FOOTNOTES:

[6] Falamos do nosso Shakespeare, de Gil Vicente (A. Herculano, Historia da Inquisição em Portugal, ed. 1906, vol. I. p. 223). The references throughout are to the Hamburg 3 vol. 1834 edition.

[7] See infra Bibliography, p. [86], Nos. [42], [62], [79].

[8] Bibliography, Nos. [21], [24], [25], [26], [30], [51], [52], [59], [89].

[9] Bibliography, Nos. [29], [48], [57], [66], [83], [95].

[10] Bibliography, Nos. [53], [73], [82], [88], [97].

[11] Bibliography, Nos. [44], [84], [90], [101], [102].

[12] Guerra Junqueiro, Os Simples.

[13] Cf. André de Resende, Gillo auctor et actor. (For the accurate text of this passage see C. Michaëlis de Vasconcellos, Notas Vicentinas, I. p. 17.)

[14] Os livros das obras que escritas vi (Letter of G. V. to King João III).

[15] 'E assi mandou de Castella e outras partes vir muitos ouriveis para fazerem arreos e outras cousas esmaltadas.' (Garcia de Resende, Cronica del Rei D. João II, cap. 117.)

[16] Bibliography, Nos. [70], [71].

[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 q̃ diziam como o fazia das dissimuladas reprehensões [jocis perstringere mores] q̃ 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 q̃ 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, às 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[n]

