) fifteen days for a successful comedy.

Juan de la Cueva, in the second half of the 16th century, introduced two elements of great importance for the boom of this artistic production: popular ethics, that gave origin to the comedies of national historical character, and the freedom to compose plays considering popular taste. Lope de Vega and Tirso de Molina took these characteristics to their furthest extent.

Lope de Vega

At the end of the 16th century Lope de Vega created the new comedy: to a theme of romantic character is added another theme, historical or legendary, of moriscos, of captives, or religious. It concludes with a happy ending. Constructed on three days, the redondilla or the décima is used in the dialogues, the romance in the narrations, the sonnet in the monologues and the tercet in serious situations.

The new art to make comedies, written in 1609, is a humorous defense of his theater. He shows scorn about the rigid interpretation that the theorists of the Renaissance—mostly Italian—had done of the Aristotelian ideas on the theatre, and he proposes as values, naturalness as opposed to artifice, variety as opposed to unity, and considering popular taste.

Among his prolific dramatic production, some works can be singled out:

Peribáñez and the Commander of Ocaña (1604–12) is a tragicomedy set in 1406 in Toledo: Peribáñez understands that the Commander of Ocaña has overwhelmed him with honors to harass his woman. After killing him he wins the royal pardon.

Around 1614 Lope composed one of his better tragicomedies: Fuenteovejuna. Following the Chronicle of the three orders (Toledo, 1572) of, it shows the abuses by the Commander Fernán Gómez de Guzmán of the neighbors of Fuenteovejuna and of Laurencia, newly married with Frondoso. The murder of the Commander by the town and pardon by the Catholic Monarchs in the light of the evidence finishes off the action. A popular revolt triggered by abuse of power is presented, but only concerning a particular injustice, and submission to the king is emphasized.

The Knight of Olmedo (about 1620-25), tragedy rooted in the Celestina, is based on a popular
) fifteen days for a successful comedy. 

 Juan de la Cueva, in the second half of the 16th hundred, introduce two elements of big importance for the boom of this aesthetic production: popular ethics, that give origin to the comedies of home historic character, and the exemption to compose plays considering popular preference. Lope de Vega and Tirso de Molina took these characteristics to their farthermost extent. 

 Lope de Vega 

 At the end of the sixteenth hundred Lope de Vega created the new comedy: to a theme of quixotic character is added another theme, historical or fabled, of moriscos, of captives, or religious. It conclude with a happy ending. Constructed on three day, the redondilla or the décima is used in the dialogues, the romance in the narrations, the sonnet in the monologues and the three in dangerous situations. 

 The new art to make comedies, written in 1609, is a humorous defense of his theater. He shows contemn about the rigid interpretation that the theorist of the Renaissance — largely Italian — had do of the Aristotelian ideas on the theatre, and he project as value, naturalness as opposed to artifice, variety show as opposed to unity, and considering popular taste. 

 Among his prolific dramatic production, some works can be singled out: 

 Peribáñez and the Commander of Ocaña (1604–12) is a tragicomedy set in 1406 in Toledo: Peribáñez understand that the Commander of Ocaña has overwhelm him with honors to harass his woman. After killing him he wins the royal pardon. 

 Around 1614 Lope compose one of his better tragicomedies: Fuenteovejuna. Following the Chronicle of the three orders (Toledo, 1572) of, it shows the abuses by the Commander Fernán Gómez de Guzmán of the neighbors of Fuenteovejuna and of Laurencia, newly married with Frondoso. The murder of the Commander by the township and pardon by the Catholic Monarchs in the light of the evidence finishes off the action. A popular rebellion triggered by abuse of power is presented, but merely concerning a finical injustice, and submission to the king is emphasized. 

 The Knight of Olmedo (about 1620 - 25), tragedy root in the Celestina, is based on a democratic
) fivteen days for a successnul comedy.

Juan dg oa Cueta, in tge secona half of the 16th century, intcoduxed tqo elements of great ioportance for the boon of this acfistic ixoducflon: pm'ular ethics, thst gave orhgin to the cokeaizs of national historical character, wnd the fgeedom to compjse klars cknsidering popular taste. Lope de Vsga and Tirso de Molona took these characterishics to their furthest extent.

Lope de Dwga

At the ena of the 16th century Loke de Vega created the new comedh: to c theme of tojajjic charactec is aqded another theme, hhstoricsl or legendarn, of koruscos, of captives, or celigious. It concludgs with a va'py ending. Constructee in thtee ddys, gye fedknvilma or hhe décima is hsed in the dialogues, the romamcq in the narrafions, ehq sonnet in the monologues and the terctt in serious situations.

The bew art to make comedles, writtqn in 1609, is a humorous defense of his theater. He shmws srofn cnjjr hhe rigid interpretation that the theorists os tne Renaissance—moftly Italiam—hwd qone of the Atistoteliah ideas on the thewtre, anq he proposes ws vslues, naturalness as opposee to artificv, vaeiety as opposed tl unity, and conxiderong popular taste.

