Part 2

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.

Let us take advantage of Vicente's long silence to explain why it can be asserted so confidently that he was now at work on the Belem _custodia_. The burden of producing some definite document to show that Gil Vicente the poet and Gil Vicente the goldsmith were two different persons rests on the opponents of identity. The late Marcelino Menéndez y Pelayo, whose death in 1912 was a great blow to Portuguese as well as to Spanish literature, would certainly have changed his view if he had lived. In his brilliant study of Gil Vicente, a 'sovereign genius,' 'the most national playwright before Lope de Vega[26],' 'the greatest figure of our primitive theatre[27],' he remarked that if Vicente had been a goldsmith and one of such skill he must infallibly have left some trace of it in his dramatic works and that the contemporaries who mention him would not have preserved a profound silence as to his artistic talent[28]; yet Menéndez y Pelayo himself speaks of Vicente's _alma de artista_[29] and of the plastic character which the most fantastic allegorical figures receive at his hands[30]. If we were assured that the dreamy Bernardim Ribeiro had fashioned the Belem monstrance we might well remain sceptical, but Vicente stands out from among the vaguer poets of Portugal in having, like Garcia de Resende, an extremely definite style, and his imagination, as in his dream of fair women in the _Templo de Apolo_, coins concrete figures, not intellectual abstractions. Resende, we know, was a skilled draughtsman as well as poet, chronicler and musician, and it is curious that the very phrase applied by Vicente to Resende, _de tudo entende_ (II, 406), is used of Vicente himself in an anecdote quoted by Senhor Braamcamp Freire. As to his own silence and that of his contemporaries, their silence[31] concerning the presence of two Gil Vicentes at Court would be quite as astonishing, especially as they distinguish between other homonyms of the time, and the silent satellite dogged the poet Vicente's steps with the strangest persistence. According to the discoveries or inventions of the Visconde Sanches de Baena[32] he was the poet's uncle; according to Dr Theophilo Braga they were cousins[33]. The poet, as many passages in his plays show, was interested in the goldsmith's art[34]; the goldsmith wrote verses[35]. The poet made his first appearance in 1502, the artist in 1503. Splendid as was the Portuguese Court and although its members had almost doubled in number in less than a century[36], the King did not keep men there merely on the chance of their producing 'a new thing.' The sovereign of a great and growing empire had something better to do than to indulge in forecasts as to the potential talents of his subjects. When Gil Vicente in 1502 produced a new thing in Portugal his presence in the palace can only be explained by his having an employment there, and since we know that Queen Lianor had a goldsmith called Gil Vicente who wrote verses and since the poet wrote all his earlier plays for Queen Lianor[37], it is rational to suppose that this employment was that of goldsmith to the Queen-Dowager. His presence at Court was certainly not by right of birth: Vicente was not a 'gentleman of good family,' as Ticknor and others have supposed, but the noble art of the goldsmith (its practice was forbidden in the following century to slaves and negroes) would enable him to associate familiarly with the courtiers. In 1509 or later[38] the poet joined, at the request of Queen Lianor, in a poetical contest concerning a gold chain, in which another poet, addressing Vicente, refers especially to necklaces and jewels. In the same year Gil Vicente is appointed overseer of works of gold and silver at the Convent of the Order of Christ, Thomar, the Hospital of All Saints, Lisbon, and the Convent of Belem. At the Hospital of All Saints the poet staged one of his plays. To Thomar and its fevers he refers more than once and presented the _Farsa de Ines Pereira_ there in 1523. In 1513 he is appointed _Mestre da Balança_, in 1517 he resigns and in 1521 the poet alludes to the goldsmith's former colleagues: _os da Moeda_, while his production as playwright increases after the resignation and his complaints of poverty become more frequent[39]. In 1520 Gil Vicente the goldsmith is entrusted by King Manuel with the preparations for the royal entry into Lisbon, an _auto_ figuring in the programme. If there was nothing new in a goldsmith writing verses the drama of Vicente was an innovation and João de Barros would quite naturally refer (as André de Resende before him) to the poet-goldsmith as _Gil Vicente comico_. On the other hand there is an almost brutal egoism in the silence concerning his unfortunate uncle (or cousin) maintained by Gil Vicente, who refers to himself as poet more than once, with evident pride in his _autos_. Recently General Brito Rebello (1830-1920), whose researches helped to give shape and substance to Gil Vicente's life, discovered a document of 1535 in which the poet's signature differs notably from that of the goldsmith in 1515[40]. It is, however, possible to maintain that the former signature is not that of Gil Vicente at all and that the words of the document _per seu filho Belchior Vicente_ mean that Belchior signed in his father's name; or, alternatively, we can only say that Gil Vicente's handwriting had changed, a change especially frequent in artists. To those who examine all the evidence impartially there can remain very little doubt that Gil Vicente was first known at Court for his skill as goldsmith, and that he began writing verses and plays at the suggestion of his patroness, Queen Lianor.

