counsellor has performed his part in the temptation of Adam and Eve in Paradise, the whole details of which are represented on the stage, Lucifer confers on him the dignities of duke and captain of the kingdoms of the world.* Next succeeds a series of scenes which summarily represent the history of the christian redemption. The World accompanied by Time and angels enters as a king. The representation of the fall of man is followed by the history of Abel, by whom a beautiful and simple hymn is sung. The next scenes exhibit the histories of Abraham, Job, and David; and thus the Auto proceeds through the incidents of the old and new testaments *Faço te Duque e meu capitaõ Says Lucifer to Satan. + It is a Vilancete resembling the Spanish Villancicos. Adoray montanhas o Deos das alturas; tambem as verduras Louuay aruoredos o Deos das alturas. until the ascension of Christ, which is represented on the stage amidst an accompaniment of drums and trumpets. On comparing the Autos of Gil Vicente with those of Calderon, the difference appears not much less considerable than that which exists between the works of Hans Sachs and Shakespeare. But the graceful simplicity with which many of the scenes of these spiritual dramas are executed, raises the Portuguese poet infinitely above the poetic shoe-maker of Nuremberg. The most unimportant of the dramatic works of Gil Vicente are those which the poet and his son have called comedies. One is a dramatized novel, in which a young lady, whom her lover, a priest, has seduced, appears on the stage in child-bed, and after long lamentations and discussions is actually delivered of a daughter. In the second half of the piece the child whose birth is thus announced has attained the age of womanhood, and is in her turn introduced as a lady loving and beloved. The action, however, is not destitute of interest. In the first half of the drama, a Witch, who summons the Devil on the stage, assists the unfortunate lady in child-bed, and afterwards, five laundresses (lavandeiras) make their appearance. Nevertheless, amidst much extravagance and absurdity, the author has represented several scenes of domestic life, in a style equally pleasing and natural. No example of the intrigue of the Spanish theatre is to be found in this piece, but there is introduced a fool (parvo), or more properly a waggish clown, a character which appears to be the rude prototype of the Spanish gracioso. Pleasing songs in the Spanish language are interspersed through the dialogue. The young girl who was born at the commencement of the piece takes leave of the public in the character of a princess. Several of Gil Vicente's other works, which are styled comedies, are dramatized novels, similar to that just described. One which is entitled, A Floresta de Enganos, (the Forest or Gardens of Deception),* is merely a dramatized garland of sprightly fancies enriched with allegorical and mythological ornaments. At the head of the dramatis personæ appears the burlesque character of a philosopher, who, because he has reproved some wicked men for their misconduct, is, by way of punishment, tied to a fool (parvo) with whom he is thus compelled to associate. He regards this punishment as the severest torture that could be inflicted on a philosopher. He speaks Spanish, and the replies of the fool are more remarkable for their rudeness than for their wit.† *The word Floresta has a two-fold meaning. In Portuguese it usually signifies a flower garden or a park. In Spanish it also bears the meaning of the Italian Foresta. Gil Vicente so frequently confounds Spanish and Portuguese together, that in the present instance it is necessary to guess the meaning he wishes to attach to the word Floresta, which seems to be that of a flower garden. † Both converse in Spanish in the following extract. a todos es enojosa, me vi en grande passion Gil Vicente's tragi-comedies may be regarded as rough outlines of that kind of drama which subsequently formed a variety of the heroic comedies* of the Spanish stage. They are not historical dramas, but festival pieces adorned with a certain pomp of allegory, mythology, magic, &c. and occasionally interspersed with pathetic scenes. They were performed before the court on festivals or particular occasions, which are specified. One of these dramas, entitled, Amadis de Gaula, and founded on some of the incidents in the celebrated romance of the same name, was, in spite of its inoffensive character, forbidden to be performed in Spain in the reign of Philip II. The cause of this prohibition probably was, that the disguise of Amadis, as a pilgrim, was deemed a profanation of the sacred habit. piece which is written in the Spanish language, is destitute of all merit of invention. Others of these dramas exhibit more traces of the poet's fancy; but in none is Filo. Par. Filo. ataron ansi comigo esto bouo que aqui veis. Que lo trayga desta suerte al comer y al cenar al dormir y platicar esto sopena de muerte que no lo pueda dexar hasta el morir. Parvo. Nome dexaraas dezir la causa que me ha traido. Hasta la mañana. Dexame oraser oydo desta gente cortesana. &c. Has te dir. See the History of Spanish Literature, p. 368. This there the foundation of a genuine dramatic plot. One entitled, Exhortaçaõ de Guerra, (Exhortation to War), was doubtless a favourite with the court. A pious magician appears who has learned necromancy in a sybil's cave. By powerful spells he summons to his presence some subject demons, whom he suffers to revile him in the coarsest language.* He however obliges them to conjure up the spirits of Polyxena, Penthesilea, Achilles, Scipio, and other celebrated characters of antiquity. These spirits appear in succession, and address fine compliments to the royal family. In another tragicomedy Providence is introduced as a Princess. But the most varied of all is Triumpho do Invierno, (Winter's Triumph), in two parts. Besides a multitude of characters, among which an allegorical personification of Winter is one of the most conspicuous, Gil Vicente exhibited to his audience a view of the open sea, agitated by a storm during the most inclement season of the year. The noise and confusion among the ships in distress, and the oaths and prayers of the Portuguese sailors expressed in rhymes and redondilhas, would naturally be gratifying to a public who at the period when the piece was written, took particular interest in maritine affairs. Another of these tragi-comedies is also a satire. * The usual titles with which the demons address the pious necromancer, are "Thief” and “Blackguard.” †The following is a specimen selected from a long nautical scene of this kind. It is not necessary to quote the names of the characters at length. Pilo. Aa verdade este vento entra muy indiabrado. |