the naturalness -of this conversation cf. that of the -peasants Amancio Vaz -and Deniz Lourenço in the <i>Auto da Feira</i>.</p> -<p><a id="Endnote_3_410" name="Endnote_3_410"></a><a href="#linenumber_3_410">410</a> Pero Vaz' point is -that the mules will not stop to feed in -the cool shade of the -trees but do so in the shelterless <i>charneca</i>.</p> -<p><a id="Endnote_3_429" name="Endnote_3_429"></a><a href="#linenumber_3_420">429</a> Cf. the act of D. -João de Castro (1500-48) as -before him of Afonso de Albuquerque -in pawning hairs of his beard, and the proverb <i>Queixadas sem -barbas não merecem ser -honradas</i>.</p> -<p><a id="Endnote_3_435" name="Endnote_3_435"></a><a href="#linenumber_3_430">435</a> <i>O juiz de -çamora</i>. In the <i>romance -Ya se sale Diego Ordoñez</i> Arias Gonzalo of -Zamora says: 'A Dios pongo por juez porque es justo su juicio.' So that -the judge of -Zamora = God.</p> -<p><a id="Endnote_3_438" name="Endnote_3_438"></a><a href="#linenumber_3_430">438</a>-9 No one was better -situated than Gil Vicente to -criticize—and suffer -the slights of—the brand-new nobility of the Portuguese -Court. The nearer they were -to the plough the more disdainful were they likely to be to a mere -goldsmith and -poet.</p> -<p><a id="Endnote_3_454" name="Endnote_3_454"></a><a href="#linenumber_3_450">454</a> <i>desingulas</i> -(=<i> dissimulas</i>). -Cf. <i>Auto Pastoril Portugues</i>: <i>não -o dessengules mais.</i> -Duarte Nunes de Leão, <i>Origem da Lingva Portvgvesa</i> -(1606), cap. 18, includes <i>dissingular</i> -(= dissimular) among the <i>vocabulos que vsão os -plebeios ou idiotas que os homens polidos não -deuem vsar</i>.</p> -<p><a id="Endnote_3_467" name="Endnote_3_467"></a><a href="#linenumber_3_460">467</a> For the form Diz cf. <i>Auto -das Fadas</i>: -Estevão Dis, and <i>O Juiz da Beira</i>: Anna -Dias, Diez, Diz (= Diaz).</p> -<p><a id="Endnote_3_473" name="Endnote_3_473"></a><a href="#linenumber_3_470">473</a> Pero Vaz evidently -did not know the <i>cantiga:</i></p> -<blockquote> -<p>A molher do almocreve<br /> -Passa vida regalada<br /> -Sem se importar se o marido<br /> -Fica morto na estrada.<br /> -</p> -</blockquote> -<p>Cf. the Galician quatrain (Pérez Ballesteros, <i>Canc. -Pop. Gall.</i> <span class="smcap">II</span>, -219):</p> -<blockquote> -<p>A vida d'o carreteiro<br /> -É unha vida penada,<br /> -Non vai o domingo á misa<br /> -Nin dorme n'a sua cama.<br /> -</p> -</blockquote> -<p><a id="Endnote_3_478" name="Endnote_3_478"></a><a href="#linenumber_3_470">478</a> Vicente refers to the -Medina fair in the <i>Auto da -Feira</i> and again in <i>O Juiz da -Beira</i>: <i>morador en Carrion Y mercader en Medina</i>.</p> -<p><a id="Endnote_3_498" name="Endnote_3_498"></a><a href="#linenumber_3_490">498</a> <i>Folgosas</i>. -There are two small villages -in Portugal called Folgosa, but reference -here is no doubt to an inn or small group of houses.</p> -<p><a id="Endnote_3_506" name="Endnote_3_506"></a><a href="#linenumber_3_500">506</a> Vicente several times -refers to <i>Val de Cobelo</i>, -e.g. <i>Comedia de Rubena</i>: <i>E achasse os -meus porquinhos Cajuso em Val de Cobelo</i>, and the shepherd in -the <i>Auto da Barca do -Purgatorio</i>: <i>estando em Val de Cobelo</i>.</p> -<p><a id="Endnote_3_529" name="Endnote_3_529"></a><a href="#linenumber_3_520">529</a>-30 Cf. Sá -de -Miranda, 1885 ed., No. 108, l. 261: <i>Inda -hoje vemos que em França -Vivem nisto mais á antiga</i>, etc. Couto (<i>Dec.</i> -<span class="smcap">v</span>, vi, 4) speaking of the -mingling of classes, -says: 'no nosso Portugal anda isto mui corrupto.'</p> -<p><a id="Endnote_3_537" name="Endnote_3_537"></a><a href="#linenumber_3_530">537</a> Cf. <i>Comedia -de Rubena</i>: <i>E -broslados (= bordados) uns letreiros Que dizem Amores -Amores.</i></p> -<p><a id="Endnote_3_559" name="Endnote_3_559"></a><a href="#linenumber_3_550">559</a> The ancient town of -Viseu or Vizeu (9000 inh.) in Beira -has now sunk from its -former importance.</p> -<p><a id="Endnote_3_560" name="Endnote_3_560"></a><a href="#linenumber_3_560">560</a> <i>pertem</i> -for <i>pertence</i>.</p> -<p><a id="Endnote_3_565" name="Endnote_3_565"></a><a href="#linenumber_3_560">565</a> <i>arauia</i> = <i>algaravia</i>. -So <i>ingresia</i>, <i>germania</i>, etc. -(cf. the French word <i>charabia</i>). -<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span></p> -<p><a id="Endnote_3_586" name="Endnote_3_586"></a><a href="#linenumber_3_580">586</a> Cf. <i>O Juiz -da Beira</i>: <i>pois -tem a morte na mão</i> (= not 'there is death in that -hand' -as was said of Keats, but 'he is at death's door').</p> -<p><a id="Endnote_3_591" name="Endnote_3_591"></a><a href="#linenumber_3_590">591</a> The original reading <i>da -sertãy</i> -(rhyming with <i>mãy</i> in l. 588) is confirmed -by the -<i>Auto da Lusitania</i>: <i>rendeiro na -Sertãe</i>. The town of Certã in the district -of Castello Branco -now has some 5000 inh.</p> -<p><a id="Endnote_3_603" name="Endnote_3_603"></a><a href="#linenumber_3_600">603</a> Cf. Jorge Ferreira, <i>Aulegrafia</i>, -<span class="smcap">I</span>, 4: <i>Ó -senhor, grão saber vir</i>.</p> -<p><a id="Endnote_3_657" name="Endnote_3_657"></a><a href="#linenumber_3_650">657</a> <i>tam mancias</i>, -i.e. <i>Macias, o -Namorado</i>, the prince of lovers. For the form <i>Mancias</i> -cf. <i>palanciana</i> used for <i>palaciana</i>.</p> -<p><a id="Endnote_3_671" name="Endnote_3_671"></a><a href="#linenumber_3_670">671</a> <i>los tus -cabellos niña</i>. Cf. -Ferreira de Vasconcellos, <i>Aulegrafia</i>, f. 113: <i>Sob -los -teus cabelos, ninha, dormiria</i>.</p> -<p><a id="Endnote_3_675" name="Endnote_3_675"></a><a href="#linenumber_3_670">675</a> Cf. Jorge Ferreira, <i>Eufrosina. -Prologo</i>: -<i>Eu por mim digo com a cantiga se o dizem -digão</i>, etc.; <i>Cortes de Jupiter</i>: <i>Cantará -c'os atabaques: Se disserão digão, alma minha</i> -and -Barbieri, <i>Cancionero Musical</i>, No. 127: <i>Si -lo dicen digan, Alma mia</i>, etc. <abbr title="Obras (1907)">E</abbr> -wrongly gives -the words <i>alma minha</i> to the next quotation.</p> -<p><a id="Endnote_3_676" name="Endnote_3_676"></a><a href="#linenumber_3_670">676</a> Cf. <i>Auto da -India</i>: <i>Quem vos -anojou, meu bem, Bem anojado me tem</i>.</p> -<p><a id="Endnote_3_707" name="Endnote_3_707"></a><a href="#linenumber_3_700">707</a> Cf. <i>Auto -das Fadas</i>: <i>Son los -suspiros que damos In hac vita lachrymarum</i>.</p> -<p><a id="Endnote_3_713" name="Endnote_3_713"></a><a href="#linenumber_3_710">713</a> Camões, <i>Filodemo</i>, -<span class="smcap">iv</span>, 4, has <i>tudo -terei -numa palha</i>, 'I will not care a straw' -(cf. Vicente in the <i>Auto da Festa</i>: <i>Que os -homens verdadeiros não são tidos numa palha</i>), -but here the meaning is different.</p> -<hr style="width: 65%;" /> -<h2><a name="NOTES_TRAGICOMEDIA_PASTORIL_DA_SERRA_DA_ESTRELLA" id="NOTES_TRAGICOMEDIA_PASTORIL_DA_SERRA_DA_ESTRELLA"></a>TRAGICOMEDIA -PASTORIL DA SERRA DA ESTRELLA</h2> -<p class="smcap center"><a href="#Page_55">Page -55</a></p> -<p>It is remarkable that just at the time when Sá de -Miranda had returned to Portugal -with the new metres from Italy and was frankly contemptuous of Gil -Vicente's rough -mirth and rustic verse, Gil Vicente felt his position strong enough to -present this lengthy -play before the King and Court at Coimbra on occasion of the birth of -the King's daughter -Maria. There is no action in the play, and King Manuel would perhaps -have yawned at -these shepherds' quarrels, relieved not at all by the <i>parvo's</i> -wit or the hermit's grossness -and only occasionally by a touch of lyric poetry; but perhaps these -simple scenes were -welcome to the growing artificiality of the Court. For us the beautiful -<i>cossante Um amigo -que eu havia</i> stands out like a single orange gleaming from a -dark-foliaged tree. The -interest lies in the customs of the shepherds and their snatches of -song and in the intimate -knowledge of the Serra da Estrella shown by the author.</p> -<p><a id="Endnote_4_10" name="Endnote_4_10"></a><a href="#linenumber_4_10">10</a> The Serra da Estrella, -the highest mountain-range in -Portugal (6500 ft), is in the -province of Beira.</p> -<p><a id="Endnote_4_17" name="Endnote_4_17"></a><a href="#linenumber_4_15">17</a> <i>meyrinhas</i> = <i>maiorinho</i> -(merino).</p> -<p><a id="Endnote_4_30" name="Endnote_4_30"></a><a href="#linenumber_4_30">30</a> <i>esperauel</i> -(as here and in <i>Comedia -de Rubena</i>), or <i>esparavel</i>. Cf. -Damião de Goes, -<i>Chron. de D. Manuel</i> (1617), f. 25 v.: a <i>modo -de sobreceo d'esparavel</i>.</p> -<p><a id="Endnote_4_32" name="Endnote_4_32"></a><a href="#linenumber_4_30">32</a> Cf. the <i>vilão's</i> -complaints of -God in the <i>Romagem de Aggravados</i>.</p> -<p><a id="Endnote_4_35" name="Endnote_4_35"></a><a href="#linenumber_4_35">35</a> <i>nega</i> = <i>senão</i>.</p> -<p><a id="Endnote_4_51" name="Endnote_4_51"></a><a href="#linenumber_4_50">51</a> As in Browning's <i>A -Grammarian's Funeral</i> -they are advancing as they converse: -'thither our path lies.'</p> -<p><a id="Endnote_4_103" name="Endnote_4_103"></a><a href="#linenumber_4_100">103</a> <i>Nega se meu -embeleco</i> = <i>se -não me engano</i>. This line occurs in the <i>Templo -de -Apolo</i>. The <i>Auto da Festa</i> text has <i>nego -se meu embaleco</i>.</p> -<p><a id="Endnote_4_113" name="Endnote_4_113"></a><a href="#linenumber_4_110">113</a> <i>mancebelhões</i>. -Cf. Correa, <i>Lendas</i>, -<span class="smcap">IV</span>, 426: <i>Folgara -de ser mais mancebelhão</i>.</p> -<p><a id="Endnote_4_127" name="Endnote_4_127"></a><a href="#linenumber_4_125">127</a> The corresponding <i>a</i>-lines -might be:</p> -<blockquote> -<p>Dous açores que eu amava<br /> -Aqui andam nesta casa.<br /> -</p> -</blockquote> -<p><a id="Endnote_4_172" name="Endnote_4_172"></a><a href="#linenumber_4_170">172</a> <i>argem</i> -for <i>prata</i>. -Similarly in Spanish there is the old form <i>argen</i> -for <i>argento</i> -(= <i>plata</i>). Cf. the proverb <i>Quien tiene -argen tiene todo bien</i>.</p> -<p><a id="Endnote_4_190" name="Endnote_4_190"></a><a href="#linenumber_4_190">190</a> <i>somana</i> -for <i>semana</i>. -So <i>romendo</i> for <i>remendo</i> and v. -infra: <i>perem</i> for <i>porem</i>. -<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span></p> -<p><a id="Endnote_4_225" name="Endnote_4_225"></a><a href="#linenumber_4_225">225</a> <i>gingrar</i>. -Nuno Pereira in the <i>Cancioneiro -Geral</i> (1910 ed., vol. <span class="smcap">I</span>, -p. 305) has <i>o -gingrar de meu caseiro</i>. Cf. Enzina, <i>Auto del Repelon</i>: -<i>Hora déjalos gingrar</i> (<i>Teatro</i>, -1893, -p. 241).</p> -<p><a id="Endnote_4_241" name="Endnote_4_241"></a><a href="#linenumber_4_240">241</a> <i>sois</i>. -Cf. <i>Barca do Purgatorio</i>: -<i>sem sois motrete de pão</i>; <i>Farsa -dos Fisicos</i>: <i>não -vos quer sois olhar</i>.</p> -<p><a id="Endnote_4_290" name="Endnote_4_290"></a><a href="#linenumber_4_290">290</a>-1 = <i>odi et amo</i>.</p> -<p><a id="Endnote_4_322" name="Endnote_4_322"></a><a href="#linenumber_4_320">322</a> As a rule Vicente's -shepherds are natural enough but we -may be permitted to -doubt whether any shepherdess of the Serra da Estrella would have -spoken of 'ending like -Queen Dido.' She had probably been reading Lucas Fernández, <i>Farsas</i> -(1867), p. 56.</p> -<p><a id="Endnote_4_328" name="Endnote_4_328"></a><a href="#linenumber_4_325">328</a> <abbr title="Copilaçam de todalas obras (1562)">A</abbr>, <abbr title="Copilaçam de todalas obras (1586)">B</abbr> <abbr title="Obras de Gil Vicente (1834)">C</abbr>, <abbr title="Obras (1852)">D</abbr> and <abbr title="Obras (1907)">E</abbr> unaccountably print <i>querê-lo</i> -(through the bad attraction of -<i>malo</i>) although <i>querer</i> is needed -to rhyme with <i>quer</i>.</p> -<p><a id="Endnote_4_367" name="Endnote_4_367"></a><a href="#linenumber_4_365">367</a> <i>pintisirgo</i> = <i>pintasilgo</i>.</p> -<p><a id="Endnote_4_410" name="Endnote_4_410"></a><a href="#linenumber_4_410">410</a> <i>grauisca</i>. -Vicente appears to have -coined the word from <i>grave</i> and <i>arisca</i>.</p> -<p><a id="Endnote_4_427" name="Endnote_4_427"></a><a href="#linenumber_4_425">427</a> Fronteira, a village -of nearly 3000 inh. in the district -of Portalegre. Monsarraz -is of about the same size, in the district of Evora.</p> -<p><a id="Endnote_4_435" name="Endnote_4_435"></a><a href="#linenumber_4_435">435</a> <i>tinhosa -cada mea hora</i>. Cf. Jorge -Ferreira de Vasconcellos, <i>Aulegrafia</i>, f. 89: <i>he -hũa tinhosa que ontem guardava patas em Barquerena</i>.</p> -<p><a id="Endnote_4_440" name="Endnote_4_440"></a><a href="#linenumber_4_440">440</a> <i>cartaxo</i>. -Cf. <i>Aulegrafia</i>, -f. 10: <i>figo bafureiro em unhas de cartaixo</i>.</p> -<p><a id="Endnote_4_443" name="Endnote_4_443"></a><a href="#linenumber_4_440">443</a> A pleasant sketch of -the presumptuous peasant, then become -a common type in -Portugal. Felipa considers that to marry a shepherd would be beneath -her and her heart -leaps up when she beholds a courtier in velvet slippers.</p> -<p><a id="Endnote_4_462" name="Endnote_4_462"></a><a href="#linenumber_4_460">462</a> The hermit was of -course a part of the stock-in-trade of -mediaeval plays. He -appears in Vicente as early as 1503 (<i>Auto dos Reis Magos</i>). -The most interesting alteration -in the heavily censored (1586) edition of the <i>Serra da -Estrella</i> is not the excision -of over a hundred lines about the evil-minded hermit but the -substitution in l. 100 of -<i>un rey</i> for <i>Dios</i>. Regalist -Vicente would never have allowed himself to say that 'a king -sometimes acts awry.'</p> -<p><a id="Endnote_4_530" name="Endnote_4_530"></a><a href="#linenumber_4_530">530</a> For <i>amigo</i> -we should probably read <i>marido</i> -to rhyme with <i>atrevido</i>.</p> -<p><a id="Endnote_4_564" name="Endnote_4_564"></a><a href="#linenumber_4_560">564</a> <i>moxama</i> = salted -tuna (Sp. <i>mojama</i> -or <i>almojama</i>).</p> -<p><a id="Endnote_4_566" name="Endnote_4_566"></a><a href="#linenumber_4_565">566</a> Cf. J. Ferreira de -Vasconcellos, <i>Aulegrafia</i> -(1619), f. 84: <i>sejais bem casada com a -filha do juiz</i>.</p> -<p><a id="Endnote_4_608" name="Endnote_4_608"></a><a href="#linenumber_4_605">608</a> Sea, Cea or Ceia, a -pleasant little town of some 3000 inh. -in the heart of the Serra. -(Sea, Sintra, etc. is the 16th cent, spelling, now restored.)</p> -<p><a id="Endnote_4_616" name="Endnote_4_616"></a><a href="#linenumber_4_615">616</a> Gouvea or Gouveia in -the same district and about the same -size as Sea. The three -other Gouveas in Portugal are smaller villages.</p> -<p><a id="Endnote_4_621" name="Endnote_4_621"></a><a href="#linenumber_4_620">621</a> Manteigas, a small -picturesque town immediately below the -highest part of the -Serra and nearly 2500 ft above sea-level.</p> -<p><a id="Endnote_4_623" name="Endnote_4_623"></a><a href="#linenumber_4_620">623</a> Covilham, a larger -town (15000 inh.), still known for its -cloth factories.</p> -<p><a id="Endnote_4_652" name="Endnote_4_652"></a><a href="#linenumber_4_650">652</a> Sardoal has about -5000 inh. For its ancient reputation for -dancing cf. <i>O Juiz -da Beira</i>:</p> -<blockquote> -<p>Eu bailei em Santarem,<br /> -Sendo os Iffantes pequenos,<br /> -E bailei no Sardoal.<br /> -</p> -</blockquote> -<p><a id="Endnote_4_666" name="Endnote_4_666"></a><a href="#linenumber_4_665">666</a> This <i>cossante</i> -needs for its completion -a fourth verse. This was so obvious that it -was omitted in the writing of the play.</p> -<p><a id="Endnote_4_684" name="Endnote_4_684"></a><a href="#linenumber_4_680">684</a> <i>Esse he -outro carrascal</i>, a rural form -of the phrase <i>une autre paire de manches</i>. The -contrast is between the rustic <i>cossante</i> and the -more 'cultivated' or Court <i>cantigas</i> that -follow (<i>Ja não quer</i> and <i>Não -me firais</i>).</p> -<p><a id="Endnote_4_711" name="Endnote_4_711"></a><a href="#linenumber_4_710">711</a> The <i>chacota, -chacotasinha</i> was a -peasant's dance accompanied by a simple song -the structure of which answered to the movements of the dance. Here, -however, it is -danced to the sound of the organ and the words of a Court song in -which, nevertheless, -the repetition of the rustic <i>dance-cossantes</i> is -preserved.</p> -<p><a id="Endnote_4_724" name="Endnote_4_724"></a><a href="#linenumber_4_720">724</a> Cf. <i>Farsa -de Ines Pereira</i>: <i>Eu -vos trago um bom marido...diz que em camisa vos -quer</i> (= 'sans dot').</p> -<div class="footnotes"> -<h3>FOOTNOTES:</h3> -<div class="footnote"> -<p><a name="Footnote_154_154" id="Footnote_154_154"></a><a href="#FNanchor_154_154"><span class="label">[154]</span></a> -<i>Triunfo do Inverno</i> (1529), l. 13-25.</p> -</div> -<p><span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p> -<p></p> -</div> -<hr style="width: 65%;" /> -<h2><a name="LIST_OF_PROVERBS_IN_GIL_VICENTES_WORKS" id="LIST_OF_PROVERBS_IN_GIL_VICENTES_WORKS"></a>LIST -OF PROVERBS IN GIL VICENTE'S WORKS</h2> -<p><span class="pagenum"><a id="Page_85" name="Page_85">[Pg 85]</a> -</span></p> -<table> -<tbody> -<tr> -<td>A amiga e o amigo mais aquenta que bom lenho</td> -<td class="smcap right">III, -127</td> -</tr> -<tr> -<td>A candea morta gaita á porta</td> -<td class="smcap right">II, -215</td> -</tr> -<tr> -<td>Ado corre [el río] más manso -allí -está más peligroso</td> -<td class="smcap right">II, -169</td> -</tr> -<tr> -<td>Amor louco, eu por ti e tu por outro</td> -<td class="smcap right">I, -139</td> -</tr> -<tr> -<td>Ante a Pascoa vem os Ramos</td> -<td class="smcap right">III, -124</td> -</tr> -<tr> -<td>A ruim comprador llevar-lhe ruim borcado</td> -<td class="smcap right">I, -160</td> -</tr> -<tr> -<td>Asegundo sam os tempos assi hão de ser os -tentos</td> -<td class="smcap right">I, 103</td> -</tr> -<tr> -<td>Asegun fuere el señor ansi abrirá -camino a ser -servido</td> -<td class="smcap right">II, 86</td> -</tr> -<tr> -<td>Asno muerto cevada</td> -<td class="smcap right">I, 279</td> -</tr> -<tr> -<td><span class="poetrynumber">10 </span>Asno -que me leve quero e nam cavalo folão</td> -<td class="smcap right">III, 154</td> -</tr> -<tr> -<td>Ausencia aparta amor</td> -<td class="smcap right">II, -276</td> -</tr> -<tr> -<td>Bem passa de guloso o que come o que não tem</td> -<td class="smcap right">III, 370</td> -</tr> -<tr> -<td>Cada louco com sua teima</td> -<td class="smcap right">III, -135</td> -</tr> -<tr> -<td>Caza mata el porfiar</td> -<td class="smcap right">III, -302</td> -</tr> -<tr> -<td>Come e folga terás boa vida</td> -<td class="smcap right">I, -343</td> -</tr> -<tr> -<td>Dá-me tu a mi dinheiro e dá ao demo o -conselho</td> -<td class="smcap right">I, 167</td> -</tr> -<tr> -<td>Del mal lo menos</td> -<td class="smcap right">I, 231</td> -</tr> -<tr> -<td>Donde vindes? D'Almolina. Que trazedes? Farinha. Tornae -lá, -que nam é minha</td> -<td class="smcap right">III, -107</td> -</tr> -<tr> -<td>Dormirei, dormirei, boas novas acharei</td> -<td class="smcap right">II, -26</td> -</tr> -<tr> -<td><span class="poetrynumber">20 </span>El -amor verdadero, el más firme es el primero</td> -<td class="smcap right">II, 275</td> -</tr> -<tr> -<td>El diabo no es tan feo como Apeles lo pintaba</td> -<td class="smcap right">II, -267</td> -</tr> -<tr> -<td>El que pergunta no yerra</td> -<td class="smcap right">I, -69</td> -</tr> -<tr> -<td>É melhor que vamos sos que nam mal acompanhadas</td> -<td class="smcap right">II, 525</td> -</tr> -<tr> -<td>Em tempo de figos nam ha hi nenhuns amigos</td> -<td class="smcap right">III, -370</td> -</tr> -<tr> -<td>Fala com Deus, serás bom rendeiro</td> -<td class="smcap right">I, -344</td> -</tr> -<tr> -<td>Filho nam comas nam rebentarás</td> -<td class="smcap right">I, -343</td> -</tr> -<tr> -<td>França e Roma nam se fez num dia</td> -<td class="smcap right">I, -335</td> -</tr> -<tr> -<td>Frol de pessegueiro, fermosa e nam presta nada</td> -<td class="smcap right">II, -40</td> -</tr> -<tr> -<td>Grão a grão gallo farta</td> -<td class="smcap right">III, -249</td> -</tr> -<tr> -<td><span class="poetrynumber">30 </span>Maior -é o ano que o mes</td> -<td class="smcap right">III, -124</td> -</tr> -<tr> -<td>Mais quero asno que me leve que cavalo que me derrube</td> -<td class="smcap right">III, 121</td> -</tr> -<tr> -<td>Mata o cavalo de sela e bo é o asno que me leva</td> -<td class="smcap right">III, 130</td> -</tr> -<tr> -<td>Nam achegues á forca nam te enforcarão</td> -<td class="smcap right">I, 343</td> -</tr> -<tr> -<td>Nam comas quente nam perderás o dente</td> -<td class="smcap right">I, -343</td> -</tr> -<tr> -<td>Nam peques na lei nam temerás rei</td> -<td class="smcap right">I, -344</td> -</tr> -<tr> -<td>Nam sejas pobre morrerás honrado</td> -<td class="smcap right">I, -344</td> -</tr> -<tr> -<td>Nam se tomam trutas a bragas enxutas</td> -<td class="smcap right">III, -177</td> -</tr> -<tr> -<td>No se cogen las flores sino espina sofriendo</td> -<td class="smcap right">III, -322</td> -</tr> -<tr> -<td>Nos ninhos d'ora a um ano nam ha passaro ogano</td> -<td class="smcap right">III, -370</td> -</tr> -<tr> -<td><span class="poetrynumber">40 </span>O -dar quebra os penedos</td> -<td class="smcap right">I, -237</td> -</tr> -<tr> -<td>Onde força ha perdemos direito</td> -<td class="smcap right">I, -310</td> -</tr> -<tr> -<td>O que ha de ser ha de ser</td> -<td class="smcap right">II, -16; III, 144, 295</td> -</tr> -<tr> -<td>O que nam haveis de comer leixae-o a outrem mexer</td> -<td class="smcap right">III, 137</td> -</tr> -<tr> -<td>Pared cayada papel de locos</td> -<td class="smcap right">III, -336</td> -</tr> -<tr> -<td>Perdida é a decoada na cabeça d'asno -pegada</td> -<td class="smcap right">III, 166</td> -</tr> -<tr> -<td>Pobreza e alegria nunca dormem n'hũa cama</td> -<td class="smcap right">II, 518</td> -</tr> -<tr> -<td>Por bem querer mal haver</td> -<td class="smcap right">I, -135</td> -</tr> -<tr> -<td>Porfia mata caza</td> -<td class="smcap right">II, 301</td> -</tr> -<tr> -<td>Poupa em queimada bem pintada e mal lograda</td> -<td class="smcap right">II, -40</td> -</tr> -<tr> -<td><span class="poetrynumber">50 </span>Pusóse -el perro em bragas de acero</td> -<td class="smcap right">III, -334 </td> -</tr> -<tr> -<td>Quando perderes põe-te de lodo</td> -<td class="smcap right">I, -344</td> -</tr> -<tr> -<td>Quando te dam o porquinho vae logo c'o baracinho</td> -<td class="smcap right">II, -466</td> -</tr> -<tr> -<td>Quem bem renega bem cre</td> -<td class="smcap right">I, -271</td> -</tr> -<tr> -<td>Quem bem tem e mal escolhe por mal que lhe vem nam se -enoje</td> -<td class="smcap right">III, 150</td> -</tr> -<tr> -<td>Quem casa por amores nam vos é nega dolores</td> -<td class="smcap right">I, 128</td> -</tr> -<tr> -<td>Quem chora ou canta más fadas espanta</td> -<td class="smcap right">I, -343</td> -</tr> -<tr> -<td>Quem com mal anda chore e nam cante</td> -<td class="smcap right">I, -343</td> -</tr> -<tr> -<td>Quem com mal anda nam cuide ninguem que lhe venha bem</td> -<td class="smcap right">I, 343</td> -</tr> -<tr> -<td>Quem espera padece</td> -<td class="smcap right">III, -382</td> -</tr> -<tr> -<td><span class="poetrynumber">60 </span>Quem -muito pede muito fede</td> -<td class="smcap right">III, -372</td> -</tr> -<tr> -<td>Quem nam faz mal nam merece pena</td> -<td class="smcap right">I, -343</td> -</tr> -<tr> -<td>Quem nam mente nam vem de boa gente</td> -<td class="smcap right">I, -343</td> -</tr> -<tr> -<td>Quem nam parece esquece</td> -<td class="smcap right">III, -382</td> -</tr> -<tr> -<td>Quem nam pede nam tem</td> -<td class="smcap right">III, -382</td> -</tr> -<tr> -<td>Quem porcos acha menos em cada mouta lhe roncam</td> -<td class="right">(cf. <span class="smcap">III, -26</span>) <span class="smcap">III, 279</span></td> -</tr> -<tr> -<td>Quem quer fogo busque a lenha</td> -<td class="smcap right">III, -371</td> -</tr> -<tr> -<td>Quem quiser comer comigo traga em que se assentar</td> -<td class="smcap right">III, 371</td> -</tr> -<tr> -<td>Quem sempre faz mal poucas vezes faz bem</td> -<td class="smcap right">I, -344</td> -</tr> -<tr> -<td>Quem so se aconselha so se depena</td> -<td class="smcap right">I, -343</td> -</tr> -<tr> -<td><span class="poetrynumber">70 </span>Quereis -conhecer o ruim dae-lhe o oficio a servir</td> -<td class="smcap right">II, 390</td> -</tr> -<tr> -<td>Quien al cordojo se dió más cordojo -se lhe pega</td> -<td class="smcap right">I, 12</td> -</tr> -<tr> -<td>Quien canta no tiene tormento</td> -<td class="smcap right">II, -453</td> -</tr> -<tr> -<td>Quien no anda no gana</td> -<td class="smcap right">II, -117</td> -</tr> -<tr> -<td>Quien no se aventura no espere por ventura</td> -<td class="smcap right">II, -116</td> -</tr> -<tr> -<td>Quien paga los trabajos dé el afan</td> -<td class="smcap right">II, -85</td> -</tr> -<tr> -<td>Se nada ganhares nam sejas siseiro</td> -<td class="smcap right">I, -344</td> -</tr> -<tr> -<td>Se sempre calares nunca mentirás</td> -<td class="smcap right">I, -343</td> -</tr> -<tr> -<td>Se tu te guardares eu te guardarei</td> -<td class="smcap right">I, -344</td> -</tr> -<tr> -<td>Sob mao pano está o bom bebedor</td> -<td class="smcap right">I, -162</td> -</tr> -<tr> -<td><span class="poetrynumber">80 </span>Sol -de Janeiro sempre anda traz do outeiro</td> -<td class="smcap right">II, -40</td> -</tr> -<tr> -<td>Todo o mal é de quem o tem</td> -<td class="smcap right">I, -337</td> -</tr> -<tr> -<td>Todos los caminos a la puente van a dar</td> -<td class="smcap right">III, -198</td> -</tr> -<tr> -<td>Una cosa piensa el bayo y otra quien lo ensilla</td> -<td class="smcap right">III, -369</td> -</tr> -<tr> -<td>Viguela sin lanza, etc.</td> -<td class="smcap right">III, -295</td> -</tr> -<tr> -<td>Vilão forte, pé dormente</td> -<td class="smcap right">III, -12</td> -</tr> -</tbody> -</table> -<p><span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span></p> -<hr style="width: 65%;" /> -<h2><a name="BIBLIOGRAPHY_OF_GIL_VICENTE" id="BIBLIOGRAPHY_OF_GIL_VICENTE"></a>BIBLIOGRAPHY -OF GIL VICENTE<a name="FNanchor_155_155" id="FNanchor_155_155"></a><a href="#Footnote_155_155" class="fnanchor">[155]</a></h2> -<p><a name="Bibliography_1" id="Bibliography_1">(1)</a> -<i>Catalogo dos Autores</i> ap. <i>Diccionario -da Lingua Portugueza</i> (1793), p. cxxviii-ix.</p> -<p><a name="Bibliography_2" id="Bibliography_2">(2)</a> -<span class="smcap">F. 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Leite de Vasconcellos</span> -in <i>Lições de Philologia Portuguesa</i> -(1911), p. 355-60.</p> -<p><a name="Bibliography_80" id="Bibliography_80">(80)</a> -<span class="smcap">O. de Pratt</span>. -<i>O Auto da Festa de G. V.</i> in <i>Revista -Lusitana</i> (1911), p. 238-46.</p> -<p><a name="Bibliography_81" id="Bibliography_81">(81)</a> -<i>Sobre um verso de G. V.</i> in <i>Diario -de Noticias</i> (1912); Repr. in <i>Revista Lusitana</i> -(1912), -p. 268-89.</p> -<p><a name="Bibliography_82" id="Bibliography_82">(82)</a> -<span class="smcap">A. Braamcamp Freire</span>. -<i>G. V.</i> in <i>Diario de Noticias</i>, -Dec. 16, 1912.</p> -<p><a name="Bibliography_83" id="Bibliography_83">(83)</a> -<span class="smcap">J. I. Brito Rebello</span>. -<i>G. V.</i> Lisboa, 1912.</p> -<p><a name="Bibliography_84" id="Bibliography_84">(84)</a> -<span class="smcap">C. Michaëlis -de Vasconcellos</span>. <i>Notas Vicentinas I</i> in -<i>Revista da Universidade de -Coimbra</i>, vol. <span class="smcap">I</span> -(1912), p. 205-93.</p> -<p><a name="Bibliography_85" id="Bibliography_85">(85)</a> -<span class="smcap">J. M. de Queiroz Velloso</span>. -<i>G. V. e a sua obra.</i> Lisboa, 1914.</p> -<p><a name="Bibliography_86" id="Bibliography_86">(86)</a> -<span class="smcap">A. Lopes Vieira</span>. -<i>A Campanha Vicentina.</i> Lisboa, 1914.</p> -<p><a name="Bibliography_87" id="Bibliography_87">(87)</a> -<span class="smcap">F. de Almeida</span>. -<i>A Reforma protestante e as irreverencias de G. V.</i> in -<i>Lusitana</i>, anno 1 -(1914), p. 207-13; Repr. in <i>Historia da Igreja em Portugal</i>, -vol. <span class="smcap">III</span>, pt 2 (1917), -p. 119-226.</p> -<p><a name="Bibliography_88" id="Bibliography_88">(88)</a> -<span class="smcap">A. Braamcamp Freire</span>. -<i>G. V. poeta-ourives. (Novas notas.)</i> Coimbra, 1914.</p> -<p><a name="Bibliography_89" id="Bibliography_89">(89)</a> -<span class="smcap">Th. Braga</span>. -<i>G. V. e a creação do theatro nacional</i> -in <i>Hist. da Litt. Port. II. Renascença</i> -(1914), p. 36-102.</p> -<p><a name="Bibliography_90" id="Bibliography_90">(90)</a> -<span class="smcap">C. Michaëlis -de Vasconcellos</span>. <i>Notas sobre a -canção perdida Este es calbi orabi</i> -in <i>Revista Lusitana</i> (1915), p. 1-15.</p> -<p><a name="Bibliography_91" id="Bibliography_91">(91)</a> -<span class="smcap">J. Cejador y Frauca</span>. -<i>Hist. de la lengua y lit. castellana</i> (1915), vol. <span class="smcap">I</span>, p. 457-60.</p> -<p><a name="Bibliography_92" id="Bibliography_92">(92)</a> -<span class="smcap">F. de Figueiredo</span>. -<i>Caracteristicas da litt. portuguesa</i> (1915), p. -27-30. Eng. tr. -(1916), p. 18-22.</p> -<p><a name="Bibliography_93" id="Bibliography_93">(93)</a> -<span class="smcap">O. de Pratt</span>. -<i>Sobre um verso de G. V.</i> Lisboa, 1915.</p> -<p><a name="Bibliography_94" id="Bibliography_94">(94)</a> -<span class="smcap">A. Lopes Vieira</span>. -<i>Autos de G. V.</i> (1916), <i>Prefacio</i>, -p. 9-30.</p> -<p><a name="Bibliography_95" id="Bibliography_95">(95)</a> -<span class="smcap">J. I. Brito Rebello</span>. -<i>A proposito de G. V.</i> in <i>Boletim da Segunda -Classe da Ac. das -Sciencias de Lisboa</i>, vol. <span class="smcap">X</span> -(1916), p. 315-8.</p> -<p><a name="Bibliography_96" id="Bibliography_96">(96)</a> -<span class="smcap">W. S. Hendrix</span>. -<i>The 'Auto da Barca do Inferno of G. V.' and the Spanish -'Tragicomedia -Alegórica del Parayso y del Infierno'</i> in <i>Modern -Philology</i>, vol. <span class="smcap">XIII</span> -(1916), -p. 173-84.</p> -<p><a name="Bibliography_97" id="Bibliography_97">(97)</a> -<span class="smcap">A. Braamcamp Freire</span>. -<i>G. V., trovador, mestre da balança</i> in <i>Revista -de Historia</i>, Nos. -21, 22, 24, 25, 26 (1917-8).</p> -<p><a name="Bibliography_98" id="Bibliography_98">(98)</a> -<span class="smcap">A. Coelho de -Magalhães</span>. <i>Tentativas -pedagógicas. II. A obra vicentina no ensino -secundario</i> in <i>A Águia</i>, Nos. 67-8 -(1917), p. 5-16.</p> -<p><a name="Bibliography_99" id="Bibliography_99">(99)</a> -<span class="smcap">A. A. Marques</span>. -<i>G. V. e as suas obras.</i> Portalegre, 1917.</p> -<p><a name="Bibliography_100" id="Bibliography_100">(100)</a> -<span class="smcap">F. de Figueiredo</span>. -<i>Hist. da Litt. Classica</i> (1917), p. 61-108.</p> -<p><a name="Bibliography_101" id="Bibliography_101">(101)</a> -<span class="smcap">C. Michaëlis -de Vasconcellos</span>. <i>Notas Vicentinas II</i> -in <i>Rev. da Univ. de Coimbra</i>, -vol. <span class="smcap">VI</span> (1918), p. -263-303.</p> -<p><a name="Bibliography_102" id="Bibliography_102">(102)</a> -<span class="smcap">C. Michaëlis -de Vasconcellos</span>. <i>Notas Vicentinas III</i>, -<i>ib</i>. vol. <span class="smcap">VII</span> -(1919), p. 35-51.</p> -<div class="footnotes"> -<h3>FOOTNOTES:</h3> -<div class="footnote"> -<p><a name="Footnote_155_155" id="Footnote_155_155"></a><a href="#FNanchor_155_155"><span class="label">[155]</span></a> -For a more detailed account of some of the works here recorded see C. -Michaëlis de -Vasconcellos, <i>Notas Vicentinas I</i> (1912).</p> -</div> -<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span></p> -<p></p> -</div> -<hr style="width: 65%;" /> -<h2><a name="CHRONOLOGICAL_TABLE_OF_GIL_VICENTES_LIFE" id="CHRONOLOGICAL_TABLE_OF_GIL_VICENTES_LIFE"></a>CHRONOLOGICAL -TABLE OF GIL VICENTE'S LIFE</h2> -<table class="positional" border="1" cellpadding="2" cellspacing="2" width="100%"> -<tbody> -<tr> -<th>G. V.'s Life</th> -<th>Order of G. V.'s Plays</th> -<th>Contemporary Events</th> -</tr> -<tr> -<td>c.1465? Birth of G. V.</td> -<td></td> -<td>c.1465 Death of François Villon.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1466 Death of Donatello.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1467 Birth of Desiderius Erasmus.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1469 Death of -Jorge Manrique.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Birth of -Niccolò Machiavelli.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1469? Birth of -Juan del Enzina.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1470 Birth of -Pietro Bembo.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Birth of -Garcia de Resende.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1471 Birth of -Albrecht Dürer.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1474 Birth of -Lodovico Ariosto.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1475 Birth of -Michael Angelo.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1477 Birth of -Titian.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1478 Birth of Baldassare Castiglione -(† 1526).</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Birth of -Gian Giorgio Trissino.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Birth of -Sir Thomas More.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1481 Accession -of João II.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1482 Birth of -Bernardim Ribeiro.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1483 Birth of -Raffael.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Birth of -Martin Luther.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Birth of -Francesco Guicciardini.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Beheadal of Duke of Braganza.</td> -</tr> -<tr> -<td>[1484-6 Snr Braamcamp Freire assigns G. V.'s first -marriage to -one of these years]</td> -<td></td> -<td>1484 King João II stabs to death the Duke of -Viseu.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1485 [or -later] Birth of -Sá de Miranda.</td> -</tr> -<tr> -<td>[1486-8 Acc. to Snr Braamcamp Freire, birth of G. V.'s -eldest -son]</td> -<td></td> -<td>1486 Birth of -Andrea del Sarto.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Death of -Andrea Verrocchio.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1487 Cape of Good Hope rounded by Bartholomeu Dias.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1489 Birth of -Thomas Cranmer.</td> -</tr> -<tr> -<td>1490? G. V. comes -to Court at Evora?</td> -<td></td> -<td>1490 Marriage of Prince Afonso and Isabel, d. of the -Catholic Kings.</td> -</tr> -<tr> -<td>c.1490? G. V.'s first marriage [to Branca Bezerra]?</td> -<td></td> -<td>— Birth of Vittoria Colonna.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1491 Death of Prince Afonso at Santarem.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Birth of S. Ignacio de Loyola.</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span></td> -<td></td> -<td>— Christopher Columbus sails for America.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— First Portuguese book printed in Portugal.</td> -</tr> -<tr> -<td>c.1492? Birth of G. V.'s eldest son, Gaspar?</td> -<td></td> -<td>1492 Conquest of Granada.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1493 Columbus arrives at Lisbon (6 March) after -discovering -America.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Birth of André de -Resende.</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -1493 or 4 Birth of Nicolaus Clenardus.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1494 Death of Angelo Poliziano.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1494 or 5 Birth of François Rabelais.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1495 (25 Oct.) Accession of King Manuel.</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -1496? Birth of Clément Marot († -1544).</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1497 (July) Vasco -da Gama leaves Lisbon.</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -— Forced conversion of Jews in Portugal.</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -— Birth of Hans Holbein.</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -— Birth of Philip Melancthon.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1498 Girolamo Savonarola burnt at Florence.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1499 (Sept.) Return of Gama -from India.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1500 Pedro Alvarez Cabral discovers Brazil.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Death of Sandro Botticelli.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Birth of Benvenuto Cellini.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Birth of Emperor Charles V.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Birth of Dom João -de Castro.</td> -</tr> -<tr> -<td></td> -<td>1502 (Lisbon, 7 or 8 June) -<i>Auto da Visitaçam</i> (1).</td> -<td>1502 (6 June) Birth of -João III.</td> -</tr> -<tr> -<td></td> -<td>— (Lisbon, Christmas) -<i>Auto Pastoril Castelhano</i> (2).</td> -<td></td> -</tr> -<tr> -<td>1503-6 G. V. fashions the -celebrated Belem monstrance with the first tribute of gold from -India.</td> -<td>1503 (Lisbon, 6 Jan.) -<i>Auto dos Reis Magos</i> (3).</td> -<td>1503 Birth of Garci Lasso de la Vega.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Birth of Sir Thomas Wyatt.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— Famine and plague in Portugal.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— The cousins Albuquerque and Duarte Pacheco -Pereira sail for India.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— (24 Oct.) Birth of Infanta (afterwards -Empress) Isabel.</td> -</tr> -<tr> -<td></td> -<td>1504 (Lisbon) -<i>Auto de S. Martinho</i> (4).</td> -<td>1504 Heroic campaign of D. Pacheco Pereira in India.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— (31 -Dec.) -Birth -of Inf. Beatriz.</td> -</tr> -<tr> -<td>1505? Birth of G. V.'s second son, Belchior.</td> -<td></td> -<td>1505 Riots against Jews at Evora.</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span></td> -<td></td> -<td>— (end July) Arrival at Lisbon of 15 -ships laden with spices. Solemn -procession in honor of D. Pacheco.</td> -</tr> -<tr> -<td>1506 G. V. -preaches a sermon in verse on the birth of Prince Luis (3 March).</td> -<td></td> -<td>1506 (Low Sunday, <i>Pascoela</i>) -Massacre of -Jews at -Lisbon.</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -— Birth of S. Francis Xavier.</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -— Birth of Inf. Luis -(† 1555).</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -— (30 Sept.) -Death -of D. Beatriz (King Manuel's mother).</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1507 (5 June) Birth of Inf. -Fernando.</td> -</tr> -<tr> -<td></td> -<td>1508 (Dec.) or 1509 (Jan.) -(Lisbon) <i>Quem tem farelos?</i> (5).</td> -<td>1508 The King raises interdict placed on Lisbon after -massacre -of Jews.</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -— News brought to the King at -Evora of the siege of Arzila.</td> -</tr> -<tr> -<td colspan="1" rowspan="2"> -1509? G. V. -writes some verses for a poetical contest at Almada, printed in the <i>Canc. -de Resende</i> (1516).<br /> -</td> -<td colspan="1" rowspan="2"> -1509 (Almada, Holy Week?) <i>Auto da India</i> (6).</td> -<td>1509 (Jan.) D. Pacheco defeats the French pirate -Mondragon.</td> -</tr> -<tr> -<td>— -(23 Ap.) Birth of Inf. Afonso.</td> -</tr> -<tr> -<td colspan="1" rowspan="3">1509 (15 Feb.) G. V. is appointed <i>Vedor</i> (overseer) -of all works in gold and silver in the Convent of Thomar, the Hospital -of All Saints, Lisbon, and the Convent of Belem.</td> -<td colspan="1" rowspan="2"></td> -<td> -— Birth of Jean Calvin.</td> -</tr> -<tr> -<td> -— -Afonso de Albuquerque -Governor of India.</td> -</tr> -<tr> -<td> -1510 (Almeirim, Christmas) -<i>Auto da Fé</i> (7).</td> -<td> -1510 Death of Dom Francisco de Almeida, first Viceroy of India.</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -— Albuquerque attacks Calicut and takes Goa.</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -1510? Birth of Lope de Rueda.</td> -</tr> -<tr> -<td></td> -<td>1511 (Lisbon, Carnival?) <i>Auto das Fadas</i> -(8).</td> -<td>1511 -Albuquerque takes Malaca.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Henry VIII of England sends -King Manuel, his -brother-in-law, the Order of the Garter.</td> -</tr> -<tr> -<td>1512 (21 Dec.) G. V. is -elected one of the Twenty-four by the Lisbon Guild of Goldsmiths.</td> -<td>1512 (Lisbon, early in the -year) <i>Farsa dos Fisicos</i> (9).</td> -<td>1512 (31 Jan.) Birth of Cardinal-King -Henrique († 1580).</td> -</tr> -<tr> -<td>1513 (4 Feb.) G. V. is -appointed <i>Mestre da Balança</i>.</td> -<td>1513 (Lisbon, Holy Week?) -<i>O Velho da Horta</i> (10).</td> -<td>1513 -James, Duke of Braganza, sets sail from Lisbon with a -splendidly-equipped -fleet of 450 vessels to capture -Azamor.</td> -</tr> -<tr> -<td colspan="1" rowspan="2">— -(17 Oct.) G. V. is elected by the Twenty-four to be one of their four -representatives on the Lisbon Town Council.</td> -<td>— -(Lisbon, August) <i>Exhortação da Guerra</i> -(11).</td> -<td>— -Albuquerque in the Red Sea -and at Aden.</td> -</tr> -<tr> -<td>1513? (Lisbon, Christmas) -<i>Auto da Sibila Cassandra</i> (12).</td> -<td><span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span>— -Leo X, son of Lorenzo de' -Medici, becomes Pope.</td> -</tr> -<tr> -<td>1514 (1512-14?) G. V. loses -his first wife, Branca Bezerra.</td> -<td>1514 (Lisbon) -<i>Comedia do Viuvo</i> (13).</td> -<td>1514 -Portuguese Embassy to Pope Leo X with magnificent -presents from the East. Garcia de Resende -and the rest of the Mission reach -Italy end of Jan. 1514.</td> -</tr> -<tr> -<td colspan="1" rowspan="3">1515 (21 Sept.) G. V. receives a grant of 20 milreis for the dowry of his sister Felipa -Borges.</td> -<td colspan="1" rowspan="3">1515? (Lisbon, -2nd half of -year)<i> Auto da Fama</i> (14).<br /> -[Snr Braamcamp Freire assigns the <i>Auto da Festa</i> to -this year 1515.]</td> -<td>1515 (Dec.) Death of Albuquerque in India.</td> -</tr> -<tr> -<td>— (7 Sept.) Birth of Inf. Duarte.</td> -</tr> -<tr> -<td>— -Birth of Santa Teresa at -Avila.</td> -</tr> -<tr> -<td></td> -<td colspan="1" rowspan="2">1516? (Lisbon, -Christmas) -<i>Auto dos Quatro Tempos</i> (15).</td> -<td>1516 (9 Sept.) Birth of Inf. Antonio.</td> -</tr> -<tr> -<td></td> -<td>— -Discovery of Mexico.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Garcia de Resende's <i>Cancioneiro Geral</i> -published.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Death of Giovanni Bellini.</td> -</tr> -<tr> -<td>1517 (6 Aug.) G. V. resigns the post of <i>Mestre da Balança</i> -in favour of Diogo Rodriguez.</td> -<td colspan="1" rowspan="3">1517 (Lisbon) -<i>Auto da Barca do Inferno</i> -(16).</td> -<td>1517 -Luther starts the Reformation.</td> -</tr> -<tr> -<td>1517? G. V. -marries Melicia Rodriguez.</td> -<td colspan="1" rowspan="2">— -(Feb.) King Manuel organises a fight between a rhinoceros -and an elephant in an enclosed space in -front of Lisbon's <i>Casa -da Contrataçam da India</i>.</td> -</tr> -<tr> -<td></td> -</tr> -<tr> -<td></td> -<td></td> -<td>— (7 -March) -Death of Queen -Maria.</td> -</tr> -<tr> -<td></td> -<td>1518? (Lisbon, Holy Week) <i>Auto da Alma</i> -(17).</td> -<td>1517 or 18 Birth -of Francisco de Hollanda.</td> -</tr> -<tr> -<td></td> -<td>1518 (Lisbon, Christmas) -<i>Auto da Barca do Purgatorio</i> -(18).<br /> -</td> -<td>1518 (23 Nov.) Queen Lianor (King Manuel's -third wife) arrives in -Portugal.</td> -</tr> -<tr> -<td></td> -<td>[General Brito Rebello, Dr Theophilo Braga and Senhor -Braamcamp Freire -assign the verses to the Conde de Vimioso to this year 1518.]</td> -<td>— -Birth of Tintoretto.</td> -</tr> -<tr> -<td>c.1519? Birth of G. V.'s eldest daughter, Paula.</td> -<td>1519 (Lisbon, Holy Week) -<i>Auto da Barca da Gloria</i> -(19).</td> -<td>1519 -King Charles of Spain elected Emperor (Charles V).</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Death of Leonardo da Vinci.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Death of John Colet.</td> -</tr> -<tr> -<td>1520 G. V. makes -arrangements for the royal entry into Lisbon.</td> -<td></td> -<td>1520 (18 -Feb.) -Birth -of Inf. Carlos at Evora († Lisbon, 15 -Ap. 1521).</td> -</tr> -<tr> -<td>1520? Birth of G. V.'s son Luis.</td> -<td></td> -<td>— -Death of Raffael.</td> -</tr> -<tr> -<td><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span> -</td> -<td></td> -<td>— -Death of John Skelton.</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -— -Fernão de -Magalhães discovers the 'Straits of Magellan.'</td> -</tr> -<tr> -<td></td> -<td>1521 (Lisbon, Holy Week?) -<i>Comedia de Rubena</i> -(20).</td> -<td> -1521 (Jan.) King -and Queen's entry into Lisbon.</td> -</tr> -<tr> -<td></td> -<td> -— (Lisbon, 4 Aug.) -<i>Cortes de Jupiter</i> -(21).</td> -<td> -— (8 -June) -Birth -of Inf. Maria († 1577).</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Solemn reception in Lisbon -of Embassy from Venice.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Departure of Inf. Beatriz -to wed the Duke of Savoy.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— (13 -Dec.) -Death -of King Manuel.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -(Dec.) Proclamation of João III.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Death of Magalhães.</td> -</tr> -<tr> -<td></td> -<td>1522 <i>Pranto de Maria Parda</i>.</td> -<td>1522 Famine in Portugal.</td> -</tr> -<tr> -<td>1523 G. V. -receives the sum of six milreis.</td> -<td>1523 (Thomar, July-Sept.) -<i>Farsa de Ines Pereira</i> (22).</td> -<td>1523 Clement VII becomes Pope.</td> -</tr> -<tr> -<td></td> -<td>— (Evora, Christmas) -<i>Auto Pastoril Portugues</i> -(23).</td> -<td></td> -</tr> -<tr> -<td>1524 G. V. -receives two pensions (12 and 8 milreis).</td> -<td>1524 (Evora, 2nd half of year) -<i>Fragoa de Amor</i> (24).</td> -<td>1524 Birth of Pierre Ronsard.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Birth of Luis de -Camões.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Death of Dom Vasco da Gama.</td> -</tr> -<tr> -<td>1525 G. V. -receives a pension of three bushels of wheat.</td> -<td>1525? (Evora, Holy Week) -<i>Farsa das Ciganas</i> (25).</td> -<td>1525 Plague and famine at Lisbon.</td> -</tr> -<tr> -<td></td> -<td>— -(Lisbon?)<i> Dom -Duardos</i> (26).</td> -<td>— -François I taken -prisoner at battle of Pavia.</td> -</tr> -<tr> -<td></td> -<td>— (Almeirim, Oct.-Nov.?) -<i>O Juiz da Beira</i> (27).</td> -<td>— (17 -Nov.) -Death -of Queen Lianor (widow of João II).</td> -</tr> -<tr> -<td></td> -<td>— (Evora, Christmas) -<i>Auto da Festa</i> (28).</td> -<td>— -Birth of Joachim du Bellay.</td> -</tr> -<tr> -<td></td> -<td>—<i> Trovas ao Conde de Vimioso</i>.</td> -<td></td> -</tr> -<tr> -<td></td> -<td>1526 (Lisbon, -Jan.)<i> Templo de Apolo</i> (29).</td> -<td>1526 -Marriage of Emperor Charles V and Isabel, d. of King -Manuel.</td> -</tr> -<tr> -<td></td> -<td>1526-8 -(Almeirim) <i>Sumario da Historia de Deos</i> -(30).</td> -<td>— -Sá de Miranda -returns from Italy.</td> -</tr> -<tr> -<td></td> -<td>— -(Almeirim) <i>Dialogo -sobre a Ressurreiçam</i> (31).</td> -<td>— -Boscán tackles the -hendecasyllable.</td> -</tr> -<tr> -<td></td> -<td>1527 (Lisbon) -<i>Nao de Amores</i> (32).</td> -<td>1527 Birth of Inf. Maria.</td> -</tr> -<tr> -<td></td> -<td>— -(Coimbra)<i> Divisa -da Cidade de Coimbra</i> (33).</td> -<td>— -Birth of Fray Luis de -León.</td> -</tr> -<tr> -<td></td> -<td>— -(Coimbra) <i>Farsa -dos Almocreves</i> (34).</td> -<td>— -Birth of Philip II of Spain.</td> -</tr> -<tr> -<td></td> -<td>— -(Coimbra)<i>Tragicomedia -da Serra da Estrella</i> (35).</td> -<td>— -Sack of Rome.</td> -</tr> -<tr> -<td></td> -<td>—<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span><i>Trovas -a Dom João III.</i></td> -<td>— -Death of Machiavelli.</td> -</tr> -<tr> -<td>1528 G. V. -receives a further pension of 12 milreis.</td> -<td>1528 (Lisbon, Christmas) -<i>Auto da Feira</i> (36).</td> -<td> -1528 -Death of Dürer.</td> -</tr> -<tr> -<td></td> -<td></td> -<td> -— -Birth of Antonio Ferreira.</td> -</tr> -<tr> -<td></td> -<td>1529 (Lisbon, -April)<i> Triunfo do Inverno</i> (37).</td> -<td> -1529 -Birth of Inf. Isabel.</td> -</tr> -<tr> -<td></td> -<td>1529-30 (Lisbon, -Christmas? Between Sept. 1529 and Feb. 19, 1530) <i>O Clerigo da -Beira</i> (38).</td> -<td>1529? -Death of Juan del Enzina.</td> -</tr> -<tr> -<td>c.1530? Birth of G. V.'s daughter Valeria Borges.</td> -<td>c.1530 <i>Trovas a Felipe Guilhen</i>.</td> -<td>1530 (15 Feb.) Birth of Inf. Beatriz.</td> -</tr> -<tr> -<td>1531 (Jan.) G. V. preaches -a sermon to the monks at Santarem on occasion of the earthquake.</td> -<td>1531<i> Jubileu de Amores</i> acted at -Brussels.</td> -<td>— -Birth of Inf. Manuel.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -(Jan.) Great earthquake at Lisbon and other towns.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -First Bull for -establishment of Inquisition in Portugal.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1531? -Death of Bartolomé de Torres Naharro.</td> -</tr> -<tr> -<td></td> -<td>1532 (Lisbon) -<i>Auto da Lusitania</i> -(39).</td> -<td></td> -</tr> -<tr> -<td></td> -<td>1533 (Evora) -<i>Romagem de -Aggravados</i> (40).</td> -<td>1533 Birth of Michel de -Montaigne.</td> -</tr> -<tr> -<td></td> -<td>— -(Evora)<i> Amadis -de Gaula</i> (41).</td> -<td>— -Clenardus comes to Portugal -from Salamanca.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>1533? -Death of Duarte Pacheco.</td> -</tr> -<tr> -<td></td> -<td>1534 -(Oudivellas)<i> Auto da Cananea</i> -(42).</td> -<td></td> -</tr> -<tr> -<td></td> -<td>— -(Evora, Christmas) -<i>Auto da Mofina Mendes</i> (43).</td> -<td>1534 Birth of Fernando de -Herrera, <i>el Divino</i>.</td> -</tr> -<tr> -<td>1535 G. V. -receives 8 milreis as dress allowance (<i>vestiaria</i>).</td> -<td>1535 [The Conde de Sabugosa assigns the <i>Auto -da Festa</i> -to this year.]</td> -<td>1535 Sir Thomas More executed.</td> -</tr> -<tr> -<td>1536? Death of G. V. at Evora.</td> -<td>1536 (Evora) -<i>Floresta de Enganos</i> (44).</td> -<td>1536 -Death of Erasmus.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Death of Garci Lasso de la -Vega.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Death of Garcia de Resende.</td> -</tr> -<tr> -<td></td> -<td></td> -<td>— -Introduction of Inquisition -into Portugal.</td> -</tr> -</tbody> -</table> -<hr style="width: 65%;" /> -<p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span><br /> -</p> -<h2><a name="INDEX_OF_PERSONS_AND_PLACES" id="INDEX_OF_PERSONS_AND_PLACES"></a>INDEX OF PERSONS -AND PLACES</h2> -<p> -<i>Abrantes</i>, <a href="#Page_48">48</a><br /> -Abul (Vasco), <a href="#Page_xviii">xviii</a><br /> -<i>Aden</i>, <a href="#Page_xxi">xxi</a><br /> -Afonso V, <a href="#Page_x">x</a><br /> -Afonso Prince, <a href="#Page_xii">xii</a>, <a href="#Page_xiii">xiii</a><br /> -Afonso (Gregorio), <a href="#Page_xxxviii">xxxviii</a><br /> -<i>Africa</i>, <a href="#Page_x">x</a>, -<a href="#Page_xix">xix</a>, <a href="#Page_xxii">xxii</a>, -<a href="#Page_34">34</a>, <a href="#Page_75">75</a><br /> -Alarcón (Pedro Antonio de), <a href="#Page_l">l</a><br /> -Albuquerque (Afonso de), <a href="#Page_xix">xix</a>, -<a href="#Page_xxi">xxi</a>, <a href="#Page_xxxv">xxxv</a>, -<a href="#Page_77">77</a><br /> -<i>Alcobaça</i>, <a href="#Page_39">39</a>, -<a href="#Page_40">40</a><br /> -Aleandro, Cardinal, <a href="#Page_xxvii">xxvii</a>, -<a href="#Page_xxx">xxx</a><br /> -Alfonso X, <a href="#Page_xl">xl</a><br /> -<i>Almada</i>, <a href="#Page_xix">xix</a>, -<a href="#Page_27">27</a>, <a href="#Page_76">76</a><br /> -Almeida (Dom Francisco de), <a href="#Page_xxxv">xxxv</a><br /> -Almeida Garrett, Visconde, <a href="#Page_xlii">xlii</a>, -<a href="#Page_li">li</a><br /> -<i>Almeirim</i>, <a href="#Page_xix">xix</a>, -<a href="#Page_xxii">xxii</a>, <a href="#Page_xxvi">xxvi</a>, <a href="#Page_xli">xli</a><br /> -Alvarez (Francisco), <a href="#Page_xxix">xxix</a><br /> -<i>Amadis de Gaula</i>, <a href="#Page_xxx">xxx</a>, -<a href="#Page_xlv">xlv</a><br /> -Anriquez (Luis), <a href="#Page_xiii">xiii</a><br /> -<i>Apolonio, Libro de</i>, <a href="#Page_xlvii">xlvii</a><br /> -Aristotle, <a href="#Page_xxxvi">xxxvi</a>, <a href="#Page_xliii">xliii</a>, <a href="#Page_xlvi">xlvi</a><br /> -<i>Arruda</i>, <a href="#Page_27">27</a>, -<a href="#Page_76">76</a><br /> -<i>Arzila</i>, <a href="#Page_xix">xix</a><br /> -Astorga, Marqués de, <a href="#Page_xxxi">xxxi</a><br /> -<i>Aulegrafia</i>, <a href="#Page_xxxix">xxxix</a><br /> -<i>Aveiro</i>, <a href="#Page_46">46</a>, -<a href="#Page_81">81</a><br /> -<i>Azamor</i>, <a href="#Page_xx">xx</a>, -<a href="#Page_xxi">xxi</a>, <a href="#Page_23">23</a>, -<a href="#Page_75">75</a><br /> -<br /> -<i>Barcellos</i>, <a href="#Page_x">x</a><br /> -Barros (João de), <a href="#Page_xviii">xviii</a><br /> -Beatriz, Dona, <a href="#Page_xiv">xiv</a>, <a href="#Page_xv">xv</a><br /> -Beatriz, Duchess of Savoy, <a href="#Page_xxiii">xxiii</a>, -<a href="#Page_29">29</a>, <a href="#Page_77">77</a><br /> -<i>Beira</i>, <a href="#Page_xi">xi</a>, -<a href="#Page_xxxvii">xxxvii</a>, <a href="#Page_xxxix">xxxix</a>, <a href="#Page_xl">xl</a>, -<a href="#Page_xliii">xliii</a>, <a href="#Page_55">55</a>, <a href="#Page_71">71</a><br /> -<i>Belem</i>, <a href="#Page_xv">xv</a>, -<a href="#Page_xvi">xvi</a>, <a href="#Page_xviii">xviii</a>, <a href="#Page_xxxv">xxxv</a><br /> -Berceo (Gonzalo de), <a href="#Page_xxxvii">xxxvii</a><br /> -Bezerra (Branca), <a href="#Page_xxi">xxi</a><br /> -<i>Bible, The</i>, <a href="#Page_xxx">xxx</a>, -<a href="#Page_xxxvii">xxxvii</a>, <a href="#Page_xlii">xlii</a>, <a href="#Page_xliii">xliii</a>, -<a href="#Page_xlviii">xlviii</a><br /> -<i>Biscay</i>, <a href="#Page_37">37</a><br /> -Borges (Felipa), <a href="#Page_xiii">xiii</a><br /> -Borges (Valeria), <a href="#Page_xxxi">xxxi</a><br /> -Braamcamp Freire (Anselmo), <a href="#Page_vi">vi</a>, -<a href="#Page_ix">ix</a>, <a href="#Page_xii">xii</a>, -<a href="#Page_xvi">xvi</a>, <a href="#Page_xix">xix</a>, -<a href="#Page_xx">xx</a>, <a href="#Page_xxii">xxii</a>, -<a href="#Page_xxv">xxv</a>, <a href="#Page_xxvi">xxvi</a>, -<a href="#Page_xxvii">xxvii</a>, <a href="#Page_xxix">xxix</a><br /> -Braga (Theophilo), <a href="#Page_ix">ix</a>, <a href="#Page_xvi">xvi</a><br /> -Braganza, Ferdinand, Duke of, <a href="#Page_x">x</a><br /> -Braganza, James, Duke of, <a href="#Page_xx">xx</a>, -<a href="#Page_23">23</a>, 7<a href="#Page_5">5</a><br /> -<i>Brazil</i>, <a href="#Page_xiv">xiv</a>, -<a href="#Page_53">53</a><br /> -Brito Rebello (Jacinto Ignacio), <a href="#Page_x">x</a>, -<a href="#Page_xviii">xviii</a>, <a href="#Page_xxvi">xxvi</a><br /> -<i>Brittany</i>, <a href="#Page_37">37</a><br /> -Browning (Robert), <a href="#Page_xlix">xlix</a>, -<a href="#Page_82">82</a><br /> -<i>Brussels</i>, <a href="#Page_xxx">xxx</a><br /> -<br /> -Calderón (Pedro), <a href="#Page_xliv">xliv</a>, -<a href="#Page_li">li</a><br /> -Camões (Luis de), <a href="#Page_xxv">xxv</a><br /> -<i>Cananor</i>, <a href="#Page_xv">xv</a><br /> -<i>Cancioneiro da Vaticana</i>, <a href="#Page_xlii">xlii</a><br /> -<i>Cancioneiro Geral</i>, <a href="#Page_ix">ix</a>, -<a href="#Page_xiii">xiii</a>, <a href="#Page_xxxvii">xxxvii</a>, <a href="#Page_xlii">xlii</a>, <a href="#Page_xliii">xliii</a>, -<a href="#Page_xlv">xlv</a><br /> -<i>Candosa</i>, <a href="#Page_80">80</a><br /> -<i>Caparica</i>, <a href="#Page_27">27</a>, -7<a href="#Page_6">6</a><br /> -<i>Cartaxo</i>, <a href="#Page_26">26</a>, -<a href="#Page_76">76</a><br /> -<i>Castilla</i>, <a href="#Page_xxviii">xxviii</a>, -<a href="#Page_xxxii">xxxii</a>, <a href="#Page_xlv">xlv</a>, <a href="#Page_55">55</a>, -<a href="#Page_69">69</a><br /> -Catharine, Queen, <a href="#Page_xxv">xxv</a>, <a href="#Page_xxix">xxix</a>, <a href="#Page_xlv">xlv</a><br /> -Caviceo (Jacopo), <a href="#Page_xliv">xliv</a><br /> -<i>Cea</i>. See <i><a href="#Index_Sea">Sea</a></i><br /> -Celestina, <a href="#Page_xlvi">xlvi</a><br /> -<i>Cent Nouvelles Nouvelles, Les</i>, <a href="#Page_l">l</a><br /> -<i>Certã.</i> See <i><a href="#Index_Sertae">Sertãe</a></i><br /> -Cervantes (Miguel de), <a href="#Page_li">li</a><br /> -Charles V, <a href="#Page_xxv">xxv</a><br /> -Chiado. <i>See</i> <a href="#Index_RibeiroA">Ribeiro -(A.)</a><br /> -<i>Cintra</i>. See <i><a href="#Index_Sintra">Sintra</a></i><br /> -Clenardus (Nicolaus), <a href="#Page_80">80</a><br /> -<i>Cochin</i>, <a href="#Page_x">x</a><br /> -<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span><i>Coimbra</i>, -<a href="#Page_xxix">xxix</a>, <a href="#Page_xli">xli</a>, <a href="#Page_37">37</a>, -<a href="#Page_55">55</a>, <a href="#Page_56">56</a>, -<a href="#Page_57">57</a>, <a href="#Page_63">63</a>, -<a href="#Page_78">78</a><br /> -<i>Colares</i>, <a href="#Page_xxii">xxii</a><br /> -Colón (Fernando), <a href="#Page_xliv">xliv</a><br /> -Columbus (Christopher), <a href="#Page_xiv">xiv</a><br /> -<i>Conde Lucanor, El</i>, <a href="#Page_xlviii">xlviii</a>, -<a href="#Page_l">l</a><br /> -Correa Garcão (Pedro Antonio), <a href="#Page_li">li</a><br /> -Coutinho, Marshal, <a href="#Page_xix">xix</a><br /> -<i>Covilham</i>, <a href="#Page_68">68</a>, -<a href="#Page_83">83</a><br /> -<i>Crato</i>, <a href="#Page_xxii">xxii</a><br /> -<i>Crete</i>, <a href="#Page_xxxii">xxxii</a><br /> -<i>Cronica Troyana</i>, <a href="#Page_xx">xx</a><br /> -Cunha (Tristão da), <a href="#Page_xix">xix</a>, -<a href="#Page_75">75</a>, <a href="#Page_76">76</a><br /> -<br /> -Dante Alighieri, <a href="#Page_xliii">xliii</a><br /> -<i>Danza de la Muerte</i>, <a href="#Page_xxiv">xxiv</a>, -<a href="#Page_xxxvii">xxxvii</a>, <a href="#Page_xxxviii">xxxviii</a>, <a href="#Page_xli">xli</a>, -<a href="#Page_xlii">xlii</a>, <a href="#Page_xliv">xliv</a><br /> -Diaz (Hernando), <a href="#Page_xliv">xliv</a><br /> -Dürer (Albrecht), <a href="#Page_76">76</a><br /> -<br /> -<i>England</i>, <a href="#Page_xlvii">xlvii</a><br /> -Enzina (Juan del), <a href="#Page_xi">xi</a>, <a href="#Page_xiii">xiii</a>, <a href="#Page_xx">xx</a>, -<a href="#Page_xxi">xxi</a>, <a href="#Page_xxxi">xxxi</a>, -<a href="#Page_xli">xli</a>, <a href="#Page_xlii">xlii</a>, -<a href="#Page_xliv">xliv</a>, <a href="#Page_xlv">xlv</a>, <a href="#Page_73">73</a>, -<a href="#Page_75">75</a><br /> -<i>Evora</i>, <a href="#Page_x">x</a>, <a href="#Page_xii">xii</a>, <a href="#Page_xiii">xiii</a>, -<a href="#Page_xxii">xxii</a>, <a href="#Page_xxv">xxv</a>, <a href="#Page_xxviii">xxviii</a>, -<a href="#Page_xxx">xxx</a>, <a href="#Page_xxxi">xxxi</a>, -<a href="#Page_xli">xli</a>, <a href="#Page_xliii">xliii</a><br /> -<br /> -Felipe, Infante, <a href="#Page_xxx">xxx</a><br /> -Ferdinand the Catholic, <a href="#Page_xxi">xxi</a>, -<a href="#Page_xxxvii">xxxvii</a><br /> -Fernández (Lucas), <a href="#Page_xi">xi</a>, -<a href="#Page_xxii">xxii</a>, <a href="#Page_xxxvi">xxxvi</a>, <a href="#Page_73">73</a>, -<a href="#Page_83">83</a><br /> -Fernando, Infante, <a href="#Page_29">29</a>, <a href="#Page_77">77</a><br /> -<i>Fez</i>, <a href="#Page_31">31</a>, 3<a href="#Page_5">5</a><br /> -<i>Flanders</i>, <a href="#Page_49">49</a><br /> -Fortunatus (Venantius), <a href="#Page_74">74</a><br /> -<i>France</i>, <a href="#Page_xlii">xlii</a>, -<a href="#Page_xlvii">xlvii</a>, <a href="#Page_26">26</a>, <a href="#Page_44">44</a>, -<a href="#Page_49">49</a>, <a href="#Page_50">50</a>, -<a href="#Page_81">81</a><br /> -François I, <a href="#Page_xxx">xxx</a><br /> -<i>Fronteira</i>, <a href="#Page_64">64</a>, -<a href="#Page_83">83</a><br /> -<br /> -Gama (Vasco da), <a href="#Page_xv">xv</a><br /> -Gaunt (John of), <a href="#Page_x">x</a><br /> -Gautier (Théophile), <a href="#Page_73">73</a><br /> -<i>Germany</i>, <a href="#Page_49">49</a><br /> -<i>Gesta Romanorum</i>, <a href="#Page_xlvii">xlvii</a><br /> -<i>Goa</i>, <a href="#Page_xxi">xxi</a><br /> -Goes (Damião de), <a href="#Page_xi">xi</a>, -<a href="#Page_xxiii">xxiii</a>, <a href="#Page_xxxii">xxxii</a>, <a href="#Page_77">77</a><br /> -Goethe (Johann Wolfgang von), <a href="#Page_11">11</a>, -<a href="#Page_73">73</a>, <a href="#Page_74">74</a><br /> -<i>Gouvea</i>, <a href="#Page_68">68</a>, -<a href="#Page_83">83</a><br /> -Gower (John), <a href="#Page_xlvii">xlvii</a><br /> -<i>Granada</i>, <a href="#Page_xiv">xiv</a><br /> -<i>Guimarães</i>, <a href="#Page_x">x</a>, -<a href="#Page_xii">xii</a><br /> -<i>Guinea</i>, <a href="#Page_40">40</a><br /> -<br /> -Henry, Cardinal-King, <a href="#Page_75">75</a><br /> -Henry, the Navigator, <a href="#Page_x">x</a><br /> -Herculano (Alexandre), <a href="#Page_ix">ix</a><br /> -Hita, Archpriest of. <i>See</i> <a href="#Index_Ruiz">Ruiz</a><br /> -<i>Holland</i>, <a href="#Page_xlvii">xlvii</a><br /> -Hollanda (Francisco de), <a href="#Page_76">76</a><br /> -Hutten (Ulrich von), <a href="#Page_76">76</a><br /> -<br /> -<i>India</i>, <a href="#Page_xiv">xiv</a>, -<a href="#Page_xv">xv</a>, <a href="#Page_xix">xix</a>, -<a href="#Page_xxi">xxi</a>, <a href="#Page_xl">xl</a><br /> -Isabel, Empress, <a href="#Page_xxiii">xxiii</a>, <a href="#Page_xxviii">xxviii</a>, <a href="#Page_35">35</a>, -<a href="#Page_56">56</a>, <a href="#Page_76">76</a>-7<br /> -Isabel, Infanta, <a href="#Page_xii">xii</a>, <a href="#Page_xiii">xiii</a><br /> -Isabel, d. of João III, <a href="#Page_xxix">xxix</a><br /> -Isabella the Catholic, <a href="#Page_xv">xv</a><br /> -Iseu, <a href="#Page_xlv">xlv</a><br /> -<i>Italy</i>, <a href="#Page_xi">xi</a>, -<a href="#Page_xxix">xxix</a>, <a href="#Page_xlvii">xlvii</a>, <a href="#Page_82">82</a><br /> -<br /> -Jews, <a href="#Page_xxxii">xxxii</a>, <a href="#Page_xxxiii">xxxiii</a>, <a href="#Page_xlix">xlix</a><br /> -João I, Master of Avis, <a href="#Page_x">x</a><br /> -João II, <a href="#Page_x">x</a>, <a href="#Page_xii">xii</a>, <a href="#Page_xiii">xiii</a>, -<a href="#Page_xiv">xiv</a>, <a href="#Page_xxxiv">xxxiv</a><br /> -João III, <a href="#Page_xiv">xiv</a>, <a href="#Page_xxiii">xxiii</a>, <a href="#Page_xxiv">xxiv</a>, -<a href="#Page_xxv">xxv</a>, <a href="#Page_xxix">xxix</a>, -<a href="#Page_xxx">xxx</a>, <a href="#Page_xxxii">xxxii</a>, <a href="#Page_xxxiii">xxxiii</a>, <a href="#Page_28">28</a><br /> -Juan Manuel, Infante, <a href="#Page_xlviii">xlviii</a>, -<a href="#Page_l">l</a><br /> -<br /> -La Fontaine (Jean de), <a href="#Page_l">l</a><br /> -Lancaster, Philippa of. <i>See</i> <a href="#Index_Philippa">Philippa</a><br /> -<i>Landeira</i>, <a href="#Page_26">26</a>, -<a href="#Page_76">76</a><br /> -<i>Lazarillo de Tormes</i>, <a href="#Page_xliii">xliii</a><br /> -Leite de Vasconcellos (José), <a href="#Page_vi">vi</a>, -<a href="#Page_ix">ix</a>, <a href="#Page_xi">xi</a><br /> -Lianor, Queen Consort of João II, <a href="#Page_xii">xii</a>-<a href="#Page_xv">xv</a>, <a href="#Page_xvii">xvii</a>-<a href="#Page_xxiii">xxiii</a>, <a href="#Page_xxv">xxv</a>, -<a href="#Page_l">l</a>, -<a href="#Page_73">73</a>, <a href="#Page_74">74</a><br /> -Lianor, Queen Consort of Manuel I, <a href="#Page_xxii">xxii</a>, -<a href="#Page_xxiii">xxiii</a>, <a href="#Page_xxxviii">xxxviii</a><br /> -<i>Lisbon</i>, <a href="#Page_x">x</a>, -<a href="#Page_xiii">xiii</a>-<a href="#Page_xvi">xvi</a>, -<a href="#Page_xviii">xviii</a>-<a href="#Page_xxiv">xxiv</a>, <a href="#Page_xxvi">xxvi</a>, -<a href="#Page_xxvii">xxvii</a>, -<a href="#Page_xxxviii">xxxviii</a>-<a href="#Page_xl">xl</a>, <a href="#Page_xlviii">xlviii</a><br /> -Luis, Infante, <a href="#Page_xviii">xviii</a>, <a href="#Page_xxiii">xxiii</a>, <a href="#Page_23">23</a>, -<a href="#Page_75">75</a><br /> -<i>Lumiar</i>, <a href="#Page_26">26</a>, -<a href="#Page_76">76</a><br /> -Luther (Martin), <a href="#Page_xxxiii">xxxiii</a>, -<a href="#Page_xxxvi">xxxvi</a><br /> -<br /> -Machado (Simão), <a href="#Page_80">80</a><br /> -Macias, <a href="#Page_xliv">xliv</a>, <a href="#Page_82">82</a><br /> -<i>Malaca</i>, <a href="#Page_xxi">xxi</a><br /> -Manrique (Gomez), <a href="#Page_xxi">xxi</a>, <a href="#Page_75">75</a>, -<a href="#Page_77">77</a><br /> -Manrique (Jorge), <a href="#Page_73">73</a><br /> -<i>Manteigas</i>, <a href="#Page_68">68</a>, -<a href="#Page_83">83</a><br /> -Manuel I, <a href="#Page_xi">xi</a>, <a href="#Page_xiv">xiv</a>, <a href="#Page_xv">xv</a>, -<a href="#Page_xviii">xviii</a>-<a href="#Page_xxiv">xxiv</a>, <a href="#Page_xxxii">xxxii</a>, -<a href="#Page_xxxvii">xxxvii</a>, <a href="#Page_xlvi">xlvi</a>, <a href="#Page_73">73</a><br /> -Maria, Queen, <a href="#Page_xiv">xiv</a>, <a href="#Page_xxii">xxii</a>, <a href="#Page_xlvi">xlvi</a><br /> -Martial, <a href="#Page_78">78</a><br /> -<i>Mealhada</i>, <a href="#Page_26">26</a>, -<a href="#Page_76">76</a><br /> -<i>Medina</i>, <a href="#Page_48">48</a>, -<a href="#Page_81">81</a><br /> -Menander, <a href="#Page_xxxi">xxxi</a><br /> -Menéndez y Pelayo (Marcelino), <a href="#Page_v">v</a>, -<a href="#Page_xvi">xvi</a>, <a href="#Page_xxv">xxv</a>, -<a href="#Page_xliv">xliv</a><br /> -Michaëlis de Vasconcellos (Carolina), <a href="#Page_vi">vi</a>, -<a href="#Page_ix">ix</a>, <a href="#Page_x">x</a><br /> -Miguel, Infante, <a href="#Page_xliii">xliii</a><br /> -<i>Minho</i>, <a href="#Page_x">x</a><br /> -<i>Monsarraz</i>, <a href="#Page_64">64</a><br /> -<i>Morocco</i>, <a href="#Page_31">31</a><br /> -<br /> -Newman (John Henry), Cardinal, <a href="#Page_xxx">xxx</a>, -<a href="#Page_li">li</a>, <a href="#Page_73">73</a>, -<a href="#Page_74">74</a><br /> -Nun' Alvarez Pereira, <a href="#Page_x">x</a><br /> -<br /> -Ortiz de Vilhegas (Diogo), <a href="#Page_80">80</a><br /> -Osorio (Jeronimo), <a href="#Page_xxiii">xxiii</a><br /> -<i>Oudivellas</i>, <a href="#Page_xxx">xxx</a><br /> -<br /> -Pacheco Pereira (Duarte), <a href="#Page_90">90</a>, -<a href="#Page_91">91</a><br /> -<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span><i>Pederneira</i>, -<a href="#Page_39">39</a>, <a href="#Page_79">79</a><br /> -Penella, Conde de, <a href="#Page_xxxiv">xxxiv</a><br /> -<a name="Index_Philippa" id="Index_Philippa">Philippa, -Queen</a>, <a href="#Page_x">x</a><br /> -Pinto (Frei Heitor), <a href="#Page_xlix">xlix</a><br /> -Plautus, <a href="#Page_xxxi">xxxi</a>, <a href="#Page_xliii">xliii</a><br /> -<i>Portugal</i>, <a href="#Page_x">x</a>, -<a href="#Page_xx">xx</a>, <a href="#Page_xxiv">xxiv</a>, -<a href="#Page_xxxv">xxxv</a>, <a href="#Page_xxxvi">xxxvi</a>, <a href="#Page_xxxvii">xxxvii</a>, <a href="#Page_xli">xli</a>, -<a href="#Page_xlvii">xlvii</a>, <a href="#Page_31">31</a>, <a href="#Page_77">77</a>, -<a href="#Page_78">78</a>, <a href="#Page_81">81</a><br /> -Portugal (Dom Martinho de), <a href="#Page_xxviii">xxviii</a><br /> -Pradilla, El Bachiller de la, <a href="#Page_xxii">xxii</a><br /> -Prestes (Antonio), <a href="#Page_l">l</a><br /> -<i>Prevaricación de Adán</i>, <a href="#Page_74">74</a><br /> -<i>Primaleon</i>, <a href="#Page_xxv">xxv</a><br /> -<i>Psalm LI</i>, <a href="#Page_xxv">xxv</a><br /> -<br /> -<i>Quiloa</i>, <a href="#Page_xv">xv</a><br /> -<br /> -<i>Représentation d'Adam</i>, <a href="#Page_xlviii">xlviii</a><br /> -Resende (André de), <a href="#Page_xviii">xviii</a><br /> -Resende (Garcia de), <a href="#Page_ix">ix</a>, <a href="#Page_xii">xii</a>, <a href="#Page_xvi">xvi</a>, -<a href="#Page_xvii">xvii</a>, <a href="#Page_xxxi">xxxi</a>, <a href="#Page_xxxiv">xxxiv</a>, -<a href="#Page_75">75</a>, <a href="#Page_79">79</a><br /> -<i>Residencia del Hombre, La</i>, <a href="#Page_74">74</a><br /> -<i>Ribatejo</i>, <a href="#Page_26">26</a>, -<a href="#Page_76">76</a><br /> -<a name="Index_RibeiroA" id="Index_RibeiroA">Ribeiro -(Antonio)</a>, <i>O Chiado</i>, <a href="#Page_xxvi">xxvi</a>, <a href="#Page_xxvii">xxvii</a>, -<a href="#Page_l">l</a><br /> -Ribeiro (Bernardim), <a href="#Page_xvi">xvi</a><br /> -Ribeiro (Nuno), <a href="#Page_45">45</a>, <a href="#Page_80">80</a><br /> -Rodriguez (Diogo), <a href="#Page_xxii">xxii</a><br /> -Rodriguez (Melicia), <a href="#Page_xxii">xxii</a>, -<a href="#Page_xxv">xxv</a><br /> -<i>Rome</i>, <a href="#Page_xxx">xxx</a>, -<a href="#Page_xxxi">xxxi</a>, <a href="#Page_xxxiii">xxxiii</a>, <a href="#Page_xxxix">xxxix</a>, <a href="#Page_27">27</a>, -<a href="#Page_33">33</a>, <a href="#Page_75">75</a>, -<a href="#Page_76">76</a><br /> -<i>Roncesvalles,</i> <a href="#Page_xlvi">xlvi</a><br /> -Rueda (Lope de), <a href="#Page_1">1</a><br /> -<a name="Index_Ruiz" id="Index_Ruiz">Ruiz (Juan)</a>, -<a href="#Page_xliii">xliii</a><br /> -<br /> -Sabugosa, Conde de, <a href="#Page_xii">xii</a>, <a href="#Page_xxvi">xxvi</a><br /> -Sacchetti (Franco), <a href="#Page_xxxviii">xxxviii</a><br /> -Sá de Miranda (Francisco de), <a href="#Page_xxix">xxix</a>, -<a href="#Page_xliii">xliii</a>, <a href="#Page_xlviii">xlviii</a>, <a href="#Page_78">78</a>, -<a href="#Page_79">79</a>, <a href="#Page_82">82</a><br /> -<i>Salamanca,</i> <a href="#Page_xliii">xliii</a><br /> -Sanches de Baena, Visconde, <a href="#Page_xvii">xvii</a><br /> -Sanchez de Badajoz (Garci), <a href="#Page_xix">xix</a><br /> -San Pedro (Diego de), <a href="#Page_xliv">xliv</a><br /> -<i>Santarem</i>, <a href="#Page_xxix">xxix</a>, -<a href="#Page_xxx">xxx</a>, <a href="#Page_xxxii">xxxii</a>, <a href="#Page_xl">xl</a>, -<a href="#Page_xli">xli</a>, <a href="#Page_39">39</a><br /> -<i>Santiago de Compostela</i>, <a href="#Page_xv">xv</a><br /> -<i>Sardoal</i>, <a href="#Page_69">69</a>, -<a href="#Page_70">70</a>, <a href="#Page_83">83</a><br /> -<a name="Index_Sea" id="Index_Sea"><i>Sea</i></a>, -<a href="#Page_68">68</a>, <a href="#Page_83">83</a><br /> -<i>Seixal</i>, <a href="#Page_27">27</a>, -<a href="#Page_76">76</a><br /> -<i>Sergas de Esplandian, Las</i>, <a href="#Page_xviii">xviii</a><br /> -<i>Serra da Estrella</i>, <a href="#Page_x">x</a>, -<a href="#Page_xi">xi</a>, <a href="#Page_55">55</a>-<a href="#Page_71">71</a>, <a href="#Page_82">82</a><br /> -<a name="Index_Sertae" id="Index_Sertae"><i>Sertãe</i></a>, -<a href="#Page_51">51</a>, <a href="#Page_82">82</a><br /> -<i>Sevilla</i>, <a href="#Page_xliii">xliii</a><br /> -Shakespeare (William), <a href="#Page_ix">ix</a>, <a href="#Page_xlvii">xlvii</a>, <a href="#Page_xlviii">xlviii</a><br /> -Shelley (Percy Bysshe), <a href="#Page_73">73</a><br /> -<a name="Index_Sintra" id="Index_Sintra"><i>Sintra</i></a>, -<a href="#Page_xxii">xxii</a><br /> -Sousa Viterbo (Francisco Marques de), <a href="#Page_xliii">xliii</a><br /> -Southey (Robert), <a href="#Page_xxxiv">xxxiv</a><br /> -<i>Spain</i>, <a href="#Page_xlii">xlii</a>, -<a href="#Page_xlvii">xlvii</a><br /> -Swinburne (Algernon Charles), <a href="#Page_73">73</a><br /> -<br /> -<i>Taming of a Shrew</i>, <a href="#Page_xlviii">xlviii</a><br /> -Tentugal, Conde de, <a href="#Page_xxxiv">xxxiv</a><br /> -Terence, <a href="#Page_xliii">xliii</a><br /> -<i>Testament de Pathelin</i>, <a href="#Page_xlv">xlv</a><br /> -<i>Thomar</i>, <a href="#Page_xviii">xviii</a>, -<a href="#Page_xxiv">xxiv</a>, <a href="#Page_xli">xli</a><br /> -Ticknor (George), <a href="#Page_xvii">xvii</a><br /> -Timoneda (Juan de), <a href="#Page_xlvii">xlvii</a><br /> -<i>Tojal</i>, <a href="#Page_27">27</a>, -<a href="#Page_76">76</a><br /> -Torres Naharro (Bartolomé), <a href="#Page_xi">xi</a>, -<a href="#Page_xxxvi">xxxvi</a>, <a href="#Page_xlv">xlv</a><br /> -<i>Torres Vedras</i>, <a href="#Page_xxii">xxii</a><br /> -<i>Tragicomedia alegórica del Paraiso y del Infierno</i>, -<a href="#Page_1">1</a><br /> -Trissino (Gian Giorgio), <a href="#Page_xliii">xliii</a>, -<a href="#Page_79">79</a><br /> -<i>Turkey</i>, <a href="#Page_44">44</a>, -<a href="#Page_45">45</a><br /> -Twine (Lawrence), <a href="#Page_xlvii">xlvii</a><br /> -<br /> -<i>Val de Cobelo</i>, <a href="#Page_49">49</a>, -<a href="#Page_81">81</a><br /> -Valdés (Alfonso de), <a href="#Page_xxix">xxix</a><br /> -Valdés (Juan de), <a href="#Page_xxix">xxix</a>, -<a href="#Page_xliv">xliv</a><br /> -<i>Valencia</i>, <a href="#Page_7">7</a><br /> -Vasconcellos (Joaquim de), <a href="#Page_76">76</a><br /> -Vaz (Simão), <a href="#Page_40">40</a><br /> -Vega (Lope de), <a href="#Page_xvi">xvi</a>, <a href="#Page_li">li</a><br /> -Velázquez (Diego), <a href="#Page_xxxii">xxxii</a><br /> -<i>Venice</i>, <a href="#Page_49">49</a><br /> -Vicente (Belchior), <a href="#Page_xiii">xiii</a>, <a href="#Page_xviii">xviii</a>, <a href="#Page_90">90</a><br /> -Vicente (Gaspar), <a href="#Page_90">90</a><br /> -<span class="smcap">Vicente (Gil)</span>, his -birthplace, <a href="#Page_x">x</a>, <a href="#Page_xi">xi</a>;<br /> -<span style="margin-left: 3em;">date of his birth, -<a href="#Page_xii">xii</a>-<a href="#Page_xiii">xiii</a>;</span><br /> -<span style="margin-left: 3em;">at Court, <a href="#Page_xii">xii</a>, <a href="#Page_81">81</a>;</span><br /> -<span style="margin-left: 3em;">as goldsmith, <a href="#Page_xiv">xiv</a>-<a href="#Page_xviii">xviii</a>;</span><br /> -<span style="margin-left: 3em;">his house in Lisbon, <a href="#Page_xv">xv</a>;</span><br /> -<span style="margin-left: 3em;">his plays, <a href="#Page_xiv">xiv</a>-<a href="#Page_li">li</a>;</span><br /> -<span style="margin-left: 3em;">his first wife, <a href="#Page_xxi">xxi</a>;</span><br /> -<span style="margin-left: 3em;"><i>Mestre da -Balança</i>, <a href="#Page_xviii">xviii</a>;</span><br /> -<span style="margin-left: 3em;">relations with King -João III, <a href="#Page_xxx">xxx</a>;</span><br /> -<span style="margin-left: 3em;">his financial position, -<a href="#Page_xxv">xxv</a>;</span><br /> -<span style="margin-left: 3em;">his second marriage, <a href="#Page_xxii">xxii</a>;</span><br /> -<span style="margin-left: 3em;">date of his illness, <a href="#Page_xxvi">xxvi</a>;</span><br /> -<span style="margin-left: 3em;">his <i>Caça -dos Segredos</i>, <a href="#Page_xxvi">xxvi</a>, -<a href="#Page_xxviii">xxviii</a>;</span><br /> -<span style="margin-left: 3em;">journey from Coimbra, <a href="#Page_xxix">xxix</a>;</span><br /> -<span style="margin-left: 3em;">at Almada, <a href="#Page_xix">xix</a>;</span><br /> -<span style="margin-left: 4.5em;">Coimbra, <a href="#Page_xxix">xxix</a>;</span><br /> -<span style="margin-left: 4.5em;">Almeirim, <a href="#Page_xix">xix</a>, <a href="#Page_xxvi">xxvi</a>;</span><br /> -<span style="margin-left: 4.5em;">Thomar, <a href="#Page_xviii">xviii</a>, <a href="#Page_xxiv">xxiv</a>;</span><br /> -<span style="margin-left: 4.5em;">Santarem, <a href="#Page_xxix">xxix</a>, <a href="#Page_xxx">xxx</a>, -<a href="#Page_xxxii">xxxii</a>;</span><br /> -<span style="margin-left: 4.5em;">Evora, <a href="#Page_xxv">xxv</a>, <a href="#Page_xxviii">xxviii</a>, -<a href="#Page_xxx">xxx</a>, -<a href="#Page_xxxi">xxxi</a>;</span><br /> -<span style="margin-left: 3em;">his Brussels play, <a href="#Page_xxvii">xxvii</a>, -<a href="#Page_xxx">xxx</a>;</span><br /> -<span style="margin-left: 3em;">children of his second -marriage, <a href="#Page_xxxi">xxxi</a>;</span><br /> -<span style="margin-left: 3em;">his death, <a href="#Page_xxxi">xxxi</a>;</span><br /> -<span style="margin-left: 3em;">his character, <a href="#Page_xxxi">xxxi</a>-<a href="#Page_xxxvii">xxxvii</a>;</span><br /> -<span style="margin-left: 3em;">his attitude towards -Spain, <a href="#Page_xxxii">xxxii</a>;</span><br /> -<span style="margin-left: 14em;">priests, <a href="#Page_xxxii">xxxii</a>, <a href="#Page_xxxvii">xxxvii</a>;</span><br /> -<span style="margin-left: 14em;">Jews, <a href="#Page_xxxiii">xxxiii</a>;</span><br /> -<span style="margin-left: 14em;">monks, <a href="#Page_xxxiv">xxxiv</a>;</span><br /> -<span style="margin-left: 3em;">his religion, <a href="#Page_xxxiv">xxxiv</a>, <a href="#Page_74">74</a>;</span><br /> -<span style="margin-left: 3em;">his love of Nature, <a href="#Page_xxxiv">xxxiv</a>;</span><br /> -<span style="margin-left: 3em;">his friends, <a href="#Page_xxxiv">xxxiv</a>;</span><br /> -<span style="margin-left: 3em;">his attitude towards -royalty, <a href="#Page_xxxiii">xxxiii</a> <a href="#Page_xxxiv">xxxiv</a>, <a href="#Page_83">83</a>;</span><br /> -<span style="margin-left: 9.5em;">towards Sá de -Miranda and the new style, <a href="#Page_xxix">xxix</a>, -<a href="#Page_xliii">xliii</a>;</span><br /> -<span style="margin-left: 3em;">his patriotism, <a href="#Page_xx">xx</a>, <a href="#Page_xxxv">xxxv</a>;</span><br /> -<span style="margin-left: 3em;">his critics, <a href="#Page_xxiv">xxiv</a>, <a href="#Page_xli">xli</a>;</span><br /> -<span style="margin-left: 3em;">his attempts to reform -abuses, <a href="#Page_xxxiii">xxxiii</a>, <a href="#Page_xxxv">xxxv</a>, <a href="#Page_xxxvi">xxxvi</a>;</span><br /> -<span style="margin-left: 3em;">his view concerning the -position of women, <a href="#Page_xxxvi">xxxvi</a>, -<a href="#Page_xlvii">xlvii</a>;</span><br /> -<span style="margin-left: 3em;">his many-sidedness, <a href="#Page_xxxvi">xxxvi</a>;</span><br /> -<span style="margin-left: 3em;">his satirical sketches, -<a href="#Page_xxxvii">xxxvii</a>-<a href="#Page_xli">xli</a>;</span><br /> -<span style="margin-left: 3em;">his lyrism, <a href="#Page_xli">xli</a>, <a href="#Page_l">l</a>;</span><br /> -<span style="margin-left: 3em;">his originality, <a href="#Page_xli">xli</a>, -<a href="#Page_xlii">xlii</a>, <a href="#Page_xlv">xlv</a>;</span><br /> -<span style="margin-left: 3em;">his sources, <a href="#Page_xli">xli</a>-<a href="#Page_l">l</a>;</span><br /> -<span style="margin-left: 3em;">debt to Spain, <a href="#Page_xlii">xlii</a>, <a href="#Page_xliii">xliii</a>;</span><br /> -<span style="margin-left: 3em;">his influence in Portugal, -<a href="#Page_l">l</a>;</span><br /> -<span style="margin-left: 10em;">in Spain, <a href="#Page_l">l</a>, <a href="#Page_li">li</a>;</span><br /> -<span style="margin-left: 3em;">edition of his plays, <a href="#Page_xvi">xvi</a>, -<a href="#Page_xxxi">xxxi</a>, <a href="#Page_xxxv">xxxv</a>, <a href="#Page_li">li</a>;</span><br /> -<span style="margin-left: 3em;"><i>Visitaçam</i>, -<a href="#Page_xi">xi</a>, <a href="#Page_xiii">xiii</a>, -<a href="#Page_xiv">xiv</a>, <a href="#Page_xxiii">xxiii</a>, <a href="#Page_xlvi">xlvi</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto Pastoril -Castelhano</i>, <a href="#Page_xi">xi</a>, <a href="#Page_xv">xv</a>, <a href="#Page_xlvi">xlvi</a>, -<a href="#Page_73">73</a>;</span><br /> -<span style="margin-left: 3em;"><i>Reis Magos</i>, -<a href="#Page_xi">xi</a>, <a href="#Page_xv">xv</a>, -<a href="#Page_xlvi">xlvi</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto de S. -Martinho</i>, <a href="#Page_xv">xv</a>; -Sermon, <a href="#Page_xviii">xviii</a>, <a href="#Page_xix">xix</a>;</span><br /> -<span style="margin-left: 3em;"><i>Quem tem farelos?</i>, -<a href="#Page_xv">xv</a>, <a href="#Page_xix">xix</a>, -<a href="#Page_xxvii">xxvii</a>, <a href="#Page_xliii">xliii</a>, <a href="#Page_xlv">xlv</a>, -<a href="#Page_xlvi">xlvi</a>, <a href="#Page_xlix">xlix</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto da India</i>, -<a href="#Page_xix">xix</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto da -Fé</i>, <a href="#Page_xix">xix</a>, -<a href="#Page_xxxiii">xxxiii</a>, <a href="#Page_xliii">xliii</a>, <a href="#Page_xlviii">xlviii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto das Fadas</i>, -<a href="#Page_xix">xix</a>, <a href="#Page_xxiv">xxiv</a>, -<a href="#Page_xliii">xliii</a>, <a href="#Page_xlvi">xlvi</a>, <a href="#Page_73">73</a>, -<a href="#Page_77">77</a>;</span><br /> -<span style="margin-left: 3em;"><i>Farsa dos Fisicos</i>, -<a href="#Page_xx">xx</a>, <a href="#Page_xliii">xliii</a>, -<a href="#Page_xlvi">xlvi</a>;</span><br /> -<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span><span style="margin-left: 3em;"><i>O Velho da Horta</i>, -<a href="#Page_xiii">xiii</a>, <a href="#Page_xx">xx</a>, -<a href="#Page_xliv">xliv</a>;</span><br /> -<span style="margin-left: 3em;"><i>Exhortação -da Guerra</i>, <a href="#Page_v">v</a>, <a href="#Page_xx">xx</a>, <a href="#Page_xxi">xxi</a>, -<a href="#Page_xxviii">xxviii</a>, <a href="#Page_xliv">xliv</a>, <a href="#Page_xlv">xlv</a>, -23-35, 75-8;</span><br /> -<span style="margin-left: 3em;"><i>Auto da Sibila -Cassandra</i>, <a href="#Page_xv">xv</a>, <a href="#Page_xx">xx</a>, <a href="#Page_xliv">xliv</a>;</span><br /> -<span style="margin-left: 3em;"><i>Comedia do Viuvo</i>, -<a href="#Page_xi">xi</a>, <a href="#Page_xxi">xxi</a>, -<a href="#Page_xxiv">xxiv</a>, <a href="#Page_xlvi">xlvi</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto da Fama</i>, -<a href="#Page_xxi">xxi</a>, <a href="#Page_xlii">xlii</a>, -<a href="#Page_xlvii">xlvii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto dos Quatro -Tempos</i>, <a href="#Page_xv">xv</a>, <a href="#Page_xxi">xxi</a>, <a href="#Page_xliv">xliv</a>, -<a href="#Page_xlvii">xlvii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Barca do Inferno</i>, -<a href="#Page_xxii">xxii</a>, <a href="#Page_xxxiii">xxxiii</a>, <a href="#Page_xli">xli</a>, -<a href="#Page_xliv">xliv</a>, <a href="#Page_xlv">xlv</a>, <a href="#Page_xlvii">xlvii</a>, -<a href="#Page_li">li</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto da Alma</i>, -<a href="#Page_v">v</a>, <a href="#Page_vi">vi</a>, -<a href="#Page_xvii">xvii</a>, <a href="#Page_xxi">xxi</a>, <a href="#Page_xxii">xxii</a>, -<a href="#Page_xxxii">xxxii</a>, <a href="#Page_xlv">xlv</a>, <a href="#Page_xlvii">xlvii</a>, -<a href="#Page_li">li</a>, <a href="#Page_1">1</a>-<a href="#Page_21">21</a>, <a href="#Page_73">73</a>, -<a href="#Page_74">74</a>;</span><br /> -<span style="margin-left: 3em;"><i>Barca do -Purgatorio</i>, <a href="#Page_xxii">xxii</a>, -<a href="#Page_xxxiii">xxxiii</a>, <a href="#Page_xli">xli</a>, <a href="#Page_xliv">xliv</a>, -<a href="#Page_xlv">xlv</a>, <a href="#Page_xlvii">xlvii</a>, <a href="#Page_li">li</a>;</span><br /> -<span style="margin-left: 3em;"><i>Barca da Gloria</i>, -<a href="#Page_xxii">xxii</a>, <a href="#Page_xxiv">xxiv</a>, <a href="#Page_xxxiii">xxxiii</a>, -<a href="#Page_xli">xli</a>, <a href="#Page_xliv">xliv</a>, -<a href="#Page_xlv">xlv</a>, <a href="#Page_xlvii">xlvii</a>, <a href="#Page_li">li</a>;</span><br /> -<span style="margin-left: 3em;"><i>Comedia de Rubena</i>, -<a href="#Page_xx">xx</a>, <a href="#Page_xxiii">xxiii</a>, -<a href="#Page_xxiv">xxiv</a>, <a href="#Page_xliv">xliv</a>, <a href="#Page_xlv">xlv</a>, -<a href="#Page_xlvii">xlvii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Cortes de Jupiter</i>, -<a href="#Page_xxiii">xxiii</a>, <a href="#Page_xxiv">xxiv</a>, <a href="#Page_xliv">xliv</a>, -<a href="#Page_xlvii">xlvii</a>, <a href="#Page_75">75</a>;</span><br /> -<span style="margin-left: 3em;"><i>Pranto de Maria -Parda</i>, <a href="#Page_xxiv">xxiv</a>, <a href="#Page_xxviii">xxviii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Farsa de Ines -Pereira</i>, <a href="#Page_xviii">xviii</a>, -<a href="#Page_xxiv">xxiv</a>, <a href="#Page_xxv">xxv</a>, <a href="#Page_xxvi">xxvi</a>, -<a href="#Page_xxviii">xxviii</a>, <a href="#Page_xlv">xlv</a>, <a href="#Page_xlvii">xlvii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto Pastoril -Portugues</i>, <a href="#Page_xxv">xxv</a>, <a href="#Page_xlv">xlv</a>;</span><br /> -<span style="margin-left: 3em;"><i>Fragoa de Amor</i>, -<a href="#Page_xxv">xxv</a>, <a href="#Page_xxviii">xxviii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Farsa das Ciganas</i>, -<a href="#Page_xxv">xxv</a>, <a href="#Page_xxviii">xxviii</a>, <a href="#Page_xlv">xlv</a>;</span><br /> -<span style="margin-left: 3em;"><i>Dom Duardos</i>, -<a href="#Page_xvii">xvii</a>, <a href="#Page_xxv">xxv</a>, <a href="#Page_xliv">xliv</a>, -<a href="#Page_xlv">xlv</a>, <a href="#Page_xlviii">xlviii</a>;</span><br /> -<span style="margin-left: 3em;"><i>O Juiz da Beira</i>, -<a href="#Page_xxvi">xxvi</a>, <a href="#Page_xlv">xlv</a>, <a href="#Page_xlviii">xlviii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto da Festa</i>, -<a href="#Page_xii">xii</a>, <a href="#Page_xiii">xiii</a>, -<a href="#Page_xxv">xxv</a>, <a href="#Page_xxvii">xxvii</a>, <a href="#Page_xxviii">xxviii</a>, <a href="#Page_xlviii">xlviii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto da Aderencia -do Paço</i>, <a href="#Page_xxvii">xxvii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Trovas ao Conde -de Vimioso</i>, <a href="#Page_xxv">xxv</a>, <a href="#Page_xxvi">xxvi</a>, <a href="#Page_xxviii">xxviii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Templo de Apolo</i>, -<a href="#Page_xiii">xiii</a>, <a href="#Page_xvi">xvi</a>, <a href="#Page_xxvi">xxvi</a>, -<a href="#Page_xxviii">xxviii</a>, <a href="#Page_xlviii">xlviii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Sumario da -Historia de Deos</i>, <a href="#Page_xxix">xxix</a>, -<a href="#Page_xxxiii">xxxiii</a>, <a href="#Page_xlii">xlii</a>, <a href="#Page_xlviii">xlviii</a>, -<a href="#Page_xlix">xlix</a>;</span><br /> -<span style="margin-left: 3em;"><i>Dialogo sobre a -Ressurreiçam</i>, <a href="#Page_xxix">xxix</a>, -<a href="#Page_xlviii">xlviii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Nao de Amores</i>, -<a href="#Page_xxix">xxix</a>, <a href="#Page_xlix">xlix</a>, <a href="#Page_li">li</a>;</span><br /> -<span style="margin-left: 3em;"><i>Divisa da Cidade -de Coimbra</i>, <a href="#Page_xxix">xxix</a>, -<a href="#Page_xlix">xlix</a>;</span><br /> -<span style="margin-left: 3em;"><i>Farsa dos -Almocreves</i>, <a href="#Page_v">v</a>, <a href="#Page_xvii">xvii</a>, <a href="#Page_xxix">xxix</a>, -<a href="#Page_xlix">xlix</a>, <a href="#Page_37">37</a>-<a href="#Page_53">53</a>, <a href="#Page_78">78</a>-<a href="#Page_82">82</a>;</span><br /> -<span style="margin-left: 3em;"><i>Tragicomedia da -Serra da Estrella</i>, <a href="#Page_v">v</a>, -<a href="#Page_xxix">xxix</a>, <a href="#Page_xlix">xlix</a>, <a href="#Page_55">55</a>-<a href="#Page_71">71</a>, <a href="#Page_82">82</a>, -<a href="#Page_83">83</a>;</span><br /> -<span style="margin-left: 3em;"><i>Trovas a Dom -João III</i>, <a href="#Page_xxix">xxix</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto da Feira</i>, -<a href="#Page_xvii">xvii</a>, <a href="#Page_xxvii">xxvii</a>, <a href="#Page_xxix">xxix</a>, -<a href="#Page_xxxiii">xxxiii</a>, <a href="#Page_xlv">xlv</a>, <a href="#Page_xlix">xlix</a>, -<a href="#Page_74">74</a>, <a href="#Page_81">81</a>;</span><br /> -<span style="margin-left: 3em;"><i>Triunfo do Inverno</i>, -<a href="#Page_xxi">xxi</a>, <a href="#Page_xxix">xxix</a>, -<a href="#Page_xlv">xlv</a>, <a href="#Page_xlix">xlix</a>;</span><br /> -<span style="margin-left: 3em;"><i>O Clerigo da Beira</i>, -<a href="#Page_xxvii">xxvii</a>, <a href="#Page_xxix">xxix</a>, <a href="#Page_xlv">xlv</a>, -<a href="#Page_xlix">xlix</a>;</span><br /> -<span style="margin-left: 3em;"><i>Trovas a Felipe -Guilhen</i>, <a href="#Page_94">94</a>;</span><br /> -<span style="margin-left: 3em;"><i>Jubileu de Amores</i>, -<a href="#Page_xxvii">xxvii</a>, <a href="#Page_xxx">xxx</a>;</span><br /> -<span style="margin-left: 3em;"><i>Caça dos -Segredos</i>, <a href="#Page_xxvi">xxvi</a>, <a href="#Page_xxviii">xxviii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto da Lusitania</i>, -<a href="#Page_xxviii">xxviii</a>, <a href="#Page_xxx">xxx</a>, <a href="#Page_xlix">xlix</a>;</span><br /> -<span style="margin-left: 3em;"><i>Romagem de -Aggravados</i>, <a href="#Page_xxvii">xxvii</a>, -<a href="#Page_xxx">xxx</a>, <a href="#Page_xlvi">xlvi</a>, -<a href="#Page_l">l</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto da Vida de -Paço</i>, <a href="#Page_xxvii">xxvii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Amadis de Gaula</i>, -<a href="#Page_xxx">xxx</a>, <a href="#Page_xlv">xlv</a>, -<a href="#Page_xlviii">xlviii</a>;</span><br /> -<span style="margin-left: 3em;"><i>Auto da Cananea</i>, -<a href="#Page_xxx">xxx</a>, <a href="#Page_xxxiii">xxxiii</a>, <a href="#Page_74">74</a>;</span><br /> -<span style="margin-left: 3em;"><i>Mofina Mendes</i>, -<a href="#Page_xi">xi</a>, <a href="#Page_xxi">xxi</a>, -<a href="#Page_xxvii">xxvii</a>, <a href="#Page_xxxi">xxxi</a>, <a href="#Page_l">l</a>;</span><br /> -<span style="margin-left: 3em;"><i>Floresta de -Enganos</i>, <a href="#Page_xii">xii</a>, <a href="#Page_xxxi">xxxi</a>, <a href="#Page_l">l</a></span><br /> -Vicente (Luis), <a href="#Page_xxv">xxv</a>, <a href="#Page_xxxi">xxxi</a><br /> -Vicente (Martim), <a href="#Page_xii">xii</a><br /> -Vicente (Paula), <a href="#Page_xxxi">xxxi</a><br /> -Villa Nova, Conde de, <a href="#Page_xxiii">xxiii</a><br /> -Vimioso, Conde de, <a href="#Page_xxv">xxv</a>, <a href="#Page_xxxiv">xxxiv</a><br /> -Virgil, <a href="#Page_xiii">xiii</a>, <a href="#Page_xliii">xliii</a><br /> -<i>Viseu</i>, <a href="#Page_50">50</a>, -<a href="#Page_81">81</a><br /> -Viseu, Duque de, <a href="#Page_x">x</a><br /> -<br /> -Wilkins (George), <a href="#Page_xlvii">xlvii</a><br /> -Wordsworth (William), <a href="#Page_xxxiv">xxxiv</a><br /> -<br /> -<i>Zamora</i>, <a href="#Page_79">79</a>, -<a href="#Page_81">81</a><br /> -</p> - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Four Plays of Gil Vicente, by Gil Vicente - -*** END OF THIS PROJECT GUTENBERG EBOOK FOUR PLAYS OF GIL VICENTE *** - -***** This file should be named 28399-h.htm or 28399-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/2/8/3/9/28399/ - -Produced by David Starner, Júlio Reis and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States 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+0,0 @@ -The Project Gutenberg EBook of Four Plays of Gil Vicente, by Gil Vicente - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Four Plays of Gil Vicente - -Author: Gil Vicente - -Editor: Aubrey F. G. Bell - -Release Date: March 24, 2009 [EBook #28399] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK FOUR PLAYS OF GIL VICENTE *** - - - - -Produced by David Starner, Jlio Reis and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -TRANSCRIPTION NOTES: - -* the English translation was placed after the Portuguese text (it was -originally side by side with the Portuguese text) - -* critical edition notes were placed after the Portuguese text - -* critical notes which refer to the play's introduction, before the line -numbering, were labelled '0.' - -* accented characters were put between brackets, with an indication of -which accent they had, e.g. c with cedilla is [c,] and accented e is -['e] - -* dagger was represented as [+] - -* the paragraph sign (or pilcrow) was represented as [p] - -* reversed question mark was represented as [?] - -* Greek text was transliterated and marked as [Greek: ] - -* ^ not preceded by a [ is used for superscript. - - - - - - COPILACAM DE - TODALAS OBRAS DE GIL VICENTE, A QVAL SE - REPARTE EM CINCO LIVROS O PRIMEYRO HE DE TODAS - suas cousas de deua[c,]am. O segundo as comedias. - O terceyro as tragicomedias. No quarto as farsas. - No quinto as obras meudas. - - [Illustration] - - [p] Empremiose em a muy nobre & sempre leal cidade de Lixboa - em casa de Ioam Aluarez impressor del Rey nosso senhor - Anno de M D LXII - - [p] Foy visto polos deputados da Sancta Inquisi[c,]am. - - COM PRIVILEGIO REAL. - -[p] Vendem se a cruzado em papel em casa de Francisco fernandez na rua - noua. - - TITLE-PAGE OF THE FIRST (1562) EDITION OF GIL VICENTE'S WORKS - - - - - FOUR PLAYS OF GIL VICENTE - - -Edited from the _editio princeps_ (1562), with Translation and Notes, by - - AUBREY F. G. BELL - - [Greek: Tharrein chr[^e] ton kai smikron ti dunamenon eis to prosthen - aei pro["i]enai.] - - PLATO, _Sophistes_. - - CAMBRIDGE - AT THE UNIVERSITY PRESS - 1920 - - KRAUS REPRINT CO. - New York - 1969 - - - - - TO ALL THOSE WHO HAVE LABOURED IN THE VICENTIAN VINEYARD - - LC 24-15201 - - _First Published 1920_ - _Reprinted by permission of the Cambridge University Press_ - KRAUS REPRINT CO. - A U. S. Division of Kraus-Thomson Organization Limited - - Printed in U. S. A. - - - - -PREFACE - - -Gil Vicente, that sovereign genius[1], is too popular and indigenous for -translation and this may account for the fact that he has not been -presented to English readers. It is hoped, however, that a fairly -accurate version, with the text in view[2], may give some idea of his -genius. The religious, the patriotic-imperial, the satirical and the -pastoral sides of his drama are represented respectively by the _Auto da -Alma_, the _Exhorta[c,][~a]o_, the _Almocreves_ and the _Serra da -Estrella_, while his lyrical vein is seen in the _Auto da Alma_ and in -two delightful songs: the _serranilha_ of the _Almocreves_ and the -_cossante_ of the _Serra da Estrella_. Many of his plays, including some -of the most charming of his lyrics, were written in Spanish and this -limited the choice from the point of view of Portuguese literature, but -there are others of the Portuguese plays fully as well worth reading as -the four here given. - -The text is that of the exceedingly rare first edition (1562). Apart -from accents and punctuation, it is reproduced without alteration, -unless a passage is marked by an asterisk, when the text of the _editio -princeps_ will be found in the foot-notes, in which variants of other -editions are also given. - -In these notes A represents the _editio princeps_ (1562): _Copila[c,]am -de todalas obras de Gil Vicente, a qual se reparte em cinco livros. O -primeyro he de todas suas cousas de deua[c,]am. O segundo as comedias. O -terceyro as tragicomedias. No quarto as farsas. No quinto as obras -meudas. Empremiose em a muy nobre & sempre leal cidade de Lixboa em casa -de Ioam Aluarez impressor del Rey nosso senhor. Anno de MDLXII_. The -second (1586) edition (B) is the _Copila[c,]am de todalas obras de Gil -Vicente... Lixboa, por Andres Lobato, Anno de MDLXXXVJ_. A third edition -in three volumes appeared in 1834 (C): _Obras de Gil Vicente, correctas -e emendadas pelo cuidado e diligencia de J. V. Barreto Feio e J. G. -Monteiro_. Hamburgo, 1834. This was based, although not always with -scrupulous accuracy, on the _editio princeps_, and subsequent editions -have faithfully adhered to that of 1834: _Obras_, 3 vol. Lisboa, 1852 -(D), and _Obras_, ed. Mendes dos Remedios, 3 vol. Coimbra, 1907, 12, 14 -[_Subsidios_, vol. 11, 15, 17][3] (E). Although there has been a -tendency of late to multiply editions of Gil Vicente, no attempt has -been made to produce a critical edition. It is generally felt that that -must be left to the master hand of Dona Carolina Micha["e]lis de -Vasconcellos[4]. Since the plays of Vicente number over forty the -present volume is only a tentative step in this direction, but it may -serve to show the need of referring to, and occasionally emending, the -_editio princeps_ in any future edition of the most national poet of -Portugal[5]. - -AUBREY F. G. BELL. - -_8 April 1920._ - - -FOOTNOTES: - -[1] _Este soberano ingenio._ Marcelino Men['e]ndez y Pelayo, -_Antologia_, tom. 7, p. clxiii. - -[2] Although the text has been given without alteration it has not been -thought necessary to provide a precise rendering of the coarser -passages. - -[3] The Paris 1843 edition is the Hamburg 1834 edition with a different -title-page. The _Auto da Alma_ was published separately at Lisbon in -1902 and again (in part) in _Autos de Gil Vicente. Compila[c,][~a]o e -prefacio de Affonso Lopes Vieira_, Porto, 1916; while extracts appeared -in _Portugal. An Anthology, edited with English versions, by George -Young._ Oxford, 1916. The present text and translation are reprinted, by -permission of the Editor, from _The Modern Language Review_. - -[4] I understand that the eminent philologist Dr Jos['e] Leite de -Vasconcellos is also preparing an edition. - -[5] Facsimiles of the title-pages of the two early editions of Vicente's -works are reproduced here through the courtesy of Senhor Anselmo -Braamcamp Freire. - - - - -CONTENTS - - - PAGE - - PREFACE v - - INTRODUCTION ix - - AUTO DA ALMA (THE SOUL'S JOURNEY) 1 - - EXHORTA[C,]AO DA GUERRA (EXHORTATION TO WAR) 23 - - FARSA DOS ALMOCREVES (THE CARRIERS) 37 - - TRAGICOMEDIA PASTORIL DA SERRA DA ESTRELLA 55 - - NOTES 73 - - LIST OF PROVERBS IN GIL VICENTE'S WORKS 84 - - BIBLIOGRAPHY OF GIL VICENTE 86 - - CHRONOLOGICAL TABLE OF GIL VICENTE'S LIFE AND WORKS 89 - - INDEX OF PERSONS AND PLACES 95 - - * * * * * - - FACSIMILE OF TITLE-PAGE OF THE FIRST EDITION (1562) - OF GIL VICENTE'S WORKS _Frontispiece_ - - FACSIMILE OF TITLE-PAGE OF THE SECOND EDITION - (1586) _page_ lii - - - - -INTRODUCTION - - -I. LIFE AND PLAYS OF GIL VICENTE - -Those who read the voluminous song-book edited by jolly Garcia de -Resende in 1516 are astonished at its narrowness and aridity. There is -scarcely a breath of poetry or of Nature in these Court verses. In the -pages of Gil Vicente[6], who had begun to write fourteen years before -the _Cancioneiro Geral_ was published, the Court is still present, yet -the atmosphere is totally different. There are many passages in his -plays which correspond to the conventional love-poems of the courtiers -and he maintains the personal satire to be found both in the -_Cancioneiro da Vaticana_ and the _Cancioneiro de Resende_. But he is -also a child of Nature, with a marvellous lyrical gift and the insight -to revive and renew the genuine poetry which had existed in Galicia and -the north of Portugal before the advent of the Proven[c,]al love-poetry, -had sprung into a splendid harvest in rivalry with that poetry and died -down under the Spanish influence of the fourteenth and fifteenth -centuries. He was moreover a national and imperial poet, embracing the -whole of Portuguese life and the whole rapidly growing Portuguese -empire. We can only account for the difference by saying that Gil -Vicente was a genius, the only great genius of that day in Portugal, and -the most gifted poet of his time. It is therefore all the more -tantalizing that we should know so little about him. A few documents -recently unearthed, one or two scanty references by contemporary or -later authors, are all the information we have apart from that which may -be gleaned from the rubrics and colophons of his plays and from the -plays themselves. The labours of Dona Carolina Micha["e]lis de -Vasconcellos, Dr Jos['e] Leite de Vasconcellos[7] and Snr Anselmo -Braamcamp Freire are likely to provide us before long with the first -critical edition of his plays. The ingenious suppositions of Dr -Theophilo Braga[8] have, as usual, led to much discussion and research. -He is the Mofina Mendes of critics, putting forward a hypothesis, -translating it a few pages further on into a certainty and building -rapidly on these foundations till an argument adduced or a document -discovered by another critic brings the whole edifice toppling to the -ground. The documents brought to light by General Brito Rebello[9] and -Senhor Anselmo Braamcamp Freire[10] enable us to construct a sketch of -Gil Vicente's life, while D. Carolina Micha["e]lis has shed a flood of -light upon certain points[11]. The chronological table at the end of -this volume is founded mainly, as to the order of the plays, on the -documents and arguments recently set forth by one of the most -distinguished of modern historical critics, Senhor Anselmo Braamcamp -Freire. The plays, read in this order, throw a certain amount of new -light on Gil Vicente's life and give it a new cohesion. Whether we -consider it from the point of view of his own country or of the world, -or of literature, art and science, his life coincides with one of the -most wonderful periods in the world's history. At his birth Portugal was -a sturdy mediaeval country, proud of her traditions and heroic past. Her -heroes were so national as scarcely to be known beyond her own borders. -Nun' Alvarez (1360-1431), one of the greatest men of all time, is even -now unknown to Europe. And Portugal herself as yet hardly appraised at -its true worth the life and work of Prince Henry the Navigator -(1394-1460), at whose incentive she was still groping persistently along -the western coast of Africa. His nephew Afonso V, the amiable grandson -of Nun' Alvarez' friend, the Master of Avis, and the English princess -Philippa of Lancaster, daughter of John of Gaunt, was on the throne, to -be succeeded by his stern and resolute son Jo[~a]o II in 1481. In his -boyhood, spent in the country, somewhere in the green hills of Minho or -the rugged grandeur and bare, flowered steeps of the Serra da Estrella, -all _ossos e burel_[12], Gil Vicente might hear dramatic stories of the -doings at the capital and Court, of the beginning of the new reign, of -the beheadal of the Duke of Braganza in the Rocio of Evora, of the -stabbing by the King's own hand of his cousin and brother-in-law, the -young Duke of Viseu, of the baptism and death at Lisbon of a native -prince from Guinea. - -The place of his birth is not certain. Biographers have hesitated -between Lisbon, Guimar[~a]es and Barcellos: perhaps he was not born in -any of these towns but in some small village of the north of Portugal. -We can at least say that he was not brought up at Lisbon. The proof is -his knowledge and love of Nature and his intimate acquaintance with the -ways of villagers, their character, customs, amusements, dances, songs -and language. It is legitimate to draw certain inferences--provided we -do not attach too great importance to them--from his plays, especially -since we know that he himself staged them and acted in them[13]. His -earliest compositions are especially personal and we may be quite sure -that the parts of the herdsman in the _Visita[c,]am_ (1502) and of the -mystically inclined shepherd, Gil Terron, in the _Auto Pastoril -Castelhano_ (1502) and the _rustico pastor_ in the _Auto dos Reis Magos_ -(1503) were played by Vicente himself. It is therefore well to note the -passage in which Silvestre and Bras express surprise at Gil's learning: - - _S._ Mudando vas la pelleja, - Sabes de achaque de igreja! - - _G._ Ahora lo deprendi.... - - _B._ Quien te viese no dir['a] - Que naciste en serran['i]a. - - _G._ Dios hace estas maravillas. - -It is possible that Gil Vicente, like Gil Terron, had been born _en -serran['i]a_. Dr Leite de Vasconcellos was the first to call attention -to his special knowledge of the province of Beira, and the reference to -the Serra da Estrella dragged into the _Comedia do Viuvo_ is of even -more significance than the conventional _beir[~a]o_ talk of his -peasants. Nor is the learning in his plays such as to give a moment's -support to the theory that he had, like Enzina, received a university -education, or, as some, relying on an unreliable _nobiliario_, have -held, was tutor (_mestre de rhetorica_) to Prince, afterwards King, -Manuel. The King, according to Dami[~a]o de Goes, 'knew enough Latin to -judge of its style.' Probably he did not know much more of it than Gil -Vicente himself. His first productions are without the least pretension -to learning: they are close imitations of Enzina's eclogues. Later his -outlook widened; he read voraciously[14] and seems to have pounced on -any new publication that came to the palace, among them the works of two -slightly later Spanish playwrights, Lucas Fern['a]ndez and Bartolom['e] -de Torres Naharro. With the quickness of genius and spurred forward by -the malicious criticism of his audience, their love of new things and -the growing opposition of the introducers of the new style from Italy, -he picked up a little French and Italian, while Church Latin and law -Latin early began to creep into his plays. The parade of erudition -(which is also a satire on pedants) at the beginning of the _Auto da -Mofina Mendes_ is, however, that of a comparatively uneducated man in a -library, of rustic Gil Vicente in the palace. Rather we would believe -that he spent his early life in peasant surroundings, perhaps actually -keeping goats in the scented hills like his Prince of Wales, Dom -Duardos: _De mozo guard['e] ganado_, and then becoming an apprentice in -the goldsmith's art, perhaps to his father or uncle, Martim Vicente, at -Guimar[~a]es. It is extremely probable that he was drawn to the Court, -then at Evora, for the first time in 1490 by the unprecedented -festivities in honour of the wedding of the Crown Prince and Isabel, -daughter of the Catholic Kings, and was one of the many goldsmiths who -came thither on that occasion[15]. If that was so, his work may have at -once attracted the attention of King Jo[~a]o II, who, as Garcia de -Resende tells us, keenly encouraged the talents of the young men in his -service, and the protection of his wife, Queen Lianor. He may have been -about 25 years old at the time. The date of his birth has become a -fascinating problem, over which many critics have argued and disagreed. -As to the exact year it is best frankly to confess our ignorance. The -information is so flimsy and conflicting as to make the acutest critics -waver. While a perfectly unwarranted importance has been given to a -passage in Vicente's last _comedia_, the _Floresta de Enganos_ (1536), -in which a judge declares that he is 66 (therefore Gil Vicente was born -in 1470), sufficient stress has perhaps not been laid on the lines in -the play from the Conde de Sabugosa's library, the _Auto da Festa_, in -which Gil Vicente is declared to be 'very stout and over 60.' This -cannot be dismissed like the former passage, for it is evidently a -personal reference to Gil Vicente. It was the comedian's ambition to -raise a laugh in his audience and this might be effected by saying the -exact opposite of what the audience knew to be true: e.g. to speak of -Gil Vicente as very stout and over 60 if he was very young and -spectre-thin. But Vicente was certainly not very young when this play -was written and we may doubt whether the victim of _calentura_ and hater -of heat (he treats summer scurvily in his _Auto dos Quatro Tempos_) was -thin. We have to accept the fact that he was over 60 when the _Auto da -Festa_ was written. But when was it written? Its editor, the Conde de -Sabugosa, to whom all Vicente lovers owe so deep a debt of -gratitude[16], assigned it to 1535, while Senhor Braamcamp Freire, who -uses Vicente's age as a double-edged weapon[17], places it twenty years -earlier, in 1515. This was indeed necessary if the year 1452 was to be -maintained as the date of his birth. The theory of the exact date 1452 -was due to another passage of the plays: the old man in _O Velho da -Horta_, formerly assigned to 1512, is 60 (III. 75). Yet there is -something slightly comical in stout old Gil Vicente beginning his -actor's career at the age of 50 and keeping it up till he was 86. Other -facts that may throw light on his age are as follows: in 1502 he almost -certainly acted the boisterous part of _vaqueiro_ in the -_Visita[c,]am_[18]. In 1512 he is over 40 and married (inference from -his appointment as one of the 24 representatives of Lisbon guilds in -that year). In 1512 a 'son of Gil Vicente' is in India. His son Belchior -is a small boy in 1518. In 1515 he received a sum of money to enable his -sister Felipa Borges to marry. In 1531 he declares himself to be 'near -death'[19], although evidently not ill at the time. He died very -probably at the end of 1536 or beginning of 1537[20]. Accepting the fact -that the _Auto da Festa_ was written before the _Templo de Apolo_ (1526) -I would place it as late as possible, i.e. in the year 1525, and -subtracting 60 believe that the date _c._ 1465 for Gil Vicente's birth -will be found to agree best with the various facts given above. - -The wedding of the Crown Prince of Portugal and the Infanta Isabel was -celebrated most gorgeously at Evora. The Court gleamed with plate and -jewellery[21]. There were banquets and tournaments, _ricos momos_ and -_singulares antremeses_, pantomimes or interludes produced with great -splendour--e.g. a sailing ship moved on the stage over what appeared to -be waves of the sea, a band of twenty pilgrims advanced with gilt -staffs, etc., etc.--all the luxurious show which had made the -_entremeses_ of Portugal famous and from which Vicente must have taken -many an idea for the staging of his plays. Next year the tragic death of -the young prince, still in his teens, owing to a fall from his horse at -Santarem, turned all the joy to ashes. Gil Vicente was certainly not -less impressed than Luis Anriquez, who laments the death of Prince -Afonso in the _Cancioneiro Geral_, or Juan del Enzina, who made it the -subject of his version or paraphrase of Virgil's 5th eclogue. Vicente's -acquaintance with Enzina's works may date from this period, although we -need not press Enzina's words _yo vi_ too literally to mean that he was -actually present at the Portuguese Court. Vicente may have accompanied -the King and Queen to Lisbon in October of this year, but for the next -ten years we know as much of his life as for the preceding twenty, that -is to say, we know nothing at all. The only reference to his sojourn at -the Court of King Jo[~a]o II occurs in the mouth of Gil Terron (I, 9): - - [?]Conociste a Juan domado - Que era pastor de pastores? - Yo lo vi entre estas flores - Con gran hato de ganado - Con su cayado real. - -A note in the _editio princeps_ declares the reference to be to King -Jo[~a]o II. If we read _domado_ it can only be applied to the -indomitable Jo[~a]o II in the sense of having yielded to the will of -Queen Lianor in acknowledging as heir her brother Manuel in preference -to his illegitimate son Jorge. Perhaps however it is best to read -_damado_, which recurs in the same play. Perhaps we may even see in the -passage an allusion merely to an incident occurring in the time of -Jo[~a]o II and not to the King himself[22]. We may surmise that about -this time, perhaps as early as 1490, Vicente became goldsmith to Queen -Lianor. The events of this wonderful decade must have moved him -profoundly, events sufficient to stir even a dullard's imagination as -new world after new world swept into his ken: the conquest of Granada -from the Moors in 1492, the arrival of Columbus at Lisbon from America -in 1493, the similar return of Vasco da Gama six years later from India, -the discovery of Brazil in 1500. Two years later Vicente emerges into -the light of day. King Manuel had succeeded to the throne on the death -of King Jo[~a]o (25 Oct. 1495) and had married the princess Maria, -daughter of the Catholic Kings. Their eldest son, Jo[~a]o, who was to -rule Portugal as King Jo[~a]o III from 1521 to 1557, was born on June 6, -1502, on which day a great storm swept over Lisbon. On the following -evening[23] or on the evening of June 8 Gil Vicente, dressed as a -herdsman, broke into the Queen's chamber in the presence of the Queen, -King Manuel, his mother Dona Beatriz, his sister Queen Lianor, who was -one of the prince's godmothers, and others, and recited in Spanish a -brief monologue of 114 lines. Having expressed rustic wonder at the -splendour of the palace and the universal joy at the birth of an heir to -the throne he calls in some thirty companions to offer their humble -gifts of eggs, milk, curds, cheese and honey. Queen Lianor was so -pleased with this 'new thing'--for hitherto there had been no literary -entertainments to vary either the profane _ser[~a]os de dansas e bailos_ -or the religious solemnities of the court--that she wished Vicente to -repeat the performance at Christmas. He preferred, however, to compose a -new _auto_ more suitable to the occasion and duly produced the _Auto -Pastoril Castelhano_. King Manuel had just returned to Lisbon from a -pilgrimage to Santiago de Compostela in Galicia in thanksgiving for the -discovery of the sea-route to India. He found the Queen in the palace of -Santos o Velho and was received _com muita alegria_. But no allusion to -great contemporary events troubles the rustic peace of this _auto_, -which is some four times as long as the _Visita[c,]am_, and which -introduces several simple shepherds to whom the Angel announces the -birth of the Redeemer. Queen Lianor was delighted (_muito satisfeita_) -and a few days later, on the Day of Kings (6 Jan. 1503), a third -pastoral play, the _Auto dos Reis Magos_, was acted, the introduction of -a knight and a hermit giving it a greater variety. The _Auto da Sibila -Cassandra_ has been assigned to the same year, and the _Auto dos Quatro -Tempos_ and _Quem tem farelos?_ to 1505, but there are good reasons for -giving them a later date. The only play that can be confidently asserted -to have been produced by Vicente between January 1503 and the end of -1508 is the brief dialogue between the beggar and St Martin: the _Auto -de S. Martinho_, in ten Spanish verses _de rima cuadrada_, recited -before Queen Lianor in the Caldas church during the Corpus Christi -procession of 1504. The reasons for this silence are not far to seek. In -September 1503, Dom Vasco da Gama returned from his second voyage to -India with the first tribute of gold: 'The lords and nobles who were -then at Court went to visit him on his ship and accompanied him to the -palace. A page went before him bearing in a bason the 2000 _miticaes_ of -gold of the tribute of the King of Quiloa and the agreement made with -him and the Kings of Cananor and Cochin. Of this gold King Manuel -ordered a monstrance to be wrought for the service of the altar, adorned -with precious stones, and commanded that it should be presented to the -Convent of Bethlehem[24].' At this monstrance, still the pride of -Portuguese art, Gil Vicente worked during three years (1503-6). He was -perhaps already living in the Lisbon house in the _Rua de Jerusalem_ -assigned to him by his patroness, Queen Lianor[25]. There were other -reasons for his silence. The death of Queen Isabella of Spain in 1504 -and again the death of King Manuel's mother, Dona Beatriz, in 1506, -threw the Portuguese Court into mourning. Plague and famine raged at -Lisbon from 1505 to 1507, while, after the awful massacre of Jews at -Easter 1506, during which some thousands were stabbed or burnt to death, -the city of Lisbon was placed under an interdict which was not raised -till 1508. - -Let us take advantage of Vicente's long silence to explain why it can be -asserted so confidently that he was now at work on the Belem _custodia_. -The burden of producing some definite document to show that Gil Vicente -the poet and Gil Vicente the goldsmith were two different persons rests -on the opponents of identity. The late Marcelino Men['e]ndez y Pelayo, -whose death in 1912 was a great blow to Portuguese as well as to Spanish -literature, would certainly have changed his view if he had lived. In -his brilliant study of Gil Vicente, a 'sovereign genius,' 'the most -national playwright before Lope de Vega[26],' 'the greatest figure of -our primitive theatre[27],' he remarked that if Vicente had been a -goldsmith and one of such skill he must infallibly have left some trace -of it in his dramatic works and that the contemporaries who mention him -would not have preserved a profound silence as to his artistic -talent[28]; yet Men['e]ndez y Pelayo himself speaks of Vicente's _alma -de artista_[29] and of the plastic character which the most fantastic -allegorical figures receive at his hands[30]. If we were assured that -the dreamy Bernardim Ribeiro had fashioned the Belem monstrance we might -well remain sceptical, but Vicente stands out from among the vaguer -poets of Portugal in having, like Garcia de Resende, an extremely -definite style, and his imagination, as in his dream of fair women in -the _Templo de Apolo_, coins concrete figures, not intellectual -abstractions. Resende, we know, was a skilled draughtsman as well as -poet, chronicler and musician, and it is curious that the very phrase -applied by Vicente to Resende, _de tudo entende_ (II, 406), is used of -Vicente himself in an anecdote quoted by Senhor Braamcamp Freire. As to -his own silence and that of his contemporaries, their silence[31] -concerning the presence of two Gil Vicentes at Court would be quite as -astonishing, especially as they distinguish between other homonyms of -the time, and the silent satellite dogged the poet Vicente's steps with -the strangest persistence. According to the discoveries or inventions of -the Visconde Sanches de Baena[32] he was the poet's uncle; according to -Dr Theophilo Braga they were cousins[33]. The poet, as many passages in -his plays show, was interested in the goldsmith's art[34]; the goldsmith -wrote verses[35]. The poet made his first appearance in 1502, the artist -in 1503. Splendid as was the Portuguese Court and although its members -had almost doubled in number in less than a century[36], the King did -not keep men there merely on the chance of their producing 'a new -thing.' The sovereign of a great and growing empire had something better -to do than to indulge in forecasts as to the potential talents of his -subjects. When Gil Vicente in 1502 produced a new thing in Portugal his -presence in the palace can only be explained by his having an employment -there, and since we know that Queen Lianor had a goldsmith called Gil -Vicente who wrote verses and since the poet wrote all his earlier plays -for Queen Lianor[37], it is rational to suppose that this employment was -that of goldsmith to the Queen-Dowager. His presence at Court was -certainly not by right of birth: Vicente was not a 'gentleman of good -family,' as Ticknor and others have supposed, but the noble art of the -goldsmith (its practice was forbidden in the following century to slaves -and negroes) would enable him to associate familiarly with the -courtiers. In 1509 or later[38] the poet joined, at the request of Queen -Lianor, in a poetical contest concerning a gold chain, in which another -poet, addressing Vicente, refers especially to necklaces and jewels. In -the same year Gil Vicente is appointed overseer of works of gold and -silver at the Convent of the Order of Christ, Thomar, the Hospital of -All Saints, Lisbon, and the Convent of Belem. At the Hospital of All -Saints the poet staged one of his plays. To Thomar and its fevers he -refers more than once and presented the _Farsa de Ines Pereira_ there in -1523. In 1513 he is appointed _Mestre da Balan[c,]a_, in 1517 he resigns -and in 1521 the poet alludes to the goldsmith's former colleagues: _os -da Moeda_, while his production as playwright increases after the -resignation and his complaints of poverty become more frequent[39]. In -1520 Gil Vicente the goldsmith is entrusted by King Manuel with the -preparations for the royal entry into Lisbon, an _auto_ figuring in the -programme. If there was nothing new in a goldsmith writing verses the -drama of Vicente was an innovation and Jo[~a]o de Barros would quite -naturally refer (as Andr['e] de Resende before him) to the -poet-goldsmith as _Gil Vicente comico_. On the other hand there is an -almost brutal egoism in the silence concerning his unfortunate uncle (or -cousin) maintained by Gil Vicente, who refers to himself as poet more -than once, with evident pride in his _autos_. Recently General Brito -Rebello (1830-1920), whose researches helped to give shape and substance -to Gil Vicente's life, discovered a document of 1535 in which the poet's -signature differs notably from that of the goldsmith in 1515[40]. It is, -however, possible to maintain that the former signature is not that of -Gil Vicente at all and that the words of the document _per seu filho -Belchior Vicente_ mean that Belchior signed in his father's name; or, -alternatively, we can only say that Gil Vicente's handwriting had -changed, a change especially frequent in artists. To those who examine -all the evidence impartially there can remain very little doubt that Gil -Vicente was first known at Court for his skill as goldsmith, and that he -began writing verses and plays at the suggestion of his patroness, Queen -Lianor. - -On March 3, 1506, Vicente momentarily resumed his literary character and -composed for Queen Lianor a long lay sermon, spoken before the King on -the occasion of the birth of the Infante Luis (1506-55), who was himself -a poet and the friend and patron of men of letters. The envious feared -that Vicente was playing too many parts and contended that this was no -time for a sermon by a layman, but Vicente excused himself with the -saying, commonly attributed to Garci Sanchez de Badajoz, that if they -would permit him to play the fool this once he would leave it to them -for the rest of their lives, and launched into the exposition of his -text: _Non volo, volo et deficior_. His next play _Quem tem farelos?_ -is assigned by Senhor Braamcamp Freire to December 1508 or January -1509[41]. The reference to the _embate_ in Africa in all probability -alludes to the siege of Arzila in 1508. King Manuel had made -preparations to set sail for an African campaign in 1501 and 1503, but -the word _embate_ implies something more definite. The later date (it -was formerly assigned to 1505) is more suitable to the finished art of -this first farce and to the fact that its success--so great that the -people gave it the name by which it is still known, i.e. the first three -words of the play--would be likely to cause its author to produce -another farce without delay. Its successor, the _Auto da India_, acted -before Queen Lianor at Almada in 1509, has not the same unity and its -action begins in 1506 and ends in 1509. It displays a broader outlook -and the influence of the discovery of India on the home-life of -Portugal. In 1509 the fleet sailed from Lisbon under Marshal Coutinho on -March 12 and _Maio_ (III. 28) might be a misprint for _Mar[c,]o_; the -_partida_ alluded to, however, is that of Trist[~a]o da Cunha and Afonso -de Albuquerque in 1506. It is just possible that _Quem tem farelos?