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diff --git a/old/28399.txt b/old/28399.txt deleted file mode 100644 index 565ff7e..0000000 --- a/old/28399.txt +++ /dev/null @@ -1,12417 +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, 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.' - -* 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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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, 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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