212:(though she beats off her attackers and escapes) enters, but is not immediately recognized. She reprimands the men for not attempting to rescue her, inspiring the men to kill the Commander. While preparations are being made to hang Frondoso, the band of villagers enters and kills the Commander and one of his servants. Flores, the surviving servant, escapes and rushes to Ferdinand and Isabella to tell what has happened. The shocked rulers order a magistrate to the village to investigate. The villagers, celebrating with the head of the Commander, are told of the magistrate's approach. In order to save themselves, the villagers say "Fuenteovejuna did it". The magistrate proceeds to torture men, women, and young boys on the
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Fuenteovejuna are introduced and speak of love. The
Commander enters and attempts to take two of the women, Laurencia and Pascuala, back to his castle, but they resist and escape. King Ferdinand and Queen Isabella discuss the capture of Ciudad Real and vow to retake it. Later, two young lovers, Laurencia and Frondoso, meet in the forest. When the Commander approaches, Frondoso hides and watches as the Commander attempts to force himself on Laurencia. As the Commander has put down his
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Ciudad Real (Royal City) which has just been surrounded by the forces of
Ferdinand and Isabella. After the exit of the Commander, Laurencia and Pascuala go on the run with one of the peasants, Mengo. They are met by another peasant girl, Jacinta, who is being pursued by the Commander's servants. When Mengo protects her, they are both seized by the Commander's lackeys who will
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Mengo while
Jacinta is raped by the Commander and then given to his men. Shortly afterwards, Esteban agrees to allow Laurencia and Frondoso to marry. The wedding proceeds but is interrupted by the Commander who arrests Frondoso, for his threat with the crossbow, as well as Esteban and Laurencia who
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The value of women and the defense of their honor is another major theme which, when combined with the stirring message regarding male cowardice in fulfilling this duty, brings a striking contrast between the importance of female outcry in striking the match of change and action in the presence of
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at the home of the Grand Master of the Order of
Calatrava, Rodrigo Téllez Girón. Here, a commander of the order, Fernán Gómez de Guzmán, urges his superior to seize the town of Ciudad Real in the name of Juana and Alfonso of Portugal. Girón decides to capture the city. The village and villagers of
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under the leadership of its Grand Master, 20-year-old
Rodrigo Téllez Girón, who supported the claims to the throne by Alfonso and Juana. The city was of strategic importance due to its location near the border of Castile. It was during this invasion that Commander Gómez de Guzmán was killed by the
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not to oppress his vassals in exchange for their loyalty, failed to "shelter and protect" those pledged to "help and advise" him. Only as a collective are they able to fight back. However, feudal lord and vassal were bound to mutually respect one another, e.g. the lord could not, by law, beat his
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An additional theme is subjugation versus obedience. Spain at the time was about to become a global empire. It was undergoing much change per the backdrop of the play. The deaths of the
Commander and Ortuño were not mere murders but mutiny against authority – an insurrection against the Crown to
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Act II begins in the village with a discussion among the peasants that is interrupted by the entrance of the
Commander. He demands Esteban, Laurencia's father, to allow him to have her but he refuses and the Commander takes this as an insult. A soldier enters and begs the Commander to return to
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While
Ferdinand and Isabella declined to find the town guilty since they pledged obedience to the Crown of Spain and not to the Prince of Portugal; they struggled with the decision, not pleased to pardon a revolt that was carried out by an insubordinate and brutal mob.
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male trepidation. The commander has taken the city as his personal harem. After several maiden rapes and prostituting single and married women of the village alike, he manages to rape
Laurencia during her wedding night, which begins his downfall.
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It is
Laurencia who calls the village men to shame, to set their priorities straight, and to rise against the commander. After the men unite to do so, she rallies the women also to join in taking the lives of the lord and his officers.
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A conflict of values is the key concept in display. There is an expectation that those who supported their lord would be by this lord protected, not ravaged. The commander, responsible as liege lord under
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194:, Frondoso steps out and takes it. As Laurencia escapes his grasp, Frondoso points the crossbow at the Commander, leaving with only the crossbow as the Commander curses both of them.
