Part 6

[17] He argues that Vicente was not old enough to be King Manuel's tutor, but in other passages he is clearly in favour of the date 1460 or 1452. He is born 'considerably before' 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 younger than King Manuel, born in 1469 (t. 21, p. 35). He is nearly 80 in 1531 (_ib._ p. 30). His marriage is placed between 1484 and 1492, preferably in the years 1484-6 (_ib._ p. 35).

[18] Gil Terron in the same year is _alegre y bien asombrado_ (I. 12).

[19] Cf. _Nao de Amores_ (1527), _Viejo, vuestro mundo es ido_, and II. 478 (1529).

[20] See A. Braamcamp Freire in _Revista de Historia_, t. 26, p. 123.

[21] _Grandes baxillas y pedraria_ (_Canc. Geral_, vol. III. (1913), p. 57).

[22] Cf. _Canc. Geral_, vol. I. (1910), p. 259:

Vejam huns autos Damado, Huũ judeu que foi queimado No rressyo por seu mal.

[23] There is a slight confusion. The 'second night of the birth' of the rubric may mean the night following that of the birth (June 6-7), i.e. the evening of June 7, or the second night _after_ the birth, i.e. the evening of June 8; but the former is the more probable.

[24] Damião de Goes, _Chronica do felicissimo Rey Dom Emanuel_, Pt I. cap. 69.

[25] See A. Braamcamp Freire in _Revista de Historia_, vol. XXII. (1917), p. 124 and _Critica e Historia_, vol. I. (1910), p. 325; Brito Rebello, _Gil Vicente_ (1902), p. 106-8.

[26] _Antología de poetas líricos castellanos_, t. 7, p. clxiii.

[27] _Orígenes de la Novela_, t. 3, p. cxlv.

[28] _Antol._ t. 7, p. clxvi.

[29] _Ib._ p. clxxvi.

[30] _Ib._ p. clxiv.

[31] Especially that of Garcia de Resende, who in one verse (185) of his _Miscellanea_ mentions the goldsmiths and in the next verse the plays of Gil Vicente.

[32] _Bibliography_, No. 45.

[33] Cf. his earlier studies, in favour of identity, with his later works, maintaining cousinhood.

[34] Cf. _Obras_, I. 154 (Jupiter is the god of precious stones), I. 93, 286; II. 38, 46, 47, 210, 216, 367, 384, 405; III. 67, 70, 86, 296, etc. Cf. passages in 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 took the part of _Diabo_ in the _Auto da Feira_ (1528) the following passage gains in point if we see in it an allusion to the debts of courtiers to him as goldsmith:

Eu não tenho nem ceitil E bem honrados te digo E homens de muita renda Que tem divedo comigo (I. 158).

[35] The MS. note by a sixteenth century official written above the document appointing Gil Vicente to the post of _Mestre da Balança_ should be conclusive as to the identity of poet and goldsmith: _Gil V^te trouador mestre da balança_ (_Registos da Cancellaria de D. Manuel_, vol. XLII. f. 20 v. in the _Torre do Tombo_, Lisbon).

[36] Garcia de Resende († 1536) was of opinion that it had no rival in Europe:

nam ha outra igual na Christamdade no meu ver.

(_Miscellanea_, v. 281, ed. Mendes dos Remedios (1917), p. 97.)

It contained 5000 _moradores_ (_ibid._). In the days of King Duarte (1433-8) the number was 3000.

[37] Cf. the dedication of _Dom Duardos_ (_folha volante_ of the Bib. Municipal of Oporto, N. 8. 74) to Prince João: 'Como quiera Excelente Principe y Rey mui poderoso que las Comedias, Farças y Moralidades que he compuesto en servicio de la Reyna vuestra tia....'

[38] The date 1509 is not barred by the reference to the _Sergas de Esplandian_, which certainly existed in an earlier edition than the earliest we 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 back from the _gentil bayladeyra_. Gil Vicente contributes but a few lines: _O parecer de gil vycente neste proceso de vasco abul á rraynha dona lianor_.

[39] It is absurd to argue that during the years of his chief activity as goldsmith he had not time to produce the sixteen plays that may be assigned to the years 1502-17.

[40] _Gil Vicente_ (1912), p. 11-13.

