17th-Century Spanish Comedy: A Dramatic Renewal

1. The National Comedy

The term "National Comedy" is applied generically to Spanish dramatic production of the 17th century. This period witnessed a true theatrical renewal, largely thanks to the innovative ideas of Lope de Vega. Seeking popular appeal, Lope broke away from the rigid rules of earlier drama, transforming theatre into a spectacle for the masses. His vision is reflected in the new comedies of the time.

1.1. Themes

Comedies of this era present a diverse range of themes, drawing inspiration from contemporary literature, medieval and classical sources, and historical events. These sources include everyday life, theology, history, and folklore. A particularly significant theme is that of honor. Honor, lost through one's own actions or the actions of others, must be regained through bloodshed. If an unmarried woman is wronged, her father or brother seeks revenge; if a married woman is wronged, her husband must restore the family's honor. Some works, such as Lope de Vega's Fuenteovejuna, explore two conceptions of honor: aristocratic honor, an innate and inherited quality, and the honor of commoners, earned through virtuous actions.

1.2. Structure

Since the late 16th century, plays were divided into three acts. The plot unfolds throughout the play: the first act introduces the situation and characters, the second develops the conflict, and the third provides resolution. The first act often emphasizes action to establish a dynamic pace.

1.3. Versification and Language

Plays were written in verse, employing a variety of meters and stanzas (polimetría) to suit the dramatic situation. These included quatrains, romances, décimas, redondillas, silvas, sonnets, and octaves. The language aimed to combine aesthetic beauty with dramatic effectiveness.

1.4. The Rule of Three Unities

Playwrights rejected the classical unities, particularly those of time and place, considering them artificial. This allowed plays to unfold across various locations and over extended periods. The unity of action, emphasized by Aristotle, was often given more consideration, although many plays featured multiple storylines.

1.5. Mixing Tragedy and Comedy

The boundaries between tragedy and comedy were blurred to imitate life and achieve greater verisimilitude.

1.6. Characters

The treatment of characters aimed to maintain poetic decorum, with each character speaking according to their social status. Several recurring character types populate these comedies, including the king, the nobleman, the knight, the gallant, the gracioso (witty character), and the lady.