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

Auto da Alma.	The Soul's Journey.
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].	This play was written for the very devout Queen Lianor and played before the very powerful and noble King Manuel, her brother, by his command, in the city of Lisbon at the Ribeira palace on the night of Good Friday in the year 1508.
Argvmento.	Argument.
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.	As it was very necessary that there should be inns upon the roads for the repose and refreshment of weary wayfarers, so it was fitting that in this transitory life there should be an innkeeper for the refreshment and rest of the souls that go journeying to the everlasting abode of God. This innkeeper of souls is the Holy Mother Church, the table is the altar, the fare the emblems of the Passion. And this allegory is the theme of the following play.
¶ Está posta hũa mesa cõ hũa cadeyra: vẽ a madre sancta ygreja cõ seus quatro doctores, Sancto Thomas, Sam Hieronymo, Sancto Ambrosio, Sancto Agostinho, & diz Agostinho.	(A table laid, with a chair. The Holy Mother Church comes with her four doctors, St Thomas, St Jerome, St Ambrose and St Augustine, who says:)
Agost. Necessario foy, amigos, que nesta triste carreyra desta vida pera os mui perigosos perigos dos immigos[v][n] ouuesse algũa maneyra de guarida. Porque a humana transitoria natureza vay cansada em varias calmas nesta carreyra da gloria meritoria foi necessario pensada[v] pera as almas. ¶ Pousada com mantimentos,[v] mesa posta em clara luz, sempre esperando, com dobrados mantimentos dos tormentos que o filho de Deos na Cruz comprou penando. Sua morte foy auença, dando, por darnos parayso, a sua vida apreçada sem detença,[v] 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 e o anjo custodio ayo. Alma que lhe he encomendada se enfraquece & lhe vay tomando rayo de desmayo se chegando a esta pousada[v] se guarece.	St Aug. Friends, 'twas of necessity 1 That upon the gloomy way Of this our life Some sure refuge there should be From the enemy And dread dangers that alway Therein are rife. Since man's spirit migratory 2 In the journey to its goal Is oft oppressed, Weary in this transitory Path to glory, An inn was needed for the soul To stay and rest. An inn provided with its fare, 3 In clear light a table spread Expectantly, And laden with a double share Of torments rare That the Son of God, His life-blood shed, Bought on the Tree. Since by the covenant of His death 4 He gave, to give us Paradise, Even His life, Unwavering He rendereth For us His breath, Paying the full required price Free from all strife. His work as man was to enable 5 Our Mother Church thus to console, Innkeeper lowly, And minister at this very table, Most serviceable, Unto every wayfaring soul, With the Father Holy And its Guardian Angel's care. 6 The soul to her protection given If, weak with sin And yielding almost to despair, It onward fare And to reach this inn have striven, Finds health within.
¶ Vẽ o anjo custodio cõ a alma & diz.	(The Guardian Angel comes with the Soul and says:)
Anjo. ¶ Alma humana formada[n] de nenhũa cousa feyta muy preciosa, de corrupçam separada, & esmaltada naquella fragoa perfeyta gloriosa; ¶ planta neste valle posta pera dar celestes flores olorosas & pera serdes tresposta em a alta costa onde se criam primores mais que rosas; planta soes & caminheyra,[n] que ainda que estais vos his donde viestes; vossa patria verdadeyra he ser herdeyra da gloria que conseguis, anday prestes. ¶ Alma bemauenturada, dos anjos tanto querida, nam durmais, hum punto nam esteis parada, que a jornada muyto em breue he fenecida se atentais.	Angel. Human soul, by God created 7 Out of nothingness yet wrought As of great price, From corruption separated, Sublimated, To glorious perfection brought By skilled device; Plant that in this valley growest 8 Flowers celestial for to give Of fairest scent, Hence to that high hill thou goest Where thou knowest Even than roses graces thrive More excellent. Plant wayfaring, since thy spirit, 9 Scarce staying, to its first origin Must still begone, Thy true country is to inherit By thy merit That glory that thou mayest win: O hasten on. Soul that art thus trebly blest 10 By such angels' love attended, Sink not asleep, Nor one instant pause nor rest, Thou journeyest On a way that soon is ended If watch thou keep.
Alma. Anjo que soes minha guarda Olhay por minha fraqueza terreal: de toda a parte aja resguarda que nam arda a minha preciosa riqueza principal. ¶ Cercayme sempre oo redor porque vin muy temerosa da contenda: Oo precioso defensor, meu favor, vossa espada lumiosa me defenda. ¶ Tende sempre mão em mim porque ey medo de empeçar & de cayr.	Soul. Guardian angel, o'er me still 11 Keep thy ward that am so frail And of the earth, On all sides thy watch fulfil That nothing kill My true wealth nor e'er prevail O'er its high worth. Ever encompass me and shield, 12 For this conflict with great fear Fills all my sense, Noble protector in this field, Lest I should yield, Let thy gleaming sword be near For my defence. Still uphold me and sustain 13 For I fear lest I may stumble, Fail and fall.
Anjo. Pera isso sam & a isso vim mas em fim cumpreuos de me ajudar a resistir.[v] Nam vos occupem vaydades, riquezas nem seus debates, olhay por vos: que pompas, honrras, herdades, & vaydades sam embates & combates pera vos. ¶ Vosso liure aluidrio, isento, forro, poderoso, vos he dado pollo diuinal poderio & senhorio, que possais fazer glorioso vosso estado. Deuvos liure entendimento[n] & vontade libertada & a memoria, que tenhais em vosso tento fundamento que soes por elle criada pera a gloria. ¶ E vendo Deos que o metal,[n] em que vos pos a estilar pera merecer, que era muyto fraco & mortal, & por tal me manda a vos ajudar & defender. Andemos a estrada nossa, olhay nam torneis a tras[v] que o ĩmigo[v] aa vossa vida gloriosa pora grosa.[n] Nam creaes a Satanas, vosso perigo. ¶ Continuay ter cuydado na fim de vossa jornada & a memoria que o spirito atalayado do peccado caminha sem temer nada pera a gloria. e nos laços infernaes & nas redes de tristura[v] tenebrosas da carreyra que passaes nam cayaes: sigua vossa fermosura as gloriosas.	