Of all the dramatic works of Lope de Vega, the Lives of the Saints are
in every respect the most irregular. Allegorical characters, buffoons,
saints, peasants, students, kings, God, the infant Jesus, the devil, and
the most heterogeneous beings that the wildest imagination could bring
together, are introduced. Music seems always to have been an
indispensable accessary. Lope de Vega’s spiritual comedy, entitled the
Life of Saint Nicolas de Tolentino,[288] commences with a conversation
maintained by a party of students, who make a display of their wit and
scholastic learning. Among them is the future saint, whose piety shines
with the brighter lustre when contrasted with the disorderly gaiety of
those by whom he is surrounded. The devil disguised by a mask joins the
party. A skeleton appears in the air; the sky opens, and the Almighty is
discovered sitting in judgment, attended by Justice and Mercy, who
alternately influence his decisions. Next succeeds a love intrigue
between a lady named Rosalia, and a gentleman named Feniso. The future
saint then reenters attired in canonicals, and delivers a sermon in
redondillas. The parents of the saint congratulate themselves on
possessing such a son; and this scene forms the conclusion of the first
act. At the opening of the second a party of soldiers are discovered;
the saint enters accompanied by several monks, and offers up a prayer in
the form of a sonnet. Brother Peregrino relates the romantic history of
his conversion. Subtle theological quiddities ensue, and numerous
anecdotes of the lives of the saints are related. St. Nicolas prays
again through the medium of a sonnet. He then rises in the air, either
by the power of faith, or the help of the theatrical machinery; and the
Holy Virgin and St. Augustin descend from heaven to meet him. The sonnet
by which St. Nicolas performs this miracle is the most beautiful in this
sacred farce. In the third act the scene is transferred to Rome, where
two cardinals exhibit the holy sere-cloth to the people by torch-light.
Music performed on clarinets adds to the solemnity of this ceremony,
during which pious discourses are delivered. St. Nicolas is next
discovered embroidering the habit of his order; and the pious
observations which he makes, while engaged in this occupation, are
accompanied by the chanting of invisible angels. The music attracts the
devil, who endeavours to tempt St. Nicolas. The next scene exhibits
souls in the torments of purgatory. The devil again appears attended by
a retinue of lions, serpents, and other hideous animals; but in a scene,
which is intended for burlesque, (_graciosamente_,) a monk armed with a
great broom drives off the devil and his suite. At the conclusion of the
piece the saint, whose beatification is how complete, descends from
heaven in a garment bespangled with stars. As soon as he touches the
earth, the souls of his father and mother are released from purgatory,
and rise through a rock; the saint then returns hand-in-hand with his
parents to heaven, music playing as they ascend.[289]
[288] St. Nicolas de Tolentino is a saint of modern creation.
[289] Bouterwek.
* * * * *