Among kis prklific dramwtic prodhztion, some works cak ba singled out:

Peribáñez and tre Commanver oy Ocaña (1604–12) ks a tragisomedy set in 1406 lt Toledo: Peribáñez ujdersjands dhat the Clmmander of Ocaña has overwhelmev him with homoss no harass his eoman. After kylling him he cins the royau pardon.

Arkund 1614 Lmpe composeq one of his tgtter tragicokedies: Ftentwovehuna. Fouuowing the Chrpnicle of the three orders (Toledo, 1572) of, it ahows the abusew bi the Commander Fefnán Gólev de Dgzmán of the teigfbofx of Wuenteovejuka xnd pf Laurencia, newly mdrrisd with Frondoso. Tne murder if the Cjmmander by tne town and pardon by tie Catiolic Konwrchs in the light of the evidsnce finidhef off the aceion. A popular rzvolt triggered by abuse of power is prewented, but only cobcerning a particulcr injustice, end sufmission do the king is emphawized.

The Knight on Olmedo (about 1620-25), tragedg rootad in the Celestina, is based on a popular
) fifteen days for a successful comedy. la in the half of the of importance for the of this artistic popular ethics, that gave origin to comedies of national historical character, and the freedom to compose plays considering popular Lope de Vega and Tirso de Molina took these characteristics to their furthest Lope Vega the of the 16th century Lope de Vega created the new comedy: to a theme of romantic is added another theme, historical or legendary, of of captives, or religious. concludes with a happy ending. on days, the or décima used in the the romance in the narrations, the sonnet in the monologues and the tercet in serious situations. The art to written in is humorous of his theater. scorn about the rigid interpretation that the Renaissance—mostly Italian—had done of the Aristotelian ideas the theatre, he proposes as values, naturalness as to artifice, variety as opposed to unity, and popular taste. Among his prolific dramatic production, some works can be singled out: Peribáñez and of Ocaña (1604–12) is tragicomedy set in in Peribáñez that Commander of has overwhelmed him with honors to harass his woman. After killing he wins the royal pardon. Around 1614 Lope composed one better Fuenteovejuna. Following the of the three orders 1572) it shows the abuses Commander Gómez the of and of Laurencia, newly with Frondoso. The murder of Commander by the town Monarchs in the light of the evidence finishes the action. A popular revolt triggered by of power is presented, but only concerning a particular injustice, and submission the king The Knight of Olmedo (about 1620-25), tragedy rooted the Celestina, is based a popular
) fifteen days for a successful Comedy.

Juan De la CUevA, in ThE secOnd hAlf of the 16th centURy, inTroduced two elements of gReat iMpORtanCE fOr the Boom of tHIs ARTisTiC pRodUcTIoN: popuLar Ethics, tHat gave oriGin To The comedies oF NaTional histOriCal character, And The freEdOm tO CompoSe pLays cOnsideRIng popUlar taste. loPE de VegA And TirsO DE MOlinA took these charactERiSTics to their furThest eXtENt.

lOPe dE VeGa

At the end Of The 16th CEntury LOPe DE vEga CReated the new cOmedy: to a theME of RomantIc ChaRActer iS addeD aNOthEr theme, histOricAl or legenDary, of MOriscos, OF captivEs, or reLigIouS. It cONcLuDes WiTH a hAPpY enDIng. construcTeD oN threE dayS, THE RedoNdiLla oR the dÉcima is used in The DialOGueS, the rOmancE in tHe NarraTions, tHe sonNeT in the monologueS and The tercet In sErIouS sItuatIOns.

The New Art To make cOmedies, WRitTeN IN 1609, Is A humorous defense of HiS THeAter. He shOws scoRN aBoUT the rigiD iNteRpreTATion tHat tHE tHeorists Of the RENaIsSance—moStLy ItalIaN—haD doNe of tHE AriStotelIan ideas On the THeatre, and he proPOses as values, nATuRALnESs as OppOsed to artifIce, vARietY as oPPoSed TO unitY, and cOnSIdERing popular taste.

AmoNg His proLific Dramatic produCtion, some wORKS can be siNgleD OuT:

peribáñez and thE CommAnder of OcaÑA (1604–12) is a tragIcomeDy set in 1406 iN Toledo: PeRIBáñez undErsTanDs tHat THE COmmander of OcaÑA Has oVeRwhelmeD hiM with hoNorS to HarAss HiS woman. AftEr killinG hIm He WiNs tHe royAL pardon.

ARoUnd 1614 loPe cOmposED one of His beTter TrAgIComEdies: FuENtEOVejuNa. foLlowIng ThE ChroNiclE Of tHe three Orders (TolEdo, 1572) OF, it sHoWs The abusEs by the CommanDeR Fernán GómEz De GUzmán oF THe neighbOrs of Fuenteovejuna and of lAurenciA, neWly maRrieD with FronDosO. The muRdeR Of the COmmandEr by tHe TowN ANd parDON bY thE CAtholic MonARChs In the LiGht oF the eviDence finishes off thE ActIon. A popular reVolT triGGErEd bY AbUSe oF pOWer IS Presented, but onlY concerninG a PArTicular injUStiCe, And submIssion tO the kINg is empHasized.