_ was -begun in 1505 (the date of its rubric) and the _Auto da India_ in 1506. -Early in this year 1509 (Feb. 15) Vicente received the appointment of -_Vedor_ and at Christmas of the following year he produced a play at -Almeirim, a favourite residence of King Manuel, who spent a part of most -winters there in the pleasures of the chase[42]. This _Auto da F['e]_ is -but a simple conversation between Faith and two peasants, who marvel at -the richness of the Royal Chapel. In 1511, perhaps at Carnival[43], the -_Auto das Fadas_ further shows the expansion, perhaps we may say the -warping, of his natural genius, for although we may rejoice in the -presentation of the witch Genebra Pereira, the play soon turns aside to -satirical allusions to courtiers, while the Devil gabbles in picardese. -Peasants' _beir[~a]o_ with a few scraps of biblical Latin had hitherto -been Vicente's only theatrical resource as regards language. The _Farsa -dos Fisicos_ is now[44] assigned to 1512, early in the year. It is leap -year (III. 317) and Senhor Braamcamp Freire sees in the lines (III. -323): - - Voyme a la huerta de amores - Y traer['e] una ensalada - Por Gil Vicente guisada - Y diz que otra de mas flores - Para Pascoa tien sembrada - -a reference to _O Velho da Horta_, acted before King Manuel in 1512. In -August of the following year James, Duke of Braganza, set sail from -Lisbon with a fleet of 450 ships to conquer Azamor: - - Foi h[~u]a das cousas mais para notar - Que vimos nem vio a gente passada[45]. - - -Gil Vicente was in the most successful period of his life. In December -1512 he was chosen by the Guild of Goldsmiths to be one of the -twenty-four Lisbon guild representatives and some months later he was -selected by the twenty-four to be one of their four proctors, with a -seat in the Lisbon Town Council. On February 4, 1513, he had become -Master of the Lisbon Mint. For the departure of the fleet against Azamor -he comes forward as the poet laureate of the nation and vehemently -inveighs against sloth and luxury while he sings a hymn to the glories -of Portugal. The play alludes to the gifts sent to the Pope in the -following year and this probably led to the date of the rubric (1514), -but it also refers to the royal marriages of 1521, 1525 and 1530, and we -may thus assume that it was written in 1513 and touched up for a later -production or for the collection of Vicente's plays. Perhaps at -Christmas of this year was acted before Queen Lianor in the Convent of -Enxobregas at Lisbon the _Auto da Sibila Cassandra_, hitherto placed ten -years earlier. Senhor Braamcamp Freire points out that the Convent was -only founded in 1509[46]. A scarcely less cogent argument for the later -date is the finish of the verse and the exquisiteness of the lyrics, -although the action is simple and the reminiscences of Enzina are -many[47] (a fact which does not necessarily imply an early date: -Enzina's echo verses are imitated in the _Comedia de Rubena_, 1521). We -may note that the story of Troy is running in Vicente's head as in the -_Exhorta[c,][~a]o_ of 1513 (he had probably just read the _Cronica -Troyana_). The last lyric, _A la guerra, caballeros_, is out of keeping -with the rest of the play, but fighting in Africa was so frequent that -it cannot help to determine the play's date. It is in this period -(1512-14) that it is customary to place the death of Vicente's first -wife Branca Bezerra, leaving him two sons, Gaspar and Belchior. She was -buried at Evora with the epitaph: - - Aqui jaz a mui prudente - Senhora Branca Becerra - Mulher de Gil Vicente - Feita terra. - -This gives the _Comedia do Viuvo_, acted in 1514, a personal note, which -is emphasized by the names of the widower's daughters, Paula, the name -of Gil Vicente's eldest daughter, and Melicia, the name of his second -wife. In the following year private grief was merged in the growing -renown of Portugal in the _Auto da Fama_, which the rubric attributes to -1510, although it alludes to the siege of Goa (1510), the capture of -Malaca (1511), the victorious expedition against Azamor (1513), and the -attack on Aden (1513). It was acted first before Queen Lianor and then -before King Manuel at Lisbon, and we may surmise that it was written or -begun when the first news of Albuquerque's successes reached Lisbon and -recast in 1515. The year 1516 has also been suggested, but the death of -King Ferdinand the Catholic in January of that year and the death of -Albuquerque in December 1515 render this date unsuitable. Even if the -play was acted at Christmas 1515, there is the ironical circumstance -that, at the moment when the Court was ringing with praises of the -Portuguese deeds in India, the great Governor was lying dead at Goa. The -date of the _Auto dos Quatro Tempos_ is equally problematic. It was -acted before King Manuel at the command of Queen Lianor in the S. Miguel -Chapel of the Alca[c,]ova palace on a Christmas morning. The name of the -palace indicates the year 1505 or an earlier date[48], and it has been -assigned to the year 1503 or 1504; but the superior development of the -play's structure and even of its thought (e.g. I. 78), its resemblance -to the _Triunfo do Inverno_ (1529), the introduction of a French song, -of the gods of Greece and of a psalm similar to that in the _Auto da -Mofina Mendes_ (1534)[49] and the perfection of the metre all indicate a -fairly late date, while imitations of Enzina[50] are not conclusive. On -the whole the intrinsic evidence counterbalances the statement of the -rubric as to the Alca[c,]ova palace and we may boldly assign this -delightful piece to Christmas 1516[51], while admitting that in a -rougher form it may have been presented to Queen Lianor[52] at a much -earlier date. - -The approximate date of the next play, the _Auto da Barca do Inferno_, -is certain. This first part of Vicente's remarkable trilogy of _Barcas_ -was acted 'in the Queen's chamber for the consolation of the very -catholic and holy Queen Dona Maria in the illness of which she died in -1517.' If we manipulate the commas so as to make the date refer to the -play as well as to the Queen's death, the remedy proved fatal, for she -died on March 7, but it is possible that it was acted earlier, towards -the end of 1516. The subject was a gloomy one but its treatment was -intended to raise many a laugh and it ends with the famous brief -invocation of the Angel to the knights who had died fighting in Africa. -On August 6, 1517, Vicente resigned the post of Master of the Mint in -favour of Diogo Rodriguez and probably about this time he married his -second wife, Melicia Rodriguez. The second and third parts of the -_Barcas_ trilogy were given in 1518 and 1519, but between the first and -third parts Senhor Braamcamp Freire now places the _Auto da Alma_, and -his scholarly suggestion[53] is amply borne out by the maturity and -perfection of this beautiful play[54] and by the likelihood that Vicente -when he wrote it was acquainted with Lucas Fern['a]ndez' _Auto de la -Pasion_ (1514). The _Auto da Barca do Purgatorio_ was acted before Queen -Lianor on Christmas morning, 1518, at the _Hospital de Todolos Santos_ -(Lisbon). King Manuel had been at Lisbon in July of this year, going -thence to Sintra, Collares, Torres Vedras and Almeirim, whence at the -end of November he proceeded to Crato to welcome his new Queen, Dona -Lianor. They returned together to Almeirim and the next months were -spent there 'in great bullfights, jousts, balls and other entertainments -till the beginning of Spring [May] when the King went to Evora[55].' The -_Auto da Barca da Gloria_ was played before his Majesty in Holy Week, -1519, and the fact that it is in Spanish and treats not of 'low -figures,' but of nobles and prelates, reveals the taste of the Court and -the wish to please the young Queen. In the following year (Nov. 29, -1520) Vicente was sent from Evora to Lisbon to prepare for the entry of -the King and Queen into their capital (January 1521). He seems to have -worked hard in arranging and directing the festivities, and in the same -year (1521) he staged both the _Comedia de Rubena_ and the _Cortes de -Jupiter_. The latter is the only Vicente play of which we have a -contemporary description. It was acted on the departure of the King's -daughter, Beatriz, at the age of sixteen to espouse the Duke of Savoy. -Her dowry, including precious stones, pearls and necklaces, was -magnificent, and after brilliant rejoicings at Lisbon she embarked on a -ship of a thousand tons in a fleet commanded by the Conde de Villa Nova. -She was accompanied by the Archbishop of Lisbon and many nobles. On the -evening of August 4, in the Ribeira palace 'in a large hall all adorned -with rich tapestry of gold, well carpeted, with canopy, chairs and -cushions of rich brocade, began a great ball in which the King our lord -danced with the lady Infanta Duchess his daughter and the Queen our lady -with the Infanta D. Isabel, and the Prince our lord and the Infante D. -Luis with ladies they chose; and so all the courtiers danced who were -going to Savoy and many other gentlemen and courtiers for a long space. -And the dancing over, began an excellent and well devised comedy with -many most natural and well adorned figures, written and acted for the -marriage and departure of the Infanta; and with this very skilful and -suitable play the evening ended[56].' - -Twenty weeks after these splendid scenes and the _alegrias d'aquelas -naves tam belas_[57] the King was dead. He died (13 Dec. 1521) in the -full tide of apparent prosperity. As he watched the slow funeral -procession passing in the night from the palace to Belem amid 600 -burning torches[58] Gil Vicente must have thought of his own altered -position. King Manuel had treated his sister's goldsmith generously[59] -and had personally attended the acting of many of his plays. The -diversion of elephant and rhinoceros had been only a momentary -backsliding, and he had sat through the whole of the _Barca da Gloria_, -in which a King and an Emperor fared so lamentably at the hands of the -modern Silenus. But he does not appear to have done anything to secure -the poet's well-being. King Manuel's sister, Vicente's faithful -patroness, was, however, still alive, and he had much to hope from the -new king who had grown up along with the Vicentian drama. Vicente's -first literary production had celebrated his birth, at the age of nine -the prince had been given a special verse in the _Auto das Fadas_ (III. -111), at the age of twelve he had actually intervened in the acting of -the _Comedia do Viuvo_ (II. 99), although his part was confined to a -single sentence. Finally, in the very year of his accession, he had been -represented as a second Alexander in the _Cortes de Jupiter_, and the -_Comedia de Rubena_ had been acted especially for him[60]. But King -Jo[~a]o III had not the careless temperament or graceful magnificence of -his father, and while he evidently trusted Vicente and showed him -constant goodwill--we have the proof in the pensions received by Vicente -during this reign--the favourite of one king rarely finds the same -atmosphere in the _entourage_ of his successor, however friendly the -king himself. Thus while Jo[~a]o III brooded over affairs of Church and -State the _detractores_ had more opportunity to attack the Court -dramatist. On December 19 the new king was proclaimed at Lisbon and -Vicente, placed too far away to hear what was said at the ceremony, -invented verses which he placed on the lips of the various courtiers as -they kissed hands (III. 358-64). It was not only the king but the times -that had changed, and King Manuel died not a moment too soon if he -wished not to see the reverse side of the brightly coloured tapestry of -his reign. Vicente ends his verses with the significant words: - - Diria o povo em geral: - Bonan[c,]a nos seja dada, - Que a tormenta passada - Foi tanta e tam desigual. - - -In the following year he wrote a burlesque lamentation and testament, -entitled _Pranto de Maria Parda_, 'because she saw so few branches in -the streets of Lisbon and wine so dear, and she could not live without -it[61].' In the late summer of 1523 in the celebrated convent of Thomar -he presented one of his most famous farces before the King: _Farsa de -Ines Pereira_. The critics were already gaining ground and 'certain men -of good learning' doubted whether he was the author of his plays or -stole them from others, a doubt suggested perhaps by the somewhat close -resemblance of the _Barca da Gloria_ to the Spanish _Danza de la -Muerte_. - -Vicente vindicated his originality by taking as his theme the proverb -'Better an ass that carries me than a horse that throws me,' and -developing it into this elaborate comedy. At Christmas of the same year -at Evora, in the introductory speech of the _Auto Pastoril Portugues_, -placed in the mouth of a _beir[~a]o_ peasant, the audience is informed -that poor Gil who writes plays for the King is without a farthing and -cannot be expected to produce them as splendidly as when he had the -means (I. 129). He was probably disappointed that the 6 milreis which he -had received that year (May 1523) was not a regular pension. His -complaint fell on listening ears and in 1524 (the year of Cam[~o]es' -birth) he was granted two pensions, of 12 and of 8 milreis, while in -January 1525 he received a yet further pension of three bushels of -wheat. Thus, although his possession of an estate near Torres Vedras, -not far from Lisbon, has been proved to be a myth and we know that the -entire fortune of his widow consisted in 1566 of ten milreis and that of -his son Luis of thirty[62], and while we must remember his expenses in -travelling and in the production of his plays, his financial position -compares very favourably with that of Luis de Cam[~o]es half a century -later. - -The _Fragoa de Amor_, wrongly assigned to 1525, belongs to the year -1524, the occasion being the betrothal of King Jo[~a]o III to Catharina, -sister of the Emperor Charles V[63]. The year 1525 is the most discussed -date in the Vicentian chronology. Two plays are doubtfully assigned to -it and we may perhaps add a third, the _Auto da Festa_, as well as the -_trovas_ addressed to the Conde de Vimioso. Senhor Braamcamp Freire[64] -plausibly places in this year the _Farsa das Ciganas_, although the date -of the rubric is 1521, the year perhaps in which the idea of this slight -piece took shape in the poet's brain. There is a more definite reason -for assigning _Dom Duardos_ to this year. It is a play based on the -romance of chivalry commonly known as _Primaleon_, of which a new -edition appeared at Seville in October 1524[65], and we know from Gil -Vicente's dedication that Queen Lianor ([+] 17 Dec. 1525) was still -alive[66]. Yet we are still in the region of hypothesis, for the -adventures of Dom Duardos were in print since 1512 (Salamanca)[67], and -we may perhaps doubt whether this 'delicious idyl[68],' the longest of -Vicente's works, was ready a year after the publication of the Seville -edition, although as Senhor Braamcamp Freire points out[69], the -betrothal of the Emperor Charles V to the King's sister was a suitable -occasion for the production of the play[70]. The only play assigned with -some certainty to 1525 is that in which the husband of Ines Pereira -reappears as a rustic judge _[`a] la Sancho Panza: O Juiz da Beira_, acted -before the King at Almeirim. - -It was a year of famine and plague at Lisbon. The fact that the verses -addressed by Vicente to the Conde de Vimioso inform us that Vicente's -household was down with the plague and his own life in danger (III. 38) -bind these verses to no particular date, the plague being then all too -common a visitation. Indeed General Brito Rebello and Senhor Braamcamp -Freire both attribute this poem to 1518. His complaints of poverty would -thus have begun immediately after his resignation of the lucrative post -of Master of the Mint and before he had received his pensions. 'He who -does not beg receives nothing,' he says, and later on in the same poem -'If hard work and merit spelt success I would have enough to live on and -give and leave in my will' (III. 382-3). The general tone of these -verses is more in accordance with that of his later plays[71], and the -occasion was more probably that in which he composed the _Templo de -Apolo_, written when he was _enfermo de grandes febres_ (II. 371), and -acted in January 1526[72]. In his verses he tells the Conde de Vimioso -that 'I have now in hand a fine farce. I call it _A Ca[c,]a dos -Segredos_. It will make you very gay.' 'I call it'; but the name given -by the author was more than once ousted by a popular title. This implied -popularity of Gil Vicente's plays, acted before the Court and not -published in a collected edition till a quarter of a century after his -death, might seem unaccountable were it not for the fact that some of -his pieces, printed separately, were eagerly read, and that the people -might be present in fairly large numbers when his plays were represented -in church or convent. We know too that plays were acted in private -houses. The publication of Antonio Ribeiro Chiado's _Auto da Natural -Inven[c,]am_ (_c._ 1550) by the Conde de Sabugosa throws much light on -this subject. This _auto_, acted a few years after Vicente's death, -contains the description of the presentation of a play in a private -house at Lisbon. The play was to begin at 10 or 11 p.m., the actors -having to play first at two other private houses. So great is the -interest that not only is the house crowded and its door besieged but -the throng in the street outside is so thick that the players have much -difficulty in forcing their way through it. The owner of the house had -given 10 cruzados for the play[73]. Vicente's _Auto da Festa_ was -similarly acted in a private house. The most interesting of all the -facts recorded by Chiado is the eagerness of the people. Uninvited -persons from the crowd outside kept pressing in at the door. Thus we can -easily understand how the people could give their own name to a play, -fastening on words or incident that especially struck them. The Farce of -the Poor Squire became _Quem tem farelos?_[74], the author's name for -the _Auto da Mofina Mendes_ was _Os Mysterios da Virgem_ (I. 103), the -_Clerigo da Beira_ was also known as the _Auto de Pedreanes_[75]. -Therefore when we come upon a new title of a Vicente play unknown to us -we need not conclude that it is a new play. - -Of the seven Vicente plays[76] placed on the Portuguese _Index_ of 1551 -four are known to us. The _Auto da Vida do Pa[c,]o_ may be identified -with some probability with the _Romagem de Aggravados_[77]. If we may -not identify the _Jubileu de Amores_ with the _Auto da Feira_ its -disappearance must be accounted for by the wrath of the Church of Rome, -which fell upon it when produced at Brussels in 1531[78]. The remaining -play _O Auto da Aderencia do Pa[c,]o_ can scarcely be identified with -the _Auto da Festa_ on the ground that the _vil[~a]o_ says (1906 ed., p. -123): - - Quem quiser ter que comer - Trabalhe por aderencia: - Haver['a] quanto quiser. - Vosoutros que andais no pa[c,]o.... - -especially as there was scarcely anything for the Censorship to condemn: -merely the mention of the _Priol's_ two sons (p. 111) and the ease with -which the old woman obtains a Bull from the Nuncio (pp. 120, 124). There -is far more reason, 'in my simple conjectures,' for believing that _A -Ca[c,]a dos Segredos_ altered its name before or after it was produced -and became _A farsa chamada Auto da Lusitania_. In the burlesque passage -concerning Gil Vicente in this play (III. 275-6) we learn that he was -instructed for seven years and a day in the Sibyl's cave and informed by -the Sibyl of the secrets which she knew about the past: - - E ali foi ensinado - Sete anos e mais um dia - E da Sibila informado - Dos segredos que sabia - Do antigo tempo passado. - -If the _Trovas ao Conde de Vimioso_ were written in 1525, the seven -years during which Vicente hunted for secrets bring us to 1532, the date -of the _Auto da Lusitania_. The necessary allusions to the birth of the -Prince were inserted, but the play had been ready long before[79]. - -The _Auto da Festa_ was probably acted in a private house at Evora. It -contains scarcely an indication as to its date[80], but it has passages -similar to others in the _Farsa de Ines Pereira_ (1523), the _Fragoa de -Amor_[81] (1524) and the _Farsa das Ciganas_ (1525?)[82]. That the play -was prior to the _Templo de Apolo_ seems evident, and the author would -be unlikely to copy from what he calls an _obra doliente_ (II. 373) with -Portuguese passages introduced to prop up a play originally written -wholly in Spanish (_ibid._). Nor need the anti-Spanish passages tell -against the year of the betrothal of Charles V and the Infanta Isabel, -for they are placed in the mouth of a _vil[~a]o_ and the play was -performed in private. In the _Templo de Apolo_ the anti-Spanish -atmosphere has not quite vanished, but the _vil[~a]o_ contents himself -with saying that _Deos n[~a]o ['e] castelhano_, and even so Apollo feels -bound to present his excuses: - - Villano ser descort['e]s - No es mucho de espantar. - -_Quem n[~a]o parece esquece_, says Vicente in his _trovas_ to Vimioso. -_Les absents ont tort_. After a quarter of a century he could no longer -describe his _autos_ as a new thing and he was now confronted by the -formidable novelty of the hendecasyllabic metre introduced by S['a] de -Miranda from Italy. He felt that he had his back against the wall[83]. -He made a prodigious effort to vary the themes of his plays and to -produce them with increasing frequency. The year 1527 is his _annus -mirabilis_. The _Sumario da Historia de Deos_ and the _Dialogo sobre a -Ressurrei[c,]am_ are assigned, if not to this year, to the period -1526-8[84]. The _Nao de Amores_ celebrated the entry of Queen Catharina -into Lisbon in 1527, and before the autumn[85] three plays, the _Divisa -da Cidade de Coimbra_, the _Farsa dos Almocreves_ and the _Tragicomedia -da Serra da Estrella_, had been presented before the Court at the -charming old town of Coimbra which ten years later definitively became -the University town of Portugal. His great efforts were not unrewarded, -for in the following year he received a yet further pension of 12 -milreis. On his way back from Coimbra to Santarem he fell among some -Spanish carriers who took advantage of the new Queen's favour to fleece -the poet, and he wrote some verses of comic complaint to the King (II. -383-4). The rubric assigns to the same year the famous _Auto da Feira_ -(Lisbon: Christmas 1527) but Snr Braamcamp Freire[86] points out that -King Jo[~a]o did not spend Christmas of this year at Lisbon and assigns -it to 1528, the year in which the celebrated Dialogues of Alfonso and -Juan de Vald['e]s saw the light. In April 1529 the _Triunfo do Inverno_ -celebrated the birth of the Infanta Isabel. The author introduced the -play in a long lament in verse over the forgotten jollity of earlier -times and then, to show that his own hand had lost none of its cunning, -he gave his audience a feast of lyrical passages in the Triumphs of -Winter and Spring. - -In 1527 Vicente seems clearly to have aimed his allusions to the sons of -priests at Francisco de S['a] de Miranda, whose father was a priest and -who was born at Coimbra. And now in _O Clerigo da Beira_[87] we have a -priest addressing his son Francisco and telling him that a priest's son -will never come to any good. On his part the grave S['a] de Miranda had -protested against the introduction of scenes from the Bible into the -_farsas_: the allusion to Vicente was clear although his treatment of -such scenes was usually reverent. Vicente still had the ear of the Court -and S['a] de Miranda could only lament that the new style had at first -so little vogue in Portugal. That the King, when he had leisure, -consulted Vicente on weightier matters than the production of Court -plays is proved by a passage[88] in the letter addressed to him by the -poet from Santarem. A terrible earthquake shock on Jan. 26, 1531, -followed by other severe shocks, kept the people in a panic for fifty -days. _Terruerant satis haec pavidam praesagia plebem_, and to make -matters worse the monks of Santarem, with an eye on the new Christians, -spoke of the wrath of God and announced another earthquake as calmly as -if they were giving out the hour of evensong. Vicente, who in his letter -to the King[89] says, like Newman's Gerontius, 'I am near to death,' -assembled the monks and preached them an eloquent sermon. The prestige -of the Court poet restrained their zeal and probably avoided another -massacre such as he had seen at Lisbon a quarter of a century before. It -was in December of this year that the _Jubileu de Amores_ was acted in -the house of the Portuguese Ambassador at Brussels, to the horror of -Cardinal Aleandro, who almost persuaded himself that he was witnessing -the sack of Rome four years earlier. It was perhaps before this that -King Jo[~a]o commanded Vicente to publish his works, but he could not be -greatly perturbed that a play by Vicente had given offence to the Holy -See, with which he was himself often in unpleasant relations at this -time. At all events Vicente continued to produce his plays. In 1532 the -birth of the long desired heir to the throne was celebrated at Lisbon, -and Vicente presented the _Auto da Lusitania_, while two long plays, the -_Romagem de Aggravados_ and _Amadis de Gaula_, belong to the following -year. The former was acted at Evora in honour of the birth of the -Infante Felipe (May 1533). _Amadis de Gaula_ perhaps shows some signs of -weariness, and if he played the part of Amadis he would apply to himself -the lines - - Que ya veis que soy pasado - A la vida de los muertos (II. 282). - -The _Auto da Cananea_ was written at the request of the Abbess of -Oudivellas and acted at that convent near Lisbon in 1534. It contains -perhaps a reference to the earthquake of 1531 (I. 373). The _Auto da -Mofina Mendes_ may have been written some years before it was acted in -the presence of the King at Evora on Christmas morning 1534: it alludes -to the capture of Francis I at Pavia (1525) and to the sack of Rome -(1527). Vicente had returned to Evora at least as early as August 1535, -and in 1536 he produced there before the King his last play, the -_Floresta de Enganos_, which may well have been a collection of farcical -scenes written at various periods of his career[90]. We know that he was -dead on April 16, 1540. He did not follow the Court to Lisbon in August -1537 and his death may be assigned with some plausibility to the end of -1536 at Evora[91]. The children of his second marriage were almost -certainly with him, Paula and Luis, who edited his works in 1562 and -were now still in their teens, and the even younger Valeria. Paula seems -to have inherited her father's versatility and his musical, dramatic and -literary tastes. Tradition connects her closely with him and would even -assign her a part in the composition of his plays. Another and a more -reliable tradition says that he was buried in the Church of S. Francisco -at Evora. His life had been full and strenuous and we leave him in this -quiet little town _depois da vida cansada descansando_[92]. - - -II. CHARACTER AND IDEAS - -If we were limited to the information about Gil Vicente furnished by his -contemporaries, we should but know that he had introduced into Portugal -_representa[c,][~o]es_ of eloquent style and novel invention imitating -Enzina's eclogues with great skill and wit[93], and that the mordant -comic poet Gil Vicente, who hid a serious aim beneath his gaiety and was -skilled in veiling his satire in light-hearted jests, might have -excelled Menander, Plautus and Terence if he had written in Latin -instead of in the vulgar tongue[94]. That is, we should have known -nothing that we could not learn from his plays and it is to his plays -that we must go if we would be more closely acquainted with his -character and his attitude towards the problems of his day. King Manuel, -says Dami[~a]o de Goes, always kept at his Court Spanish buffoons as a -corrective of the manners and habits of the courtiers[95]. The King may -have had something of the sort in his mind in encouraging Gil Vicente, -and probably he especially favoured his allusions to the courtiers; but -we cannot for a moment consider that Vicente, friend and adviser of King -Jo[~a]o III, the grave town-councillor whose influence could check the -fanaticism of the monks at Santarem--can we imagine them bowing before a -mere mountebank, a strolling player?--was looked upon simply as a Court -jester. The impression left by his plays is, rather, that of the worthy -thoughtful face of Velazquez as painted in his _Las Meninas_ picture, a -figure closely familiar with the Court yet still somewhat aloof, -_apartado_. like Gil Terron. Vicente regards himself as a _rustico -peregrino_ (III. 390), an _ignorante sabedor_ (I. 373) as opposed to the -ignorant-malicious or ignorant-presumptuous of the Court. But Vicente -was no ascetic, his was a genial, generous nature, he liked to have -enough to spend and give and leave in his will. Kindly and chivalrous, -he was a champion of the down-trodden but had first-hand knowledge of -the malice and intrigues of the peasants and of the poor in the towns. -Above all he was thoroughly Portuguese. He might place his scene in -Crete but in that very scene he would refer to things so Portuguese as -the _janeiras_ and _lampas de S. Jo[~a]o_. Portugal is - - Pequeno e muy grandioso, - Pouca gente e muito feito, - Forte e mui victorioso, - Mui ousado e furioso - Em tudo o que toma a peito, - -and he appears to have shared the popular prejudice against Spain. Did -he also share the people's hostility towards the priests and the Jews? -It cannot be said that the priests presented in his plays are patterns -of morality. As to the Jews he knows of their corrupt practices and -describes them in a late play as _a mais falsa ral['e]_[96]. It was -during the last ten years of Vicente's life that the question of the new -Christians came especially to the front (from 1525). In earlier plays -Vicente seems more sympathetic towards them and the pleasant sketch of -the Jewish family in Lisbon is as late as 1532[97]. In 1506, the very -year of the massacre of Jews at Lisbon, he had gone to the root of the -question when he declared in his lay sermon that: - - Es por dem['a]s pedir al jud['i]o - Que sea cristiano en el coraz['o]n ... - Que es por dem['a]s al que es mal cristiano - Doctrina de Cristo por fuerza ni ruego[98]. - -And twenty-five years later he said to the monks at Santarem: 'If there -are some here who are still strangers to our faith it is perhaps for the -greater glory of God[99].' That is to say: if you force the Jews to -become Christians you will only make them hypocrites; far better to -treat them frankly as Jews and not expect figs from thistles. That -Vicente himself was a devout Christian and Catholic and a deeply -religious man such plays as the _Auto da Alma_, the _Barcas_, the -_Sumario_, the _Auto da Cananea_ are sufficient proof. He had much of -the Erasmian spirit but nothing in common with the Reformation. His -irreverence is wholly external, it was abuses not doctrine that he -attacked, the ministers of the Church and not the Church itself. He may -have been in the secret of King Jo[~a]o's somewhat stormy negotiations -with the Holy See and he took the national and regalist view: in the -_Auto da Feira_ Mercury addresses Rome as follows: - - Nam culpes aos reis da terra, - Que tudo te vem de cima (I. 166). - -He wished to reform the Church from within. All are perversely asleep, a -sleep of death[100]. Many prayers do not suffice without _almas limpas e -puras_[101]. Men must be judged by their works[102]. In the _Auto da -F['e]_ (1510) we have a simple declaration of faith: - - F['e] he amar a Deos s['o] por elle - Quanto se pode amar, - Por ser elle singular, - Nam por interesse delle; - E se mais quereis saber, - Crer na Madre Igreja Santa - E cantar o que ella canta - E querer o que ella quer[103]. - -But four years earlier and ten before Luther's formal protest against -the papal indulgences we find Vicente in his lay sermon referring to the -question 'whether the Pope may grant so many pardons' and laughing at -the hair-splitting of preachers: was the fruit that Eve ate an apple, a -pear or a melon[104]? His own religion certainly had a mystical and -pantheistic tendency[105]. It was as deep as was his love of Nature. He -would have the hearts of men dance with jocund May[106]: - - Hei de cantar e folgar - E bailar c'os cora[c,][~o]es, - -and he had an eye for the humblest flower that blows--chicory and -camomile, hedge flowerets, honeysuckle and wild roses: - - Almeirones y magarzas, - Florecitas por las zarzas, - Madresilvas y rosillas (I. 95. Cf. II. 29). - -And he sympathized closely with what was nearest to Nature: peasants and -children. Of the people of the towns he was probably less enamoured and -he speaks of _a desvairada opini[~a]o do vulgo_ and of the folly of -pandering to it[107]. At Court he certainly had many friends. A friendly -rivalry in art and letters bound him to Garcia de Resende for probably -over forty years and he was no doubt on excellent terms with the -_dadivoso_ Conde de Penella (II. 511), the _muito jucundo_ Conde de -Tentugal (III. 360) and the Conde de Vimioso. High rank was no certain -shelter from the shafts of Vicente's wit, but when it was a case of -princes he was more careful: - - Agora cumpre atentar - Como poemos as m[~a]os, - -as he ingenuously remarks[108]. King Jo[~a]o II had seen to it that no -class or individual should dispute the power of the throne, and now the -King reigned supreme. Kings, says Vicente, are the image of God[109]. -That was in 1533, when it might seem to him that the authority of the -throne was more than ever necessary to cope with the confusion of the -times. The King's power stood for the nation, that of a noble might mean -mere private ambition or power in the hands of one unworthy, and Gil -Vicente asks nobly: - - Quem n[~a]o ['e] senhor de si - Porqu['e] o ser['a] de ninguem? - (Who himself cannot control - Why should he o'er others rule?) - -He had witnessed many changes, and looking back as an old man his memory -might well be overwhelmed by a period so crowded[110]. He had seen the -provinces and capital of Portugal transformed by the overseas -discoveries. We may be sure that he had watched with more interest than -the ordinary _lisboeta_ the extension of the Portuguese empire and the -deeds of the unfortunate Dom Francisco de Almeida ('Tomou Quiloa e -Momba[c,]a, Parece cousa de gra[c,]a Ver de que morte acabou') and the -redoubtable Afonso de Albuquerque, who snatched victories from defeat in -the teeth of all manner of obstruction and indifference and placed -Portugal's glory on a pinnacle scarcely dreamed of even in the -intoxicating moment of Gama's first return to Belem in 1499: - - Outro mundo encuberto - Vimos ent[~a]o descubrir - Que se tinha por incerto: - Pasma homem de ouvir. - -Meanwhile Vicente never lost sight of the fact that the nation's -strength lay not in rich imports, however fabulous and envied, but in -the good use of its own soil and capacities and in the vigour, energy -and discipline of its inhabitants, and a note of warning sounded again -and again in his plays as he saw the old simplicity sink and disappear -before wave on wave of luxury, ambition and hollow display. He had felt -the good old times, content with rustic dance and song, vanishing since -1510: - - De vinte annos a ca - N[~a]o ha hi gaita nem gaiteiro[111]. - -Now no one is content: _ninguem se contenta da maneira que sohia_[112]. -_Tudo bem se vai ao fundo_[113]. He especially deplored the new -confusion between the classes[114]. Shepherd, page and priest all wish -to serve the King, that is, to become an official and to idle for a -fixed wage while the land remained unploughed. The peasants do not know -what they want and _murmuram sem entender_[115]. There is slackness -everywhere (_todos somos negligentes_)[116]. Portugal was suffering from -a crisis similar to that of four centuries later and men were inclined -to leave their professions in order to theorize or in the hope of -growing rich by a short cut or by chance instead of by hard, steady -work; and the result was a period of upheaval and disquiet. Vicente -suffered like the rest. He had embodied in his plays the simple pastimes -of the Portuguese people, their delight in the processions, services and -dramatic displays of the Church, in the mimicry of the early -_arremedillos_, in the rich fancy-dress _momos_ which were an essential -element at great festivities. But his drama was not classical, often it -was not drama. Technically he is less dramatic than Lucas Fern['a]ndez -or Torres Naharro. He defied every rule of Aristotle and mingled -together the grave and gay, coarse and courtly in a way faithful to life -rather than to any accepted theories of the stage. While he continued to -produce these natural and delightful plays all kinds of new conditions -arose. It was the irony of circumstance that when the old Portuguese -poetry held the field the taste of the Court for personal satire and -magnificent show could scarcely appreciate at its true value the lyrical -gift of Vicente; and later, after King Manuel's death, Vicente found -himself confronted by a new school in which classicism carried the day, -the long Italian metres superseded the merry native _redondilha_ of -eight syllables, and the latinisers began to transform the language and -shuddered like _femmes savantes_ at Vicente's barbarisms and uncouth -_voquibles_. His attitude towards his critics was one of humility and -good humour. It is at least good to know that Vicente with his -_redondilhas_ continued to triumph personally in his old age and it was -only the hand of death that drove him from the scene. Nor did he cease -to point out abuses: the increase of _a falsa mentira_, the corruption -of justice[117], the greed for money[118] and the growth of luxury[119]. -He pillories the ignorance of pilots[120] by which so many ships were -lost now and later, and he seems to doubt the wisdom of keeping women -shut up like nuns both before[121] and after[122] marriage. If in many -respects Vicente belonged to the Middle Ages, in his curiosity and -many-sidedness he was a true child of the Renaissance. He dabbled in -astrology and witchcraft, loved music (he wrote tunes for some of his -lyrics), poetry, reading, acting and the goldsmith's art, and maintained -his zest in old age: _Mofina Mendes_ was probably written when he was -over sixty. Attempts to represent him as a Lutheran reformer, a deep -philosopher or an authority in questions philological fall to the -ground. He was a jovial poet and a keen observer who loved his country, -and when he saw its inhabitants all at sixes and sevens he would -willingly have brought them back to what he called _a boa diligencia_. - - -III. TYPES SKETCHED IN HIS PLAYS - -In Vicente's notes and sketches of the Portugal of his day we may see -the master hand of the goldsmith accustomed to set jewels. His -miniatures are so distinct and the types described are so various that -had we no other record of the first third of the sixteenth century in -Portugal we might form a very fair and singularly vivid estimate from -his plays. With a comic poet we have, of course, to be on our guard. -When Vicente introduces the _lavrador_ who steals his neighbour's land, -is he drawing from life or from Berceo's _mal labrador_ or from the -_Danza de la Muerte_ (_fasiendo furto en la tierra agena_) or from the -Bible: 'Cursed be he that removeth his neighbour's landmark'? When he -presents the poverty-stricken nobleman, the dissipated priest, rustics -from Beira, or negro slaves, for how much does the conventional satire -of the day stand in these portraits and how much is drawn from Nature? -Are they merely literary types? It is obvious that these themes were a -great resource for the satirists of that time but their value to the -satirist lay in their truth. The sad existence of the poor gentleman and -the splendour maintained by penniless nobles are all too well attested. -As to the priests, when we find King Manuel joining with King Ferdinand -of Spain in a protest to the Pope to the effect that the whole of -Christendom was scandalized by the dissolute life of the clergy and by -the traffic in Bulls[123], and grave ecclesiastics in Spain and friends -of grave ecclesiastics, like Franco Sacchetti[124] earlier in Italy, -using language even more violent than that of Vicente, we need not doubt -the truth of his sketches. He was perhaps more vivid than the other -critics and his satire penetrated deeply for the very reason that he was -a realist. There was no doubt some professional exaggeration in the -language of his _beir[~a]o_ rustics, but his sympathy with the peasants -and his wide knowledge of the province of Beira prove that his object -was not merely mockery: _zombar da gente da Beira_[125]. Many of his -types are foreshadowed in the _Cancioneiro Geral_, and especially in the -_Arrenegos_ of Gregorio Afonso, of the household of the Bishop of Evora: -the 'priest who lives like a layman,' 'the gentleman who has not enough -to eat,' 'the man of great estate and small income,' the _preciosos_, -the _borrachas_, the _fantasticos_, the _alcouviteira_, 'the peasants -placed in a position of importance.' In developing these figures Vicente -was always careful to keep close to Nature. Each speaks in his own -language, 'the negro as a negro, the old man as an old man.' This is -carried to such a length that the Spanish Queen in the lament on the -death of King Manuel is made to speak her few lines in Spanish, the rest -of the poem being in Portuguese[126]. - -Vicente is not an easy writer because his styles are so many and his -allusions so local. But we must be infinitely grateful to him for the -way in which he portrays a type in a few lines and for the fact that -although they are types they are evidently taken from individuals whom -he had observed and who continue to live for us in his pages. His -gallery of priests is for all time. Frei Pa[c,]o comes, with his velvet -cap and gilt sword, 'mincing like a very sweet courtier'; Frei Narciso -starves and studies, tinging his complexion to an artificial yellow in -the hope that his hypocritical asceticism may win him a bishopric; the -worldly courtier monk fences and sings and woos; the Lisbon priest, like -his confessor one of Love's train, fares well on rabbits and sausages -and good red wine, even as the portly pleasure-loving Lisbon canons; the -country priest resembles a kite pouncing on chickens; the ambitious -chaplain accepts the most menial tasks, compared with whom the sporting -priest of Beira is at least pleasantly independent; and there are the -luxurious hermit, the dissipated village priest who never prayed the -hours, the inconstant monk who had been carrier and carpenter and now -wishes to be unfrocked in order to join more freely in dance and -pilgrimage, the mad friar Frei Martinho persecuted by dogs and Lisbon -_gamins_, the ambitious preacher who glosses over men's sins. If the -priests fared well in this life the satirists were determined that they -should not be equally fortunate after their death. Vicente's proud -Bishop is to be boiled and roasted, the grasping Archbishop is left -perpetually aboiling, the ambitious Cardinal is to be devoured by dogs -and dragons in a den of lions, while the sensual and simoniacal Pope is -to have his flesh torn with red-hot iron. And we have--although here -Vicente discreetly went to the _Danza de la Muerte_ for his satire--the -vainglorious and tyrannical Emperor, the Duke who had adored himself and -the King who had allowed himself to be adored. There are the careless -hedonistic Count more given to love than to charity or churchgoing, the -_fidalgo de ra[c,]a_, the haughty _fidalgo de solar_ with a page to -carry his chair, the judge who through his wife accepts bribes from the -Jews, the rhetorical goldsmith, the usurer (_onzeneiro_) with his heart -in his _cassette_ (_arca_)[127]. There too the pert servant-girl, the -gossiping maidservant, the witch busy at night over a hanged man at the -cross-roads, the faithless wife of the India-bound _lisboeta_, the -Lisbon old woman copious in malediction, her genteel daughter Isabel, -the wife who in her husband's absence only leaves her house to go to -church or pilgrimage, the _mal maridada_ imprisoned by her husband, the -peasant bride singing and dancing in skirt of scarlet, the woman -superstitiously devout, the _beata alcouviteira_ who would not have -escaped the Inquisition had she been printed like Aulegrafia in the -seventeenth century, lisping gypsies, the _alcouviteiras_ Anna and -Branca and Brigida, the _curandera_ with her quack remedies, the poor -farmer's daughter brought to be a Court lady and still stained from the -winepress, the old woman desirous of a young husband, the slattern -Catherina Meigengra, the market-woman who plays the _pandero_ in the -market-place, the peasant girls with pretentious names coming down to -market basket on head from the hills, the shrew Branca and the timid -wife Marta, the two irrepressible Lisbon fishwives, the voluble _saloia_ -who sells milk well watered and charges cruel prices for her eggs and -other wares, the country priest's greedy 'wife' who eats the baptism -cake and is continually roasting chestnuts, the mystical ingenuous -little shepherdess Margarida who sees visions on the hills, the superior -daughter of the peasant judge who had once spoken to the King, the small -Beira girl keeping ducks, Ledi[c,]a the affectedly ingenuous daughter of -the Jewish tailor, Cezilia of Beira possessed by a familiar spirit. - -Or, again, we have the ceremonious Lisbon lover Lemos, the high-flown -Castilian of fearful presence and a lion's heart, however threadbare his -_capa_[128], the starving gentleman who makes a _tost[~a]o_ (= _5d._) -last a month and dines off a turnip and a crust of bread, another--a -sixteenth century Porthos--who imagines himself a _grand seigneur_ and -has not a sixpence to his name but hires a showy suit of clothes to go -to the palace, another who is an intimate at Court (_o mesmo pa[c,]o_) -but who to satisfy a passing passion has to sell boots and viola and -pawn his saddle, the poor gentleman's servant (_mo[c,]o_) who sleeps on -a chest, or is rudely awakened at midnight to light the lamp and hold -the inkpot while his master writes down his latest inspiration in his -song-book, the incompetent Lisbon doctors with their stereotyped -formulas, the frivolous persons who are bored by three prayers at church -but spend nights and days listening to _novellas_, the _parvo_, -predecessor of the Spanish _gracioso_, the Lisbon courtier descended -from Aeneas, the astronomer, unpractical in daily life as he gazes on -the stars, the old man amorous, rose in buttonhole, playing on a viola, -the Jewish marriage-brokers, the country bumpkin, the lazy peasant lying -by the fire, the poor but happy gardener and his wife, the quarrelsome -blacksmith with his wife the bakeress, the carriers jingling along the -road and amply acquainted with the wayside inns, the aspiring -_vil[~a]o_, the peasant who complains bitterly of the ways of God, the -_lavrador_ with his plough who did not forget his prayers and was -charitable to tramps but skimped his tithes, the illiterate but not -unmalicious _beir[~a]o_ shepherd who had led a hard life and whose chief -offence was to have stolen grapes from time to time, the devout -bootmaker who had industriously robbed the people during thirty years, -the card-player blasphemous as the _taful_ of King Alfonso's _Cantigas -de Santa Maria_, the delinquent from Lisbon's prison (the _Limoeiro_) -whom his confessor had deceived before his hanging with promises of -Paradise, the peasant _O Moreno_ who knows the dances of Beira, the -negro chattering in his pigeon-Portuguese 'like a red mullet in a -fig-tree,' the deceitful negro expressing the strangest philosophy in -Portuguese equally strange, the rustic clown Gon[c,]alo with his baskets -of fruit and capons, who when his hare is stolen turns it like a canny -peasant to a kind of posthumous account: _leve-a por amor de Deos pola -alma de meus finados_, the Jew Alonso Lopez who had formerly been -prosperous in Spain but is now a poor new Christian cobbler at Lisbon, -the Jewish tailor who in the streets gives himself _fidalgo_ airs and is -overjoyed at the regard shown him by officials and who at home sings -songs of battle as he sits at his work[129]. - -In the actions and conversation of this motley crowd of persons high and -low we are given many a glimpse of the times: the beflagged ship from -India lying in the Tagus, the modest dinner (_a panela cosida_) of the -rich _lavrador_, the supper of bread and wine, shellfish and cherries -bought in Lisbon's celebrated Ribeira market, the Lisbon Jew's dinner of -kid and cucumber, the distaff bought by the shepherd at Santarem as a -present for his love, the rustic gifts of acorns, bread and bacon, the -shepherdess' simple dowry or the more considerable dowry of a girl -somewhat higher in society (consisting of a loom, a donkey, an orchard, -a mill and a mule), the migratory shepherds' ass, laden with the -milk-jugs and bells, and with a leathern wallet, yokes and shackles, the -sheepskin coats of the shepherds, bristling masks for their dogs (as a -defence against wolves), loaves of bread, onions and garlic. Thus in -town and village, palace and attic, house and street, on road and -mountain and sea the Portugal of the early sixteenth century is clearly -and charmingly conveyed to us, and we can realize better the conditions -of Gil Vicente's life at Court or as he journeyed on muleback to Evora -or Coimbra, Thomar or Santarem or Almeirim. - - -IV. ORIGINALITY AND INFLUENCE - -In 1523 the 'men of good learning' doubted Vicente's originality. They -might point to the imitations of Enzina or to the resemblance between -the trilogy of _Barcas_ and the _Danza de la Muerte_ or they might -reveal the origin of many a verse and phrase used by Vicente in his -plays and already familiar in the song-books of Spain and Portugal. -Vicente could well afford to let his critics strain at these gnats. He -had the larger originality of genius and while realizing that 'there is -nothing new under the sun[130]' he could transform all his borrowings -into definite images or lyrical magic. (There are flashes of poetry even -in the absurd _ensalada_ of III. 323-4.) He was the greatest lyrical -poet of his day and, in a strictly limited sense, the greatest -dramatist. He is Portugal's only dramatist, without forerunners or -successors, for the playwrights of the Vicentian school lacked his -genius and only attain some measure of success when they closely copy -their master, while the classical school produced no great drama in -Portugal: it is impossible to except even Antonio Ferreira's _Ines de -Castro_ from this sweeping assertion. But that is not to say that -Vicente stands entirely isolated, self-sufficing and self-contained. -Genius is never self-sufficing. Talent may live apart in an ivory palace -but genius overflows in many relations, is acted on and reacts and has -the generosity to receive as well as to give. The influences that acted -upon Gil Vicente were numerous: the Middle Ages and the humanism of the -first days of the Renaissance, the old national Portugal with its -popular traditions and the new imperial Portugal of the first third of -the sixteenth century, the Bible and the _Cancioneiro de Resende_, the -whole literature of Spain and Portugal, the services of the Church, the -book of Nature. But before examining how these influences work out in -his plays it may be well to consider whether their sources may be yet -further extended. - -Court relations between Portugal and France had never entirely ceased -and the 1516 _Cancioneiro_ contains many allusions to the prevailing -familiarity with things French. But Vicente's genius was not inspired by -the Court: it would be truer to say that, while he was encouraged by -Queen Lianor and the King, the Court's taste for new things, superficial -fashions and personal allusions tended to thwart his genius. When he -introduces a French song in his plays this does not imply any intimate -acquaintance with the lyrical poetry of France but rather deference to -the taste of the Court. He would pick up words of foreign languages with -the same quickness with which he initiated himself into the way of witch -or pilot, fishwife or doctor, but we have an excellent proof that his -knowledge of neither French nor Italian was profound. We know how -consistently he makes his characters speak each in his own language. Yet -in the _Auto da Fama_, whereas the Spaniard speaks Spanish only, the -Frenchman and Italian murder their own language and eke it out with -Portuguese[131]. Vicente read what he could find to read, but we may be -sure that his reading was mainly confined to Portuguese and Spanish. The -very words in his letter to King Jo[~a]o III in which he speaks of his -reading are another echo of Enzina[132], and although it cannot be -asserted that he was not acquainted with this or that piece of French -literature and with the early French drama, it may be maintained that -whatever influence France exercised upon him came mainly through Spain, -whether the connecting link is extant, as in the case of the _Danza de -la Muerte_, or lost, as in that of the _Sumario da Historia de Deos_. -Probably Vicente knew of French _myst[`e]res_ little more than the -name[133]. As to the literature of Greece, Rome and Italy the conclusion -is even more definite. Vicente had not read Plautus or Terence, his -knowledge of _el gran poeta Virgilio_ (III. 104) does not extend beyond -the quotation _omnia vincit amor_. Aristotle is a name _et praeterea -nihil_. With the classical tragedy of Trissino and others he had nothing -in common, and if he lived to read or see S['a] de Miranda's _Cleopatra_ -he probably had his own very marked opinion as to its value. Dante was, -of course, a closed book to him as to most of his contemporaries. With -Spanish literature the case is very different. The fourteenth and -fifteenth centuries were the most Spanish period of Portuguese -literature. The _Cancioneiro de Resende_ is nearly as Spanish as it is -Portuguese. Portuguese poets were, almost without exception, bilingual. -The horsemen stationed to bring the news of the wedding from Seville to -Evora in 1490 were emblematic of the close relations between the two -countries. Men were in continual expectation that they would come to -form one kingdom[134]. King Manuel's infant son was heir to Spain and -Portugal and the empires in Africa and America. - -Vicente's close acquaintance with Spanish literature shows itself at -every turn, and if we examine his plays we find but slight traces of the -influence of any other literature. His first pieces were written in -Spanish, and the Spanish is that of Enzina. Lines and phrases are taken -bodily from the Spanish poet and words belonging to the conventional -_sayagu['e]s_ (in which there was already a Portuguese element: cf. -_ollos_ for _ojos_) placed on the lips of _charros_ by Enzina are -transferred from Salamanca to Beira. The Enzina eclogues imitated by -Vicente were based on those of Virgil, but in Vicente's imitation there -is no vestige of any knowledge of the classics. The only Latin that -occurs is the quotation by Gil Terron of three lines from the Bible. A -little later the hungry _escudero_ of _Quem tem farelos?_ was in all -probability derived from Spanish literature, either from the Archpriest -of Hita's _Libro de Buen Amor_ or from some popular sketch such as that -contained later in _Lazarillo de Tormes_ (1554)[135]. The only French -element in the _Auto da F['e]_ is the _fatrasie_ or _enselada_ 'which -came from France,' but its text is not given. The classical allusions to -Virgil and the Judgment of Paris in the _Auto das Fadas_ are perfectly -superficial. A little medical Latin is introduced in the _Farsa dos -Fisicos_. _O Velho da Horta_, which opens with the Lord's Prayer, half -in Latin, half in Portuguese[136], is written in Portuguese with the -exception of the fragment of song and the lyric _[?]Cual es la ni[~n]a?_ -There is a reference to Macias, a name which had become a commonplace in -Portuguese poetry as the type of the constant lover. Spanish influence -is shown in the introduction of the _alcouviteira_ Branca Gil, probably -suggested by Juan Ruiz' _trotaconventos_ or by Celestina. The -_Exhorta[c,][~a]o da Guerra_ begins with humorous platitudes, -_perogrulladas_, after the fashion of Enzina. Gil Terron has increased -his classical lore, and Trojan and Greek heroes are brought from the -underworld, the _dramatis personae_ including Polyxena, Penthesilea, -Achilles, Hannibal, Hector and Scipio. The influence of Enzina is still -evident in the _Auto da Sibila Cassandra_, the _bell['i]ssimo auto_ -wherein Men['e]ndez y Pelayo saw the first germ of the symbolical -_autos_ in which Calder['o]n excelled[137], and in the _Auto dos Quatro -Tempos_. The immediate influence on the _Barcas_ is plainly Spanish, -this being especially marked in the _Barca da Gloria_. When the _Diabo_ -addresses the King: - - Nunca aca senti - Que aprovechase aderencia - Ni lisonjas, crer mentiras - ... Ni diamanes ni zafiras (I. 285) - -he is copying the words of Death in the _Danza de la Muerte_: - - non es tiempo tal - Que librar vos pueda imperio nin gente - Oro nin plata nin otro metal[138]. - - -Vicente's Devil taxes the Archbishop with fleecing the poor (I. 294) in -much the same words as those of the Spanish Death to the Dean (t. 2, p. -12). The Devil in the _Barca do Purgatorio_ (I. 251) and Death (t. 2, p. -17) both reproach the _labrador_ with the same offence: surreptitiously -extending the boundaries of his land. It must be admitted that these -signs of imitation are more direct than the French traces indicated in -the introduction of the 1834 edition of Vicente's works. The whole -treatment of the _Barcas_ closely follows the _Danza de la Muerte_. The -idea of a satirical review of the dead is of course nearly as old as -literature. In the _Barca da Gloria_ Vicente begins to quote Spanish -_romances_[139], and this is continued on a larger scale in the _Comedia -de Rubena_ (cf. also the Spanish songs in the _Cortes de Jupiter_) and -in _Dom Duardos_, in which reference is also made to two Spanish books, -Diego de San Pedro's _Carcel de Amor_ and Hernando Diaz' translation _El -Pelegrino Amador_[140]. Maria Parda's will was probably suggested rather -by such burlesque testaments as that of the dying mule in the -_Cancioneiro de Resende_ than by the _Testament de Pathelin_. The -criticism of the _homens de bom saber_ seems to have turned Vicente to -more peculiarly Portuguese themes in the _Farsa de Ines Pereira_ and the -_Auto Pastoril Portugues_, and in the _Fragoa de Amor_, written for the -new Queen from Spain, he presents national types: _serranas_, pilgrims, -nigger, monk, idiot. In the _Ciganas_ we have a passing reference to -'the white hands of Iseult,' a lady already well known in Spanish and -Portuguese literature. _Dom Duardos_ is of course based entirely on a -Spanish romance of chivalry. In _O Juiz da Beira_ he returns to the -_escudeiro_ and _alcouviteira_; the figures are, however, thoroughly -Portuguese with the exception of a new Christian from Castille. The -title of the _Nao de Amores_ already existed in Spanish literature[141]. -After this we have a group of thoroughly Portuguese plays, those -presented at Coimbra, the anticlerical _Auto da Feira_, the _Triunfo do -Inverno_, _O Clerigo da Beira_. It is not till _Amadis de Gaula_ that -Vicente again has recourse to Spanish literature[142], and we may be -sure that if he had known of a Portuguese text he would have written his -drama in Portuguese. - -Although Vicente owed much to Spanish literature we have only to compare -his plays with those of Juan del Enzina or Bartolom['e] de Torres -Naharro, or his first attempts with his later dramas to realize his -genius and originality. The variety of his plays is very striking and -the farce _Quem tem farelos?_ (1508?), the patriotic _Exhorta[c,][~a]o_ -(1513), the _Barca_ trilogy (1517-9), the religious _Auto da Alma_ -(1518), the three-act _Comedia de Rubena_ (1521), the character comedy -_Farsa de Ines Pereira_ (1523), the idyllic _Dom Duardos_ (1525?) mark -new departures in the development of his genius. No doubt his plays are -'totally unlike any regular plays and rude both in design and -execution[143].' Vicente divided them into religious plays (_obras de -deva[c,]am_), farces, comedies and tragicomedies, but the kinds overlap -and there is nothing to separate some of the comedies and tragicomedies -from the farces, while some of the farces are religious both in subject -and occasion. How artificial the division was may be seen from the -rubric to the _Barca do Inferno_, which informs us that the play is -counted among the religious plays because the second and third parts -(_Barca do Purgatorio_ and _Barca da Gloria_) were represented in the -Royal Chapel, although this first part was given in the Queen's chamber, -as though the subject and treatment of the three plays were not -sufficient to class them together. Again, the rubric of the _Romagem de -Aggravados_ runs: 'The following tragicomedy is a satire.' Really only -its length separates it from the early farces. Vicente's plays were a -development of the earlier Christmas, Holy Week and Easter -_representaciones_, religious shows to which special pomp was given at -King Manuel's Court. When he began to write the classical drama was -unknown and it is absurd to judge his work by the Aristotelean theory of -the unities of time and place. His idea of drama was not dramatic action -nor the development of character but realistic portrayal of types and -the contrast between them. His first piece, _Auto da Visita[c,]am_, has -not even dialogue--its alternative title is _O Monologo do -Vaqueiro_--and for comic element it relies on the contrast between Court -and country as shown by the herdsman's gaping wonder. The _Auto Pastoril -Castelhano_ contains six shepherds and contrasts the serious mystical -Gil with his ruder companions. - -The action of the _Auto dos Reis Magos_ is as simple as that of the two -preceding plays. _Quem tem farelos?_ however is a quite new development. -'The argument,' says the rubric, 'is that a young squire called Aires -Rosado played the viola and although his salary [as one of the Court] -was very small he was continually in love.' He is contrasted with -another penniless _escudeiro_ who gives himself martial airs and -willingly speaks of the heroic deeds of Roncesvalles, but runs away if -two cats begin to fight. Only five persons appear on the stage, but with -considerable skill Vicente enlarges the scene so as to include a vivid -picture of the second squire as described by his servant as well as the -barking of dogs, mewing of cats and crowing of cocks and the -conversation of Isabel with Rosado, which is conjectured from his -answers. No doubt the two _mo[c,]os_ owe something to Sempronio and -Parmeno of the _Celestina_, but this first farce is thoroughly -Portuguese and gives us a concrete and living picture of Lisbon manners. -Not all the farces have this unity. The _Auto das Fadas_ loses itself in -a long series of verses addressed to the Court. The _Farsa dos Fisicos_ -has no such extraneous matter: it confines itself to the lovelorn priest -and the contrast between the four doctors. The _Comedia do Viuvo_ is not -a farce and only a comedy by virtue of its happy ending. A merchant of -Burgos laments the death of his wife and is comforted by a kindly priest -and by a friend who wishes that his own wife were as the merchant's (the -simple mediaeval contrast common in Vicente). Meanwhile Don Rosvel, -Prince of Huxonia, has fallen in love with both the daughters of the -merchant, whom he agrees to serve in all kinds of manual labour as Juan -de las Brozas. His brother, Don Gilberto, arrives in search of him and a -quaintly charming and technically skilful play ends with a double -wedding (the Crown Prince of Portugal, present at the acting of this -play, had to decide for Don Rosvel which daughter he should marry). - -The _Auto da Fama_ is Vicente's second great hymn to the glory of -Portugal. Portuguese Fame, in the person of a humble girl of Beira, is -envied and wooed in vain by Castille, France and Italy--England and -Holland were then scarcely in the running--and narrates in ringing -verses the deeds of the Portuguese in the East, without, however, -mentioning the great name of Albuquerque, a name which inspired many of -the courtiers with more fear than affection. The _Auto dos Quatro -Tempos_ is a pastoral-religious play, the main theme being, as its title -indicates, a contrast between the four seasons. David appears as a -shepherd and Jupiter also takes a considerable part in the conversation. -Action there is none. - -Vicente's satirical vein found excellent occasion in the ancient theme -of scrutinizing the past lives of men as Death reaps them, high and low, -but his profoundly religious temperament raises the _Barcas_ into an -atmosphere of sublime if gloomy splendour, which is surpassed in the -_Auto da Alma_, the most perfect and consistent of his religious -plays--even the symbolical character of the latter part can hardly be -called a defect. In the _Comedia de Rubena_ the development of Vicente's -art is perhaps more superficial than real. It is divided into three long -scenes or acts and is thus more like a regular comedy than his other -plays. The acts, however, are isolated, the action occupies fifteen -years and occurs in Castille, Lisbon and Crete. English readers of the -play must be struck by its resemblance to _Pericles, Prince of Tyre_. -Written fifty-five years before Lawrence Twine's _The Patterne of -Painful Adventures_ (1576) and eighty-seven before George Wilkins and -William Shakespeare produced their play (1608), the _Comedia de Rubena_ -is in fact a link in a long chain beginning in a lost fifth century -Greek romance concerning Apollonius of Tyre and continued after Gil -Vicente's death in Timoneda's _Tarsiana_ and in _Pericles_. Vicente, -however, in all probability did not derive his Cismena, cold and chaste -predecessor of Marina, from the _Gesta Romanorum_ or the _Libro de -Apolonio_ but from the version in John Gower's _Confessio Amantis_, of -which a translation, as we know, was early available in Portugal. After -an exclusively Court piece, the _Cortes de Jupiter_, Vicente wrote the -_Farsa de Ines Pereira_, in which there is more action and development -of character than in his preceding, or indeed his subsequent, plays. He -represents the aspirations and repentance of Ines, the 'very flighty -daughter of a woman of low estate.' Despite the warnings of her sensible -mother she rejects the suit of simple and uncouth Pero Marques for that -of a gentleman (_escudeiro_) whose pretensions are far greater than his -possessions. The mother gives them a house and retires to a small -cottage. But the _escudeiro_ married confirms the wisdom of the Sibyl -Cassandra (I. 40). He keeps his wife shut up 'like a nun of Oudivellas.' -The windows are nailed up, she is not allowed to leave the house even to -go to church. Thus the hopes and ambitions of Ines Pereira de Gr[~a]a -are tamed, although she was never a shrew[144]. Presently, however, the -_escudeiro_ resolves to cross over to Africa to win his knighthood: - - ['a]s partes dalem - Vou me fazer cavaleiro, - -and he leaves his wife imprisoned in their house, the key being -entrusted to the servant (_mo[c,]o_). Ines, singing at her work, is -declaring that if ever she have to choose another husband _on ne m'y -prendra plus_ when a letter arrives from her brother announcing that her -husband, as he fled from battle towards Arzila, had been killed by a -Moorish shepherd. The faithful Pero Marques again presses his suit. He -is accepted and is made to suffer the whims and infidelity of the -emancipated Ines. The question of women's rights was a burning one in -the sixteenth century. - -Vicente's versatility enabled him to laugh at his critics to the end of -the chapter. In _Dom Duardos_ he gave them an elaborate and very -successful dramatization of a Spanish romance of chivalry. The treatment -has both unity and lyrical charm. It was so successful that the -experiment was repeated in 1533 with the earlier romance of _Amadis de -Gaula_ (1508), out of which Vicente wrought an equally skilful but less -fascinating play[145]. But Vicente had not given up writing farces and -the sojourn of Ines Pereira's husband in town enables the author to -introduce various Lisbon types in _O Juiz da Beira_. It indeed -completely resembles the early farces, while the _Auto da Festa_ with -its peasant scene and allegorical _Verdade_ is of the _Auto da F['e]_ -type but adds the theme of the old woman in search of a husband. The -_Templo de Apolo_, composed for a special Court occasion, shows no -development, but in the _Sumario_ we have a fuller religious play than -he had hitherto written. It proves, like _Dom Duardos_, his power of -concentration and his skill in seizing on and emphasizing essential -points in a long action (the period here covered is from Adam to -Christ[146]). It is closely moulded on the Bible and contains, besides -an exquisite _vilancete_ (_Adorae montanhas_), passages of noble poetry -and soaring fervour--Eve's invocation to Adam: - - ['O] como os ramos do nosso pomar - Ficam cubertos de celestes rosas (I. 314); - -Job's lament 'Man that is born of woman' (I. 324); the paraphrase or -rather translation of 'I know that my Redeemer liveth' (I. 322). Nothing -here, surely, to warrant the complaints of S['a] de Miranda as to the -desecration of the Scriptures. This play was followed by the _Dialogo -sobre a Ressurrei[c,]am_ by way of epilogue; it is a conversation -between three Jews and is treated in the cynical manner that Browning -brought to similar scenes. The _Sumario_ or _Auto da Historia de Deos_ -was acted before the Court at Almeirim and must have won the sincere -admiration of the devout Jo[~a]o III. If the courtiers were less -favourably impressed they were mollified by the splendid display of the -_Nao de Amores_ with its much music, its Prince of Normandy and its -miniature ship fully rigged. Vicente was now fighting an uphill battle -and in the _Divisa da Cidade de Coimbra_ he attempted a task beyond the -strength of a poet and more suitable for a sermon such as Frei Heitor -Pinto preached on the same subject: the arms of the city of Coimbra. -Even Vicente could not make this a living play; it is, rather, a museum -of antiquities and ends with praises of Court families. It is pathetic -to find the merry satirist reduced to admitting (in the argument of this -play) that merely farcical farces are not very refined. Yet we would -willingly give the whole play for another brief farce such as _Quem tem -farelos?_: - - Ya sabeis, senhores, - Que toda a comedia come[c,]a em dolores, - E inda que toque cousas lastimeiras - Sabei que as far[c,]as todas chocarreiras - N[~a]o sam muito finas sem outros primores (II. 108). - -Fortunately he returned to the plain farce in _Os Almocreves_, the _Auto -da Feira_ and _O Clerigo da Beira_ (which, however, ends with a series -of Court references) with all his old wealth of satire, touches of -comedy and vivid portraiture. He also returned to the pastoral play in -the _Serra da Estrella_, while his exquisite lyrism flowers afresh in -the _Triunfo do Inverno_, a tragicomedy which is really a medley of -farces. It is not a great drama but it is a typical Vicentian piece, -combining vividly sketched types with a splendid lyrical vein. Winter, -that banishes the swallows and swells the voice of ocean streams, first -triumphs on hills and sea and then Spring comes in singing the lovely -lyric _Del rosal vengo_ in the Serra de Sintra. The play ends on a -serious and mystic note, for Spring's flowers wither but those of the -holy garden of God bloom without fading: - - E o santo jardim de Deos - Florece sem fenecer. - -The _Auto da Lusitania_ is divided into two parts, the first of which is -complete in itself and gives a description of a Jewish household at -Lisbon, while the second is a medley which contains the celebrated scene -of Everyman and Noman: Everyman seeks money, worldly honour, praise, -life, paradise, lies and flattery; Noman is for conscience, virtue, -truth. In the _Romagem de Aggravados_ the fashionable and affected Court -priest, Frei Pa[c,]o, is the connecting link for a series of farcical -scenes in which a peasant brings his son to become a priest, two -noblemen discourse on love, two fishwives lament the excesses of the -courtiers, Cerro Ventoso and Frei Narciso betray their mounting -ambition, civil and ecclesiastic, the poor farmer Aparicianes implores -Frei Pa[c,]o to make a Court lady of his slovenly daughter, two nuns -bewail their fate and two shepherdesses discuss their marriage -prospects. The _Auto da Mofina Mendes_ is especially celebrated because -Mofina Mendes, personification of ill-luck, with her pot of oil is the -forerunner of La Fontaine's _Pierrette et son pot au lait_: it was -perhaps suggested to Vicente by the tale of Do[~n]a Truhana's pot of honey -in _El Conde Lucanor_; the theme of counting one's chickens before they -are hatched also forms the subject of one of the _pasos_, entitled _Las -Aceitunas_, of the goldbeater of Seville, Lope de Rueda[147]. Vicente's -piece consists, like some picture of El Greco, of a _gloria_, called, as -Rueda's scenes, a _passo_, in which appear the Virgin and the Virtues -(Prudence, Poverty, Humility and Faith) and an earthly shepherd scene. -It is thus a combination of farce and religious and pastoral play. -Vicente's last play, the _Floresta de Enganos_, is composed of scenes so -disconnected that one of them is even omitted in the summary given after -the first deceit: that in which a popular traditional theme, derived -directly or indirectly from a French (perhaps originally Italian) -source, _Les Cent Nouvelles Nouvelles_, is presented, akin to that so -piquantly narrated by Alarc['o]n in _El Sombrero de Tres Picos_ in the -nineteenth century, the judge playing the part of the Corregidor and the -malicious and sensible servant-girl that of the miller's wife. - -In these last plays we see little or no advance: there is no attempt at -unity or development of plot. We cannot deny that the creator of the -penniless-splendid nobleman and the mincing courtier-priest and the -author of such touches as the death of Ines' husband or the sudden -ignominious flight of the judge possessed a true vein of comedy, but he -remained to the end not technically a great dramatist but a wonderful -lyric poet and a fascinating satirical observer of life. His influence -was felt throughout the sixteenth and seventeenth centuries in Portugal, -by Cam[~o]es and in the plays of Chiado, Prestes and a score of less -celebrated dramatists, as well as in a considerable number of anonymous -plays, but confined itself to the _auto_, which, combated by the -followers of the classical drama and the Latin plays of the Jesuits, -soon tended to deteriorate and lose its charm. In Spain his influence -would seem to have been more widely felt, which is not surprising when -we remember how many of his plays were Spanish in origin or -language[148]. We may be sure that Lope de Rueda was acquainted with his -plays and that several of them were known to Cervantes--the servant -Benita insisting on telling her simple stories to her afflicted mistress -is Sancho Panza to the life: - - _Benita._ Diz que era un escudero.... - - _Rubena._ O quien no fuera nacida: - [?]Viendome salir la vida - Paraste a contar patra[~n]as? - - _Benita._ Pues otra s['e] de un carnero.... - -Lope de Vega was likewise certainly familiar with some of Vicente's -plays. If we consider these passages in _El Viaje del Alma_, the -_representaci['o]n moral_ contained in _El Peregrino en su Patria_ -(1604), we must be convinced that the trilogy of _Barcas_, the _Auto da -Alma_, and perhaps the _Nao de Amores_ were not unknown to him: - - Alma para Dios criada - Y hecha a imagen de Dios, etc.; - Hoy la Nave del deleite - Se quiere hacer a la mar: - [?]Hay quien se quiera embarcar?; - Esta es la Nave donde cabe - Todo contento y placer[149]. - -The alleged imitation by Calder['o]n in _El Lirio y la Azucena_ is -perhaps more doubtful. Vicente was already half forgotten in Calderon's -day. In the artificial literature of the eighteenth century he suffered -total eclipse although Correa Gar[c,][~a]o was able to appreciate him, -nor need we see any direct influence in that of the nineteenth[150] -except that on Almeida Garrett: the similar passages in Goethe's _Faust_ -and Cardinal Newman's _Dream of Gerontius_ were no doubt purely -accidental. Happily, however, we are able to point to a certain -influence of the great national poet of Portugal on some of the -Portuguese poets of the twentieth century. The promised edition of his -plays will increase this influence and render him secure from that -neglect which during three centuries practically deprived Portugal and -the world of one of the most charming and inspired of the world's poets. - - -FOOTNOTES: - -[6] _Falamos do nosso Shakespeare, de Gil Vicente_ (A. Herculano, -_Historia da Inquisi[c,][~a]o em Portugal_, ed. 1906, vol. I. p. 223). -The references throughout are to the Hamburg 3 vol. 1834 edition. - -[7] See infra _Bibliography_, p. 86, Nos. 42, 62, 79. - -[8] _Bibliography_, Nos. 21, 24, 25, 26, 30, 51, 52, 59, 89. - -[9] _Bibliography_, Nos. 29, 48, 57, 66, 83, 95. - -[10] _Bibliography_, Nos. 53, 73, 82, 88, 97. - -[11] _Bibliography_, Nos. 44, 84, 90, 101, 102. - -[12] Guerra Junqueiro, _Os Simples_. - -[13] Cf. Andr['e] de Resende, _Gillo auctor et actor_. (For the accurate -text of this passage see C. Micha["e]lis de Vasconcellos, _Notas -Vicentinas_, I. p. 17.) - -[14] _Os livros das obras que escritas vi_ (Letter of G. V. to King -Jo[~a]o III). - -[15] 'E assi mandou de Castella e outras partes vir muitos ouriveis para -fazerem arreos e outras cousas esmaltadas.' (Garcia de Resende, _Cronica -del Rei D. Jo[~a]o II_, cap. 117.) - -[16] _Bibliography_, Nos. 70, 71. - -[17] He argues that Vicente was not old enough to be King Manuel's -tutor, but in other passages he is clearly in favour of the date 1460 or -1452. He is born 'considerably before' 1470 (_Revista de Historia_, t. -21, p. 11), in 1460? (_ib._ p. 27), in 1452? (_ib_. pp. 28, 31, and t. -22, p. 155), 'about 1460' (t. 22, p. 150), he is from two to seven years -younger than King Manuel, born in 1469 (t. 21, p. 35). He is nearly 80 -in 1531 (_ib_. p. 30). His marriage is placed between 1484 and 1492, -preferably in the years 1484-6 (_ib_. p. 35). - -[18] Gil Terron in the same year is _alegre y bien asombrado_ (I. 12). - -[19] Cf. _Nao de Amores_ (1527), _Viejo, vuestro mundo es ido_, and II. -478 (1529). - -[20] See A. Braamcamp Freire in _Revista de Historia_, t. 26, p. 123. - -[21] _Grandes baxillas y pedraria_ (_Canc. Geral_, vol. III. (1913), p. -57). - -[22] Cf. _Canc. Geral_, vol. I. (1910), p. 259: - - Vejam huns autos Damado, - Hu[~u] judeu que foi queimado - No rressyo por seu mal. - -[23] There is a slight confusion. The 'second night of the birth' of the -rubric may mean the night following that of the birth (June 6-7), i.e. -the evening of June 7, or the second night _after_ the birth, i.e. the -evening of June 8; but the former is the more probable. - -[24] Dami[~a]o de Goes, _Chronica do felicissimo Rey Dom Emanuel_, Pt I. -cap. 69. - -[25] See A. Braamcamp Freire in _Revista de Historia_, vol. XXII. -(1917), p. 124 and _Critica e Historia_, vol. I. (1910), p. 325; Brito -Rebello, _Gil Vicente_ (1902), p. 106-8. - -[26] _Antolog['i]a de poetas l['i]ricos castellanos_, t. 7, p. clxiii. - -[27] _Or['i]genes de la Novela_, t. 3, p. cxlv. - -[28] _Antol._ t. 7, p. clxvi. - -[29] _Ib._ p. clxxvi. - -[30] _Ib._ p. clxiv. - -[31] Especially that of Garcia de Resende, who in one verse (185) of his -_Miscellanea_ mentions the goldsmiths and in the next verse the plays of -Gil Vicente. - -[32] _Bibliography_, No. 45. - -[33] Cf. his earlier studies, in favour of identity, with his later -works, maintaining cousinhood. - -[34] Cf. _Obras_, I. 154 (Jupiter is the god of precious stones), I. 93, -286; II. 38, 46, 47, 210, 216, 367, 384, 405; III. 67, 70, 86, 296, etc. -Cf. passages in the _Auto da Alma_ and especially the _Farsa dos -Almocreves_. Vicente evidently sympathizes with the goldsmith to whom -the _fidalgo_ is in debt, and if the poet took the part of _Diabo_ in -the _Auto da Feira_ (1528) the following passage gains in point if we -see in it an allusion to the debts of courtiers to him as goldsmith: - - Eu n[~a]o tenho nem ceitil - E bem honrados te digo - E homens de muita renda - Que tem divedo comigo (I. 158). - -[35] The MS. note by a sixteenth century official written above the -document appointing Gil Vicente to the post of _Mestre da Balan[c,]a_ -should be conclusive as to the identity of poet and goldsmith: _Gil V^te -trouador mestre da balan[c,]a_ (_Registos da Cancellaria de D. Manuel_, -vol. XLII. f. 20 v. in the _Torre do Tombo_, Lisbon). - -[36] Garcia de Resende ([+] 1536) was of opinion that it had no rival in -Europe: - - nam ha outra igual - na Christamdade no meu ver. - - (_Miscellanea_, v. 281, ed. Mendes dos Remedios (1917), p. 97.) - -It contained 5000 _moradores_ (_ibid._). In the days of King Duarte -(1433-8) the number was 3000. - -[37] Cf. the dedication of _Dom Duardos_ (_folha volante_ of the Bib. -Municipal of Oporto, N. 8. 74) to Prince Jo[~a]o: 'Como quiera Excelente -Principe y Rey mui poderoso que las Comedias, Far[c,]as y Moralidades -que he compuesto en servicio de la Reyna vuestra tia....' - -[38] The date 1509 is not barred by the reference to the _Sergas de -Esplandian_, which certainly existed in an earlier edition than the -earliest we now possess (1510). A certain Vasco Abul had given a girl at -Alenquer a chain of gold for dancing a _ballo vylam ou mourysco_ and -could not get it back from the _gentil bayladeyra_. Gil Vicente -contributes but a few lines: _O parecer de gil vycente neste proceso de -vasco abul ['a] rraynha dona lianor_. - -[39] It is absurd to argue that during the years of his chief activity -as goldsmith he had not time to produce the sixteen plays that may be -assigned to the years 1502-17. - -[40] _Gil Vicente_ (1912), p. 11-13. - -[41] The dates in the rubrics are given in Roman figures and the -alteration from MDV to MDIX is very slight. - -[42] Cf. Bartolom['e] Villalba y Esta[~n]a, _El Pelegrino Curioso y -Grandezas de Espa[~n]a_ [printed from MS. of last third of sixteenth -century]. _Bibli['o]filos Espa[~n]oles_, t. 23, 2 t. 1886, 9, t. 2, p. 37: -'Almerin, un lugar que los reyes de Portugal tienen para el ynvierno, -con un bosque de muchas cabras, corzos y otros generos de caza.' - -[43] See A. Braamcamp Freire in _Revista de Historia_, vol. XXII. p. -129. - -[44] A. Braamcamp Freire in _Rev. de Hist._ vol. XXII. p. 133-4. - -[45] Luis Anriquez in _Canc. Geral_, vol. III. (1913), p. 106. - -[46] See _Rev. de Hist._ vol. XXII. p. 122; vol. XXIV. p. 290. - -[47] E.g. the words _ahotas_ and _chapado_ and the expression _en -velloritas_ (I. 41), cf. Enzina, _Egloga_ I.: _ni estar['e] ya tendido -en belloritas_ = in clover, lit. in cowslips: _belloritas de jacinto_ -(_Egl._ III.). - -[48] A. Braamcamp Freire in _Rev. de Hist._ vol. XXIV. p. 290. - -[49] There are, however, several such psalms in the works of Enzina. - -[50] Cf. I. 85: _huele de dos mil maneras_ with Enzina, _Egloga_ II: _y -ervas de dos mil maneras_. In the _Auto da Alma_, probably written about -this time, there are imitations of Gomez Manrique (_c._ 1415-90). Cf. -the passage in the _Exhorta[c,][~a]o_. - -[51] That the illness of the Queen would not prevent the entertainment -is proved by the fact that in the month before her death King Manuel was -present at a fight between a rhinoceros and an elephant in a court in -front of Lisbon's India House. We do not know if Vicente was present nor -what he thought of this new thing. - -[52] In December 1517 El Bachiller de la Pradilla published some verses -in praise of _la muy esclarecida Se[~n]ora Infanta Madama Leonor, Rey[na] -de Portugal_ (v. Men['e]ndez y Pelayo, _Antolog['i]a_, t. 6, p. -cccxxxviii). - -[53] He argues that such a form as MD & viii was never used and must be -a misprint for MDxviii. - -[54] Cf. also the resemblance of certain passages in the _Auto da Alma_ -and in the _Auto da Barca da Gloria_ (1519). They must strike any reader -of the two plays. - -[55] Goes, _Chronica_, IV. 34. - -[56] Garcia de Resende, _Hida da Infanta Dona Beatriz pera Saboya_ in -_Chronica...del Rey Dom Ioam II_, ed. 1752, f. 99 V. - -[57] Gil Vicente, _['A] morte del Rei D. Manuel_ (III. 347). - -[58] Gil Vicente, _Romance_ (III. 350). - -[59] Goes says generally that King Manuel _foi muito inclinado a letras -e letrados_ (_Chronica_, 1619 ed., f. 342. _Favebat plurimum literis_, -says Osorio, _De rebus_, 1561, p. 479). - -[60] II. 4: _Foi feita ao muito poderoso e nobre Rei D. Jo[~a]o III. -sendo principe, era de MDXXI_ (rubric of _Comedia de Rubena_). - -[61] II. 364. Although 'good wine needs no bush' the custom of hanging a -branch above tavern doors still prevails. - -[62] A. Braamcamp Freire in _Rev. de Hist._ vol. XXII. p. 162. - -[63] _Id. ib._ vol. XXIV. p. 307. It is astonishing how slight errors in -the rubrics of Vicente's plays have been permitted to survive, just as -Psalm LI, of which Vicente perhaps at about this time wrote a remarkable -paraphrase, still appears in all editions of his works as Ps. L. - -[64] _Ib._ vol. XXIV. p. 312-3. - -[65] Th. Braga, _Historia da Litteratura Portuguesa. II. Renascen[c,]a_ -(1914), p. 85. - -[66] J. I. Brito Rebello, _Gil Vicente_ (1902), p. 64. - -[67] H. Thomas, _The Palmerin Romances_ (London, 1916), p. 10-12. - -[68] M. Men['e]ndez y Pelayo, _Antolog['i]a_, t. 7, p. cci; _Or['i]g. de -la Novela_, I. cclxvii: _toda la pieza es un delicioso idilio_. - -[69] _Rev. de Hist._ vol. XXIV. p. 315. - -[70] It should be noted that the lines in _Dom Duardos_ (II. 212): - - Consuelo vete de ahi - No perdas tiempo conmigo - -are from the song in the _Comedia de Rubena_ (1521): - - Consuelo vete con Dios (II. 53). - -[71] Cf. _O Clerigo da Beira: n[~a]o fazem bem [na corte] sen[~a]o a -quem menos faz_ (III. 320); _Auto da Festa: os homens verdadeiros n[~a]o -s[~a]o tidos n[~u]a palha_, etc. - -[72] _Vejo minha morte em casa_ say the verses to the Conde de Vimioso; -_La muerte puesta a mis lados_ says the _Templo de Apolo_. - -[73] _Auto da Natural Inven[c,]am_ (Lisboa, 1917), pp. 64, 65, 68, 69, -70, 88, 89. - -[74] _Este nome pos-lho o vulgo_ (III. 4). Cf. the title _Os -Almocreves_. - -[75] _Rol dos livros defesos_ (1551) ap. C. Micha["e]lis de Vasconcellos, -_Notas Vicentinas_, I. p. 31. We might assume that the second part of _O -Clerigo da Beira_ (III. 250-9) was printed separately under the title -_Auto de Pedreanes_ but for the words _por causa das matinas_. - -[76] _Ib._ p. 30-1. - -[77] The probability is shown by the fact that the idea of their -identity had occurred to me before reading the same suggestion made by -Snr Braamcamp Freire in the _Revista de Historia_. - -[78] See _Notas Vicentinas_, I. (1912). The _Auto da Feira_ answers in -some respects to Cardinal Aleandro's description of the _Jubileu de -Amores_, and Rome (the Church, not the city) might conceivably have been -crowned with a Cardinal's hat, but Aleandro's letter refutes this -suggestion: _uno principal che parlava ... fingeasi Vescovo_. Rome in -the _Auto da Feira_ (I. 162) is a _senhora_. One can only say that the -_Auto da Feira_ may perhaps have been adapted for the occasion, with an -altered title, Spanish being added, to suit the foreign audience. - -[79] _E como sempre isto guardasse Este mui leal autor At['e] que Deos -enviasse O Principe nosso senhor Nam quis que outrem o gozasse_ (III. -276). - -[80] The familiarity with which the Nuncio is treated would be more -suitable if he was the Portuguese D. Martinho de Portugal, but then the -date would have to be after 1527. - -[81] Cf. II. 343: _Salga esotra ave de pena ... Son perdices_ and _Auto -da Festa_, p. 101. The latter text is corrupt (_penitas_ for _peitas_, -and _cousas fritas_ has ousted the required rhyme _juizes_). - -[82] The line _nega se m'eu embeleco_ occurs here and in the _Serra da -Estrella_ (1527). Arguments as to date from such repetitions are not -entirely groundless. Cf. _com saudade suspirando_ (_Cortes de Jupiter_, -1521) and _sam suspiros de saudade_ (_Pranto de Maria Parda_, 1522); -_Que dir['a] a vezinhan[c,]a?_ III. 21 (1508-9), _A vezinhan[c,]a que -dir['a]?_ III. 34 (1509); _['O] demo que t'eu encomendo_, III. 99 (1511), -_['O] diabo que t'eu encomendo_, II. 362 (1513). The _Exhorta[c,][~a]o_ -(1513), which has passages similar to those in the _Farsa de Ines -Pereira_ (1523) and the _Pranto de Maria Parda_ (1522), probably became -a kind of national anthem and was touched up for each performance. -Curiously, the mention of _a pedra d'estrema_ in the _Pranto_ and in the -_Auto da Festa_ might correspond to a first (1521) and second (1525) -revision of the _Exhorta[c,][~a]o_. - -[83] The very success of his plays incited emulation. A play written in -Latin, _Hispaniola_, was acted at the Portuguese Court before his death -(Gallardo, ap. Sousa Viterbo, _A Litt. Hesp. em Portugal_ (1915), p. -xxiv). - -[84] See A. Braamcamp Freire in _Rev. de Hist._ vol. XXIV. p. 331. - -[85] Francisco Alvarez arrived at the Court at Coimbra in the late -summer of 1527 and he says: _nam se tardou muito que el Rey nosso senhor -se partisse com sua corte via dalmeirim. Verdadeira Informa[c,]am_ -(1540), modern reprint, p. 191. - -[86] _Rev. de Hist._ vol. XXV. p. 89. - -[87] According to Snr Braamcamp Freire this play must be assigned to the -months between September 1529 and February 1530. - -[88] O mandei a V. A. por escrito at['e] lhe Deos dar descanso e -contentamento... pera que por minha arte lhe diga o que aqui falece -(III. 388). - -[89] In this letter, written in the very year of the first Bull for the -introduction of the Inquisition into Portugal, Vicente uses the -expression 'May I be burnt if.' - -[90] The line _A quien contar['e] mis quejas_ (II. 147) is repeated from -the _Trovas_ addressed to King Jo[~a]o in 1527. It is taken from a poem -by the Marqu['e]s de Astorga printed in the _Cancionero General_ (1511): - - [?]A quien contar['e] mis quexas - Si a ti no? - -Cf. _Comedia de Rubena_ (II. 6): _[?]A quien contar['e] mi pena?_ The -comical r[^o]le of the Justi[c,]a Maior may have been taken by Garcia de -Resende, who added acting to his other accomplishments. He was 66, and -he died at Evora in this year. - -[91] See A. Braamcamp Freire in _Rev. de Hist._ vol. XXVI. p. 122-3. - -[92] From Gil Vicente's epitaph written by himself. - -[93] Garcia de Resende (1470-1536), _Miscellanea_, 1752 ed., f. 113. - -[94] Andr['e] de Resende, _Genethliacon Principis Lusitani_ (1532), ap. -C. Micha["e]lis de Vasconcellos, _Notas Vicentinas_, I. (1912), p. 17. - -[95] _Chronica do fel. Rey Dom Emanvel_, Pt IV. cap. 84 (1619 ed., f. -341): Trazia continuadamente na sua corte choquarreiros castelhanos, com -os motes & ditos dos quaes folgaua, nam porque gostasse tanto do [~q] -diziam como o fazia das dissimuladas reprehens[~o]es [_jocis -perstringere mores_] [~q] com geitos e palauras trocadas dauam aos -moradores de sua casa fazendolhes conhecer as manhas, vi[c,]os & modos -que tinh[~a]o, de que se muitos tirauam & emmendauam, tomando o [~q] -estes tru[~a]es diziam com gra[c,]as por espelho do que aviam de fazer. - -[96] _Auto da Cananea_ (1534). - -[97] _Auto da Lusitania._ - -[98] _Serm[~a]o_ (III. 346). - -[99] _Carta_ (III. 388). - -[100] _Auto da Mofina Mendes_ (I. 120, 121). - -[101] _Auto da Cananea_ (I. 365). - -[102] _Sumario da Historia de Deos_ (I. 338). - -[103] I. 69. His own knowledge of the Bible was extensive and he often -follows it closely, e.g. _Auto da Sibila Cassandra_ (I. 47, 48 = Genesis -i.). - -[104] III. 337, 338. His quarrel with the monks was that they did not -serve the State. Cf. _Fragoa de Amor_ (II. 345); _Exhorta[c,][~a]o da -Guerra_ (II. 367). - -[105] Cf. the passage in the _Sumario da Historia de Deos_ in which -Abraham complains that men worship stocks and stones and have no -knowledge of God, _criador dos spiritos, eternal spirito_ (I. 326). - -[106] III. 284. A critic upbraided Wordsworth for saying that his heart -danced with the daffodils--no doubt Southey's 'my bosom bounds' was more -poetical--yet Shakespeare and Vicente had used the phrase before him. - -[107] _Carta_ (III. 388). - -[108] _Cortes de Jupiter_ (II. 405). - -[109] _Romagem de Aggravados_ (II. 507). - -[110] The preparation of his plays for the press was, he says, a burden -in his old age. Some of the plays had been acted in more than one year, -others had been composed years before they were acted, others had been -printed separately. Hence the uncertainty of some of the rubric dates. - -[111] _Triunfo do Inverno_ (1529), II. 447. - -[112] _Romagem de Aggravados_ (1533), II. 524-5. - -[113] _Auto Pastoril Portugues_ (1523), I. 129. - -[114] _Farsa dos Almocreves_ (1527), III. 219. - -[115] _Triunfo do Inverno_ (1529), II. 487. - -[116] _Auto da Feira_ (1528), I. 175. - -[117] See the _Fragoa de Amor_ and the _Auto da Festa_. - -[118] III. 289 (1532). - -[119] II. 363 (as early as 1513). - -[120] II. 467-75. - -[121] III. 122. - -[122] III. 148 (cf. I. 40, III. 41). - -[123] Goes, _Chronica do fel. Rey Dom Emanvel_, Pt I. cap. 33 (1619 ed., -f. 20). - -[124] E.g. _Novella_ 35: sotto apparenza onesta di religione ogni vizio -di gola, di lussuria e degli altri, como loro appetito desidera, sanza -niuno mezzo usano; _Novella_ 36: hanno meno discrezione che gli animali -irrazionali. - -[125] _Auto da Festa_, ed. 1906, p. 115. - -[126] Vicente, who could write such pure and idiomatic Portuguese, -often used peculiar Spanish, not perhaps so much from ignorance as -from a wish to make the best of both languages. Thus he uses the -personal infinitive and makes words rhyme which he must have known -could not possibly rhyme in Spanish, e.g. _parezca_ with _cabeza_ -(Portug. _pare[c,]a_--_cabe[c,]a_). So _mucho_ rhymes with _fruto_, -_demue[~n]o_ with _sue[~n]o_. - -[127] The miser, _o verdadeiro avaro_ (III. 287), is barely mentioned. -Perhaps Vicente felt that he would have been too much of an abstract -type, not a living person. - -[128] The boastful Spaniard appears (in Goethe's _Italienische Reise_) -in the Rome Carnival at the end of the eighteenth century. - -[129] There are abundant signs of the cosmopolitanism of Lisbon: A -Basque and a Castilian tavernkeeper, a Spanish seller of vinegar and a -red-faced German friar are mentioned, while Spaniards, Jews, Moors, -negroes, a Frenchman, an Italian are among Vicente's _dramatis -personae_. - -[130] It is very curious to find echoes of Enzina in Vicente's -apparently quite personal prose as well as in his poetry. _No ay cosa -que no est['e] dicha_, says Enzina, and Vicente repeats the wise -quotation and imitates the whole passage. Enzina addressing the Catholic -Kings speaks of himself as _muy flaca para navegar por el gran mar de -vuestras alabanzas_. Vicente similarly speaks of 'crowding more sail on -his poor boat.' Enzina, in his dedication to Prince Juan, mentions, like -Vicente, _maliciosos_ and _maldizientes_. - -[131] In this play the French _tais-toi_ is written _t['e]toi_. In an -age of few books such phonetic spelling must have been common. It has -been suggested that the _vair_ (grey) of early French poetry was -mistaken for _vert_ (green). The green eyes of the heroines in -Portuguese literature from the _Cancioneiro da Vaticana_ to Almeida -Garrett would thus be based not on reality but, like Cinderella's glass -slippers, on a confusion of homonyms (see Alfred Jeanroy, _Origines de -la po['e]sie lyrique en France_, p. 329). - -[132] See his _Arte de Poes['i]a Castellana_, ap. Men['e]ndez y Pelayo, -_Antolog['i]a_, t. 5, p. 32. - -[133] _Os autos de Gil Vicente resentem-se muito dos Mysterios -franceses_. This was, in 1890, the opinion of Sousa Viterbo (_A -Litteratura Hespanhola em Portugal_ (1915), p. ix), but surely -Men['e]ndez y Pelayo's view is more correct. - -[134] In Resende's _Miscellanea_ the line _n[~o] hos quer deos j[~u]tos -ver_ (1917 ed., p. 16) reads in the 1752 ed., f. 105 v. _ja hos quer_. - -[135] Cf. _Tratado tercero: llevandolo a la boca comen[c,]['o] a dar en -el tan fieros bocados_ (1897 ed., p. 50) and _Quem tem farelos?: e -chanta nelle bocado coma c[~a]o_ (i. 7). - -[136] The _Canc. Geral_ has a _Pater noster grosado por Luys anrryquez_, -vol. III. (1913), p. 87. - -[137] _Antolog['i]a_, t. 7, pp. clxxii, clxxiv. - -[138] _Antolog['i]a_, t. 2, p. 6. - -[139] I. 298. _Vuelta vuelta los Franceses_ from the _romance Domingo -era de Ramos, la Pasion quieren decir_. - -[140] _Comedia de Rubena_, II. 40. The earliest known edition of the -Spanish version of Jacopo Caviceo's _Il Pellegrino_ (1508) is dated 1527 -but that mentioned in Fernando Col['o]n's catalogue (no. 4147) was no -doubt earlier. In 1521 Vicente can already bracket the Spanish -translation with the popular _Carcel de Amor_ printed in 1492, and -indeed it ran to many editions. Its full title was _Historia de los -honestos amores de Peregrino y Ginebra._ Vald['e]s (_Dialogo de la -Lengua_) ranks _El Pelegrino_ as a translation with Bosc['a]n's version -of _Il Cortegiano: estan mui bien roman[c,]ados_. - -[141] E.g. the _Nao de Amor_ of Juan de Due[~n]as. - -[142] The Everyman-Noman theme in the _Auto da Lusitania_ is, like that -of _Mofina Mendes_, common to many countries and old as the hills. - -[143] Henry Hallam, _Introduction to the Literature of Europe_ (Paris, -1839), vol. I. p. 206. - -[144] Cf. the story _del mancebo que cas['o] con una mujer muy fuerte et -muy brava_ in Don Juan Manuel's _El Conde Lucanor_ (_c._ 1535). -Shakespeare's _The Taming of the Shrew_ was written exactly a century -after _Ines Pereira_; the anonymous _Taming of a Shrew_ in 1594. - -[145] The author of a sixteenth century Spanish play published in -_Bibli['o]f. Esp._ t. 6 (1870) declares that, in order to write it, he -has 'trastornado todo _Amadis_ y la _Demanda del Sancto Grial_ de pe a -pa.' The result, according to the colophon, is 'un deleitoso jardin de -hermosas y olientes flores,' a description which would better suit a -Vicente-play. - -[146] Cf. the twelfth century _Repr['e]sentation d'Adam_. The _Sumario_ -has 18 figures. The _Auto da Feira_ has 22, but over half of these -consist of a group of peasants from the hills. - -[147] _Obras_ (1908), t. 2, p. 217-24. - -[148] The anonymous _Tragicomedia Aleg['o]rica del Paraiso y del -Inferno_ (Burgos, 1539) followed hard upon his death. It is not the work -of Vicente, who, although in his Spanish he used _allen_, would not have -translated _nas partes de alem_ into an African town: _en Allen_. - -[149] _3a impr._ (Madrid, 1733), p. 35; p. 37 (the 1733 text has _Oi_ -and _Ai_); p. 39. - -[150] As late as 1870 Dr Theophilo Braga could say 'Nobody now studies -Vicente' (_Vida de Gil Vicente_, p. 59). - - - - - COPILACAM - DE TODALAS OBRAS - DE GIL VICENTE, A QVAL SE - reparte em cinco Liuros. O Primeyro he de todas suas - cousas de deua[c,]am. O segundo as Comedias. O terceyro - as Tragicomedias. No quarto as Farsas. - No quinto, as obras meudas. - (;) - - [p]Vam emmendadas polo Sancto Officio, - como se manda no Cathalogo deste Regno. - [p] - - [p]Foy impresso em a muy nobre & sempre leal Cidade - de Lixboa, por Andres Lobato. - Anno de M. D. Lxxxyj - - [p]Foy visto polos Deputados da Sancta Inquisi[c,]am - - COM PRIVILEGIO REAL. - - - [p]E la taxado em papel a reis - -TITLE-PAGE OF THE SECOND (1586) EDITION OF GIL VICENTE'S WORKS - - - - -AUTO DA ALMA - - L'Angel di Dio mi prese e quel d' Inferno - Gridava: O tu dal Ciel, perch[`e] mi privi? - DANTE, _Purg._ v. - - - _Auto da Alma._ - -Este auto presente foy feyto aa muyto deuota raynha dona Lianor & -representado ao muyto poderoso & nobre Rey dom Emmanuel, seu yrm[~a]o, -por seu mandado, na cidade de Lisboa nos pa[c,]os da ribeyra em a noyte -de endoen[c,]as. Era do Senhor de M.D. & viij[151]. - - Argvmento. - -Assi como foy cousa muyto necessaria auer nos caminhos estalagens pera -repouso & refey[c,]am dos cansados caminhantes, assi foy cousa -conveniente que nesta caminhante vida ouuesse h[~u]a estalajadeyra -eterna para refei[c,][~a]o & descanso das almas que vam caminhantes pera -a morada[152] de Deos. Esta estalajadeyra das almas he a madre sancta -ygreja, a mesa he o altar, os m[~a]jares as insignias da payx[~a]. E -desta perfigura[c,][~a][153] trata a obra seguinte. - -[p] Est['a] posta h[~u]a mesa c[~o] h[~u]a cadeyra: v[~e] a madre sancta -ygreja c[~o] seus quatro doctores, Sancto Thomas, Sam Hieronymo, Sancto -Ambrosio, Sancto Agostinho, & diz Agostinho. - - 1 AGOST. Necessario foy, amigos, - que nesta triste carreyra - desta vida - pera os mui perigosos perigos - dos immigos - ouuesse alg[~u]a maneyra - de guarida. - 2 Porque a humana transitoria - natureza vay cansada - em varias calmas - nesta carreyra da gloria - meritoria - foi necessario pensada - pera as almas. - [p] Pousada com mantimentos, - mesa posta em clara luz, - sempre esperando, - com dobrados mantimentos - dos tormentos - que o filho de Deos na Cruz - comprou penando. - 4 Sua morte foy auen[c,]a, - dando, por darnos parayso, - a sua vida - apre[c,]ada sem deten[c,]a, - por senten[c,]a - julgada a paga em prouiso - & recebida. - [p] Ha sua mortal empresa - foy sancta estalajadeyra - ygreja madre - consolar aa sua despesa - nesta mesa - qualquer alma caminheyra - com ho padre - 6 e o anjo custodio ayo. - Alma que lhe he encomendada - se enfraquece - & lhe vay tomando rayo - de desmayo - se chegando a esta pousada - se guarece. - -[p] V[~e] o anjo custodio c[~o] a alma & diz. - - 7 ANJO. [p] Alma humana formada - de nenh[~u]a cousa feyta - muy preciosa, - de corrup[c,]am separada, - & esmaltada - naquella fragoa perfeyta - gloriosa; - [p] planta neste valle posta - pera dar celestes flores - olorosas - & pera serdes tresposta - em a alta costa - onde se criam primores - mais que rosas; - 9 planta soes & caminheyra, - que ainda que estais vos his - donde viestes; - vossa patria verdadeyra - he ser herdeyra - da gloria que conseguis, - anday prestes. - [p] Alma bemauenturada, - dos anjos tanto querida, - nam durmais, - hum punto nam esteis parada, - que a jornada - muyto em breue he fenecida - se atentais. - - 11 ALMA. Anjo que soes minha guarda - Olhay por minha fraqueza - terreal: - de toda a parte aja resguarda - que nam arda - a minha preciosa riqueza - principal. - [p] Cercayme sempre oo redor - porque vin muy temerosa - da contenda: - Oo precioso defensor, - meu favor, - vossa espada lumiosa - me defenda. - [p] Tende sempre m[~a]o em mim - porque ey medo de empe[c,]ar - & de cayr. - - ANJO. Pera isso sam & a isso vim - mas em fim - cumpreuos de me ajudar - a resistir. - 14 Nam vos occupem vaydades, - riquezas nem seus debates, - olhay por vos: - que pompas, honrras, herdades, - & vaydades - sam embates & combates - pera vos. - [p] Vosso liure aluidrio, - isento, forro, poderoso, - vos he dado - pollo diuinal poderio - & senhorio, - que possais fazer glorioso - vosso estado. - 16 Deuvos liure entendimento - & vontade libertada - & a memoria, - que tenhais em vosso tento - fundamento - que soes por elle criada - pera a gloria. - [p] E vendo Deos que o metal, - em que vos pos a estilar - pera merecer, - que era muyto fraco & mortal, - & por tal - me manda a vos ajudar - & defender. - 18 Andemos a estrada nossa, - olhay nam torneis a tras - que o [~i]migo - aa vossa vida gloriosa - pora grosa. - Nam creaes a Satanas, - vosso perigo. - [p] Continuay ter cuydado - na fim de vossa jornada - & a memoria - que o spirito atalayado - do peccado - caminha sem temer nada - pera a gloria. - 20 e nos la[c,]os infernaes - & nas redes de tristura - tenebrosas - da carreyra que passaes - nam cayaes: - sigua vossa fermosura - as gloriosas. - -[p] Adiantase o Anjo e vem o diabo a ella e diz o diabo. - - [p] Tam depressa, oo delicada - alua pomba, pera onde his? - quem vos engana, - & vos leua tam cansada - por estrada - que soomente nam sentis - se soes humana? - 22 Nam cureis de vos matar - que ainda estais em idade - de crecer. - Tempo hahi pera folgar - & caminhar, - Viuey aa vossa vontade - & a avey prazer. - [p] Gozay, gozay dos b[~e]s da terra, - procuray por senhorios - & aueres. - Qu[~e] da vida vos desterra - aa triste serra? - quem vos falla em desuarios - por prazeres? - 24 Esta vida he descanso - doce & manso, - nam cureis doutro parayso: - quem vos p[~o]e em vosso siso - outro remanso? - - 25 ALMA. [p] Nam me detenhaes aqui, - Deyxayme yr, [~q] em al me fundo. - - DIABO. Oo descansay neste mundo, - que todos fazem assi. - 26 Nam sam em balde os aueres, - Nam sam em balde os deleytes - & farturas*, - nam sam de balde os prazeres - & comeres, - tudo sam puros affeytes - das creaturas: - 27 pera os hom[~e]s se criar[~a]o. - Dae folga a vossa possagem - doje a mais, - descansay, pois descansar[~a]o - os que passaram - por esta mesma romagem - que leuais. - 28 O que a vontade quiser, - quanto o corpo desejar, - tudo se fa[c,]a: - zombay de quem vos quiser - reprender, - querendovos marteyrar - tam de gra[c,]a. - 29 Tornarame se a vos fora, - his tam triste, atribulada - que he tormenta: - senhora, vos soes senhora - emperadora, - nam deueis a ninguem nada, - sede isenta. - - 30 ANJO. Oo anday, quem vos detem? - Como vindes pera a gloria - devagar! - Oo meu Deos, oo summo bem! - Ja ninguem - nam se preza da vitoria - em se saluar. - 31 Ja cansais, alma preciosa? - T[~a]o asinha desmayaes? - Sede esfor[c,]ada: - Oo como virieis trigosa - & desejosa, - se visseis quanto ganhaes - nesta jornada. - 32 Caminhemos, caminhemos, - esfor[c,]ay ora, alma sancta - esclarecida. - -[p] Adiantase o anjo & torna Satanas. - - Que vaydades & que estremos - tam supremos! - Pera que he essa pressa tanta? - Tende vida. - [p] His muy desautorizada, - descal[c,]a, pobre, perdida - de remate, - nam leuais de vosso nada - amargurada: - assi passais esta vida - em disparate. - [p] Vesti ora este brial, - metey o bra[c,]o por aqui, - ora esperay. - Oo como vem t[~a]o real! - isto tal - me parece bem a mi: - ora anday. - 35 H[~u]s chapins aueis mister - de Valen[c,]a, muy fermosos[*], - eylos aqui: - Agora estais vos molher - de parecer. - P[~o]de os bra[c,]os presumptuosos, - isso si, - 36 passeayuos muy pomposa, - [p] daqui pera ali & de laa por ca, - & fantasiay. - Agora estais vos fermosa - como a rosa, - tudo vos muy bem estaa: - descansay. - -Torna o anjo a alma diz[~e]do. - - 37 ANJO. [p] Que andais aqui fazendo? - - ALMA. Fa[c,]o o [~q] vejo fazer - pollo mundo. - - ANJO. Oo Alma, hisuos perd[~e]do, - correndo vos his meter - no profundo. - 38 Quanto caminhais auante - tanto vos tornais a tras - & a trauees, - tomastes ante com ante - por marcante - o cossayro satanas - porque querees. - [p] Oo caminhay com cuydado - que a Virgem gloriosa - vos espera: - deyxais vosso principado - desherdado, - engeytais a gloria vossa - & patria vera. - 40 Deyxay esses chapins ora - & esses rabos tam sobejos, - que his carregada, - nam vos tome a morte agora - tam senhora, - nem sejais com tais desejos - sepultada. - 41 ALMA. [p] Anday, day me ca essa m[~a]o: - anday vos, que eu yrey - quanto poder. - -Adi[~a]tese o anjo & torna o diabo. - - DIABO. Todas as cousas c[~o] rez[~a]o - tem [c,]azam. - Senhora, eu vos direy - meu parecer: - 42 hahi tempo de folgar - & idade de crecer - & outra idade - de mandar e triumphar, - & apanhar - & acquirir prosperidade - a que poder. - [p] Ainda he cedo pera a morte: - tempo ha de arrepender - e yr ao ceo. - Pondevos a for da corte, - desta sorte - viua vosso parecer, - que tal naceo. - 44 O ouro pera que he? - & as pedras preciosas - & brocados, - & as sedas pera que? - Tende per fee - [~q] pera as almas mais ditosas - foram dados*. - [p] Vedes aqui hum colar - douro muy bem esmaltado - & dez aneis. - Agora estais vos pera casar - & namorar: - neste espelho vos vereis - & sabereis - [~q] nam vos ey de enganar. - 46 E poreis estes pendentes, - em cada orelha seu, - isso si, - que as pessoas diligentes - sam prudentes: - agora vos digo eu - que you contente daqui. - - 47 ALMA. [p] Oo como estou preciosa, - tam dina pera seruir - & sancta pera adorar! - - ANJO. Oo alma despiadosa, - perfiosa, - quem vos deuesse fugir - mais que guardar! - 48 Pondes terra sobre terra, - que esses ouros terra sam: - oo senhor, - porque permites tal guerra - que desterra - ao reyno da confusam - o teu lauor? - [p] Nam hieis mais despejada - & mais liure da primeyra - pera andar? - Agora estais carregada - & embara[c,]ada - com cousas que ha derradeyra - ham de ficar. - 50 Tudo isso se descarrega - ao porto da sepultura: - alma sancta, quem vos cega, - vos carrega - dessa va[~a] desauentura? - - 51 ALMA. Isto nam me pesa nada - mas a fraca natureza - me embara[c,]a. - Ja nam posso dar passada - de cansada: - tanta ['e] minha fraqueza - & tam sem gra[c,]a. - 52 Senhor hidevos embora, - que remedio em mi nam sento, - ja estou tal. - - ANJO. Sequer day dous passos ora - atee onde mora - a que tem o mantimento - celestial. - [p] Ireis ali repousar, - comereis alg[~u]s bocados - confortosos, - porque a hospeda he sem par - em agasalhar - os que vem atribulados - & chorosos. - - 54 ALMA. He l[~o]ge? - - ANJO. Aqui muy perto. - Esfor[c,]ay, nam desmayeis - & andemos, - que ali ha todo concerto - muy certo: - quantas cousas querereis - tudo temos*. - - [p] A hospeda tem gra[c,]a tanta, - faruosha tantos fauores. - - ALMA. Quem he ella? - - ANJO. He a madre ygreja sancta, - e os seus sanctos doutores - i com ella. - 56 Ireis di muy despejada - chea do Spirito Sancto - & muy fermosa: - ho alma sede esfor[c,]ada, - outra passada, - que nam tendes de andar t[~a]to - a ser esposa. - - 57 DIABO. [p] Esperay, onde vos his? - Essa pressa tam sobeja - He ja pequice. - Como, vos que presumis - consentis - continuardes a ygreja - sem velhice? - 58 Dayuos, dayuos a prazer, - [~q] muytas horas ha nos annos - que laa vem. - Na hora que a morte vier - Como xiquer - se perdo[~a]o quantos dannos - a alma tem. - 59 Olhay por vossa fazenda: - tendes h[~u]as scripturas - de h[~u]s casais - de que perdeis grande renda. - He contenda - que leyxar[~a]o aas escuras - vossos pays; - 60 he demanda muy ligeyra, - litigios que sam vencidos - em um riso: - citay as partes ter[c,]a feyra - de maneyra - como nam fiquem perdidos - & auey siso. - - 61 ALMA. Calte por amor de deos - leyxame, nam me persigas, - bem abasta - estoruares os ereos - dos altos ceos, - que a vida em tuas brigas - se me gasta. - 62 Leyxame remediar - o que tu cruel danaste - sem vergonha, - que nam me posso abalar - nem chegar - ao logar onde gaste - esta pe[c,]onha. - - 63 ANJO. [p] Vedes aqui a pousada - verdadeyra & muy segura - a quem quer vida. - - YGREJA. Oo como vindes cansada - & carregada! - - ALMA. Venho por minha ventura - amortecida. - - 64 YGREJA. Quem sois? pera onde andais? - - ALMA. Nam sey pera onde vou, - sou saluagem, - sou h[~u]a alma que peccou - culpas mortaes - contra o Deos que me criou - aa sua imagem. - [p] Sou a triste, sem ventura, - criada resplandecente - & preciosa, - angelica em fermosura - & per natura - come rayo reluzente - lumiosa. - 66 E por minha triste sorte - & diabolicas maldades - violentas - estou mais morta que a morte, - sem deporte, - carregada de vaydades - pe[c,]onhentas. - [p] Sou a triste, sem meezinha, - peccadora abstinada - perfiosa, - pella triste culpa minha - mui mesquinha - a todo mal inclinada - & deleytosa. - 68 Desterrey da minha mente - os meus perfeytos arreos - naturaes, - nam me prezey de prudente - mas contente - me gozey com os trajos feos - mundanaes. - [p] Cada passo me perdi - em lugar de merecer, - eu sou culpada: - auey piedade de mi - que nam me vi, - perdi meu inocente ser - & sou danada. - 70 E por mais graueza sento - nam poderme arrepender - quanto queria, - que meu triste pensamento - sendo isento - nam me quer obedecer - como soya. - [p] Socorrey, hospeda senhora, - que a m[~a]o de Satanas - me tocou, - e sou ja de mi tam fora - que agora - nam sey se auante se a traz - nem como vou. - 72 Consolay minha fraqueza - com sagrada yguaria, - que pere[c,]o, - por vossa sancta nobreza, - que he franqueza, - porque o que eu merecia - bem conhe[c,]o. - [p] Conhe[c,]ome por culpada - & digo diante vos - minha culpa. - Senhora, quero pousada, - day passada, - pois que padeceo por nos - quem nos desculpa. - 74 Mandayme ora agasalhar, - capa dos desamparados, - ygreja madre. - - YGREJA. Vindevos aqui assentar - muy de vagar, - que os manjares s[~a]o guisados - por Deos Padre. - [p] Sancto Agostinho doutor, - Geronimo, Ambrosio, S[~a] Thomas, - meus pilares, - serui aqui por meu amor - a qual milhor, - & tu, alma, gostaraas - meus manjares. - 76 Ide aa sancta cosinha, - tornemos esta alma em si, - porque mere[c,]a - de chegar onde caminha - & se detinha: - pois que Deos a trouxe aqui - nam pere[c,]a. - -[p] Em quanto estas cousas passam Satanas passea fazendo muytas vascas & -vem outro & diz. - - [p] Como andas desasossegado. - - DIABO. Ar[c,]o em fogo de pesar. - - OUTRO. Que ouueste? - - DIABO. Ando tam desatinado - de enganado - que nam posso repousar - que me preste. - 78 Tinha h[~u]a alma enganada - ja quasi pera infernal - mui acesa. - - OUTRO. E quem ta levou for[c,]ada? - - DIABO. O da espada. - - OUTRO. Ja melle fez outra tal - bulra como essa. - [p] Tinha outra alma ja vencida - em ponto de se enforcar - de desesperada, - a nos toda offerecida - & eu prestes pera a levar - arrastada; - 80 e elle fella chorar tanto - que as lagrimas corri[~a] - polla terra. - Blasfemey entonces tanto - que meus gritos retiniam - polla serra. - [p] Mas fa[c,]o conta que perdi, - outro dia ganharey, - e ganharemos. - - DIABO. Nam digo eu, yrm[~a]o, assi, - mas a esta tornarey - & veremos. - 82 Tornala ey a affogar - depois que ella sayr fora - da ygreja - & come[c,]ar de caminhar: - hei de apalpar - se venceram ainda agora - esta peleja. - -Alma com o Anjo. - - [p] ALMA. Vos nam me desampareis, - senhor meu anjo custodio. - Oo increos - imigos, que me quereis - que ja sou fora do odio - de meu Deos? - 84 Leyxaime ja, tentadores, - neste conuite prezado - do Senhor, - guisado aos peccadores - com as dores - de Christo crucificado, - Redemptor. - -[p] Estas cousas estando a alma assentada [`a] mesa & o anjo junto com -ella em pee, vem os doutores com quatro bacios de cosinha cubertos -cantando Vexila regis prodeunt*. E postos na mesa, Sancto Agostinho diz. - - 85 AGOST. Vos, senhora conuidada, - nesta cea soberana - celestial - aueis mister ser apartada - & transportada - de toda a cousa mundana - terreal. - 86 Cerray os olhos corporaes, - deytay ferros aos danados - apetitos, - caminheyros infernaes, - pois buscaes - os caminhos bem guiados - dos contritos. - - 87 YGREJA. Benzey a mesa, senhor, - & pera consola[c,]am - da conuidada, - seja a ora[c,]am de dor - sobre o tenor - da gloriosa payxam - consagrada. - 88 E vos, alma, rezareis, - contemplando as viuas dores - da senhora, - vos outros respondereis - pois que fostes rogadores - atee agora. - -Ora[c,][~a] pa Santo Agostinho. - - [p] Alto Deos marauilhoso - que o mundo visitaste - em carne humana, - neste valle temeroso - & lacrimoso - tua gloria nos mostraste - soberana; - 90 e teu filho delicado, - mimoso da diuindade - & natureza, - per todas partes chagado - & muy sangrado - polla nossa infirmidade - & vil fraqueza. - [p] Oo emperador celeste, - Deos alto muy poderoso - essencial, - que pollo homem que fizeste - offereceste - o teu estado glorioso - a ser mortal. - [p] E tua filha, madre, esposa, - horta nobre, frol dos ceos, - Virgem Maria, - mansa pomba gloriosa - o quam chorosa - quando o seu Filho e Deos* - padecia. - 93 Oo lagrymas preciosas, - de virginal cora[c,]am - estilladas, - correntes das dores vossas - com os olhos da perfey[c,]am - derramadas! - [p] Quem h[~u]a soo podera ver - vira claramente nella - aquella dor, - aquella pena & padecer - com que choraueis, donzella, - vosso amor. - [p] E quando vos amortecida - se lagrymas vos faltauam - nam faltaua - a vosso filho & vossa vida - chorar as que lhe ficauam - de quando orava. - 96 Porque muyto mais sentia - pollos seus padecimentos - vervos tal, - mais que quanto padecia - lhe doya, - & dobrava seus tormentos - vosso mal. - [p] Se se podesse dizer, - se se podesse rezar - tanta dor; - se se podesse fazer - podermos ver - qual estaueis ao clauar - do Redemptor. - 98 Oo fermosa face bella, - oo resplandor divinal, - que sentistes - quando a cruz se pos aa vella - & posto nella - o filho celestial - que paristes! - 99 Vendo por cima da gente - assomar vosso conforto - tam chagado, - crauado tam cruelmente, - & vos presente, - vendo vos ser m[~a]y do morto - & justi[c,]ado. - 100 O rainha delicada, - sanctidade escurecida - quem nam chora - em ver morta & debru[c,]ada - a auogada, - a for[c,]a de nossa vida - *[pecadora]! - - 101 AMBROSIO. Isto chorou Hyeremias - sobre o monte de Sion - ha ja dias, - porque sentio que o Messias - era nossa redemp[c,]am. - 102 E choraua a sem ventura - triste de Jerusalem - homecida, - matando contra natura - seu Deos nascido em Belem - nesta vida. - - 103 GERONYMO. Quem vira o sancto cordeyro - antre os lobos humildoso - escarnecido, - julgado pera o marteyro - do madeyro, - seu rosto aluo & fermoso - muy cuspido! - - AGOST. B[~e]ze a mesa. - - 104 A ben[c,]am do padre eternal - & do filho que por nos - sofreo tal dor - & do spirito sancto, igual - Deos immortal, - conuidada, benza a vos - por seu amor. - - 105 YGREJA. [p] Ora sus, venha agoa as m[~a]os. - - AGOST. Vos aveysuos de lavar - em lagrymas da culpa vossa - & bem lauada - & aueisuos de chegar - alimpar - a h[~u]a toalha fermosa - bem laurada - 106 co sirgo das veas puras - da Virgem sem magoa nacido - & apurado, - torcido com amarguras - aas escuras, - com grande dor guarnecido - & acabado. - [p] Nam que os olhos alimpeis, - que a nam consentir[~a]o - os tristes la[c,]os - que taes pontos achareis - da face & enues, - que se rompe o cora[c,][~a]o - em peda[c,]os. - 108 Vereis*, triste, laurado - [com rosto de fermosura]* - natural, - com tormentos pespontado - e figurado, - Deos criador, em figura - de mortal. - -[p] Esta toalha que aqui se falla he a varonica, a qual Sancto Agostinho -tira dantre os bacios & a mostra [`a] Alma, & a madre ygreja con os -doutores lhe fazem adora[c,][~a]o de joelhos, cantando Salue sancta -facies, & acabando diz a madre ygreja. - - [p] Venha a primeyra yguaria. - - GERO. Esta yguaria primeyra - foy, senhora, - guisada sem alegria - em triste dia, - a crueldade cozinheyra - & matadora. - 110 Gostala eis com salsa & sal - de choros de muyta dor, - porque os costados - do Messias diuinal, - sancto sem mal, - for[~a]o pollo vosso amor - a[c,]outados. - -[p] Esta yguaria em [~q] aqui se falla sam os a[c,]outes, & em este -passo os tir[~a] dos bacios & os presentam a alma & todos de joelhos -adoram cant[~a]do Aue flagellum, & despois diz Geronymo. - - [p] Estoutro manjar segundo - he yguaria - que aueis de mastigar - em contemplar - a dor que o senhor do mundo - padecia - pera vos remediar. - 112 foi hum tromento improuiso - que aos miolos lhe chegou - & consentio, - por remediar o siso - que a vosso siso faltou, - e pera ganhardes parayso - a sofrio. - -[p] Esta yguaria segunda de que aqui se fala he a coroa de espinhos, e -em este passo a tiram dos bacios & de joelhos os sanctos doutores cantam -Aue corona espinearum, & acabando diz a madre ygreja. - - 113 Venha outra do teor. - - GERO. Estoutro manjar terceyro - foy guisado - em tres lugares de dor, - a qual maior, - com a lenha do madeyro - mais prezado. - 114 Comese com gram tristeza* - porque a virgem gloriosa - o vio guisar: - vio crauar com gram crueza - a sua riqueza - & sua perla preciosa - vio furar. - -[p] E a este passo tira sancto Agostinho os crauos, & todos de joelhos -os ador[~a]o, cantando Dulce lignum, dulcis clauus, & acabada a -adora[c,]am diz o anjo [`a] alma. - - [p] Leixay ora esses arreos, - que estoutra nam se come assi - como cuydais: - pera as almas sam mui feos - e sam meos - con que nam andam em si - os mortais. - -[p] Despe a alma o vestido & joyas que lho imigo deu & diz Agostinho. - - [p] Oo alma bem aconselhada, - que dais o seu a cujo he, - o da terra ha terra: - agora yreis despejada - polla estrada, - porque vencestes com fee - forte guerra. - - 117 YGREJA. [p] Venha estoutra yguaria. - - GERO. A quarta yguaria he tal, - tam esmerada, - de tam infinda valia - & contia - que na mente diuinal - foy guisada, - 118 por mysterio preparada - no sacrario virginal - muy cuberta, - da diuindade cercada - & consagrada, - despois ao padre eternal - dada em oferta. - -[p] Apresenta sam Geronymo [`a] alma hum crucificio que tira dantre os -pratos, & os doutores o adoram cantando Domine Jesu Christe, & acabando -diz a alma. - - [p] C[~o] que for[c,]as, com [~q] spirito - te darey, triste, louuores - que sou nada, - vendote, Deos infinito, - tam afflito, - padecendo tu as dores - & eu culpada? - 120 Como estaas tam quebrantado, - filho de Deos immortal! - quem te matou? - Senhor per cujo mandado - es justi[c,]ado - sendo Deos vniuersal - que nos criou? - - 121 AGOST. [p] A fruyta deste jantar, - que neste altar vos foy dado - com amor, - yremos todos buscar - ao pomar - adonde estaa sepultado - o redemptor. - -[p] E todos com a alma, cantando Te Deum laudamus, foram adorar ho -muymento. - - LAVS DEO. - - -NOTES: - -1. _pera mui p'rigosos p'rigos_ C. _imigos_ C. - -2. _pensada_ A, B; _pousada_ C. _passada?_ cf. infra 73 and J. Ruiz -_Cantar de Ciegos_. De los bienes deste siglo No tiuemos nos _pasada_. - -3. _Pousada com alimentos?_ - -4. _apressada_ C. - -6. _em chegando?_ - -13. _a resistir_ A, B, C; _e resistir_ D. - -18. _atras_ B. _imigo_ B. - -20. _trestura_ B. _vem o Diabo e diz_ C. - -22. _E havei prazer_ C. - -23. _& auereis?_ B. _cue da vida vos desterra_ B. - -26. _nam som em balde os deleytes_ B. _fortunas_ A, B, C, D, E. -_criaturas_ C. - -27. _possagem_ A, B; _passagem_ C. - -35. _Huns chapins aueis mister De Valen[c,]a, eylos aqui_ A, B, C, D, E. - -36. _de la pera ca_ C. - -38. _marcante_ A, B; _mercante_ C, D. _quer[^e]s_ C, D. - -41. _poder_ A; _puder_ B, C. _Todas cousas com raz[~a]o Tem saz[~a]o_ -C. - -42. _poder_ A, B; _puder_ C. - -43. _naceo_ A, B; _nasceo_ C (cf. infra 102 _nascido_ A; 106 _nacido_ -A). - -44. _dadas_ A, B; _dados_ C. - -45. _esmaltados_ B. _neste espelho & sabereis_ B. _Neste espelho bem -lavrado Vos vereis?_ (omitting _& sabereis--enganar_). - -46. _em cada orelha o seu_ B. - -47. _despiedosa_ C. - -49. _['a] derradeira_ C. - -50. _van_ C. - -52. _mim_ C. - -54. _muito certo? tudo tendes_ A, B, C, D, E. - -56. _Siprito_ B. - -58. _como se quer_ C. - -59. _escripturas_ C. - -61. _estrouares_ B. _hereos_ C. - -62. _damnaste_ C. - -65. _como o raio_ C. - -66. _violentas_ A. _& tromentas_ B. - -67. _mezinha_ B. _obstinada_ C. _a todo o mal_ C; _e todo o mal_ D. - -68. _arreos_, _feos_ C; _c'os trajos_ C. - -69. _logar_ C. _damnada_ C. - -71. _soccorey_ C. - -74. _devagar_ C. - -75. _Jeronimo, Ambrosio e Thomaz_ C, D. _e qual_ D. _melhor_ C, D. - -76. _troxe_ B. _passeia_ C. _vem outro Diabo_ C. - -77. _dessocegado_ C, D. - -79. _Tinha outra alma vencida_ B. - -80. _f[^e]-la_ C, D. - -81. _asi_ B. - -82. _affogar_ A; _affagar_ C. _Entra a Alma, con o Anjo_ C, D. - -84. _Vexilla_ C. _pro Deum_ A, B; _prodeunt_ C. - -88. _at['e] 'gora_ C, D. - -90. _pela nossa_ C, D. - -91. _polo homem_ C, E. B omits 90 and 91. - -92. _O qu[~a]o chorosa Quando o seu Deos padecia_ A, B, C, D, E. - -93. _com os_ A, B; _c'os olhos_ C, D. - -94. _podera ver_ A, B; _podera haver_ C, D. - -96. _vermos_ B. - -97. _cravar_ C. - -100. _morta debru[c,]ada_ C. _de nossa vida_ A, B; _da nossa vida_ C, D. -_pecadora_? or _e senhora_? or _nesta hora_? - -101. _Mesias_ B. - -102. _choraua sem_ B. - -103. _cospido_ B. - -105. _Vso aveysuos_ B. - -105. _a limpar_ A [but cf. 107. _alimpeis_ (A)]; _alimpar_ B; _A -alimpar_ C. - -107. _de face_ C. - -108. _Vereis seu triste laurado Natural_ A, B, C, D, E. _Esta toalha de -que C. Veronica C. a mostra_ A; _amostra_ B, C. _santa facias_ B. - -110. _em [~q] se falla_ B. _a[c,]otes_ B. - -112. _tormento_ C. _fala_ A; _falla_ B. _espiniarum_ C. _acabado_ B. - -113. _theor_ C. - -114. _gran_ C. _tristura_ A, B, C, D, E. - -114. _clausos_ B. _acabada a ora[c,][~a]o_ C. - -115. _inimigo_ C. - -116. _o seu a cujo he_ A, B; _o seu cujo he_ C, D. - -118. _oferta_ A; _offerta_ B _crucifixo_ B, C. - -119. _spirito_ A, B; _sprito_ C. _tristes louvores_ C, D, E. _dios_ B. - -121. _fruta_ B. _a onde_ C. _redemtor_ B. _moymento_ B; _moimento_ C. - - -FOOTNOTES: - -[151] _MDXVIII_. A. Braamcamp Freire. - -[152] _pera eterna morada_ B. - -[153] _prefigura[c,][~a]_ B. - - -ENGLISH TRANSLATION: - - _The Soul's Journey._ - -_This play was written for the very devout Queen Lianor and played -before the very powerful and noble King Manuel, her brother, by his -command, in the city of Lisbon at the Ribeira palace on the night of -Good Friday in the year 1508._ - - - _Argument._ - -_As it was very necessary that there should be inns upon the roads for -the repose and refreshment of weary wayfarers, so it was fitting that in -this transitory life there should be an innkeeper for the refreshment -and rest of the souls that go journeying to the everlasting abode of -God. This innkeeper of souls is the Holy Mother Church, the table is the -altar, the fare the emblems of the Passion. And this allegory is the -theme of the following play._ - -(_A table laid, with a chair. The Holy Mother Church comes with her four -doctors, St Thomas, St Jerome, St Ambrose and St Augustine, who says:_) - - 1 _St Aug._ Friends, 'twas of necessity - That upon the gloomy way - Of this our life - Some sure refuge there should be - From the enemy - And dread dangers that alway - Therein are rife. - 2 Since man's spirit migratory - In the journey to its goal - Is oft oppressed, - Weary in this transitory - Path to glory, - An inn was needed for the soul - To stay and rest. - 3 An inn provided with its fare, - In clear light a table spread - Expectantly, - And laden with a double share - Of torments rare - That the Son of God, His life-blood shed, - Bought on the Tree. - 4 Since by the covenant of His death - He gave, to give us Paradise, - Even His life, - Unwavering He rendereth - For us His breath, - Paying the full required price - Free from all strife. - 5 His work as man was to enable - Our Mother Church thus to console, - Innkeeper lowly, - And minister at this very table, - Most serviceable, - Unto every wayfaring soul, - With the Father Holy - 6 And its Guardian Angel's care. - The soul to her protection given - If, weak with sin - And yielding almost to despair, - It onward fare - And to reach this inn have striven, - Finds health within. - -(_The Guardian Angel comes with the Soul and says:_) - - 7 _Angel._ Human soul, by God created - Out of nothingness yet wrought - As of great price, - From corruption separated, - Sublimated, - To glorious perfection brought - By skilled device; - 8 Plant that in this valley growest - Flowers celestial for to give - Of fairest scent, - Hence to that high hill thou goest - Where thou knowest - Even than roses graces thrive - More excellent. - 9 Plant wayfaring, since thy spirit, - Scarce staying, to its first origin - Must still begone, - Thy true country is to inherit - By thy merit - That glory that thou mayest win: - O hasten on. - 10 Soul that art thus trebly blest - By such angels' love attended, - Sink not asleep, - Nor one instant pause nor rest, - Thou journeyest - On a way that soon is ended - If watch thou keep. - - 11 _Soul._ Guardian angel, o'er me still - Keep thy ward that am so frail - And of the earth, - On all sides thy watch fulfil - That nothing kill - My true wealth nor e'er prevail - O'er its high worth. - 12 Ever encompass me and shield, - For this conflict with great fear - Fills all my sense, - Noble protector in this field, - Lest I should yield, - Let thy gleaming sword be near - For my defence. - 13 Still uphold me and sustain - For I fear lest I may stumble, - Fail and fall. - - _Angel._ Therefore came I, nor in vain, - Yet amain - Must thou help me too, and humble - Resist all: - 14 Even all the world's debate - Of riches and of vanity, - Seek thou for grace, - Since pomp and honour, high estate - Vainly elate, - Are but a stumbling-block to thee, - No resting-place. - 15 Power uncontrolled is thine, - And an independent will - Unbound by fate: - Even so in His might divine - Did God design - That thou in glory mightst fulfil - Thy heavenly state. - 16 He gave thee understanding pure, - Imparted to thee memory, - Free will is thine, - That so thou mayest e'er endure - With purpose sure, - Knowing that He has fashioned thee - To be divine. - 17 And since God knew the mortal frame - Wherein He placed thee to distil, - (So to win His praise) - Was metal weak and prone to shame, - Therefore I came - Thee to protect--it was His will-- - And to upraise. - 18 Let us go forth upon our way. - Turn not thou back, for then indeed - The enemy - Upon thy glorious life straightway - Will make assay. - But unto Satan pay no heed - Who lurks for thee. - 19 And still the goal seek thou to win - Carefully at thy journey's end. - And be it clear - That the spirit e'er at watch within - Against all sin - Upon salvation's path may wend - Without a fear. - 20 In snares of Hell that shall waylay, - Dark and awful wiles among, - Thee to molest, - As thou advancest on thy way - Fall not nor stray, - But let thy beauty join the throng - Of spirits blest. - -(_The Angel goes forward and the Devil comes to the Soul and says:_) - - 21 _Devil._ Whither so swift thy flight, - Delicate dove most white? - Who thus deceives thee? - And weary still doth goad - Along this road, - Yea and of human sense, - Even, bereaves thee? - 22 Seek not to hasten hence - Since thou hast life and youth - For further growth. - There is a time for haste, - A time for leisure: - Live at thy will and rest, - Taking thy pleasure. - 23 Enjoy, enjoy the goods of Earth, - And great estates seek to possess - And worldly treasures. - Who to the hills, exiled from mirth, - Thus sends thee forth? - Who speaks to thee of foolishness - Instead of pleasures? - 24 This life is all a pleasaunce fair, - Soft, debonair, - Look for no other paradise: - Who bids thee seek, with false advice, - Refuge elsewhere? - - 25 _Soul._ Hinder me not here nor stay, - For far other thoughts are mine. - - _Devil._ To worldly ease thy thought incline - Since all men incline this way. - 26 And not for nothing are delights, - And not in vain possessions sent - And fortune's prize, - And not for nought are pleasure's rites - And banquet-nights: - All these are for man's ornament - And galliardize; - 27 For mortal men is their array. - So let delight thy woes assuage, - Henceforth recline - And rest, since rest likewise had they - Who went this way, - Even this very pilgrimage - That now is thine. - 28 And whatsoe'er thy body crave, - Even as thy will desire, - So let it be; - And laugh thou at the censors grave, - Whoso would have - Thee tortur[`e]d by sufferings dire - So uselessly. - 29 I would not, being thou, go forth, - So sad and troubled lies the way, - 'Tis cruelty, - And thou art of imperial worth - And royal birth, - To none thou needest homage pay, - Then be thou free. - - 30 _Angel._ O who thus hinders thee? On, on! - How loiterest thou on glory's path - So slowly! - O God, sole consolation! - Now is there none - Who of that victory honour hath - That is most holy. - 31 Soul, already dost thou tire - Sinking so soon beneath thy burden? - Nay, soul, take heart! - Ah, with what a glowing fire - Of desire - Cam'st thou couldst thou see what guerdon - Were then thy part. - 32 Forward, forward let us go: - Be of good cheer, O soul made holy - By this thy strife. - -(_The Angel goes forward and Satan returns._) - - _Devil._ But what is all this coil and woe? - Why to and fro - Flutterest thou in haste and folly? - Nay, live thy life. - 33 For very piteous is thy plight, - Poor, barefoot, ruined utterly, - In bitterness, - Carrying nothing to delight - As thine by right, - And all thy life is thus to thee - A thing senseless. - 34 But don this dress, thy arm goes there, - Put it through now, even thus, now stay - Awhile. What grace, - What finery! I do declare - It pleases me. Now walk away - A little space. - 35 So: I trow shoes are now thy need - With a pair from Valencia, fair to see, - I thee endow. - Now beautiful, as I decreed, - Art thou indeed; - Now fold thy arms presumptuously: - Ev'n so; and now - 36 Strut airily, show off thy power, - This way and that and up and down - Just as thou please; - Fair now as fairest rose in flower - Thy beauty's dower, - And all becomes thee as thine own: - Now take thine ease. - -(_The Angel returns to the Soul, saying:_) - - 37 _Angel._ What is this that thou art doing? - - _Soul._ In the world's mirror ev'n as I see - I do in this. - - _Angel._ O soul, thou compassest thy ruin - And rushest forward foolishly - To the abyss. - 38 For every step that onward fares - One step back, one step aside - Thou takest still, - And buyest eagerly the wares - That pirate bears, - Even Satan, by thee glorified - Of thy free will. - 39 O journey onward still with care - For the Virgin with the elect - Doth thee await: - Thou leavest desolate and bare - Thy kingdom rare, - And thine own glory dost reject - And true estate. - 40 But cast these slippers now aside, - This gaudy dress and its long train, - Thou art all bowed, - Lest Death come on thee unespied - And in thy pride - These thy desires and trappings vain - Prove but thy shroud. - - 41 _Soul._ Go forward, stretch thy hand - to save, - Go forward, I will follow thee - As best I may. - -(_The Angel goes forward and the Devil returns._) - - _Devil._ All things in light of reason grave - Their seasons have. - And I to thee will, O lady, - My counsel say: - 42 There is a time here for delight - And an age is given for growth, - Another age - To tread in lordly triumph's might - In the world's despite, - Gaining ease and riches both - On life's full stage. - 43 It is too early yet to die, - Time later to repent on earth - And to seek Heaven. - Then cease with fashion's rule to vie, - And quietly - Enjoy the nature that at birth - To thee was given. - 44 What, think'st thou, is the use for gold - And what the use for precious stones - And for brocade, - And all these silks so manifold? - Ah surely hold - That for the souls, the blessed ones, - They were all made. - 45 See here a necklace in its pride - Of skilfully enamelled gold, - Here are rings ten: - Now mayst thou win the hearts of men, - Fit for a bride. - In this mirror thou mayst behold - Thyself and see - That I am not deceiving thee. - 46 And here are ear-rings, put them on - One in each ear duly now: - Even so; - For things thus diligently done - Prove wisdom won, - And now I may to thee avow - That right well pleased I hence shall go. - - 47 _Soul._ O how lovely is my state, - How is it for service meet, - And for holy adoration! - - _Angel._ Cruel soul and obstinate, - Rather thereat - Should I shun thee than still treat - Of thy salvation. - 48 Earth upon earth is this thy store, - Since but earth is all this gold. - O God most high, - Wherefore permittest thou such war - That, as of yore, - To Babel's kingdom from thy fold - Thy creatures hie? - 49 Was it not easier journeying - At first, more free than that thou hast - With all this train, - Hampered and bowed with many a thing - That now doth cling - About thee, but which at the last - Must here remain? - 50 All is disgorged and left behind - At the entrance to the tomb. - Who, holy soul, doth thee thus blind - Thyself to bind - With such vain misfortune's doom? - - 51 _Soul._ Nay, this doth scarcely on me weigh: - It is my poor weak mortal nature - That bows me down. - So weary am I, I must stay - Nor go my way, - So void of grace, so frail a creature - Am I now grown. - 52 Sir, go thy way: I cannot strive - Nor hope now further to advance, - So fallen I. - - _Angel._ But two steps more to where doth live - She who will give - To thee celestial sustenance - Charitably. - 53 Thither shalt thou go and rest, - And shalt taste there of that fare - New strength to borrow: - Unrivalled is that hostess blest - To give of the best - To those who weeping come to her, - Laden with sorrow. - - 54 _Soul._ Is it far off? - - _Angel._ Nay, very near. - Be not downcast, but now be brave, - And let us go, - For every remedy and cheer - Is certain here. - And whatsoever thou wouldst have - We can bestow. - 55 Such grace is hers that nought can smirch, - Such favours will she show to thee, - That innkeeper. - - _Soul._ Her name? - - _Angel._ The Holy Mother Church. - And holy doctors thou shalt see - Are there with her. - - 56 Joyful thence shall thy going be, - Filled then with the Holy Spirit - And beautified: - O soul, take heart, courageously - One step for thee, - Nay, scarce one step, and thou shalt merit - To be a bride. - - 57 _Devil._ Stay, whither art thou going now? - Such haste is mere unseemly rage - And foolishness: - What, thou so puffed with pride, canst thou - Thus meekly bow - To go on churchward e'er old age - Doth on thee press? - 58 Let pleasure, pleasure rule thy ways, - For many hours in years to roll - To thee are given, - And when death comes to end thy days, - If prayer thou raise, - Then all sins that can vex a soul - Shall be forgiven. - 59 Look to thy wealth and property: - There is a group of houses should - Be thine by right, - Great source of income would they be, - Unhappily - At thy parents' death the matter stood - In no clear light. - 60 The case is simple, 'tis averred - Such lawsuits in a trice are won - At laughter's spell: - Next Tuesday let the case be heard - And, in a word, - Finish thou well what is begun. - Be sensible. - - 61 _Soul._ O silence, for the love of God, - Persecute me no more: thy hate - Doth it not suffice - High Heaven's heirs that it hinder should - From their abode? - My life to thee early and late - I sacrifice. - 62 But leave me: so I may efface - The cruel wrong that shamelessly - Thou hast thus wrought; - For now I have scarce breathing-space - To reach that place - Where for this poison there may be - Some antidote. - - 63 _Angel._ See the inn: a sure retreat, - Even for all those a true home - Who would have life. - - _Church._ O laden with sore toil and heat! - O tired feet! - - _Soul._ Yea, for I destined was to come - Weary of strife. - - 64 _Church._ Who art thou? whither wouldst thou win? - - _Soul._ I know not whither, outcast, fated - At fortune's whim, - A soul unholy, steep[`e]d in - Its mortal sin, - Against the God who had created - Me like to Him. - 65 I am that soul ill-starred, unblest, - That by nature shone in gleaming - Robe of white, - Of angel's beauty once possessed, - Yea, loveliest, - Like a ray refulgent streaming - Filled with light. - 66 And by my ill-omened fate, - My atrocious devilries, - Sins treasonous, - More dead than death is now my state - Bowed with this weight - That nought can lighten, vanities - Most poisonous. - 67 I am a sinner obstinate, - Perverse, that know no remedy - For this my plight, - Oppressed by guilt most obdurate, - And profligate, - Inclined to evil constantly - And all delight. - 68 And I banished from my lore - All my perfect ornaments - And natural graces, - By prudence I set no store - But evermore - Rejoiced in all these vile vestments - And worldly places. - 69 At each step taken in earthly cares - I further sank away from praise, - Earning but blame: - Have mercy upon one who fares - Lost unawares: - For, innocence lost, I might not raise - Myself from shame. - 70 And, for my greater evil, I - Can no more repent me fully, - Since in new mood - My thoughts are mutinous and cry - For liberty, - Unwilling to obey me duly - As once they would. - 71 O help me, lady innkeeper, - For Satan even now his hand - Doth on me lay, - And so grievously I err - In my despair - That I know not if I go or stand - Or backward stray. - 72 Succour thou my helplessness - And strengthen me with holy fare, - For I perish, - Of thy noble saintliness - Liberal to bless, - For knowing my deserts I dare - No hope to cherish. - 73 I acknowledge all my sin - And before thee meekly thus - Forgiveness crave. - O Lady, let me now but win - Into thine inn, - Since One suffered even for us, - That He might save. - 74 Bid me welcome, Mother holy, - Shield of all who are forsaken - Utterly. - - _Church._ Enter to thy seat there lowly, - Yet come slowly, - For the viands thou seest were baken - By God most high. - 75 Lo ye my pillars, doctor, saint, - Ambrose, Thomas and Jerome - And Augustine, - In my service wax not faint, - Nor show constraint, - And to thee, soul, shall be welcome - This fare of mine. - 76 To the holy kitchen go: - Let us this frail soul restore, - That she find grace - To reach her journey's end and know - Her path, that so - By God brought hither she no more - Fail in life's race. - -(_Meanwhile Satan goes to and fro, cutting many capers, and another -devil comes and says:_) - - 77 _2nd D._ You're like a lion in a cage. - - _1st D._ I'm all afire, with anger blind. - - _2nd D._ Why, what's the matter? - - _1st D._ To be so taken in, my rage - Can nought assuage - Nor any rest be to my mind; - For, as I flatter - 78 Myself, I had by honeyed word - Deceived a certain soul, all quick - For fires of Hell. - - _2nd D._ Who made you throw it overboard? - - _1st D._ He of the sword. - - _2nd D._ He played just such another trick - On me as well. - 79 For I had overcome a soul, - Ready to hang itself, unsteady - In its despair; - Yes, it was given to us whole - And I myself was making ready - To drag't down there. - 80 And lo he made it weep and weep - So that the tears ran down along - The very ground: - You might have heard my curses deep - And cries of rage echo among - The hills around. - 81 But I have hopes that what I've lost - Some other day I shall regain, - So will we all. - - _1st D._ I, brother, cannot share your trust, - But I will tempt this soul again - Whate'er befall. - 82 With new promises will I woo her - When from the Church she shall have come - Forth to the street - Upon her journey: I will to her, - And beshrew her - If I turn not all their triumph - To defeat. - -(_The Soul enters with the Angel._) - - 83 _Soul._ O let not thy protection fail me, - Guardian angel, help thy child. - O foes most base, - Infidels, why would you assail me - Who to my God am reconciled - And in His grace? - 84 Leave me, O ye tempters, leave - Unto this most precious feast - Of Him who died, - Served to sinners for reprieve - Of those who grieve - For their Redeemer Lord, the Christ - And crucified. - -(_While the Soul is seated at the table and the Angel standing by her -side, the Doctors come with four covered kitchen dishes, singing -_Vexilla regis prodeunt_, and after placing them on the table, St -Augustine says:_) - - 85 _St Aug._ Lady, thou that to this feast, - Supper of celestial fare - Nobly divine, - Comest as a bidden guest, - Must now divest - Thyself of worldly thought and care - That once were thine. - 86 Thou thy body's eyes must close - And in fetters sure be tied - Fierce appetite, - Treacherous guides, infernal foes: - Thy ways are those - That are a safe support and guide - For the contrite. - - 87 _Church._ Sir, by thee be the table blest: - In thy benedictory prayer, - To bring relief - And new strength to this our guest, - Be there expressed - The Passion's glory in despair - And all its grief. - 88 Thou, O soul, with orisons, - The Virgin's sorrows contemplating - Abide even there, - And ye others make response - Since for this have you been waiting - Wrapped in prayer. - -(_St Augustine's prayer:_) - - 89 God whose might on high appears, - Who camest to this world - In human guise, - In this vale of many fears - And sullen tears - Thy great glory hast unfurled - Before our eyes; - 90 And thy Son most delicate - By His natural majesty - Of divine birth, - Ah, in blood and wounds prostrate - Is now his state - For our vile infirmity - And little worth. - 91 O Thou ruler of the sky, - High God of power divine, - Enduring might, - Who for thy creature, man, to die - Didst not deny - Thy Godhead, and madest Thine - Our mortal plight. - 92 And thy daughter, mother, bride, - Noble flower of the skies, - The Virgin blest, - Gentle Dove, when her Son died, - God crucified, - Ah what tears shed by those eyes - Her grief attest. - 93 O most precious tears that well - From that virgin heart distilled - One by one, - Flowing at thy sorrow's spell - They those perfect eyes have filled - And still flow on. - 94 Who but one of them might have - In it most manifestly - That grief to prove, - Even that woe and suffering grave - Which then overwhelm[`e]d thee - For thy dear love. - 95 Fainting then with grief if failed - Thy tears, yet Him they might not fail, - Thy Life, thy Son, - Who unto the Cross was nailed, - Even fresh tears that could avail, - In prayer begun. - 96 For far greater woe was His - When He saw thee faint and languish - In thy distress, - More than His own agonies, - And doubled is - All His torture at thy anguish - Measureless. - 97 For no words have ever told - No prayer or litany wailed - Such grief and loss: - Our weak thought may not enfold - Nor thee behold - As thou wert when He was nailed - Upon the Cross. - 98 For to thee, O lovely face, - Wherein Heaven's beauty shone, - What woe was given - When the Cross on high they place - And thereupon - Nail[`e]d the Son of Heaven, - Even thy Son! - 99 Over the crowd's heads on high - He who was ever thy delight - Came to thy sight, - To the Cross nail[`e]d cruelly, - Thou standing by, - Thou the mother of Him who died - There crucified! - 100 O frail Queen of Holiness, - Who would not thus weep to see - Thee fainting fall - And lie there all motionless, - Thou patroness - Who dost still uphold and free - The life of all! - - 101 _St Ambrose._ Thus of yore did Jeremiah - On Mount Sion make lament - In days long spent, - For he knew that the Messiah - Was for our salvation sent. - 102 And he mourned the misery - Of ill-starred Jerusalem, - The murderess, - Who should kill unnaturally - Her God born in Bethlehem - Our life to bless. - - 103 _St Jerome._ O the Holy Lamb to see - Humble amid the wolves' despite, - With mockery fraught, - Condemned to suffer cruelly - Upon the Tree, - And that face, so fair and white, - Thus set at nought! - - _St Augustine. (He blesses the table.)_ - - 104 The Eternal Father's blessing rest, - And of the Son, who suffered thus - Even for us, - And of the Spirit holiest, - On thee our guest: - Spirit immortal, Father, Son, - The Three in One. - - 105 _Church._ Come now, bring water for the hands. - - _St Aug._ But thou must wash in tear on tear - Shed for thy past sins' misery, - Most thoroughly, - And then to this fair towel here - Thou mayst draw near, - A towel that is kept for thee - Worked cunningly - 106 With finest silk in painlessness - From out the Holy Virgin's veins - That issu[`e]d, - Silk that was spun in bitterness - And dark distress, - And woven with increasing pains - And finish[`e]d. - 107 Yet never shall thine eyes be dried: - This pattern sad will ever make - Thy tears downflow, - Such stitches here on either side - Doth it provide - That one's very heart must break - To see such woe. - 108 Presented here thou mayest see - With lovely face most natural - --And seeing weep-- - Embroider[`e]d with agony, - O mystery! - God fashioned, who created all, - In human shape. - -(_The towel here described is the veronica, which St Augustine takes -from among the dishes and shows to the Soul, and the Mother Church and -the Doctors adore it on their knees, singing _Salve sancta Facies_, and -the Mother Church then says:_) - - 109 _Church._ Let the first viand be - brought. - - _St Jerome._ It was prepar[`e]d joylessly - On a sad day, - With no pleasure was it fraught, - With suffering bought, - And its cook was Cruelty, - Eager to slay. - 110 With seasoning of tears and shame - Must this course by thee be eaten, - Sorrowfully, - Since the Messiah's holy frame, - Pure, free from blame, - Cruelly was scourged and beaten - For love of thee. - -(_The viand so described consists of the scourge which at this stage is -taken from the dishes and presented to the Soul and all kneel and adore, -singing _Ave flagellum_; and Jerome then says:_) - - 111 _St Jerome._ This second viand of noble worth, - This delicacy, - Must be slowly eaten by thee - In contemplation - Of what the Lord of all the earth - In agony - Suffer[`e]d for thy salvation. - 112 This new torture suddenly - He allowed to reach His brain, - That so thy wit - And sense might be restored to thee, - That perished from thee utterly, - Yea that thou Paradise mightst gain - Endured He it. - -(_This second viand so described is the crown of thorns, and at this -stage they take it from the plates, and kneeling the holy Doctors sing -_Ave corona spinarum_ and afterwards the Mother Church says:_) - - 113 _Church._ Another bring in the same strain. - - _St Jerome._ This third viand that is brought to thee - Was prepared thrice - In places three, in each with gain - Of subtler pain, - With the wood of the Holy Tree, - Wood of great price. - 114 It must be eaten sorrowfully, - Since the Virgin glorious - Saw it garnished, - Her treasure nail[`e]d cruelly - Then did she see, - And her pearl most precious - Pierced and tarnished. - -(_At this station St Augustine brings the nails and all kneel and adore -them, singing _Dulce lignum, dulcis clavus_, and when the adoration is -ended the Angel says to the Soul:_) - - 115 _Angel._ These trappings must thou - lay aside, - This new fare cannot, thou must know, - Be eaten thus: - By them are men's souls vilified - And in their pride - Puffed up with overweening show - Presumptuous. - -(_The Soul casts off the dress and jewels that the enemy gave her._) - - 116 _St Augustine._ O soul, well counselled! well bestowed - To each what is of each by right, - And earth to earth: - Now shalt thou speed along thy road, - Free of this load, - Faring by faith from this stern fight - Victorious forth. - - 117 _Church._ To the last course I thee - invite. - - _St Jerome._ This fourth viand is of a kind - So season[`e]d, - It is of value infinite, - Most exquisite, - Prepared by the Divine mind - And perfected: - 118 Entrusted first in mystery - To a holy virgin came from Heaven - This secret thing, - Encompassed by divinity - And sanctity, - Then to the Eternal Father given - As offering. - -(_St Jerome presents to the Soul a Crucifix, which he takes from among -the dishes, and the Doctors adore it, singing _Domine Jesu Christe_, and -afterwards the Soul says:_) - - 119 _Soul._ With what heart and mind contrite - May I praise Thee sadly now - Who am nought, - Seeing Thee, God infinite, - To such plight - Of suffering and sorrow bow, - By my sin brought! - 120 Lord, how art Thou crushed and broken, - Thou, the Son of God, to die! - And Thy death - By whom ordered, by what token - The word spoken - Thee to judge and crucify, - Who gav'st us breath? - - 121 _St Aug._ For the fruit to end this feast, - On the altar given thee thus - Lovingly, - To the orchard go we all in quest, - Where lies at rest - The Redeemer, He who died for us - And set us free. - -(_And all with the Soul, singing _Te deum laudamus_, went to adore the -tomb._) - - LAVS DEO. - - - - -EXHORTA[C,][~A]O DA GUERRA - - - _Exhorta[c,][~a]o da Guerra[154]._ - -_Interlocutores_: [p] Nigromante, ZEBRON, DANOR, Diabos, POLICENA, -PANTASILEA, ARCHILES, ANIBAL, EYTOR, CEPIAM. - -_A Tragicomedia seguinte seu nome he Exorta[c,][~a]o da guerra. Foi -representada ao muyto alto & nobre Rey dom Manoel o primeyro em Portugal -deste nome na sua cidade de Lixboa na partida pera Azamor do illustre & -muy magnifico senhor d[~o] Gemes Duque de Bargan[c,]a & de Guimar[~a]es, -&c. Era de M.D.xiiij annos._ - -[p] _Entra primeyramente hum clerigo nigromante & diz:_ - - CL. Famosos & esclarecidos - principes mui preciosos, - na terra vitoriosos - & no ceo muyto queridos, - 5 sou clerigo natural - de Portugal, - venho da coua Sebila - onde se esmera & estila - a sotileza infernal. - 10 E venho muy copioso - magico & nigromante, - feyticeyro muy galante, - astrologo bem auondoso. - Tantas artes diabris - 15 saber quis - que o mais forte diabo - darey preso polo rabo - ao iffante Dom Luis. - Sey modos dencantamentos - 20 quaes nunca soube ninguem, - artes para querer bem, - remedios a pensamentos. - Farey de hum cora[c,]am duro - mais que muro - 25 como brando leytoayro, - e farei polo contrayro - que seja sempre seguro. - Sou muy grande encantador, - fa[c,]o grandes marauilhas, - 30 as diabolicas sillas - sam todas em meu favor: - farey cousas impossiveis - muy terribeis, - milagres muy euidentes - 35 que he pera pasmar as gentes, - visiueis & invisiueis. - Farey que h[~u]a dama esquiua - por mais [c,]afara que seja - quando o galante a veja - 40 que ella folgue de ser viua; - farey a dous namorados - mui penados - questem cada hum per si, - & cousas farey aqui - 45 que estareis marauilhados. - Farey por meo vintem - que h[~u]a dama muito fea - que de noyte sem candea - nam pare[c,]a mal nem bem; - 50 e outra fermosa & bella - como estrella - farey por sino for[c,]ado - que qualquer homem h[~o]rrado - nam lhe pesasse um ella. - 55 Faruos ey mais pera verdes, - por esconjuro perfeyto, - que caseis todos a eyto - o milhor que vos poderdes; - e farey da noite dia - 60 per pura nigromanciia - se o sol alumear, - & farey yr polo ar - toda a van fantesia. - Faruos ey todos dormir - 65 em quanto o sono vos durar - & faruos ey acordar - sem a terra vos sentir; - e farey hum namorado - bem penado - 70 se amar bem de verdade - que lhe dure essa vontade - atee ter outro cuydado. - Faruos ey que desejeis - cousas que est[~a]o por fazer, - 75 e faruos ey receber - na hora que vos desposeis, - e farey que esta cidade - estee pedra sobre pedra, - e farey que quem nam medra - 80 nunca t[~e] prosperidade. - Farey per magicas rasas - chuuas tam desatinadas - que estem as telhas deytadas - pelos telhados das casas; - 85 e farey a torre da See, - assi grande como he, - per gra[c,]a da sua clima - que tenha o alicesse ao pee - & as ameas em cima. - 90 Nam me quero mais gabar. - Nome de San Cebriam - esconjurote Satam. - Senhores n[~a]o espantar! - Zeet zeberet zerregud zebet - 95 oo filui soter - rehe zezegot relinzet - oo filui soter - oo chaues das profundezas - abri os porros da terra! - 100 Princepe[*] da eterna treua - pare[c,]am tuas grandezas! - conjurote Satanas, - onde estaas, - polo bafo dos drag[~o]es, - 105 pola ira dos li[~o]es, - polo valle de Jurafas. - Polo fumo pe[c,]onhento - que sae da tua cadeyra - e pola ardente fugueyra, - 110 polo lago do tormento - esconjurote Satam, - de cora[c,]am, - zezegot seluece soter, - conjurote, Lucifer, - 115 que ou[c,]as minha ora[c,]am. - Polas neuoas ardentes - que estam nas tuas moradas, - pollas po[c,]as pouoadas - de bibaras & serpentes, - 120 e pello amargo tormento - muy sem tento - que daas aos encacerados, - pollos grytos dos danados - que nunca cessam momento: - 125 conjurote, Berzebu, - pola ceguidade Hebrayca - e polla malicia Judayca, - com a qual te alegras tu, - rezeegut Linteser - 130 zamzorep tisal - siroofee nafezeri. - -_V[^e]m os diabos Zebron & Danor & diz Zebron:_ - - _Z._ Que has tu, escomungado? - - _C._ Oo yrm[~a]os, venhaes embora! - - _D._ Que nos queres tu agora? - - 135 _C._ Que me fa[c,]aes hum mandado. - - _Z._ Polo altar de Satam, - dom vilam. - - _D._ Tomoo por essas gadelhas - & cortemoslhe as orelhas, - 140 que este clerigo he ladram. - - _C._ Manos, nam me fa[c,]aes mal, - Compadres, primos, amigos! - - _Z._ N[~a]o te temos em dous figos. - - _C._ Como vay a Belial? - 145 sua corte estaa em paz? - - _D._ Dalhe aramaa hum bofete, - crismemos este rapaz - & chamemoslhe Zopete. - - _C._ Ora fallemos de siso: - 150 estais todos de saude? - - _Z._ Fideputa, meo almude, - que t[~e]s tu de ver com isso? - - _C._ Minhas potencias relaxo - & me abaxo, - 155 falayme doutra maneyra. - - _D._ Sois bispo vos da Landeyra - ou vigayro no Cartaxo? - - _Z._ He Cura do Lumear, - sochantre da Mealhada, - 160 acipreste de canada, - bebe sem desfolegar. - - _D._ ['E] capel[~a]o terrantees, - bom Ingres, - patriarca em Ribatejo - 165 beberaa sobre hum cangrejo - as guelas d[~u] Frances. - - _Z._ Danor, dime, he Cardeal - Darruda ou de Caparica? - - _D._ Nenh[~u]a cousa lhe fica - 170 senam sempre o vaso tal, - tem um grande Arcebispado - muito honrrado - junto da pedra da estrema - onda p[~o]e a diadema - 175 & a mitra o tal prelado. - Ladram, sabes o Seyxal - & Almada & pereli? - Oo fideputa alfaqui - albardeyro do Tojal. - - 180 _C._ Diabos, quereis fazer - o que eu quiser - por bem ou de outra fey[c,]am? - - _D._ Oo fideputa ladram - auemoste dobedecer. - - 185 _C._ Ora eu vos mando & remando - pollas virtudes dos ceos - polla potencia de Deos, - em cujo serui[c,]o ando, - conjurouos da sua parte - 190 sem mais arte - que fa[c,]ais o que eu mandar - polla terra & pollo ar, - aqui & em toda a parte. - - _Z._ Como te vai com as ter[c,]as? - 195 ['E] viuo aquelle alifante - que foy a Roma t[~a]o galante? - - _D._ Amargamte a ti estas ver[c,]as? - - _C._ Esconjurote, Danor, - por amor de sam Paulo - 200 e de sam Polo. - - _Z._ Tu n[~a]o tens nenhum miolo. - - _C._ Eu vos farey vir a dor. - Por esta madre de Deos - de t[~a]o alta dinidade, - 205 & polla sua humildade, - com que abrio os altos ceos, - polas veas virginaes - emperiaes - de que Christo foi humanado. - - 210 _Z._ Que queres, escomungado? - Mandanos, nam digas mais. - - _C._ Minha merce m[~a]da & ordena - que tragais logo essas horas - diante destas senhoras - 215 a Troyana Policena - muyto bem atauiada - & concertada, - assi linda como era. - - _D._ Quanta pancada te dera - 220 se pudera, - mas t[~e]sma for[c,]a quebrada. - - _C._ Venha por mar ou por terra - logo muyto sem referta. - - _Z._ E a ter[c,]a da offerta - 225 tambem pagas pera a guerra? - - _C._ Trazei logo a Policena - muy sem pena - com sua festa diante. - - _Z._ Inda yraa outro alifante: - 230 pagaraas quarto & vintena. - -_Vem Policena & diz:_ - - _P._ Eu que venho aqui fazer? - Oo que gran pena me destes - pois por for[c,]a me trouxestes - a um nouo padecer: - 235 que quem viue sem ventura, - em gram tristura - ver prazeres lhee mais morte. - Oo belenissima corte, - senhora da fermosura! - 240 Nam foy o pa[c,]o Troyano - dino de vosso primor: - vejo hum Priamo mayor - hum Cesar muy soberano, - outra Ecuba mais alta, - 245 mui sem falta, - em poderosa, doce, humana, - a quem por Febo & Diana - cada vez Deos mais esmalta. - E vos, Principe excelente, - 250 dayme aluisaras liberais, - que vossas mostras s[~a]o tais - que todo mundo he contente, - e aos planetas dos ceos - mandou Deos - 255 que vos dessem tais fauores - que em grandeza sejais vos - prima dos antecessores. - Por vos, mui fermosa flor, - Iffante Dona Isabel - 260 Foram juntos em torpel - por mandando do senhor - o ceo & sua companhia - & julgou Jupiter juiz - que fosseis Emperatriz - 265 de Castella & Alemanha. - Senhor Iffante Dom Fern[~a]do, - vosso sino he de prudencia, - Mercurio per excelencia - fauorece vosso bando, - 270 sereis rico & prosperado - e descansado, - sem cuydado & sem fadiga, - & sem guerra & sem briga: - isto vos estaa guardado. - 275 Iffante Dona Breatiz, - vos sois dos sinos julgada - que aueis de ser casada - nas partes de flor de lis: - mais bem do que vos cuydais, - 280 muyto mais, - vos tem o mundo guardado. - Perdey, senhores, cuydado - pois com Deos tanto priuais. - - _C._ Que dizeis vos destas rosas, - 285 deste val de fermosura? - - _P._ Tal fora minha ventura - como ellas sam de fermosas! - Oo que corte tam lozida - & guarnecida - 290 de lindezas para olhar! - quem me pudera ficar - nesta gloriosa vida! - - _D._ Nesta vida! la acharaas. - - _P._ Quem me trouxe a este fado? - - 295 _D._ Esse zote escomungado - te trouxe aqui onde estaas. - Perguntalhe que te quer - para ver. - - _P._ Homem, a que me trouxeste? - - 300 _C._ Quee? ainda agora vieste - e has me de responder! - Declara a estes senhores, - pois foste damor ferida, - qual achaste nesta vida - 305 que ['e] a moor dor das dores, - e se as penas infernaes - se sam aas do amor yguaes, - ou se dam la mais tormentos - dos que ca dam pensamentos - 310 e as penas que nos daes. - - _P._ Muyto triste padecer - no inferno sinto eu - mas a dor que o amor me deu - nunca a mais pude esqueecer. - - 315 _C._ Que manhas, que gentileza - ha de ter o bom galante? - - _P._ A primeyra he ser constante, - fundado todo em firmeza; - nobre, secreto, calado, - 320 soffrido em ser desda[~n]ado, - sempre aberto o cora[c,][~a]o - pera receber payx[~a]o - mas nam pera ser mudado. - Ha de ser mui liberal, - 325 todo fundado em franqueza, - esta he a mor gentileza - do amante natural: - porque ['e] tam desuiada - ser o escasso namorado - 330 como estar fogo em geada - ou h[~u]a cousa pintada - ser o mesmo encorporado. - Ha de ser o seu comer - dous bocados suspirando - 335 & dormir meo velando - sem de todo adormecer. - Ha de ter muy doces modos, - humano, cortessa todos, - seruir sem esperar della, - 340 que quem ama com cautela - n[~a]o segue a t[~e][c,]am dos Godos. - - _C._ Qual he a cousa principal - porque deue ser amado? - - _P._ Que seja mui esfor[c,]ado, - 345 isto he o que mais lhe val. - Porque hum velho dioso, - feo e muyto tossegoso, - se na guerra tem boa fama - com a mais fermosa dama - 350 merece de ser ditoso. - Senhores guerreyros, guerreyros! - & vos senhoras guerreyras - bandeyras & n[~a]o gorgueyras - lauray pera os caualeyros. - 355 Que assi nas guerras Troy[~a]s - eu mesma & minhas irma[~a]s - teciamos os estandartes - bordados de todas partes - com diuisas mui louca[~a]s. - 360 Com cantares e alegrias - dauamos nossos colares - e nossas joias a pares - per essas capitanias. - Renegay dos desfiados - 365 & dos pontos enleuados - destruase aquella terra - dos perros arrenegados. - Oo quem vio Pantasileea - com quarenta mil donzellas, - 370 armadas como as estrellas - no campo de Palomea. - - _C._ Venha aqui: trazeyma ca. - - _Z._ Deyxanos yeramaa. - - _C._ Ora sus, questais fazendo? - - 375 _D._ O' diabo que teu encomendo - & quem tal poder te daa. - -_Entra Pantiselea e diz:_ - - _P._ Que quereis e esta chorosa - rainha Pantasilea, - aa penada, triste, fea, - 380 pera corte tam fermosa? - Porque me quereis vos ver - diante vosso poder, - rey das grandes marauilhas - que com pequenas quadrilhas - 385 venceis quem quereis vencer? - Se eu, senhor, forra me vira, - do inferno solta agora, - e fora de mi senhora, - meu senhor, eu vos seruira, - 390 empregara bem meus dias - em vossas capitanias, - & minha frecha dourada - fora bem auenturada - & nam nas guerras vazias. - 395 Oo famoso Portugal - conhece teu bem profundo, - pois atee o Polo segundo - chega o teu poder real. - Auante, auante, senhores, - 400 pois que com grandes favores - todo o ceo vos fauorece: - el Rey de Fez esmorece, - & Marrocos daa clamores. - Oo deixay de edificar - 405 tantas camaras dobradas - Muy pintadas & douradas. - Que he gastar sem prestar. - Alabardas, alabardas! - espingardas, espingardas! - 410 Nam queyrais ser Genoeses - senam muyto Portugueses - & morar em casas pardas. - Cobray fama de ferozes, - nam de ricos, que he perigosa, - 415 douray a patria vossa - com mais nozes que as vozes. - Auante, auante Lisboa! - que por todo mundo soa - tua prospera fortuna: - 420 pois que fortuna temfuna - faze sempre de pessoa. - Archiles, que foy daqui - de perto desta cidade, - chamay-o: diraa a verdade - 425 se n[~a]o quereis crer a mi. - - _C._ Ora sus, sus digo eu. - - _Z._ Este clerigo he sandeu. - Onde estou que o nam crismo! - oo fideputa judeu - 430 queres vazar o abismo? - -_Vem Archiles & diz:_ - - _A._ Quando Jupiter estaua - em toda sua fortaleza - & seu gran poder reynaua - & seu bra[c,]o dominaua - 435 os cursos da natureza; - quando Martes influya - seus rayos de vencimento - & suas for[c,]as repartia; - quando Saturno dormia - 440 com todo seu firmamento; - e quando o Sol mais lozia - & seus rayos apuraua - & a L[~u]a aparecia - mais clara que o meo dia; - 445 & quando Venus c[~a]taua, - e quando Mercurio estaua - mais pronto em dar sapiencia; - & quando o ceo se alegraua - & o mar mais manso estaua - 450 & os ventos em clemencia; - e quando os sinos estauam - com mais gloria & alegria - & os poolos senfeytauam - & as nuu[~e]s se tirauam - 445 & a luz resplandecia; - e quando a alegria vera - foy em todas naturezas, - nesse dia, mes & era - quando tudo isto era - 460 naceram vossas altezas. - Eu Archiles fuy criado - nesta terra muytos dias - & sam bem auenturado - ver este reyno exal[c,]ado - 465 & honrrado por tantas vias. - Oo nobres seus naturaes, - por Deos nam vos descudees, - lembreuos que triumphaes; - oo prelados, nam dormais! - 470 clerigos, nam murmureis! - Quando Roma a todas velas - conquistaua toda a terra - todas, donas & donzelas, - dauam suas joyas belas - 475 pera manter os da guerra. - Oo pastores da Ygreja - moura a ceyta de Mafoma, - ajuday a tal peleja - que a[c,]outados vos veja - 480 sem apelar pera Roma. - Deueis devender as ta[c,]as, - empenhar os breuiayros, - fazer vasos de caba[c,]as - & comer p[~a]o & raba[c,]as - 485 por vencer vossos contrayros. - - _Z._ Assi, assi, aramaa! - dom zote, que te parece? - - _C._ E a mi que se me daa? - quem de seu renda nam ha - 490 as ter[c,]as pouco lhe empece. - - _A._ Se viesse aqui Anibal - e Eytor e Cepiam - vereis o que vos diram - das cousas de Portugal - 495 com verdade & com razam. - - _C._ Sus Danor, e tu Zebram: - venham todos tres aqui. - - _D._ Fideputa, rapaz, cam, - perro, clerigo, ladram! - - 500 _Z._ Mao pesar vejeu de ti. - -_Vem Anibal, Eytor, Cepiam & diz Anibal:_ - - _A._ Que cousa tam escusada - he agora aqui Anibal, - que vossa corte he afamada - per todo mundo em geral. - - 505 _E._ Nem Eytor nam faz mister. - - _C._ Nem tampouco Cepiam. - - _A._ Deueis, senhores, esperar - em Deos que vos ha de dar - toda Africa na vossa m[~a]o. - 510 Africa foi de Christ[~a]os, - Mouros vola tem roubada: - Capit[~a]es, pondelhas m[~a]os, - que vos vireis mais lou[c,][~a]os - com famosa nomeada. - 515 Oo senhoras Portuguesas, - gastay pedras preciosas, - donas, donzelas, duquesas, - que as taes guerras & empresas - sam propriamente vossas. - 520 ['E] guerra de deua[c,]am - por honrra de vossa terra, - commettida com rezam, - formada com descri[c,]am - contra aquella gente perra. - 525 Fazey contas de bugalhos, - & perlas de camarinhas, - firmaes de cabe[c,]as dalhos; - isto si, senhoras minhas, - & esses que tendes daylhos. - 530 Oo [~q] nam honrram vestidos - nem muy ricos atauios - mas os feytos nobrecidos, - nam briaes douro tecidos - com trepas de desuarios: - 535 dayos pera capacetes. - & vos, priores honrrados, - reparti os Priorados - a soy[c,]os & soldados, - _& centum pro vno accipietis_. - 540 A renda que apanhais - o milhor que vos podeis - nas ygrejas nam gastais, - aos proues pouca dais, - eu nam sey que lhe fazeis. - 545 Day a ter[c,]a do que ouuerdes - pera Africa conquistar - com mais prazer que poderdes, - que quanto menos tiuerdes - menos tereis que guardar. - 550 Oo senhores cidad[~a]os - Fidalgos & regedores - escutay os atambores - com ouuidos de Christ[~a]os! - E a gente popular - 555 auante! nam refusar! - Ponde a vida & a fazenda, - porque pera tal contenda - ninguem deue recear. - -_Todas estas figuras se ordenaram em caracol & a vozes cantaram & -representaram o que se segue, cantando todos:_ - - Ta la la la lam, ta la la la lam. - - 560 _A._ Auante, auante! senhores! - que na guerra com razam - anda Deos de capitam. - - _C[~a]t[~a]._ Ta la la la lam, ta la la la lam. - - _A._ Guerra, guerra, todo estado! - 565 guerra, guerra muy cruel! - que o gran Rey Dom Manoel - contra Mouros estaa viado. - Tem promettido & jurado - dentro no seu cora[c,]am - 570 que poucos lhescapar[~a]o. - - _C[~a]t[~a]._ Ta la la la lam, ta la la la lam. - - _Anfalado._ Sua Alteza detremina - por acrescentar a fee - fazer da Mesquita See - 575 em Fez por gra[c,]a diuina. - Guerra, guerra muy contina - he sua grande ten[c,]am. - - _C[~a]t[~a]._ Ta la la la lam, ta la la la lam. - - _A._ Este Rey tam excelente, - 580 muyto bem afortunado, - tem o mundo rodeado - doriente ao Ponente: - Deos mui alto, omnipotente, - o seu real cora[c,]am - 585 tem posto na sua m[~a]o. - - _C[~a]t[~a]._ Ta la la la lam, ta la la la lam. - -_E com esta soy[c,]a se sayram e fenece a susodita Tragicomedia._ - - -NOTES: - -0. _Era de M.D.xiiij_ A. 1513 C, D, E. - -25. _leituairo_ C. - -100. _Princepes_ A. - -117. _estan_ A. - -118. _pocas_ A. - -119. _viboras_ C. - -131. _Lis['o] f['e]_ C. - -148. _zobete_ C. - -167. _Cardial_ C. - -221. _tens-me a_ C. - -238. _bellenissima_ C. - -260. _tropel_ C. - -346. _idoso_ C. - -347. _muito socegado_ C. - -375. _['O] Diabo qu'eu t'encommendo_ C. - -515. _senhores Portugueses_ A. - - -FOOTNOTES: - -[154] This play was omitted in B. - - -ENGLISH TRANSLATION: - - _Exhortation to War._ - -_Dramatis personae_: A necromancer, ZEBRON and DANOR, devils, POLYXENA, -PENTHESILEA, ACHILLES, HANNIBAL, HECTOR, SCIPIO. - -_The following tragicomedy is called Exhortation to War. It was played -before the very high and noble King Dom Manuel I of Portugal in his city -of Lisbon on the departure for Azamor of the illustrious and very -magnificent Lord Dom James, Duke of Braganza, Guimar[~a]es, etc., in the -year 1513._ - -[p] _A necromancer priest first enters and says:_ - - Princes of most noble worth, - To whom high renown is given, - Who, victorious on earth, - Are beloved of God in Heaven, - 5 I a priest am and my home - Is Portugal, - From the Sibyl's cave I come - Where fumes diabolical - Are distilled and brought to birth. - 10 In magic and necromancy - I'm a skilled practitioner, - A most accomplished sorcerer, - Well versed in astrology. - In so many a devil's art - 15 Would I have part - That o'er the strongest I'll prevail - And just seize him by the tail - And hand him to prince Luis there. - Sorcerers of past time ne'er - 20 Knew the enchantments that I know, - Ways of making love to grow - And of freeing from love's care. - For of hearts I will take one - Harder than stone - 25 And will it soft as syrup make, - And so change others, to changes prone, - That nothing shall their firmness shake. - Truly a great wizard I - And great marvels can I work, - 30 All the powers of Hell that lurk - Favour me exceedingly, - As deeds impossible shall attest - Of awful shape, - Miracles most manifest - 35 Such that all shall see and gape, - Visibly and invisibly. - For I'll make a lady coy, - Though love's guerdon she defer, - If her lover look on her, - 40 The very breath of life enjoy; - And two lovers, love's curse under - Kept asunder, - Will I leave to grieve apart, - And achieve by this my art - 45 Things at which you'll gaze in wonder. - For a lady most ungainly - For a halfpenny at night - Will I cause without a light - To look nor ill nor well too plainly. - 50 To another loveliest, - As star in heaven - Shall this destiny be given - That of noblest men and best - None against her love protest. - 55 And the better to display - The perfection of my spell - I'll cause you all to marry well, - That is, I mean, as best you may; - And I'll turn night into day - 60 All by this good art of mine, - If the sun should chance to shine, - And, too, light as air shall be - Every foolish fantasy. - I will cause you all to sleep - 65 While sleep has you in its keeping, - And I'll cause you to awake - Without therefore the earth quaking; - And a lover by the thorn - Of love forlorn - 70 If most real be his love - I will make his fancy prove - Steadfast till it be forsworn. - I will make you wish to see - Things which scarcely can be parried, - 75 And when each of you is married - Then truly shall his wedding be. - And I'll make this city stand - Stone o'er stone on either hand, - And that those who do not flourish - 80 No prosperity shall nourish. - For my magic art's more proof - I'll bring mighty rains whereat - All the tiles shall lie down flat - Above the houses, on the roof. - 85 And the great Cathedral tower - For all its size will I uproot - And despite its special power - Its battlements on high will put, - Its foundation at its foot. - 90 In my praise no more be said. - In St Cyprian's name most holy, - Satan, I conjure thee. - (Gentlemen, be not afraid.) - - Zeet zeberet zerregud zebet - 95 oo filui soter - rehe zezegot relinzet - oo filui soter. - - Keys of the depths, abysses rending, - Open up Earth's every pore! - 100 Prince of Darkness never-ending, - Show thy great works evermore! - Satan, wheresoe'er thou be, - I conjure thee - By the mighty dragons' breath - 105 And the raging lions' roar - And Jehoshaphat's vale of death. - By the smoke that issueth - Poisonous from out thy chair, - By the fire that none may slake, - 110 By the torments of thy lake, - From my heart right earnestly - Satan, I conjure thee, - Zezegot seluece soter, - Unto thee my prayer I make, - 115 Lucifer, listen to my prayer! - By the mists of liquid fire - That thy regions drear distil, - By the vipers, snakes that fill - All its wells, abysses dire, - 120 By the pangs relentlessly - Given by thee - To the prisoners of thy pit, - By the shrieks of those in it - That unceasing echo still, - 125 Beelzebub, I thee invite - By the blindness of the Jews - Who the wrong in malice choose - And thereby thy heart delight - rezeegut Linteser - 130 zamzorep tisal - siroofee nafezeri. - -_The devils Zebron and Danor come and Zebron says:_ - - _Z._ What's the matter, priest accursed? - - _P._ Welcome, brothers, welcome first. - - _D._ What now with us wouldst thou have? - - 135 _P._ That my bidding you should do. - - _Z._ By Satan's altar, this thou'lt rue, - Arrogant knave. - - _D._ Come, I'll seize him by the hair - And off with his ears at least, - 140 For a robber is this priest. - - _P._ Hurt me not, good brothers, cease, - Comrades, cousins, friends, I pray. - - _Z._ Not two figs for you we care. - - _P._ How is Belial to-day? - 145 And his court, is it at peace? - - _D._ With a box o' the ear chastise him, - Even so will we baptise him - And we'll christen him a fool. - - _P._ Come, let's speak more seriously: - 150 Are you all quite well and cool? - - _Z._ Villain, wineskin, Bacchus' tool, - What has that to do with thee? - - _P._ Nay, my powers I'll efface, - Myself abase, - 155 Only speak not thus to me. - - _D._ Do you hold Landeira's see - Or are you Cartaxo's vicar? - - _Z._ He's priest of Lumear, I think, - Mealhada's precentor he, - 160 Archpriest of a pint of liquor - Since he ceases not to drink. - - _D._ And this chaplain of our town - Is a good Englishman, for mark, - This Ribatejo Patriarch - 165 Will drink even a Frenchman down, - And nothing think of it at all. - - _Z._ Danor, say, is he Cardinal - Of Arruda or Caparica? - - _D._ He has nought left thin or thick - 170 Save always his glass of liquor - And a great Archbishopric, - An honour given but to few - Near the boundary stone, the same - On which he sets his diadem, - 175 This prelate, and his mitre too. - Dost thou know Seixal, thou thief, - Almada and thereabouts? - Tojal packsaddler, of louts - And of villain knaves the chief. - - 180 _P._ Devils, will you now in brief - My bidding do - Or must I take other ways with you? - - _D._ Curs[`e]d robber, only say - What you'd have and we'll obey. - - 185 _P._ I command you instantly - By the power of the sky - And the might of God on high, - In whose service priest I am, - I conjure you in His name - 190 That you my behests obey - Now straightway, - On the earth and in the air, - Here and there and everywhere. - - _Z._ How are the tithes, and--another matter-- - 195 Is the fine elephant alive - That went to Rome for the Pope to shrive? - - _D._ Are your feelings hurt by this chatter? - - _P._ Danor, now I conjure thee - By Saint Pol and by Saint Paul - 200 Hearken to me. - - _Z._ Your intelligence is small. - - _P._ Then shall you hark unwillingly. - By the Mother of God most holy - And her heavenly dignity, - 205 Her humility on earth - That had power to scale high Heaven, - And her own imperial worth - Whereby in the Virgin birth - The incarnate Christ to earth was given. - - 210 _Z._ Say no more, accursed knave, - We'll obey: what wouldst thou have? - - _P._ 'Tis my will and my desire - That unto those ladies there - This very hour you should have care - 215 Polyxena of Troy to bring: - Come she, for beauty's heightening, - In rich attire, - Fair as she was fair of yore. - - _D._ With what a thrashing shouldst thou rue it - 220 Could I but do it. - But thou hast taken my strength away. - - _P._ Let her come by land or sea - Straightway and most peacefully. - - _Z._ And as to subscriptions for the war - 225 Hast thou any tithe to pay? - - _P._ Without delay Polyxena bring - And joyfully - Before her shall you dance and sing. - - _Z._ They'll send another elephant yet - 230 And you'll have to pay the tax for it. - -_Polyxena comes and says:_ - - _Pol._ Wherefore hither am I come? - O how great my affliction is - Since against my will you bring - Me to further suffering. - 235 For he who lives in misery's stress - Can but borrow - From seen pleasures a new sorrow. - But what a fairy court is this - In which beauty has its home! - 240 The palace of Troy was not your peer - Nor rival in magnificence, - I see a greater Priam here - Cesar of sovran excellence, - A Hecuba of nobler mien, - 245 A flawless queen - In power humanely gentle: hence - Apollo's and Diana's reign - Heaven confirmeth in the twain. - And you, Prince most excellent, - 250 Give me liberal reward: - From your promise is none debarred, - It fills all men with content, - And the planets of Heaven's abode - Had word of God - 255 That to you be greatness sent - And fortune's favour even more - Than to those who reigned before. - And for you, most lovely flower, - Princess Dona Isabel, - 260 The Lord of Heaven in His power - Marshalled in host innumerable - The sky and all its company, - And Jove as judge did then ordain - That as empress you should reign - 265 O'er Castille and Germany. - You, O Prince Dom Ferdinand, - Since prudence is your special share - And with favourable wand - Mercury holds you in his arms, - 270 Wealth and prosperity shall bless - In quietness - Without toil or any care, - Turmoil or loud war's alarms: - This for you the gods have planned. - 275 For you, Princess Beatrice, - Your sure destiny it is - To be married happily - Unto France's fleur-de-lys. - And the world has more in store - 280 For you, yea more - Than you imagine shall be given. - Princes, leave all cares of yore - Since you have the ear of Heaven. - - _P._ What say you to the roses there - 285 And this vale of loveliness? - - _Pol._ Would that fortune were no less - Fair to me than they are fair! - How gleams the Court in radiancy, - What an array - 290 Of beauty is there here to see! - O that it were given me - Ever in this life to stay! - - _D._ In _this_ life! Thine another school. - - _Pol._ Who brought me to this destiny? - - 295 _D._ That excommunicated fool, - Thou camest here at his suggestion. - Ask him what he wants of thee, - Just to see. - - _Pol._ Why then have you brought me here? - - 300 _P._ What, no sooner you appear - Than you would begin to question! - Tell these lordlings instantly, - Since you suffered from love's wound, - What in this life here you found - 305 The greatest of all woes to be, - Tell them if the pains of Hell - Be as deep as those of love, - Or if torments there excel - Those that here from love's thoughts well, - 310 Griefs that every lover prove. - - _Pol._ Awful in intensity - Are Hell's tortures unto me, - Grievously I suffer, yet - Ne'er could I love's wound forget. - - 315 _P._ What the arts and qualities - That should a true lover grace? - - _Pol._ Constancy has the first place - And resolution; and, with these, - Noble must he be, discreet, - 320 Silent, patient of disdain - With heart e'er open to love's strain - In passion's service to compete, - But not to change and change again. - And he must be liberal, - 325 Generous exceedingly, - Since there is no quality - That for lovers is so meet. - For to a lover avarice - Is as uncongenial - 330 As would be a fire in ice - Or if a picture were to be - Itself and its original - For his food he must but take - A mouthful barely, and with sighs, - 335 And when he asleeping lies - He must still be half awake. - Very gentle-mannered he, - Humane and courteous, must be - And serve his lady without hope, - 340 For he who loveth grudgingly - Proves himself of little scope. - - _P._ What his qualities among - Should most bring him love for love? - - _Pol._ That he should be brave and strong, - 345 That will his best vantage prove. - For a man advanced in years, - Ill-favoured though be and weak, - If name famed in war he bears - Even in the fairest lady's ears - 350 Should for him his actions speak. - On, on ye lords, to war, to war! - And ladies not as heretofore - Embroider wimples for your wear - But banners for the knights to bear. - 355 For thus amid the wars of Troy - I and my sisters did employ - Our time and all our artifice: - Standards, with many a fair device - Embroidered, did we weave for them; - 360 And on them lavished many a gem - And gaily with glad songs of joy - Our necklaces we freely gave, - Tiara and diadem. - Then leave your points and hem-stitch leave, - 365 Your millinery and your lace, - And utterly from off earth's face - These renegade dogs destroy. - O to see Penthesilea again - With forty thousand warriors, - 370 Armed maidens gleaming like the stars - On the Palomean plain. - - _P._ Come bring her here this very hour. - - _Z._ Cannot you leave us one instant alone? - - _P._ What are you doing? Come on, come on. - - 375 _D._ To the devil would I see you gone - And whoso gives you this power. - -_Penthesilea enters and says:_ - - _Pen._ What would you of this hapless queen - Penthesilea woe-begone, - Who in tears and sorrow thus appear - 380 Ill-favoured in this court's fair sheen? - Why should you wish to see me here - Before your high imperial throne, - Great king of marvels, who alone - With your small armies scatter still - 385 Your victories abroad at will? - Were I now, Sir, at liberty, - From Hell's grim dominion free - And mistress of my destiny - I would serve you willingly. - 390 All my days would I spend then - With your armies to my gain, - My golden arrow then with zest - Would serve you in a service blest - And not in useless wars and vain. - 395 O renown[`e]d Portugal, - Learn to know thy noble worth - Since thy power imperial - Reaches to the ends of Earth. - Forward, forward, lord and knight - 400 Since Heaven's favours on you crowd, - Forward, forward in your might - That doth the King of Fez affright, - And Morocco cries aloud. - O cease ye eagerly to build - 405 So many a richly furnished chamber, - And to paint them and to gild. - Money so spent will nothing yield. - With halberds only now remember - And with rifles to excel. - 410 Not for Genoese fashions strive - But as Portuguese to live - And in houses plain to dwell. - As fierce warriors win renown, - Not for wealth most perilous, - 415 Give your country a golden crown - Of deeds, not words that mock at us. - Forward, Lisbon! All descry - Thy good fortune far and nigh, - And the fame thou dost inherit, - 420 Since fortune raises thee on high, - Win it sturdily by merit. - Achilles when he went away - From near this city went, - Call him: you'll hear truth evident - 425 If you doubt what I have said. - - _P._ Let him come up, come up, I say. - - _Z._ This priest has gone quite off his head. - I don't know what I am about - That I don't give the Jew a clout: - 430 Would you empty Hell of its dead? - -_Achilles comes and says:_ - - _A._ When Jupiter in all his might - Was seated on his throne - And in his strength ordered aright - By his right hand alone - 435 The courses of the day and night; - And warrior Mars to Earth had lent - His bolts of victory - And parted with his armament; - When Saturn still slept peacefully - 440 With all his firmament; - When the Sun shone with clearer light - And an intenser ray - And the Moon's beams illumed the night, - More brightly than noonday, - 445 And Venus sang her loveliest lay; - When wisdom, that he now doth keep, - Was given by Mercury, - And mirth flashed o'er the heaven's steep - And the winds were gently hushed asleep - 450 And a calm lay on the sea; - When joy and fame together checked - The hands of destiny - And glory's flags the poles bedecked - And the heavens, by no clouds beflecked, - 455 Gleamed in their radiancy; - When every heart with unfeigned cheer - Was merry upon Earth, - In that day and month and year, - When all these portents did appear, - 460 Your Highnesses had birth. - Now I, Achilles, in my youth - Lived here for many days - And happy am I in good sooth - To see the kingdom's splendid growth - 465 Honoured in countless ways. - Its noble sons these honours reap, - But let no careless strain - Prevent you what you win to keep; - Ye prelates, 'tis no time for sleep! - 470 Ye priests, do not complain! - When mighty Rome was in full sail - Conquering all the Earth - The girls and matrons without fail, - That so the soldiers should prevail, - 475 Gave all their jewels' worth. - Then O ye shepherds