Four Plays of Gil Vicente

atures 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

s 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?o rustics, but his sympathy with the peasants and his wide knowledge of the province of Beira prove that his object was not merely m

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?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

ng 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?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?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-p

ntarem 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 f