Four Plays of Gil Vicente

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

possible 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 t

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?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 mystères little more than the name[133]. As to the literature of Greece, Rome and Italy the conclusion is even more definite. Vicente had not read Plautus or Terence, his knowledge of el gran poeta Virgilio (III. 104) do

ll probability derived from Spanish literature, either from the Archpriest of Hita's Libro de Buen Amor or from some popular sketch such as that contained later in Lazarillo de Tormes (1554)[135]. The only French element in the Auto da Fé is the fatrasie or enselada 'which came from France,' but its text is not given. The classical allusions to Virgil and the Judgment of Paris in the Auto das Fadas are perfectly superficial. A little medical Latin is introduced in the Farsa dos Fisicos. O Velho da Horta, which opens with the Lord's Prayer, half in Latin, half in Portuguese[136], is written in Portuguese with the exception of the fragment of song and the lyric ?Cual es la ni?a? There is a reference to Macias, a name which had become a commonplace in Portuguese poetry as the type of the constant lover. Span

aca

vechase

jas, cre

anes ni zaf

ords of Death in th

s tie

os pueda imp

ta nin otro

edia 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 wh

s, 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 wer

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?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 vir

e 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 Quat

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 cha

rtes

fazer c

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 Marq

ente had not given up writing farces and the sojourn of Ines Pereira's husband in town enables the author to introduce various Lisbon types in O Juiz da Beira. It indeed completely resembles the early farces, while the Auto da Festa with its peasant scene and allegorical Verdade is of the Auto da Fé type but adds the theme of the old woman in search of a husband. The Templo de Apolo, composed for a special Court occasion, shows no developm

ramos do n

de celestes r

toria de Deos was acted before the Court at Almeirim and must have won the sincere admiration of the devout Jo?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 fo

eis, s

omedia come?

toque cousa

far?as toda

nas sem outros p

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 a

o jardim

e sem

er Aparicianes implores Frei Pa?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?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 pa

poet and a fascinating satirical observer of life. His influence was felt throughout the sixteenth and seventeenth centuries in Portugal, by Cam?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 d

que era un

quien no f

me sali

a contar

otra sé de

n El Viaje del Alma, the representación moral contained in El Peregrino en su Patria (1604), we must be co

ra Dios

imagen de

Nave de

e hacer

se quiera

la Nave

ento y pl

rect 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 o

TNO

Historia da Inquisi??o em Portugal, ed. 1906, vol. I. p. 223). T

liography, p. 86,

os. 21, 24, 25, 26,

y, Nos. 29, 48,

phy, Nos. 53,

hy, Nos. 44, 84

Junqueiro,

(For the accurate text of this passage see C. Mich

que escritas vi (Letter o

ouriveis para fazerem arreos e outras cousas esmaltadas.'

ography, N

e' 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 you

same year is alegre y

27), Viejo, vuestro mundo

Freire in Revista de H

pedraria (Canc. Geral, v

Geral, vol. I.

ns autos

u que foi

syo por

the night following that of the birth (June 6-7), i.e. the evening of June 7, or the seco

nica do felicissimo Rey D

XXII. (1917), p. 124 and Critica e Historia, vol. I. (19

etas líricos castell

de la Novela,

l. t. 7,

b. p.

b. p.

e verse (185) of his Miscellanea mentions the goldsm

liograph

favour of identity, with his la

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 too

tenho n

onrados

s de mu

vedo comig

post of Mestre da Balan?a should be conclusive as to the identity of poet and goldsmith: Gil Vte trouador m

1536) was of opinion that

outra

amdade no

, ed. Mendes dos Rem

id.). In the days of King Duart

N. 8. 74) to Prince Jo?o: 'Como quiera Excelente Principe y Rey mui poderoso que las

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 b

hief activity as goldsmith he had not time to produce the

cente (1912

ven in Roman figures and the alterat

ird of sixteenth century]. Bibliófilos Espa?oles, t. 23, 2 t. 1886, 9, t. 2, p. 37: 'Almerin, un lugar que lo

reire in Revista de His

eire in Rev. de Hist

n Canc. Geral, vol.

t. vol. XXII. p. 122

tas (I. 41), cf. Enzina, Egloga I.: ni estaré ya tendido en bellorit

eire in Rev. de Hist

r, several such psalms

s mil maneras. In the Auto da Alma, probably written about this time, there ar

nth before her death King Manuel was present at a fight between a rhinoceros and an elephant in a court in

es in praise of la muy esclarecida Se?ora Infanta Madama Leonor, Rey[

as MD & viii was never used an

the Auto da Alma and in the Auto da Barca da Gloria

, Chronic

Dona Beatriz pera Saboya in Chronica..

