people, the middle-class Constança d’Ornellas, and the aristocratic Aulegrafia are really three persons and one spirit. In _Ulysippo_ one of the lesser personages was the Spanish _Sevilhana_ (mentioned also in _Eufrosina_), and here a boastful Spanish adventurer is introduced in the person of Agrimonte de Guzman, who disdains to speak Portuguese. The scene of both the later plays is Lisbon. The author drew from his experience here, as previously at Coimbra, and often describes to the life the persons that he had met. Scarcely any other writer gives us so intimate an idea of the times--of this the latter heyday of Portugal’s greatness--or of the gallant, lovesick, dreaming Portuguese, who considers love as much a monopoly of his country as the ivory and spices of India.[400] FOOTNOTES: [353] The disapproval of the popular drama is frequent in religious writers. In the seventeenth century Antonio Vieira declared that _uma das felicidades que se contava entre as do tempo presente era acabarem-se as comedias em Portugal_. Feo earlier, in common with many others, had similarly denounced the romances of chivalry _pelos quaes o Demonio comvosco fala; livraria do diabo_ (_Tratt. Qvad._ (1619), ff. 156, 157). [354] One of them, João, _lavrador_, says: _Vimos ver se he assi ou nam De hũa arremedaçam Que s’a ca d’arremedar.... Ora nos dizei se he assi Que fazem ho ayto cá._ [355] e. g. Branca Janes says of her husband: He hum grão comedor, Destruidor da fazenda, &c. [356] Cf. _este leo ja Celestina_ (_Primeira Parte dos Avtos_, &c. (1587), f. 44). [357] The student’s song on f. 44 v. and f. 46, _Polifema mi postema Grande mal he querer bem_, parodies Lobeira’s _Leonoreta fin roseta_. [358] Ibid., f. 49. [359] _Primeira Parte dos Avtos_, f. 57: _Ro._ Senhor, se me dá licença, Ja eu aquela trova li. _Os._ Qual trova leste? _Ro._ Essa sua, Como a disse nua e crua. _Os._ E onde a leste, vilão? _Ro._ Cuido, señor, que em Boscão, E canta-se pela rua. [360] The Devil speaks both Portuguese and Spanish. All the other characters in Prestes’ plays, with the exception of an enchanted Moor, speak Portuguese. On the other hand, there are frequent Spanish words and quotations. The word _algorrem_ occurs twice in these plays, but the attempt to retain the old style of peasant conversation is but half-hearted. [361] Duarte in the _Auto dos Cantarinhos_ sleeps on an _arca_ (chest) like the _moço_ in _O Juiz da Beira_. There are other echoes of Vicente, as the words _quem tem farelos?_ (1871 ed., p. 65), the reference to _Flerida e Dom Duardos_ (p. 485), the line _Que má cousa são vilãos_ (p. 420), the peasant who, like Mofina Mendes, builds up his future on the strength of an apple of gold, which proves to be a coal (pp. 407-8).