The Audience

Context of The Play

  • Written during the Spanish Golden Age (1550-1700)
    • Lope De Vega 1562-1635
    • Redefines comedia- closer to reflecting Spanish history, folk traditions, religious convictions, and social mores
    • Written around 1610's
    • Based on a real historic uprising in the actually town of Fuenteovejuna in 1476, which is coincidentally where the play is set

  • Original Audience of The Period
    • Somewhat tailored for the Spanish audience of the period
      • Catholicism/ The Church
        • Nod to the Lord's Prayer line 240 (Laurencia)
        • "I bet the priest who christened her laid on the salt , fist after fist!"-Mengo (Haha inside Catholic joke- referring to put salt on a baby's lips after baptism to symbolize purification & wisdom)
        • When met with the issue of answering the question,"What is Love?" if all else fails ask the priest
        • "I took my licks, thanks much! The welts are red as cardinals on my back"-Mengo (LOL another one- in reference to the Scarlet hats/garments ranked cardinals in the church wear)
        • Reference to the archangel St. Michael that guides souls to heaven
        • GOD & Praying - literally anytime there is a dilemma or violent situation at hand
      • The Importance of the Monarchy
        • The King and the Queen are always right
        • They are appointed by God (more religion)
        • The King and the Queen are always right

  • Direct Address
    • There is one key point that Lope De Vega uses key address and that is with Frondoso and the bow scene for an aside that I think helps to point out the "innocence and purity" of the townspeople
  • Indirect Staging
    • The audience virtually never sees violence.

  • Context of Today
    • Focus more on the direct plot; the people vs. a tyrannical power
    • Ideals of democracy and the whole towns solidarity
    • Some examples where this plot has been impactful:
      • Post French Revolution
      • Soviet Union
      • Etc.






“Lope De Vega.” The Norton Anthology of Drama, by J. Ellen Gainor et al., W. W. Norton & Company, 2018, pp. 1085–1148.

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