á morte del Rei D.

ente, Romanc

ado a letras e letrados (Chronica, 1619 ed., f. 342. Faveb

nobre Rei D. Jo?o III. sendo principe, e

s no bush' the custom of hanging a bra

eire in Rev. de Hist

's plays have been permitted to survive, just as Psalm LI, of which Vicente perhaps at about

vol. XXIV

Litteratura Portuguesa. II

Rebello, Gil Vice

almerin Romances (Lon

7, p. cci; Oríg. de la Novela, I. cclxv

Hist. vol.

ed that the lines in

lo vet

s tiempo

g in the Comedia

ete con Di

] sen?o a quem menos faz (III. 320); Auto da Festa:

ses to the Conde de Vimioso; La muerte pu

n?am (Lisboa, 1917), pp.

o vulgo (III. 4). Cf. t

. p. 31. We might assume that the second part of O Clerigo da Beira (III. 250-9) was prin

Ib. p

eir identity had occurred to me before reading the same sugge

ght 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

autor Até que Deos enviasse O Principe nosso s

ld be more suitable if he was the Portuguese D. Martinho

Auto da Festa, p. 101. The latter text is corrupt (penitas for

e dirá a vezinhan?a? III. 21 (1508-9), A vezinhan?a que dirá? III. 34 (1509); ó demo que t'eu encomendo, III. 99 (1511), ó diabo que t'eu encomendo, II. 362 (1513). The Exhorta??o (1513), which has passages similar to those in the Farsa de Ines Pereira (1523) and the Pra

Latin, Hispaniola, was acted at the Portuguese Court before his death

Freire in Rev. de Hi

1527 and he says: nam se tardou muito que el Rey nosso senhor se partisse com

e Hist. vol

his play must be assigned to the months

dar descanso e contentamento... pera que por mi

rst Bull for the introduction of the Inquisition into P

the Trovas addressed to King Jo?o in 1527. It is taken from a poem

contaré m

a t

the Justi?a Maior may have been taken by Garcia de Resende, who added actin

Freire in Rev. de Hist

ente's epitaph wr

(1470-1536), Miscella

s Lusitani (1532), ap. C. Micha?lis de Vasco

, nam porque gostasse tanto do q? diziam como o fazia das dissimuladas reprehens?es [jocis perstringere mores] q? com geitos e palauras trocadas dauam aos moradores de sua cas

da Canan

to da L

rm?o (I

rta (II

Mofina Mendes

da Canane

da Historia de

extensive and he often follows it closely, e.g.

as that they did not serve the State. Cf. Fragoa

Abraham complains that men worship stocks and stones and have no

t danced with the daffodils-no doubt Southey's 'my bosom bounds' was m

arta (I

s de Jupite

m de Aggrava

the plays had been acted in more than one year, others had been composed years before they wer

do Inverno (

e Aggravados (1

oril Portugues

s Almocreves (

do Inverno (

da Feira (1

goa de Amor and t

ii. 289

63 (as earl

ii.

iii.

48 (cf. i. 4

l. Rey Dom Emanvel, Pt i.

ola, di lussuria e degli altri, como loro appetito desidera, sanza niuno m

a Festa, ed.

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

ely mentioned. Perhaps Vicente felt that he would have

ethe's Italienische Reise) in the Rome Car

vernkeeper, a Spanish seller of vinegar and a red-faced German friar are mentioned, while Sp

nte 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

) 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 wou

Castellana, ap. Menéndez y Pe

is was, in 1890, the opinion of Sousa Viterbo (A Litteratura Hespanhola em

hos quer deos ju?tos ver (1917 ed., p. 16)

a dar en el tan fieros bocados (1897 ed., p. 50) and Q

er noster grosado por Luys anrr

a, t. 7, pp. c

ología, t

nceses from the romance Domingo era

. 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

Nao de Amor of

a Lusitania is, like that of Mofina Mendes,

on to the Literature of Europe

Juan Manuel's El Conde Lucanor (c. 1535). Shakespeare's The Taming of the Shrew was

o write it, he has 'trastornado todo Amadis y la Demanda del Sancto Grial de pe a pa.' The result, according to the c

umario has 18 figures. The Auto da Feira has 22, but over

(1908), t. 2

owed hard upon his death. It is not the work of Vicente, who, although in his Spanish he

