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Príncipes encobertos e princesas enamoradas: do disfarce por amor no teatro de Gil Vicente
Maria João Pais do Amaral 한국 포르투갈-브라질 학회 2008 포르투갈-브라질 연구 Vol.5 No.1
The main object of this essay is love disguise in two plays of Gil Vicente, Portuguese dramatist who developed his theatrical activity between 1502 and 1536 under the patronage of the monarchs Manuel I and João III. Widely spread in 16th century European literature, the motif of love disguise has its origins in chivalry romances, which are one of the many diverse sources of Gil Vicente's court theatre and also one of the dramatist's first spectators' favourite kind of books. I analyse it in Comédia do Viúvo and Tragicomédia de D. Duardos, where the protagonists, princes Rosvel and Duardos, hide their true identity and social rank from their beloved in order to prove the authenticity of their affection. In a first moment, I compare the way each of these two princes uses love disguise, reflecting on the function and meaning of the obvious differences this comparative analysis brings into light. In a second moment, I relate those differences with both the dramatic genre each of these two plays belongs and the conception of love that is on the basis of the stories enacted in Viúvo and Duardos, which, although originating in courtly love conventions, goes far beyond it. Finally, and because Gil Vicente's theatre is an art that strongly depends on circumstances, the date on which these spectacles were presented for the first time before the Portuguese king and court, as well as the purposes they were meant to fulfil, are also taken into consideration in this reflection on the innovative use of love disguise motif by one of the most important Portuguese dramatists of all times. The main object of this essay is love disguise in two plays of Gil Vicente, Portuguese dramatist who developed his theatrical activity between 1502 and 1536 under the patronage of the monarchs Manuel I and João III. Widely spread in 16th century European literature, the motif of love disguise has its origins in chivalry romances, which are one of the many diverse sources of Gil Vicente's court theatre and also one of the dramatist's first spectators' favourite kind of books. I analyse it in Comédia do Viúvo and Tragicomédia de D. Duardos, where the protagonists, princes Rosvel and Duardos, hide their true identity and social rank from their beloved in order to prove the authenticity of their affection. In a first moment, I compare the way each of these two princes uses love disguise, reflecting on the function and meaning of the obvious differences this comparative analysis brings into light. In a second moment, I relate those differences with both the dramatic genre each of these two plays belongs and the conception of love that is on the basis of the stories enacted in Viúvo and Duardos, which, although originating in courtly love conventions, goes far beyond it. Finally, and because Gil Vicente's theatre is an art that strongly depends on circumstances, the date on which these spectacles were presented for the first time before the Portuguese king and court, as well as the purposes they were meant to fulfil, are also taken into consideration in this reflection on the innovative use of love disguise motif by one of the most important Portuguese dramatists of all times.
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