[5] Facsimiles of the title-pages of the two early editions of Vicente's works are reproduced here through the courtesy of Senhor Anselmo Braamcamp Freire.

CONTENTS

PAGE
PREFACE[v]
INTRODUCTION[ix]
AUTO DA ALMA (TheSoul's Journey)[1]
EXHORTAÇAO DA GUERRA (Exhortationto War)[23]
FARSA DOS ALMOCREVES (TheCarriers)[37]
TRAGICOMEDIA PASTORIL DA SERRA DA ESTRELLA[55]
NOTES[73]
LIST OF PROVERBS IN GIL VICENTE'S WORKS[84]
BIBLIOGRAPHY OF GIL VICENTE[86]
CHRONOLOGICAL TABLE OF GIL VICENTE'S LIFE AND WORKS[89]
INDEX OF PERSONS AND PLACES[95]
FACSIMILE OF TITLE-PAGE OF THE FIRST EDITION (1562)
OF GIL VICENTE'S WORKS		[Frontispiece]
FACSIMILE OF TITLE-PAGE OF THE SECOND EDITION (1586)[page ][lii]

INTRODUCTION

I. LIFE AND PLAYS OF GIL VICENTE

Those who read the voluminous song-book edited by jolly Garcia de Resende in 1516 are astonished at its narrowness and aridity. There is scarcely a breath of poetry or of Nature in these Court verses. In the pages of Gil Vicente[6], who had begun to write fourteen years before the Cancioneiro Geral was published, the Court is still present, yet the atmosphere is totally different. There are many passages in his plays which correspond to the conventional love-poems of the courtiers and he maintains the personal satire to be found both in the Cancioneiro da Vaticana and the Cancioneiro de Resende. But he is also a child of Nature, with a marvellous lyrical gift and the insight to revive and renew the genuine poetry which had existed in Galicia and the north of Portugal before the advent of the Provençal love-poetry, had sprung into a splendid harvest in rivalry with that poetry and died down under the Spanish influence of the fourteenth and fifteenth centuries. He was moreover a national and imperial poet, embracing the whole of Portuguese life and the whole rapidly growing Portuguese empire. We can only account for the difference by saying that Gil Vicente was a genius, the only great genius of that day in Portugal, and the most gifted poet of his time. It is therefore all the more tantalizing that we should know so little about him. A few documents recently unearthed, one or two scanty references by contemporary or later authors, are all the information we have apart from that which may be gleaned from the rubrics and colophons of his plays and from the plays themselves. The labours of Dona Carolina Michaëlis de Vasconcellos, Dr José Leite de Vasconcellos[7] and Snr Anselmo Braamcamp Freire are likely to provide us before long with the first critical edition of his plays. The ingenious suppositions of Dr Theophilo Braga[8] have, as usual, led to much discussion and research. He is the Mofina Mendes of critics, putting forward a hypothesis, translating it a few pages further on into a certainty and building rapidly on these foundations till an argument adduced or a document discovered by another critic brings the whole edifice toppling to the ground. The documents brought to light by General Brito Rebello[9] and Senhor Anselmo Braamcamp Freire[10] enable us to construct a sketch of Gil Vicente's life, while D. Carolina Michaëlis has shed a flood of light upon certain points[11]. The chronological table at the end of this volume is founded mainly, as to the order of the plays, on the documents and arguments recently set forth by one of the most distinguished of modern historical critics, Senhor Anselmo Braamcamp Freire. The plays, read in this order, throw a certain amount of new light on Gil Vicente's life and give it a new cohesion. Whether we consider it from the point of view of his own country or of the world, or of literature, art and science, his life coincides with one of the most wonderful periods in the world's history. At his birth Portugal was a sturdy mediaeval country, proud of her traditions and heroic past. Her heroes were so national as scarcely to be known beyond her own borders. Nun' Alvarez (1360-1431), one of the greatest men of all time, is even now unknown to Europe. And Portugal herself as yet hardly appraised at its true worth the life and work of Prince Henry the Navigator (1394-1460), at whose incentive she was still groping persistently along the western coast of Africa. His nephew Afonso V, the amiable grandson of Nun' Alvarez' friend, the Master of Avis, and the English princess Philippa of Lancaster, daughter of John of Gaunt, was on the throne, to be succeeded by his stern and resolute son João II in 1481. In his boyhood, spent in the country, somewhere in the green hills of Minho or the rugged grandeur and bare, flowered steeps of the Serra da Estrella, all ossos e burel[12], Gil Vicente might hear dramatic stories of the doings at the capital and Court, of the beginning of the new reign, of the beheadal of the Duke of Braganza in the Rocio of Evora, of the stabbing by the King's own hand of his cousin and brother-in-law, the young Duke of Viseu, of the baptism and death at Lisbon of a native prince from Guinea.