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Rapid change took place in Spain in the years between the historical incident at Fuenteovejuna in 1476 to the writing of Lope's play in 1614. In that time, Spain is united under the
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at The Royal Stratford East is based on the Spanish play. It opens her inaugural season as Artistic Director of Stratford East. This contemporary work is set in India.
66:), the play is believed to have been written between 1612 and 1614. The play is based upon a historical incident that took place in the village of Fuenteovejuna in
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The third act opens with the men of the village meeting to decide how to handle the situation. Laurencia, having been beaten and subject to attempted
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villagers of Fuenteovejuna after he treated them poorly. After no single guilty party was found, Ferdinand pardoned the villagers from Fuenteovejuna.
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A Guide to Critical Reviews: Part II: The Musical, 1909-1989, page 181; third edition; by James M. Salem; published 1991 by The Scarecrow Press;
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The play has been filmed several times in Spanish and other languages, but never in English. A musical version, called
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A musical version of the play was produced by the State Theatre of Northern Greece in 1976-77, with music by
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vassal, humiliate or lay hands on his wife or daughter. The covenant breakdown undermined the social order.
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The Public Theaters of Golden Age Spain and Tudor-Stuart England: Class, Gender and Festive Community
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the Grand Master and when the villagers enter and tell their story, they are pardoned as well.
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Answers Ltd. The Theme Of Love In Fuenteovejuna English Literature Essay. uk, November 2018.
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married Prince Ferdinand II of Aragon. With their marriage, the two major kingdoms of Spain—
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Answers Ltd. The Theme Of Love In Fuenteovejuna English Literature Essay. uk, November 2018
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This article is about the play by Lope de Vega. For the city in Andalusia, see
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which the villagers also aligned themselves as against their oppressive lord.
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arrived at the village to investigate, the villagers, even under the pain of
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2008 Stratford Shakespeare Festival production, version by Laurence Boswell.
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Gerli, E. Michael. "The Hunt of Love: The Literalization of a Metaphor in
544:. Aldershot, England, and Burlington, Vermont: Ashgate, 2005 (chapter 5).
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141:. When Isabella ascended the throne upon the death of her half-brother,
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BBC Radio 3 play. Adapted by Adrian Mitchell, broadcast August 5, 2007.
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Herrero, Javier. "The New Monarchy: A Structural Reinterpretation of
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and Tyranny: Some Problems of Linking Drama with Political Theory",
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on the Rack: Interrogation of a Carnivalesque Theatre of Terror",
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was produced as a play in three acts, in English translation by
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Cañadas, Ivan. "Class, Gender and Community in Thomas Dekker’s
475:"Production: 'Fuenteovejuna' (1972)". Accessed April 25, 2018.
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In 1469, seven years before the events at Fuenteovejuna,
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and becomes a world superpower with the discovery of the
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Volume 12 of the Collected plays of Lope de Vega Carpio
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crossed into Spain in order to secure the throne for
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List of Lope de Vega's plays in English translation
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82:, responded only by saying "Fuenteovejuna did it."
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Docena Parte de las Comedias de Lope de Vega Carpio
574:Darst, David H. "Las analogías funcionales en
418:). Oxford University Press, 1999, p. xii-xiii.
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643:Cronologia de las Comedias de Lope de Vega.
395:Cronologia de las Comedias de Lope de Vega.
181:Wedding portrait of Ferdinand and Isabella.
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439:). Oxford University Press, 1999, p. 1-79.
70:, in 1476. While under the command of the
16:Spanish play written between 1612 and 1614
514:Blue, William R. "The Politics of Lope’s
384:). Oxford University Press, 1999, p. xii.
343:gave the production a favorable review.
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473:La MaMa Archives Digital Collections.
50:) is a play by the Spanish playwright
641:Morley, S. Griswold and C. Bruerton.
393:Morley, S. Griswold and C. Bruerton.
