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Nevertheless, the Morality marks a distinct advance over the Miracle in that it gave free scope to the imagination for new plots and incidents. In Spain and Portugal these plays, under the name auto, were wonderfully developed by the genius of Calderon and Gil Vicente; but in England the Morality was a dreary kind of performance, like the allegorical poetry which preceded it.
The sleeping man moved in his chair but did not awake. The Vicomte, his patience exhausted, snatched the bonnet from his head, and threw it on the ground. "Will you listen?" he said. "Or go, if you choose look for another master. I am ruined! Do you hear? Ruined, Gil! I have lost all money, land, Lusigny itself at the cards!"
And yet these Memoirs are perhaps the most valuable document which we possess on the society of the eighteenth century; they are the history of a unique life, a unique personality, one of the greatest of autobiographies; as a record of adventures, they are more entertaining than Gil Blas, or Monte Cristo, or any of the imaginary travels, and escapes, and masquerades in life, which have been written in imitation of them.
In either case I would quite as willingly have found a merrier companion; such, for instance, as the comedian with whom Gil Blas shared his dinner beside a fountain in Spain.
But in time it did; and, what is more though I will swear that no word of Gil Perez' confession ever passed my lips the common folk soon held it for a certainty that the cargo saved from the Saint Andrew had been saved by her magic only; that the plate and rich stuffs seen by my own eyes were but cheating simulacra, and had turned into rubbish at midnight, scarce an hour before the assault on the Portuguese.
"Then rose the cry of women shrill As shriek of gosshawk on the hill." Never were my ears so stunned. The angry authors in the adventures of Gil Blas, were nothing to the disputants in the kennel at Charing Cross; we rowed, swore, slanged with a Christian meekness and forbearance, which would have rejoiced Mr.
"Without breathin' a word to a soul, to-night about nine o'clock we wants to leave the boat-house, you an' Dink in one skiff, an' me an' Gil in t'other, an' sneak up the river, an' try so nobody won't see us. When we gits to the upper bridge, paddle in as close to the Causeway on the right, as we kin, huggin' the marsh all the way.
"I shall do no such thing," I replied, immediately; "I have not read 'Gil Bias' without profiting in some degree from it, and I find your Majesty's order too much like that given him by the Archbishop of Granada, to warn him of the moment when he should begin to fall off in the composition of his homilies."
I called the poem 'The Archbishop and Gil Bias: A Modernized Version." He then repeated with great humor and pathos a few of the lines: "Can you read as once you used to? Well, the printing is so bad, No young folks' eyes can read it like the books that once we had. Are you quite as quick of hearing? Please to say that once again. Don't I use plain words, your Reverence? Yes, I often use a cane."
Colonel Miranda, having told the tale of his perilous escape, for a time remains silent and reflective. So does his listener. Both are thinking on the same subject the villainy of Gil Uraga. Hamersley first breaks silence, asking the question, "Did you get my letter?" "What letter?" "I wrote you only one. Now I think of it, you could not have received it. No.
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