of the Church - Down, down with Mahomet's creed! - Leave not the fighters in the lurch! - For if to scourge yourselves you speed - 480 Then Rome may spare the birch. - You should sell your chalices, - Yes and pawn your breviaries, - Turn your gourds into flasks, and e'er - Of bread and parsnips make your fare, - 485 To vanquish thus your enemies. - - _Z._ Aha, aha. A splendid rule! - What do you think of that, Sir Fool? - - _P._ What is't to me? what should I care? - For he who has no revenues - 490 Can by the tithes but little lose. - - _A._ If hither came but Hannibal, - Hector and Scipio - You shall see what they will show - Of the things of Portugal, - 495 What reason and truth would have you know. - - _P._ Come Danor, and Zebron, hither - Bring all three of them together. - - _D._ Rascal cleric, villain, cur, - Thief, dog, that I for you should stir! - - 500 _Z._ May a curse your power wither! - - _Hannibal, Hector and Scipio come, and Hannibal says:_ - - _Han._ Easily you might forego - Poor Hannibal's presence here, - For your Court's fame far and near - The furthest of Earth's regions know. - - 505 _Hect._ Nor need Hector here appear. - - _S._ Nor is there room for Scipio. - - _Han._ Sirs, you should trust in God, that he - All Africa presently - Will reduce beneath your sway. - 510 Africa was Christian land, - Moors have ta'en your own away. - To the work, Captains, set your hand, - For so with clearer ray shall burn - Your renown when you return. - 515 And, O ladies of Portugal, - Spend, spend jewel and precious stone, - Duchesses, ladies, maidens, all - Since such enterprises shall - Properly be yours alone. - 520 A religious war it is - For the honour of your land, - Against those vile enemies, - Undertaken reasonably - And with good discretion planned. - 525 Of beads be every rosary, - Each pearl replaced by bilberry, - Brooches of the heads of leek; - Such ornaments, my ladies, seek - And those you have give every one. - 530 For little honour now is there - In dresses and adornments fair, - Honour give noble deeds alone, - Not costly robes inwrought with gold - And pranked with trimmings manifold: - 535 Give these now to help helmets make. - And ye, good priors, I bid you take - And divide all that you hold - Among the soldiers of the guard - And great shall be your reward. - 540 For of the income you obtain - By whatever means you may - The churches have but little gain, - And from alms you still abstain: - How you spend it who shall say? - 545 For the conquest of Africa - Give a tithe of your possessions, - Give it, if you can, with pleasure, - For the less you have of treasure - The less need you fear oppressions. - 550 And O rulers and noblemen, - Yea and every citizen, - Listen, listen to the drums, - Hark to them with Christian ears! - And ye people, hold not back, - 555 Forward, forward to the attack! - Give your lives and your incomes, - For in such a conflict holy - None should harbour any fears. - -_All these figures ordered themselves in winding circles and by turns -sang and acted the following, all singing:_ - - Ta la la la lam, ta la la la lam. - - 560 _Hannibal._ On, on! go forward, lord and knight, - Since in war waged for the right - God as Captain leads the fight. - - _They sing._ Ta la la la lam, ta la la la lam. - - _H._ To war, to war, both rich and poor, - 565 To war, to war, most ruthlessly - Since the great King Manuel's wrath - Is gone forth against the Moor. - And he sworn and promised hath - In his inmost heart that he - 570 Will destroy them from his path. - - _They sing._ Ta la la la lam, ta la la la lam. - - _H._ And his Highness for a sign - Of our Holy Faith's increase - Wills that at Fez by grace divine - 575 The mosque shall a cathedral be. - War, war ever without cease - Is his purpose mightily. - - _They sing._ Ta la la la lam, ta la la la lam. - - _H._ This our King most excellent - 580 And with great good fortune blest - Is lord of every continent - From the East unto the West: - And the high God omnipotent - In his gracious keeping still - 585 Guards his royal heart from ill. - - _They sing._ Ta la la la lam, ta la la la lam. - -_And with this chorus they went out and the above Tragicomedy ends._ - - - - -FARSA DOS ALMOCREVES - - - _Far[c,]a dos Almocreves._ - -_Esta seguinte farsa foy feyta & representada ao muyto poderoso & -excelente Rey dom Ioam o terceyro em Portugal deste nome na sua -cidade de Coimbra na era do S[~e]hor de MDXXVI. Seu fundamento he que -hum fidalgo de muyto pouca renda vsaua muyto estado, tinha capelam -seu & ouriuez seu, & outros officiaes, aos quaes nunca pagaua. E -vendose o seu capelam esfarrapado & sem nada de seu entra dizendo:_ - - _Capel[~a]._ [p] Pois que nam posso rezar - por me ver t[~a]o esquipado - por aqui por este Arnado - quero hum pouco passear - por espa[c,]ar meu cuydado, - e grosarey o romance - de Yo me estaba en Coimbra - pois Coimbra assim nos cimbra - que nam ha quem preto alcance. - 10 [p] Yo me estaba en Coimbra - cidade bem assentada, - pelos campos de Mondego - nam vi palha nem ceuada. - Quando aquilo vi mezquinho - entendi que era cilada - contra os cauallos da corte - & minha mula pelada. - Logo tiue a mao sinal - tanta milham apanhada - 20 e a peso de dinheiro: - ['o] mula desemparada! - Vi vir ao longo do rio - h[~u]a batalha ordenada, - nam de gentes mas de mus, - com muita raya pisada. - A carne estaa em Bretanha - & as couves em Biscaya. - Sam capelam dum fidalgo - que nam tem renda nem nada; - 30 quer ter muytos aparatos - & a casa anda esfaymada, - toma ratinhos por pag[~e]s - anda ja a cousa danada. - Querolhe pedir licen[c,]a, - pagueme minha soldada. - -[p] _Chega o capelam a casa do fidalgo, & falando com elle diz:_ - - _Cap._ [p] Senhor, ja seraa rezam. - - _Fid._ Auante, padre, falay. - - _C._ Digo que em tres annos vay - que sam vosso capelam. - - 40 _F._ He grande verdade, auante. - - _C._ Eu fora ja do ifante, - e podera ser del Rey. - - _F._ A bof['e], padre, n[~a]o sey. - - _C._ Si, senhor, que eu sou destante - Aindaque ca mempreguei. - [p] Ora pois veja, senhor, - que he o que me ha de dar, - porque alem do altar - seruia de comprador. - - 50 _F._ Nam volo ey de negar. - Fazeyme h[~u]a peti[c,]am - de tudo o que requereis. - - _C._ Senhor, nam me perlongueis, - que isso nam traz concrusam - nem vejo que a quereis. - [p] Porque me fiz polo vosso - clericus & negoceatores. - - _F._ Assi vos dey eu fauores - & disso pouco que eu posso - 60 vos fiz mais que outros se[~n]ores. - Ora um clerigo que mais quer - de renda nem outro bem - que darlhe homem de comer, - que he cada dia hum vintem, - & mais muyto a seu prazer? - [p] Ora a honrra que se monta: - he capelam de foam! - - _C._ E do vestir nam fazeis conta, - & esse comer com payxam, - 70 & dormir com tanta afronta - que a coroa jaz no cham - sem cabe[c,]al, e aa h[~u]a hora, - & missa sempre de ca[c,]a? - & por vos cayr em gra[c,]a - serviauos tambem de fora, - atee comprar sibas na pra[c,]a; - [p] E outros carregozinhos - desonestos pera mi. - Isto, senhor, he assi. - 80 & azemel nesses caminhos, - arre aqui & arre ali, - & ter carrego dos gatos - & dos negros da cozinha - & alimparvolos [c,]apatos - & outras cousas que eu fazia. - - _F._ [p] Assi fiey eu de vos - toda a minha esmolaria - & daueis polo amor de Deos - sem vos tomar conta hum dia. - - 90 _C._ Dos tres annos que eu alego - dalaey logo sem penden[c,]as: - mandastes dar a hum cego - hum real por Endoen[c,]as. - - _F._ Eu isso nam volo nego. - - _C._ [p] E logo dahi a um anno - pera ajuda de casar - h[~u]a orfa[~a] mandastes dar - meo couado de pano - Dalcoba[c,]a por tosar. - 100 E nos dous annos primeyros - repartistes tres pescadas - por todos estes mosteyros - na Pederneyra compradas - daquestes mesmos dinheyros. - [p] Ora eu recebi cem reaes - em tres annos, contay bem, - tenho aqui meo vintem. - - _F._ Padre, boa conta daes, - ponde tudo num item - 110 & falay ao meu doutor - que elle me falaraa nisso. - - _C._ Deyxe vossa Merce ysso - pera el Rey nosso senhor, - & vos falay me de siso. - Que coma, senhor, me ficastes - ysto dentro em Santarem - de me pagardes muy bem. - - _F._ Em quantas missas machastes? - das vossas digo eu porem. - - 120 _C._ Que culpa vos tem [c,]amora? - Por vos estam ellas nos [c,]eos. - - _F._ Mas tomay as pera vos - & guarday as muytembora, - entam paguevolas Deos. - [p] Que eu n[~a]o gasto meus dinheyros - em missas atabalhoadas. - - _C._ & vos fazeys foliadas - & nam pagaes o gaiteyro? - Isso sam balcarriadas. - 130 se vossas merces nam ham - cordel pera tantos nos - vyuey vos a aquem de vos - & nam compreis gauiam - pois que n[~a]o tendes pios. - [p] Uos trazeis seis mo[c,]os de pee - & acrecentaylos a capa - coma Rey, & por merce, - nam tendo as terras do Papa - nem os tratos de Guine: - 140 antes vossa renda encurta - coma pano Dalcoba[c,]a. - - _F._ Tudo o fidalgo da ra[c,]a - em que a renda seja curta - he per for[c,]a que isso fa[c,]a. - [p] Padre, muy bem vos entendo: - foy sempre a vontade minha - daruos a el Rey ou ha Raynha. - - _C._ Isso me vay parecendo - bom trigo se der farinha. - 150 Senhor, se misso fizer - grande merce me faraa. - - _F._ Eu vos direy que seraa: - dizey agora hum profaceo, a ver - que voz tendes pera laa. - - _C._ Folgarey eu de o dizer, - mas quem me responderaa? - - _F._ Eu. _C._ Per omnia secula seculorum. - - _F._ Am[~e]. _C._ Dominus vobiscum. - - _F._ Auante. _C._ Sursum corda. - - 160 _F._ Tendes essa voz tam gorda - que pareceis Alifante - depois de farto da[c,]orda. - - _C._ [p] Pior voz tem Sim[~a]o vaz - tesoureyro e capelam, - & pior o Adayam - que canta como alcatraz, - e outros que por hi estam. - Quereys que acabe acantiga - & vereys onde vou ter. - - 170 _F._ Padre, eu ey de ter fadiga, - mas del Rey aueis de ser, - escusada he mais briga. - - _C._ [p] Sabeis em que estaa a contenda? - direys: he meu capelam. - & el Rey sabe a vossa renda - & rirse ha, se vem aa mam, - & remetermaa aa Fazenda. - - _F._ Se vos foreis entoado. - - _C._ Que bem posso eu cantar - 180 onde dam sempre pescado - & de dous annos salgado, - o pior que ha no mar? - -[p] _Vem um pagem do fidalgo & diz:_ - - _Pag._ [p] Senhor, o oriuez see alli. - - _F._ Entre. Quereraa dinheyro. - Venhaes embora, caualeyro, - cobri a cabe[c,]a, cobri. - Tendes grande amigo em mi - & mais vosso pregoeyro. - Gabeyuos ontem a el Rey - 190 quanto se pode gabar. - & sey que vos ha dacupar, - & eu vos ajudarey - cada vez que mi achar: - [p] Porque aas vezes estas ajudas - sam milhores que cristeis, - porque soo a fama que aueis - & outras cousas meudas - o que valem ja o sabeis. - - _Our._ Senhor eu o seruirey - 200 & nam quero outro senhor. - - _F._ Sabeis que tendes milhor, - eu o disse logo a el Rey - & faz em vosso louvor, - [p] N[~a]o vos da mais [~q] vos pagu[~e] - que vos deyxem de pagar. - Nunca vi tal esperar - nunca vi tal auantagem - nem tal modo dagradar. - - _O._ Nossa conta he tam pequena, - 210 & ha tanto que he deuida, - que morre de prometida, - & pe[c,]oa ja com tanta pena - que depenno a minha vida. - - _F._ [p] Ora olhay ese falar - como vay bem martelado! - Folgo nam vos ter pagado - por vos ouuir martelar - marteladas dauisado. - - _O._ Senhor, beyjovolas m[~a]os - 220 mas o meu queria eu na m[~a]o. - - _F._ Tambem isso he cortesam: - 'Senhor, beyjovolas m[~a]os, - o meu queria eu na m[~a]o.' - Que basti[~a]es tam lou[c,][~a]os! - [p] Quanto pesaua o saleyro? - - _O._ Dous marcos bem, ouro & fio. - - _F._ Essa he a prata: & o feitio? - - _O._ Assaz de pouco dinheyro. - - _F._ Que val com feytio & prata? - - 230 _O._ Justos noue mil reaes. - & nam posso esperar mais - que o vosso esperar me mata. - - _F._ Rijamente mapertaes. - E fazeisme mentiroso, - que eu gabeyuos doutro geyto - & seu tornar ao deffeito - nam seraa proueyto vosso. - - _O._ Assi que o meu saleyro peito? - - _F._ Elle he dos mais maos saleiros - 240 que eu em minha vida comprey. - - _O._ Ainda o eu tomarey - a cabo de tres Janeyros - que ha que volo eu fiey. - - _F._ [p] Jagora n[~a]o he rezam: - eu nam quero que vos percais. - - _O._ Pois porque me nam pagais? - Que eu mesmo comprey caru[~a]o - com que mencaruoi[c,]aes. - - _F._ Mo[c,]o vayme ver que faz el Rey, - 250 se parecem damas la, - este dia nam se va - em pagaraas, nam pagarey. - & vos tornay outro dia ca - se nam achardes a mi - falay com o meu Camareyro - porque elle tem o dinheyro - que cadano vem aqui - da renda do meu celeyro, - e delle recebereys - 260 o mais certo pagamento. - - _O._ E pagaisme ahi co vento - ou co as outras merces? - - _F._ Tomaylhe vos la o tento. - -[p] _Indose o capelam vay dizendo:_ - - _C._ [p] Estes ham dir ao parayso? - nam creo eu logo nelle. - Eu lhes mudarey a pelle: - daqui auante siso, siso, - juro a Deos queu mabruquele. - -[p] _Vem o pagem com recado e diz:_ - - _P._ [p] Senhor, in Rey see no pa[c,]o. - - 270 _F._ Em [~q] casa? - - _P._ Isto abasta. - - _F._ O recado que elle da! - ratinho es de maa casta. - - _P._ Ab[~o]da, bem sey eu o [~q] eu fa[c,]o. - - _F._ Abonda! olhay o vilam. - Damas parecem per hi? - - _P._ Si, senhor, damas vi, - andauam pelo balcam. - - _F._ [p] E qu[~e] er[~a]? - - _P._ Damas mesmas. - - _F._ Como as cham[~a]? - - _P._ Nam as chamaua n[~i]gu[~e]. - - 280 _F._ Ratinhos s[~a] ab[~a]tesmas - & quem por pag[~e]s os tem. - Eu ey de fazer por auer - hum pagem de boa casta. - - _P._ Ainda eu ey de crecer, - casti[c,]o sam eu que basta - se me Deos deyxar viuer. - [p] Pois o mais deprenderey - como outros como eu peri. - - _F._ Pois fazeo tu assi, - 290 porque has de ser del Rey, - mo[c,]o da camara ainda. - - _P._ Boa foy logo ca vinda. - Assi que atee os pastores - ham de ser del Rey samica! - Por isso esta terra he rica - de p[~a]o, porque os lauradores - fazem os filhos pa[c,][~a]os: - [p] Cedo n[~a]o ha dauer vil[~a]os, - todos del Rey, todos del Rey. - - 300 _F._ E tu z[~o]bas? - - _P._ Nam mas antes sey - que tambem alguns Christ[~a]os - h[~a] de deyxar a costura. - -[p] _Torna o capelam._ - - _C._ [p] Vossa merce per ventura - falou ja a el Rey em mi? - - _F._ Ainda geyto nam vi. - - _C._ Nam seja tam longa a cura - como o tempo que serui. - - _F._ Anda el Rey tam acupado - co este Turco, co este Papa, - 310 co esta Fran[c,]a, co esta trapa - que nam acho vao aazado - porque tudo anda solapa. - Eu entro sempre ao vestir, - por['e]m para arrecadar - ha mister grande vagar. - Podeis me em tanto seruir - atee que eu veja lugar. - - _C._ Senhor queria concrusam. - - _F._ Concrusam quereis? Bem, bem, - 320 concrusam ha em alguem. - - _C._ Concrusam quer concrusam, - & nam ha concrusam em nada. - Senhor, eu tenho gastada - h[~u]a capa & hum mantam: - pagayme minha soldada. - - _F._ Se vos podesseis achar - a altura de Leste a Oeste, - pois nam tendes voz que preste, - perequi era o medrar. - - 330 _C._ & vos pagaisme co ar? - M[~a]o caminho vejo eu este. - -[p] _Vayse._ - - _P._ Deueo el Rey de tomar - que luta como danado: - elle ['e] do nosso lugar, - de mo[c,]o guardaua gado - agora veo a bispar. - [p] Mas nam sinto capelam - que lhe ch[~a]te hum par de quedas, - e chamase o labaredas. - - 340 _F._ E ca chamase cot[~a]o, - mais fidalgo que os azedas. - Satisfa[c,]am me pedia, - que he pior de fazer - que queymar toda Turquia, - porque do satisfazer - naceo a melanconia. - -[p] _Vem Pero vaz, almocreue, que traz hum pouco de fato do fidalgo & -vem tangendo a chocalhada & cantando:_ - - [p] A serra he alta, fria & neuosa, - vi venir serrana, gentil, graciosa. - -Falando. - - [p] Arre mulo namorado - 350 que custaste no mercado - sete mil & nouecentos - & hum traque pera o siseyro. - Apre ru[c,]o, acrecentado - a moradia de quinhentos - paga per Nuno ribeyro. - Dix pera a paga & pera ti. - Arre, arre, arre embora - que ja as tardes sam damigo, - apre besta do roim, - 360 uxtix, o atafal vay por fora - & a cilha no embigo. - Sam diabos pera os ratos - estes vinhos da candosa. - -Canta. - - [p] A serra he alta, fria & neuosa, - vi venir serrana, gentil, graciosa. - -Fala. - - [p] Apre ca yeramaa - que te vas todo torcendo - como jogador de bola. - Huxtix, huxte xulo ca, - 370 que teu dou yraas gemendo - e resoprando sob a cola. - Aa corpo de mi tareja - descobrisuos vos na cama. - Parece? dix pera vossa ama, - nam criaraas tu hi bareja. - -Canta. - - [p] Vi venir serrana g[~e]til graciosa, - chegueime pera ella con gr[~a] cortesia. - -Fala. - - Mandovos eu sospirar - pola padeyra Daueiro, - 380 que haueis de chegar aa venda - & entam ali desalbardar - & albardar o vendeyro - senam teuer que nos venda - vinho a seis, cabra a tres, - pam de calo, fillhos de m[~a]teyga, - mo[c,]a fermosa, l[~e][c,]oes de veludo, - casa juncada, noyte longa, - chuua com pedra, telhado nouo, - a candea morta & a gaita a porta. - 390 Apre, zambro, empe[c,]ar['a]s? - Olha tu nam te ponha eu - oculos na rabadilha - & veraas por onde vas. - Demo que teu dou por seu - & andaraas la de silha. - [p] Chegueime a ella de gr[~a] cortesia, - disselhe: Se[~n]ora, quereis c[~o]panhia? - -[p] _Vem Vasco afonso, outro almocreve, & topam se ambos no caminho & -diz Pero vaz:_ - - _P._ [p] Ou, Vasco Afonso, onde vas? - - _V._ Huxtix, per esse cham. - - 400 _P._ Nam traes chocalhos nem nada? - - _V._ Furtar[~a]o mos la detras - na venda da repeydada. - - _P._ Hi bebemos nos aa vinda. - - _V._ Cujo he o fato, Pero vaz? - - _P._ Dum fidalgo, dou oo diabo - o fato & seu dono coelle. - - _V._ Valente almofreyxe traz. - - _P._ Tomo o mu de cabo a rabo. - - _V._ Par deos carrega leua elle. - - 410 _P._ [p] Uxtix, agora nam paceram elles - & la por essas charnecas - vem roendo as vrzeyras. - - _V._ Leixos tu, Pero vaz, que elles - acham aqui as eruas secas - & nam comem giesteyras. - & quanto te dam por besta? - - _P._ Nam sey, assi Deos majude. - - _V._ Nam fizeste logo o pre[c,]o? - mal aas tu de liurar desta. - - 420 _P._ Leyxeyo em sua virtude, - no que elle vir que eu mere[c,]o. - - _V._ [p] Em sua virtude o deixaste? - & trala elle com sigo - ou ha dir buscala ainda? - Oo que aramaa te fartaste! - Queres apostar comigo - que te renegues da vinda? - - _P._ Elle pos desta maneyra - a m[~a]o na barba & me jurou - 430 de meus dinheyros pagalos. - - _V._ Essa barba era inteyra - a mesma em que te jurou - ou bigodezinhos ralos? - - _P._ [p] Ora Deos sabe o que faz - & o juiz de [c,]amora: - de fidalgo he manter fee. - - _V._ Bem sabes tu, Pero vaz, - que fidalgo ha jagora - que nam sabe se o he. - 440 Como vay a ta molher - & todo teu gasalhado? - - _P._ O gasalhado hi ficou. - - _V._ E a molher? _P._ Fugio. _V._ Nam pode ser. - Como estaraas magoado, - yeramaa. _P._ Bofa nam estou. - [p] Huxtix, sempre has dandar - debayxo dos souereyros? - & a mi que me da disso? - - _V._ Per for[c,]a ta de pesar - 450 se rirem de ti os vendeyros. - - _P._ Nam tenho de ver co isso. - [p] Vay, Vasco afonso, ao teu mu - que se quer deytar no cham. - - _V._ Pesate mas desingulas. - - _P._ Nam pesa: bem sabes tu - que as molheres nam sam - todo o ver[~a] sen[~a] pulgas. - Isto quanto aa saudade - que eu della posso ter; - 460 & quanto ao rir das gentes - ella faz sua vontade: - foyse perhi a perder - & eu n[~a] perdi os dentes. - [p] Ainda aqui estou enteyro, - Vasco afonso, como dantes, - filho de Afonso vaz - e neto de Jam diz pedreyro - & de Branca Anes Dabrantes, - nam me faz nem me desfaz. - 470 Do que me fica gram noo - que teue rezam de se hir - & em parte nam he culpada; - porque ella dormia soo - & eu sempre hia dormir - cos meus muus aa meyjoada. - [p] Queria a eu yr poupando - pera la pera a velhice - como colcha de Medina - & ella mosca Fernando - 480 quando vio minha pequice - foy descobrir outra mina. - - _V._ E agora que faraas? - - _P._ Yrey dormir aa Cornaga - e aamenha[~a] aa Cucanha. - E tu vay, embora vas, - que eu vou seruir esta praga - & veremos que se ganha. - -[p] _Vai cantando._ - - [p] Disselhe: se[~n]ora [~q]reis c[~o]panhia? - Dixeme: escudeyro segui vossa via. - - 490 _Pag._ Senhor, o almocreue he a[~q]lle - que os chocalhos ou[c,]o eu, - este he o fato, senhor. - - _Fid._ Ponde todos cobro nelle. - - _Per._ Uxtix mulo do judeu. - O fato hu saa de por? - - _Pa._ Venhaes embora, pero vaz. - - _Pe._ M[~a]tenha deos vossa merce. - - _Pa._ Viestes polas folgosas? - - _Pe._ Ahi estiue eu oje faz - 500 oyto dias pee por pee - em casa de h[~u]as tias vossas. - - _Pa._ Ora meu pai que fazia? - - _Pe._ Cauaua andando o bacelo - bem cansado e bem suado. - - _Pa._ E minha m[~a]y? - - _Pe._ Leuaua o gado - la pera val de cubelo, - mal roupada que ella ia. - Huxtix, que mao lambaz. - & vossa merce que faz? - - 510 _Pa._ Estou lou[c,]am coma que. - - _Pe._ E abofee creceis a[c,]az, - saude que vos Deos dee. - - _Pa._ [p] Eu sou pagem de meu senhor, - se Deos quiser pagem da lan[c,]a. - - _Pe._ E hum fidalgo tanto alcan[c,]a? - Isso he Demperador - ora prenda el Rey de Fran[c,]a. - - _Pa._ Ainda eu ey de perchegar - a caualeyro fidalgo. - - 520 _Pe._ Pardeos, Jo[~a]o crespo penaluo, - que isso seria esperar - de mao rafeyro ser galgo. - [p] Mais fermoso estaa ao vilam - mao burel que mao frisado - & romper matos maninhos, - & ao fidalgo de na[c,]am - ter quatro homes de recado - e leyxar laurar ratinhos; - que em Frandes & Alemanha - 530 em toda Fran[c,]a & Veneza, - que vivem por siso e manha - por nam viver em tristeza; - [p] nam he como nesta terra. - Porque o filho do laurador - casa la com lauradora - & nunca sobem mais nada; - & o filho do broslador - casa com a brosladora, - isto por ley ordenada. - 540 E os fidalgos de casta - seruem os Reis & altos senhores - de tudo sem presun[c,]am, - tam ch[~a]os [~q] pouco lhes basta; - & os filhos dos lauradores - pera todos lauram pam. - - _Pa._ [p] Quero hir dizer de vos. - - _Pe._ Ora yde dizer de mi; - que se grave he Deos dos ceos - mais graves deoses ha qui. - - 550 _Pa._ Senhor ali vem o fato - & estaa ha porta o almocreue, - vede quem lha a de pagar - isso tal que se lhe deue. - - _F._ [p] Isto he com que meu mato. - quem te manda procurar? - Atenta tu polo meu - & arrecado muyto bem - & nam cures de ninguem. - - _Pa._ Elle he dapar de Viseu - 560 & homem que me pertem, - pois a porta lhabri eu. - -[p] _Entra dentro o almocreue & diz:_ - - [p] _Pe._ Senhor, trouxe a frascaria - do vossa merce aqui. - Hi estam os mus albardados. - - _Fid._ Essa he a mais nova arauia - d'almocreue que eu vi: - dou-te vinte mil cruzados. - - _Pe._ Mas pagueme vossa merce - o meu aluguer, no mais, - 570 que me quero logo hir. - - _F._ O aluguer quanto he? - - _Pe._ Mil & seis centos reaes, - & isto por vos seruir. - - _F._ [p] Falay co meu azemel, - porque he doutor das bestas - & estrologo dos mus: - que assente em hum papel - per aualia[c,][~o]es honestas - o que se monta, ora sus; - 580 porque esta he a ordenan[c,]a - & estilo de minha casa. - & se o azemel for fora, - como cuydo que he em Fran[c,]a, - dareis outra volta aa massa - & hiruos eis por agora. - [p] Vossa paga he nas m[~a]os. - - _Pe._ Ja a eu quisera nos pees, - oo pesar de minha m[~a]y! - - _F._ E tens tu pay & yrm[~a]os? - - 590 _Pe._ Pagay, senhor, n[~a]o zombeis, - que sam dalem da sert[~a]y - & nam posso ca tornar. - - _F._ Se ca vieres aa corte - pousaraas aqui cos meus. - - _Pe._ Nunca mais ey de fiar - em fidalgo desta sorte, - em que o mande sam Mateus. - - _F._ [p] Faze por teres amigos - & mais tal homem comeu - 600 porque dinheyro he hum vento. - - _Pe._ Dou eu ja oo demo os amigos - que me a mi levam o meu. - -[p] _Vayse o almocreue & vem outro Fidalgo & diz o fidalgo primeyro:_ - - _F. 1^o._ [p] Oo que grande saber vir - & que gram saber maa vontade. - - _F. 2^o._ Pois, senhor, que vos parece? - desejo de vos seruir - & nam quero [~q] venha aa cidade - hum quem nam parece esquece. - - _F. 1^o._ Paguey soma de dinheyro - 610 a hum ouriuez agora - de prata que me laurou - & paguey a hum recoueiro - que he a dar dinheyros fora - a quem nam sei como os ganhou. - - _F. 2^o._ Ganh[~a]-nos t[~a] mal ganhados - que vos roubam as orelhas. - - _F. 1^o._ Pola hostia consagrada - & polo Deos consagrado - que os lobos nas ouelhas - 620 nam dam t[~a] crua pancada. - Polos sanctos auangelhos - e polo omnium sanctorum - que atee o meu capelam - per mesinhas de coelhos - & h[~u]a secula seculorum - lhe dou por missa hum tostam. - [p] N[~a]o ha ja homem em Portugal - tam sogeyto em pagar - nem tam forro pera molheres. - - 630 _F. 2^o._ Guarday vos esse bem tal - que a mi ham me de matar - bem me queres, mal me queres. - - _F. 1^o._ Per quantas damas Deos t[~e] - n[~a] daria nemigalha: - olhay que descubro isto. - - _F. 2^o._ Sam tam fino em querer bem - que de fino tomo a palha - pola fee de Jesu Christo. - [p] Quem quereis que veja olhinhos - 640 que se nam perca por elles - la per h[~u]s geytinhos lindos - que vos metem em caminhos - & nam ha caminhos nelles - senam espinhos infindos. - - _F. 1^o._ Eu ja nam ey de penar - por amores de ninguem; - mas dama de bom morgado - aqui vay o remirar, - aqui vay o querer bem, - 650 & tudo bem empregado. - [p] Que porque dance muy bem - nem baylar com muyta gra[c,]a, - seja discreta, auisada, - fermosa quanto Deos tem, - senhor, boa prol lhe fa[c,]a - se seu pay nam tiuer nada. - Nam sejaes vos tam mancias, - que isso passa ja damor - & cousas desesperadas. - - 660 _F. 2^o._ Porem la por vossas vias - vou vos esperar, senhor, - a rendeyro das jugadas. - [p] Porque galante caseyro - he pera por em historia. - - _F. 1^o._ Mas zombay, senhor, zombay. - - _F. 2^o._ Senhor, o homem inteiro - nam lha de vir ha memoria - co a dama o de seu pay; - nem ha mais de desejar - 670 nem querer outra alegria - que so los tus cabellos ni[~n]a: - nam ha hi mais que esperar - onde he esta canteguinha, - e todo mal he quem no tem, - e se o disserem dig[~a]o, alma minha, - quem vos anojou meu bem. - Ey os todos de grosar - [p] ainda que sejam velhos. - - _F. 1^o._ Vos, senhor, vindes t[~a]o brauo - 680 que eu eyuos medo ja: - polos sanctos auangelhos - que leuais tudo ao cabo - la onde cabo nam ha. - - _F. 2^o._ Zombaes, & daes a entender - zombando que mentendeis. - Pois de vos muy alto sou, - porque deueis de saber - que se damor nam sabeis - nam podeis yr onde vou. - 690 [p] Quando fordes namorado - vireis a ser mais profundo, - mais discreto e mais sotil, - porque o mundo namorado - he la, senhor, outro mundo, - que estaa alem do Brasil. - Oo meu mundo verdadeyro! - oo minha justa batalha! - mundo do meu doce engano! - - _F. 1^o._ Oo palha do meu palheyro, - 700 que tenho hum mundo de palha, - palha ainda dora a hum anno; - e tenho hum mundo de trigo - para vender a essa gente: - bom cabe[c,]a tem Morale. - Nam quero damor, amigo - andar gemente & flente - in hac lachrymarum valle. - - _F._ 2^o. Voume: vos n[~a]o sois sentido, - sois muy duro do pesco[c,]o, - 710 n[~a]o val isso nemigalha: - pesame de ver perdido - hum homem fidalgo en[c,]osso, - pois tem a vida na palha. - - FINIS - -19. _milhaam_ B. _milhan_ C. - -21. _desamparada_ B. - -24. _gentes_ A, B. _gente_ C, D, E. - -25. _raya_ A, B. _raiva_ C, D, E. - -43. _Habofee_ B. - -52. _o que_ A, B. _quanto_ C, D, E. - -53. _perlongueis_ A, B. _prolongueis_ C, D, E. - -57. _et negociatores_ C. - -62. _d'outro_ C. - -103. _Pedreneyra_ B. - -115. _coma_ A. _como_ B. - -128. _o gaiteyro_ A. _['o] gaiteiro_ C, D, E. - -135. _Uos trazeis_ A. _Trazeis_ C, D, E. - -142. _da ra[c,]a_ A. _de ra[c,]a_ C. - -153. _dizey ora_ B. - -157. _Penonia_ A. _Per omnia_ C. - -167. _perhi_ B. - -174. _direyis_ A. - -180. _honde_ B. - -183. _oriuez_ and infra _our._ A; _oriuz_ B. _see_ A; _seee_ B; _s'he_ -C. - -191. _de occupar_ C. - -198. _ja o sabeis_ A. _ja sabeis_ C. - -205. B omits 205 and prints 206 twice. - -236. _desfeyto_ B. - -239. B. omits _mais_. - -240. _que em_ C. - -249. _ver o que faz_ C. - -255. _com o_ A. _c'o_ C. - -257. _anno_ B. - -263-4. _capelam, ourives?_ - -268. _que m'abruquele_ C. B omits 268. - -269. _s'he_ C. - -271. _O recado qu'elle d['a]! Madra[c,]o,_ ? - -286. _deixa_ C. - -287. _o amais_ B. _o mais o_ C. - -288. _com os outros_ B. - -292. _ca a vinda_ C. - -308. _acupado_ A, B. _occupado_ C. - -325. _minha_ A, B. _a minha_ C. - -346. _melancholia_ C. _chocallada_ B. - -369. _uxtix, uxte_ C. - -372. _Aa corpo_ A. _ao corpo_ C, D, E. - -375. _vareja_ C. - -377. _pa_ B. - -383. _que nos_ A, B. _que vos_ C. - -389. _a candeia morta, gaita_ C. - -395. _cilha_ C. - -397. _senhora_ B. - -406. _e o seu_ C. - -419. _as_ B. - -422. _leixaste_ C. - -425. _fretaste_ C. - -443. _fogio_ B. - -449. _t'ha_ C. - -465. _Afonso_ B. - -466. _Affonso_ B. - -467. _Iam diz_ B. _Jan Diz_ C. - -470. _gram noo_ A. _gran d['o]_ C. - -471. _razam_ B. - -484. _aa menhaa_ B. - -488. _se[~n]ora_ A, B. - -491. _chocallos_ B. - -495. _s'ha_ C. - -503. _Cauaua andando o bacelo_ A, B. _Cavando andava bacelo_ C. - -506. _Cobelo_ C. - -513. _sou_ A; _sam_ C [cf. 591]. _se[~n]or_ B. - -518. _ey de perchegar_ A, B. _hei de chegar_ C. - -524. _bom frisado_ B. - -535. _casalo_ B. - -536. _sobem_ A, B. _sabem_ C. - -549. _haqui_ B. _ha aqui_ C. - -552. _lha a_ A. _lha_ B. _lhe ha_ C. - -559. _da par_ B. - -562. _frescaria_ B. - -576. _astrologo_ C. - -591. _sam_ A; _sou_ C [cf. 513]. _da Sert[~a]y_ A, B; _do sert[~a]o_ C. - -604. _maa_ A. _me a_ C. _& gran saber maa_ B. - -617. B omits 617-626. - -634. _nem migalha_ C. - -644. _enfindos_ A. B omits 644. - -666. _enteyro_ B. - -671. que so _Los tus cabellos ni[~n]a_ C. - -675. _e se o disserem dig[~a]o_--_Alma minha_ C. - -681. _auangelhos_ A, B. _evangelhos_ C. - -689. _onde eu vou_ C. - -692. _subtil_ C. - -703. _vender essa essa gente_ A. _a essa_ B, C. - -704. _bom_ A, B. _boa_ C. - -707. _vale_ A. - -712. _en[c,]osso_ A. _enso[c,]o_ C. - -FINIS. B omits _Finis_ and has: _Vanse estas figuras & acabouse esta -farsa. Laus Deo_ - - -ENGLISH TRANSLATION: - - _The Carriers._ - -_The following farce was played before the very powerful and excellent -King Dom Jo[~a]o III of Portugal in his city of Coimbra in the year of -the Lord 1526. Its argument is that a nobleman with a very small income -lived in great state and had his own chaplain, goldsmith and other -officials, whom he never paid. His chaplain seeing himself penniless and -in tatters enters, saying:_ - - _Chaplain._ In such straits I cannot pray, - So to lessen my distress - And to win lightheartedness - I'll walk along this Sandy Way - And, the cares that on me press - To soothe, the old romance I'll gloss - "I was in Coimbra city" - Since Coimbra without pity - Brings us to such dearth and loss. - 10 I was in Coimbra city - That is built so gracefully, - In the plains of the Mondego - Straw nor barley could I see. - Thereupon, ah me! I reckoned - 'Twas a trap set artfully - For the horses of the Court - And the mule that carried me - Ill I augured when I saw - The young maize cut so lavishly - 20 And selling for its weight in gold: - O my mule, I grieve for thee! - In the plain along the river - I saw a host in battle free - Not of men, of mice the host was, - They were fighting furiously. - There are cabbages--in Biscay - And there's meat--in Brittany. - I'm chaplain to a nobleman, - Poor as a church-mouse is he; - 30 On great show his heart is set - Although his household famished be, - Rustic louts he has for pages - And all goes disastrously. - Now will I ask leave of him - And demand my salary. - -_The chaplain arrives at the nobleman's room and converses with him -thus:_ - - _C._ Sir, it is high time, I ween.... - - _N._ Say on, good padre, say on. - - _C._ I say three years are wellnigh gone - Since your chaplain I have been. - - 40 _N._ Say on, for such a truth convinces. - - _C._ And I might have been the Prince's - Yes, and might have been the King's. - - _N._ In good sooth that's not so clear. - - _C._ For I'm meant for higher things - Though I stayed to serve you here. - So then, sir, please to consider - What I am to gain thereby, - For besides priest's service I - Served as buyer and as bidder. - - 50 _N._ That I surely won't deny. - Come now, make out a petition - Of all you would have me pay. - - _C._ Sir, put me not off, I pray, - For indeed your one condition - Seems delay and still delay. - In your service I became - Priest and man of business too. - - _N._ Yes, and I bestowed on you - Many a favour for the same, - 60 More than most are wont to do. - What more should a priest require - Of money or emolument - Than his meals beside the fire - --That's daily one penny spent-- - All things to his heart's desire? - And besides there is the glory: - He's chaplain to Lord So-and-so. - - _C._ Of dress you think not, nor the worry - Of meals e'er taken in a flurry, - 70 And sleeping with my head so low - My tonsure touched the ground, and no - Comfort nor pillow for my head, - And early mass, and late to bed. - And I, your favour for to win, - Served out-of-doors as well as in, - Bought shell-fish in the market-place, - To many an errand set my face - --You know, sir, it is as I say-- - That ill became my dignity. - 80 Your carrier on the highway - --Gee-up, gee-wo, the livelong day-- - Was I, and charge was given me - Of the kitchen-negroes and the cats, - I cleaned your boots, I brushed your hats, - And might add other things to these. - - _N._ Yes, for so 'twas my intent - To trust you with my charities, - And for the love of God you spent, - Nor asked I how the money went. - - 90 _C._ For the three years of which I speak - I'll tell you now without ado: - To a blind man a farthing you - Once bade me give in Holy Week. - - _N._ I'm not denying that it's true. - - _C._ And then just one year afterward, - An orphan's dower to help to find, - You bade give cloth--the roughest kind - Of Alcoba[c,]a--half a yard. - And also, perhaps you bear in mind, - 100 Three lots of fish you bade divide - Among the convents round about - During these first three years: supplied - Were they from Pederneira, out - Of that same fund must I provide. - Now in three years I did receive - One hundred r['e]is, and at this rate - Just this one halfpenny they leave. - - _N._ I see you are most accurate. - But come now, without more debate, - 110 Make one account of everything - And give't my secretary, he - Will the matter to my notice bring. - - _C._ O Sir, leave all that for the King - Our master, and speak seriously. - My services your promise was, - Sir, when we were at Santarem, - That you would pay right well for them. - - _N._ How often saw you me at Mass? - --I mean when 'twas you said the same. - - 120 _C._ If that was so am _I_ to blame? - They have been said on your behalf. - - _N._ O keep them, keep them for yourself, - You're very welcome to them--so, - God will your due reward bestow. - My money I waste not that way - On masses muttered anyhow. - - _C._ What, would you have your mummeries now - And think you need no fiddler pay? - This is presumption's height, I trow. - 130 Unless your lordship's purse possesses - Means for pomp and state so high - To reduce them and spend less is - Merely not a hawk to buy - If you are without its jesses. - Pages six in cloaks arrayed - Wait upon you in the street - In state that for a king were meet. - Yet you have not, I'm afraid, - The Pope's lands nor Guinea's trade. - 140 For your revenues shrink and shrink - Much like Alcoba[c,]a cloth. - - _N._ Even so every noble doth - Who to high birth small means must link. - There's no other way, I think. - But I see, padre, what you want, - And my wish has always been - To give you to the King or Queen. - - _C._ That would be good wheat, I grant, - If its flour could be seen. - 150 Sir, if that should come to pass - At your kindness I'll rejoice. - - _N._ Well then, without more ado, - That so I may judge your voice, - Sing a preface of the Mass. - - _C._ That will I most gladly do, - But who will the responses say? - - _N._ I. _C._ _Per omnia secula._ - - _N._ _Amen._ _C._ _Dominus vobiscum._ - - _N._ Sing on, padre. _C._ _Sursum corda._ - - 160 _N._ Your voice, less soft than a recorder, - Is thick as an elephant's that has fed - Its fill of soup--and no more said. - - _C._ Worse voice has Sim[~a]o Vaz, I ween, - Yet he's Treasurer and King's - Chaplain, worse voice has the Dean - --Like a pelican _he_ sings-- - And others that may be seen - In the palace. Let me end - My singing and great things you'll see. - - 170 _N._ I think I'm rather tired, friend. - But the King's you'll surely be, - Nor need we further effort spend. - - _C._ Sir, the difficulty's this: - For you'll say: 'My chaplain he,' - The King knows what your income is - And he'll laugh right merrily - And send me to the Treasury. - - _N._ If you had but a good ear! - - _C._ How sing well when 'tis your use - 180 To give me everlasting cheer - Of stockfish salted yesteryear, - The worst that all the seas produce? - -_One of the nobleman's pages comes and says:_ - - _Page._ My lord, the goldsmith's at the door. - - _N._ Show him in.--He's come for more - Money.--Come in, Sir, good-day. - Put your hat on, I implore, - I'm your great friend, you may say, - Since I e'er your praises sing. - Only last night to the King - 190 You most highly I commended - And I know that he intended - To employ you. I'll insist - Every time I see him, for - Such mention oft advances more - Than directly to assist, - And these little things, you know, - May to a great value grow - As your name and fame have grown. - - _G._ No other patron would I own, - 200 Sir, I'll serve him with all zest. - - _N._ Know you what I like the best - In you? (To the King I said it - And it's greatly to your credit) - That you ne'er for payment pressed - Nor your creditors molest. - Ne'er such patience did I see, - Such superiority - And anxiety to please. - - _G._ Our account's so small a thing - 210 And is so long overdue, - 'Tis half dead of promises, - So that when I bring it you - I but a dead promise bring. - - _N._ How most cunningly inlaid - And enamelled is each word! - I rejoice not to have paid - For the sake of having heard - Phrases with such skill arrayed. - - _G._ Sir, I kiss your hands, but still - 220 What is mine would see in mine. - - _N._ Another courtier's phrase so fine! - 'Sir, I kiss your hands, but still - What is mine would see in mine!' - Fair flowers of speech are yours at will. - What did the salt-cellar weigh? - - _G._ A good two marks, most accurately. - - _N._ The silver. And your work, I pray? - - _G._ That may almost be ignored. - - _N._ In all what may its value be? - - 230 _G._ Just nine thousand r['e]is, my lord. - And I can no longer wait - For I'm killed by your delay. - - _N._ Your insistence, Sir, is great - And I shall have told a lie - For quite differently I - Praised you. Praise may turn to gibe: you - Surely will not gain thereby. - - _G._ With the cellar must I bribe you? - - _N._ 'Tis of salt-cellars the worst - 240 For which I e'er gave a shilling. - - _G._ Though three years have passed since first - I let you have it I am willing - To retake it even now. - - _N._ No, no, that I won't allow - For I would not have you lose. - - _G._ Why then pay me not my dues? - For myself the charcoal bought - With which you turn my hopes to nought. - - _N._ Boy, go see what does the King, - 250 And if there are ladies to be seen, - The whole day shall not pass, I ween, - In pay and won't pay: no such thing. - And you return some other day: - And if you find that I'm away - Then speak unto my Chamberlain, - He of all moneys that accrue - Has charge and of the revenue - That yearly comes from tithe and grain: - And from him you will obtain - 260 Most certainly what is your due. - - _G._ And do you pay me with parade - Of words and other bounties vain? - - _N._ See to it you that you are paid. - -_As the chaplain goes out he says:_ - - _C._ Shall such men go to paradise? - If so I'll not believe in it. - But I'll be even with them yet: - Henceforth, proof against each device, - I'll countermine them by my wit. - -_The page comes with a message and says:_ - - _P._ The King be in the palace, Sir. - - 270 _N._ In what room? - - _P._ No more I know. - - _N._ Low-born villain, is it so - That a message you deliver? - - _P._ Arrah, I know what I'm about. - - _N._ Arrah! just listen to the lout! - Are any ladies present there? - - _P._ Yes, I saw ladies, I aver, - For they upon the terrace were. - - _N._ Who were they? - - _P._ They were ladies, Sir. - - _N._ How called? - - _P._ My lord, no one was calling. - - 280 _N._ These rustic churls are too appalling. - And serve me right for keeping such. - Henceforth I really must contrive - To have a page of better stuff. - - _P._ Sir, I'll grow speedily enough - To please you, yes and will do much - Provided God leaves me alive: - And the rest I'll quickly learn - As others who good wages earn. - - _N._ Well do so, and then I will see - 290 How you may come to serve the King - And even page of the Chamber be. - - _P._ So I did well to leave my home. - Since even shepherds may become - Attendants on the King, the King! - So thrives with corn the land, bereft - Of labourers, whom their fathers send - To Court their fortunes for to mend, - And soon there'll be no peasants left, - For all will on the King attend. - - 300 _N._ What mockery's this? - - _P._ Nay, Sir, I know - That some poor Christians even so - From toil shall have deliverance. - -_Re-enter the Chaplain._ - - _C._ Have you, my lord, by any chance - Yet spoken to the King of me? - - _N._ I've had no opportunity. - - _C._ The remedy may be delayed - Another three years, I'm afraid. - - _N._ The King's so busy, now with France, - Now with the Turk, and now the Pope, - 310 And other matters of high scope, - And with such careful secrecy - That I can see but little hope. - I'm always there at the lev['e]e, - But get no long talk with the King - In which to settle anything. - Meanwhile you may still serve with me - Until I find an opening. - - _C._ Sir, I would have the matter brought - To a conclusion. - - _N._ To conclusion? - 320 Yes, and perhaps better than you thought. - - _C._ Conclusion here I see in nought, - In everything only confusion. - Sir, a cope and a chasuble too - Have I in your service quite worn out: - Pay me the wages that are due. - - _N._ Could you now but from East to West - Discover us the latitude - So, since your voice's not of the best, - You might win the King's gratitude. - - 330 _C._ Sir, I perceive you do but jest: - Would you pay me with a platitude? - -(_He goes out._) - - _P._ The King should take him, since he's cheap - At any price, is such a fighter: - He's from our village, and the sheep - Was in his boyhood wont to keep, - And now he's searching for a mitre. - But there's no chaplain of them all - Could ever bring him to a fall, - And Labaredas is his name. - - 340 _N._ But here Cot[~a]o's yclept the same, - The noblest in the land withal. - Now he demands what's his by right - As though 'twere not as easy quite - For me all Turkey's lands to burn, - Since any service to requite - Gives one a melancholy turn. - -_Pero Vaz, a carrier, comes with a parcel of clothes for the nobleman -and enters with jingling of bells, singing:_ - - The snow is on the hills, - the hills so cold and high, - I saw a maiden of the hills, - graceful and fair, pass by. - -(_Speaking:_) - - Go on there, _arr['e]_, my fine mule, - 350 You cost me in the market-place - Seven thousand and nine hundred r['e]is - And a kick in the eye for the tax-gatherer fool. - Get on, my roan. And add thereto - The portion of five hundred too - That Nuno Ribeiro had to pay: - All this, my mule, was paid for you. - Get on, _arr['e]_, upon your way, - For the afternoons now are the best of the day, - Get on, you brute, get on, I say, - 360 Look you the crupper's all awry - And see, right round is pulled the girth: - Candosa wines bring little mirth - To any such poor fool as I. - -(_He sings:_) - - The snow is on the hills, - the hills so cold and high, - I saw a maiden of the hills, - graceful and fair, pass by. - -(_He speaks:_) - - Curse you, go on, _arr['e]_, I say, - And now you're going all askew - As one who would at skittles play: - Come up, my mule, _arr['e]_, _arr['e]_. - 370 But if I once begin with you - I'll make you groan upon your way. - By my Theresa, you'd lose your load, - You would, would you, upon the road? - But I'll not give you any rest - Nor leave flies leisure to molest. - -(_He sings:_) - - I saw a maiden of the hills, graceful and fair, pass by, - And towards her then went I with great courtesy. - -(_He speaks:_) - - Yes, and I would have you sigh - For the Aveiro bakeress, - 380 For the inn you'll come to by and by - And then we'll off with the packsaddle - And the innkeeper we'll straddle - If he have not, to slake our thirstiness, - Good wine at threepence and kid at less, - And for hard bread soft buttermilk, - A fair wench to serve and sheets of silk, - If the floor's strewn with rushes the night be long, - If it hails, be the roof both new and strong, - When the lamp burns dim welcome fiddler's strain. - 390 Hold up, there! At your tricks again? - Bandy-legged brute, shall I prevail, - If I rain down barnacles on your tail, - To make you look where you are going. - To the Devil with you! He'll be knowing - How to handle your like without fail. - 'And towards her then went I with great courtesy: - Will you, said I, lady, of my company?' - -_Vasco Afonso, another carrier, comes along and they meet on the road, and -Pero Vaz says:_ - - _P._ Ho, Vasco Afonso, where goest thou? - - _V._ Look you, I go along the road. - - 400 _P._ Without thy bells nor any load? - - _V._ They were stolen from me even now - By a cursed robber at the inn. - - _P._ We had a drink there as we came. - - _V._ Whose, Pero Vaz, is all this stuff? - - _P._ A nobleman's, Devil take the same, - Him and his suit of clothes and all. - - _V._ Yes, 'tis a bundle large enough. - - _P._ It takes the mule from head to tail. - - _V._ One cannot say it's load is small. - - 410 _P._ Look you, now they will not graze - And when through open moors we pass - They nibble at the heather roots. - - _V._ Leave them, Pero Vaz, to go their ways, - For very parched is here the grass, - And they won't touch the broom's green shoots. - What is to thee for carriage given? - - _P._ I do not know, so help me Heaven. - - _V._ What! didst thou not then fix a price? - Thou'st caught then in a pretty vice. - - 420 _P._ I left it to his good faith to pay - Whate'er he saw was due to me. - - _V._ Left it to his good faith, you say! - And what then if he hasn't any - And has to go to look for it? - O thou hast done most foolishly: - I'll wager thee an honest penny - That thou'lt repent thy coming yet. - - _P._ He put his hand--see here how-- - Upon his beard and swore that I - 430 Should be paid my money faithfully. - - _V._ Was it a proper beard, look you now, - On which this oath of his was heard, - Or a mere straggling moustache? - - _P._ Nay, as there is a God above, - A judge who will the right approve, - A nobleman will keep his word. - - _V._ Thou knowest right well, Pero Vaz, - There are nobles now who scarcely know - Whether they're noblemen or no. - 440 How is thy wife now? Is she well? - And thy other property? - - _P._ That's there all right. - - _V._ Well, and she? - - _P._ She ran away. _V._ Impossible! - How sad thou must be feeling, why - Bad luck to it. _P._ In faith not I. - [_To his mule_] Come up there, must you ever go - Just where the cork-trees come so low?-- - What has it to do with me? - - _V._ Thou must needs be hurt thereby - 450 When the innkeepers laugh at thee. - - _P._ No, that doesn't make me tremble. - Vasco Afonso, look to thy mule, - It's going to lie down on the ground. - - _V._ Thou feelest it but canst dissemble. - - _P._ O no, I don't. Thou know'st as a rule - What women are all the summer round: - So much for any regret that I - Might feel for her now she is gone. - 460 And as for people's laughter, why - As was her will so has she done: - She went away to her own loss - And leaves me not one tooth the worse. - I'm hale and hearty as I was, - Vasco Afonso, no change there is: - The son still of Afonso Vaz, - Grandson of the mason Jan Diz - And Branca Annes my grandmother - Of Abrantes: nor one way nor the other - 470 It touches me. And yet I grieve - That she was partly in the right - And was not utterly to blame, - For I was ever wont to leave - Her lonely there while every night - To sleep at the inn with my mules I came. - I wished thus that she might remain - As a refuge for my old age, - Like a Medina counterpane, - But she saw through me and alack - 480 Must view the matter in a rage - And go off on another track. - - _V._ And what wilt thou do now, I pray? - - _P._ I'll sleep at Cornaga's inn to-day - And at Cucanha's to-morrow. - So get thee on upon thy way, - And I'll on this errand to my sorrow - And we'll see how it will pay. - -_He goes singing:_ - - 'Will you,' said I, 'lady, of my company?' - But 'Sir knight, pass on your way,' said she unto me. - - 490 _Page._ Sir, the carrier is here, - He has brought the clothes for you, - For the sound of the bells I hear. - - _N._ Look to it all of you with care. - - _Pero._ Hold up mule, you son of a Jew. - Where shall I put the clothes, say, where? - - _P._ Good morrow to you, good Pero. - - _Pe._ God keep your worship even so. - - _P._ By the Folgosas did you go? - - _Pe._ Yes, that way was my journey made - 500 And to-day is just a week ago - Since in your aunts' house there I stayed. - - _P._ What was my father doing now? - - _Pe._ Hoeing the vines in the sweat of his brow, - In great heat and weariness. - - _P._ And my mother? - - _Pe._ She was up the dale - Driving the herd--all in tatters her dress-- - Out towards Cobelo's Vale. - [_To the mule_] Be quiet there. The greedy brute. - And yourself how do these times suit? - - 510 _P._ I'm flourishing like anything. - - _Pe._ In faith you're growing fine and tall, - And may God give you health withal. - - _P._ I'm my lord's page and may advance - To be the page who bears the lance. - - _Pe._ What, is a nobleman so great? - That's for an Emperor, and the King - Of France, I see, must mind his state. - - _P._ And more, I may go on to be - A knight of the nobility. - - 520 _Pe._ Nay, by the Lord, John, listen to me: - That were t'expect without good ground - A watch-dog to become a hound. - To the peasant far more honour doth - Coarse sacking than your flimsy cloth. - And to set his hand to till the soil - And for the nobleman by birth - To have men on his ways to toil - And let the rustic plough the earth. - For in Flanders and in Germany, - 530 In Venice and the whole of France, - They live well and reasonably - And thus win deliverance - From the woes that are here to hand. - For there the peasant on the land - Doth the peasant's daughter wed, - Nor further seeks to raise his head, - And even so the skilled workmen too - Those only of their own class woo, - By law is it so order[`e]d. - 540 And there the nobility - Serve kings and lords of high degree - And do so with a lowly heart - And simple, for their needs are small, - And the sons of the peasants for their part - Sow and reap the crops for all. - - _P._ I'll go and announce you now. - - _Pe._ Go and announce to your heart's fill: - By the solemn God of Heaven I vow - There are gods here more solemn still. - - 550 _P._ Sir, they've brought the clothes for you, - And the carrier's at the door; - Please to tell me, Sir, therefore, - Who is to pay him what is due. - - _N._ That's what I should like to know. - What business is it of yours? You go - And look to what they've brought for me: - Stow it away in safety - And trouble about nothing more. - - _P._ From over against Viseu is he - 560 And properly belongs to me - Since I it was answered the door. - -_The carrier comes in and says:_ - - _Pe._ Sir, I've brought the goods, you see, - For your worship, they're not small, - Here they are, pack-mules and all. - - _N._ This is the strangest carrier's jargon - That has ever come my way. - A thousand crowns for you, a bargain. - - _Pe._ Nay, Sir, I would have you pay - Simply what you owe to me, - 570 For I must straightway be gone. - - _N._ And what may the carriage be? - - _Pe._ Sixteen hundred reis: you alone - Would I charge so little, Sir. - - _N._ Go speak with my head messenger - For he's master of the horses - And the mules' astrologer: - Let him in a neat account - Fairly reckon the amount, - What is due, and how bought, how sold, - 580 For this customary course is - Ever followed in my household. - And if he's absent by some chance, - And I _believe_ he is in France, - Then return some other day - And for the present go your way. - And your pay is in your hand. - - _Pe._ I wish I had it in my feet. - O woe is me, O by my mother! - - _N._ And have you a father and a brother? - - 590 _Pe._ Jest not but pay me as is meet, - For I come from beyond the moor, - Return I cannot to the Court. - - _N._ Whenever you come to town my door - Is open: lodge with my men you must. - - _Pe._ Never again will I put trust - In any noble of this sort, - Not though St Matthew himself exhort. - - _N._ To making friends your thoughts incline, - Such friends as I especially, - 600 For money is but vanity. - - _Pe._ To the devil with such friends, say I, - Who cozen me of what is mine. - -_The carrier goes away and another nobleman comes and the first nobleman -says:_ - - _1st N._ O how well you time your visit - And your coming is most kind. - - _2nd N._ Sir, it is not doubtful, is it?, - That to serve you I'm inclined. - And I would not have it said - Out of sight is out of mind. - - _1st N._ A large sum of money I - 610 To a goldsmith have just paid - For some silver he inlaid. - To a carrier too, though why - I should pay him scarce appears, - Or how he won what he obtains. - - _2nd N._ So ill-gotten are their gains - That they rob your very ears. - - _1st N._ Nay by the consecrated Host - And the Holy God of Heaven - Their onslaught is more fierce almost - 620 Than that of wolves on a sheepfold even. - Why my very chaplain too - For the little work he does for me - By whatever saints there be - Yea and by the Gospels true - For his prayers I must be willing - To give him for each mass a shilling. - There's not in Portugal a man - More liable to pay than I: - Nor one who is from love so free. - - 630 _2nd N._ Ah keep yourself from its fell ban, - For lovers' joys and misery - I think will be the end of me. - - _1st N._ For all the ladies upon earth - I would not give a halfpenny: - Frankly I say that's what they're worth. - - _2nd N._ A lover gentle, you must know, - As I excels in delicacy, - By my faith 'tis even so. - And who should a fair lady's eyes - 640 Behold and not be lost in sighs? - And their pretty ways that lead - You to toils in which indeed - You will find no thoroughfare: - Only infinite thorns and care. - - _1st N._ Nevermore for lady I - Shall be made to pine or sigh. - But if she have fine estate - Thither then will my eyes turn - And my heart begin to burn, - 650 Let the profit be but great. - Dance she ne'er so gracefully, - Skilfully with nimble feet, - Be she sensible, discreet, - And fairest of all fair to see: - If of her father I have no profit, - Much good, I say, may she have of it. - Do not you be so lovelorn, - For 'tis scarcely to be borne, - Love? nay madness, verily. - - 660 _2nd N._ By your way of it, I see, - I the husbandman discover - And in very sooth 'twill be - A fine story this for me - Of the farmer turning lover. - - _1st N._ O mock me, Sir, if mock you can. - - _2nd N._ Sir, the perfect gentleman - Doth not link his lady fair - With what her father may possess. - Nor descries he other scope, - 670 Nor sighs for greater happiness - Than 'In the tresses of thy hair,' - For indeed is all his hope - Centred in that single song, - And 'Sorrows to him alone belong,' - And 'If they say so, let it be,' - And 'Who, my love, hath vex[`e]d thee?' - I will sing and gloss them too, - All these songs both old and new. - - _1st N._ Sir, you are so fierce and brave - 680 That I'm half afraid of you: - By the holy books you have - A wont to carry with high hand - Even what you can't command. - - _2nd N._ You mock me, yet 'tis but to prove - That as you mock you understand. - For I must far above you stand, - Since if you are exempt from love - 'Tis at least for you to know - That where I go you cannot go. - 690 When you are a lover, then - A discretion more profound - And subtlety your mind may fill: - The lover's world's beyond your ken, - A different world that's to be found - In regions further than Brazil. - O my world, the only true one, - O the right I fight for oft, - Sweet illusions that pursue one! - - _1st N._ O the straw that's in my loft! - 700 For a world of straw is mine - That all wants for a year will meet, - And I have a world of wheat - And will sell to all beholders, - And a head upon my shoulders. - But, my friend, I will not pine - For love, nor weep throughout the years - Mourning in this vale of tears. - - _2nd N._ Farewell, you have no sentiment - And are stiff-necked exceedingly, - 710 All that's not worth an ancient saw. - But me it grieves to see so spent - A noble's life most witlessly, - Since he's become a man of straw. - - FINIS - - - - -TRAGICOMEDIA PASTORIL DA SERRA DA ESTRELLA - - - Tragicomedia Pastoril da Serra da Estrella. - -Tragicomedia pastoril feyta & representada ao muyto poderoso & catholico -Rey dom Ioam o terceyro deste nome em Portugal ao parto da serenissima & -muy alta Raynha dona Caterina nossa senhora & nacimento da illustrissima -iffante dona Maria, que depois foy princesa de Castella, na cidade de -Coimbra na era do senhor de M.D.xxvij. - -Entra logo a serra da estrela & diz: - - [p] Prazer que fez abalar - tal serra comeu da estrela - faraa engrandecer o mar - e faraa baylar Castela - 5 & o ceo tambem cantar. - Determino logo essora - ir a Coimbra assi inteyra - em figura de pastora, - feyta serrana da beyra - 10 como quem na beyra mora. - [p] E leuarey la comigo - minhas serranas trigueyras, - cada qual com seu amigo, - & todalas ouelheyras - 15 que andam no meu pacigo. - E das vacas mais pintadas - & das ouelhas meyrinhas - pera dar apresentadas - aa Raynha das Raynhas, - 20 cume das bem assombradas. - [p] Sendo Raynha tamanha - veo ca aa serra embora - parir na nossa montanha - outra princesa despanha - 25 como lhe demos agora, - h[~u]a rosa imperial - como a muy alta Isabel, - imagem de Gabriel, - repouso de Portugal, - 30 seu precioso esperauel. - [p] Bem sabe Deos o que faz. - - PARVO. Bofe nam sabe nem isto; - a virgem Maria si; - mas cantelle nam he bo - 35 nega pera queymar vinhas. - - SERRA. Isso has tu de dizer? - - PARVO. Quem? Deos? juro a Deos - que nam faz nega o que quer. - La em Coimbra estaueu - 40 quando a mesma raynha - pario mesmo em cas din Rey, - eu vos direy como foy. - Ella mesma, benzaa Deos, - estaua mesmo no pa[c,]o, - 45 quella, quando ha de parir, - poucas vezes anda fora. - [p] Ora a mesma camareyra - porque he mesma de Castella, - rogou aa mesma parteyra - 50 que fizesse delle ella-- - pere qui vay a carreyra-- - sabeis porque? - Porque a mesma Empenatriz - pario mesmo Empenador - 55 e agora estam auiados. - Mas quando minha m[~a]y paria - como a virgem a liuraua - tanto se lhe dauella - que fosse aquelle como aquella - 60 se nam ouos h[~u]a vez. - - [p] Vem Gon[c,]alo, h[~u] pastor da serra, [~q] - vem da corte & vem cantando: - - [p] Volaua la pega y vayse. - Quem me la tomasse! - Andaua la pega - no meu cerrado, - 65 olhos morenos, bico dourado - quem me la tomasse! - -Falado. - - [p] Pardeos muy aluora[c,]ada - anda a nossa serra agora. - - 70 SERRA. Gon[c,]alo, venhas embora - porque eu estou abalada - pera sair de mi fora. - Queriauos ajuntar - logo logo muyto asinha - 75 pera yrmos visitar - nossa Senhora a Raynha, - querendo Deos ajudar. - - GON[C,]. [p] Eu venho agora de la - & segundo o que eu vi - 80 que vamos la bem seraa: - isto crede vos quee assi: - porque dizem que a princesa, - a menina que naceo, - parece cousa do ceo, - 85 h[~u]a estrela muyto acesa - que na terra apareceo. - - SERRA. [p] Gon[c,]alo, eu te direy: - ella ja naceo em serra - e do mais fermoso Rey - 90 que ha na face da terra, - e de Raynha muyto bella; - & mais naceo em cidade - muyto ditosa pareella - & de grande autoridade. - 95 [p] E mais naceo em bom dia - Martes, deos dos vencim[~e]tos, - & trouxeram logo os ventos - agoa que se requeria - pera todos mantimentos. - - 100 PARVO. Aas vezes faz Deos cousas, - cousas faz elle aas vezes, - atrauees como homem diz. - [p] Nega se meu embeleco - vay poer as pipas em seco - 105 & enche dagoa o Mondego: - faraa mais hum demenesteco? - engorda os vereadores - & seca as pernas nas mo[c,]as - de cima bem toos artelhos, - 110 & faz os frades vermelhos - & os leygos amarelos - & faz os velhos murzelos. - [p] Enru[c,]a os mancebelh[~o]es - & nam atenta por nada. - 115 Pedemlhe em Coimbra ceuada - & elle delhes mexilh[~o]es - & das solhas em cambada. - - GON[C,]. Vos, serra, se aueis dir - com serranas & pastores - 120 primeyro se ham dauyr - h[~u]a manada damores - que nam querem concrudir. - [p] Eu trago na fantesia - de casar com Madanela - 125 mas nam sey se querra ella - perol eu bofee queria. - -[p] Vem Felipa pastora da serra c[~a]t[~a]do: - - [p] A mi seguem os dous a[c,]ores, - hum delles moriraa damores. - Dous a[c,]ores que eu auia - 130 aqui andam nesta baylia - hum delles moriraa damores. - -Falado. - - Gon[c,]alo, viste o meu gado? - dize se o viste embora. - - GON[C,]. Venho eu da corte agora - 135 & diz que lhe de recado. - - FEL. Pois ja tu ca es casado, - nega que esperam por ti. - - GON[C,]. E sem mi me casam a mi? - Ora estou bem auiado. - - 140 FEL. [p] Nam ha hi nega casar logo - & fazer vida com ella - senam for com Madanela. - - GON[C,]. Tiromeu fora do jogo. - - FEL. Essa he a milhor do jogo. - - 145 GON[C,]. Essoutra sera