327:Stratford Festival production history
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7:
486:Nestruck, J. Kelly (June 29, 2008).
333:as the tyrant and Jonathan Goad and
109:The cross of the Order of Calatrava.
767:Peribáñez y el Comendador de Ocaña
597:). Oxford University Press, 1999.
303:The play was produced at London's
300:and lyrics by Yorgos Michaelides.
153:, the daughter of Enrique. At the
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569:Forum for Modern Language Studies
291:La MaMa Experimental Theatre Club
920:Spanish plays adapted into films
677:Fuenteovejuna movie (in Spanish)
585:Edwards, Gwynne, ed. and trans.
427:Edwards, Gwynne, ed. and trans.
406:Edwards, Gwynne, ed. and trans.
372:Edwards, Gwynne, ed. and trans.
587:Lope de Vega, Three Major Plays
429:Lope de Vega, Three Major Plays
408:Lope de Vega, Three Major Plays
374:Lope de Vega, Three Major Plays
164:was attacked by knights of the
323:Stratford Shakespeare Festival
115:Princess Isabella I of Castile
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834:The King is the Best Mayor
807:Punishment without Revenge
595:Punishment without Revenge
437:Punishment without Revenge
416:Punishment without Revenge
382:Punishment without Revenge
151:Juana, Princess of Castile
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537:19.2 (July 2002): 118-50.
397:Madrid, 1968, p. 330-331.
47:[ˌfwenteoβeˈxuna]
791:The Best Mayor, The King
662:study guide (in Spanish)
279:, was produced in 1972.
815:Las bizarrías de Belisa
759:The Widow from Valencia
527:The Shoemaker’s Holiday
307:in 1989, as adapted by
185:The first act opens in
799:A Lady of Little Sense
638:36:4 (1970-1): 173-85.
340:Toronto Globe and Mail
305:Royal National Theatre
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76:Ferdinand II of Aragon
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915:Plays by Lope de Vega
850:The Dog in the Manger
842:The Dog in the Manger
751:The Dog in the Manger
522:59:3 (1991): 295-315.
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147:Alfonso V of Portugal
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54:. First published in
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591:The Knight of Olmedo
433:The Knight of Olmedo
412:The Knight of Olmedo
378:The Knight of Olmedo
321:was produced at the
203:protest his arrest.
58:in 1619, as part of
743:The Steel of Madrid
735:Madness in Valencia
616:65:1 (1997): 61-92.
608:Fischer, Susan L. "
529:and Lope de Vega’s
337:as the lovers. The
298:Thanos Mikroutsikos
682:2021-05-07 at the
582:79 (1995): 245-52.
571:13 (1977): 313-35.
492:The Globe and Mail
254:Recent productions
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166:Order of Calatrava
134:of Spain from the
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880:(2010 film)
826:Adaptations
347:The Village
335:Sara Topham
162:Ciudad Real
145:, in 1474,
131:Reconquista
910:1619 plays
899:Categories
497:2018-04-25
357:References
351:Nadia Fall
231:feudal law
143:Enrique IV
86:Background
293:in 1972.
265:Laurencia
127:Christian
96:New World
92:Habsburgs
680:Archived
535:Parergon
329:), with
192:crossbow
43:Spanish:
869:Related
794:(1620s)
770:(1600s)
738:(1590s)
262:ballet
187:Almagro
173:Summary
119:Castile
80:torture
68:Castile
861:(2006)
853:(1996)
845:(1978)
837:(1974)
818:(1990)
810:(1631)
802:(1613)
786:(1617)
778:(1619)
762:(1600)
754:(1618)
746:(1608)
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589:(with
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431:(with
410:(with
376:(with
260:Soviet
224:Themes
218:pardon
136:Muslim
123:Aragon
56:Madrid
727:Plays
289:, at
139:Moors
877:Lope
599:ISBN
593:and
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546:ISBN
459:ISBN
435:and
414:and
380:and
258:The
214:rack
200:whip
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