SPANISH MYSTERIES.
Of all the dramatic works of Lope de Vega, the Lives of the Saints are in every respect the most irregular. Allegorical characters, buffoons, saints, peasants, students, kings, God, the infant Jesus, the devil, and the most heterogeneous beings that the wildest imagination could bring together, are introduced. Music seems always to have been an indispensable accessary. Lope de Vega’s spiritual comedy, entitled the Life of Saint Nicolas de Tolentino,[288] commences with a conversation maintained by a party of students, who make a display of their wit and scholastic learning. Among them is the future saint, whose piety shines with the brighter lustre when contrasted with the disorderly gaiety of those by whom he is surrounded. The devil disguised by a mask joins the party. A skeleton appears in the air; the sky opens, and the Almighty is discovered sitting in judgment, attended by Justice and Mercy, who alternately influence his decisions. Next succeeds a love intrigue between a lady named Rosalia, and a gentleman named Feniso. The future saint then reenters attired in canonicals, and delivers a sermon in redondillas. The parents of the saint congratulate themselves on possessing such a son; and this scene forms the conclusion of the first act. At the opening of the second a party of soldiers are discovered; the saint enters accompanied by several monks, and offers up a prayer in the form of a sonnet. Brother Peregrino relates the romantic history of his conversion. Subtle theological quiddities ensue, and numerous anecdotes of the lives of the saints are related. St. Nicolas prays again through the medium of a sonnet. He then rises in the air, either by the power of faith, or the help of the theatrical machinery; and the Holy Virgin and St. Augustin descend from heaven to meet him. The sonnet by which St. Nicolas performs this miracle is the most beautiful in this sacred farce. In the third act the scene is transferred to Rome, where two cardinals exhibit the holy sere-cloth to the people by torch-light. Music performed on clarinets adds to the solemnity of this ceremony, during which pious discourses are delivered. St. Nicolas is next discovered embroidering the habit of his order; and the pious observations which he makes, while engaged in this occupation, are accompanied by the chanting of invisible angels. The music attracts the devil, who endeavours to tempt St. Nicolas. The next scene exhibits souls in the torments of purgatory. The devil again appears attended by a retinue of lions, serpents, and other hideous animals; but in a scene, which is intended for burlesque, (graciosamente,) a monk armed with a great broom drives off the devil and his suite. At the conclusion of the piece the saint, whose beatification is how complete, descends from heaven in a garment bespangled with stars. As soon as he touches the earth, the souls of his father and mother are released from purgatory, and rise through a rock; the saint then returns hand-in-hand with his parents to heaven, music playing as they ascend.[289]
[288] St. Nicolas de Tolentino is a saint of modern creation.
[289] Bouterwek.