3), p. 35; p. 37 (the 1733

raga could say 'Nobody now studies V

ILA

DALAS

ICENTE,

Liuros. O Primeyr

. O segundo as Co

dias. No qua

nto, à

ud

;

das polo San

manda no

e Re

re & sempre leal Cidade de

e M. D

s Deputados da

IVILEG

?

ado em pa

COND (1586) EDITION

DA AL

o mi prese e

dal Ciel, pe

, Pur

a. The Soul

de Lisboa nos pa?os da ribeyra em a noyte de endoen?as. Era do Senhor de M.D. & viij[151]. This play was written for the very devout Queen Lianor and played befo

nto. A

adeyra das almas he a madre sancta ygreja, a mesa he o altar, os m?jares as insignias da payx?. E desta perfigura??[153] trata a obra seguinte. 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 transi

Sam Hieronymo, Sancto Ambrosio, Sancto Agostinho, & diz Agostinho. (A table laid, with a chair. The Holy

essario fo

a triste

ta

ui perigo

mmigo

algu?a

gua

humana tr

za vay

rias

rreyra d

ito

ssario p

as

com mant

ta em cl

e esp

ados man

torm

ho de Deo

ou pe

te foy

or darno

ua

sem det

sent

a paga e

ece

a morta

ta estal

ja m

r aa su

ta

alma ca

ho p

o custo

lhe he en

nfra

ay toma

des

do a esta

ug. Friends, 'tw

n the gl

is ou

refuge the

the

dangers

in ar

s spirit m

ourney t

t opp

this tr

to

needed fo

ay an

vided with

light a t

ctan

with a d

rment

of God, His l

on th

covenant of

to give u

His

ing He

His b

full requ

om all

s man was

Church thus

eper

er at this

servi

ry wayfa

he Fat

ardian Ang

o her prot

eak w

ng almost

nwar

h this inn

health

o custodio

i

an Angel co

and s

ma humana

u?a cou

prec

up?am s

sma

fragoa

rio

neste v

celeste

or

serdes

alta

criam

que r

es & cami

que esta

e vi

atria v

r her

a que co

y pr

bemauen

s tanto

durm

nam este

a jo

breue h

el. Human soul,

hingness y

great

ruption

lim

s perfecti

lled d

in this val

elestial

irest

at high hil

thou k

roses gr

excel

ing, since t

ing, to its

till b

ountry is

hy m

that thou

sten

rt thus tre

gels' love

not a

stant paus

journ

that soon

ch tho

que soes

r minha

rr

parte aj

nam

preciosa

nci

me sempr

vin muy

onte

ioso de

fa

espada

def

sempre m

y medo d

Guardian angel,

ard that a

f the

des thy w

nothi

alth nor e

ts hig

pass me an

nflict with

all my

ector in t

shoul

eaming swo

y def

ld me and

lest I ma

and

isso sam

em

os de m

sist

occupem

nem seu

y po

, honrras,

ayd

ates &

a v

liure

forro, p

he

iuinal

enh

ais faze

o es

ure enten

ade li

memo

ais em v

dam

por ell

a g

Deos que o

os pos a

mer

uyto frac

or

a a vos

efe

a estrad

torneis

i?mi

a vida

gro

aes a S

o pe

nuay te

de voss

me

pirito

pec

sem te

a g

a?os in

des de t

ebr

eyra qu

ca

ossa fe

el. Therefore cam

am

elp me too,

ist

he world's

s and of

hou fo

and honour,

ly e

tumbling-bl

sting

ntrolled i

indepen

nd by

n His mig

God

n glory mig

avenly

e understan

to thee

ill is

ou mayest

urpose

t He has fa

e di

d knew the m

placed thee

win His

eak and pro

fore

otect-it w

o upr

forth upon

ou back, fo

en

orious life

make

Satan p

rks fo

e goal seek

at thy jou

e it

rit e'er at

st al

tion's pat

ut a

Hell that sha

awful wil

to mo

dvancest

ot nor

beauty joi

irits

diz o diabo.[v] (The Angel goes forward

ressa, oo

ba, pera

vos e

eua tam

es

mente n

es hu

eis de

a estais

cre

ahi per

ami

a vossa

ey pra

zay dos be?