On March 3, 1506, Vicente momentarily resumed his literary character and composed for Queen Lianor a long lay sermon, spoken before the King on the occasion of the birth of the Infante Luis (1506-55), who was himself a poet and the friend and patron of men of letters. The envious feared that Vicente was playing too many parts and contended that this was no time for a sermon by a layman, but Vicente excused himself with the saying, commonly attributed to Garci Sanchez de Badajoz, that if they would permit him to play the fool this once he would leave it to them for the rest of their lives, and launched into the exposition of his text: _Non volo, volo et deficior_. His next play _Quem tem farelos?_ is assigned by Senhor Braamcamp Freire to December 1508 or January 1509[41]. The reference to the _embate_ in Africa in all probability alludes to the siege of Arzila in 1508. King Manuel had made preparations to set sail for an African campaign in 1501 and 1503, but the word _embate_ implies something more definite. The later date (it was formerly assigned to 1505) is more suitable to the finished art of this first farce and to the fact that its success--so great that the people gave it the name by which it is still known, i.e. the first three words of the play--would be likely to cause its author to produce another farce without delay. Its successor, the _Auto da India_, acted before Queen Lianor at Almada in 1509, has not the same unity and its

## action begins in 1506 and ends in 1509. It displays a broader outlook

and the influence of the discovery of India on the home-life of Portugal. In 1509 the fleet sailed from Lisbon under Marshal Coutinho on March 12 and _Maio_ (III. 28) might be a misprint for _Março_; the _partida_ alluded to, however, is that of Tristão da Cunha and Afonso de Albuquerque in 1506. It is just possible that _Quem tem farelos?_ was begun in 1505 (the date of its rubric) and the _Auto da India_ in 1506. Early in this year 1509 (Feb. 15) Vicente received the appointment of _Vedor_ and at Christmas of the following year he produced a play at Almeirim, a favourite residence of King Manuel, who spent a part of most winters there in the pleasures of the chase[42]. This _Auto da Fé_ is but a simple conversation between Faith and two peasants, who marvel at the richness of the Royal Chapel. In 1511, perhaps at Carnival[43], the _Auto das Fadas_ further shows the expansion, perhaps we may say the warping, of his natural genius, for although we may rejoice in the presentation of the witch Genebra Pereira, the play soon turns aside to satirical allusions to courtiers, while the Devil gabbles in picardese. Peasants' _beirão_ with a few scraps of biblical Latin had hitherto been Vicente's only theatrical resource as regards language. The _Farsa dos Fisicos_ is now[44] assigned to 1512, early in the year. It is leap year (III. 317) and Senhor Braamcamp Freire sees in the lines (III. 323):

Voyme a la huerta de amores Y traeré una ensalada Por Gil Vicente guisada Y diz que otra de mas flores Para Pascoa tien sembrada

a reference to _O Velho da Horta_, acted before King Manuel in 1512. In August of the following year James, Duke of Braganza, set sail from Lisbon with a fleet of 450 ships to conquer Azamor:

Foi hũa das cousas mais para notar Que vimos nem vio a gente passada[45].

Gil Vicente was in the most successful period of his life. In December 1512 he was chosen by the Guild of Goldsmiths to be one of the twenty-four Lisbon guild representatives and some months later he was selected by the twenty-four to be one of their four proctors, with a seat in the Lisbon Town Council. On February 4, 1513, he had become Master of the Lisbon Mint. For the departure of the fleet against Azamor he comes forward as the poet laureate of the nation and vehemently inveighs against sloth and luxury while he sings a hymn to the glories of Portugal. The play alludes to the gifts sent to the Pope in the following year and this probably led to the date of the rubric (1514), but it also refers to the royal marriages of 1521, 1525 and 1530, and we may thus assume that it was written in 1513 and touched up for a later production or for the collection of Vicente's plays. Perhaps at Christmas of this year was acted before Queen Lianor in the Convent of Enxobregas at Lisbon the _Auto da Sibila Cassandra_, hitherto placed ten years earlier. Senhor Braamcamp Freire points out that the Convent was only founded in 1509[46]. A scarcely less cogent argument for the later date is the finish of the verse and the exquisiteness of the lyrics, although the action is simple and the reminiscences of Enzina are many[47] (a fact which does not necessarily imply an early date: Enzina's echo verses are imitated in the _Comedia de Rubena_, 1521). We may note that the story of Troy is running in Vicente's head as in the _Exhortação_ of 1513 (he had probably just read the _Cronica Troyana_). The last lyric, _A la guerra, caballeros_, is out of keeping with the rest of the play, but fighting in Africa was so frequent that it cannot help to determine the play's date. It is in this period (1512-14) that it is customary to place the death of Vicente's first wife Branca Bezerra, leaving him two sons, Gaspar and Belchior. She was buried at Evora with the epitaph:

Aqui jaz a mui prudente Senhora Branca Becerra Mulher de Gil Vicente Feita terra.