[41] The dates in the rubrics are given in Roman figures and the alteration from MDV to MDIX is very slight.

[42] Cf. Bartolomé Villalba y Estaña, _El Pelegrino Curioso y Grandezas de España_ [printed from MS. of last third of sixteenth century]. _Bibliófilos Españoles_, t. 23, 2 t. 1886, 9, t. 2, p. 37: 'Almerin, un lugar que los reyes de Portugal tienen para el ynvierno, con un bosque de muchas cabras, corzos y otros generos de caza.'

[43] See A. Braamcamp Freire in _Revista de Historia_, vol. XXII. p. 129.

[44] A. Braamcamp Freire in _Rev. de Hist._ vol. XXII. p. 133-4.

[45] Luis Anriquez in _Canc. Geral_, vol. III. (1913), p. 106.

[46] See _Rev. de Hist._ vol. XXII. p. 122; vol. XXIV. p. 290.

[47] E.g. the words _ahotas_ and _chapado_ and the expression _en velloritas_ (I. 41), cf. Enzina, _Egloga_ I.: _ni estaré ya tendido en belloritas_ = in clover, lit. in cowslips: _belloritas de jacinto_ (_Egl._ III.).

[48] A. Braamcamp Freire in _Rev. de Hist._ vol. XXIV. p. 290.

[49] There are, however, several such psalms in the works of Enzina.

[50] Cf. I. 85: _huele de dos mil maneras_ with Enzina, _Egloga_ II: _y ervas de dos mil maneras_. In the _Auto da Alma_, probably written about this time, there are imitations of Gomez Manrique (_c._ 1415-90). Cf. the passage in the _Exhortação_.

[51] That the illness of the Queen would not prevent the entertainment is proved by the fact that in the month before her death King Manuel was present at a fight between a rhinoceros and an elephant in a court in front of Lisbon's India House. We do not know if Vicente was present nor what he thought of this new thing.

[52] In December 1517 El Bachiller de la Pradilla published some verses in praise of _la muy esclarecida Señora Infanta Madama Leonor, Rey[na] de Portugal_ (v. Menéndez y Pelayo, _Antología_, t. 6, p. cccxxxviii).

[53] He argues that such a form as MD & viii was never used and must be a misprint for MDxviii.

[54] Cf. also the resemblance of certain passages in the _Auto da Alma_ and in the _Auto da Barca da Gloria_ (1519). They must strike any reader of the two plays.

[55] Goes, _Chronica_, IV. 34.

[56] Garcia de Resende, _Hida da Infanta Dona Beatriz pera Saboya_ in _Chronica...del Rey Dom Ioam II_, ed. 1752, f. 99 V.

[57] Gil Vicente, _Á morte del Rei D. Manuel_ (III. 347).

[58] Gil Vicente, _Romance_ (III. 350).

[59] Goes says generally that King Manuel _foi muito inclinado a letras e letrados_ (_Chronica_, 1619 ed., f. 342. _Favebat plurimum literis_, says Osorio, _De rebus_, 1561, p. 479).

[60] II. 4: _Foi feita ao muito poderoso e nobre Rei D. João III. sendo principe, era de MDXXI_ (rubric of _Comedia de Rubena_).

[61] II. 364. Although 'good wine needs no bush' the custom of hanging a branch above tavern doors still prevails.

[62] A. Braamcamp Freire in _Rev. de Hist._ vol. XXII. p. 162.

[63] _Id. ib._ vol. XXIV. p. 307. It is astonishing how slight errors in the rubrics of Vicente's plays have been permitted to survive, just as Psalm LI, of which Vicente perhaps at about this time wrote a remarkable paraphrase, still appears in all editions of his works as Ps. L.

[64] _Ib._ vol. XXIV. p. 312-3.

[65] Th. Braga, _Historia da Litteratura Portuguesa. II. Renascença_ (1914), p. 85.

[66] J. I. Brito Rebello, _Gil Vicente_ (1902), p. 64.

[67] H. Thomas, _The Palmerin Romances_ (London, 1916), p. 10-12.

[68] M. Menéndez y Pelayo, _Antología_, t. 7, p. cci; _Oríg. de la Novela_, I. cclxvii: _toda la pieza es un delicioso idilio_.

[69] _Rev. de Hist._ vol. XXIV. p. 315.

[70] It should be noted that the lines in _Dom Duardos_ (II. 212):

Consuelo vete de ahi No perdas tiempo conmigo

are from the song in the _Comedia de Rubena_ (1521):

Consuelo vete con Dios (II. 53).

[71] Cf. _O Clerigo da Beira: não fazem bem [na corte] senão a quem menos faz_ (III. 320); _Auto da Festa: os homens verdadeiros não são tidos nũa palha_, etc.

[72] _Vejo minha morte em casa_ say the verses to the Conde de Vimioso; _La muerte puesta a mis lados_ says the _Templo de Apolo_.

[73] _Auto da Natural Invençam_ (Lisboa, 1917), pp. 64, 65, 68, 69, 70, 88, 89.

[74] _Este nome pos-lho o vulgo_ (III. 4). Cf. the title _Os Almocreves_.

[75] _Rol dos livros defesos_ (1551) ap. C. Michaëlis de Vasconcellos, _Notas Vicentinas_, I. p. 31. We might assume that the second part of _O Clerigo da Beira_ (III. 250-9) was printed separately under the title _Auto de Pedreanes_ but for the words _por causa das matinas_.

[76] _Ib._ p. 30-1.

[77] The probability is shown by the fact that the idea of their identity had occurred to me before reading the same suggestion made by Snr Braamcamp Freire in the _Revista de Historia_.

[78] See _Notas Vicentinas_, I. (1912). The _Auto da Feira_ answers in some respects to Cardinal Aleandro's description of the _Jubileu de Amores_, and Rome (the Church, not the city) might 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. 162) is a _senhora_. One can only say that the _Auto da Feira_ may perhaps have been adapted for the occasion, with an altered title, Spanish being added, to suit the foreign audience.

[79] _E como sempre isto guardasse Este mui leal autor Até que Deos enviasse O Principe nosso senhor Nam quis que outrem o gozasse_ (III. 276).

[80] The familiarity with which the Nuncio is treated would be more suitable if he was the Portuguese D. Martinho de Portugal, but then the date would have to be after 1527.

[81] Cf. II. 343: _Salga esotra ave de pena ... Son perdices_ and _Auto da Festa_, p. 101. The latter text is corrupt (_penitas_ for _peitas_, and _cousas fritas_ has ousted the required rhyme _juizes_).

[82] The line _nega se m'eu embeleco_ occurs here and in the _Serra da Estrella_ (1527). Arguments as to date from such repetitions are not entirely groundless. Cf. _com saudade suspirando_ (_Cortes de Jupiter_, 1521) and _sam suspiros de saudade_ (_Pranto de Maria Parda_, 1522); _Que dirá a vezinhança?_ III. 21 (1508-9), _A vezinhança que dirá?_ III. 34 (1509); _Ó demo que t'eu encomendo_, III. 99 (1511), _Ó diabo que t'eu encomendo_, II. 362 (1513). The _Exhortação_ (1513), which has passages similar to those in the _Farsa de Ines Pereira_ (1523) and the _Pranto de Maria Parda_ (1522), probably became a kind of national anthem and was touched up for each performance. Curiously, the mention of _a pedra d'estrema_ in the _Pranto_ and in the _Auto da Festa_ might correspond to a first (1521) and second (1525) revision of the _Exhortação_.

[83] The very success of his plays incited emulation. A play written in Latin, _Hispaniola_, was acted at the Portuguese Court before his death (Gallardo, ap. Sousa Viterbo, _A Litt. Hesp. em Portugal_ (1915), p. xxiv).

[84] See A. Braamcamp Freire in _Rev. de Hist._ vol. XXIV. p. 331.

[85] Francisco Alvarez arrived at the Court at Coimbra in the late summer of 1527 and he says: _nam se tardou muito que el Rey nosso senhor se partisse com sua corte via dalmeirim. Verdadeira Informaçam_ (1540), modern reprint, p. 191.

[86] _Rev. de Hist._ vol. XXV. p. 89.

[87] According to Snr Braamcamp Freire this play must be assigned to the months between September 1529 and February 1530.

[88] O mandei a V. A. por escrito até lhe Deos dar descanso e contentamento... pera que por minha arte lhe diga o que aqui falece (III. 388).

[89] In this letter, written in the very year of the first Bull for the introduction of the Inquisition into Portugal, Vicente uses the expression 'May I be burnt if.'

[90] The line _A quien contaré mis quejas_ (II. 147) is repeated from the _Trovas_ addressed to King João in 1527. It is taken from a poem by the Marqués de Astorga printed in the _Cancionero General_ (1511):

¿A quien contaré mis quexas Si a ti no?

Cf. _Comedia de Rubena_ (II. 6): _¿A quien contaré mi pena?_ The comical rôle of the Justiça Maior may have been taken by Garcia de Resende, who added acting to his other accomplishments. He was 66, and he died at Evora in this year.

[91] See A. Braamcamp Freire in _Rev. de Hist._ vol. XXVI. p. 122-3.

[92] From Gil Vicente's epitaph written by himself.

[93] Garcia de Resende (1470-1536), _Miscellanea_, 1752 ed., f. 113.

[94] André de Resende, _Genethliacon Principis Lusitani_ (1532), ap. C. Michaëlis de Vasconcellos, _Notas Vicentinas_, I. (1912), p. 17.

[95] _Chronica do fel. Rey Dom Emanvel_, Pt IV. cap. 84 (1619 ed., f. 341): Trazia continuadamente na sua corte choquarreiros castelhanos, com os motes & ditos dos quaes folgaua, nam porque gostasse tanto do ̃q diziam como o fazia das dissimuladas reprehensões [_jocis perstringere mores_] ̃q com geitos e palauras trocadas dauam aos moradores de sua casa fazendolhes conhecer as manhas, viços & modos que tinhão, de que se muitos tirauam & emmendauam, tomando o ̃q estes truães diziam com graças por espelho do que aviam de fazer.

[96] _Auto da Cananea_ (1534).

[97] _Auto da Lusitania_.

[98] _Sermão_ (III. 346).

[99] _Carta_ (III. 388).

[100] _Auto da Mofina Mendes_ (I. 120, 121).

[101] _Auto da Cananea_ (I. 365).

[102] _Sumario da Historia de Deos_ (I. 338).

[103] I. 69. His own knowledge of the Bible was extensive and he often follows it closely, e.g. _Auto da Sibila Cassandra_ (I. 47, 48 = Genesis i.).

[104] III. 337, 338. His quarrel with the monks was that they did not serve the State. Cf. _Fragoa de Amor_ (II. 345); _Exhortação da Guerra_ (II. 367).

[105] Cf. the passage in the _Sumario da Historia de Deos_ in which Abraham complains that men worship stocks and stones and have no knowledge of God, _criador dos spiritos, eternal spirito_ (I. 326).

[106] III. 284. A critic upbraided Wordsworth for saying that his heart danced with the daffodils--no doubt Southey's 'my bosom bounds' was more poetical--yet Shakespeare and Vicente had used the phrase before him.

[107] _Carta_ (III. 388).

[108] _Cortes de Jupiter_ (II. 405).

[109] _Romagem de Aggravados_ (II. 507).

[110] The preparation of his plays for the press was, he says, a burden in his old age. Some of the plays had been acted in more than one year, others had been composed years before they were acted, others had been printed separately. Hence the uncertainty of some of the rubric dates.

[111] _Triunfo do Inverno_ (1529), II. 447.

[112] _Romagem de Aggravados_ (1533), II. 524-5.

[113] _Auto Pastoril Portugues_ (1523), I. 129.

[114] _Farsa dos Almocreves_ (1527), III. 219.

[115] _Triunfo do Inverno_ (1529), II. 487.

[116] _Auto da Feira_ (1528), I. 175.

[117] See the _Fragoa de Amor_ and the _Auto da Festa_.

[118] III. 289 (1532).

[119] II. 363 (as early as 1513).

[120] II. 467-75.

[121] III. 122.

[122] III. 148 (cf. I. 40, III. 41).

[123] Goes, _Chronica do fel. Rey Dom Emanvel_, Pt I. cap. 33 (1619 ed., f. 20).

