Part 16

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. Damião 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 Tristão 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 Dürer.

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 João, born in 1502, afterwards King João 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, Damião 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 Doña Maria, etc.

284 Cf. the _Auto das Fadas_ (with which this play has many points of resemblance): _Feiticeira_ (ao principle e infantes): _ó que joias esmaltadas, ó que boninas dos ceos, ó que rosas perfumadas!_

331-2 Cf. _Divisa da Cidade de Coimbra_: _Vai delas a eles tão grande avantagem... como haverá...do vivo a hũa 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 são as vozes que as nozes_.

418 For this line cf. Pedro Ferrus: _Que por todo el mundo suena_ (ap. Menéndez y Pelayo, _Antología_, 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 Vätern hast Erwirb' es um es zu besitzen_.

470-4 These lines are translated from the Spanish poet Gomez Manrique (1415?-1490?). See Menéndez y Pelayo, _Antología_, 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 Fé_, l. 5.

534 _trepas_ is the Span. form (Port, _tripas_?).

538 _soyços_ the old, _soldados_ the new, word for 'soldiers.' Cf. Lucas Fernández, _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 Sebastião (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 Christãos, olhai para Christo, vosso capitão, 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 Sá 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 João III, was on the throne:

tão ocupado co'este Turco, co'este Papa co'esta França.

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:

até os pastores hão 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 hũa alegria que agora não tem caminho. Se olhardes as cantigas do prazer acostumado todas tem som lamentado, carregado de fadigas, longe do tempo passado. O d' então era cantar e bailar como ha de ser, o cantar pera folgar, o bailar pera prazer, que agora é mao d'achar[155].

Nor could it be expected that the rich _parvenu_, the mushroom courtier, the _fidalgo 'que não sabe se o é,'_ 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 Sá 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 então 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 nenhũa 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. Menéndez y Pelayo. _Antología_, t. VIII, p. 124): 'Yo me estaba allá 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 _çimbrar 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 Fernández (p. 25) _No vos cimbre yo el cayado_. Cf. Antonio Prestes, _Autos_ (ed. 1871), p. 211: _E o vilão vindo me zimbra: reprender-me!_ and João Gomes de Abreu (_C. Ger._ vol. IV (1915), p. 304) _seraa rrijo çimbrado_. _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. Michaëlis de Vasconcellos, _Estudos sobre o romanceiro peninsular_.

13 Cf. _Tragicomedia da Serra da Estrella_ (1527): _Pedem-lhe em Coimbra cevada E elle dá-lhe mexilhões_.

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 _Endoenças_ = _indulgentiae_. _Semana de Endoenças_ = 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: _põe me tudo em huũ 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:

¿Qué culpa tienen los viejos? ¿qué culpa tienen los niños? ¿qué culpa tienen los muertos...?

129 _balcarriadas_. Cf. _Auto das Fadas_: _Venhas muitieramá com tuas balcarriadas;_ _Auto da Festa_: _tão grão balcarriada_; _Auto da Barca do Purgatorio_: _Nunca tal balcarriada Nem maré tão 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 piós_ (= 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 Alcobaça 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 São Tomé (1534) and Ceuta (1540). See A. Braamcamp Freire in _Revista de Historia_, No. 25 (1918), p. 3.

224 _bastiães = _bestiães_, 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 Simão Machado, who died about a century after Vicente.

272 It is tempting to add the word _madraço_ (fool, ignoramus) for the sake of the rhyme. If _O recado que elle dá_ 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: _não haveria corpo, por mais que fosse de aço 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 Invençam_, 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 Marqués de Santillana. A modern Galician _cantiga_ says that

O cantar d'os arrieiros E um cantariño guapo: Ten unha volta n'o medio Para dicir 'Arré macho.'

(Pérez 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 é_.

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 _amanhã dé-lhe_).

363 Candosa, a village of some 1400 inh. in the district of Coimbra.

369 _xulo_ = _chulo_, _pícaro_. The derivation of _chulo_ is uncertain (v. Gonçalvez 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. João de Castro: _joliz_], viz. the Old German word _jol_ (gaiety). Vid. _Quelques mots espagnols et portugais d'origine orientale_ (_Zeitschrift für 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 Lourenço 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. João de Castro (1500-48) as before him of Afonso de Albuquerque in pawning hairs of his beard, and the proverb _Queixadas sem barbas não merecem ser honradas_.

435 _O juiz de çamora_. In the _romance Ya se sale Diego Ordoñez_ 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_: _não o dessengules mais_. Duarte Nunes de Leão, _Origem da Lingva Portvgvesa_ (1606), cap. 18, includes _dissingular_ (= dissimular) among the _vocabulos que vsão os plebeios ou idiotas que os homens polidos não deuem vsar_.

467 For the form Diz cf. _Auto das Fadas_: Estevão 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 (Pérez Ballesteros, _Canc. Pop. Gall._ II, 219):

A vida d'o carreteiro É unha vida penada, Non vai o domingo á 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. Sá de Miranda, 1885 ed., No. 108, l. 261: _Inda hoje vemos que em França Vivem nisto mais á 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 mão_ (= not 'there is death in that hand' as was said of Keats, but 'he is at death's door').

591 The original reading _da sertãy_ (rhyming with _mãy_ in l. 588) is confirmed by the _Auto da Lusitania_: _rendeiro na Sertãe_. The town of Certã in the district of Castello Branco now has some 5000 inh.

603 Cf. Jorge Ferreira, _Aulegrafia_, I, 4: _Ó senhor, grão 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 niña_. 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 digão_, etc.; _Cortes de Jupiter_: _Cantará c'os atabaques: Se disserão digão, 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 Camões, _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 não são 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 Sá 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. Damião de Goes, _Chron. de D. Manuel_ (1617), f. 25 v.: a _modo de sobreceo d'esparavel_.

32 Cf. the _vilão's_ complaints of God in the _Romagem de Aggravados_.

35 _nega_ = _senão_.

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 não me engano_. This line occurs in the _Templo de Apolo_. The _Auto da Festa_ text has _nego se meu embaleco_.

113 _mancebelhões_. Cf. Correa, _Lendas_, IV, 426: _Folgara de ser mais mancebelhão_.

127 The corresponding _a_-lines might be:

Dous açores 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 déjalos gingrar_ (_Teatro_, 1893, p. 241).

241 _sois_. Cf. _Barca do Purgatorio_: _sem sois motrete de pão_; _Farsa dos Fisicos_: _não 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 Fernández, _Farsas_ (1867), p. 56.

328 A, B, C, D and E unaccountably print _querê-lo_ (through the bad attraction of _malo_) although _querer_ is needed to rhyme with _quer_.