Chapter 1

TRANSCRIPTION NOTES:

* the English translation was placed after the Portuguese text (it was originally side by side with the Portuguese text)

* critical edition notes were placed after the Portuguese text

* critical notes which refer to the play's introduction, before the line numbering, were labelled '0.'

* ^ is used for superscript.

❧ COPILACAM DE TODALAS OBRAS DE GIL VICENTE, A QVAL SE REPARTE EM CINCO LIVROS O PRIMEYRO HE DE TODAS suas cousas de deuaçam. O segundo as comedias. O terceyro as tragicomedias. No quarto as farsas. No quinto as obras meudas.

¶ Empremiose em a muy nobre & sempre leal cidade de Lixboa em casa de Ioam Aluarez impressor del Rey nosso senhor Anno de M D LXII

¶ Foy visto polos deputados da Sancta Inquisiçam.

COM PRIVILEGIO REAL.

(⁂)

¶ Vendem se a cruzado em papel em casa de Francisco fernandez na rua noua.

TITLE-PAGE OF THE FIRST (1562) EDITION OF GIL VICENTE'S WORKS

FOUR PLAYS OF GIL VICENTE

Edited from the _editio princeps_ (1562), with Translation and Notes, by

AUBREY F. G. BELL

Θαρρε̂ιν χρ̀η τ̀ον κὰι σμικρόν τι δυνάμεηοη ἐις τ̀ο πρόσθεν ̓αὲι προϊέναι.

PLATO, _Sophistes_.

CAMBRIDGE AT THE UNIVERSITY PRESS 1920

KRAUS REPRINT CO. New York 1969

TO ALL THOSE WHO HAVE LABOURED IN THE VICENTIAN VINEYARD

LC 24-15201

_First Published 1920_ _Reprinted by permission of the Cambridge University Press_ KRAUS REPRINT CO. A U. S. Division of Kraus-Thomson Organization Limited

Printed in U. S. A.

PREFACE

Gil Vicente, that sovereign genius[1], is too popular and indigenous for translation and this may account for the fact that he has not been presented to English readers. It is hoped, however, that a fairly accurate version, with the text in view[2], may give some idea of his genius. The religious, the patriotic-imperial, the satirical and the pastoral sides of his drama are represented respectively by the _Auto da Alma_, the _Exhortação_, the _Almocreves_ and the _Serra da Estrella_, while his lyrical vein is seen in the _Auto da Alma_ and in two delightful songs: the _serranilha_ of the _Almocreves_ and the _cossante_ of the _Serra da Estrella_. Many of his plays, including some of the most charming of his lyrics, were written in Spanish and this limited the choice from the point of view of Portuguese literature, but there are others of the Portuguese plays fully as well worth reading as the four here given.

The text is that of the exceedingly rare first edition (1562). Apart from accents and punctuation, it is reproduced without alteration, unless a passage is marked by an asterisk, when the text of the _editio princeps_ will be found in the foot-notes, in which variants of other editions are also given.

In these notes A represents the _editio princeps_ (1562): _Copilaçam de todalas obras de Gil Vicente, a qual se reparte em cinco livros. O primeyro he de todas suas cousas de deuaçam. O segundo as comedias. O terceyro as tragicomedias. No quarto as farsas. No quinto as obras meudas. Empremiose em a muy nobre & sempre leal cidade de Lixboa em casa de Ioam Aluarez impressor del Rey nosso senhor. Anno de MDLXII_. The second (1586) edition (B) is the _Copilaçam de todalas obras de Gil Vicente... Lixboa, por Andres Lobato, Anno de MDLXXXVJ_. A third edition in three volumes appeared in 1834 (C): _Obras de Gil Vicente, correctas e emendadas pelo cuidado e diligencia de J. V. Barreto Feio e J. G. Monteiro_. Hamburgo, 1834. This was based, although not always with scrupulous accuracy, on the _editio princeps_, and subsequent editions have faithfully adhered to that of 1834: _Obras_, 3 vol. Lisboa, 1852 (D), and _Obras_, ed. Mendes dos Remedios, 3 vol. Coimbra, 1907, 12, 14 [_Subsidios_, vol. 11, 15, 17][3] (E). Although there has been a tendency of late to multiply editions of Gil Vicente, no attempt has been made to produce a critical edition. It is generally felt that that must be left to the master hand of Dona Carolina Michaëlis de Vasconcellos[4]. Since the plays of Vicente number over forty the present volume is only a tentative step in this direction, but it may serve to show the need of referring to, and occasionally emending, the _editio princeps_ in any future edition of the most national poet of Portugal[5].