[124] E.g. _Novella_ 35: sotto apparenza onesta di religione ogni vizio di gola, di lussuria e degli altri, como loro appetito desidera, sanza niuno mezzo usano; _Novella_ 36: hanno meno discrezione che gli animali irrazionali.

[125] _Auto da Festa_, ed. 1906, p. 115.

[126] Vicente, who could write such pure and idiomatic Portuguese, often used peculiar Spanish, not perhaps so much from ignorance as 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 could not possibly rhyme in Spanish, e.g. _parezca_ with _cabeza_ (Portug. _pareça_--_cabeça_). So _mucho_ rhymes with _fruto_, _demueño_ with _sueño_.

[127] The miser, _o verdadeiro avaro_ (III. 287), is barely mentioned. Perhaps Vicente felt that he would have been too much of an abstract type, not a living person.

[128] The boastful Spaniard appears (in Goethe's _Italienische Reise_) in the Rome Carnival at the end of the eighteenth century.

[129] There are abundant signs of the cosmopolitanism of Lisbon: A Basque and a Castilian tavernkeeper, a Spanish seller of vinegar and a red-faced German friar are mentioned, while Spaniards, Jews, Moors, negroes, a Frenchman, an Italian are among Vicente's _dramatis personae_.

[130] It is very curious to find echoes of Enzina in Vicente's apparently quite personal prose as well as in his poetry. _No ay cosa que no esté dicha_, says Enzina, and Vicente 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 alabanzas_. Vicente similarly speaks of 'crowding more sail on his poor boat.' Enzina, in his dedication to Prince Juan, mentions, like Vicente, _maliciosos_ and _maldizientes_.

[131] In this play the French _tais-toi_ is written _tétoi_. In an age of few books such phonetic spelling must have been common. It has been suggested that the _vair_ (grey) 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 would thus be based not on reality but, like Cinderella's glass slippers, on a confusion of homonyms (see Alfred Jeanroy, _Origines de la poésie lyrique en France_, p. 329).

[132] See his _Arte de Poesía Castellana_, ap. Menéndez y Pelayo, _Antología_, t. 5, p. 32.

[133] _Os autos de Gil Vicente resentem-se muito dos Mysterios franceses_. This was, in 1890, the opinion of Sousa Viterbo (_A Litteratura Hespanhola em Portugal_ (1915), p. ix), but surely Menéndez y Pelayo's view is more correct.

[134] In Resende's _Miscellanea_ the line _nõ hos quer deos jũtos ver_ (1917 ed., p. 16) reads in the 1752 ed., f. 105 v. _ja hos quer_.

[135] Cf. _Tratado tercero: llevandolo a la boca començó a dar en el tan fieros bocados_ (1897 ed., p. 50) and _Quem tem farelos?: e chanta nelle bocado coma cão_ (i. 7).

[136] The _Canc. Geral_ has a _Pater noster grosado por Luys anrryquez_, vol. III. (1913), p. 87.

[137] _Antología_, t. 7, pp. clxxii, clxxiv.

[138] _Antología_, t. 2, p. 6.

[139] I. 298. _Vuelta vuelta los Franceses_ from the _romance Domingo era de Ramos, la Pasion quieren decir_.

[140] _Comedia de Rubena_, II. 40. The earliest known edition of the Spanish version of Jacopo Caviceo's _Il Pellegrino_ (1508) is dated 1527 but that mentioned in Fernando Colón's catalogue (no. 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 was _Historia de los honestos amores de Peregrino y Ginebra_. Valdés (_Dialogo de la Lengua_) ranks _El Pelegrino_ as a translation with Boscán's version of _Il Cortegiano: estan mui bien romançados_.

[141] E.g. the _Nao de Amor_ of Juan de Dueñas.

[142] The Everyman-Noman theme in the _Auto da Lusitania_ is, like that of _Mofina Mendes_, common to many countries and old as the hills.

[143] Henry Hallam, _Introduction to the Literature of Europe_ (Paris, 1839), vol. I. p. 206.

[144] Cf. the story _del mancebo que casó con una mujer muy fuerte et muy brava_ in Don Juan Manuel's _El Conde Lucanor_ (_c._ 1535). Shakespeare's _The Taming of the Shrew_ was written exactly a century after _Ines Pereira_; the anonymous _Taming of a Shrew_ in 1594.