Angel. Therefore came I, nor in vain, Yet amain Must thou help me too, and humble Resist all: Even all the world's debate 14 Of riches and of vanity, Seek thou for grace, Since pomp and honour, high estate Vainly elate, Are but a stumbling-block to thee, No resting-place. Power uncontrolled is thine, 15 And an independent will Unbound by fate: Even so in His might divine Did God design That thou in glory mightst fulfil Thy heavenly state. He gave thee understanding pure, 16 Imparted to thee memory, Free will is thine, That so thou mayest e'er endure With purpose sure, Knowing that He has fashioned thee To be divine. And since God knew the mortal frame 17 Wherein He placed thee to distil, (So to win His praise) Was metal weak and prone to shame, Therefore I came Thee to protect—it was His will— And to upraise. Let us go forth upon our way. 18 Turn not thou back, for then indeed The enemy Upon thy glorious life straightway Will make assay. But unto Satan pay no heed Who lurks for thee. And still the goal seek thou to win 19 Carefully at thy journey's end. And be it clear That the spirit e'er at watch within Against all sin Upon salvation's path may wend Without a fear. In snares of Hell that shall waylay, 20 Dark and awful wiles among, Thee to molest, As thou advancest on thy way Fall not nor stray, But let thy beauty join the throng Of spirits blest.
¶ Adiantase o Anjo e vem o diabo a ella e diz o diabo.[v]	(The Angel goes forward and the Devil comes to the Soul and says:)
¶ Tam depressa, oo delicada alua pomba, pera onde his? quem vos engana, & vos leua tam cansada por estrada que soomente nam sentis se soes humana? Nam cureis de vos matar que ainda estais em idade de crecer. Tempo hahi pera folgar & caminhar, Viuey aa vossa vontade & a avey prazer.[v] ¶ Gozay, gozay dos bẽs da terra, procuray por senhorios & aueres.[v] Quẽ da vida vos desterra[v] aa triste serra? quem vos falla em desuarios por prazeres? Esta vida he descanso doce & manso, nam cureis doutro parayso: quem vos põe em vosso siso outro remanso?	Devil. Whither so swift thy flight, 21 Delicate dove most white? Who thus deceives thee? And weary still doth goad Along this road, Yea and of human sense, Even, bereaves thee? Seek not to hasten hence 22 Since thou hast life and youth For further growth. There is a time for haste, A time for leisure: Live at thy will and rest, Taking thy pleasure. Enjoy, enjoy the goods of Earth, 23 And great estates seek to possess And worldly treasures. Who to the hills, exiled from mirth, Thus sends thee forth? Who speaks to thee of foolishness Instead of pleasures? This life is all a pleasaunce fair, 24 Soft, debonair, Look for no other paradise: Who bids thee seek, with false advice, Refuge elsewhere?
Alma. ¶ Nam me detenhaes aqui, Deyxayme yr, q̃ em al me fundo.	Soul. Hinder me not here nor stay, 25 For far other thoughts are mine.
Diabo. Oo descansay neste mundo, que todos fazem assi. Nam sam em balde os aueres, Nam sam em balde os deleytes[v] & farturas[*],[v] nam sam de balde os prazeres & comeres, tudo sam puros affeytes das creaturas:[v] pera os homẽs se criarão. Dae folga a vossa possagem[v] doje a mais, descansay, pois descansarão os que passaram por esta mesma romagem que leuais. O que a vontade quiser, quanto o corpo desejar, tudo se faça: zombay de quem vos quiser reprender, querendovos marteyrar tam de graça. Tornarame se a vos fora, his tam triste, atribulada que he tormenta: senhora, vos soes senhora emperadora, nam deueis a ninguem nada, sede isenta.	Devil. To worldly ease thy thought incline Since all men incline this way. And not for nothing are delights, 26 And not in vain possessions sent And fortune's prize, And not for nought are pleasure's rites And banquet-nights: All these are for man's ornament And galliardize; For mortal men is their array. 27 So let delight thy woes assuage, Henceforth recline And rest, since rest likewise had they Who went this way, Even this very pilgrimage That now is thine. And whatsoe'er thy body crave, 28 Even as thy will desire, So let it be; And laugh thou at the censors grave, Whoso would have Thee torturèd by sufferings dire So uselessly. I would not, being thou, go forth, 29 So sad and troubled lies the way, 'Tis cruelty, And thou art of imperial worth And royal birth, To none thou needest homage pay, Then be thou free.
Anjo. Oo anday, quem vos detem? Como vindes pera a gloria devagar! Oo meu Deos, oo summo bem! Ja ninguem nam se preza da vitoria em se saluar. Ja cansais, alma preciosa? Tão asinha desmayaes? Sede esforçada: Oo como virieis trigosa & desejosa, se visseis quanto ganhaes nesta jornada. Caminhemos, caminhemos, esforçay ora, alma sancta esclarecida.	Angel. O who thus hinders thee? On, on! 30 How loiterest thou on glory's path So slowly! O God, sole consolation! Now is there none Who of that victory honour hath That is most holy. Soul, already dost thou tire 31 Sinking so soon beneath thy burden? Nay, soul, take heart! Ah, with what a glowing fire Of desire Cam'st thou couldst thou see what guerdon Were then thy part. Forward, forward let us go: 32 Be of good cheer, O soul made holy By this thy strife.
¶ Adiantase o anjo & torna Satanas.	(The Angel goes forward and Satan returns.)
Que vaydades & que estremos tam supremos! Pera que he essa pressa tanta? Tende vida. ¶ His muy desautorizada, descalça, pobre, perdida de remate, nam leuais de vosso nada amargurada: assi passais esta vida em disparate. ¶ Vesti ora este brial, metey o braço por aqui, ora esperay. Oo como vem tão real! isto tal me parece bem a mi: ora anday. Hũs chapins aueis mister de Valença, muy fermosos[*],[n] eylos aqui:[v] Agora estais vos molher de parecer. Põde os braços presumptuosos, isso si, passeayuos muy pomposa, ¶ daqui pera ali & de laa por ca,[v] & fantasiay. Agora estais vos fermosa como a rosa, tudo vos muy bem estaa: descansay.	Devil. But what is all this coil and woe? Why to and fro Flutterest thou in haste and folly? Nay, live thy life. For very piteous is thy plight, 33 Poor, barefoot, ruined utterly, In bitterness, Carrying nothing to delight As thine by right, And all thy life is thus to thee A thing senseless. But don this dress, thy arm goes there, 34 Put it through now, even thus, now stay Awhile. What grace, What finery! I do declare It pleases me. Now walk away A little space. So: I trow shoes are now thy need 35 With a pair from Valencia, fair to see, I thee endow. Now beautiful, as I decreed, Art thou indeed; Now fold thy arms presumptuously: Ev'n so; and now Strut airily, show off thy power, 36 This way and that and up and down Just as thou please; Fair now as fairest rose in flower Thy beauty's dower, And all becomes thee as thine own: Now take thine ease.