AUBREY F. G. BELL.

_8 April 1920._

FOOTNOTES:

[1] _Este soberano ingenio._ Marcelino Menéndez y Pelayo, _Antologia_, tom. 7, p. clxiii.

[2] Although the text has been given without alteration it has not been thought necessary to provide a precise rendering of the coarser passages.

[3] The Paris 1843 edition is the Hamburg 1834 edition with a different title-page. The _Auto da Alma_ was published separately at Lisbon in 1902 and again (in part) in _Autos de Gil Vicente. Compilação e prefacio de Affonso Lopes Vieira_, Porto, 1916; while extracts appeared in _Portugal. An Anthology, edited with English versions, by George Young_. Oxford, 1916. The present text and translation are reprinted, by permission of the Editor, from _The Modern Language Review_.

[4] I understand that the eminent philologist Dr José Leite de Vasconcellos is also preparing an edition.

[5] Facsimiles of the title-pages of the two early editions of Vicente's works are reproduced here through the courtesy of Senhor Anselmo Braamcamp Freire.

CONTENTS

PAGE

PREFACE v

INTRODUCTION ix

AUTO DA ALMA (THE SOUL'S JOURNEY) 1

EXHORTAÇAO DA GUERRA (EXHORTATION TO WAR) 23

FARSA DOS ALMOCREVES (THE CARRIERS) 37

TRAGICOMEDIA PASTORIL DA SERRA DA ESTRELLA 55

NOTES 73

LIST OF PROVERBS IN GIL VICENTE'S WORKS 84

BIBLIOGRAPHY OF GIL VICENTE 86

CHRONOLOGICAL TABLE OF GIL VICENTE'S LIFE AND WORKS 89

INDEX OF PERSONS AND PLACES 95

* * * * *

FACSIMILE OF TITLE-PAGE OF THE FIRST EDITION (1562) OF GIL VICENTE'S WORKS _Frontispiece_

FACSIMILE OF TITLE-PAGE OF THE SECOND EDITION (1586) _page_ lii

INTRODUCTION

I. LIFE AND PLAYS OF GIL VICENTE

Those who read the voluminous song-book edited by jolly Garcia de Resende in 1516 are astonished at its narrowness and aridity. There is scarcely a breath of poetry or of Nature in these Court verses. In the pages of Gil Vicente[6], who had begun to write fourteen years before the _Cancioneiro Geral_ was published, the Court is still present, yet the atmosphere is totally different. There are many passages in his plays which correspond to the conventional love-poems of the courtiers and he maintains the personal satire to be found both in the _Cancioneiro da Vaticana_ and the _Cancioneiro de Resende_. But he is also a child of Nature, with a marvellous lyrical gift and the insight to revive and renew the genuine poetry which had existed in Galicia and the north of Portugal before the advent of the Provençal love-poetry, had sprung into a splendid harvest in rivalry with that poetry and died down under the Spanish influence of the fourteenth and fifteenth centuries. He was moreover a national and imperial poet, embracing the whole of Portuguese life and the whole rapidly growing Portuguese empire. We can only account for the difference by saying that Gil Vicente was a genius, the only great genius of that day in Portugal, and the most gifted poet of his time. It is therefore all the more tantalizing that we should know so little about him. A few documents recently unearthed, one or two scanty references by contemporary or later authors, are all the information we have apart from that which may be gleaned from the rubrics and colophons of his plays and from the plays themselves. The labours of Dona Carolina Michaëlis de Vasconcellos, Dr José Leite de Vasconcellos[7] and Snr Anselmo Braamcamp Freire are likely to provide us before long with the first critical edition of his plays. The ingenious suppositions of Dr Theophilo Braga[8] have, as usual, led to much discussion and research. He is the Mofina Mendes of critics, putting forward a hypothesis, translating it a few pages further on into a certainty and building rapidly on these foundations till an argument adduced or a document discovered by another critic brings the whole edifice toppling to the ground. The documents brought to light by General Brito Rebello[9] and Senhor Anselmo Braamcamp Freire[10] enable us to construct a sketch of Gil Vicente's life, while D. Carolina Michaëlis has shed a flood of light upon certain points[11]. The chronological table at the end of this volume is founded mainly, as to the order of the plays, on the documents and arguments recently set forth by one of the most distinguished of modern historical critics, Senhor Anselmo Braamcamp Freire. The plays, read in this order, throw a certain amount of new light on Gil Vicente's life and give it a new cohesion. Whether we consider it from the point of view of his own country or of the world, or of literature, art and science, his life coincides with one of the most wonderful periods in the world's history. At his birth Portugal was a sturdy mediaeval country, proud of her traditions and heroic past. Her heroes were so national as scarcely to be known beyond her own borders. Nun' Alvarez (1360-1431), one of the greatest men of all time, is even now unknown to Europe. And Portugal herself as yet hardly appraised at its true worth the life and work of Prince Henry the Navigator (1394-1460), at whose incentive she was still groping persistently along the western coast of Africa. His nephew Afonso V, the amiable grandson of Nun' Alvarez' friend, the Master of Avis, and the English princess Philippa of Lancaster, daughter of John of Gaunt, was on the throne, to be succeeded by his stern and resolute son João II in 1481. In his boyhood, spent in the country, somewhere in the green hills of Minho or the rugged grandeur and bare, flowered steeps of the Serra da Estrella, all _ossos e burel_[12], Gil Vicente might hear dramatic stories of the doings at the capital and Court, of the beginning of the new reign, of the beheadal of the Duke of Braganza in the Rocio of Evora, of the stabbing by the King's own hand of his cousin and brother-in-law, the young Duke of Viseu, of the baptism and death at Lisbon of a native prince from Guinea.

