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Contained within The Innocent Child of La Guardia are two radically different plays: a simple devotional play that pits good against evil ans another play full of black humor, cynical observation and reversals of expectation. The Jewess of Toledo is not only a reflection of Toledo itself but also of Lope's own character, which alternated between erotic obsessions and bouts of religiosity.
Lope de Vega (1562-1635), widely regarded as the architect of the drama of the Spanish Golden Age, was known by his contemporaries as the `monster of Nature' on account of his creativity as a playwright. Claiming to have written more than a thousand plays, he created plots and characters notable for their energy, inventiveness and dramatic power, and which, in contrast to French classical drama, combine the serious and the comic in their desire to imitate life. Fuente Ovejuna, based on Spanish history, and revealing how tyranny leads to rebelliion, is perhaps his best-known play. The Knight from Olmedo is a moving dramatization of impetuous and youthful passion which ends in death. Punishment without Revenge, Lope's most powerful tragedy, centres on the illicit relationship of a young wife with her stepson and the revenge of a dishonoured husband. These three plays, grouped here in translations which are faithful to the original Spanish, vivid and intended for performance, embody the very best of Lope's dramatic art. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Translation into English verse, with facing annotated Castilian of Lope de Vega's three American plays. It is with joy and sadness simultaneously that I write this preface to this elegant and superb contribution to the theater of the Spanish Golden Age: With sadness because its author, Kenneth A. Stackhouse, has passed on to a better world; with joy because Ken's beloved wife, Marcia, asked me subsequently to write this preface, unaware perhaps that Ken had earlier asked my advice on this project. If this is not synchronicity - dare I say Providence - I don't know what is. I have perused Ken's informed and meticulous study, which clarifies many issues with respect to the three Lope de Vega plays on what used to be called the Conquest and is now termed the Encounter of America and Spain. I have also perused, with awe and admiration, Professor Stackhouse's superb verse translations of La famosa comedia del Nuevo Mundo descubierto por Cristobal Colon, (The Famous Drama of the Discovery of the New World By Christopher Columbus), El Arauco domado (The Conquest of Araucania), and El Brasil restituido (Brazil Restored). To date, only the first work has had the benefit of a critical text a
Lope de Vega's Women and Servants (Mujeres y criados, c. 1613-14), newly translated by Barbara Fuchs, depicts a sophisticated urban culture of self-fashioning and social mobility, as the titular figures outsmart fathers and masters to marry those they love. Recently rediscovered in an overlooked 17th-century manuscript in Madrid's Biblioteca Nacional, the comedia emerges from its 400-year sleep with a remarkable freshness: it presents a world of suave dissimulation and accommodation, where creaky notions of honor and vengeance have virtually no place. Full protagonists of their own stories, women and servants take control of their fates despite their assigned roles in a patriarchal and hierarchical society. Set in Madrid, Women and Servants tells the story of Luciana and Violante, the two daughters of the gentleman Florencio. The young women are in love with Teodoro and Claridan, secretary and valet, respectively, to Count Prospero. As the play opens, the Count decides to pursue Luciana. At the same time, Florencio's friend Emiliano proposes that Violante should marry his eligible son, Don Pedro. Presented with favorable alliances they do not want, the two sisters must manipulate the action to favor instead the men they love. Violante uses her wit and rhetorical prowess to demolish Don Pedro's pretensions, while Luciana concocts an elaborate plot in which almost all the characters find themselves entangled. Meanwhile, a subplot follows the loves and jealousies of the servants Ines, Lope, and Mars. The play's urban setting is crucial to the action, as much of the women's freedom comes from their location in Madrid and their ability to meet their lovers in public spaces such as the park, away from parental supervision. The oscillation between scenes in the house, the park, and the street allows Lope to explore how different characters negotiate reputation and visibility, from the cowardly miles gloriosus Mars, to the noble Prospero, who is reduced to spying behind trees, to the sisters whose "exercise" takes them far from their father's solicitous eye."
Richly varied collection of 10 plays from 16th through 20th centuries. The Vigilant Sentinel by Miguel de Cervantes; Fuente Ovejuna by Lope de Vega; Life Is a Dream by Pedro Calderon de la Barca; Blood Wedding by Federico García Lorca, 6 more. Preface by John Gassner. Introduction and notes on each play.
A Bond Honoured, represented here by this highly-rated version by John Osborne, shows us a protagonist, of cruel and merciless passions, meeting Christ, who then encourages the man to hang himself. The Labyrinth of Desire, translated by Michael Jacobs, is a provocative and witty comment on the emotional labyrinth that was Lope de Vega's own life.
A Bond Honoured, represented here by this highly-rated version by John Osborne, shows us a protagonist, of cruel and merciless passions, meeting Christ, who then encourages the man to hang himself. The Labyrinth of Desire, translated by Michael Jacobs, is a provocative and witty comment on the emotional labyrinth that was Lope de Vega's own life.