Torna o anjo a alma dizẽdo.	(The Angel returns to the Soul, saying:)
Anjo. ¶ Que andais aqui fazendo?	Angel. What is this that thou art doing? 37
Alma. Faço o q̃ vejo fazer pollo mundo.	Soul. In the world's mirror ev'n as I see I do in this.
Anjo. Oo Alma, hisuos perdẽdo, correndo vos his meter no profundo. Quanto caminhais auante tanto vos tornais a tras & a trauees, tomastes ante com ante por marcante[v][n] o cossayro satanas porque querees.[v] ¶ Oo caminhay com cuydado que a Virgem gloriosa vos espera: deyxais vosso principado desherdado, engeytais a gloria vossa & patria vera. Deyxay esses chapins ora & esses rabos tam sobejos, que his carregada, nam vos tome a morte agora tam senhora, nem sejais com tais desejos sepultada.	Angel. O soul, thou compassest thy ruin And rushest forward foolishly To the abyss. For every step that onward fares 38 One step back, one step aside Thou takest still, And buyest eagerly the wares That pirate bears, Even Satan, by thee glorified Of thy free will. O journey onward still with care 39 For the Virgin with the elect Doth thee await: Thou leavest desolate and bare Thy kingdom rare, And thine own glory dost reject And true estate. But cast these slippers now aside, 40 This gaudy dress and its long train, Thou art all bowed, Lest Death come on thee unespied And in thy pride These thy desires and trappings vain Prove but thy shroud.
Alma. ¶ Anday, day me ca essa mão: anday vos, que eu yrey quanto poder.[v]	Soul. Go forward, stretch thy hand 41 to save, Go forward, I will follow thee As best I may.
Adiãtese o anjo & torna o diabo.	(The Angel goes forward and the Devil returns.)
Diabo. Todas as cousas cõ rezão tem çazam.[v] Senhora, eu vos direy meu parecer: hahi tempo de folgar & idade de crecer & outra idade de mandar e triumphar, & apanhar & acquirir prosperidade a que poder.[v] ¶ Ainda he cedo pera a morte: tempo ha de arrepender e yr ao ceo. Pondevos a for da corte,[n] desta sorte viua vosso parecer, que tal naceo.[v] O ouro pera que he? & as pedras preciosas & brocados, & as sedas pera que? Tende per fee q̃ pera as almas mais ditosas foram dados*.[v] ¶ Vedes aqui hum colar douro muy bem esmaltado[v] & dez aneis. Agora estais vos pera casar & namorar: neste espelho vos vereis[v] & sabereis[v] q̃ nam vos ey de enganar. E poreis estes pendentes, em cada orelha seu,[v] isso si, que as pessoas diligentes sam prudentes: agora vos digo eu que you contente daqui.	Devil. All things in light of reason grave Their seasons have. And I to thee will, O lady, My counsel say: There is a time here for delight 42 And an age is given for growth, Another age To tread in lordly triumph's might In the world's despite, Gaining ease and riches both On life's full stage. It is too early yet to die, 43 Time later to repent on earth And to seek Heaven. Then cease with fashion's rule to vie, And quietly Enjoy the nature that at birth To thee was given. What, think'st thou, is the use for gold 44 And what the use for precious stones And for brocade, And all these silks so manifold? Ah surely hold That for the souls, the blessed ones, They were all made. See here a necklace in its pride 45 Of skilfully enamelled gold, Here are rings ten: Now mayst thou win the hearts of men, Fit for a bride. In this mirror thou mayst behold Thyself and see That I am not deceiving thee. And here are ear-rings, put them on 46 One in each ear duly now: Even so; For things thus diligently done Prove wisdom won, And now I may to thee avow That right well pleased I hence shall go.
Alma. ¶ Oo como estou preciosa, tam dina pera seruir & sancta pera adorar!	Soul. O how lovely is my state, 47 How is it for service meet, And for holy adoration!
Anjo. Oo alma despiadosa,[v] perfiosa, quem vos deuesse fugir mais que guardar! Pondes terra sobre terra, que esses ouros terra sam: oo senhor, porque permites tal guerra que desterra ao reyno da confusam o teu lauor? ¶ Nam hieis mais despejada & mais liure da primeyra pera andar? Agora estais carregada & embaraçada com cousas que ha derradeyra[v] ham de ficar. Tudo isso se descarrega ao porto da sepultura: alma sancta, quem vos cega, vos carrega dessa vaã[v] desauentura?	Angel. Cruel soul and obstinate, Rather thereat Should I shun thee than still treat Of thy salvation. Earth upon earth is this thy store, 48 Since but earth is all this gold. O God most high, Wherefore permittest thou such war That, as of yore, To Babel's kingdom from thy fold Thy creatures hie? Was it not easier journeying 49 At first, more free than that thou hast With all this train, Hampered and bowed with many a thing That now doth cling About thee, but which at the last Must here remain? All is disgorged and left behind 50 At the entrance to the tomb. Who, holy soul, doth thee thus blind Thyself to bind With such vain misfortune's doom?
Alma. Isto nam me pesa nada mas a fraca natureza me embaraça. Ja nam posso dar passada de cansada: tanta é minha fraqueza & tam sem graça. Senhor hidevos embora, que remedio em mi[v] nam sento, ja estou tal.	Soul. Nay, this doth scarcely on me weigh: 51 It is my poor weak mortal nature That bows me down. So weary am I, I must stay Nor go my way, So void of grace, so frail a creature Am I now grown. Sir, go thy way: I cannot strive 52 Nor hope now further to advance, So fallen I.
Anjo. Sequer day dous passos ora atee onde mora a que tem o mantimento celestial. ¶ Ireis ali repousar, comereis algũs bocados confortosos, porque a hospeda he sem par em agasalhar os que vem atribulados & chorosos.	Angel. But two steps more to where doth live She who will give To thee celestial sustenance Charitably. Thither shalt thou go and rest, 53 And shalt taste there of that fare New strength to borrow: Unrivalled is that hostess blest To give of the best To those who weeping come to her, Laden with sorrow.
Alma. He lõge?	Soul. Is it far off? 54
Anjo. Aqui muy perto. Esforçay, nam desmayeis & andemos, que ali ha todo concerto muy certo: quantas cousas querereis tudo temos*.[v] ¶ A hospeda tem graça tanta, faruosha tantos fauores.	Angel. Nay, very near. Be not downcast, but now be brave, And let us go, For every remedy and cheer Is certain here. And whatsoever thou wouldst have We can bestow. Such grace is hers that nought can smirch, 55 Such favours will she show to thee, That innkeeper.
Alma. Quem he ella?	Soul. Her name?
Anjo. He a madre ygreja sancta, e os seus sanctos doutores i com ella. Ireis di muy despejada chea do Spirito[v] Sancto & muy fermosa: ho alma sede esforçada, outra passada, que nam tendes de andar tãto a ser esposa.	Angel. The Holy Mother Church. And holy doctors thou shalt see Are there with her. Joyful thence shall thy going be, 56 Filled then with the Holy Spirit And beautified: O soul, take heart, courageously One step for thee, Nay, scarce one step, and thou shalt merit To be a bride.
Diabo. ¶ Esperay, onde vos his? Essa pressa tam sobeja He ja pequice. Como, vos que presumis consentis continuardes a ygreja sem velhice? Dayuos, dayuos a prazer, q̃ muytas horas ha nos annos que laa vem. Na hora que a morte vier[n] Como xiquer[v] se perdoão quantos dannos a alma tem. Olhay por vossa fazenda: tendes hũas scripturas[v] de hũs casais de que perdeis grande renda. He contenda que leyxarão aas escuras vossos pays; he demanda muy ligeyra, litigios que sam vencidos em um riso: citay as partes terça feyra de maneyra como nam fiquem perdidos & auey siso.[n]	Devil. Stay, whither art thou going now? 57 Such haste is mere unseemly rage And foolishness: What, thou so puffed with pride, canst thou Thus meekly bow To go on churchward e'er old age Doth on thee press? Let pleasure, pleasure rule thy ways, 58 For many hours in years to roll To thee are given, And when death comes to end thy days, If prayer thou raise, Then all sins that can vex a soul Shall be forgiven. Look to thy wealth and property: 59 There is a group of houses should Be thine by right, Great source of income would they be, Unhappily At thy parents' death the matter stood In no clear light. The case is simple, 'tis averred 60 Such lawsuits in a trice are won At laughter's spell: Next Tuesday let the case be heard And, in a word, Finish thou well what is begun. Be sensible.
Alma. Calte por amor de deos leyxame, nam me persigas, bem abasta estoruares[v] os ereos[v] dos altos ceos, que a vida em tuas brigas se me gasta. Leyxame remediar o que tu cruel danaste[v] sem vergonha, que nam me posso abalar nem chegar ao logar onde gaste esta peçonha.[n]	Soul. O silence, for the love of God, 61 Persecute me no more: thy hate Doth it not suffice High Heaven's heirs that it hinder should From their abode? My life to thee early and late I sacrifice. But leave me: so I may efface 62 The cruel wrong that shamelessly Thou hast thus wrought; For now I have scarce breathing-space To reach that place Where for this poison there may be Some antidote.
Anjo. ¶ Vedes aqui a pousada verdadeyra & muy segura a quem quer vida.	Angel. See the inn: a sure retreat, 63 Even for all those a true home Who would have life.
Ygreja. Oo como vindes cansada & carregada!	Church. O laden with sore toil and heat! O tired feet!
Alma. Venho por minha ventura amortecida.	Soul. Yea, for I destined was to come Weary of strife.
Ygreja. Quem sois? pera onde andais?	Church. Who art thou? whither wouldst thou win? 64
Alma. Nam sey pera onde vou, sou saluagem, sou hũa alma que peccou culpas mortaes contra o Deos que me criou aa sua imagem. ¶ Sou a triste, sem ventura, criada resplandecente & preciosa, angelica em fermosura & per natura come rayo[v] reluzente lumiosa. E por minha triste sorte & diabolicas maldades violentas[v] estou mais morta que a morte, sem deporte, carregada de vaydades peçonhentas. ¶ Sou a triste, sem meezinha,[v] peccadora abstinada[v] perfiosa, pella triste culpa minha mui mesquinha a todo mal[v] inclinada & deleytosa. Desterrey da minha mente os meus perfeytos arreos[v] naturaes, nam me prezey de prudente mas contente me gozey com os trajos feos[v] mundanaes. ¶ Cada passo me perdi em lugar[v] de merecer, eu sou culpada: auey piedade de mi que nam me vi, perdi meu inocente ser & sou danada.[v] E por mais graueza sento nam poderme arrepender quanto queria, que meu triste pensamento sendo isento nam me quer obedecer como soya. ¶ Socorrey[v], hospeda senhora, que a mão de Satanas me tocou, e sou ja de mi tam fora que agora nam sey se auante se a traz nem como vou.[n] Consolay minha fraqueza com sagrada yguaria, que pereço, por vossa sancta nobreza, que he franqueza, porque o que eu merecia bem conheço. ¶ Conheçome por culpada & digo diante vos minha culpa. Senhora, quero pousada, day passada,[n] pois que padeceo por nos quem nos desculpa. Mandayme ora agasalhar, capa dos desamparados, ygreja madre.	Soul. I know not whither, outcast, fated At fortune's whim, A soul unholy, steepèd in Its mortal sin, Against the God who had created Me like to Him. I am that soul ill-starred, unblest, 65 That by nature shone in gleaming Robe of white, Of angel's beauty once possessed, Yea, loveliest, Like a ray refulgent streaming Filled with light. And by my ill-omened fate, 66 My atrocious devilries, Sins treasonous, More dead than death is now my state Bowed with this weight That nought can lighten, vanities Most poisonous. I am a sinner obstinate, 67 Perverse, that know no remedy For this my plight, Oppressed by guilt most obdurate, And profligate, Inclined to evil constantly And all delight. And I banished from my lore 68 All my perfect ornaments And natural graces, By prudence I set no store But evermore Rejoiced in all these vile vestments And worldly places. At each step taken in earthly cares 69 I further sank away from praise, Earning but blame: Have mercy upon one who fares Lost unawares: For, innocence lost, I might not raise Myself from shame. And, for my greater evil, I 70 Can no more repent me fully, Since in new mood My thoughts are mutinous and cry For liberty, Unwilling to obey me duly As once they would. O help me, lady innkeeper, 71 For Satan even now his hand Doth on me lay, And so grievously I err In my despair That I know not if I go or stand Or backward stray. Succour thou my helplessness 72 And strengthen me with holy fare, For I perish, Of thy noble saintliness Liberal to bless, For knowing my deserts I dare No hope to cherish. I acknowledge all my sin 73 And before thee meekly thus Forgiveness crave. O Lady, let me now but win Into thine inn, Since One suffered even for us, That He might save. Bid me welcome, Mother holy, 74 Shield of all who are forsaken Utterly.
