Gil Vicente’s tragi-comedies may be regarded as rough outlines of that kind of drama which subsequently formed a variety of the heroic comedies[95] of the Spanish stage. They are not historical dramas, but festival pieces adorned with a certain pomp of allegory, mythology, magic, &c. and occasionally interspersed with pathetic scenes. They were performed before the court on festivals or particular occasions, which are specified. One of these dramas, entitled, _Amadis de Gaula_, and founded on some of the incidents in the celebrated romance of the same name, was, in spite of its inoffensive character, forbidden to be performed in Spain in the reign of Philip II. The cause of this prohibition probably was, that the disguise of Amadis, as a pilgrim, was deemed a profanation of the sacred habit. This piece which is written in the Spanish language, is destitute of all merit of invention. Others of these dramas exhibit more traces of the poet’s fancy; but in none is there the foundation of a genuine dramatic plot. One entitled, _Exhortaçaõ de Guerra_, (Exhortation to War), was doubtless a favourite with the court. A pious magician appears who has learned necromancy in a sybil’s cave. By powerful spells he summons to his presence some subject demons, whom he suffers to revile him in the coarsest language.[96] He however obliges them to conjure up the spirits of Polyxena, Penthesilea, Achilles, Scipio, and other celebrated characters of antiquity. These spirits appear in succession, and address fine compliments to the royal family. In another tragi-comedy Providence is introduced as a Princess. But the most varied of all is _Triumpho do Invierno_, (Winter’s Triumph), in two parts. Besides a multitude of characters, among which an allegorical personification of Winter is one of the most conspicuous, Gil Vicente exhibited to his audience a view of the open sea, agitated by a storm during the most inclement season of the year. The noise and confusion among the ships in distress, and the oaths and prayers of the Portuguese sailors expressed in rhymes and redondilhas, would naturally be gratifying to a public who at the period when the piece was written, took particular interest in maritime affairs.[97] Another of these tragi-comedies is also a satire.