[145] The author of a sixteenth century Spanish play published in _Biblióf. Esp._ t. 6 (1870) declares that, in order to write it, he has 'trastornado todo _Amadis_ y la _Demanda del Sancto Grial_ de pe a pa.' The result, according to the colophon, is 'un deleitoso jardin de hermosas y olientes flores,' a description which would better suit a Vicente-play.

[146] Cf. the twelfth century _Représentation d'Adam_. The _Sumario_ has 18 figures. The _Auto da Feira_ has 22, but over half of these consist of a group of peasants from the hills.

[147] _Obras_ (1908), t. 2, p. 217-24.

[148] The anonymous _Tragicomedia Alegórica del Paraiso y del Inferno_ (Burgos, 1539) followed hard upon his death. It is not the work of Vicente, who, although in his Spanish he used _allen_, would not have translated _nas partes de alem_ into an African town: _en Allen_.

[149] _3a impr._ (Madrid, 1733), p. 35; p. 37 (the 1733 text has _Oi_ and _Ai_); p. 39.

[150] As late as 1870 Dr Theophilo Braga could say 'Nobody now studies Vicente' (_Vida de Gil Vicente_, p. 59).

COPILACAM DE TODALAS OBRAS DE GIL VICENTE, A QVAL SE reparte em cinco Liuros. 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. (;)

¶Vam emmendadas polo Sancto Officio, como se manda no Cathalogo deste Regno. ¶

¶Foy impresso em a muy nobre & sempre leal Cidade de Lixboa, por Andres Lobato. Anno de M. D. Lxxxyj

¶Foy visto polos Deputados da Sancta Inquisiçam

COM PRIVILEGIO REAL.

¶E la taxado em papel a reis

TITLE-PAGE OF THE SECOND (1586) EDITION OF GIL VICENTE'S WORKS

AUTO DA ALMA

L'Angel di Dio mi prese e quel d' Inferno Gridava: O tu dal Ciel, perchè mi privi? DANTE, _Purg._ v.

_Auto da Alma._

Este auto presente foy feyto aa muyto deuota raynha dona Lianor & representado ao muyto poderoso & nobre Rey dom Emmanuel, seu yrmão, por seu mandado, na cidade de Lisboa nos paços da ribeyra em a noyte de endoenças. Era do Senhor de M. D. & viij[151].

Argvmento.

Assi como foy cousa muyto necessaria auer nos caminhos estalagens pera repouso & refeyçam dos cansados caminhantes, assi foy cousa conveniente que nesta caminhante vida ouuesse hũa estalajadeyra para refeição & descanso das almas que vam caminhantes pera a eterna morada[152] de Deos. Esta estalajadeyra das almas he a madre sancta ygreja, a mesa he o altar, os mãjares as insignias da payxã. E desta perfiguraçã[153] trata a obra seguinte.

¶ Está posta hũa mesa cõ hũa cadeyra: ṽe a madre sancta ygreja cõ seus quatro doctores, Sancto Thomas, Sam Hieronymo, Sancto Ambrosio, Sancto Agostinho, & diz Agostinho.

1 AGOST. Necessario foy, amigos, que nesta triste carreyra desta vida pera os mui perigosos perigos dos immigos ouuesse algũa maneyra de guarida. 2 Porque a humana transitoria natureza vay cansada em varias calmas nesta carreyra da gloria meritoria foi necessario pensada pera as almas. ¶ Pousada com mantimentos, mesa posta em clara luz, sempre esperando, com dobrados mantimentos dos tormentos que o filho de Deos na Cruz comprou penando. 4 Sua morte foy auença, dando, por darnos parayso, a sua vida apreçada sem detença, por sentença julgada a paga em prouiso & recebida. ¶ Ha sua mortal empresa foy sancta estalajadeyra ygreja madre consolar aa sua despesa nesta mesa qualquer alma caminheyra com ho padre 6 e o anjo custodio ayo. Alma que lhe he encomendada se enfraquece & lhe vay tomando rayo de desmayo se chegando a esta pousada se guarece.

¶ Ṽe o anjo custodio cõ a alma & diz.