Quiloa, xv

Représentation d'Adam, xlviii Resende (André de), xviii Resende (Garcia de), ix, xii, xvi, xvii, xxxi, xxxiv, 75, 79 Residencia del Hombre, La, 74 Ribatejo, 26, 76 Ribeiro (Antonio), O Chiado, xxvi, xxvii, l Ribeiro (Bernardim), xvi Ribeiro (Nuno), 45, 80 Rodriguez (Diogo), xxii Rodriguez (Melicia), xxii, xxv Rome, xxx, xxxi, xxxiii, xxxix, 27, 33, 75, 76 Roncesvalles, xlvi Rueda (Lope de), 1 Ruiz (Juan), xliii

Sabugosa, Conde de, xii, xxvi Sacchetti (Franco), xxxviii Sá de Miranda (Francisco de), xxix, xliii, xlviii, 78, 79, 82 Salamanca, xliii Sanches de Baena, Visconde, xvii Sanchez de Badajoz (Garci), xix San Pedro (Diego de), xliv Santarem, xxix, xxx, xxxii, xl, xli, 39 Santiago de Compostela, xv Sardoal, 69, 70, 83 Sea, 68, 83 Seixal, 27, 76 Sergas de Esplandian, Las, xviii Serra da Estrella, x, xi, 55-71, 82 Sertãe, 51, 82 Sevilla, xliii Shakespeare (William), ix, xlvii, xlviii Shelley (Percy Bysshe), 73 Sintra, xxii Sousa Viterbo (Francisco Marques de), xliii Southey (Robert), xxxiv Spain, xlii, xlvii Swinburne (Algernon Charles), 73

Taming of a Shrew, xlviii Tentugal, Conde de, xxxiv Terence, xliii Testament de Pathelin, xlv Thomar, xviii, xxiv, xli Ticknor (George), xvii Timoneda (Juan de), xlvii Tojal, 27, 76 Torres Naharro (Bartolomé), xi, xxxvi, xlv Torres Vedras, xxii Tragicomedia alegórica del Paraiso y del Infierno, 1 Trissino (Gian Giorgio), xliii, 79 Turkey, 44, 45 Twine (Lawrence), xlvii