y por s

eres

ida vos d

iste

falla em

praz

da he d

& m

is doutr

p?e em

vil. Whither so s

dove mo

s decei

y still

this

of hum

bereav

to hasten

hast life

rther

a time

for l

thy will

thy p

y the goods

states seek

ldly tr

ills, exiled

nds the

to thee of

of ple

all a pleas

debo

no other

e seek, with

e els

m me deten

e fundo. Soul. Hinder m

her though

descansay

os faze

m balde o

balde os

turas

e balde o

ome

m puros

reatu

home?s s

a vossa

a m

, pois de

e pas

a mesma

le

vontad

o corpo

se

e quem v

ren

ovos ma

de g

e se a v

triste,

e tor

vos soe

era

is a nin

. To worldly ease

men inclin

nothing are

vain poss

rtune'

ought are ple

nquet-

are for ma

allia

men is thei

ight thy w

orth r

nce rest lik

nt thi

s very p

ow is

'er thy bod

thy will

et i

ou at the ce

woul

rèd by suf

sele

being thou,

troubled li

cru

rt of impe

oyal

ou needest

e thou

nday, quem

des pera

va

eos, oo

nin

preza d

e sa

is, alma

nha des

esfor

viriei

ese

is quant

a jo

mos, ca

ora, al

. O who thus hinde

st thou on

slo

ole cons

s the

t victory

s most

ady dost t

soon beneat

ul, tak

what a gl

des

ouldst thou s

hen th

orward let

cheer, O so

s thy

Satanas. (The Angel goes

des & que

supr

e essa pre

de

y desaut

, pobre,

rem

is de vo

rgu

ssais e

ispa

ora es

bra?o

espe

vem t?

to

ece be

an

pins aue

, muy ferm

s aq

stais v

par

ra?os pre

so

uos muy

ali & de la

ntas

tais vos

a r

s muy b

But what is all

to a

thou in has

ive th

teous is th

foot, ruin

itte

nothing t

ne by

y life is

g sens

ress, thy arm

h now, even t

. What

ery! I d

s me. Now

tle s

hoes are now

rom Valencia,

ee e

iful, as

hou i

y arms pres

so; a

, show off t

d that and

s thou

fairest ro

auty's

omes thee a

ke thi

e?do. (The Angel return

azendo? Angel. What is th

?o o q?

In the world's mi

in

lma, hisuo

o vos h

rofu

caminha

s tornai

trau

s ante

rcante

ayro s

quere

inhay co

irgem g

es

vosso pr

her

s a glor

tria

sses cha

rabos ta

s carr

tome a m

senh

s com tai

. O soul, thou c

st forwar

he a

tep that on

back, one

akest

t eagerly

irate

n, by the

y fre

nward still

irgin wit

thee

st desolat

ingdo

own glory

rue e

se slippers

ress and its

rt all

come on t

n thy

sires and tr

ut thy

ay, day me

os, que

oul. Go forward, s

s

, I will f

est

diabo. (The Angel goes for

as as cous

?aza

, eu vo

pare

empo d

de de

tra

ar e tr

pan

rir pro

pode

e cedo pe

a de ar

ao

a for da

ta

osso p

al na

pera

dras pr

roc

edas p

e pe

s almas m

dado

aqui h

y bem es

z an

ais vos p

amo

elho vos

bere

os ey de

estes p

orelha

so

essoas d

prud

vos

. Devil. All things in

season

thee will

unsel

time here f

is given

the

lordly tri

world's

ase and r

's full

early yet

r to repe

seek

ith fashion'

qu

nature tha

e was

thou, is the

use for pre

or br

ese silks

urel

souls, the

ere al

necklace in

lly ename

re rin

ou win the h

or a

rror thou

lf an

not dece

ear-rings,

ach ear

en

thus dili

wisd

I may to

ll pleased I

como esto

na per

ar! Soul. O how lo

for serv

holy a

alma desp

fio

s deues

que g

erra sob

s ouros

sen

ermites

dest

no da

u la

eis mais

iure da

a a

stais c

bara

que ha de

de f

so se d

o da se

ta, quem

ca

ntura? Angel. Cruel

er t

un thee tha

y sal

arth is this

arth is all

most

ermittest t

as o

kingdom f

eature

easier jo

e free than t

ll thi

bowed with

ow dot

but which

here

orged and l

trance to

ul, doth the

lf to

ain misfort

o nam me

fraca

mbar

osso dar

can

minha

sem

hidevos

o em mi[v]

