Gil Vicente
- Born:
- c. 1465, Portugal
- Died:
- 1536/37
Gil Vicente (born c. 1465, Portugal—died 1536/37) was the chief dramatist of Portugal, sometimes called the Portuguese Plautus. He was also a noted lyric poet, in both Portuguese and Spanish.
The record of much of Vicente’s life is vague, to the extent that his identity is still uncertain. Some have identified him with a goldsmith of that name at the court of Évora; the goldsmith is mentioned in royal documents from 1509 to 1517 and worked for the widow of King John II, Dona Leonor. Others believe he was the master of rhetoric of the future King Manuel. His first known work was produced June 7, 1502, on the occasion of the birth of the future John III. This was a short play entitled Monológo del vaquero (“The Herdsman’s Monologue”), which was presented in Castilian in the apartment of Queen Maria. Later that year he produced for Christmas a longer but equally simple Auto pastoril castelhano (“Castilian Pastoral Play”).
For the next 34 years he was a kind of poet laureate, accompanying the court from Lisbon to Almeirim, Thomar, Coimbra, or Évora and staging his plays to celebrate great events and the solemn occasions of Christmas, Easter, and Holy Thursday. The departure of a Portuguese fleet on the expedition against Azamor in 1513 turned his attention to more national themes, and, in the Auto da exortação da guerra (1513; “Play of Exhortation to War”) and Auto da fama (1515; “Play of Fame”), inspired by the victories of Afonso de Albuquerque in the East, he wrote fervent patriotic verse. In 1514 he produced the charming Comédia do viúvo (“The Widower’s Comedy”).
After the death of King Manuel in 1521, Vicente frequently complained of poverty, but he received various pensions in the new reign and enjoyed the personal friendship of King John III.
On the occasion of the departure by sea of King Manuel’s daughter Beatriz to wed the duke of Savoy in August 1521, Vicente’s Cortes de Júpiter (“Jupiter’s Courts”) was acted in a large room “adorned with tapestry of gold,” a fact chronicled by his friend, the poet Garcia de Resende. The Frágua de amor (1524; “The Forge of Love”) was also written for a court occasion, the betrothal of King John III to the sister of the Holy Roman emperor Charles V. In the Auto pastoril português (1523; “Portuguese Pastoral Play”), the farce Juiz da Beira (1525; “The Judge of Beira”), the Tragi-comédia pastoril da Serra da Estrela (1527; “The Pastoral Tragicomedy of Serra da Estrela”), and the satirical Clérigo da Beira (1529–30; “The Priest of Beira”), he returned to the peasants and shepherds of the Beira mountain country that he knew so intimately.
He devoted himself more and more to the stage and multiplied his output in answer to the critics of Francisco de Sá de Miranda’s school. In 1526 came the Templo de Apolo (“The Temple of Apollo”), followed in rapid succession by the biblical play Breve sumário da história de Deus (“A Brief Summary of the Story of God”), Nao de amores (“The Ship of Love”), Divisa da cidade de Coimbra (“The Coat of Arms of the City of Coimbra”), and Farsa dos almocreves (“The Muleteers’ Farce”). These last three plays, with the Serra da Estrella, were all produced before the court in 1527 at Lisbon and Coimbra. On the other hand the Auto da festa (1525; “The Festival Play”) appears to have been acted in a private house at Évora.
Vicente was now over 60, but he retained his vigour and versatility. The brilliant scenes of two of his last plays, Romagem de agravados (1533) and Floresta de enganos (1536; “The Forest of Lies”), are loosely put together and may well be earlier work, but the lyrical power of Triunfo do inverno (1529; “The Triumph of Winter”) and the long, compact Amadis de Gaula (1532) show that he retained his creative powers in his last decade. Auto da Mofina Mendes (1534), partly a religious allegory, shows his old lightness of touch and penetrating charm. Auto da Lusitânia, which was acted in the presence of the court in 1532, may with some plausibility be identified with the Caça de segredos (“The Hunt for Secrets”) at which Vicente tells us he was at work in 1525. It was the last of his plays to be staged at Lisbon in his lifetime. In Lent of 1534, by request of the abbess of the neighbouring convent of Odivelas, he produced there his religious Auto da cananeia (“The Canaanite Play”), but the remainder of his plays were acted before the king and court at Évora, and it was probably at Évora that Vicente died in the year of his last play (1536).
Vicente’s 44 plays admirably reflect the change and upheaval of his era in all its splendour and its squalor. Eleven are written exclusively in Spanish, 14 in Portuguese, and the rest are multilingual; scraps of church or medical or law Latin, of French and Italian, of the dialect or slang of peasants, gypsies, sailors, fairies, and devils frequently occur. His drama may be divided into religious plays, foreshadowing Pedro Calderón de la Barca’s autos, court plays, pastoral plays, popular farces, and romantic comedy. They were often elaborately staged: a ship was rowed on the scene or a tower opened to display some splendid allegory; here too he anticipated the later Spanish drama.
The various plays of the years 1513–19, composed when he was about 50, show Vicente at the height of his genius. He possessed a genuine comic vein, an incomparable lyric gift, and the power of seizing touches of life or literature and transforming them into something new by the magic of his phrase and his satiric force, under which lay a strong moral and patriotic purpose.