alvarenga? - - FEL. Mas Catherina meygengra. - - GON[C,]. Antes me queime mao fogo. - [p] Nam vem a Meygengra a c[~o]to, - que he descuydada perdida, - 150 traz a saya descosida - e nam lhe daraa hum ponto. - Oo quantas lend[~e]s vi nella - e pentear nemigalha, - e por dame aquella palha - 155 he mayor o riso quella. - [p] Varre & leyxa o lixo em casa, - come & leyxa ali o bacio, - cada dia a espanca o tio - nega porque tam devassa; - 160 Madanela mata a brasa. - Nam cures de mais arenga - e dize tu, mana, a Meygengra - que va amassar outra massa. - - FEL. [p] Ja teu pay tem dada a m[~a]o - 165 & dada a m[~a]o feyto he. - - GON[C,]. Par deos darlhey eu de pee - comaa casca do mel[~a]o. - Raivo eu de cora[c,][~a]o - damores de Madanela. - - 170 FEL. Meygengra he mais rica quella; - quessa nam tem nem tostam. - - GON[C,]. Arrenega tu do argem - que me vem a dar tormento, - porque hum soo contentamento - 175 val quanto ouro Deos tem. - Deos me dee quem quero bem - ou me tire a vida toda, - com a morte seja a boda - antes que outra me dem. - - 180 FEL. Eu me you pee ante pee - ver o meu gado onde vay. - - GON[C,]. E eu quero yr ver meu pay, - veremos comisto he. - -[p] Vem Caterina Meyg[~e]gra cantando: - - [p] A serra es alta, - 185 o amor he grande, - se nos ouuirane. - - FEL. [p] Onde vas Meygengra mana? - - CAT. A novilha vou buscar, - viste ma tu ca andar? - - 190 FEL. Nam na vi esta somana. - Agora estora vay daqui - Gon[c,]alo que vem da corte; - mana, pesoulhe de sorte - quando lhe faley em ti - 195 como se foras a morte, - tente tamanho fastio. - - CAT. Inde bem, por minha vida, - porque eu mana sam perdida - por Fernando de meu tio. - 200 Seu com elle nam casar - damores mey de finar. - Aborreceme Gon[c,]alo - como o cu do nosso galo, - nam no queria sonhar. - - 205 FEL. [p] Se tu nam queres a elle - nem elle tampouco a ti. - - CAT. Quanta selle quer a mi - negras maas nouas van delle. - Deos me case com Fernando - 210 & moura logo esse dia, - porque me mate a alegria - como o nojo vay matando. - [p] Oo Fernando de meu tio - que eu vi polo meu pecado! - - 215 FEL. Fernando, esse teu damado, - casaua comigo a furto. - - CAT. Dize, rogoto, ha muito? - - FEL. Este sabado passado. - - CAT. Oo Jesu, como he maluado, - 220 & os hom[~e]s cheos denganos, - que por mi vay em tres annos - que diz que he demoninhado. - [p] Felipa, gingras tu ou nam? - Isso creo que he chufar, - 225 e se tu queres gingrar - nam me des no cora[c,]am, - que o que doe nam he z[~o]bar. - - FEL. Elle veo ter comigo - bem oo penedo da palma - 230 & disse: Felipa, minhalma, - rayuo por casar com tigo; - Digo eu, digo: - Vay, vay nadar, que faz calma. - - CAT. [p] Olha tu se zombaua elle. - - 235 FEL. Bem conhe[c,]o eu zombaria: - vi eu, porque eu nam queria, - correr as lagrimas delle. - - CAT. Maos choros chorem por elle, - que assi chora elle comigo - 240 & vayselhe o gado oo trigo - & sois nam olha parelle. - - FEL. [p] Eu vou casuso ao cabe[c,]o - por ver se vejo o meu gado. - - CAT. Tal me deyxas por meu fado - 245 que do meu todo mesque[c,]o. - Quem soubesse no come[c,]o - o cabo do que come[c,]a - porque logo se conhe[c,]a - o queu jagora conhe[c,]o. - -[p] Vem Fernando cantando: - - 250 [p] Com que olhos me olhaste - que tam bem vos pareci? - Tam asinha moluidaste? - quem te disse mal de mi? - - CAT. [p] A que v[~e]s, Fern[~a]do h[~o]rrado? - 255 Ver Felipa tua senhora? - Venhas muito da maa hora - pera ti e pera o gado. - - FERN. Catalina! Catalina! assi - tolhes ma fala, Catalina? - 260 Olha yeramaa pera mi, - pois que me tu sees assi - carrancuda e tam mofina - quem te disse mal de mi? - Com que olhos me olhaste, &c. - - 265 CAT. [p] Dize, rogoto, Fernando, - porque me trazes vendida? - Se Felipa he a tua querida - porque me andas enganando? - - FERN. Eu mouro, tu estaas zombando. - - 270 CAT. Oo que nam zombo, Jesu. - Nam casauas coella tu? - - FERN. Eu estou della chufando. - [p] Catalina, esta he a verdade, - nam creias a ninguem nada, - 275 que tu me tens bem atada - alma & a vida & a vontade. - - CAT. Pois que choraste coella - nam ha hi mais no querer. - - FERN. De chorar bem pode ser - 280 mas nam choraueu por ella. - [p] Felipa auultase contigo, - vendoa fosteme lembrar, - entam puseme a chorar - as lembran[c,]as do meu perigo. - 285 Se ella o tomou por si - que culpa lhe tenho eu? - Mas este amor quem mo deu - deumo todo para ti - & bem sabes tu quee teu. - - 290 CAT. Oo que grande amor te tenho - & que grande mal te quero. - - FERN. Ja de tudo desespero, - que ja mal nem bem nam quero. - - Teu pae tem te ja casada - 295 com Gon[c,]alo dantem[~a]o - & eu fico por esse ch[~a]o - sem me ficar de ti nada - senam dor de cora[c,]om. - [p] Vertaas em outro poder - 300 vertaas em outro logar, - eu logo sem mais tardar - frade prometo de ser - pois os diabos quiseram - & ali me deyxaram - 305 tanta de magina[c,]am - quanta teus olhos me deram - desdo dia dacen[c,]am. - - CAT. [p] Mas casemos, daa ca m[~a]o - & dirlhey que sam casada. - - 310 FERN. Ja tenho palaura dada - a Deos de religiam. - Ja nam tenho em mi nada. - - CAT. Oo quantos perigos tem - este triste mar damores - 315 & cada vez sam mayores - as tormentas que lhe vem. - [p] Se tu a ser frade vas - nunca me veram marido: - tu seraas frade metido, - 320 porem tu me meteraas - na fim da Raynha Dido. - - FERN. Nam se poderaa escusar - de casares com Gon[c,]alo - & querendo tu escusalo - 325 nam no podes acabar, - que teu pae ha dacabalo. - - CAT. [p] Se libera nos a malo! - Nunca Deos ha de querer - & Gon[c,]alo nam me quer - 330 nem eu nam quero a Gon[c,]alo. - Eylo vem, velo Fernando? - bem em cima na portela; - diante vem Madanela, - aquella andelle buscando. - - 335 [p] [FERN.] Vamolos nos espreitar - ali detras do valado - & veremos seu cuydado - se te da em que cuydar - ou se fala desuiado. - -340 [p] Vem Madanela cantando & Gon[c,]alo detras della. - -Cantiga. - - [p] Quando aqui choue & neva - que faraa na serra? - Na serra de Coimbra - 345 neuaua & chouia, - que faraa na serra? - -Falado. - - [p] Gon[c,]alo, tu a que vens? - - GON[C,]. Madanela, Madanela! - - 350 MAD. Tornate maa hora & nella - que tam pouco empacho t[~e]s! - - GON[C,]. Madanela, Madanela! - - MAD. Oo decho dou eu a amargura - quasi magasta, Jesu. - 355 Ora tras mi te v[~e]s tu? - - GON[C,]. Pois a mi se mafigura - que nam maas de comer cru. - [p] Se tu me queres matar - por teu ter boa vontade - 360 nam pode ser de verdade. - - MAD. Gon[c,]alo, torna a laurar - que isso tudo he vaidade. - - GON[C,]. Que rezam me das tu a mi - pera nam casar comigo? - 365 Eu ey de ter muyto trigo - & ey te de ter a ti - mais doce que hum pintisirgo. - [p] Nam quero que vas mondar, - nam quero que andes oo sol, - 370 pera ti seja o folgar - e pera mi fazer prol. - Queres Madanela? - - MAD. Gon[c,]alo, torna a laurar - porque eu nam ey de casar - 375 em toda a serra destrella - nem te presta prefiar. - [p] Catalina he muyto boa, - fermosa quanto lhabasta, - querte bem, he de boa casta - 380 & bem sesuda pessoa. - Toma tu o que te d[~a]o - em paga do que desejas. - - GON[C,]. Ay rogote que nam sejas - aya do meu cora[c,]am. - - 385 MAD. Vayte di, que paruoejas. - - GON[C,]. [p] Nam quero casar coella. - - MAD. Nem eu tam pouco com tigo. - Vees? casuso vem Rodrigo - tras Felipa, que he aquella - 390 que nam no estima num figo. - -[p] Vem Rodrigo cantando: - - Vayamonos [~a]bos, amor, vayamos, - vayamonos ambos. - Felipa & Rodrigo passaram o rio, - amor vayamonos. - 395 [p] Felipa, como te vay? - - FEL. Que t[~e]s tu de ver co isso? - Dias ha que teu auiso - que vas gingrar com teu pay. - - ROD. Nam estou eu, mana, nisso. - - 400 FEL. Quem te mette a ti comigo? - - ROD. Felipa, olha pera ca, - dame essa m[~a]o eyaramaa. - - FEL. Tirte, tirte eramaa laa, - tu que diabo has comigo? - - 405 ROD. [p] Felipa, ja tu aqui es? - - FEL. Rodrigo, ja tu come[c,]as? - Tu t[~e]s das maas v[~a]s cabe[c,]as, - nam quero ser descortees. - - ROD. Nem queyras tu er ser assi - 410 grauisca & escandalosa; - mas tem gra[c,]a pera mi, - como tu es graciosa - & fermosa pera ti. - - FEL. Cada hum saa de regrar - 415 em pedir o que he rezam: - tu pedesmo cora[c,]am - & eu nam to ey de dar - porquee muy fora de m[~a]o. - E quanto monta a casar - 420 ainda queu guarde gado - meu pay he juyz honrrado - dos melhores do lugar - & o mais aparentado. - [p] E andou na corte assaz - 425 & faloulhe el Rey ja - dizendo-lhe: Affonso vaz - em fronteyra e moncarraz - como val o trigo la? - Ora eu pera casar ca, - 430 Rodrigo, nam he rezam. - - ROD. Se casasses com paa[c,]om - que grande gra[c,]a seraa - & minha consola[c,]am. - [p] Que te chame de ratinha - 435 tinhosa cada mea hora, - inda que a alma me chora, - folgarey por vida minha. - Pois engeytas quem tadora; - e te diga: tirte la, - 440 que me cheyras a cartaxo. - Pois te desprezas do bayxo - o alto tabaxaraa. - - FEL. [p] Quando vejo hum cortesam - com pantufos de veludo - 445 & h[~u]a viola na m[~a]o - tresandamo cora[c,]am - & leuame a alma & tudo. - - ROD. Gon[c,]alo, vayme ajudar - aacabar minha charrua - 450 & eu tajudarey aa tua. - Que estoutro sa dacabar - quando a dita vir a sua. - - GON[C,]. Eu sam ja desenganado - quanto monta a Madanella. - - 455 ROD. Deuetela dir com ella - como mami vay mal peccado - com Felipa. - - GON[C,]. Assi he ella. - - ROD. E tu, Rodrigo, em que estaas? - - FERN. Estou em muito & em nada, - 460 porque a vida namorada - tem cousas boas & maas. - -[p] Vem hum hermitam & diz: - - HERM. [p] Fazeyme esmola, pastores, - por amor do senhor Deos. - - ROD. Mas fa[c,]a elle esmola a nos, - 465 & seja que estes amores - se atem com senhos nos. - - HERM. O casar Deos o prouee - & de Deos vem a ventura, - da ventura aa criatura - 470 mas com dita he por merce - & tambem serue a cordura. - [p] Pondevos nas suas m[~a]os - & n[~a]o cureis descolher, - tomay o que vos vier - 475 porque estes amores v[~a]os - teram certo arrepender. - Filhas, aqui estais escritas, - Filhos, tomay vossa sorte, - & cada hum se comporte - 480 dando gra[c,]as infinitas - a Deos & a el Rey & a corte. - -[p] Tirou o ermitam da manga tres papelinhos & os deu aos pastores, que -tomasse cada hum sua sorte & diz Fernando: - - [p] Rodrigo tome primeyro, - veremos como se guia. - - ROD. Nome da virgem Maria! - 485 lede, padre, esse letreyro, - se me cega ou alumia. - - Escri. Deos & a ventura manda - que quem esta sorte ouuer - tome logo por molher - 490 Felipa sem mais demanda. - - ROD. [p] Vencida tenho eu a batalha, - Felipa, mana, vem caa. - - FEL. Tirte, tirte, eramaa laa, - & tu cuydas que te valha? - 495 Nunca teu olho veraa. - - GON[C,]. Ora vay, Fernando, tu, - veremos que te viraa. - - FERN. Alto nome de Jesu! - lede, padre, que vay la? - -Escrito. - - 500 [p] A senten[c,]a he ja dada - & a sustancia della - que cases com Madanela. - - MAD. Fernando, nam me da nada, - seja muytembora & nella. - - 505 FERN. Dias ha que to eu digo - & tu tinhas me fastio. - - CAT. Oo Fernando de meu tio - quem me casara com tigo! - - GON[C,]. [p] Oo Madanela, yeramaa, - 510 se me cayras em sorte! - - CAT. Ante eu morrera maa morte - que Fernando ficar laa - tam contrayro do meu norte. - E porem nam me da nada, - 515 ja me tu a mi pareces bem, - Gon[c,]alo. - - GON[C,]. E tu a mi - Catalina; mudate di - y passea per hi alem, - verey que aar das de ti. - - 520 FEL. [p] Estouteu, Rodrigo, olhando, - & vou sendo ja contente. - - ROD. Se de mi nam es contente - nam tey dandar mais rogando. - Eu andote namorando - 525 & tu acossasme cada dia. - - CAT. Inda queu isso fazia, - Rodrigo, de quando em qu[~a]do, - muy grande bem te queria. - [p] E quando eu refusaua - 530 de te tomar por amigo - nam ja porque eu nam folgaua - mas porque te examinaua - se eras tu mo[c,]o atreuido. - - HERM. Agoro quero eu dizer - 535 o que aqui venho buscar. - Eu desejo dabitar - h[~u]a ermida a meu prazer - onde podesse folgar. - E queriaa eu achar feyta - 540 por nam c[~a]sar em fazela, - que fosse a minha cella - antes bem larga que estreyta - & que podesse eu dan[c,]ar nella. - E que fosse num deserto - 545 denfindo vinho & p[~a]o, - & a fonte muyto perto - & longe a contempla[c,][~a]o. - [p] Muyta ca[c,]a & pescaria - que podesse eu ter coutada - 550 & a casa temperada: - no veram que fosse fria - & quente na inuernada. - A cama muyto mimosa - & hum crauo aa cabeceyra, - 555 de cedro a sua madeyra; - porque a vida religiosa - queria eu desta maneyra. - [p] E fosse o meu repousar - & dormir atee tais horas - 560 que nam podesse rezar - por ouuir cantar pastoras - & outras assouiar. - Aa cea & jantar perdiz, - o almo[c,]o moxama, - 565 & vinho do seu matiz, - & que a filha do juyz - me fizesse sempre a cama. - [p] E em quanto eu rezasse - esquecesse ella as ouelhas - 570 & na cela me abra[c,]asse - & mordesse nas orelhas, - inda que me lastimasse. - Irm[~a]os pois deueis saber - da serra toda a guarida - 575 prazauos de me dizer - onde poderey fazer - esta minha sancta vida. - - GON[C,]. [p] Estaa alli, padre, hum siluado - vi[c,]oso, verde, florido, - 580 com espinho tam comprido, - e vos nuu alli deytado - perderieis o proido. - Yuos, nam esteis hi mais, - porque a vida que buscais - 585 nam na da Deos verdadeyro - inda que lha vos pe[c,]ais. - - SERRA. [p] Ora, filhos, logo essora, - cada hum com sua esposa, - vamos ver a poderosa - 590 Raynha nossa Senhora, - sem nenhum de vos por grosa, - porque he for[c,]oso que va, - que segundo minha fama - da Raynha ey de ser ama - 595 & a isso vou eu la. - [p] Que tal leyte como o meu - nam no ha em Portugal, - que tenho tanto & tal - e tam fino Deos mo deu - 600 que he manteyga & nam al. - E pois ha de ser senhora - de tam grande gado & terra - quem outra ama lhe der erra, - porque a perfeyta pastora - 605 ha de ser da minha serra. - - GON[C,]. [p] Ha mester grandes presentes - das vilas, casaes & aldea. - - SERRA. Mandaraa a vila de Sea - quinhentos queyjos resentes, - 610 todos feytos aa candea, - e mais trezentas bezerras - & mil ouelhas meyrinhas - & dozentas cordeyrinhas - taes que em nenh[~u]as serras - 615 nam se achem tam gordinhas. - [p] E Gouuea mandaraa - dous mil sacos de castanha - tam grossa, tam san, tamanha - que se marauilharaa - 620 onde tal cousa se apanha. - E Manteygas lhe daraa - leyte para quatorze annos, - & Couilham muytos panos - finos que se fazem laa. - 625 [p] Mandaraam desses casaes - que estam no cume da serra - pena pera cabe[c,]aes - toda de aguias Reaes, - naturaes mesmo da terra. - 630 E os do val dos penados - & montes dos tres caminhos - que estam em fortes montados - mandar[~a]o empresentados - trezentos forros darminhos - 635 pera forrar os borcados. - [p] Eu ey lhe de presentar - minas douro que eu sey - com tanto que ella ou el Rey - o mandem ca apanhar, - 640 abasta que lho criey. - - GON[C,]. E afora ainda aos presentes - auemos lhe de cantar - muyto alegres & contentes - polla Deos alumiar - 645 por alegria das gentes. - -Vem dous foli[~o]es do Sardoal, hum se chama Jorge e outro Lopo, & diz a -Serra: - - [p] Sois vos de Castella, manos, - ou la debayxo do estremo? - - JOR. Agora nos faria o demo - a nos outros Castellanos. - 650 Queria antes ser lagarto - polos sanctos auangelhos. - - SERRA. Donde sois? - - JOR. Do Sardoal, - & ou bebela ou vertela, - vimos ca desafiar - 655 a toda a serra da estrela - a cantar & a baylar. - - ROD. [p] Soberba he isso perem - pois haqui tantos pastores - & tam finos bayladores - 660 que nam ham medo a ninguem. - - LOPO. Muytos ratinhos vam la - de ca da serra a ganhar - & la os vemos cantar - & baylar bem coma ca - 665 & he assi desta fey[c,]am. - -[p] Canta Lopo & bayla, arremedando os da serra. - - [p] E se ponerey la mano en vos - Garrido amor! - [p] Hum amigo que eu auia - man[c,]anas douro menuia, - 670 Garrido amor! - [p] Hum amigo que eu amaua - man[c,]anas douro me manda, - Garrido amor! - [p] Man[c,]anas douro menuia - 675 a milhor era partida, - Garrido amor! - [p] [Man[c,]anas douro me manda, - a milhor era quebrada, - Garrido amor!] - -Falado. - - 680 [p] Isso he, ou bem ou mal, - assi como o vos fazeis. - - SERRA. Pe[c,]ouolo que canteis - aa guisa do Sardoal. - - LOPO. Esse he outro carrascal, - 685 esperay ora & vereis: - [p] Ja nam quer minha senhora - que lhe fale em apartado. - Oo que mal tam alongado! - [p] Minha senhora me disse - 690 que me quer falar um dia - agora por meu peccado - disseme que nam podia. - Oo que mal tam alongado! - [p] Minha senhora me disse - 695 que me queria falar, - agora por meu peccado - nam me quer ver nem olhar. - Oo que mal tam alongado! - Agora por meu peccado - 700 disseme que nam podia, - yrmey triste polo mundo - onde me leuar a dita. - Oo que mal tam alongado! - -[p] Esta cantiga cantar[~a]o & baylar[~a]o de terreyro os foli[~o]es, & -acabada diz Felipa: - - [p] Nam vos vades vos assi, - 705 leixay ora a gayta vir - & o nosso tamboril, - & yreis mortos daqui - sem vos saberdes bolir. - - CAT. Em tanto por vida minha - 710 seraa bem que ordenemos - a nossa chacotezinha - & con ella nos yremos - ver el Rey e a Raynha. - -[p] Ordenaramse todos estes pastores em chacota, como la se costuma, -porem a cantiga della foy cantada de canto dorgam, & a letra he a -seguinte: - - [p] Nam me firais, madre, - 715 que eu direy a verdade. - [p] Madre, hum escudeyro - da nossa Raynha - falou me damores, - vereis que dezia, - 720 eu direy a verdade. - [p] Falou me damores, - vereis que dezia: - quem te me tiuesse - desnuda em camisa! - 725 Eu direi a verdade. - -[p] E com esta chacota se sayram & assi se acabou. - - [p] LAUS DEO. - - -NOTES: - -0. _Esta tragecomedia pastoril foy feyta_ B. - -0. _com hum parvo & diz_ C. - -2. _estrella_ B. - -4. _Castella_ B. - -7. _yr_ B. - -24. _despa[~n]a_ B. - -34. _quant'elle_ C. - -53, 54. _Imperatriz_, _Imperador_ C. - -100. _faz un rey cousas_ B. - -102. _atraues_ B. _a trav['e]s_ C. - -109. _t['o]s_ C. - -116. _d['a]-lhe_ C. - -123. _phantesia_ C. - -125. _querera_ B. - -127. _seguem dous a[c,]ores_ C. - -135. _reccado_ C. - -152. _lendes_ C. - -159. _porque_ A, B, C, D, E. _porqu'['e]_ ? - -161. _cures_ A, B. _cuides_ C. - -167. _do mel[~a]o_ A, B. _de mel[~a]o_ C. - -172. _Arrenega tu_ A, B. _Arrenego eu_ C. - -179. _outra_ A, B. _outrem_ C. - -196. _tem-te_ C. - -197. _Inda_ C. - -231. _com tigo_ A, B. _comtigo_ C. - -261. _s[^e]s_ C. - -265. _rogoto_ A. _rogo-te_ C. - -276. _alma_ A. _a alma_ C. - -284. _do_ A. _de_ C. - -299, 300. _ver-te-has_ C. - -308. _ca m[~a]o_ A, B. _ca a m[~a]o_ C. - -327. _libara_ B. - -328. _querelo_ A, B. _quer[^e]-lo_ C, D, E. - -332. _bem_ A, B. _vem_ C, D, E. - -353. _eu amargura_ B. - -354. _quasi_ A, B. _qu'assi_ C. - -378. _lhe basta_ C. - -392. _vayamonos_ A. _vayamos_ C. - -407. _maas_ A. _mais_ C. - -408. _descortees_ A. _descortes_ B. _descortez_ C. - -427. _moncarraz_ A, B. _Mon[c,]arraz_ C. - -456. _mami_ A. _a mi_ C. - -462. Desunt 462-577 in B. - -469. _a creatura_ C. - -477. _escriptas_ C. - -482. _& diz Fernando_ A. _& diz o Ermit[~a]o_ C. - -487. _Escri._ A. _(L[^e] o Ermit[~a]o o escrito)_ C. - -498. _alto, nome_ C. - -499-500. _Escrito_ A. _(L[^e] o Ermit[~a]o)_ C. - -530: _amigo_ A, B, C, D, E. _marido_ ? - -545: _D'infindo_ C. - -566. Desunt 566-8 in C. - -608. _Cea_ C. - -609. _recentes_ C. - -613. _duzentas_ C. - -618. _tan grossa, tam san._ B. - -628. _Aguias reaes._ B. - -630. _penedos._ B. _Penados._ C. - -635. _brocados._ C. - -645-6. Desunt _hum se chama._ et _outro._ in C. _Iorge._ C. - -647. _extremo._ C. - -649. _Castelhanos._ C. - -655. _estrella_ B. - -660. _ham_ A. _ha hi_ C. - -668. _auia, havia_ A, B, C, D, E. _queria_? - -685-6. _Cantiga_ B. - -711. _chacotezinha_ A, B. _chacotazinha_ C. - -713-4. _he a seguinte Cantiga_ C. - -Note. ad fin. [p] _Laus Deo_ B. - - -ENGLISH TRANSLATION: - - _Pastoral tragicomedy of the Serra da Estrella._ - -_A pastoral tragicomedy made in honour of and played before the very -powerful and catholic King Dom John III of Portugal on the delivery of -the most high Queen Dona Caterina our lady and the birth of the most -illustrious Infanta Dona Maria, afterwards Princess of Castille, in the -city of Coimbra in the Year of the Lord 1527._ - -_Enters the Serra da Estrella and says:_ - - Joy that shakes and wakes the hill, - The mighty mountain-range of me, - Will increase the swelling sea - And the sky with singing fill - 5 Till Castilla dance in glee. - And in this hour it is my will - That the whole of me, no less, - To Coimbra as a shepherdess, - A Beira peasant-girl, shall come, - 10 Since in Beira is my home. - With me thither they who are mine, - The hill-girls of nut-brown tresses, - Each with her lover shall repair, - Yea and all the shepherdesses - 15 Who flocks upon my pastures keep. - And the choicest of the kine - And of the merino sheep, - That I may have to offer there - A present to our Queen of Queens - 20 Who is fairest of the fair. - Mistress she of broad demesnes - Came unto our mountain land - And among the hills hath she - Borne a new princess of Spain - 25 That we give to her again, - Even a rose imperial - As the most high Isabel, - An image of Gabriel - For the repose of Portugal, - 30 Its precious ward and canopy. - So clearly is God's purpose planned. - - _Fool._ Good faith, no, not a whit he knows - But the Virgin Mary knows. - But he unto no good inclines - 35 And only serves to burn the vines. - - _Serra._ What a thing for thee to say! - - _Fool._ Who? God? why, now, I swear to God - That He must always have His way. - For I was at Coimbra, I, - 40 At the time this very queen - In the palace bore a daughter: - I will tell you all about it. - This same queen, and may God bless her, - The queen herself was in the palace, - 45 For, you know, on such occasions - She is rarely seen outside it. - And the Lady of the Bedchamber, - For she's from Castille, they say - At this very time began to pray - 50 A girl, not a boy, be given her. - (Even here, see, goes our way) - And would you know the reason why? - The Empress had just before - Given birth unto an Emperor, - 55 And they will marry by and by. - 'Twas different with my mother, she - Cared not whether it might be - A boy or eke a girl by chance - But unto the Virgin Mary - 60 Prayed she for deliverance. - -_Enter Gon[c,]alo, a shepherd of the Serra, who comes from the Court, -singing:_ - - Flying, the magpie has flown away, - O that 'twere brought to me again: - In yonder covert - 'Twas mine at will, - 65 With its dark-brown eyes - And its golden bill. - O that 'twere brought to me again! - By Heaven in fine trim to-day - Our Serra is and all aglow! - - 70 _S._ Come, Gon[c,]alo, come away, - For I minded am to go, - Leaving these my haunts straightway, - Gathering you all together - Forthwith and without delay - 75 That we may all journey thither - A visit to our queen to pay - If God assist us on our way. - - _G._ I am now come even thence - And from all that I could tell - 80 Our going thither will be well, - Aye, 'twill be no vain pretence, - For the child of royal line, - The princess that has now had birth - Seems, they say, a thing divine, - 85 A star that ceases not to shine - Though it has appeared on earth. - - _S._ I'll tell thee how it is, I ween: - Her birth is in a hill-country, - Of a king fairest to be seen - 90 Of all that are upon the earth - And of a most lovely queen. - And she is born in a city - Which will bless her and blest has been - And of great authority. - 95 On lucky day too was she born, - Of Mars, the god of victory, - And the winds that very morn - Brought rain needed instantly - For the birth of grass and corn. - - 100 _Fool._ Sometimes God, it is a fact, - Sometimes, I say, God doth act - All upside down, as one might say. - For unless I'm much mistaken - Mondego will be in flood - 105 And all the wine from the casks be taken: - Could a demon do less good? - For He so brings it about - That the aldermen grow stout - And like dry sticks girls wither away, - 110 Purple the friars wax and red, - Yellow and jaundiced are the lay, - And lusty they whose youth is fled - While the young grow weak and grey - And for nothing doth He care. - 115 At Coimbra when for oats they pray - Of mussels enough and e'en to spare - And fish likewise He sends straightway. - - _G._ Serra, if you would fain go - With shepherds and with shepherdesses - 120 First their loves of long ago - Must mutual agreement show - That as yet no ending blesses. - And for my part willingly - Would I Madanela wed, - 125 That design is in my head - But I know not if she'll agree. - -_Enter Felipa, a shepherdess of the Serra, singing:_ - - Two falcons to follow me have I, - But one of them of love shall die. - Two falcons had I, and the twain - 130 Are here with me, being of love's train, - But one of them of love shall die. - -(_Spoken:_) - - _F._ Gon[c,]alo, hast thou seen my sheep, - Tell me hast thou seen them now? - - _G._ From the town I am just returned and trow - 135 That I for thee thy flocks must keep. - - _F._ Well, thou hast been married here: - They only for thy coming stay. - - _G._ What, married ere I can appear? - Then am I in a pretty way. - - 140 _F._ Nay thou must marry on thy return - And must go and live with her - Unless Madanela thou wouldst prefer. - - _G._ From the game's chance aside I turn. - - _F._ Wouldst thou the best of them all thus spurn? - - 145 _G._ Is it, is it Alvarenga? - - _F._ No, but Catherine Meigengra. - - _G._ In evil fire would I rather burn. - Of Meigengra is no question here: - The greatest slattern, I assert, - 150 Is she and if unsewn her skirt - Not a stitch will it get from her, - And though she covered be with dirt - Yet will she never comb her hair, - And at the merest word will she - 155 Be vanquished of laughter utterly. - She sweeps and lets the sweepings lie, - She eats and will never wash the dishes, - Her uncle beats her hourly, - So laxly doth she flout his wishes. - 160 Madanela's the apple of my eye. - And there is no more to be said - But tell Meigengra presently - To reckon on another head. - - _F._ Thy father has given his hand, thus clinching - 165 The matter beyond any flinching. - - _G._ To give her my foot would I be willing - As if she were a melon's rind, - But as for me, my heart and mind - With love of Madanela are thrilling. - - 170 _F._ Yet richer Meigengra thou'lt find, - For Madanela has not a shilling. - - _G._ A curse upon money, say I, - Which only brings me fresh distress: - A single hour of happiness - 175 'S worth all the gold beneath the sky. - God give me but the girl I love - Or deprive me of life's breath, - And my marriage be with death - If to her I faithless prove. - - 180 _F._ Well, I must go instantly - After my flocks and see how they fare. - - _G._ And I to my father will repair - And find out how this thing may be. - -_Enter Catherina Meigengra, singing:_ - - Lofty the mountain-height, - 185 But stronger is love's might, - Could he but hear! - - _F._ Whither, Meigengra, sister, away? - - _C._ 'Tis the heifer I go to seek, - Hast thou seen it here, I pray? - - 190 _F._ I have not seen it all this week. - But Gon[c,]alo is just gone hence, - Even from the Court came he - And I gave him great offence - When I spoke to him of thee, - 195 As if thou wert a pestilence, - Such disaffection hast thou won. - - _C._ And by my life I'm glad of it - For, sister, I have lost my wit - For Ferdinand, my uncle's son. - 200 If I do not marry him - I will surely die of love. - But Gon[c,]alo can only move - My thoughts, yes even in a dream, - To distaste and weariness. - - 205 _F._ If for him thou dost not care - He for thee cares even less. - - _C._ Bad luck to him through all the land - If to think of me he dare. - But if Heaven only planned - 210 My marriage with Ferdinand - Death to me that day welcome were, - Joy's victim, not of this distress. - O Ferdinand, my uncle's son, - For thee was all this love begun! - - 215 _F._ This your love, your Ferdinand, - Secretly offered me his hand. - - _C._ Was that long ago, I pray? - - _F._ It was but on last Saturday. - - _C._ What a villain then is he, - 220 And men how full of all deceits, - For he these last three years repeats - That he's distraught for love of me. - Felipa, dost thou speak in jest? - I think indeed thou triflest, - 225 But if with words thou wouldest play, - Do not play upon my heart - Since no jest is in the smart. - - _F._ He came to me in the heat of the day, - To the rock of the palm came he, - 230 'Felipa, my life,' said he straightway, - 'I am mad to marry thee.' - And I say, say I to him: - 'Go away and have a swim.' - - _C._ Perhaps he was but mocking thee. - - 235 _F._ Nay I know what's mockery - And because I said him No - I could see his tears downflow. - - _C._ Ill be the tears that are so shed, - For with me also he will weep, - 240 And the crops may be eaten by his sheep, - He does not even turn his head. - - _F._ Well, I must go up the hill, - Perhaps my flock may be in sight. - - _C._ Thou leavest me in a plight so ill - 245 That I've forgotten mine outright. - If one could but only know - All the end in the beginning - That one might have straightway so - Knowledge that I now am winning! - -_Enter Ferdinand, singing:_ - - 250 With what eyes thou lookedst upon me - That so fair I seemed to thee: - How have other thoughts now won thee? - Who has spoken ill of me? - - _C._ Good Ferdinand, art thou here - 255 To see Felipa, thy lady dear? - But may thy coming even be - Ill for thy flock and ill for thee. - - _F._ Catherina, thus wouldst thou - Deprive me of all power of speech? - 260 Look straight at me, I beseech. - But if thus thou changest now - With lowering and angry brow, - 'Who has spoken ill of me? - With what eyes thou lookedst upon me?' etc. - - 265 _C._ Tell me, Ferdinand, I pray - Why thou wouldest me betray? - If Felipa is thy love, - Why me thus with treachery prove? - - _F._ By my life, thou'rt mocking me today. - - 270 _C._ O no, I jest not: didst not say - That thou with her wouldst gladly wed? - - _F._ 'Twas but for fun the words were said. - In what I say will truth be found - And believe no one else, I pray. - 275 For as for me my life alway - And soul and will in thee are bound. - - _C._ With weeping since thy eyes were red - Needs must be that thou lov'st her well. - - _F._ I may have wept, I cannot tell, - 280 But not for her my tears were shed. - Felipa's not unlike thee, so - At sight of her I thought of thee - And fell to weeping bitterly - At memory of all my woe. - 285 And if she thought my tears did flow - For her, how should I be to blame? - For my love ever is the same - On thee, thee only to bestow, - And that it's thine well dost thou know. - - 290 _C._ How I hate thee, how I love thee, - Ferdinand, were it mine to prove thee! - - _F._ Now despair I utterly, - Yes, I am most desperate, - And good and ill come all too late. - For thy father has married thee - 295 To Gon[c,]alo, and desolate - I here remain, alone, deserted, - Nothing of thee left to me - But to be thus broken-hearted. - And another's shalt thou be, - 300 Taken to another place, - And I, by the Devil's grace, - Promise that I instantly - Will a monk become: in fine - So much of thee shall be mine - 305 In imagination's play - As was given me on that day - When thine eyes began to shine. - - _C._ Nay, but give me thy hand instead - And I will say that I am wed. - - 310 _F._ Alas I have nothing now to give. - My promise is already said - That I will in a convent live. - - _C._ How many perils mar the peace - Of this gloomy sea of love, - 315 From day to day they still increase - And its tempests greater prove. - If a monk then thou must be - Husband mine will ne'er be seen: - If a monk thou must be, for me - 320 Thou leavest of necessity - The fate of Dido, hapless queen. - - _F._ Thou wilt find no sure escape - With Gon[c,]alo not to marry, - For whatever plans thou shape - 325 Thou wilt never round the cape - And thy father the day will carry. - - _C._ O deliver us from ill! - May such never be my lot, - For Gon[c,]alo loves me not, - 330 And Gon[c,]alo I love less still. - But there he comes, see, Ferdinand, - Above there in the mountain pass, - And Madanela goes before, - She it is that he searches for. - - 335 _F._ Behind this hedge here we will stand - And listen to them as they pass - And we will see what's in his mind - And if to thee he be inclined - Or if thou art given o'er. - - 340 _Enter Madanela, singing, and behind her Gon[c,]alo:_ - -(_Song:_) - - When here below there's rain and snow - What will it be on the mountain-height? - On the hills of Coimbra 'twas snowing - 345 and raining, - What will it be on the mountain-height? - -(_Spoken:_) - - Gon[c,]alo, what is your pretence? - - _G._ Madanela, Madanela! - - 350 _M._ Go back at once, I say, go hence, - Since thou hast so little sense. - - _G._ Madanela, Madanela! - - _M._ What another plague is here, - What annoyance, by my soul! - 355 What, wouldst thou now follow me? - - _G._ I suppose I need not fear - That thou shouldst eat me whole. - But if me thou wouldest kill - Because of this my love for thee - 360 Not serious surely is thy will. - - _M._ Gon[c,]alo, go back, go back to thy plough, - For all this is but vanity. - - _G._ What reason canst thou give me now - To refuse to marry me? - 365 I shall have of wheat enow - And thy life with me shall be - As a goldfinch's free from toil. - I will not have thee hoe the soil, - I will not have thee work in the sun, - 370 But thou shalt sit and take thy ease - And by me all the work be done. - Art thou willing, Madanela? - - _M._ Gon[c,]alo, go back, go back to thy plough, - With none will I marry, I avow, - 375 In the whole Serra da Estrella, - In vain wilt thou persist and tease. - Catalina is a very good girl - And fair enough, though not a pearl, - Comes of good stock and loves thee well, - 380 And she is very sensible. - Then take what's offered thee and so - Shalt balm of thy desire know. - - _G._ Nay, but I pray thee do not seek - To teach my heart what way to go. - - 385 _M._ Go hence, if nonsense thou must speak. - - _G._ I say I will not marry her. - - _M._ And I will not marry thee. - But yonder comes Rodrigo, see, - After Felipa, and I aver - 390 That not a fig for him cares she. - -_Enter Rodrigo, singing:_ - - My love, let's be going, be going together, - Be going together. - Rodrigo and Felipa were crossing the river, - My love, let's be going. - 395 How is it, Felipa, with thee? - - _F._ And what business is that of thine? - Days past I've bidden thee thy chatter - To thy father to confine. - - _R._ But that, my dear, does not suit me. - - 400 _F._ And why drag me into the matter? - - _R._ Felipa, turn thy eyes this way - And give me that fair hand of thine. - - _F._ Away, away with thee, I say, - What art thou to me, in the name of evil? - - 405 _R._ So, Felipa, thou art here, I see. - - _F._ Rodrigo, wouldst thou begin again? - If ever there was feather-brain, - But I would not be uncivil. - - _R._ Would then that thou mightest be - 410 Now less shrewish and unkind. - Yet even that is to my mind, - So charming art thou unto me - So graceful and so fair to see. - - _F._ Everyone should regulate - 415 At reason's bidding his request, - Thou my heart requirest - But I cannot give thee that - Nor listen to thee save in jest. - And as to my marrying I wis, - 420 Although I keep the sheep, withal - An honoured judge my father is - And by his side the rest are small, - He's best related of them all. - At Court too he's been many a day - 425 And the king once spoke to him, to say: - 'In the district of Monsarraz - And Fronteira, Affonso Vaz, - What is the price of wheat, I pray?' - So that here to marry would be for me, - 430 Rodrigo, to act unreasonably. - - _R._ Shouldest thou a courtier marry - What amusement unto me - And consolation that would carry! - For if as a country-lout he harry - 435 Thee all day and for evermore, - Would I, what though my heart should grieve, - Rejoice, since, though I thee adore, - Me thus contemptuously dost thou leave, - And if he bid thee keep thy place - 440 As being but of low degree: - Since thou despisest such as me - Thee shall the mighty then abase. - - _F._ When I see a courtier fine - With his velvet slippers, and - 445 His viola in his hand, - 'Tis all up with this heart of mine - Nor can I his ways withstand. - - _R._ Gon[c,]alo, come help me now - At the labour of my plough - 450 And I'll help thee anon with thine. - For as to the other 'twill be in fine - When its fortune shall allow. - - _G._ As for Madanela, I - Have ceased at last my luck to try. - - 455 _R._ Ah! then the same thing it must be - As with Felipa and me. - - _G._ Yes, 'tis even so we stand. - - _R._ And how is't with thee, Ferdinand? - - _F._ I am in both smiles and frowns, - 460 And a lover's life is planned - In a maze of ups and downs. - -_Enters a hermit who says:_ - - _H._ Shepherds, for love of God, on me - Pray bestow your charity. - - _R._ Rather him it now behoves - 465 Charitable towards us to be - And tie the knots of all our loves. - - _H._ Marrying is in God's hand - And from Him comes fortune too, - For by His especial grace - 470 All men fortune may embrace - And good sense assists thereto. - Place yourselves beneath His sway, - Take not any thought to choose - But receive what comes your way, - 475 For these idle loves, I say, - You'll in sure repentance lose. - Your names, my daughters, here you - leave; - My sons, now each your lot receive: - Behave yourselves in such a sort - 480 That you your infinite thanks shall give - To God, and to the King and Court. - -_The hermit takes from his sleeve three small written pieces of paper -and gives them to the shepherds that each may take his lot, and -Ferdinand says:_ - - Rodrigo shall the first lot claim. - We'll see now if he acts aright. - - _R._ In the Virgin Mary's name - 485 Read it, padre, for the same - Brings to me my day or night. - -_The hermit reads the writing:_ - - 'By Fortune's and by God's command - Whosoever draws this lot - Shall to Felipa give his hand, - 490 Shall do so and reason not.' - - _R._ I have won the victory, - Felipa, come hither to me, my dear. - - _F._ Away with thee, away, dost hear, - Thinkest thou this will profit thee? - 495 Ne'er such a victory shalt thou see. - - _G._ Draw thy lot now, Ferdinand, - Let's see what for thee is planned. - - _F._ Here goes then in the name of Heaven; - Read, padre, what is written there. - -_The hermit reads:_ - - 500 'The sentence is already given - And its substance doth declare - That thou shalt Madanela wed.' - - _M._ Well, Ferdinand, I do not care, - If it must be so, no more be said. - - 505 _F._ Many a day hast thou heard that from me - But thou e'er hadst me in disdain. - - _C._ O Ferdinand, my uncle's swain, - Would that I might marry thee! - - _G._ O Madanela, if only now - 510 We had come together, I and thou. - - _C._ Rather might I straight expire - Than that Ferdinand should stay there - So remote from my desire. - Yet I do not greatly care, - 515 Since to thee I am inclined, - Gon[c,]alo. - - _G._ And even so, - Catalina, art thou to my mind, - But come away that I may know - What graces I in thee shall find. - - 520 _F._ Rodrigo, as I look upon thee - I begin to grow content. - - _R._ If to that I have not won thee - By me no further prayers be spent. - For while I have courted thee - 525 Daily hast thou flouted me. - - _C._ Though from time to time I thus, - Rodrigo, behaved, truly - Very fond was I of thee. - And when most contemptuous - 530 Thy wife I refused to be - 'Twas not that I had no love - But, that I tested thee, to prove - The heart of thy audacity. - - _Hermit._ Now I have a mind to say - 535 What I came to look for here. - For my wish it is to stay - In a hermitage that may - Yield me plenty of good cheer. - Ready-made would I find it: ill - 540 Could I all these joys fulfil - Worn out by toil and labour fell. - Wide not narrow be my cell - That I may dance therein at will; - Be it in a desert land - 545 Yielding wine and wheat alway, - With a fountain near at hand - And contemplation far away. - Much fish and game in brake and pool - Must I have for my own preserve - 550 And as for my house it must never swerve - From an even temperature, cool - In summer and in winter warm. - Yes, and a comfortable bed - Would not do me any harm, - 555 All of it of cedar-wood, - A harpsichord hung at its head: - So do I find a monk's life good. - I would lie and take my rest - And sleep on far into the day - 560 So that I could not my matins say - For noise of the whistling and the singing - Of shepherdesses' songs clear ringing. - On partridge would I sup and dine, - Of stockfish should my luncheon be - 565 And of wine the very best. - And the Judge's daughter should make for me - The bed on which I would recline. - And even as my beads I tell - She should forget her flock of sheep - 570 And embrace me in my cell - And bite my ears and make me weep: - Yes, even thus it would be well. - My brothers, since you know, I trow - The recesses of each vale and hill - 575 Be good enough to tell me now - Where best I may so have my will - And this holy life fulfil. - - _G._ Yonder, padre, there's a briar - All in flower, thick and green, - 580 And its thorns are long and dire: - Naked laid thereon, I ween - You would soon lose your desire. - Go and make no further stay, - For the life you wish to live - 585 The true God will never give - Howsoe'er for it you pray. - - _Serra._ Come, my sons, now come away, - Each with his fair bride to-day, - That our Queen and Sovereign we - 590 May go visit speedily, - And let none of you gainsay, - For you must go all together, - Since, if report say true, I ween - I as nurse must serve the Queen - 595 And therefore do I go thither. - Such milk as mine you will not find - No, not in all Portugal, - So plentiful and such kind - As God has bless[`e]d me withal: - 600 Pure butter were not more refined. - And since she will be princess - Of such flocks and all this land, - No other nurse shall be to hand, - For the perfect shepherdess - 605 My hill-sides alone command. - - _G._ From every village, house and town - Great presents must with us come down. - - _S._ The town of Sea of its store - Shall five hundred cheeses send - 610 All home-made, and furthermore - Of calves will she send thrice five score - And of her merino sheep - A thousand, and lambs two hundred keep - So fat that on no hills you'll find - 615 Any more unto your mind. - And two thousand sacks Gouvea - Of chestnuts that there abound - Of such size, so fine and round - That all men will wonder where - 620 Things so excellent are found. - And Manteigas will prepare - A store of milk for years twice seven, - By Covilham much fine cloth be given - That is manufactured there. - 625 From the houses in the heather - High upon the mountain-top, - For pillows shall be sent a crop - All of royal eagles' feather - That men there are wont to gather. - 630 From the Penados vale below - And the hills where three roads meet - That through rough mountain country go - They will send as present meet - Three hundred ermines white as snow - 635 As edging of brocades to show. - Mines of gold too I will bring - And give all I have within - If the Queen and if the King - Order it to be brought in: - 640 Plenty is there there to win. - - _G._ And with presents none the less - Will we in her honour sing - With great joy and revelling - That God hath willed the Queen to bless - 645 For her people's happiness. - -_Enter two players from Sardoal, Jorge and Lopo, and the Serra says:_ - - From Castille, brothers, do you hale - Or from down yonder in the vale? - - _J._ Now in the devil's name, amen, - They would have us be Castilian men - 650 A lizard I would rather be - By the Holy Gospels verily. - - _S._ Well and from what land come you then? - - _J._ From Sardoal, and by your leave - We are come hither to defy - 655 The Serra our challenge to receive - With us in song and dance to vie. - - _R._ 'Tis a proud challenge for your ill, - For shepherds are so many here - And their dancing of such skill - 660 That of none need they have fear. - - _L._ Many peasants come yonder too - From the hills for sustenance - And we watch them sing and dance - Even as up here they do: - 665 Their way of it shall you see at a glance. - -_Lopo sings and dances in imitation of the men of the Serra:_ - - Ah, should I lay my hand on you, - Love, fair my love. - A friend of mine, a friend of old, - Sends unto me apples of gold, - 670 How fair is love! - A friend I loved, even my friend, - Apples, apples of gold doth send. - So fair is love! - Apples of gold he sends amain, - 675 The best of them was cleft in twain, - So fair is love! - [Apples of gold he sends to me, - The best was cleft for all to see. - How fair is love!] - -(_Spoken:_) - - 680 That I think is, well or ill, - How you dance on fell and hill. - _S._ But now I would have you sing - As in Sardoal they do. - _L._ That is quite another thing, - 685 Wait then and I'll show it you: - Now no more my lady wills - That I speak with her alone. - How am I now woe-begone! - On a day my lady said - 690 That she would fain speak with me, - Now I for my sins atone - Since she says it may not be. - How am I now woe-begone! - For to me my lady said - 695 That she fain would speak with me, - Now I for my sins atone - Since me now she will not see. - How am I now woe-begone! - Now I for my sins atone - 700 Since she says it may not be, - Through the world will I begone - Where'er fortune carry me. - How am I now woe-begone! - -_The players sing this song, dancing together, and when it is finished -Felipa says:_ - - I pray you go not away so, - 705 But wait until the fiddle come, - O wait until you hear the drum, - Then how to move you'll scarcely know - So dead with dancing shall you go. - - _C._ And meanwhile by my life I ween - 710 'Twere well that we our dance and song - Should order here upon the green - And we will go with it along - To see the King and see the Queen. - -_All these shepherds took their places in the dance after their custom, -but its song was sung to the accompaniment of the organ and with the -following words:_ - - O strike me not, mother, - 715 The truth I'm confessing. - For, mother, a squire - Of our queen all on fire - With love came to woo me: - Of what he said to me - 720 The truth I'm confessing. - He came for to woo me - And 'O,' said he to me, - 'Were you in my power, - Alone without dower!' - 725 The truth I'm confessing. - -_And with this dance they went out and the play ended._ - - [p] LAUS DEO. - - - - -NOTES - - -AUTO DA ALMA - -PAGE 1 - -The _Auto da Alma_, produced probably in 1518, which in some sense forms -a Portuguese pendant to the _Recuerde el alma_ of Jorge Manrique -(1440?-79), is a Passion play, corresponding to the modern _Stabat_ on -the eve of Good Friday, and was suggested, perhaps, by Juan del Enzina's -_Representacion a la muy bendita pasion y muerte de nuestro precioso -Redentor._ It was not, however, acted in a convent or church, but in the -new riverside palace which saw so many splendid _ser[~o]es_ during King -Manuel's reign (1495-1521). King Manuel was now in the full tide of -prosperity. His sister, Queen Lianor or Eleanor (1458-1525), Gil -Vicente's patroness, who so keenly encouraged Portuguese art and -literature, was the widow (and first cousin) of his predecessor, King -Jo[~a]o II. The theme of the play, the contention of Angel and Devil for -the possession of a human soul, was far from new. Its treatment, -however, was original and the versification is clear-cut and well -sustained throughout, while a deep sincerity and glowing fervour raise -the whole play to the loftiest heights. The metre is mostly in verses of -seven short (8848484) lines (_abcaabc_) with an occasional slight -variation. There is a French version of the play, presumably in verse -(see _Durendal_, No. 10: Oct. 1913: _Le Myst[`e]re de l'[^A]me_; tr. J. -Vandervelden and Luis de Almeida Braga), but the difficult task of -translating it would require, to be successful, the delicate precision -of a Th['e]ophile Gautier. In his hands it might have become in French a -thing of beauty and a joy for ever, as it is in the original Portuguese. -As to the text, without emulating the pedantry of the critic who added a -fourth season to Shelley's three, and thereby provoked a splendid -outburst of wrath from Swinburne, we may assume that in passages where -Vicente appears to have gone out of his way to avoid a required rhyme, -this is merely a case of corruption repeated in successive editions. -Thus in the _Auto Pastoril Portugues_, where _Catalina minha dama_ -rhymes with _toucada_ we may perhaps substitute _fada_ for _dama_. (Cf. -_Serra da Estrella_, l. 530: _amigo_ for _marido_.) So here verse 114 -must read _tristeza_, not _tristura_, to rhyme with _crueza_. In 3 one -of the _mantimentos_ should perhaps be _alimentos_: see Lucas -Fern['a]ndez, _Farsas_ (1867), p. 247 (cf. the two _vaydades_ in 14); in -26 _fortunas_ should probably read _farturas_ (cf. _essas farturas_ in -the _Dialogo sobre a Ressurrei[c,]am_); in 35 the words _mui fermosos_, -or a single longer word, have evidently dropped out; in 54 _tendes_ was -perhaps an alteration by some critic who did not realize that the Angel -might naturally associate itself with the Church (or with the Soul) and -say _temos_; the last line of 100 was perhaps the word _pecadora_ or _e -senhora_ (cf. Fr. Luis de Le['o]n, _Los Nombres de Cristo_, Bk I: _mi -['u]nica abogada y se[~n]ora_); in 108 also a line is missing and a rhyme -required for _figura_ (_lavrado_ must go with _Deos_, _triste_ with -_vereis_, omitting _seu_). On the other hand it is hardly necessary to -alter 42 or 45 (although here _esmaltado_ is in the air) or 46 so as to -make them exactly fit the metre. - -1 _perigos dos immigos_, cf. _Os Trabalhos de Jesus_, 1665 ed. p. 94: _o -caminho do Ceo he cercado de inimigos e perigos para o perder. Qualibus -in tenebris vitae quantisque periclis Degitur hoc aevi quodcunque est!_ - -7 Cf. Newman, _The Dream of Gerontius_, l. 292 _et seq._: - - O man, strange composite of heaven and earth, - Majesty dwarfed to baseness, fragrant flower, etc. - -7-10 These exquisite verses have something of the scent and perfection -of wild flowers, and that mystic rapture which is not to be found in -Goethe's more worldly _Faust_. We may, if we like, call the _Auto da -Alma_ (as also the witch-scene in the _Auto das Fadas)_ a 16th century -_Faust_, but really no parallel can be drawn between the two plays. The -ethereal beauty of Vicente's lyrical _auto_, carved in delicate ivory, -is far less varied and human: it has scarcely a touch of the cynicism -and not a touch of the coarseness of Goethe's splendid work cast in -bronze. It can be compared at most with such lyrical passages as _Christ -ist erstanden_ or _Ach neige, Du Schmerzenreiche, Dein Antlitz gn["a]dig -meiner Not_, and as a whole is a mere lily of the valley by the side of -a purple hyacinth. - -9 _Planta sois e caminheira_. Cf. the white-flowered 'wayfaring tree.' - -16-17 This passage resembles those in the Spanish plays -_Prevaricaci['o]n de Ad['a]n_ and _La Residencia del Hombre_ quoted in -the _Revista de Filolog['i]a Espa[~n]ola_, t. IV (1917), No. 1, p. 15-17. - -17 Cf. _The Dream of Gerontius_, l. 280 _et seq._: 'Then was I sent from -Heaven to set right, etc.' - -18 _por['a] grosa_, attack, criticize, gloss. (= _glosar_. Cf. the -modern 'to grouse.') - -35 Cf. Antonio Prestes, _Auto dos Cantarinhos_ (_Obras_, 1871 ed. p. -457): _todo Valen[c,]a em chapins_. The _chapim_ was rather a -high-heeled shoe than a slipper. The reference is to the Spanish city -Valencia del Cid. Cf. Fr. Juan de la Cerda ap. R. Altamira, _Historia de -Espa[~n]a_, III, 728: 'En una mujer ataviada se ve un mundo: mirando los -chapines se ver['a] a Valencia'; Alonso Jer['o]nimo de Salas Barbadillo -in _El Cortesano Descort['e]s_ (1621) speaks of 'un presente de chapines -valencianos'; and in _La P['i]cara Justina_ (1912 ed. vol. I, p. 70) we -have 'un chapin valenciano.' - -38 _marcante_. In the _Auto da Feira_ the Devil is similarly a -_bufarinheiro_ (pedlar) and _mercante_. - -43 _a for da corte_. _For_ = _foro_ (v. Gon[c,]alvez Viana, _A -postilas_, vol. I, p. 353). - -58 Cf. Plato, _Respublica_, 365: [Greek: adik[^e]teon kai thuteon apo -t[^o]n adik[^e]mat[^o]n, k.t.l.] Vicente in his plays often inculcates -the need of something more than a formal religion. - -_xiquer_. Cf. _Auto da Barca do Inferno_: _Isto hi xiquer ir['a]_. - -59-60 These two verses are in the true spirit of Goethe's -Mephistopheles. - -62 _esta pe[c,]onha_. Would Vicente have written thus (cf. 66 and -_Obras_, III, 344, sermon addressed to Queen Lianor; and also Garcia de -Resende, _Miscellanea_, 1917 ed. p. 50) of the soul had there been the -slightest gossip or suspicion that his patroness, Queen Lianor, had -poisoned her husband? (See the most interesting studies in _Critica e -Historia_, por Anselmo Braamcamp Freire, vol. I. Lisbon, 1910.) - -71 Cf. _The Dream of Gerontius_, l. 210-1: - - Nor do I know my attitude, - Nor if I stand or lie or sit or kneel. - -73 _day passada_ = _perdoai_, _dai licen[c,]a_. Cf. Jorge Ferreira de -Vasconcellos, _Eufrosina_, II, 5. 1616 ed. f. 79 v. - -77 In Basque _pastorales_ one of the main attributes of the devils and -the wicked is that they are never quiet on the stage. In the _Auto da -Cananea_ (1534), a play in many ways resembling the _Auto da Alma_, the -line _Como andas desosegado_ recurs, addressed by Belzebu to Satanas. It -is the 'incessant pacing to and fro' of _The Dream of Gerontius_ (l. -446). In its beauty and intensity as a whole and in many details -Cardinal Newman's _The Dream of Gerontius_ is strikingly similar to the -_Auto da Alma_. But in it the strife is o'er, the battle won, and the -sanctified soul, rising refreshed from sleep with a feeling of 'an -inexpressive lightness and sense of freedom,' passes serenely, -accompanied by its guardian angel, above the 'sullen howl' of the demons -in the middle region. Cf. _Calte por amor de Deus, leixai-me, n[~a]o me -persigais_ with 'But hark! upon my sense Comes a fierce hubbub which -would make me fear _Could I be frighted_' (l. 395-7). - -80 Cf. Amador Arraez, _Dialogos_, No. 1, 1604 ed. f. lv.: _S. Jeronimo -diz que ['e] grande o reino, potencia e al[c,]ada das -lagrimas...atormentam mais aos Demonios que a pena infernal_. - -84 The author of the _Vexilla regis_ hymn was Venantius Fortunatus -(530-600). - -95 Cf. Antonio Feo, _Trattados Quadragesimais_ (1609), II f. 23: _assy -na Cruz como no monte Oliueto chorou porque vio vir a quem ouuera de -chorar_. - -97 Cf. Gomez Manrique, _Fechas para la Semana Santa_ (ap. M. Pelayo, -_Antolog['i]a_, t. III, p. 92). - -108 Cf. Juan del Enzina, _Teatro_ (1893), p. 39: _Veis aqui donde vereis -Su figura figurada Del original sacada_. - -116 _dais o seu a cujo he_, cf. _Triunfo do Inverno_: _Porque se devem -de dar As cousas a cujas s[~a]o_; _C. Res._ I (1910), p. 64: _dar o seu -a cujo hee_. - -121 Cf. Gomez Manrique, _Fechas_ (_Antolog._ t. III, p. 93): - - Y vamos, vamos al huerto - Do veredes sepultado - Vuestro fijo muy prouado - De muy cruda muerte muerto. - - -EXHORTA[C,]AO DA GUERRA - -PAGE 23 - -The expedition to capture from the Moors the important town of Azamor in -N. W. Africa consisted of over 400 ships (Luis Anriquez in his poem in -the _Cancioneiro Geral_ says 450) and a force of 18,000 soldiers, of -which 3000 were provided by James, Duke of Braganza, who commanded the -expedition. It set sail from Lisbon on the 17th of August, 1513. -(Dami[~a]o de Goes and Osorio say the 17th, Luis Anriquez the 15th, -which was evidently the day (the Feast of the Assumption) fixed for -departure.) It was entirely successful and the news of the fall of -Azamor caused great rejoicings both at Lisbon and Rome. The play was -evidently touched up afterwards, for it includes the sending of the -elephant to Rome (1514) and the marriages of the princesses. It is -barely possible that it was written after the victory, in which case the -words _na partida_ would be retrospective and the date given in the 1st -edition was not a slip. Parts of the play suit 1514 better than 1513. -Trist[~a]o da Cunha's special mission (cf. lines 195-6) to the Pope -(with Garcia de Resende for secretary) left early in 1514 and entered -Rome on March 12. One of the objects of the mission was to obtain a -grant of the tithes (ll. 194, 224) for the Crown to use for the war in -Africa. (The request was granted but King Manuel subsequently renounced -them in return for 150,000 gold coins.) The exhortations of l. 351 _et -seq._, l. 514 _et seq._, l. 559 _et seq._ are better suited to a time -when more men and money were needed actively to continue the war than -when an army of 18,000 was equipped and ready to leave. The Pope in 1514 -promised indulgences to all those who should contribute money for the -African war and also granted King Manuel a portion of church property in -Portugal (cf. ll. 475-84 and 535-48) for the same object (l. 546: _pera -Africa conquistar_). The King's aim is now to build a cathedral in Fez -(l. 573-4). There is no mention of Azamor. This was the first of the -great patriotic outbursts (cf. the _Auto da Fama_ and other plays) in -which Vicente appears not as a satirist or religious reformer but as an -enthusiastic imperialist, and which still delight and stir his -countrymen. - -18 Prince Luis (1506-55), one of the most gallant, talented and -interesting of Portuguese _infantes_, was no doubt present at the -_ser[~a]o_ and would be delighted by this reference. (The youngest -princes, Afonso, born in 1509, and Henrique, born in 1512, are not -mentioned. They both became Cardinals and the latter King of Portugal, -1578-80.) The princes are similarly addressed in the _Cortes de Jupiter_ -in 1521. - -46 Mercury opens the _Auto da Feira_ with a similar string of -absurdities (suggested by Enzina's _perogrulladas_), e.g. _Que se o ceo -fora quadrado N[~a]o fora redondo, Senhor; E se o sol fora azulado -D'azul fora seu cor_. (If square the sky were found then it would not be -round, and if the sun were blue then blue would be its hue.) _Os -disparates de 'Joan de Lenzina'_ (Ferreira, _Ulys._ IV, 7) were -well-known in Portugal. - -94, 113, 129 No meaning is to be squeezed out of these cabbalistic -words. - -116 We have an even more detailed description in the _Sumario da -Historia de Deos_: - - A furna das trevas, ponte de navalhas, - o lago dos prantos, a horta dos dragos, - os tanques da ira, os lagos da neve, - os raios ardentes, sala dos tormentos, - varanda das dores, cozinha dos gritos, - A[c,]ougue das pragas, a torre dos pingos, - o valle das forcas. - -125 Vicente was more tolerant than most contemporary writers who -inveighed against the blindness and malice of the Jews. - -132 The necromancer evokes spirits which he is unable to control. He -calls them brothers but they answer in effect: 'Du gleich'st dem Geist -den du begreif'st, nicht mir.' - -151 The _almude_ = 12 gallons. - -156 Cabrela e Landeira is a village near Montem[^o]r-o-Novo. Cf. _Sum. -da Hist. de Deos_: - - _Satanas_: Sabes Rio-frio e toda aquela terra, - aldea Gallega, a Landeira e Ranginha - e de Lavra a Coruche? Tudo ['e] terra minha. - -157 Cartaxo, a small town in the district of Santarem. - -158 The village of Lumiar is now connected with Lisbon by a tramway. - -159 Mealhada, a parish in the district of Aveiro. - -162 Cf. _uva terrantes_ (indigenous). - -164 Ribatejo = the country along the river Tejo (Tagus). Cf. _Auto da -Feira_: _Vai-te ao sino do Cranguejo, Signum Cancer, Ribatejo._ - -168 Arruda dos Vinhos and Caparica are villages in a vine-growing -district on the left bank of the Tagus opposite Lisbon, near Almada. - -173 _estrema_ = _marco_ (Sp. _mojon_). Cf. _Auto da Festa_, ed. Conde de -Sabugosa (1906), p. 110: _Este he da pedra do estremo_. - -174 _diadema_ is usually masculine, but Antonio Vieira has it both ways. - -176 Seixal (2500-3000 inh.) in the district of Almada. - -177 Almada, formerly Almad[~a]a (Arab = the mine, but as Englishmen -settled there in the 12th century it was later given the fanciful -derivation All made or All made it), a town of 10,000 inh., opposite -Lisbon on the left bank of the Tagus. - -179 Tojal (= whin-moor, gorse-common), a small village near Olivaes -(= olive groves), in the Lisbon district. - -195 The impression produced by the arrival in Rome of King Manuel's -elephant, panther and other magnificent gifts was vividly described by -several writers. Cf. Dami[~a]o de Goes, _Chron. de D. Manuel_, Pt 3, -cap. 55, 56, 57 (1619 ed. f. 223 v.-227). According to Ulrich von Hutten -the elephant 'fuit mirabile animal, habens longum rostrum in magna -quantitate; et quando vidit Papam tunc geniculavit ei et dixit cum -terribili voce _bar, bar, bar_' (apud Theophilo Braga, _Gil Vicente e as -Origens do Theatro Nacional_ (1898), p. 191). Cf. also Manuel Bernardez, -_Nova Floresta_, V, 93-4. The head of this celebrated elephant forms the -background to a portrait of Trist[~a]o da Cunha (head of the embassy to -the Pope) reproduced in Senhor Joaquim de Vasconcellos' edition of -Francisco de Hollanda's _Da Pintura Antigva_ (Porto, 1918). - -229 In 1517 among other exotic presents a rhinoceros was sent to the -Pope. It was however shipwrecked and drowned on the way. It had the -honour of being drawn by Albrecht D["u]rer. - -238 Vicente seems to have coined this intensive of _bellisima_. - -243-4 Cesar = King Manuel. Hecuba=his second wife, Queen Maria, daughter -of Ferdinand and Isabella of Spain. - -249 Prince Jo[~a]o, born in 1502, afterwards King Jo[~a]o III (1521-57). - -259 The Infanta Isabel (1503-39) married her first cousin the Emperor -Charles V, and in her honour on that occasion Vicente composed his -_Templo de Apolo_ (1526). Her marriage may have already been planned in -1513, but more probably Vicente altered the passage when he was -preparing the 1st edition of his works during the last months of his -life. Gil Vicente more than once refers to her great beauty. Her -portrait by Titian in the Madrid Prado fully bears out his praises and -the expression on her face places this among the most fascinating -portraits of women. The Empress is sitting by a window looking on to a -beautiful country of woods and blue mountains, in her hand is a book; -but one feels that she is thinking of neither book nor scenery but that -her thoughts go back in _saudade_ to the soft air and merry days of -Lisbon. It might indeed be a picture of _Saudade_. There is a slight -flush on her pale oval face. Her almond-shaped eyes are grey-green, her -nose delicately aquiline. In the eyes and in the general expression -there is a look of undeniable sadness. Her dress of plum, cherry-pink, -gold and brown gives a gorgeously mellow effect and the curtain at the -back is plum-brown. If the colouring seems at first too rich this is due -to the criminal gold frame which clashes with the dress and the -chestnut-golden hair. In a dark frame the picture would be twice as -beautiful. The Empress' dress gleams with pearls and she has a jewel -with pearls--set perhaps by Gil Vicente--in her hair, large pearl -earrings and a necklace of large pearls. She died at Toledo at the age -of 36 and lies in the grim Pantheon of the Kings in the Escorial crypt. - -266 Of Prince Fernando, born in 1507, Dami[~a]o de Goes, who knew him -personally, says: 'assi na mocidade como depois de ser homem foi de bom -parecer e bem disposto, muito inclinado a letras e dado ao estudo das -historias verdadeiras e imigo das fabulosas... Era colerico e apressado -em seus negocios e muito animoso, com mostra e desejo de se achar em -algun grande feito de guerra, mas nem o tempo nem o estudo do Regno -deram pera isso lugar' (_Chron. de D. Manuel_, II, xix). Cf. Osorio, _De -Rebvs Emmanvelis_ (1571), p. 189: 'Fuit in antiquitate pervestiganda -valde curiosus: maximarum rerum studio flagrabat multisque virtutibus -illo loco dignis praeditus erat.' - -275 Princess Beatrice as a matter of fact married Charles, Duke of -Savoy, and on the occasion of her departure from Lisbon by sea with a -magnificent suite Vicente wrote the _Cortes de Jupiter_ (1521) with the -_romance_: - - Nina era la Ifanta, Dona Beatriz se dezia, - Nieta del buen Rei Hernando, el mejor rei de Castilla, - Hija del Rei Don Manuel y Reina Do[~n]a Maria, etc. - -284 Cf. the _Auto das Fadas_ (with which this play has many points of -resemblance): _Feiticeira_ (ao principle e infantes): _['o] que joias -esmaltadas, ['o] que boninas dos ceos, ['o] que rosas perfumadas!_ - -331-2 Cf. _Divisa da Cidade de Coimbra_: _Vai delas a eles t[~a]o grande -avantagem... como haver['a]...do vivo a h[~u]a imagem_. - -341 _Godos_, Goths, i.e. of ancient race, 'Norman blood.' - -346 For _dioso_ = _idoso_ v. _C. Geral_, vol. II (1910), p. 153. Fernam -Lopez, _Chron. J. I._ Pt. 2, cap. 10, has _deoso_. - -384 _pequenas quadrilhas_. When Afonso de Albuquerque began his glorious -career (1509-15) there were in India but a few hundred Portuguese -fighting men, and most of these badly armed. The whole population of -Portugal during this time of fighting and discovery in N.-West, West and -East Africa and India is by some calculated at a million and a half, by -others at between two and three millions. - -416 Prov. _mais s[~a]o as vozes que as nozes_. - -418 For this line cf. Pedro Ferrus: _Que por todo el mundo suena_ (ap. -Men['e]ndez y Pelayo, _Antolog['i]a_, t. I, p. 159 and Enzina, _Egloga_, -V (_ib._ t. VII, p. 57)). - -420 _pois que...pessoa_, a homely version of Goethe's _Was du ererbt von -deinen V["a]tern hast Erwirb' es um es zu besitzen_. - -470-4 These lines are translated from the Spanish poet Gomez Manrique -(1415?-1490?). See Men['e]ndez y Pelayo, _Antolog['i]a_, t. VII, p. ccx. - -Cf. Jorge Ferreira de Vasconcellos, _Ulysippo_, V, 7: _Vos quando vos -tirarem de Ansias e passiones mias e guando Roma conquistava_. - -487 _dom zote_. Cf. supra _zopete_ and Sp. _zote_, _zopo_, _zopenco_, -_zoquete_ (a dolt); low Latin _sottus_; Dutch _zot_; Fr. _sot_; Eng. -_sot_ (_bebe sem desfolegar_). _Zote_ occurs twice in the _Auto Pastoril -Portugues_: _muito gamenho_ (cf. Fr. _gamin_) _zote_ and _Auto da -F['e]_, l. 5. - -534 _trepas_ is the Span. form (Port, _tripas_?). - -538 _soy[c,]os_ the old, _soldados_ the new, word for 'soldiers.' Cf. -Lucas Fern['a]ndez, _Farsas_ (1867), p. 89: _Entra el soldado, o soizo, -o infante_. - -559 This rousing chorus fitly ends a play from every page of which -breathes the most ardent patriotism. Small wonder that King Sebasti[~a]o -(1557-78), with his visions of conquest and glory, read Vicente with -pleasure as a boy. - -561 Cf. Gaspar Correa, _Lendas da India_, IV, 561-2: _o Governador logo -sobio e o frade diante dele bradando a grandes brados, dizendo: 'O fieis -Christ[~a]os, olhai para Christo, vosso capit[~a]o, que vai diante'_ -(1546). - - -FARSA DOS ALMOCREVES - -PAGE 37 - -This is one of the most famous of those lively farces with which Gil -Vicente for a quarter of a century delighted the Portuguese Court and -which still hold the reader by their vividness and charm. Its fame rests -on the portraiture of the poverty-stricken but magnificent nobleman who -has been a favourite object of satire with writers in the Peninsula -since the time of Martial, and who in a poem of the _Cancioneiro Geral_ -is described in almost the identical words of Vicente's prefatory note: - - o gram estado - e a renda casi nada - (_Arrenegos que que fez Gregoryo Affonsso_). - -An alternative title of the play is _Auto do Fidalgo Pobre_, but the -extremely natural presentment of the two carriers in the second part -justifies the more popular name. The Court, fleeing from plague at -Lisbon, was in the celebrated little university town of Coimbra on the -Mondego and here Gil Vicente in the following year staged his _Divisa da -Cidade de Coimbra_, the _Farsa dos Almocreves_, and (in October) the -_Tragicomedia da Serra da Estrella_ and S['a] de Miranda, in open -rivalry, produced his _Fabula do Mondego_. But Gil Vicente was not to be -silenced by the introduction of the new poetry from Italy and to these -two years, 1526 and 1527, belong no less than seven (or perhaps eight) -of his plays. Yet what a difference in his own position and in the state -of the nation since his first farce--_Quem tem farelos?_ twenty years -before! The magnificent King Manuel was dead, and his son, the more -care-ridden Jo[~a]o III, was on the throne: - - t[~a]o ocupado - co'este Turco, co'este Papa - co'esta Fran[c,]a. - -There was plague and famine in the land. The discovery of a direct route -to the East and its apparently inexhaustible wealth had not brought -prosperity to the Portuguese provinces. There the chief effect had been -to make men discontented with their lot and to lure away even the -humblest workers to seek their fortune and often to find death or a far -less independent poverty: - - at['e] os pastores - h[~a]o de ser d'el-Rei samica. - -The result was that the old rustic jollity which Vicente had known so -well in his youth was dying out, and the very songs of the peasants took -a plaintive air: - - E no mais triste ratinho - s'enxergava h[~u]a alegria - que agora n[~a]o tem caminho. - Se olhardes as cantigas - do prazer acostumado - todas tem som lamentado, - carregado de fadigas, - longe do tempo passado. - O d' ent[~a]o era cantar - e bailar como ha de ser, - o cantar pera folgar, - o bailar pera prazer, - que agora ['e] mao d'achar[155]. - -Nor could it be expected that the rich _parvenu_, the mushroom courtier, -the _fidalgo 'que n[~a]o sabe se o ['e],'_ the palace page fresh from -keeping goats in the _serra_, the Court chaplain anxious to hide his -humble origin, would greatly relish Vicente's plays which satirized them -and in which rustic scenes and songs and memories appeared at every -turn. It was much like mentioning the rope in the house of the hanged, -and these dainty and sophisticated persons would turn with relief to the -revival of the more decorous ancient drama inaugurated by Trissino in -Italy and in Portugal by S['a] de Miranda. - -3 _este Arnado_. Cf. Bernardo de Brito, _Chronica de Cister_, III, 18: -'se foi [Afonso Henriquez] ao longo do Mondego por um campo [~q] -ent[~a]o e no tempo de agora se chama o Arnado, trocado ja pelas -enchentes do rio de campo cuberto de flores em um areal esteril e sem -nenh[~u]a verdura.' Cf. _Cancioneiro da Vaticana_, No. 1014: 'en Coimbra -caeu ben provado, caeu en Runa ata en o Arnado.' - -7 See the Spanish _romance_ (ap. Men['e]ndez y Pelayo. _Antolog['i]a_, -t. VIII, p. 124): 'Yo me estaba all['a] en Coimbra que yo me la hube -ganado.' - -8, 9 The sense of these two obscure lines is apparently: 'Since Coimbra -so chastises us that we are left without a penny.' Ruy Moniz in the -_Canc. Geral_, vol. II (1910), p. 142, has _[c,]imbrar ou casar_. In -Spanish _cimbrar_ = 'to brandish a rod,' 'to bend.' In the _Auto del -Repelon_, printed in 1509, Enzina has: _El palo bien assimado Cimbrado -naquella tiesta_ (_Teatro_ (1893), p. 236) and Fern['a]ndez (p. 25) _No -vos cimbre yo el cayado_. Cf. Antonio Prestes, _Autos_ (ed. 1871), p. -211: _E o vil[~a]o vindo me zimbra: reprender-me!_ and Jo[~a]o Gomes de -Abreu (_C. Ger._ vol. IV (1915), p. 304) _seraa rrijo [c,]imbrado_. -_preto_ = _real preto_, contrasted with the white (i.e. silver) _real_. - -12 _Pelos campos de Mondego cavaleiros vi somar_ were two very -well-known lines apparently belonging to a real historical Portuguese -_romance_ on the death of Ines de Castro. They occur in Garcia de -Resende's poem on her death. See C. Micha["e]lis de Vasconcellos, _Estudos -sobre o romanceiro peninsular_. - -13 Cf. _Tragicomedia da Serra da Estrella_ (1527): _Pedem-lhe em Coimbra -cevada E elle d['a]-lhe mexilh[~o]es_. - -19 _milham_, green maize cut young for fodder. - -32 _ratinhos_, peasants from Beira. They play a large part in Portuguese -comedy. - -80 _azemel_ = _almocreve_. Both words are of Arabic origin. Cf. -_almofreixe_ infra. - -93 _Endoen[c,]as_ = _indulgentiae_. _Semana de Endoen[c,]as_ = Holy -Week. - -103 In the _Auto da Lusitania_ Vicente says jestingly, perhaps in -imitation of the Spanish _romances_, that he was born at Pederneira (a -small sea-side town in the district of Leiria). He mentions it again in -the _Cortes de Jupiter_ and in the _Templo de Apolo_. - -109 Cf. Alvaro Barreto in _Cancioneiro Geral_, vol. I (1910), p. 322: -_po[~e] me tudo em hu[~u] item_. - -120 It was the plea of Arias Gonzalo that the inhabitants of Zamora were -not answerable for the guilt of Vellido Dolfos who had treacherously -killed King Sancho: - - [?]Qu['e] culpa tienen los viejos? [?]qu['e] culpa tienen los - ni[~n]os? - [?]qu['e] culpa tienen los muertos...? - -129 _balcarriadas_. Cf. _Auto das Fadas_: _Venhas muitieram['a] com tuas -balcarriadas;_ _Auto da Festa_: _t[~a]o gr[~a]o balcarriada_; _Auto da -Barca do Purgatorio_: _Nunca tal balcarriada Nem mar['e] t[~a]o -desastrada_. Couto, _Asia_, VII, 5, vii: _Tal balcarriada_ (act of folly) -_foi esta_. The _Canc. Geral_, vol. IV (1915), p. 370, has the form -_barquarryadas_. - -134 Cf. _Auto da Lusitania_: _um aito bem acordado Que tenha ave e -pi['o]s_ (= well-proportioned). - -135 The numerous servants of the starving _fidalgos_ are satirized by -Nicolaus Clenardus and others. Like the English as described by a German -in the 18th century they were 'lovers of show, liking to be followed -wherever they go by whole troops of servants' (_A Journey into England_, -by Paul Hentzer. Trans. Horace Walpole, 1757). Clenardus in his -celebrated letter from Evora (1535) says that a Portuguese is followed -by more servants in the streets than he spends sixpences in his house. -He mentions specifically the number eight. - -141 Alcoba[c,]a is the town famous for its beautiful Cistercian convent. - -161 _Alifante._ Cf. infra, _avangelho_. _A_ for _e_ is still common in -Galicia: e.g. _mamoria_ (memory). Cf. Span. Basque _barri_ (new), for -Fr. Basque _berri_. - -165 The Dean was Diogo Ortiz de Vilhegas ([+] 1544) successively Bishop -of S[~a]o Tom['e] (1534) and Ceuta (1540). See A. Braamcamp Freire in -_Revista de Historia_, No. 25 (1918), p. 3. - -224 _basti[~a]es_ = _besti[~a]es_, figures in relief. Gomez Manrique has -_bestiones_ in this sense. - -247 In Antonio Prestes' play _Auto do Mouro Encantado_ the golden apples -prove to be pieces of coal. So Mello in his _Apologos Dialogaes_ speaks -of the treasure of _moiras encantadas_ which all turns to coal. - -269 _In Rey_, the popular form of _El-Rei_ (the king) is frequent also -in the plays of Sim[~a]o Machado, who died about a century after -Vicente. - -272 It is tempting to add the word _madra[c,]o_ (fool, ignoramus) for -the sake of the rhyme. If _O recado que elle d['a]_ were spoken very -fast the line would bear the addition. - -293 Here, as often, the deeper purpose of Vicente's satire appears -beneath his fun. The growing depopulation of the provinces was becoming -painfully evident to those who cared for Portugal. - -302 Jorge Ferreira, _Ulysippo_, III, 5: _n[~a]o haveria corpo, por mais -que fosse de a[c,]o milanes, que podesse sofrer quanta costura lhe seria -necessaria_; _ib._ III, 7: _temos muita costura esta noite; muita -costura e tarefa_; Antonio Vieira, _Cartas_: _tambem aqui teremos -costura_ (1 de agosto de 1673). - -310 _trapa_ in Port. = 'a gin,' 'a trap,' but in Sp., as perhaps here, = -'noise,' 'uproar.' - -327 Cf. _Farsa dos Fisicos_: _Praticamos ali O Leste e o Oeste e o -Brasil_ and III, 377; Chiado, _Auto da Natural Inven[c,]am_, ed. Conde -de Sabugosa (1917), p. 74. - -348 The carrier comes along singing snatches of a _pastorela_ of which -we have other examples, of more intricate rhythm, in the _Cancioneiro da -Vaticana_ and the poems of the Archpriest of Hita and the Marqu['e]s de -Santillana. A modern Galician _cantiga_ says that - - O cantar d'os arrieiros - E um cantari[~n]o guapo: - Ten unha volta n'o medio - Para dicir 'Arr['e] macho.' - -(P['e]rez Ballesteros, _Cancionero Popular Gallego_, vol II, p. 215.) - -355 Cf. _O Clerigo da Beira_: _Nuno Ribeiro Que nunca paga dinheiro E -sempre arreganha os dentes_; and _Ah Deos! quem te furtasse Bolsa, Nuna -Ribeiro. Homem vai buscar dinheiro, A todo ele disse: Ja dinheiro feito -['e]_. - -360 _uxtix_, _uxte_. Ferreira de Vasconcellos, _Eufrosina_, II, 4: -_Tanto me deu por uxte como por arre_. - -_atafal_. Cf. _Barca do Purgatorio_ (I, 258): _amanhade-lhe o atafal_ -(not _amanh[~a] d['e]-lhe_). - -363 Candosa, a village of some 1400 inh. in the district of Coimbra. - -369 _xulo_ = _chulo_, _p['i]caro_. The derivation of _chulo_ is -uncertain (v. Gon[c,]alvez Viana, _Apostilas_, vol. I (1906), p. 299). -While Dozy derives it from Arabic _xul_, A. A. Koster suggests the same -origin as that of Fr. _joli_, It. _giulivo_, Catalan _joliu_ [= gay. Cf. -Eng. _jolly_ and the Portuguese word used by D. Jo[~a]o de Castro: -_joliz_], viz. the Old German word _jol_ (gaiety). Vid. _Quelques mots -espagnols et portugais d'origine orientale_ (_Zeitschrift f["u]r rom. -Philologie_, Bd. 38 (1914), S. 481-2). The Valencian form for July -(_Choliol_) may strengthen this view. - -372 Tareja is the old Portuguese form of Theresa. - -375 _bareja_ = _mosca varejeira_. - -379 Aveiro. A town of about 7500 inh., 40 miles S. of Oporto. It was -nearly taken by the Royalists in 1919. - -398 For the naturalness of this conversation cf. that of the peasants -Amancio Vaz and Deniz Louren[c,]o in the _Auto da Feira_. - -410 Pero Vaz' point is that the mules will not stop to feed in the cool -shade of the trees but do so in the shelterless _charneca_. - -429 Cf. the act of D. Jo[~a]o de Castro (1500-48) as before him of -Afonso de Albuquerque in pawning hairs of his beard, and the proverb -_Queixadas sem barbas n[~a]o merecem ser honradas_. - -435 _O juiz de [c,]amora_. In the _romance Ya se sale Diego Ordo[~n]ez_ -Arias Gonzalo of Zamora says: 'A Dios pongo por juez porque es justo su -juicio.' So that the judge of Zamora = God. - -438-9 No one was better situated than Gil Vicente to criticize--and -suffer the slights of--the brand-new nobility of the Portuguese Court. -The nearer they were to the plough the more disdainful were they likely -to be to a mere goldsmith and poet. - -454 _desingulas_ (= _dissimulas_). Cf. _Auto Pastoril Portugues_: _n[~a]o -o dessengules mais_. Duarte Nunes de Le[~a]o, _Origem da Lingva -Portvgvesa_ (1606), cap. 18, includes _dissingular_ (= dissimular) among -the _vocabulos que vs[~a]o os plebeios ou idiotas que os homens polidos -n[~a]o deuem vsar_. - -467 For the form Diz cf. _Auto das Fadas_: Estev[~a]o Dis, and _O Juiz -da Beira_: Anna Dias, Diez, Diz (= Diaz). - -473 Pero Vaz evidently did not know the _cantiga:_ - - A molher do almocreve - Passa vida regalada - Sem se importar se o marido - Fica morto na estrada. - -Cf. the Galician quatrain (P['e]rez Ballesteros, _Cane. Pop. Gall._ II, -219): - - A vida d'o carreteiro - ['E] unha vida penada, - Non vai o domingo ['a] misa - Nin dorme n'a sua cama. - -478 Vicente refers to the Medina fair in the _Auto da Feira_ and again -in _O Juiz da Beira_: _morador en Carrion Y mercader en Medina_. - -498 _Folgosas_. There are two small villages in Portugal called Folgosa, -but reference here is no doubt to an inn or small group of houses. - -506 Vicente several times refers to _Val de Cobelo_, e.g. _Comedia de -Rubena_: _E achasse os meus porquinhos Cajuso em Val de Cobelo_, and the -shepherd in the _Auto da Barca do Purgatorio_: _estando em Val de -Cobelo_. - -529-30 Cf. S['a] de Miranda, 1885 ed., No. 108, l. 261: _Inda hoje vemos -que em Fran[c,]a Vivem nisto mais ['a] antiga_, etc. Couto (_Dec._ V, -vi, 4) speaking of the mingling of classes, says: 'no nosso Portugal -anda isto mui corrupto.' - -537 Cf. _Comedia de Rubena_: _E broslados (= bordados) uns letreiros Que -dizem Amores Amores._ - -559 The ancient town of Viseu or Vizeu (9000 inh.) in Beira has now sunk -from its former importance. - -560 _pertem_ for _pertence_. - -565 _arauia_ = _algaravia_. So _ingresia_, _germania_, etc. (cf. the -French word _charabia_). - -586 Cf. _O Juiz da Beira_: _pois tem a morte na m[~a]o_ (= not 'there is -death in that hand' as was said of Keats, but 'he is at death's door'). - -591 The original reading _da sert[~a]y_ (rhyming with _m[~a]y_ in l. -588) is confirmed by the _Auto da Lusitania_: _rendeiro na Sert[~a]e_. -The town of Cert[~a] in the district of Castello Branco now has some -5000 inh. - -603 Cf. Jorge Ferreira, _Aulegrafia_, I, 4: _['O] senhor, gr[~a]o saber -vir_. - -657 _tam mancias_, i.e. _Macias, o Namorado_, the prince of lovers. For -the form _Mancias_ cf. _palanciana_ used for _palaciana_. - -671 _los tus cabellos ni[~n]a_. Cf. Ferreira de Vasconcellos, _Aulegrafia_, -f. 113: _Sob los teus cabelos, ninha, dormiria_. - -675 Cf. Jorge Ferreira, _Eufrosina_. _Prologo_: _Eu por mim digo com a -cantiga se o dizem dig[~a]o_, etc.; _Cortes de Jupiter_: _Cantar['a] -c'os atabaques: Se disser[~a]o dig[~a]o, alma minha_ and Barbieri, -_Cancionero Musical_, No. 127: _Si lo dicen digan, Alma mia_, etc. E -wrongly gives the words _alma minha_ to the next quotation. - -676 Cf. _Auto da India_: _Quem vos anojou, meu bem, Bem anojado me tem_. - -707 Cf. _Auto das Fadas_: _Son los suspiros que damos In hac vita -lachrymarum_. - -713 Cam[~o]es, _Filodemo_, IV, 4, has _tudo terei numa palha_, 'I will -not care a straw' (cf. Vicente in the _Auto da Festa_: _Que os homens -verdadeiros n[~a]o s[~a]o tidos numa palha_), but here the meaning is -different. - - -TRAGICOMEDIA PASTORIL DA SERRA DA ESTRELLA - -PAGE 55 - -It is remarkable that just at the time when S['a] de Miranda had -returned to Portugal with the new metres from Italy and was frankly -contemptuous of Gil Vicente's rough mirth and rustic verse, Gil Vicente -felt his position strong enough to present this lengthy play before the -King and Court at Coimbra on occasion of the birth of the King's -daughter Maria. There is no action in the play, and King Manuel would -perhaps have yawned at these shepherds' quarrels, relieved not at all by -the _parvo's_ wit or the hermit's grossness and only occasionally by a -touch of lyric poetry; but perhaps these simple scenes were welcome to -the growing artificiality of the Court. For us the beautiful _cossante -Um amigo que eu havia_ stands out like a single orange gleaming from a -dark-foliaged tree. The interest lies in the customs of the shepherds -and their snatches of song and in the intimate knowledge of the Serra da -Estrella shown by the author. - -10 The Serra da Estrella, the highest mountain-range in Portugal (6500 -ft), is in the province of Beira. - -17 _meyrinhas_ = _maiorinho_ (merino). - -30 _esperauel_ (as here and in _Comedia de Rubena_), or _esparavel_. Cf. -Dami[~a]o de Goes, _Chron. de D. Manuel_ (1617), f. 25 v.: a _modo de -sobreceo d'esparavel_. - -32 Cf. the _vil[~a]o's_ complaints of God in the _Romagem de -Aggravados_. - -35 _nega_ = _sen[~a]o_. - -51 As in Browning's _A Grammarian's Funeral_ they are advancing as they -converse: 'thither our path lies.' - -103 _Nega se meu embeleco_ = _se n[~a]o me engano_. This line occurs in -the _Templo de Apolo_. The _Auto da Festa_ text has _nego se meu -embaleco_. - -113 _mancebelh[~o]es_. Cf. Correa, _Lendas_, IV, 426: _Folgara de ser -mais mancebelh[~a]o_. - -127 The corresponding _a_-lines might be: - - Dous a[c,]ores que eu amava - Aqui andam nesta casa. - -172 _argem_ for _prata_. Similarly in Spanish there is the old form -_argen_ for _argento_ (= _plata_). Cf. the proverb _Quien tiene argen -tiene todo bien_. - -190 _somana_ for _semana_. So _romendo_ for _remendo_ and v. infra: -_perem_ for _porem_. - -225 _gingrar_. Nuno Pereira in the _Cancioneiro Geral_ (1910 ed., vol. -I, p. 305) has _o gingrar de meu caseiro_. Cf. Enzina, _Auto del -Repelon_: _Hora d['e]jalos gingrar_ (_Teatro_, 1893, p. 241). - -241 _sois_. Cf. _Barca do Purgatorio_: _sem sois motrete de p[~a]o_; -_Farsa dos Fisicos_: _n[~a]o vos quer sois olhar_. - -290-1 = _odi et amo_. - -322 As a rule Vicente's shepherds are natural enough but we may be -permitted to doubt whether any shepherdess of the Serra da Estrella -would have spoken of 'ending like Queen Dido.' She had probably been -reading Lucas Fern['a]ndez, _Farsas_ (1867), p. 56. - -328 A, B, C, D and E unaccountably print _quer[^e]-lo_ (through the bad -attraction of _malo_) although _querer_ is needed to rhyme with _quer_. - -367 _pintisirgo_ = _pintasilgo_. - -410 _grauisca_. Vicente appears to have coined the word from _grave_ and -_arisca_. - -427 Fronteira, a village of nearly 3000 inh. in the district of -Portalegre. Monsarraz is of about the same size, in the district of -Evora. - -435 _tinhosa cada mea hora_. Cf. Jorge Ferreira de Vasconcellos, -_Aulegrafia_, f. 89: _he h[~u]a tinhosa que ontem guardava patas em -Barquerena_. - -440 _cartaxo_. Cf. _Aulegrafia_, f. 10: _figo bafureiro em unhas de -cartaixo_. - -443 A pleasant sketch of the presumptuous peasant, then become a common -type in Portugal. Felipa considers that to marry a shepherd would be -beneath her and her heart leaps up when she beholds a courtier in velvet -slippers. - -462 The hermit was of course a part of the stock-in-trade of mediaeval -plays. He appears in Vicente as early as 1503 (_Auto dos Reis Magos_). -The most interesting alteration in the heavily censored (1586) edition -of the _Serra da Estrella_ is not the excision of over a hundred lines -about the evil-minded hermit but the substitution in l. 100 of _un rey_ -for _Dios_. Regalist Vicente would never have allowed himself to say -that 'a king sometimes acts awry.' - -530 For _amigo_ we should probably read _marido_ to rhyme with -_atrevido_. - -564 _moxama_ = salted tuna (Sp. _mojama_ or _almojama_). - -566 Cf. J. Ferreira de Vasconcellos, _Aulegrafia_ (1619), f. 84: _sejais -bem casada com a filha do juiz_. - -608 Sea, Cea or Ceia, a pleasant little town of some 3000 inh. in the -heart of the Serra. (Sea, Sintra, etc. is the 16th cent, spelling, now -restored.) - -616 Gouvea or Gouveia in the same district and about the same size as -Sea. The three other Gouveas in Portugal are smaller villages. - -621 Manteigas, a small picturesque town immediately below the highest -part of the Serra and nearly 2500 ft above sea-level. - -623 Covilham, a larger town (15000 inh.), still known for its cloth -factories. - -652 Sardoal has about 5000 inh. For its ancient reputation for dancing -cf. _O Juiz da Beira_: - - Eu bailei em Santarem, - Sendo os Iffantes pequenos, - E bailei no Sardoal. - -666 This _cossante_ needs for its completion a fourth verse. This was so -obvious that it was omitted in the writing of the play. - -684 _Esse he outro carrascal_, a rural form of the phrase _une autre -paire de manches_. The contrast is between the rustic _cossante_ and the -more 'cultivated' or Court _cantigas_ that follow (_Ja n[~a]o quer_ and -_N[~a]o me firais_). - -711 The _chacota, chacotasinha_ was a peasant's dance accompanied by a -simple song the structure of which answered to the movements of the -dance. Here, however, it is danced to the sound of the organ and the -words of a Court song in which, nevertheless, the repetition of the -rustic _dance-cossantes_ is preserved. - -724 Cf. _Farsa de Ines Pereira_: _Eu vos trago um bom marido...diz que -em camisa vos quer_ (= 'sans dot'). - - -FOOTNOTES: - -[155] _Triunfo do Inverno_ (1529), l. 13-25. - - - - -LIST OF PROVERBS IN GIL VICENTE'S WORKS - - - A amiga e o amigo mais aquenta que bom lenho III, 127 - A candea morta gaita ['a] porta II, 215 - Ado corre [el r['i]o] m['a]s manso all['i] est['a] - m['a]s peligroso II, 169 - Amor louco, eu por ti e tu por outro I, 139 - Ante a Pascoa vem os Ramos III, 124 - A ruim comprador llevar-lhe ruim borcado I, 160 - Asegundo sam os tempos assi h[~a]o de ser os tentos I, 103 - Asegun fuere el se[~n]or ansi abrir['a] camino a ser - servido II, 86 - Asno muerto cevada I, 279 - 10 Asno que me leve quero e nam cavalo fol[~a]o III, 154 - Ausencia aparta amor II, 276 - Bem passa de guloso o que come o que n[~a]o tem III, 370 - Cada louco com sua teima III, 135 - Caza mata el porfiar III, 302 - Come e folga ter['a]s boa vida I, 343 - D['a]-me tu a mi dinheiro e d['a] ao demo o conselho I, 167 - Del mal lo menos I, 231 - Donde vindes? D'Almolina. Que trazedes? Farinha. Tornae - l['a], que nam ['e] minha III, 107 - Dormirei, dormirei, boas novas acharei II, 26 - 20 El amor verdadero, el m['a]s firme es el primero II, 275 - El diabo no es tan feo como Apeles lo pintaba II, 267 - El que pergunta no yerra I, 69 - ['E] melhor que vamos sos que nam mal acompanhadas II, 525 - Em tempo de figos nam ha hi nenhuns amigos III, 370 - Fala com Deus, ser['a]s bom rendeiro I, 344 - Filho nam comas nam rebentar['a]s I, 343 - Fran[c,]a e Roma nam se fez num dia I, 335 - Frol de pessegueiro, fermosa e nam presta nada II, 40 - Gr[~a]o a gr[~a]o gallo farta III, 249 - 30 Maior ['e] o ano que o mes III, 124 - Mais quero asno que me leve que cavalo que me derrube III, 121 - Mata o cavalo de sela e bo ['e] o asno que me leva III, 130 - Nam achegues ['a] forca nam te enforcar[~a]o I, 343 - Nam comas quente nam perder['a]s o dente I, 343 - Nam peques na lei nam temer['a]s rei I, 344 - Nam sejas pobre morrer['a]s honrado I, 344 - Nam se tomam trutas a bragas enxutas III, 177 - No se cogen las flores sino espina sofriendo III, 322 - Nos ninhos d'ora a um ano nam ha passaro ogano III, 370 - 40 O dar quebra os penedos I, 237 - Onde for[c,]a ha perdemos direito I, 310 - O que ha de ser ha de ser II, 16; III, 144, 295 - O que nam haveis de comer leixae-o a outrem mexer III, 137 - Pared cayada papel de locos III, 336 - Perdida ['e] a decoada na cabe[c,]a d'asno pegada III, 166 - Pobreza e alegria nunca dormem n'h[~u]a cama II, 518 - Por bem querer mal haver I, 135 - Porfia mata caza II, 301 - Poupa em queimada bem pintada e mal lograda II, 40 - 50 Pus['o]se el perro em bragas de acero III, 334 - Quando perderes p[~o]e-te de lodo I, 344 - Quando te dam o porquinho vae logo c'o baracinho II, 466 - Quem bem renega bem cre I, 271 - Quem bem tem e mal escolhe por mal que lhe vem nam se - enoje III, 150 - Quem casa por amores nam vos ['e] nega dolores I, 128 - Quem chora ou canta m['a]s fadas espanta I, 343 - Quem com mal anda chore e nam cante I, 343 - Quem com mal anda nam cuide ninguem que lhe venha bem I, 343 - Quem espera padece III, 382 - 60 Quem muito pede muito fede III, 372 - Quem nam faz mal nam merece pena I, 343 - Quem nam mente nam vem de boa gente I, 343 - Quem nam parece esquece III, 382 - Quem nam pede nam tem III, 382 - Quem porcos acha menos em cada mouta lhe roncam - (cf. III, 26) III, 279 - Quem quer fogo busque a lenha III, 371 - Quem quiser comer comigo traga em que se assentar III, 371 - Quem sempre faz mal poucas vezes faz bem I, 344 - Quem so se aconselha so se depena I, 343 - 70 Quereis conhecer o ruim dae-lhe o oficio a servir II, 390 - Quien al cordojo se di['o] m['a]s cordojo se lhe pega I, 12 - Quien canta no tiene tormento II, 453 - Quien no anda no gana II, 117 - Quien no se aventura no espere por ventura II, 116 - Quien paga los trabajos d['e] el afan II, 85 - Se nada ganhares nam sejas siseiro I, 344 - Se sempre calares nunca mentir['a]s I, 343 - Se tu te guardares eu te guardarei I, 344 - Sob mao pano est['a] o bom bebedor I, 162 - 80 Sol de Janeiro sempre anda traz do outeiro II, 40 - Todo o mal ['e] de quem o tem I, 337 - Todos los caminos a la puente van a dar III, 198 - Una cosa piensa el bayo y otra quien lo ensilla III, 369 - Viguela sin lanza, etc. III, 295 - Vil[~a]o forte, p['e] dormente III, 12 - - - - -BIBLIOGRAPHY OF GIL VICENTE[156] - -(1) _Catalogo dos Autores_ ap. _Diccionario da Lingua Portugueza_ -(1793), p. cxxviii-ix. - -(2) F. 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I, p. -117-20. - -(23) SALV['A]. _Cat['a]logo_, vol. I (1872), p. 554-5. - -(24) TH. BRAGA. _G. V., poeta lyrico_ in Th. Braga, _Bernardim Ribeiro e -os bucolistas_ (1872), p. 233-64. - -(25) TH. BRAGA. _G. V. e a Custodia de Belem_ [two unsigned articles in -_Artes e Letras_, ann. 2 (1873), p. 4-6, 18-20]. - -(26) TH. BRAGA. _Manual da hist. da litt. port._ (1875), p. 229-42. - -(27) J. M. DE ANDRADE FERREIRA. _Curso_ (1875), p. 331-50. - -(28) C. CASTELLO BRANCO. _G. V. Embargos ['a] phantasia do Snr Theophilo -Braga_ in _Historia e Sentimentalismo_, 2nd ed. (1880), vol. II, p. -ix-xi, 1-25. - -(29) J. I. BRITO REBELLO. _A Custodia do Convento dos Jeronymos_ in _O -Occidente_ (1880), p. 145-203. - -(30) TH. BRAGA. _G. V. Ourives e Poeta_ in _O Positivismo_, vol. II -(1880), p. 348-76; vol. III, p. 129-39; repr. in _Quest[~o]es de litt. e -arte port._ (1881), p. 190-225. - -(31) _Diccionario universal Portuguez Illustrado_, vol. I (1882), p. -1884-1904, s.v. _Auto_. - -(32) G. TICKNOR. _History of Spanish Literature_, 5th ed. (1882), vol. -I, p. 297-306. - -(33) P. DUCARME. _Les 'Autos' de G. V._ in _Le Mus['e]on_, vol. V -(1885), p. 369-74, 649-56; vol. VI, p. 120-30, 155-62. - -(34) A. LOISEAU. _Hist. de la Litt. Port._ (1886), p. 119-36. - -(35) A. DA CUNHA. _Os Autos de G. V._ in _Revista Intellectual -Contemporanea_, anno 1, No. 3 (1886), p. 21-24. - -(36) GALLARDO. _Ensayo_, tom. IV (1889), col. 1565-8. - -(37) A. JEANROY. _Les Origines de la po['e]sie lyrique en France_ -(1889), p. 330-4. - -(38) J. DE SOUSA MONTEIRO. _A Dansa Macabra (Nota preliminar a tres -autos de G. V.)_ in _Revista de Portugal_, vol. I (1889), p. 233-50. - -(39) VISCONDE DE OUGUELLA. _G. V._ Lisboa, 1890. - -(40) A. SCHAEFFER. _Geschichte des Spanischen Nationaldramas_ (1890), -vol. I, p. 26-33. - -(41) D. GARCIA PERES. _Cat['a]logo Razonado_ (1890), p. 564-8. - -(42) J. LEITE DE VASCONCELLOS. _Nota sobre a linguagem de G. V._ in -_Revista Lusitana_ (1891), p. 340-2. - -(43) W. STORCK. _Aus Portugal und Brasilien_ (1892). Notes, p. 258-62. - -(44) C. MICHA["E]LIS DE VASCONCELLOS. _Grundriss der rom. Phil._ (1894), -Bd. 2, Abtg. 2, p. 280-7. - -(45) VISCONDE SANCHES DE BAENA. _G. V._ Marinha Grande, 1894 [Review by -C. Micha["e]lis de Vasconcellos in _Litteraturblatt f["u]r germanische und -romanische Philologie_, Bd. XVII (1896), p. 87-97]. - -(46) VISCONDE JULIO DE CASTILHO. _Mocidade de G. V. (O Poeta)._ Lisboa, -1896. - -(47) D. JO[~A]O DA CAMARA. _Natal e G. V._ in _O Occidente_, vol. XIX -(1896), p. 282-5. - -(48) J. I. BRITO REBELLO. _G. V._ in _Revista de Educa[c,][~a]o e -Ensino_, anno 12 (1897), p. 241-58, 308-15, 394-406. - -(49) E. PRESTAGE. _The Portuguese Drama in the Sixteenth Century: G. V._ -in _The Manchester Quarterly,_ vol. XVI (July 1897). - -(50) M. MEN['E]NDEZ Y PELAYO in _Antolog['i]a de poetas l['i]ricos_, tom. -VII (1898), p. clxiii-ccxxv. - -(51) TH. BRAGA. _G. V. e as origens do theatro nacional._ Porto, 1898. - -(52) TH. BRAGA. _Eschola de G. V._ Porto, 1898. - -(53) VISCONDE J. DE CASTILHO and A. BRAAMCAMP FREIRE, _Indices do -Cancioneiro de Resende e das Obras de G. V._ Lisboa, 1900. Repr. in G. -V. _Obras_, vol. III (1914). - -(54) J. DA ANNUNCIA[C,][~A]O [[+] 1847]. _G. V._ in _Revista Lusitana_, -vol. VI (1900), p. 59-63. - -(55) G. A. DE VASCONCELLOS ABREU. _Contos, Apologos e Fabulas da India: -influencia indirecta no Auto de Mofina Mendez de G. V._ Lisboa, 1902. - -(56) A. R. GON[C,]ALVEZ VIANA. _Lusismos no castellano de G. V._ in -_Revista do Conservatorio Real de Lisboa_ (1902). Repr. in _Palestras -Filol['o]jicas_ (1910), p. 243-67. - -(57) J. I. BRITO REBELLO. _G. V._ in _O Occidente_, vol. XXV (1902), p. -122-3. - -(58) DAMASCENO NUNES. _G. V. e o theatro nacional_ in _O Occidente_, -vol. XXV, p. 127-8. - -(59) TH. BRAGA. _G. V. e o nacionalismo_ in _Revista de Guimar[~a]es_, -vol. XIX (1902), p. 53-5. - -(60) C. MALHEIRO DIAS. _G. V. Algumas determinantes do seu genio -litterario_ in _Revista de Guimar[~a]es_, vol. XIX, p. 57-66. - -(61) A. F. BARATA. _G. V. e Evora._ Evora, 1902. - -(62) J. LEITE DE VASCONCELLOS. _G. V. e a linguagem popular._ Lisboa, -1902. - -(63) G. DE ABREU. _G. V. A independencia do seu espiritu_ in _Revista de -Guimar[~a]es_, vol. XIX, p. 84-96. - -(64) _G. V. e a funda[c,][~a]o do theatro portuguez_ [three articles in -_O Diario de Noticias_, June 7, 8, 9, 1902]. - -(65) A. HERMANO. _G. V._ in _Revista de Guimar[~a]es_, vol. XIX, p. -71-83. - -(66) J. I. BRITO REBELLO. _Ementas Historicas. II. G. V._ Lisboa, 1902. - -(67) W. E. A. AXON. _G. V. and Lafontaine._ London and Dorking, 1903. - -(68) F. M. DE SOUSA VITERBO. _G. V. Dois tra[c,]os para a sua -biographia_ in _Archivo Historico Portuguez_, anno 1 (1903), p. 219-28. - -(69) J. RIBEIRO. _G. V._ in _Paginas de Esthetica_ (1905), p. 77-83. - -(70) CONDE DE SABUGOSA. _Auto da Festa_ (_Explica[c,][~a]o previa_, p. -7-94). Lisboa, 1906. - -(71) CONDE DE SABUGOSA. _Um auto de G. V. Processo de Vasco Abul_ in -_Embrechados_ (1907), p. 65-80. - -(72) A. L. STIEFEL. _Zu G. V._ in _Archiv f["u]r das Studium der neueren -Sprachen_, vol. CXIX (1907), p. 192-5. - -(73) SILEX [i.e. A. Braamcamp Freire]. _G. V., Poeta-ourives_ in _O -Jornal do Commercio_, Feb. 5-9, 14, 19, 1907. - -(74) J. MENDES DOS REMEDIOS in _Obras de G. V._, vol. I (1907), -_Prefacio_, p. v-lix. - -(75) C. MICHA["E]LIS DE VASCONCELLOS. _Estudos sobre o romanceiro -peninsular_ (1907-9), p. 318-20. - -(76) J. J. NUNES. _As cantigas parallelisticas de G. V._ in _Revista -Lusitana_, vol. XII (1909), p. 241-67. - -(77) M. A. VAZ DE CARVALHO in _No meu cantinho_ (1909). - -(78) J. DE SOUSA MONTEIRO. _Estudo sobre o 'Auto Pastoril Castelhano' de -G. V._ in _Boletim da Segunda Classe da Ac. das Sciencias de Lisboa_, -vol. II (1910), p. 235-41. - -(79) J. LEITE DE VASCONCELLOS in _Li[c,][~o]es de Philologia Portuguesa_ -(1911), p. 355-60. - -(80) O. DE PRATT. _O Auto da Festa de G. V._ in _Revista Lusitana_ -(1911), p. 238-46. - -(81) _Sobre um verso de G. V._ in _Diario de Noticias_ (1912); Repr. in -_Revista Lusitana_ (1912), p. 268-89. - -(82) A. BRAAMCAMP FREIRE. _G. V._ in _Diario de Noticias_, Dec. 16, -1912. - -(83) J. I. BRITO REBELLO. _G. V._ Lisboa, 1912. - -(84) C. MICHA["E]LIS DE VASCONCELLOS. _Notas Vicentinas I_ in _Revista da -Universidade de Coimbra_, vol. I (1912), p. 205-93. - -(85) J. M. DE QUEIROZ VELLOSO. _G. V. e a sua obra._ Lisboa, 1914. - -(86) A. LOPES VIEIRA. _A Campanha Vicentina._ Lisboa, 1914. - -(87) F. DE ALMEIDA. _A Reforma protestante e as irreverencias de G. V._ -in _Lusitana_, anno 1 (1914), p. 207-13; Repr. in _Historia da Igreja em -Portugal_, vol. III, pt 2 (1917), p. 119-226. - -(88) A. BRAAMCAMP FREIRE. _G. V. poeta-ourives. (Novas notas.)_ Coimbra, -1914. - -(89) TH. BRAGA. _G. V. e a crea[c,][~a]o do theatro nacional_ in _Hist. -da Litt. Port. II. Renascen[c,]a_ (1914), p. 36-102. - -(90) C. MICHA["E]LIS DE VASCONCELLOS. _Notas sobre a can[c,][~a]o perdida -Este es calbi orabi_ in _Revista Lusitana_ (1915), p. 1-15. - -(91) J. CEJADOR Y FRAUCA. _Hist. de la lengua y lit. castellana_ (1915), -vol. I, p. 457-60. - -(92) F. DE FIGUEIREDO. _Caracteristicas da litt. portuguesa_ (1915), p. -27-30. Eng. tr. (1916), p. 18-22. - -(93) O. DE PRATT. _Sobre um verso de G. V._ Lisboa, 1915. - -(94) A. LOPES VIEIRA. _Autos de G. V._ (1916), _Prefacio_, p. 9-30. - -(95) J. I. BRITO REBELLO. _A proposito de G. V._ in _Boletim da Segunda -Classe da Ac. das Sciencias de Lisboa_, vol. X (1916), p. 315-8. - -(96) W. S. HENDRIX. _The 'Auto da Barca do Inferno of G. V.' and the -Spanish 'Tragicomedia Aleg['o]rica del Parayso y del Infierno'_ in -_Modern Philology_, vol. XIII (1916), p. 173-84. - -(97) A. BRAAMCAMP FREIRE. _G. V., trovador, mestre da balan[c,]a_ in -_Revista de Historia_, Nos. 21, 22, 24, 25, 26 (1917-8). - -(98) A. COELHO DE MAGALH[~A]ES. _Tentativas pedag['o]gicas. II. A obra -vicentina no ensino secundario_ in _A ['A]guia_, Nos. 67-8 (1917), p. 5-16. - -(99) A. A. MARQUES. _G. V. e as suas obras._ Portalegre, 1917. - -(100) F. DE FIGUEIREDO. _Hist. da Litt. Classica_ (1917), p. 61-108. - -(101) C. MICHA["E]LIS DE VASCONCELLOS. _Notas Vicentinas II_ in _Rev. da -Univ. de Coimbra_, vol. VI (1918), p. 263-303. - -(102) C. MICHA["E]LIS DE VASCONCELLOS. _Notas Vicentinas III_, _ib._ vol. -VII (1919), p. 35-51. - - -FOOTNOTES: - -[156] For a more detailed account of some of the works here recorded see -C. Micha["e]lis de Vasconcellos, _Notas Vicentinas I_ (1912). - - - - -CHRONOLOGICAL TABLE OF GIL VICENTE'S LIFE - - - G.V.'s Life - Order of G.V.'s Plays - Contemporary Events - - c.1465? Birth of G.V. - c.1465 Death of Fran[c,]ois Villon. - 1466 Death of Donatello. - 1467 Birth of Desiderius Erasmus. - 1469 Death of Jorge Manrique. - -- Birth of Niccol[`o] Machiavelli. - 1469? Birth of Juan del Enzina. - 1470 Birth of Pietro Bembo. - -- Birth of Garcia de Resende. - 1471 Birth of Albrecht D["u]rer. - 1474 Birth of Lodovico Ariosto. - 1475 Birth of Michael Angelo. - 1477 Birth of Titian. - 1478 Birth of Baldassare Castiglione - ([+] 1526). - -- Birth of Gian Giorgio Trissino. - -- Birth of Sir Thomas More. - 1481 Accession of Jo[~a]o II. - 1482 Birth of Bernardim Ribeiro. - 1483 Birth of Raffael. - -- Birth of Martin Luther. - -- Birth of Francesco Guicciardini. - -- Beheadal of Duke of Braganza. - [1484-6 Snr Braamcamp Freire assigns G.V.'s first marriage to one of - these years] - 1484 King Jo[~a]o II stabs to death - the Duke of Viseu. - 1485 [or later] Birth of S['a] de Miranda. - [1486-8 Acc. to Snr Braamcamp Freire, birth of G. V.'s eldest son] - 1486 Birth of Andrea del Sarto. - -- Death of Andrea Verrocchio. - 1487 Cape of Good Hope rounded by - Bartholomeu Dias. - 1489 Birth of Thomas Cranmer. - 1490? G.V. comes to Court at Evora? - c.1490? G.V.'s first marriage [to Branca Bezerra]? - 1490 Marriage of Prince Afonso and - Isabel, d. of the Catholic Kings. - -- Birth of Vittoria Colonna. - 1491 Death of Prince Afonso at - Santarem. - -- Birth of S. Ignacio de Loyola. - -- Christopher Columbus sails for - America. - -- First Portuguese book printed in - Portugal. - c.1492? Birth of G.V.'s eldest son, Gaspar? - 1492 Conquest of Granada. - 1493 Columbus arrives at Lisbon - (6 March) - after discovering America. - -- Birth of Andr['e] de Resende. - 1493 or 4 Birth of Nicolaus Clenardus. - 1494 Death of Angelo Poliziano. - 1494 or 5 Birth of Fran[c,]ois Rabelais. - 1495 (25 Oct.) Accession of King Manuel. - 1496? Birth of Cl['e]ment Marot - ([+] 1544). - 1497 (July) Vasco da Gama leaves Lisbon. - -- Forced conversion of Jews in - Portugal. - -- Birth of Hans Holbein. - -- Birth of Philip Melancthon. - 1498 Girolamo Savonarola burnt at - Florence. - 1499 (Sept.) Return of Gama from India. - 1500 Pedro Alvarez Cabral discovers - Brazil. - -- Death of Sandro Botticelli. - -- Birth of Benvenuto Cellini. - -- Birth of Emperor Charles V. - -- Birth of Dom Jo[~a]o de Castro. - 1502 (6 June) Birth of Jo[~a]o III. - 1502 (Lisbon, - 7 or 8 June) _Auto da Visita[c,]am_(1). - -- (Lisbon, - Christmas) _Auto Pastoril Castelhano_(2). - 1503-6 G.V. fashions the celebrated Belem monstrance with the first - tribute of gold from India. - 1503 (Lisbon, - 6 Jan.) _Auto dos Reis Magos_ (3). - 1503 Birth of Garci Lasso de la Vega. - -- Birth of Sir Thomas Wyatt. - -- Famine and plague in Portugal. - -- The cousins Albuquerque and Duarte - Pacheco Pereira sail for India. - -- (24 Oct.) Birth of Infanta (afterwards - Empress) Isabel. - 1504 (Lisbon) _Auto de S. Martinho_ (4). - 1504 Heroic campaign of D. Pacheco - Pereira in India. - -- (31 Dec.) Birth of Inf. Beatriz. - 1505? Birth of G.V.'s second son, - Belchior. - 1505 Riots against Jews at Evora. - 1505 (end July) Arrival at Lisbon of 15 ships - laden with spices. Solemn - procession in honor of D. Pacheco. - 1506 G.V. preaches a sermon in verse on the birth of Prince Luis - (3 March). - 1506 (Low Sunday, _Pascoela_) Massacre of Jews at Lisbon. - -- Birth of S. Francis Xavier. - -- Birth of Inf. Luis ([+] 1555). - -- (30 Sept.) Death of D. Beatriz (King Manuel's - mother). - 1507 (5 June) Birth of Inf. Fernando. - 1508 The King raises interdict placed - on Lisbon after massacre of Jews. - 1508 (Dec.) or - 1509 (Jan.) (Lisbon) _Quem tem farelos?_ (5). - -- News brought to the King at Evora - of the siege of Arzila. - 1509? G.V. writes some verses for a poetical contest at Almada, - printed in the _Canc. de Resende_ (1516). - 1509 (Jan.) D. Pacheco defeats the French - pirate Mondragon. - 1509 (15 Feb.) G.V. is appointed _Vedor_ (overseer) of all works in - gold and silver in the Convent of Thomar, the Hospital of All - Saints, Lisbon, and the Convent of Belem. - 1509 (Almada, - Holy Week?) _Auto da India_ (6). - -- (23 Ap.) Birth of Inf. Afonso. - 1509 Birth of Jean Calvin. - -- Afonso de Albuquerque Governor of - India. - 1510 Death of Dom Francisco de Almeida, - first Viceroy of India. - -- Albuquerque attacks Calicut and - takes Goa. - 1510? Birth of Lope de Rueda. - 1510 (Almeirim, - Christmas) _Auto da F['e]_ (7). - 1511 Albuquerque takes Malaca. - 1511 (Lisbon, - Carnival?) _Auto das Fadas_ (8). - -- Henry VIII of England sends King - Manuel, his brother-in-law, the - Order of the Garter. - 1512 (31 Jan.) Birth of Cardinal-King Henrique - ([+] 1580). - 1512 (Lisbon, - early in the year) _Farsa dos Fisicos_ (9). - 1512 (21 Dec.) G.V. is elected one of the Twenty-four by the Lisbon - Guild of Goldsmiths. - 1513 James, Duke of Braganza, sets sail - from Lisbon with a - splendidly-equipped fleet of 450 - vessels to capture Azamor. - -- Albuquerque in the Red Sea and at - Aden. - 1513 (4 Feb.) G.V. is appointed _Mestre da Balan[c,]a_. - 1513 (Lisbon, - Holy Week?) _O Velho da Horta_ (10). - -- (Lisbon, August) _Exhorta[c,][~a]o da Guerra_ (11). - -- (17 Oct.) G.V. is elected by the Twenty-four to be one of their - four representatives on the Lisbon Town Council. - 1513? (Lisbon, - Christmas) _Auto da Sibila Cassandra_ (12). - -- Leo X, son of Lorenzo de' Medici, - becomes Pope. - 1514 (1512-14?) G.V. loses his first wife, Branca Bezerra. - 1514 (Lisbon) _Comedia do Viuvo_ (13). - 1514 Portuguese Embassy to Pope Leo X - with magnificent presents from the - East. Garcia de Resende and the - rest of the Mission reach Italy - end of Jan. 1514. - 1515 (7 Sept.) Birth of Inf. Duarte. - -- (21 Sept.) G.V. receives a grant of 20 milreis for the dowry of his - sister Felipa Borges. - 1515? (Lisbon, - 2nd half of year) _Auto da Fama_ (14). - [Snr Braamcamp Freire assigns the _Auto da Festa_ - to this year 1515.] - -- (Dec.) Death of Albuquerque in India. - -- Birth of Santa Teresa at Avila. - 1516 (9 Sept.) Birth of Inf. Antonio. - 1516? (Lisbon, - Christmas) _Auto dos Quatro Tempos_ (15). - -- Discovery of Mexico. - -- Garcia de Resende's _Cancioneiro - Geral_ published. - -- Death of Giovanni Bellini. - 1517 Luther starts the Reformation. - -- (Feb.) King Manuel organises a fight - between a rhinoceros and an - elephant in an enclosed space in - front of Lisbon's _Casa da - Contrata[c,]am da India_. - -- (7 March) Death of Queen Maria. - 1517 (Lisbon) _Auto da Barca do Inferno_ (16). - 1517 (6 Aug.) G.V. resigns the post of _Mestre da Balan[c,]a_ in favour - of Diogo Rodriguez. - 1517? G.V. marries Melicia Rodriguez. - 1518? (Lisbon, - Holy Week) _Auto da Alma_ (17). - 1517 or 18 Birth of Francisco de Hollanda. - 1518 (23 Nov.) Queen Lianor (King Manuel's third - wife) arrives in Portugal. - 1518 (Lisbon, - Christmas) _Auto da Barca do Purgatorio_ (18). - [General Brito Rebello, Dr Theophilo Braga and - Senhor Braamcamp Freire assign the verses to the - Conde de Vimioso to this year 1518.] - -- Birth of Tintoretto. - c.1519? Birth of G.V.'s eldest daughter, Paula. - 1519 (Lisbon, - Holy Week) _Auto da Barca da Gloria_ (19). - 1519 King Charles of Spain elected - Emperor (Charles V). - -- Death of Leonardo da Vinci. - -- Death of John Colet. - 1520 G.V. makes arrangements for the royal entry into Lisbon. - 1520? Birth of G.V.'s son Luis. - -- (18 Feb.) Birth of Inf. Carlos at Evora - ([+] Lisbon, 15 Ap. 1521). - -- Death of Raffael. - -- Death of John Skelton. - -- Fern[~a]o de Magalh[~a]es - discovers the 'Straits of - Magellan.' - 1521 (Jan.) King and Queen's entry into - Lisbon. - -- (Lisbon, - Holy Week?) _Comedia de Rubena_ (20). - -- (Lisbon, - 4 Aug.) _Cortes de Jupiter_ (21). - -- (8 June) Birth of Inf. Maria ([+] 1577). - -- Solemn reception in Lisbon of - Embassy from Venice. - -- Departure of Inf. Beatriz to wed - the Duke of Savoy. - -- (13 Dec.) Death of King Manuel. - -- (Dec.) Proclamation of Jo[~a]o III. - -- Death of Magalh[~a]es. - 1522 _Pranto de Maria Parda._ - -- Famine in Portugal. - 1523 G.V. receives the sum of six milreis. - -- Clement VII becomes Pope. - -- (Thomar, - July-Sept.) _Farsa de Ines Pereira_ (22). - - -- (Evora, - Christmas) _Auto Pastoril Portugues_ (23). - - 1524 G.V. receives two pensions (12 and 8 milreis). - -- (Evora, 2nd - half of year) _Fragoa de Amor_ (24) - -- Birth of Pierre Ronsard. - -- Birth of Luis de Cam[~o]es. - -- Death of Dom Vasco da Gama. - 1525 G.V. receives a pension of three bushels of wheat. - 1525? (Evora, - Holy Week) _Farsa das Ciganas_ (25). - -- (Lisbon?) _Dom Duardos_ (26). - -- (Almeirim, - Oct.-Nov.?) _O Juiz da Beira_ (27). - -- (Evora, - Christmas) _Auto da Festa_ (28). - -- _Trovas ao Conde de Vimioso._ - -- Plague and famine at Lisbon. - -- Fran[c,]ois I taken prisoner at - battle of Pavia. - -- (17 Nov.) Death of Queen Lianor (widow of - Jo[~a]o II). - -- Birth of Joachim du Bellay. - - 1526 (Lisbon, Jan.) _Templo de Apolo_ (29). - 1526-8 (Almeirim) _Sumario da Historia de Deos_ (30). - -- (Almeirim) _Dialogo sobre a Ressurrei[c,]am_ (31). - 1526 Marriage of Emperor Charles V and - Isabel, d. of King Manuel. - -- S['a] de Miranda returns from - Italy. - -- Bosc['a]n tackles the - hendecasyllable. - 1527 (Lisbon) _Nao de Amores_ (32). - -- (Coimbra) _Divisa da Cidade de Coimbra_ (33). - -- (Coimbra) _Farsa dos Almocreves_ (34). - -- (Coimbra) _Tragicomedia da Serra da Estrella_ (35). - -- Birth of Inf. Maria. - -- Birth of Fray Luis de Le['o]n. - -- Birth of Philip II of Spain. - -- Sack of Rome. - -- Death of Machiavelli. - -- _Trovas a Dom Jo[~a]o III._ - 1528 G.V. receives a further pension of 12 milreis. - 1528 (Lisbon, - Christmas) _Auto da Feira_ (36). - 1528 Death of D["u]rer. - -- Birth of Antonio Ferreira. - 1529 Birth of Inf. Isabel. - 1529? Death of Juan del Enzina. - 1529 (Lisbon, April) _Triunfo do Inverno_ (37). - 1529-30 (Lisbon, Christmas? Between Sept. 1529 and Feb. 19, 1530) - _O Clerigo da Beira_ (38). - c.1530? Birth of G.V.'s daughter Valeria Borges. - 1530 (15 Feb.) Birth of Inf. Beatriz. - 1531 (Jan.) G.V. preaches a sermon to the monks at Santarem on occasion - of the earthquake. - c.1530 _Trovas a Felipe Guilhen._ - 1531 _Jubileu de Amores_ acted at Brussels. - -- Birth of Inf. Manuel. - -- (Jan.) Great earthquake at Lisbon and - other towns. - -- First Bull for establishment of - Inquisition in Portugal. - 1531? Death of Bartolom['e] de Torres - Naharro. - 1532 (Lisbon) _Auto da Lusitania_ (39). - 1533 (Evora) _Romagem de Aggravados_ (40). - -- (Evora) _Amadis de Gaula_ (41). - -- Birth of Michel de Montaigne. - -- Clenardus comes to Portugal from - Salamanca. - 1533? Death of Duarte Pacheco. - 1534 (Oudivellas) _Auto da Cananea_ (42). - -- (Evora, - Christmas) _Auto da Mofina Mendes_ (43). - -- Birth of Fernando de Herrera, _el - Divino_. - 1535 G.V. receives 8 milreis as dress allowance (_vestiaria_). - -- [The Conde de Sabugosa assigns the _Auto da - Festa_ to this year.] - -- Sir Thomas More executed. - 1536 (Evora) _Floresta de Enganos_ (44). - 1536 Death of Erasmus. - -- Death of Garci Lasso de la Vega. - -- Death of Garcia de Resende. - -- Introduction of Inquisition into - Portugal. - 1536? Death of G.V. at Evora. - - - - -INDEX OF PERSONS AND PLACES - - - _Abrantes_, 48 - Abul (Vasco), xviii - _Aden_, xxi - Afonso V, x - Afonso Prince, xii, xiii - Afonso (Gregorio), xxxviii - _Africa_, x, xix, xxii, 34, 75 - Alarc['o]n (Pedro Antonio de), l - Albuquerque (Afonso de), xix, xxi, xxxv, 77 - _Alcoba[c,]a_, 39, 40 - Aleandro, Cardinal, xxvii, xxx - Alfonso X, xl - _Almada_, xix, 27, 76 - Almeida (Dom Francisco de), xxxv - Almeida Garrett, Visconde, xlii, li - _Almeirim_, xix, xxii, xxvi, xli - Alvarez (Francisco), xxix - _Amadis de Gaula_, xxx, xlv - Anriquez (Luis), xiii - _Apolonio, Libro de_, xlvii - Aristotle, xxxvi, xliii, xlvi - _Arruda_, 27, 76 - _Arzila_, xix - Astorga, Marqu['e]s de, xxxi - _Aulegrafia_, xxxix - _Aveiro_, 46, 81 - _Azamor_, xx, xxi, 23, 75 - - _Barcellos_, x - Barros (Jo[~a]o de), xviii - Beatriz, Dona, xiv, xv - Beatriz, Duchess of Savoy, xxiii, 29, 77 - _Beira_, xi, xxxvii, xxxix, xl, xliii, 55, 71 - _Belem_, xv, xvi, xviii, xxxv - Berceo (Gonzalo de), xxxvii - Bezerra (Branca), xxi - _Bible, The_, xxx, xxxvii, xlii, xliii, xlviii - _Biscay_, 37 - Borges (Felipa), xiii - Borges (Valeria), xxxi - Braamcamp Freire (Anselmo), vi, ix, xii, xvi, xix, xx, xxii, xxv, xxvi, - xxvii, xxix - Braga (Theophilo), ix, xvi - Braganza, Ferdinand, Duke of, x - Braganza, James, Duke of, xx, 23, 75 - _Brazil_, xiv, 53 - Brito Rebello (Jacinto Ignacio), x, xviii, xxvi - _Brittany_, 37 - Browning (Robert), xlix, 82 - _Brussels_, xxx - - Calder['o]n (Pedro), xliv, li - Cam[~o]es (Luis de), xxv - _Cananor_, xv - _Cancioneiro da Vaticana_, xlii - _Cancioneiro Geral_, ix, xiii, xxxvii, xlii, xliii, xlv - _Candosa_, 80 - _Caparica_, 27, 76 - _Cartaxo_, 26, 76 - _Castilla_, xxviii, xxxii, xlv, 55, 69 - Catharine, Queen, xxv, xxix, xlv - Caviceo (Jacopo), xliv - _Cea_. See _Sea_ - Celestina, xlvi - _Cent Nouvelles Nouvelles, Les_, l - _Cert[~a]_. See _Sert[~a]e_ - Cervantes (Miguel de), li - Charles V, xxv - Chiado. _See_ Ribeiro (A.) - _Cintra_. See _Sintra_ - Clenardus (Nicolaus), 80 - _Cochin_, x - _Coimbra_, xxix, xli, 37, 55, 56, 57, 63, 78 - _Colares_, xxii - Col['o]n (Fernando), xliv - Columbus (Christopher), xiv - _Conde Lucanor, El_, xlviii, l - Correa Garc[~a]o (Pedro Antonio), li - Coutinho, Marshal, xix - _Covilham_, 68, 83 - _Crato_, xxii - _Crete_, xxxii - _Cronica Troyana_, xx - Cunha (Trist[~a]o da), xix, 75, 76 - - Dante Alighieri, xliii - _Danza de la Muerte_, xxiv, xxxvii, xxxviii, xli, xlii, xliv - Diaz (Hernando), xliv - D["u]rer (Albrecht), 76 - - _England_, xlvii - Enzina (Juan del), xi, xiii, xx, xxi, xxxi, xli, xlii, xliv, xlv, 73, 75 - _Evora_, x, xii, xiii, xxii, xxv, xxviii, xxx, xxxi, xli, xliii - - Felipe, Infante, xxx - Ferdinand the Catholic, xxi, xxxvii - Fern['a]ndez (Lucas), xi, xxii, xxxvi, 73, 83 - Fernando, Infante, 29, 77 - _Fez_, 31, 35 - _Flanders_, 49 - Fortunatus (Venantius), 74 - _France_, xlii, xlvii, 26, 44, 49, 50, 81 - Fran[c,]ois I, xxx - _Fronteira_, 64, 83 - - Gama (Vasco da), xv - Gaunt (John of), x - Gautier (Th['e]ophile), 73 - _Germany_, 49 - _Gesta Romanorum_, xlvii - _Goa_, xxi - Goes (Dami[~a]o de), xi, xxiii, xxxii, 77 - Goethe (Johann Wolfgang von), 11, 73, 74 - _Gouvea_, 68, 83 - Gower (John), xlvii - _Granada_, xiv - _Guimar[~a]es, x_, xii - _Guinea_, 40 - - Henry, Cardinal-King, 75 - Henry, the Navigator, x - Herculano (Alexandre), ix - Hita, Archpriest of. _See_ Ruiz - _Holland_, xlvii - Hollanda (Francisco de), 76 - Hutten (Ulrich von), 76 - - _India_, xiv, xv, xix, xxi, xl - Isabel, Empress, xxiii, xxviii, 35, 56, 76-7 - Isabel, Infanta, xii, xiii - Isabel, d. of Jo[~a]o III, xxix - Isabella the Catholic, xv - Iseu, xlv - _Italy_, xi, xxix, xlvii, 82 - - Jews, xxxii, xxxiii, xlix - Jo[~a]o I, Master of Avis, x - Jo[~a]o II, x, xii, xiii, xiv, xxxiv - Jo[~a]o III, xiv, xxiii, xxiv, xxv, xxix, xxx, xxxii, xxxiii, 28 - Juan Manuel, Infante, xlviii, l - - La Fontaine (Jean de), l - Lancaster, Philippa of. _See_ Philippa - _Landeira_, 26, 76 - _Lazarillo de Tormes_, xliii - Leite de Vasconcellos (Jos['e]), vi, ix, xi - Lianor, Queen Consort of Jo[~a]o II, xii-xv, xvii-xxiii, xxv, l, 73, 74 - Lianor, Queen Consort of Manuel I, xxii, xxiii, xxxviii - _Lisbon_, x, xiii-xvi, xviii-xxiv, xxvi, xxvii, xxxviii-xl, xlviii - Luis, Infante, xviii, xxiii, 23, 75 - _Lumiar_, 26, 76 - Luther (Martin), xxxiii, xxxvi - - Machado (Sim[~a]o), 80 - Macias, xliv, 82 - _Malaca_, xxi - Manrique (Gomez), xxi, 75, 77 - Manrique (Jorge), 73 - _Manteigas_, 68, 83 - Manuel I, xi, xiv, xv, xviii-xxiv, xxxii, xxxvii, xlvi, 73 - Maria, Queen, xiv, xxii, xlvi - Martial, 78 - _Mealhada_, 26, 76 - _Medina_, 48, 81 - Menander, xxxi - Men['e]ndez y Pelayo (Marcelino), v, xvi, xxv, xliv - Micha["e]lis de Vasconcellos (Carolina), vi, ix, x - Miguel, Infante, xliii - _Minho_, x - _Monsarraz_, 64 - _Morocco_, 31 - - Newman (John Henry), Cardinal, xxx, li, 73, 74 - Nun' Alvarez Pereira, x - - Ortiz de Vilhegas (Diogo), 80 - Osorio (Jeronimo), xxiii - _Oudivellas_, xxx - - Pacheco Pereira (Duarte), 90, 91 - _Pederneira_, 39, 79 - Penella, Conde de, xxxiv - Philippa, Queen, x - Pinto (Frei Heitor), xlix - Plautus, xxxi, xliii - _Portugal_, x, xx, xxiv, xxxv, xxxvi, xxxvii, xli, xlvii, 31, 77, 78, - 81 - Portugal (Dom Martinho de), xxviii - Pradilla, El Bachiller de la, xxii - Prestes (Antonio), l - _Prevaricaci['o]n de Ad['a]n_, 74 - _Primaleon_, xxv - _Psalm LI_, xxv - - _Quiloa_, xv - - _Repr['e]sentation d'Adam_, xlviii - Resende (Andr['e] de), xviii - Resende (Garcia de), ix, xii, xvi, xvii, xxxi, xxxiv, 75, 79 - _Residencia del Hombre, La_, 74 - _Ribatejo_, 26, 76 - Ribeiro (Antonio), _O Chiado_, xxvi, xxvii, l - Ribeiro (Bernardim), xvi - Ribeiro (Nuno), 45, 80 - Rodriguez (Diogo), xxii - Rodriguez (Melicia), xxii, xxv - _Rome_, xxx, xxxi, xxxiii, xxxix, 27, 33, 75, 76 - _Roncesvalles_, xlvi - Rueda (Lope de), 1 - Ruiz (Juan), xliii - - Sabugosa, Conde de, xii, xxvi - Sacchetti (Franco), xxxviii - S['a] de Miranda (Francisco de), xxix, xliii, xlviii, 78, 79, 82 - _Salamanca_, xliii - Sanches de Baena, Visconde, xvii - Sanchez de Badajoz (Garci), xix - San Pedro (Diego de), xliv - _Santarem_, xxix, xxx, xxxii, xl, xli, 39 - _Santiago de Compostela_, xv - _Sardoal_, 69, 70, 83 - _Sea_, 68, 83 - _Seixal_, 27, 76 - _Sergas de Esplandian, Las_, xviii - _Serra da Estrella_, x, xi, 55-71, 82 - _Sert[~a]e_, 51, 82 - _Sevilla_, xliii - Shakespeare (William), ix, xlvii, xlviii - Shelley (Percy Bysshe), 73 - _Sintra_, xxii - Sousa Viterbo (Francisco Marques de), xliii - Southey (Robert), xxxiv - _Spain_, xlii, xlvii - Swinburne (Algernon Charles), 73 - - _Taming of a Shrew_, xlviii - Tentugal, Conde de, xxxiv - Terence, xliii - _Testament de Pathelin_, xlv - _Thomar_, xviii, xxiv, xli - Ticknor (George), xvii - Timoneda (Juan de), xlvii - _Tojal_, 27, 76 - Torres Naharro (Bartolom['e]), xi, xxxvi, xlv - _Torres Vedras_, xxii - _Tragicomedia aleg['o]rica del Paraiso y del Infierno_, 1 - Trissino (Gian Giorgio), xliii, 79 - _Turkey_, 44, 45 - Twine (Lawrence), xlvii - - _Val de Cobelo_, 49, 81 - Vald['e]s (Alfonso de), xxix - Vald['e]s (Juan de), xxix, xliv - _Valencia_, 7 - Vasconcellos (Joaquim de), 76 - Vaz (Sim[~a]o), 40 - Vega (Lope de), xvi, li - Vel['a]zquez (Diego), xxxii - _Venice_, 49 - Vicente (Belchior), xiii, xviii, 90 - Vicente (Gaspar), 90 - VICENTE (GIL), his birthplace, x, xi; - date of his birth, xii-xiii; - at Court, xii, 81; - as goldsmith, xiv-xviii; - his house in Lisbon, xv; - his plays, xiv-li; - his first wife, xxi; - _Mestre da Balan[c,]a_, xviii; - relations with King Jo[~a]o III, xxx; - his financial position, xxv; - his second marriage, xxii; - date of his illness, xxvi; - his _Ca[c,]a dos Segredos_, xxvi, xxviii; - journey from Coimbra, xxix; - at Almada, xix; - Coimbra, xxix; - Almeirim, xix, xxvi; - Thomar, xviii, xxiv; - Santarem, xxix, xxx, xxxii; - Evora, xxv, xxviii, xxx, xxxi; - his Brussels play, xxvii, xxx; - children of his second marriage, xxxi; - his death, xxxi; - his character, xxxi-xxxvii; - his attitude towards Spain, xxxii; - priests, xxxii, xxxvii; - Jews, xxxiii; - monks, xxxiv; - his religion, xxxiv, 74; - his love of Nature, xxxiv; - his friends, xxxiv; - his attitude towards royalty, xxxiii xxxiv, 83; - towards S['a] de Miranda and the new style, xxix, xliii; - his patriotism, xx, xxxv; - his critics, xxiv, xli; - his attempts to reform abuses, xxxiii, xxxv, xxxvi; - his view concerning the position of women, xxxvi, xlvii; - his many-sidedness, xxxvi; - his satirical sketches, xxxvii-xli; - his lyrism, xli, l; - his originality, xli, xlii, xlv; - his sources, xli-l; - debt to Spain, xlii, xliii; - his influence in Portugal, l; - in Spain, l, li; - edition of his plays, xvi, xxxi, xxxv, li; - _Visita[c,]am_, xi, xiii, xiv, xxiii, xlvi; - _Auto Pastoril Castelhano_, xi, xv, xlvi, 73; - _Reis Magos_, xi, xv, xlvi; - _Auto de S. Martinho_, xv; Sermon, xviii, xix; - _Quem tem farelos?_, xv, xix, xxvii, xliii, xlv, xlvi, xlix; - _Auto da India_, xix; - _Auto da F['e]_, xix, xxxiii, xliii, xlviii; - _Auto das Fadas_, xix, xxiv, xliii, xlvi, 73, 77; - _Farsa dos Fisicos_, xx, xliii, xlvi; - _O Velho da Horta_, xiii, xx, xliv; - _Exhorta[c,][~a]o da Guerra_, v, xx, xxi, xxviii, xliv, xlv, 23-35, - 75-8; - _Auto da Sibila Cassandra_, xv, xx, xliv; - _Comedia do Viuvo_, xi, xxi, xxiv, xlvi; - _Auto da Fama_, xxi, xlii, xlvii; - _Auto dos Quatro Tempos_, xv, xxi, xliv, xlvii; - _Barca do Inferno_, xxii, xxxiii, xli, xliv, xlv, xlvii, li; - _Auto da Alma_, v, vi, xvii, xxi, xxii, xxxii, xlv, xlvii, li, 1-21, - 73, 74; - _Barca do Purgatorio_, xxii, xxxiii, xli, xliv, xlv, xlvii, li; - _Barca da Gloria_, xxii, xxiv, xxxiii, xli, xliv, xlv, xlvii, li; - _Comedia de Rubena_, xx, xxiii, xxiv, xliv, xlv, xlvii; - _Cortes de Jupiter_, xxiii, xxiv, xliv, xlvii, 75; - _Pranto de Maria Parda_, xxiv, xxviii; - _Farsa de Ines Pereira_, xviii, xxiv, xxv, xxvi, xxviii, xlv, xlvii; - _Auto Pastoril Portugues_, xxv, xlv; - _Fragoa de Amor_, xxv, xxviii; - _Farsa das Ciganas_, xxv, xxviii, xlv; - _Dom Duardos_, xvii, xxv, xliv, xlv, xlviii; - _O Juiz da Beira_, xxvi, xlv, xlviii; - _Auto da Festa_, xii, xiii, xxv, xxvii, xxviii, xlviii; - _Auto da Aderencia do Pa[c,]o_, xxvii; - _Trovas ao Conde de Vimioso_, xxv, xxvi, xxviii; - _Templo de Apolo_, xiii, xvi, xxvi, xxviii, xlviii; - _Sumario da Historia de Deos_, xxix, xxxiii, xlii, xlviii, xlix; - _Dialogo sobre a Ressurrei[c,]am_, xxix, xlviii; - _Nao de Amores_, xxix, xlix, li; - _Divisa da Cidade de Coimbra_, xxix, xlix; - _Farsa dos Almocreves_, v, xvii, xxix, xlix, 37-53, 78-82; - _Tragicomedia da Serra da Estrella_, v, xxix, xlix, 55-71, 82, 83; - _Trovas a Dom Jo[~a]o III_, xxix; - _Auto da Feira_, xvii, xxvii, xxix, xxxiii, xlv, xlix, 74, 81; - _Triunfo do Inverno_, xxi, xxix, xlv, xlix; - _O Clerigo da Beira_, xxvii, xxix, xlv, xlix; - _Trovas a Felipe Guilhen_, 94; - _Jubileu de Amores_, xxvii, xxx; - _Ca[c,]a dos Segredos_, xxvi, xxviii; - _Auto da Lusitania_, xxviii, xxx, xlix; - _Romagem de Aggravados_, xxvii, xxx, xlvi, l; - _Auto da Vida de Pa[c,]o_, xxvii; - _Amadis de Gaula_, xxx, xlv, xlviii; - _Auto da Cananea_, xxx, xxxiii, 74; - _Mofina Mendes_, xi, xxi, xxvii, xxxi, l; - _Floresta de Enganos_, xii, xxxi, l - Vicente (Luis), xxv, xxxi - Vicente (Martim), xii - Vicente (Paula), xxxi - Villa Nova, Conde de, xxiii - Vimioso, Conde de, xxv, xxxiv - Virgil, xiii, xliii - _Viseu_, 50, 81 - Viseu, Duque de, x - - Wilkins (George), xlvii - Wordsworth (William), xxxiv - - _Zamora_, 79, 81 - - - - - -End of Project Gutenberg's Four Plays of Gil Vicente, by Gil Vicente - -*** END OF THIS PROJECT GUTENBERG EBOOK FOUR PLAYS OF GIL VICENTE *** - -***** This file should be named 28399.txt or 28399.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/2/8/3/9/28399/ - -Produced by David Starner, Jlio Reis and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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