This gives the _Comedia do Viuvo_, acted in 1514, a personal note, which is emphasized by the names of the widower's daughters, Paula, the name of Gil Vicente's eldest daughter, and Melicia, the name of his second wife. In the following year private grief was merged in the growing renown of Portugal in the _Auto da Fama_, which the rubric attributes to 1510, although it alludes to the siege of Goa (1510), the capture of Malaca (1511), the victorious expedition against Azamor (1513), and the attack on Aden (1513). It was acted first before Queen Lianor and then before King Manuel at Lisbon, and we may surmise that it was written or begun when the first news of Albuquerque's successes reached Lisbon and recast in 1515. The year 1516 has also been suggested, but the death of King Ferdinand the Catholic in January of that year and the death of Albuquerque in December 1515 render this date unsuitable. Even if the play was acted at Christmas 1515, there is the ironical circumstance that, at the moment when the Court was ringing with praises of the Portuguese deeds in India, the great Governor was lying dead at Goa. The date of the _Auto dos Quatro Tempos_ is equally problematic. It was acted before King Manuel at the command of Queen Lianor in the S. Miguel Chapel of the Alcaçova palace on a Christmas morning. The name of the palace indicates the year 1505 or an earlier date[48], and it has been assigned to the year 1503 or 1504; but the superior development of the play's structure and even of its thought (e.g. I. 78), its resemblance to the _Triunfo do Inverno_ (1529), the introduction of a French song, of the gods of Greece and of a psalm similar to that in the _Auto da Mofina Mendes_ (1534)[49] and the perfection of the metre all indicate a fairly late date, while imitations of Enzina[50] are not conclusive. On the whole the intrinsic evidence counterbalances the statement of the rubric as to the Alcaçova palace and we may boldly assign this delightful piece to Christmas 1516[51], while admitting that in a rougher form it may have been presented to Queen Lianor[52] at a much earlier date.

The approximate date of the next play, the _Auto da Barca do Inferno_, is certain. This first part of Vicente's remarkable trilogy of _Barcas_ was acted 'in the Queen's chamber for the consolation of the very catholic and holy Queen Dona Maria in the illness of which she died in 1517.' If we manipulate the commas so as to make the date refer to the play as well as to the Queen's death, the remedy proved fatal, for she died on March 7, but it is possible that it was acted earlier, towards the end of 1516. The subject was a gloomy one but its treatment was intended to raise many a laugh and it ends with the famous brief invocation of the Angel to the knights who had died fighting in Africa. On August 6, 1517, Vicente resigned the post of Master of the Mint in favour of Diogo Rodriguez and probably about this time he married his second wife, Melicia Rodriguez. The second and third parts of the _Barcas_ trilogy were given in 1518 and 1519, but between the first and third parts Senhor Braamcamp Freire now places the _Auto da Alma_, and his scholarly suggestion[53] is amply borne out by the maturity and perfection of this beautiful play[54] and by the likelihood that Vicente when he wrote it was acquainted with Lucas Fernández' _Auto de la Pasion_ (1514). The _Auto da Barca do Purgatorio_ was acted before Queen Lianor on Christmas morning, 1518, at the _Hospital de Todolos Santos_ (Lisbon). King Manuel had been at Lisbon in July of this year, going thence to Sintra, Collares, Torres Vedras and Almeirim, whence at the end of November he proceeded to Crato to welcome his new Queen, Dona Lianor. They returned together to Almeirim and the next months were spent there 'in great bullfights, jousts, balls and other entertainments till the beginning of Spring [May] when the King went to Evora[55].' The _Auto da Barca da Gloria_ was played before his Majesty in Holy Week, 1519, and the fact that it is in Spanish and treats not of 'low figures,' but of nobles and prelates, reveals the taste of the Court and the wish to please the young Queen. In the following year (Nov. 29, 1520) Vicente was sent from Evora to Lisbon to prepare for the entry of the King and Queen into their capital (January 1521). He seems to have worked hard in arranging and directing the festivities, and in the same year (1521) he staged both the _Comedia de Rubena_ and the _Cortes de Jupiter_. The latter is the only Vicente play of which we have a contemporary description. It was acted on the departure of the King's daughter, Beatriz, at the age of sixteen to espouse the Duke of Savoy. Her dowry, including precious stones, pearls and necklaces, was magnificent, and after brilliant rejoicings at Lisbon she embarked on a ship of a thousand tons in a fleet commanded by the Conde de Villa Nova. She was accompanied by the Archbishop of Lisbon and many nobles. On the evening of August 4, in the Ribeira palace 'in a large hall all adorned with rich tapestry of gold, well carpeted, with canopy, chairs and cushions of rich brocade, began a great ball in which the King our lord danced with the lady Infanta Duchess his daughter and the Queen our lady with the Infanta D. Isabel, and the Prince our lord and the Infante D. Luis with ladies they chose; and so all the courtiers danced who were going to Savoy and many other gentlemen and courtiers for a long space. And the dancing over, began an excellent and well devised comedy with many most natural and well adorned figures, written and acted for the marriage and departure of the Infanta; and with this very skilful and suitable play the evening ended[56].'