Nay, this doth sca

oor weak m

ows me

am I, I

go m

race, so fra

now g

way: I can

ow further

alle

er day dou

ond

em o ma

est

ali re

s algu?

orto

hospeda h

gasa

vem atr

hor

steps more to

ho wi

elestial

rit

lt thou go

aste there

ength t

is that h

e of t

o weeping c

with s

e? Soul. Is

qui muy

y, nam

nde

ha todo

ce

cousas q

temos

da tem gr

fauores. Angel

cast, but n

let

y remedy

rtain

ever thou

an b

ers that nought

s will she

innke

he ella? So

madre ygr

s sancto

om

i muy d

Spirito[

y fe

sede e

a pa

endes de

Angel. The Hol

octors tho

ere wi

e shall thy

n with the

eauti

ke heart,

ep for

e step, and th

e a

speray, on

essa ta

a pe

os que

sen

ardes a

velh

dayuos a

horas ha

laa

ue a mort

xiq

?o quant

lma

r vossa

u?as scr

u?s

rdeis gra

con

ar?o aas

os p

nda muy

que sam

um

partes te

man

fiquem

il. Stay, whither a

is mere u

oolis

puffed with pr

meekl

hurchward

n thee

pleasure rul

ours in ye

e are

th comes to

er thou

ns that can

be for

wealth and

group of ho

ne by

of income w

app

ts' death th

clear

simple, 't

its in a t

ghter'

y let the c

in a

u well wha

ensi

te por am

nam me

ab

es[v] os

ltos

da em tu

e ga

me re

cruel d

verg

me pos

ch

ar ond

ul. O silence, for

me no more

t not

heirs that i

their

thee earl

crif

me: so I m

wrong that

st thus

ve scarce br

ch tha

his poison

ant

edes aqui

yra & m

Angel. See the inn

ll those a

uld ha

como vind

ch. O laden with

red

ho por mi

. Yea, for I des

of s

andais? Church. Who art thou?

sey pera

salu

alma qu

as m

Deos qu

ua i

riste, se

resplan

rec

a em fe

r na

yo[v] r

mi

nha tris

licas m

enta

s morta q

depo

da de v

nhen

iste, sem

ra abst

fio

iste cul

mesq

mal[v]

leyt

y da min

erfeytos

ura

rezey de

cont

om os traj

dan

passo m

r[v] de

u cul

iedade

nam

eu inoc

dana

is graue

erme ar

to q

triste p

o is

quer

o s

[v], hospe

m?o de

toc

a de mi

ag

e auante

omo v

y minha

grada

pe

a sancta

e fra

o que e

conh

?ome po

o dia

a cu

, quero

assad

padeceo

os des

e ora a

s desam

. I know not whith

tune's

nholy, s

ortal

e God who

ke to

l ill-starred

ture shone

of

beauty once

lovel

refulgent

with

y ill-om

rocious

treas

an death is

ith thi

can lighte

poiso

nner obst

that kno

is my

y guilt mos

rofli

to evil c

ll de

shed from

erfect o

tural

nce I se

ever

all these vi

rldly

taken in ea

sank away

g but

y upon on

una

ce lost, I m

from

y greater

re repent

in n

s are muti

libe

g to obe

e they

, lady in

even now

on me

grievou

y de

w not if I

kward

ou my help

hen me with

I pe

oble sai

al to

ng my des

e to c

edge all

e thee me

eness

let me n

thine

suffered e

e migh

come, Moth

all who ar

te

ndevos aqu

e vag

njares s?

eos P

Agostin

mbrosio, S?