Ygreja. Vindevos aqui assentar muy de vagar,[v] que os manjares são guisados por Deos Padre. ¶ Sancto Agostinho doutor, Geronimo, Ambrosio, Sã Thomas,[v] meus pilares, serui aqui por meu amor a qual milhor,[v] & tu, alma, gostaraas meus manjares. Ide aa sancta cosinha, tornemos esta alma em si, porque mereça de chegar onde caminha & se detinha: pois que Deos a trouxe[v] aqui nam pereça.	Church. Enter to thy seat there lowly, Yet come slowly, For the viands thou seest were baken By God most high. Lo ye my pillars, doctor, saint, 75 Ambrose, Thomas and Jerome And Augustine, In my service wax not faint, Nor show constraint, And to thee, soul, shall be welcome This fare of mine. To the holy kitchen go: 76 Let us this frail soul restore, That she find grace To reach her journey's end and know Her path, that so By God brought hither she no more Fail in life's race.
¶ Em quanto estas cousas passam Satanas passea[v] fazendo muytas vascas & vem outro[v] & diz.	(Meanwhile Satan goes to and fro, cutting many capers, and another devil comes and says:)
¶ Como andas desasossegado.[v][n]	2nd D. You're like a lion in a cage. 77
Diabo. Arço em fogo de pesar.	1st D. I'm all afire, with anger blind.
Outro. Que ouueste?	2nd D. Why, what's the matter?
Diabo. Ando tam desatinado de enganado que nam posso repousar que me preste. Tinha hũa alma enganada ja quasi pera infernal mui acesa.	1st D. To be so taken in, my rage Can nought assuage Nor any rest be to my mind; For, as I flatter Myself, I had by honeyed word 78 Deceived a certain soul, all quick For fires of Hell.
Outro. E quem ta levou forçada?	2nd D. Who made you throw it overboard?
Diabo. O da espada.	1st D. He of the sword.
Outro. Ja melle fez outra tal bulra como essa. ¶ Tinha outra alma ja vencida[v] em ponto de se enforcar de desesperada, a nos toda offerecida & eu prestes pera a levar arrastada; e elle fella[v] chorar tanto que as lagrimas corriã polla terra. Blasfemey entonces tanto que meus gritos retiniam polla serra.[n] ¶ Mas faço conta que perdi, outro dia ganharey, e ganharemos.	2nd D. He played just such another trick On me as well. For I had overcome a soul, 79 Ready to hang itself, unsteady In its despair; Yes, it was given to us whole And I myself was making ready To drag't down there. And lo he made it weep and weep 80 So that the tears ran down along The very ground: You might have heard my curses deep And cries of rage echo among The hills around. But I have hopes that what I've lost 81 Some other day I shall regain, So will we all.
Diabo. Nam digo eu, yrmão, assi,[v] mas a esta tornarey & veremos. Tornala ey a affogar[v] depois que ella sayr fora da ygreja & começar de caminhar: hei de apalpar se venceram ainda agora esta peleja.	1st D. I, brother, cannot share your trust, But I will tempt this soul again Whate'er befall. With new promises will I woo her 82 When from the Church she shall have come Forth to the street Upon her journey: I will to her, And beshrew her If I turn not all their triumph To defeat.
Alma com o Anjo.[v]	(The Soul enters with the Angel.)
¶ Alma. Vos nam me desampareis, senhor meu anjo custodio. Oo increos imigos, que me quereis que ja sou fora do odio de meu Deos? Leyxaime ja, tentadores, neste conuite prezado do Senhor, guisado aos peccadores com as dores de Christo crucificado, Redemptor.	Soul. O let not thy protection fail me, 83 Guardian angel, help thy child. O foes most base, Infidels, why would you assail me Who to my God am reconciled And in His grace? Leave me, O ye tempters, leave 84 Unto this most precious feast Of Him who died, Served to sinners for reprieve Of those who grieve For their Redeemer Lord, the Christ And crucified.
¶ Estas cousas estando a alma assentada à mesa & o anjo junto com ella em pee, vem os doutores com quatro bacios de cosinha cubertos cantando Vexila regis prodeunt*[v][n]. E postos na mesa, Sancto Agostinho diz.	(While the Soul is seated at the table and the Angel standing by her side, the Doctors come with four covered kitchen dishes, singing Vexilla regis prodeunt, and after placing them on the table, St Augustine says:)
Agost. Vos, senhora conuidada, nesta cea soberana celestial aueis mister ser apartada & transportada de toda a cousa mundana terreal. Cerray os olhos corporaes, deytay ferros aos danados apetitos, caminheyros infernaes, pois buscaes os caminhos bem guiados dos contritos.	St Aug. Lady, thou that to this feast, 85 Supper of celestial fare Nobly divine, Comest as a bidden guest, Must now divest Thyself of worldly thought and care That once were thine. Thou thy body's eyes must close 86 And in fetters sure be tied Fierce appetite, Treacherous guides, infernal foes: Thy ways are those That are a safe support and guide For the contrite.
Ygreja. Benzey a mesa, senhor, & pera consolaçam da conuidada, seja a oraçam de dor sobre o tenor da gloriosa payxam consagrada. E vos, alma, rezareis, contemplando as viuas dores da senhora, vos outros respondereis pois que fostes rogadores atee agora.[v]	Church. Sir, by thee be the table blest: 87 In thy benedictory prayer, To bring relief And new strength to this our guest, Be there expressed The Passion's glory in despair And all its grief. Thou, O soul, with orisons, 88 The Virgin's sorrows contemplating Abide even there, And ye others make response Since for this have you been waiting Wrapped in prayer.
Oraçã pa Santo Agostinho.	(St Augustine's prayer:)