The place of his birth is not certain. Biographers have hesitated between Lisbon, Guimarães and Barcellos: perhaps he was not born in any of these towns but in some small village of the north of Portugal. We can at least say that he was not brought up at Lisbon. The proof is his knowledge and love of Nature and his intimate acquaintance with the ways of villagers, their character, customs, amusements, dances, songs and language. It is legitimate to draw certain inferences--provided we do not attach too great importance to them--from his plays, especially since we know that he himself staged them and acted in them[13]. His earliest compositions are especially personal and we may be quite sure that the parts of the herdsman in the _Visitaçam_ (1502) and of the mystically inclined shepherd, Gil Terron, in the _Auto Pastoril Castelhano_ (1502) and the _rustico pastor_ in the _Auto dos Reis Magos_ (1503) were played by Vicente himself. It is therefore well to note the passage in which Silvestre and Bras express surprise at Gil's learning:

_S._ Mudando vas la pelleja, Sabes de achaque de igreja!

_G._ Ahora lo deprendi....

_B._ Quien te viese no dirá Que naciste en serranía.

_G._ Dios hace estas maravillas.

It is possible that Gil Vicente, like Gil Terron, had been born _en serranía_. Dr Leite de Vasconcellos was the first to call attention to his special knowledge of the province of Beira, and the reference to the Serra da Estrella dragged into the _Comedia do Viuvo_ is of even more significance than the conventional _beirão_ talk of his peasants. Nor is the learning in his plays such as to give a moment's support to the theory that he had, like Enzina, received a university education, or, as some, relying on an unreliable _nobiliario_, have held, was tutor (_mestre de rhetorica_) to Prince, afterwards King, Manuel. The King, according to Damião de Goes, 'knew enough Latin to judge of its style.' Probably he did not know much more of it than Gil Vicente himself. His first productions are without the least pretension to learning: they are close imitations of Enzina's eclogues. Later his outlook widened; he read voraciously[14] and seems to have pounced on any new publication that came to the palace, among them the works of two slightly later Spanish playwrights, Lucas Fernández and Bartolomé de Torres Naharro. With the quickness of genius and spurred forward by the malicious criticism of his audience, their love of new things and the growing opposition of the introducers of the new style from Italy, he picked up a little French and Italian, while Church Latin and law Latin early began to creep into his plays. The parade of erudition (which is also a satire on pedants) at the beginning of the _Auto da Mofina Mendes_ is, however, that of a comparatively uneducated man in a library, of rustic Gil Vicente in the palace. Rather we would believe that he spent his early life in peasant surroundings, perhaps actually keeping goats in the scented hills like his Prince of Wales, Dom Duardos: _De mozo guardé ganado_, and then becoming an apprentice in the goldsmith's art, perhaps to his father or uncle, Martim Vicente, at Guimarães. It is extremely probable that he was drawn to the Court, then at Evora, for the first time in 1490 by the unprecedented festivities in honour of the wedding of the Crown Prince and Isabel, daughter of the Catholic Kings, and was one of the many goldsmiths who came thither on that occasion[15]. If that was so, his work may have at once attracted the attention of King João II, who, as Garcia de Resende tells us, keenly encouraged the talents of the young men in his service, and the protection of his wife, Queen Lianor. He may have been about 25 years old at the time. The date of his birth has become a fascinating problem, over which many critics have argued and disagreed. As to the exact year it is best frankly to confess our ignorance. The information is so flimsy and conflicting as to make the acutest critics waver. While a perfectly unwarranted importance has been given to a passage in Vicente's last _comedia_, the _Floresta de Enganos_ (1536), in which a judge declares that he is 66 (therefore Gil Vicente was born in 1470), sufficient stress has perhaps not been laid on the lines in the play from the Conde de Sabugosa's library, the _Auto da Festa_, in which Gil Vicente is declared to be 'very stout and over 60.' This cannot be dismissed like the former passage, for it is evidently a personal reference to Gil Vicente. It was the comedian's ambition to raise a laugh in his audience and this might be effected by saying the exact opposite of what the audience knew to be true: e.g. to speak of Gil Vicente as very stout and over 60 if he was very young and spectre-thin. But Vicente was certainly not very young when this play was written and we may doubt whether the victim of _calentura_ and hater of heat (he treats summer scurvily in his _Auto dos Quatro Tempos_) was thin. We have to accept the fact that he was over 60 when the _Auto da Festa_ was written. But when was it written? Its editor, the Conde de Sabugosa, to whom all Vicente lovers owe so deep a debt of gratitude[16], assigned it to 1535, while Senhor Braamcamp Freire, who uses Vicente's age as a double-edged weapon[17], places it twenty years earlier, in 1515. This was indeed necessary if the year 1452 was to be maintained as the date of his birth. The theory of the exact date 1452 was due to another passage of the plays: the old man in _O Velho da Horta_, formerly assigned to 1512, is 60 (III. 75). Yet there is something slightly comical in stout old Gil Vicente beginning his actor's career at the age of 50 and keeping it up till he was 86. Other facts that may throw light on his age are as follows: in 1502 he almost certainly acted the boisterous part of _vaqueiro_ in the _Visitaçam_[18]. In 1512 he is over 40 and married (inference from his appointment as one of the 24 representatives of Lisbon guilds in that year). In 1512 a 'son of Gil Vicente' is in India. His son Belchior is a small boy in 1518. In 1515 he received a sum of money to enable his sister Felipa Borges to marry. In 1531 he declares himself to be 'near death'[19], although evidently not ill at the time. He died very probably at the end of 1536 or beginning of 1537[20]. Accepting the fact that the _Auto da Festa_ was written before the _Templo de Apolo_ (1526) I would place it as late as possible, i.e. in the year 1525, and subtracting 60 believe that the date _c._ 1465 for Gil Vicente's birth will be found to agree best with the various facts given above.

The wedding of the Crown Prince of Portugal and the Infanta Isabel was celebrated most gorgeously at Evora. The Court gleamed with plate and jewellery[21]. There were banquets and tournaments, _ricos momos_ and _singulares antremeses_, pantomimes or interludes produced with great splendour--e.g. a sailing ship moved on the stage over what appeared to be waves of the sea, a band of twenty pilgrims advanced with gilt staffs, etc., etc.--all the luxurious show which had made the _entremeses_ of Portugal famous and from which Vicente must have taken many an idea for the staging of his plays. Next year the tragic death of the young prince, still in his teens, owing to a fall from his horse at Santarem, turned all the joy to ashes. Gil Vicente was certainly not less impressed than Luis Anriquez, who laments the death of Prince Afonso in the _Cancioneiro Geral_, or Juan del Enzina, who made it the subject of his version or paraphrase of Virgil's 5th eclogue. Vicente's acquaintance with Enzina's works may date from this period, although we need not press Enzina's words _yo vi_ too literally to mean that he was actually present at the Portuguese Court. Vicente may have accompanied the King and Queen to Lisbon in October of this year, but for the next ten years we know as much of his life as for the preceding twenty, that is to say, we know nothing at all. The only reference to his sojourn at the Court of King João II occurs in the mouth of Gil Terron (I, 9):

¿Conociste a Juan domado Que era pastor de pastores? Yo lo vi entre estas flores Con gran hato de ganado Con su cayado real.