pil

qui por

l mil

lma, go

man

sancta

esta al

ue m

ar onde

det

eos a trou

ch. Enter to thy

ome s

ds thou sees

d mos

llars, doct

Thomas

Augu

vice wax

ow con

, soul, sha

are of

oly kitc

s frail so

he fin

r journey's

ath,

ght hither

n life

tas vascas & vem outro[v] & diz. (Meanwhile Satan goes to and

do.[v][n] 2nd D. You're

pesar. 1st D. I'm all a

te? 2nd D. Why,

ndo tam

eng

posso

me p

?a alma

i pera

D. To be so t

ught a

est be to

as I

had by hon

certain sou

res of

for?ada? 2nd D. Who mad

pada. 1st D. H

melle fe

como

tra alma j

o de se

sespe

oda off

stes per

ast

lla[v] ch

lagrima

a te

y entonc

gritos

serr

o conta q

dia ga

D. He played just

e as

overcome

ang itself

s des

as given

elf was m

't down

ade it weep

e tears ra

ery g

ave heard m

of rage

ills

pes that what

day I sha

ll we

digo eu, yr

esta t

ere

ey a a

ue ella

ygr

ar de c

de a

eram ai

. I, brother, cann

tempt thi

'er b

omises will

Church she s

to the

ourney: I

eshre

not all th

def

v] (The Soul ente

s nam me d

eu anjo

inc

que me

sou for

eu D

ja, ten

onuite

Sen

aos pe

as d

sto cru

O let not thy pro

ngel, help

s mos

hy would yo

God am r

n His

ye tempter

most pre

m who

sinners fo

se who

edeemer Lor

cruc

Vexila regis prodeunt*[v][n]. E postos na mesa, Sancto Agostinho diz. (While the Soul is seated at the table and the Angel standing by her sid

, senhora

cea so

est

ster ser

ansp

a cous

rr

s olhos

erros ao

tit

yros in

bus

nhos be

Aug. Lady, thou th

f celest

y di

s a bidd

now d

worldly tho

ce were

dy's eyes m

tters sur

e app

guides, in

ys are

safe suppor

he co

nzey a mes

a con

onui

ora?a

e o

riosa

sag

alma, r

ndo as vi

sen

ros res

fostes

ch. Sir, by thee be

enedicto

ing r

ength to th

re exp

n's glory

l its

ul, with o

s sorrows c

even

hers make

is have you

d in p

gostinho. (St Au

Deos ma

undo vi

rne h

valle

acr

ia nos m

era

ilho de

da di

atu

s partes

y sa

ssa[v] i

fraq

perador

to muy

enc

homem[v] q

ere

stado g

r mo

ilha, mad

re, frol

em M

pomba

am c

seu Fil

eci

ymas pr

ginal

ill

s das do

hos[v] da

ram

?a soo po

arament

lla

pena &

horaueis,

so

do vos a

mas vos

fa

filho &

s que lh

ndo or

uyto mai

eus pade

os[v

e quant

do

a seus t

so

podesse

podess

ta

podess

rmos

aueis ao

edem

osa fac

landor

sent

cruz se p

sto

ho ce

pari

or cima

vosso

chag

tam cr

pres

s ser m?

sti?

ha del

ade esc

nam

rta & deb

uog

de nos

od whose might on

st to th

man g

vale of

ullen

glory ha

e our

on most d

natural

vine

d and wound

w his

vile i

ittle

ler of th

of powe

ing m

creature,

t no

ad, and m

rtal p

ghter, moth

ower of

irgin

e, when he

cruc

ars shed b

rief

ious tears

virgin hea

by

t thy sor

perfect eye

ill fl

of them mi

ost man

rief t

oe and suff

n overwhe

y dear

n with grief

t Him they mi

fe, th

he Cross w

tears that

ayer

eater woe

thee faint

y dis

n His ow

doub

rture at t

urel

ds have ev

r or lit

rief a

hought may

hee b

rt when He

the C

e, O lovel

aven's bea

oe was

oss on high

ther

he Son o

thy

owd's heads

s ever th

o thy

oss nailè

stand

other of H

cruc

een of Hol

not thus w

aintin

here all

pat

till uphol

ife o

Isto choro

monte

ja

tio que o

ssa re

a a sem[

de Je

eci

contra

nascido

brose. Thus of yo

Sion ma

s long

ew that t

ur salvat

urned the

tarred J

murd

d kill un

born in

fe to

em vira o sa

lobos h

rnec

pera o

mad

o aluo &

t Jerome. O the H

d the wolv

ckery f

to suffe

the

ce, so fair

et at

. St Augustine. (He

do padr

lho que

eo t

rito san

imm

da, ben

Eternal Father's

Son, who su

for

he Spiri

e our

mortal, F

hree

as m?os. Church. Come now,

aveysuos[

mas da c

m la

suos d

mpa

toalha

la

o das v

m sem ma

pur

com am

escu

de dor g

cab

os olhos

am cons

istes

pontos

e[v] &

rompe o

ped

triste,

to de fe

ura

entos pe

igu

iador,

ug. But thou must

hy past si

thoro

o this fai

yst dra

hat is ke

d cun

silk in pain

he Holy Vi

iss

was spun i

rk dis

with incre

fini

ll thine eyes

rn sad wil

ars do

es here on

it pr

very hear

e suc

ere thou ma

ly face m

seein

erèd wi

yst

ned, who c

man s

m adora??o de joelhos, cantando Salue sancta facies[v], & acabando diz a madre ygreja. (The towel here described is the veronica, which St Augustine takes from am

ria. 109Church. Let the

a yguaria

sen

a sem

rist

dade co

ata

is com sa

os de m

os co

sias d

o sem

ollo vo

t Jerome. It

les

sad

easure was

ffering

cook was

r to

ng of tears

e by thee be ea

Messiah's

ree fro

s scourged

ove o

joelhos adoram cant?do Aue flagellum, & despois diz Geronymo. (The viand so described consists of the scourge which at this s

ro manja

ygu

is de m

onte

o senhor

de

os rem

romento[v

miolos l

nsen

mediar

sso siso

anhardes

. This second viand

del

lowly eat

ntemp

Lord of al

a

for thy s

torture s

to reach

so th

ght be resto

hed from t

ou Paradise

red

res cantam Aue corona espinearum[v], & acabando[v] diz a madre ygreja. (This second viand so described is the crown of thorns, and at

Church. Another bring

utro manja

gu

lugare

al m

enha do

pre

m gram tr

virgem

o gu

ar com g

a ri

perla

. This third viand t

epared

hree, in ea

btler

ood of the

f grea

eaten sorro

e Virgin

t gar

ure nailè

did s

earl most

and ta

clauus, & acabada a adora?am[v] diz o anjo à alma. (At this station St Augustine brings the nails and all kneel

ora ess

tra nam s

cuy

almas sa

am

nam an

l. These trappin

as

e cannot, th

aten

e men's so

their

with overw

umpt

o[v] deu & diz Agostinho. (The Soul casts off

a bem ac

seu a cuj

erra h

reis de

a es

encestes

ine. O soul, well couns

t is of eac

rth to

ou speed alo

f this

ith from thi

rious

guaria. Church. To the la

arta yguar

esme

infin

co

mente

guis

terio p

rario

cube

indade

nsag

ao padre

t Jerome. This fourt

easo

value i

exqui

by the Di

perf

first in m

irgin came

ecret

ssed by

sanc

e Eternal

ffer

do Domine Jesu Christe, & acabando diz a alma. (St Jerome presents to the Soul a Crucifix, which he takes

r?as, com q

triste,

sou

Deos[v]

affl

do tu a

cul

as tam qu

e Deos

te

per cuj

usti

Deos v

. With what heart a

ise Thee

am n

hee, God

uch

ing and s

sin br

Thou crushed a

Son of G

Thy

dered, by

ord s

judge an

'st us

fruyta[v] d

altar vo

am

todos

p

] estaa

Aug. For the fruit t

tar given

ing

ard go we a

lies a

er, He who

et us

oram adorar ho muymento.[v] (And all with the Soul

S D

VARIAN

rigosos p'rigo

fra 73 and J. Ruiz Cantar de Ciegos. De lo

da com a

ressa

cheg

ir A, B C; e

ras B

a B vem o D

avei pr

B cue da vida

deleytes B fortunas A,

gem A, B

mister De Valen?a, ey

la pe

B mercante C,

B C. Todas cousas c

er A, B

C (cf. infra 102 nas

as A, B

reis B Neste espelho bem lavrado Vos

ada orel

espie

derrad

va

mi

o? tudo tendes

Sipr

mo se

criptu

ouares B

amnas

mo o r

tas A. & t

nada C. a todo o ma

feos C; c'

