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Espasa Calpe, 2003 - Drama - 715 pages
La dama boba, El perro del hortelano, Peribáñez y el comendador de Ocaña, Fuente Ovejuna, El caballero de Olmedo y una selección de poesía son algunas de las obras que reúne este volumen. Cervantes llamó a Lope de Vega (1562-1635) Monstruo de la Naturaleza, pues no hay en la literatura universal quien le aventaje en cuanto a la magnitud física de su obra. Como poeta cantó la furia placentera de los cuerpos, pero supo hacer también de Cristo el centro de un fervor tan vasto como sincero. En su teatro fijó los esquemas dramáticos de la llamada comedia nueva española y tocó todos los temas: las costumbres urbanas y rurales y los lances de enredos de damas y galanes, y las vidas de santos; pero también dio cabida en sus dramas a la pasión que devora y a la rebelión popular contra el tirano. Reúne las mejores obras de teatro de Lope de Vega, y una selección de su mejor poesía. El autor del prólogo es Miguel García-Posada, crítico literario y especialista en teatro español de los Siglos de Oro.

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About the author (2003)

Lope de Vega was the creator of the national theater in Spain, and his achievements in drama are comparable in many respects to those of Shakespeare in England. Lope embraced all of Spanish life in his drama, combining strands of previous Spanish drama, history, and tradition to produce a drama with both intellectual and popular appeal. A prodigious writer whom Cervantes called the "monster of nature," Lope is attributed by his biographer with nearly 2,000 plays, 400 religious dramas, and hundreds of pieces of poetry and literature in every form. He was also involved throughout his life in numerous amorous and military adventures and was ordained as a priest in 1614. In his didactic poem New York Art of Writing Plays (1609), Lope defined his primary purpose as entertainment of the audience. He recommended a three-act play in which the outcome is withheld until the middle of the third act, when the denouement should be swiftly developed. Maintaining that the possibilities of classical theater had been exhausted, he advocated casting Terence and Plautus aside, that is, abandoning the classical unities. His definition of drama was eclectic, admitting combinations of comedy and tragedy, noble and lower-class characters, a variety of verse forms as demanded by different situations, and a wide panoply of themes---national, foreign, mythological, religious, heroic, pastoral, historical, and contemporary. His major strength was the execution of plot; he created no character of the depth or complexity of Shakespeare's major figures. He captured the essence of Spanish character with his treatment of the themes of honor, Catholic faith, the monarchy, and jealousy. In Peribanez (1610?), a lower-class hero is shown to be more honorable than a nobleman. King Henry the Just, a fictional creation, pardons Peribanez for his revenge killing of the nobleman who contrived to dishonor him by abusing his new bride. In Fuente Ovejuna, a play based on an event narrated in the Spanish chronicles, the people resist a cruel overlord, refusing to join the army he tries to mount against King Ferdinand and Queen Isabel. After the overlord interrupts a village wedding, the townspeople of Fuente Ovejuna collectively murder him and finally receive pardon and gratitude from the Catholic kings. Toward the end of his life Lope lost popularity, but all of Madrid attended his funeral, and his death was mourned throughout Spain. Albert Camus adapted his play, The Knight of Olmedo (1623?), for French-speaking audiences.

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