Vicente's close acquaintance with Spanish literature shows itself at every turn, and if we examine his plays we find but slight traces of the influence of any other literature. His first pieces were written in Spanish, and the Spanish is that of Enzina. Lines and phrases are taken bodily from the Spanish poet and words belonging to the conventional _sayagués_ (in which there was already a Portuguese element: cf. _ollos_ for _ojos_) placed on the lips of _charros_ by Enzina are transferred from Salamanca to Beira. The Enzina eclogues imitated by Vicente were based on those of Virgil, but in Vicente's imitation there is no vestige of any knowledge of the classics. The only Latin that occurs is the quotation by Gil Terron of three lines from the Bible. A little later the hungry _escudero_ of _Quem tem farelos?_ was in all probability derived from Spanish literature, either from the Archpriest of Hita's _Libro de Buen Amor_ or from some popular sketch such as that contained later in _Lazarillo de Tormes_ (1554)[135]. The only French element in the _Auto da Fé_ is the _fatrasie_ or _enselada_ 'which came from France,' but its text is not given. The classical allusions to Virgil and the Judgment of Paris in the _Auto das Fadas_ are perfectly superficial. A little medical Latin is introduced in the _Farsa dos Fisicos_. _O Velho da Horta_, which opens with the Lord's Prayer, half in Latin, half in Portuguese[136], is written in Portuguese with the exception of the fragment of song and the lyric _¿Cual es la niña?_ There is a reference to Macias, a name which had become a commonplace in Portuguese poetry as the type of the constant lover. Spanish influence is shown in the introduction of the _alcouviteira_ Branca Gil, probably suggested by Juan Ruiz' _trotaconventos_ or by Celestina. The _Exhortação da Guerra_ begins with humorous platitudes, _perogrulladas_, after the fashion of Enzina. Gil Terron has increased his classical lore, and Trojan and Greek heroes are brought from the underworld, the _dramatis personae_ including Polyxena, Penthesilea, Achilles, Hannibal, Hector and Scipio. The influence of Enzina is still evident in the _Auto da Sibila Cassandra_, the _bellíssimo auto_ wherein Menéndez y Pelayo saw the first germ of the symbolical _autos_ in which Calderón excelled[137], and in the _Auto dos Quatro Tempos_. The immediate influence on the _Barcas_ is plainly Spanish, this being especially marked in the _Barca da Gloria_. When the _Diabo_ addresses the King: