[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.