A note in the _editio princeps_ declares the reference to be to King João II. If we read _domado_ it can only be applied to the indomitable João II in the sense of having yielded to the will of Queen Lianor in acknowledging as heir her brother Manuel in preference to his illegitimate son Jorge. Perhaps however it is best to read _damado_, which recurs in the same play. Perhaps we may even see in the passage an allusion merely to an incident occurring in the time of João II and not to the King himself[22]. We may surmise that about this time, perhaps as early as 1490, Vicente became goldsmith to Queen Lianor. The events of this wonderful decade must have moved him profoundly, events sufficient to stir even a dullard's imagination as new world after new world swept into his ken: the conquest of Granada from the Moors in 1492, the arrival of Columbus at Lisbon from America in 1493, the similar return of Vasco da Gama six years later from India, the discovery of Brazil in 1500. Two years later Vicente emerges into the light of day. King Manuel had succeeded to the throne on the death of King João (25 Oct. 1495) and had married the princess Maria, daughter of the Catholic Kings. Their eldest son, João, who was to rule Portugal as King João III from 1521 to 1557, was born on June 6, 1502, on which day a great storm swept over Lisbon. On the following evening[23] or on the evening of June 8 Gil Vicente, dressed as a herdsman, broke into the Queen's chamber in the presence of the Queen, King Manuel, his mother Dona Beatriz, his sister Queen Lianor, who was one of the prince's godmothers, and others, and recited in Spanish a brief monologue of 114 lines. Having expressed rustic wonder at the splendour of the palace and the universal joy at the birth of an heir to the throne he calls in some thirty companions to offer their humble gifts of eggs, milk, curds, cheese and honey. Queen Lianor was so pleased with this 'new thing'--for hitherto there had been no literary entertainments to vary either the profane _serãos de dansas e bailos_ or the religious solemnities of the court--that she wished Vicente to repeat the performance at Christmas. He preferred, however, to compose a new _auto_ more suitable to the occasion and duly produced the _Auto Pastoril Castelhano_. King Manuel had just returned to Lisbon from a pilgrimage to Santiago de Compostela in Galicia in thanksgiving for the discovery of the sea-route to India. He found the Queen in the palace of Santos o Velho and was received _com muita alegria_. But no allusion to great contemporary events troubles the rustic peace of this _auto_, which is some four times as long as the _Visitaçam_, and which introduces several simple shepherds to whom the Angel announces the birth of the Redeemer. Queen Lianor was delighted (_muito satisfeita_) and a few days later, on the Day of Kings (6 Jan. 1503), a third pastoral play, the _Auto dos Reis Magos_, was acted, the introduction of a knight and a hermit giving it a greater variety. The _Auto da Sibila Cassandra_ has been assigned to the same year, and the _Auto dos Quatro Tempos_ and _Quem tem farelos?_ to 1505, but there are good reasons for giving them a later date. The only play that can be confidently asserted to have been produced by Vicente between January 1503 and the end of 1508 is the brief dialogue between the beggar and St Martin: the _Auto de S. Martinho_, in ten Spanish verses _de rima cuadrada_, recited before Queen Lianor in the Caldas church during the Corpus Christi procession of 1504. The reasons for this silence are not far to seek. In September 1503, Dom Vasco da Gama returned from his second voyage to India with the first tribute of gold: 'The lords and nobles who were then at Court went to visit him on his ship and accompanied him to the palace. A page went before him bearing in a bason the 2000 _miticaes_ of gold of the tribute of the King of Quiloa and the agreement made with him and the Kings of Cananor and Cochin. Of this gold King Manuel ordered a monstrance to be wrought for the service of the altar, adorned with precious stones, and commanded that it should be presented to the Convent of Bethlehem[24].' At this monstrance, still the pride of Portuguese art, Gil Vicente worked during three years (1503-6). He was perhaps already living in the Lisbon house in the _Rua de Jerusalem_ assigned to him by his patroness, Queen Lianor[25]. There were other reasons for his silence. The death of Queen Isabella of Spain in 1504 and again the death of King Manuel's mother, Dona Beatriz, in 1506, threw the Portuguese Court into mourning. Plague and famine raged at Lisbon from 1505 to 1507, while, after the awful massacre of Jews at Easter 1506, during which some thousands were stabbed or burnt to death, the city of Lisbon was placed under an interdict which was not raised till 1508.