[105] Cf. the passage in the _Sumario da Historia de Deos_ in which Abraham complains that men worship stocks and stones and have no knowledge of God, _criador dos spiritos, eternal spirito_ (I. 326).
[106] III. 284. A critic upbraided Wordsworth for saying that his heart danced with the daffodils--no doubt Southey's 'my bosom bounds' was more poetical--yet Shakespeare and Vicente had used the phrase before him.
[110] The preparation of his plays for the press was, he says, a burden in his old age. Some of the plays had been acted in more than one year, others had been composed years before they were acted, others had been printed separately. Hence the uncertainty of some of the rubric dates.
[111] _Triunfo do Inverno_ (1529), II. 447.
[112] _Romagem de Aggravados_ (1533), II. 524-5.
[113] _Auto Pastoril Portugues_ (1523), I. 129.
[114] _Farsa dos Almocreves_ (1527), III. 219.
[115] _Triunfo do Inverno_ (1529), II. 487.
[117] See the _Fragoa de Amor_ and the _Auto da Festa_.
[123] Goes, _Chronica do fel. Rey Dom Emanvel_, Pt I. cap. 33 (1619 ed., f. 20).
[124] E.g. _Novella_ 35: sotto apparenza onesta di religione ogni vizio di gola, di lussuria e degli altri, como loro appetito desidera, sanza niuno mezzo usano; _Novella_ 36: hanno meno discrezione che gli animali irrazionali.
[126] Vicente, who could write such pure and idiomatic Portuguese, often used peculiar Spanish, not perhaps so much from ignorance as from a wish to make the best of both languages. Thus he uses the personal infinitive and makes words rhyme which he must have known could not possibly rhyme in Spanish, e.g. _parezca_ with _cabeza_ (Portug. _pareça_--_cabeça_). So _mucho_ rhymes with _fruto_, _demueño_ with _sueño_.
[127] The miser, _o verdadeiro avaro_ (III. 287), is barely mentioned. Perhaps Vicente felt that he would have been too much of an abstract type, not a living person.
[128] The boastful Spaniard appears (in Goethe's _Italienische Reise_) in the Rome Carnival at the end of the eighteenth century.
[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_.