¶ Alto Deos marauilhoso que o mundo visitaste em carne humana, neste valle temeroso & lacrimoso tua gloria nos mostraste soberana; e teu filho delicado, mimoso da diuindade & natureza, per todas partes chagado & muy sangrado polla nossa[v] infirmidade & vil fraqueza. ¶ Oo emperador celeste, Deos alto muy poderoso essencial, que pollo homem[v] que fizeste offereceste o teu estado glorioso a ser mortal. ¶ E tua filha, madre, esposa, horta nobre, frol dos ceos, Virgem Maria, mansa pomba gloriosa o quam chorosa quando o seu Filho e Deos* padecia.[v] Oo lagrymas preciosas, de virginal coraçam estilladas, correntes das dores vossas com os olhos[v] da perfeyçam derramadas! ¶ Quem hũa soo podera ver[v] vira claramente nella aquella dor, aquella pena & padecer com que choraueis, donzella, vosso amor. ¶ E quando vos amortecida se lagrymas vos faltauam nam faltaua a vosso filho & vossa vida chorar as que lhe ficauam de quando orava.[n] Porque muyto mais sentia pollos seus padecimentos vervos[v] tal, mais que quanto padecia lhe doya, & dobrava seus tormentos vosso mal. ¶ Se se podesse dizer,[n] se se podesse rezar tanta dor; se se podesse fazer podermos ver qual estaueis ao clauar[v] do Redemptor. Oo fermosa face bella, oo resplandor divinal, que sentistes quando a cruz se pos aa vella & posto nella o filho celestial que paristes! Vendo por cima da gente assomar vosso conforto tam chagado, crauado tam cruelmente, & vos presente, vendo vos ser mãy do morto & justiçado. O rainha delicada, sanctidade escurecida quem nam chora em ver morta & debruçada[v] a auogada, a força de nossa vida *[pecadora]![v]	God whose might on high appears, 89 Who camest to this world In human guise, In this vale of many fears And sullen tears Thy great glory hast unfurled Before our eyes; And thy Son most delicate 90 By His natural majesty Of divine birth, Ah, in blood and wounds prostrate Is now his state For our vile infirmity And little worth. O Thou ruler of the sky, 91 High God of power divine, Enduring might, Who for thy creature, man, to die Didst not deny Thy Godhead, and madest Thine Our mortal plight. And thy daughter, mother, bride, 92 Noble flower of the skies, The Virgin blest, Gentle Dove, when her Son died, God crucified, Ah what tears shed by those eyes Her grief attest. O most precious tears that well 93 From that virgin heart distilled One by one, Flowing at thy sorrow's spell They those perfect eyes have filled And still flow on. Who but one of them might have 94 In it most manifestly That grief to prove, Even that woe and suffering grave Which then overwhelmèd thee For thy dear love. Fainting then with grief if failed 95 Thy tears, yet Him they might not fail, Thy Life, thy Son, Who unto the Cross was nailed, Even fresh tears that could avail, In prayer begun. For far greater woe was His 96 When He saw thee faint and languish In thy distress, More than His own agonies, And doubled is All His torture at thy anguish Measureless. For no words have ever told 97 No prayer or litany wailed Such grief and loss: Our weak thought may not enfold Nor thee behold As thou wert when He was nailed Upon the Cross. For to thee, O lovely face, 98 Wherein Heaven's beauty shone, What woe was given When the Cross on high they place And thereupon Nailèd the Son of Heaven, Even thy Son! Over the crowd's heads on high 99 He who was ever thy delight Came to thy sight, To the Cross nailèd cruelly, Thou standing by, Thou the mother of Him who died There crucified! O frail Queen of Holiness, 100 Who would not thus weep to see Thee fainting fall And lie there all motionless, Thou patroness Who dost still uphold and free The life of all!
Ambrosio. Isto chorou Hyeremias sobre o monte de Sion ha ja dias, porque sentio que o Messias[v] era nossa redempçam. E choraua a sem[v] ventura triste de Jerusalem homecida, matando contra natura seu Deos nascido em Belem nesta vida.	St Ambrose. Thus of yore did Jeremiah 101 On Mount Sion make lament In days long spent, For he knew that the Messiah Was for our salvation sent. And he mourned the misery 102 Of ill-starred Jerusalem, The murderess, Who should kill unnaturally Her God born in Bethlehem Our life to bless.
Geronymo. Quem vira o sancto cordeyro antre os lobos humildoso escarnecido, julgado pera o marteyro do madeyro, seu rosto aluo & fermoso muy cuspido![v]	St Jerome. O the Holy Lamb to see 103 Humble amid the wolves' despite, With mockery fraught, Condemned to suffer cruelly Upon the Tree, And that face, so fair and white, Thus set at nought!
Agost. Bẽze a mesa.	St Augustine. (He blesses the table.)
A bençam do padre eternal & do filho que por nos sofreo tal dor & do spirito sancto, igual Deos immortal, conuidada, benza a vos por seu amor.	The Eternal Father's blessing rest, 104 And of the Son, who suffered thus Even for us, And of the Spirit holiest, On thee our guest: Spirit immortal, Father, Son, The Three in One.
¶Ygreja. Ora sus, venha agoa as mãos.	Church. Come now, bring water for the hands. 105
Agost. Vos aveysuos[v] de lavar em lagrymas da culpa vossa & bem lauada & aueisuos de chegar alimpar[v] a hũa toalha fermosa bem laurada co sirgo das veas puras da Virgem sem magoa nacido & apurado, torcido com amarguras aas escuras, com grande dor guarnecido & acabado. ¶ Nam que os olhos alimpeis, que a nam consentirão os tristes laços que taes pontos achareis da face[v] & enues, que se rompe o coração em pedaços. Vereis, triste, laurado [com rosto de fermosura] natural,[v] com tormentos pespontado e figurado, Deos criador, em figura de mortal.[n]	St Aug. But thou must wash in tear on tear Shed for thy past sins' misery, Most thoroughly, And then to this fair towel here Thou mayst draw near, A towel that is kept for thee Worked cunningly With finest silk in painlessness 106 From out the Holy Virgin's veins That issuèd, Silk that was spun in bitterness And dark distress, And woven with increasing pains And finishèd. Yet never shall thine eyes be dried: 107 This pattern sad will ever make Thy tears downflow, Such stitches here on either side Doth it provide That one's very heart must break To see such woe. Presented here thou mayest see 108 With lovely face most natural —And seeing weep— Embroiderèd with agony, O mystery! God fashioned, who created all, In human shape.
¶ Esta toalha que[v] aqui se falla he a varonica[v], a qual Sancto Agostinho tira dantre os bacios & a mostra[v] à Alma, & a madre ygreja con os doutores lhe fazem adoração de joelhos, cantando Salue sancta facies[v], & acabando diz a madre ygreja.	(The towel here described is the veronica, which St Augustine takes from among the dishes and shows to the Soul, and the Mother Church and the Doctors adore it on their knees, singing Salve sancta Facies, and the Mother Church then says:)
¶ Venha a primeyra yguaria.	109Church. Let the first viand be brought.
Gero. Esta yguaria primeyra foy, senhora, guisada sem alegria em triste dia, a crueldade cozinheyra & matadora. Gostala eis com salsa & sal de choros de muyta dor, porque os costados do Messias diuinal, sancto sem mal, forão pollo vosso amor açoutados.	St Jerome. It was preparèd joylessly On a sad day, With no pleasure was it fraught, With suffering bought, And its cook was Cruelty, Eager to slay. With seasoning of tears and shame 110 Must this course by thee be eaten, Sorrowfully, Since the Messiah's holy frame, Pure, free from blame, Cruelly was scourged and beaten For love of thee.
¶ Esta yguaria em q̃ aqui se falla[v] sam os açoutes[v], & em este passo os tirã dos bacios & os presentam a alma & todos de joelhos adoram cantãdo Aue flagellum, & despois diz Geronymo.	(The viand so described consists of the scourge which at this stage is taken from the dishes and presented to the Soul and all kneel and adore, singing Ave flagellum; and Jerome then says:)
¶ Estoutro manjar segundo he yguaria que aueis de mastigar em contemplar a dor que o senhor do mundo padecia pera vos remediar. foi hum tromento[v] improuiso que aos miolos lhe chegou & consentio, por remediar o siso que a vosso siso faltou, e pera ganhardes parayso a sofrio.	St Jerome. This second viand of noble worth, 111 This delicacy, Must be slowly eaten by thee In contemplation Of what the Lord of all the earth In agony Sufferèd for thy salvation. This new torture suddenly 112 He allowed to reach His brain, That so thy wit And sense might be restored to thee, That perished from thee utterly, Yea that thou Paradise mightst gain Endured He it.
¶ Esta yguaria segunda de que aqui se fala[v] he a coroa de espinhos, e em este passo a tiram dos bacios & de joelhos os sanctos doutores cantam Aue corona espinearum[v], & acabando[v] diz a madre ygreja.	(This second viand so described is the crown of thorns, and at this stage they take it from the plates, and kneeling the holy Doctors sing Ave corona spinarum and afterwards the Mother Church says:)
Venha outra do teor.[v]	Church. Another bring in the same strain. 113
Gero. Estoutro manjar terceyro foy guisado em tres lugares de dor, a qual maior, com a lenha do madeyro mais prezado. Comese com gram tristeza*[v] porque a virgem gloriosa o vio guisar: vio crauar com gram crueza a sua riqueza & sua perla preciosa vio furar.	St Jerome. This third viand that is brought to thee Was prepared thrice In places three, in each with gain Of subtler pain, With the wood of the Holy Tree, Wood of great price. It must be eaten sorrowfully, 114 Since the Virgin glorious Saw it garnished, Her treasure nailèd cruelly Then did she see, And her pearl most precious Pierced and tarnished.
¶ E a este passo tira sancto Agostinho os crauos[v], & todos de joelhos os adorão, cantando Dulce lignum, dulcis clauus, & acabada a adoraçam[v] diz o anjo à alma.	(At this station St Augustine brings the nails and all kneel and adore them, singing Dulce lignum, dulcis clavus, and when the adoration is ended the Angel says to the Soul:)
¶ Leixay ora esses arreos, que estoutra nam se come assi como cuydais: pera as almas sam mui feos e sam meos con que nam andam em si os mortais.	Angel. These trappings must thou 115 lay aside, This new fare cannot, thou must know, Be eaten thus: By them are men's souls vilified And in their pride Puffed up with overweening show Presumptuous.
¶ Despe a alma o vestido & joyas que lho imigo[v] deu & diz Agostinho.	(The Soul casts off the dress and jewels that the enemy gave her.)
¶ Oo alma bem aconselhada, que dais o seu a cujo he,[v][n] o da terra ha terra: agora yreis despejada polla estrada, porque vencestes com fee forte guerra.	St Augustine. O soul, well counselled! 116well bestowed To each what is of each by right, And earth to earth: Now shalt thou speed along thy road, Free of this load, Faring by faith from this stern fight Victorious forth.
¶Ygreja. Venha estoutra yguaria.	Church. To the last course I thee 117invite.
Gero. A quarta yguaria he tal, tam esmerada, de tam infinda valia & contia que na mente diuinal foy guisada, por mysterio preparada no sacrario virginal muy cuberta, da diuindade cercada & consagrada, despois ao padre eternal dada em oferta.[v]	St Jerome. This fourth viand is of a kind So seasonèd, It is of value infinite, Most exquisite, Prepared by the Divine mind And perfected: Entrusted first in mystery 118 To a holy virgin came from Heaven This secret thing, Encompassed by divinity And sanctity, Then to the Eternal Father given As offering.
¶ Apresenta sam Geronymo à alma hum crucificio[v] que tira dantre os pratos, & os doutores o adoram cantando Domine Jesu Christe, & acabando diz a alma.	(St Jerome presents to the Soul a Crucifix, which he takes from among the dishes, and the Doctors adore it, singing Domine Jesu Christe, and afterwards the Soul says:)
¶ Cõ que forças, com q̃ spirito[v] te darey, triste, louuores[v] que sou nada, vendote, Deos[v] infinito, tam afflito, padecendo tu as dores & eu culpada? Como estaas tam quebrantado, filho de Deos immortal! quem te matou? Senhor per cujo mandado es justiçado sendo Deos vniuersal que nos criou?	Soul. With what heart and mind contrite 119 May I praise Thee sadly now Who am nought, Seeing Thee, God infinite, To such plight Of suffering and sorrow bow, By my sin brought! Lord, how art Thou crushed and broken, 120 Thou, the Son of God, to die! And Thy death By whom ordered, by what token The word spoken Thee to judge and crucify, Who gav'st us breath?
Agost. ¶ A fruyta[v] deste jantar, que neste altar vos foy dado com amor, yremos todos buscar ao pomar adonde[v] estaa sepultado o redemptor.[v][n]	St Aug. For the fruit to end this feast, 121 On the altar given thee thus Lovingly, To the orchard go we all in quest, Where lies at rest The Redeemer, He who died for us And set us free.
¶ E todos com a alma, cantando Te Deum laudamus, foram adorar ho muymento.[v]	(And all with the Soul, singing Te deum laudamus, went to adore the tomb.)

LAVS DEO.