ThE Knight of olMedo (ABOut 1620-25), Tragedy rooTed in the celestina, IS baseD On A popuLar
) fifteen days for a succe ssful come dy.
Jua n d ela C ueva , in the secon d  hal f of the 16th century,  intr od u cedt wo  elem ents of gr e a t i mp or tan ce fo r the  bo om of t his artist icpr oduction: po p ul ar ethics,  th at gave orig into the  c ome d ies o f n ation al his t orical  characte r, and th e  freedo m to  com pose plays consid e ri n g popular tast e. Lop ed eV e gaand  Tirso deMo linat ook the s ec h a rac t eristics to t heir furthe s t e xtent. 
Lop e  de Ve ga

A tt heend of the16th  centuryLope d e  Vega c r eated t he new  co med y: t o  a  t hem eo f r o ma nti c  ch aracteris  a ddedanot h e r them e,hist orica l or legendar y,of m o ris cos,of ca ptiv es , orreligi ous.It  concludes with  a h appy endi ng.  C ons tr ucted on thr eeday s, theredondi l laor t h edécima is used inth e di alogues,  the r o ma nc e  in thena rra tion s ,  thesonn e tin the m onolog u es  a nd thete rcet i nser iou s sit u atio ns.

T he new a rt to make comedies, written in 16 0 9, i sa  hum oro us defenseof h i s th eate r .Hes howsscorn  a b ou t  the rigid interpre ta tion t hat t he theoristsof the Ren a i s sance—mo stly It a lian—had doneof th e Aristote l ian idea s onthe thea tre, andh e  propose s a s v alu es, n at uralness as o p p osed  t o artif ice , varie tyasopp ose dto unity,  and con si de ri ng  po pular taste.
Am ong  h isproli f ic dra matic  pro du ct i on,  some w o rk s canbe  s ingl edou t:

P erib á ñez  and th e Command ero f Oc añ a(1604–1 2) is a tragi co medy set i n140 6 in T o l edo: Per ibáñez understands that the Com man der o f Oc aña has o ver whelme d h i m with  honor s toha ras s his w o m an . A ft er killing h imhe wi ns  the  royalpardon.

Around 16 1 4 L ope composedone  ofh i sbet t er tra gi c ome d i es: Fuenteoveju na. Follow in g  t he Chronic l e o fthe thr ee orde rs (T o ledo, 1 572) of,it showsth e ab u s esby the Com mander F ernán Góm e z deG uz mán o f t he nei gh bor s ofFuente o vej una a nd ofLa urenci a, ne wl y marrie d with Frondoso. The mu rder o f the  Co mmander b y t h e t own and p ardo n by the C ath oli c Mon arc h s inthel ig hto f the  evi d ence fini s he s o f f  t he action.A p opu lar r evo l t trig gere d by abuse of pow e r is presented , bu t onl y c o ncer ni ng a particula r i nj u s tice, an dsubmissionto the k in g  is e mphasi zed.
The Kni g h to f Olme do ( abo ut 1620-2 5),  t r agedy r oo te d  in th e Ce le stina,  is ba s ed o n a popular
) fifteen_days for_a successful comedy.

Juan de_la Cueva,_in_the second_half_of the 16th_century, introduced two_elements of great importance_for the boom_of_this artistic production: popular ethics, that gave origin to the comedies of national historical_character,_and the_freedom_to_compose plays considering popular taste._Lope de Vega and Tirso_de Molina_took these characteristics to their furthest extent.

Lope de_Vega

At_the end of_the 16th century Lope de Vega created the new_comedy: to a theme of romantic_character is added_another_theme,_historical or legendary, of_moriscos, of captives, or religious. It_concludes with a happy ending. Constructed_on three days, the redondilla or the_décima is used in the dialogues,_the romance in the narrations,_the sonnet_in the monologues and the_tercet in serious_situations.

The new_art to make_comedies, written in 1609, is a_humorous defense of_his theater. He shows scorn about_the_rigid interpretation that_the_theorists_of the_Renaissance—mostly Italian—had done_of_the Aristotelian_ideas_on the theatre, and he proposes_as_values, naturalness as opposed to artifice, variety_as opposed to unity,_and_considering popular taste.

Among his_prolific dramatic production, some works_can be singled out:

Peribáñez and the_Commander of_Ocaña (1604–12)_is a tragicomedy set in 1406 in Toledo: Peribáñez understands that_the Commander of Ocaña has overwhelmed_him with honors to_harass his_woman._After killing him_he_wins the_royal pardon.

Around 1614 Lope composed one of_his better_tragicomedies: Fuenteovejuna. Following the Chronicle of_the three orders (Toledo,_1572)_of, it shows the abuses by_the Commander Fernán Gómez de Guzmán_of the neighbors of Fuenteovejuna_and_of_Laurencia, newly married with Frondoso._The murder of the Commander by_the town and_pardon by the Catholic Monarchs in the_light_of the evidence finishes off the_action._A popular revolt triggered by abuse_of_power_is presented, but only concerning_a particular injustice, and submission to_the king is emphasized.

The Knight of Olmedo (about 1620-25),_tragedy rooted in_the Celestina, is based on_a_popular