This belongs to the class of Enzina’s religious dramas. One, on the other hand, which was represented at the conclusion of the Carnival, during the period then called popularly at Salamanca _Antruejo_, seems rather to savor of heathenism, as the festival itself did.[442] It is merely a rude dialogue between four shepherds. It begins with a description of one of those mummings, common at the period when Enzina lived, which, in this case, consisted of a mock battle in the village between Carnival and Lent, ending with the discomfiture of Carnival; but the general matter of the scene presented is a somewhat free frolic of eating and drinking among the four shepherds, ending, like the rest of the eclogues, with a _villancico_, in which Antruejo, it is not easy to tell why, is treated as a saint.[443] [442] “This word,” says Covarruvias, in his Tesoro, “is used in Salamanca, and means Carnival. In the villages, they call it _Antruydo_; it is certain days before Lent.... They savor a little of heathenism.” Later, _Antruejo_ became, from a provincialism, an admitted word. Villalobos, about 1520, in his amusing “Dialogue between the Duke and the Doctor,” says, “Y el dia de Antruejo,” etc. (Obras, Çaragoça, 1544, folio, f. 35); and the Academy’s dictionary has it, and defines it to be “the three last days of Carnival.” [443] The “Antruejo” eclogue begins “Carnal fuera! Carnal fuera!”--“Away, Carnival! away, Carnival!”--and recalls the old ballad, “Afuera, afuera, Rodrigo!” It is found at f. 85 of the edition of 1509, and is preceded by another “Antruejo” eclogue, represented the same day before the Duke and Duchess, beginning “O triste de mi cuytado,” (f. 83,) and ending with a _villancico_ full of hopes of a peace with France. Quite opposite to both of the pieces already noticed is the Representation for Good Friday, between two hermits, Saint Veronica, and an angel. It opens with the meeting and salutation of the two hermits, the elder of whom, as they walk along, tells the younger, with great grief, that the Saviour has been crucified that very day, and agrees with him to visit the sepulchre. In the midst of their talk, Saint Veronica joins them, and gives an account of the crucifixion, not without touches of a simple pathos; showing, at the same time, the napkin on which the portrait of the Saviour had been miraculously impressed, as she wiped from his face the sweat of his agony. Arrived at the sepulchre,--which was some kind of a monument for the Corpus Christi in the Duke of Alva’s chapel, where the representation took place,--they kneel; an angel whom they find there explains to them the mystery of the Saviour’s death; and then, in a _villancico_ in which all join, they praise God, and take comfort with the promise of the resurrection.[444] [444] It begins “Deo gracias, padre onrado!” and is at f. 80 of the edition of 1509.