Val de Cobelo, 49, 81 Valdés (Alfonso de), xxix Valdés (Juan de), xxix, xliv Valencia, 7 Vasconcellos (Joaquim de), 76 Vaz (Simão), 40 Vega (Lope de), xvi, li Velázquez (Diego), xxxii Venice, 49 Vicente (Belchior), xiii, xviii, 90 Vicente (Gaspar), 90 VICENTE (GIL), his birthplace, x, xi; date of his birth, xii-xiii; at Court, xii, 81; as goldsmith, xiv-xviii; his house in Lisbon, xv; his plays, xiv-li; his first wife, xxi; Mestre da Balança, xviii; relations with King João III, xxx; his financial position, xxv; his second marriage, xxii; date of his illness, xxvi; his Caça dos Segredos, xxvi, xxviii; journey from Coimbra, xxix; at Almada, xix; Coimbra, xxix; Almeirim, xix, xxvi; Thomar, xviii, xxiv; Santarem, xxix, xxx, xxxii; Evora, xxv, xxviii, xxx, xxxi; his Brussels play, xxvii, xxx; children of his second marriage, xxxi; his death, xxxi; his character, xxxi-xxxvii; his attitude towards Spain, xxxii; priests, xxxii, xxxvii; Jews, xxxiii; monks, xxxiv; his religion, xxxiv, 74; his love of Nature, xxxiv; his friends, xxxiv; his attitude towards royalty, xxxiii xxxiv, 83; towards Sá de Miranda and the new style, xxix, xliii; his patriotism, xx, xxxv; his critics, xxiv, xli; his attempts to reform abuses, xxxiii, xxxv, xxxvi; his view concerning the position of women, xxxvi, xlvii; his many-sidedness, xxxvi; his satirical sketches, xxxvii-xli; his lyrism, xli, l; his originality, xli, xlii, xlv; his sources, xli-l; debt to Spain, xlii, xliii; his influence in Portugal, l; in Spain, l, li; edition of his plays, xvi, xxxi, xxxv, li; Visitaçam, xi, xiii, xiv, xxiii, xlvi; Auto Pastoril Castelhano, xi, xv, xlvi, 73; Reis Magos, xi, xv, xlvi; Auto de S. Martinho, xv; Sermon, xviii, xix; Quem tem farelos?, xv, xix, xxvii, xliii, xlv, xlvi, xlix; Auto da India, xix; Auto da Fé, xix, xxxiii, xliii, xlviii; Auto das Fadas, xix, xxiv, xliii, xlvi, 73, 77; Farsa dos Fisicos, xx, xliii, xlvi; O Velho da Horta, xiii, xx, xliv; Exhortação da Guerra, v, xx, xxi, xxviii, xliv, xlv, 23-35, 75-8; Auto da Sibila Cassandra, xv, xx, xliv; Comedia do Viuvo, xi, xxi, xxiv, xlvi; Auto da Fama, xxi, xlii, xlvii; Auto dos Quatro Tempos, xv, xxi, xliv, xlvii; Barca do Inferno, xxii, xxxiii, xli, xliv, xlv, xlvii, li; Auto da Alma, v, vi, xvii, xxi, xxii, xxxii, xlv, xlvii, li, 1-21, 73, 74; Barca do Purgatorio, xxii, xxxiii, xli, xliv, xlv, xlvii, li; Barca da Gloria, xxii, xxiv, xxxiii, xli, xliv, xlv, xlvii, li; Comedia de Rubena, xx, xxiii, xxiv, xliv, xlv, xlvii; Cortes de Jupiter, xxiii, xxiv, xliv, xlvii, 75; Pranto de Maria Parda, xxiv, xxviii; Farsa de Ines Pereira, xviii, xxiv, xxv, xxvi, xxviii, xlv, xlvii; Auto Pastoril Portugues, xxv, xlv; Fragoa de Amor, xxv, xxviii; Farsa das Ciganas, xxv, xxviii, xlv; Dom Duardos, xvii, xxv, xliv, xlv, xlviii; O Juiz da Beira, xxvi, xlv, xlviii; Auto da Festa, xii, xiii, xxv, xxvii, xxviii, xlviii; Auto da Aderencia do Paço, xxvii; Trovas ao Conde de Vimioso, xxv, xxvi, xxviii; Templo de Apolo, xiii, xvi, xxvi, xxviii, xlviii; Sumario da Historia de Deos, xxix, xxxiii, xlii, xlviii, xlix; Dialogo sobre a Ressurreiçam, xxix, xlviii; Nao de Amores, xxix, xlix, li; Divisa da Cidade de Coimbra, xxix, xlix; Farsa dos Almocreves, v, xvii, xxix, xlix, 37-53, 78-82; Tragicomedia da Serra da Estrella, v, xxix, xlix, 55-71, 82, 83; Trovas a Dom João III, xxix; Auto da Feira, xvii, xxvii, xxix, xxxiii, xlv, xlix, 74, 81; Triunfo do Inverno, xxi, xxix, xlv, xlix; O Clerigo da Beira, xxvii, xxix, xlv, xlix; Trovas a Felipe Guilhen, 94; Jubileu de Amores, xxvii, xxx; Caça dos Segredos, xxvi, xxviii; Auto da Lusitania, xxviii, xxx, xlix; Romagem de Aggravados, xxvii, xxx, xlvi, l; Auto da Vida de Paço, xxvii; Amadis de Gaula, xxx, xlv, xlviii; Auto da Cananea, xxx, xxxiii, 74; Mofina Mendes, xi, xxi, xxvii, xxxi, l; Floresta de Enganos, xii, xxxi, l Vicente (Luis), xxv, xxxi Vicente (Martim), xii Vicente (Paula), xxxi Villa Nova, Conde de, xxiii Vimioso, Conde de, xxv, xxxiv Virgil, xiii, xliii Viseu, 50, 81 Viseu, Duque de, x

Wilkins (George), xlvii Wordsworth (William), xxxiv

Zamora, 79, 81

THE END