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Actualizado: 20 de julio de 2025
The beginnings of the Spanish secular theater were quite humble and most of them have been lost in the mists of time and indifference. The recognized founder of the modern Spanish theater appeared the same year Columbus discovered the New World. Agustín Rojas, the actor, in his Viaje entretenido, says of this glorious year: "In 1492, Ferdinand and Isabella saw fall the last stronghold of the Moors in the surrender of Granada, Columbus discovered America, and Juan del Encina founded the Spanish theater." Juan del Encina was a graduate of the University of Salamanca and lived at the time mentioned above in the household of the Duke of Alba at Alba de Tormes. It was here that, before select audiences, were first presented his early plays or
Manrique is a selfish and ambitious man, who well deserves his fate. Nuño is unscrupulous and weak, but the weakest character of all is that of Leonor, who, knowing her duty, has neither strength nor will to accomplish it. Azucena is really the most interesting character in the play.
Well may we say that he had no declining years, for he never knew rest or realized a decline of his mental faculties.
In his realistic works he is a careful observer and a faithful describer of life, and he is especially successful in his portrayal of the uneventful lives of the middle and lower classes.
That the poet makes him love one apparently on a lower social plane illustrates his power of discrimination and magnifies these virtues rather than diminishes them.
Broadly speaking, we may divide the comedias into four groups: Comedias de capa y espada, which Lope created and which include by far the greater number of his important works. In these plays the principal personages are nobles and the theme is usually questions of love and honor.
Prohibet sancta synodus in posterum turpem illum abusum, quod die Innocentium intra ecclesiam theatrales quidam ludi edi publice consuevere magna cum ordinis ecclesiastici ignominia, necnon et divinæ majestatis offensa, quippe qui christianorum oculos, quos oportet ad spiritualia provocari, ab his ad peccandi libidinem avertant... spectacula vero, ludi quicumque et choreæ quæ alioqui præmisso examine premittente ordinario non alias in aliquot solemnitatibus ac processionibus agenda sint, nullo modo dum divina officia vel celebrantur vel dicuntur, intra ecclesiam ipsam agi permittantur... Caveant tamen episcopi et eorum vicarii nedum solemnitatis divinæ causa ludos aliquot et espectacula edi publice permittere velint, ea permittant quæ vel in minimo christianam religionem offendere, vel spectanlium animos in pravos mores quoquomodo inducere valeant... Decernit etenim sancta synodus non alios ludos, non alia spectacula permittenda ab episcopo fore, quam quæ ad pietatem spectantium animos movere, et a pravis moribus deterrere possint.
From his works we can easily believe that both of these motives entered into it; in fact he says as much in his correspondence with the Duque de Sessa. Speaking of this phase of the poet's life, Fitzmaurice-Kelly says: "It was an ill-advised move. Ticknor, indeed, speaks of a 'Lope, no longer at an age to be deluded by his passions'; but no such Lope is known to history.
To his plays Lope de Vega has given the general name of comedias, which should not be confused with the word "comedies," for the two are not synonymous. They are divided into three acts or jornadas of somewhat variable length and admit of numerous classifications.
Of his childhood and early youth we have no definite knowledge, but it appears that his parents died when he was very young and that he lived some time with his uncle, Don Miguel del Carpio. From his own utterances and those of his friend and biographer, Montalvan, we know that genius developed early with him and that he dictated verses to his schoolmates before he was able to write.
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