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Another conjecture places his birthplace at Lisbon. Gil Vicente married Branca Bezerra, who bore him two sons: Gaspar Vicente died and Belchior Vicente born The year of his death is commonly recorded as , the year after which he ceased writing; no further reference to him is found in subsequent documents of the era.
His place of burial is unknown. No surviving portraits of Gil Vicente remain. It is assumed that Vicente studied in Salamanca. Though he initially studied law, he soon abandoned it for literature. In he was acting as master of rhetoric to the Duke of Beja , afterwards King Manuel , a post which gave him admission to the court.
The first performance, recited by the playwright himself, took place on the night of June 8, , in the presence of the king; the queen; Leonor of Viseu , former Queen of Portugal and widow of John II ; and Beatriz of Portugal , mother of the King. Its staging included offerings of simple and rustic gifts, such as cheese, to the future king, from whom great achievements were expected. Though Leonor asked him to give an encore performance of the play at the Christmas matins , Vicente decided to write a new play for the occasion, the Auto Pastoril Castelhano "Castilian Pastoral Act".
The court, pleased again, required a further diversion for Twelfth Night , whereupon he produced the Auto of the Wise Kings. Vicente, who was in charge of organizing events in the palace, also directed the commemoration in honour of Eleanor of Spain , the third wife of Manuel I, in In , he began serving John III of Portugal , and soon achieved the social status necessary to satirize the clergy and nobility with impunity. His popularity even enabled him to contradict the opinions of the king, as he did in a letter defending the New Christians.
For thirty years he entertained the courts, accompanying them as they moved from place to place, and providing by his autos a distraction in times of calamity, and in times of rejoicing giving expression to the feelings of the people. Though himself both actor and author, Gil Vicente had no regular company of players, but it is probable that he easily found students and court servants willing to get up a part for a small fee, especially as the plays would not ordinarily run for more than one night.
However, Brito Rebelo demonstrated the historical inconsistency of these two genealogies by the use of documents from the Portuguese national archive. In , he was nominated vassal of the King, and a year later he was the representative jeweller in the Casa dos Vinte e Quatro.
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In , as master of the balance of the Casa da Moeda, the Portuguese national mint , Vicente the goldsmith was elected by the others masters to represent them in Lisbon. Vicente's oeuvre spans the years between and Most of his plays were intended for performance at court , where he and the ladies and gentlemen of the court participated in their production. He wrote no fewer than forty-four pieces, ten of which are in Spanish, fourteen in Portuguese, and the remainder in mingled Portuguese and Spanish. His plays may be grouped into four main categories: Like Spain's classical dramas, his plays are often in verse form.
In addition, they feature his own musical compositions and well as popular lyrics and melodies of the time. He was also a noted lyric poet in both Portuguese and Spanish, [4] as represented by several poems in the Cancioneiro of Garcia de Resende.
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Some of his works are profoundly religious, while other are particularly satirical, particularly when commenting upon what Vicente perceived as the corruption of the clergy and the superficial glory of empire which concealed the increasing poverty of Portugal's lower classes. Vicente's works were partially influenced by the Iberian popular and religious theatre that was already being done.
Pastoral themes present in the writings of Juan del Encina strongly influenced Vicente's early works and continued to inform his later, more sophisticated plays. The humanism of Erasmus and of Renaissance Italy also impacted his work.
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His plays may be further divided into pastoral acts, religious allegories , biblical narratives , episodical farces, and narrative acts. However, many of his works blend both secular and sacred elements; for example, Triologia das Barcas "Trilogy of the Ships" contains both farcical and religious motifs.
Vicente is one of the most important satirical authors of the Portuguese language. He portrayed Portuguese society of the 16th century with perceptiveness and insight, using many characters inspired by Portuguese social stereotypes of his time. In addition, rustic characters, such as sailors, gypsies , and peasants, are common, as are more fantastical characters such as fairies and demons.
Though he commonly referenced popular dialects , Vicente maintained the lyricism of his words. Positive aspects of Vicente's works include imagination, originality, and a proficiency in technical knowledge of theatre. Though spontaneous, sardonic, and emotive, his works maintain a directness and simplicity of dialogue which is lyrical without being florid or exaggerated.
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He expresses himself in an unexpected, Dionysian way which does not always obey the aesthetic and artistic principles of balance. Vicente's works seem to show a spirit in conflict: In contrast, his works sometimes include a romanticism which combines eroticism and waggery with more erudite influences such as Petrarch. The worlds presented in Vicente's works could be considered as representative of the duality of Platonic idealism.
The first world is the abstract, an ideal place of serenity and divine love that leads to inner peace, quietness, and "resplendent glory", according to his letter to John III of Portugal. The second world, which he portrays in his farces, is the physical: His satirical works depict the second world, in which human flaws are caricatured with little regard for actual or historical truth. Though critics call attention to these anachronisms and narrative inconsistencies, it's possible that Vicente considered these errors trivial in his portrayals of an already false and imperfect world.
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In contrast, his representations of the mythic, symbolic, and religious aspects of Christmas , such as the figure of the Virgin Mother , the infant Jesus , and Christmas eve , demonstrate a harmony and purity which is not present in his social commentary. Unlike plays which echo Manichaeism by presenting the dichotomy of darkness and light, Vicente's work juxtaposes the two elements in order to illustrate the necessity of both.