ar C. d

occor

deva

io e Thomaz C, D. e

asseia C. vem

socegad

outra alma

ê-la

as

agar C. Entra a Al

. pro Deum A,

é 'gor

la nos

m C, E. B omi

Quando o seu Deos p

A, B c'os

er A, B pode

verm

crav

vida A, B da nossa vida C, D. pec

Mes

horaua

cos

so ave

107. alimpeis (A)];

de fa

B C, D, E. Esta toalha de que C. Veronica

se falla

ala A; falla B esp

the

A, B C, D, E. clauso

inimi

jo he A, B o se

; offerta B c

rito C. tristes louv

e C. redemtor B mo

TNO

II. A. Braa

ra etern

prefig

??O DA

uerra?.[v] Exho

rchiles, Anibal, Eytor, Cepiam. Dramatis personae: A necromancer, Zebron an

llustre & muy magnifico senhor d? Gemes Duque de Bargan?a & de Guimar?es, &c. Era de M.D.xiiij[v]annos. The following tragicomedy is called Exhortation to War. It was played before the very high a

o nigromante & diz: ? A necroman

sos & es

s mui pr

ra vit

muyto q

erigo

ortu

da cou

esmera

leza i

o muy

& nig

yro muy

go bem

artes

er

ais for

reso po

nte Dom

s dencan

nca soub

ara que

s a pen

hum cor

que

ndo leyt

polo c

a sempr

grande e

ndes mar

bolica

as em m

usas imp

terr

s muy e

ra pasmar

s & inv

hu?a dam

?afara

o galan

folgue de

dous n

pe

cada hum

as far

reis mar

por me

a dama

noyte s

?a mal n

fermos

est

or sino

quer hom

pesasse

mais per

onjuro

eis tod

que vos

y da n

a nigro

sol a

y yr p

van f

ey todo

o o sono

os ey

erra vo

y hum

pe

bem de

dure ess

r outro

ey que

e est?o p

os ey

que vos

que es

dra sobr

que quem

e? pros

er magi

tam des

as telha

lhados d

a torr

rande

?a da s

o alices

meas e

uero mai

e San

urote

s n?o e

ret zerre

ilui

zegot r

ilui

s das pr

porros d

[v] da et

tuas g

ote Sa

est

fo dos

ra dos

lle de

umo pe

da tua

rdente f

go do t

urote

cor

seluece

ote, L

as minh

euoas a

v] nas tua

o?as[v]

s[v] & se

amargo

sem

aos enc

rytos do

a cessam

ote, B

uidade H

malicia

al te al

ut Lin

orep

eri.[n] Princes o

igh renow

torious

ed of God

t am and

ortu

Sibyl's c

umes di

ed and brou

and nec

lled prac

complishe

sed in a

ny a dev

I have

e strongest

eize him b

m to prince

of past

hantments th

aking lov

eing from

arts I wi

r tha

soft as sy

others, to c

shall their f

great

marvels

ers of Hell

me exce

mpossible

ful s

s most

l shall see

and in

make a

e's guerdo

over loo

eath of lif

ers, love's

asu

ave to gr

eve by t

ch you'll gaz

dy most

lfpenny

use witho

ill nor well

er lovel

ar in

s destiny

oblest me

st her lov

etter to

ection o

you all to

mean, as be

turn nigh

s good art

should chan

light as a

oolish

use you a

has you in i

cause you

efore the ea

ver by t

ve fo

eal be hi

ke his fa

till it be

ke you wi

scarcely ca

ch of you i

shall his

make this

stone on

ose who do

ity shall

gic art's

mighty ra

es shall li

houses, on

eat Cathed

s size wil

te its sp

ents on hig

ation at

se no more

ian's name

I conju

n, be not

ret zerre

lui s

zegot r

ui sot

depths, abys

arth's ev

rkness never

reat works

eresoe'er

njur

ghty drag

ging lions

aphat's va

moke tha

from out

e that non

ments of t

eart righ

I conju

seluec

my praye

sten to my

sts of li

egions dre

ers, snake

ells, aby

ngs relen

n by

isoners o

rieks of

easing e

, I thee

indness o

ong in mal

by thy he

gut L

ep tis

ee naf

diz Zebron: The devils Zebron

gado? Z. What's the ma