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The dominant theme becomes human love and its powerful effects. The information you provide will be used by Match. He also inserts a comic scene to break the tension which has been building up in the relationship between the lovers. The Himenea is heavily indebted to the Celestina, especially in the depiction of the relationship of master and servant.

It is simply a warning that a modern perspective can impose a narrative that is misleading or comfortable, and a recommendation that the whole question of sources and origins needs cautious handling. Even the Roman-style titles of his plays immediately betray this concern. No native Spanish neo-classical theorist emerged, however, to produce an arte antiguo around which this disparate group might congregate. In the Auto de la sibila Casandra, the protagonist is equally well drawn.

The precise ways in which a knowledge of contemporary performances of these play-texts would affect our understanding of their meaning and their purpose have escaped us forever. The combination of celebrity, money, and questions of morality was clearly sufficient, as it is today, to provoke an acute interest and emotional reaction. However, there are clear developments in characterization, the sophistication and scope of the plot, the variety of verse forms, and the themes dealt with.

Another area of investigation in which it is hard to go beyond speculation is that of inaccessible plays of a different sort. One can easily imagine the simple central plot providing a peg on which to hang a series of brilliant comic performances. However, the tragic trajectory seems to work against the grain of the play, preventing it from coming very close to the new type of comedia that Lope de Vega might have envisaged writing. However, in any one year during the s, when Lope de Vega began to write seriously for the stage, one could probably enjoy in Madrid a whole variety of theatre, simple and complex.

The comic scene of which this is a fine early example has, as we shall see, a privileged place in later Spanish drama. Can a marriage survive such turmoil for happiness to return? By we are still a long way from the comedia nueva, however. The Propalladia was repeatedly published in the sixteenth century, which makes it surprising that it is not mentioned by Lope in his Arte nuevo or by Rojas Villandrando in El viaje entretenido. It can intervene if it sees worrying trends or serious matters of concern.

This period, not quite congruent with the Golden Age itself, is often referred to, especially within Spain, as the Baroque el Barroco. The separation of noble and peasant characters and their respective values is called into question.

However, in this and others of his religious plays there is clear evidence of his superior dramatic gifts. Where an editor chooses to recommence line numbering at the start of each act, a roman act number e. The practice is one that will never completely disappear in Spanish Golden Age drama, taking the guise of the loa in later decades. Vicente proves to be technically innovative too. The play traces the fortunes of a noble brother and sister, Leonardo and Eufemia.

Spanish drama has yet to discover the Aristotelian rules. Some university statutes including those of Salamanca from stipulated that a performance of a classical play should take place at Corpus Christi.

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The search for the origins of and influences on what became the norms of Spanish Golden Age drama needs a cautionary preface. Later in his career, rather as Encina had, Gil Vicente experimented with longer works which were more ambitious in their conception, girls nagpur dating more suggestive of what drama might become. Other urban centres notably Seville and Valencia might have had slightly different focuses but still experienced a similar variety of theatrical fare.

Open dissent, however, was not a sensible option. The point is obvious, but worth underlining for the frequency with which it is ignored or underplayed. Fine literary histories of Spanish Golden Age drama already exist as single volumes or parts of a larger series.

The Comedia Eufemia, presumed to date from the early s, is a case in point, with a possible origin in Boccaccio. He was very well known in his day and clearly in demand for performances of Corpus autos, and at other festivities. Like Cervantes, Lope de Vega was a voracious reader, yet both men would have seen and heard far more plays on stage than they read in books.

The comedia nueva, like the modern novel, developed gradually and somewhat haphazardly, and even when the basic model was established it continued to evolve. Although he too was probably from western Spain, and may well have had some contact with the Salamancans, Torres wrote his drama exclusively in Italy, where he lived first in Rome and then Naples. Undoubtedly the most important influences on Lope in his formative years would have come from contemporary plays he saw performed and heard read. At the other extreme is the equally seductive, but equally mistaken, popular image of Lope as a founding genius, creator ex nihilo, of a new national theatre. Performances of their plays were put on in front of a distinguished audience, with a high proportion of relatives of the boys being educated, not all of whom would know Latin themselves.

When she hears of his impending fate, Eufemia sets out to save her brother which she does by tricking Paulo with a subterfuge and sang-froid worthy of Solomon into admitting his deception. Its popularity ensured that writers who could satisfy an audience were in demand and produced huge numbers of plays.

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Unlike some forms of commercial theatre, its dual didactic purpose and its captive audience remained. It is not possible to talk of a performance tradition for the comedia the way it is for English or French drama of the same period.

The former should detain us for a number of reasons. These aspects were later central to the conception of the comedia nueva too. Certainly the structure and the integration of characters into the plot, as well as their more realistic motivations and reactions, belong to a theatre that has changed direction. One of these two, El cerco de Numancia, is the best known neo-classical tragedy written in Spanish. Lope de Vega, the subject of the next chapter, was heavily influenced by much that he saw on the stage at this time.

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How should one deal with a rebellious vassal? The sheer scale of the task of reading the extant plays makes it difficult for any individual to form a clear picture of the whole of Golden Age theatre. The theatre of the Golden Age was, it should go without saying, engaged with the society that brought it forth and is a particularly interesting facet of this world of art because of its reach. The Companion also includes appendices on the main verse forms Golden Age dramatists employed, and the comedia in English translation.

The shocking murder is committed with the very sword that this noble warrior, scourge of the Moors, has girded on the peasant. Noting the courtly passion for romances of chivalry, Vicente sought to adapt this captivating world of knights and damsels by using characters and episodes from the romance in his drama.

The seven chapters that follow are written with these points in mind. Such lacunae add to the difficulty of establishing clear lines of development in the comedia in the crucial last third of the sixteenth century. Unfortunately no tragic poet with the vision and control of Racine emerged to plough this potentially fertile furrow of Spanish drama. The popular celebration of the nativity climaxes with a villancico sung by all four men. And yet the most pressing reason for the writing of a Companion to Golden Age Theatre at this time is that the field of study has changed so much so quickly.

This plot, however, is secondary. These characters possess a ring of authenticity to them that reveals Vicente to be a shrewd observer of the world about him, but they are also affectionate comic portrayals.

Plays were frequently written, translated e. As we have seen, Torres himself recognized that his plays could be split into two groups. The theme of the play is love, and despite the pastoral setting, we are exposed to the highest and the lowest forms.

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However, the path from Juan del Encina to Lope de Vega is not a straight one along which an increasingly sophisticated sequence of dramatists add judiciously to their art-form. Indeed the latter attributes the division of plays into acts to Lope de Rueda rather than to Torres. The tensions, including an uncertainty which resulted from a subsidence of faith in traditional sources of authority, are clear in the period. Cueva wrote in four acts, which, like Torres Naharro, he called jornadas, and used a variety of verse forms, traditional and Italianate.