[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.