宽容就像十大居住一体的精彩头脑。试图在任何公式中封闭他，就像试图制作一对靴子以适应蜈蚣。
-ezra磅，浪漫的精神
世界上最伟大的剧作家的任何聚会都必须为建立的西班牙戏剧的基础形象找到超级大小和庞大的洛普·洛普·维拉的空间喜剧演员诺瓦，全长的西班牙语世俗剧，并从1580年代到1680年代开始了西班牙黄金时代戏剧的开花。随着EZRA磅曾经观察过，“Lope de Vega给了西班牙剧院，西班牙又给了她的剧院。”由Miguel de Cervantes叫“UnMónstruodeaturaleza(自然的怪物)，因为他超人的生产力和奢侈，挥霍的想象力，洛佩·德·维加，再次被庞德描述为，“不是一个人，他是一个文学。”散文家José Martínez Ruiz断言:
宽容是现实世界。一切都在宽容中找到。地球的四个角落。。。特别是欧洲国家;和希腊古代;和罗马古代;和基督教;和圣徒的生活; and the most haloed heroes in the universe; and the mountains; and the rivers; and the forests; and the cities. Lope’s genius has fluttered around over everything on earth. Neither time nor space has held secrets for him. His strength is pliant, light, smooth: an immense poet’s strength, prodigious, titanic, yet appearing as simple as a child’s.
这很容易理解Martínez Ruiz的感觉洛普无限和包罗一切，只要考虑他惊人的产出。“在世界历史上，没有其他作家，”文学史学家乔治·泰勒·诺斯鲁普(George Tyler Northrup)声称，“能达到他的创作纪录，哪怕只有一点点。”洛普的第一个传记作者估计有1800部三幕剧是他的功劳。洛普自己的估算高达1500，声称他们中的许多，复杂的情节和不同的韵律形式都是在24小时或更短的时间内完成的。正如评论家弗朗西斯·c·海斯总结的那样，“他挖掘了几乎所有十七世纪西班牙的文学资源，写了足够的戏剧，从数量上考虑，足以满足整个国家的剧作家。”据估计，洛普创造了17000到20000个人物，创造了150万行诗歌对话。他的作品现存约500部，如果我们保守地接受600部作为他完成的完整剧本的更可能的数目，要达到这个数目，在他50年的职业生涯中，他必须每月创作一部新剧本。这些惊人的数字变得真正惊人的当你考虑到他的戏剧性的产出几乎等于nondramatic writings-epics,歌词,民谣,恋情,短篇小说,成千上万的letters-over动荡的一生有足够的逆转和浪漫的冒险fi他最耸人听闻的cape-and-sword剧之一。
洛普·斯图韦纳的儿子（Lope De Vega）是一名文学神童，据说，据说拉丁诗歌的歌曲，并在12岁时制作了他的第一次比赛。并在阿尔卡拉德·埃纳莱斯大学的学习，他在Ávila主教的家庭工作，他被认为是他最早的戏剧组成。在1583年，他都开始作为专业的戏剧家职业生涯，并加入了一个为期两个月的海军探险，以平息亚速尔群岛的叛乱。在他回到马德里时，他获得了令人争议的是一个谨然的妇女，并与一名已婚妇女进行过婚礼，其家庭反对并谴责他向当局谴责他。在1588年，劳伦斯在马德里八年流亡的句子下被捕并被驱逐到瓦伦西亚。然而，在几个月内，他非法回到首都并被私出了17岁的伊斯塔布纳。在他的婚姻之后几天加入了西班牙武术，在西班牙击败之后，在瓦伦西亚回到了瓦伦西亚的流亡，开始他最富有成效的文学作品，直到他的妻子在1595年去世。终于赦免了to Madrid where he had an affair with an actor’s wife and married the daughter of a rich butcher. After she died in 1613 Lope was ordained a priest, but his multiple affairs with married women continued. It is said that he fathered 11 offspring by his two wives and some of his many lovers. One of them, Marta de Nevares, became the love of his life and bore him a daughter in 1617. However, when Marta’s husband died in 1620, Lope refused to marry her because of his vow of celibacy. Despite declining health, Lope continued his remarkable creative vigor and literary productivity until his death in 1635.
当他开始戏剧性的职业生涯时，在他的终身期间改变的西班牙剧院几乎没有出现在其中世纪和粗暴的民间传统中。希腊人和罗马人向伊比利亚半岛推出的古典戏剧，让道路戏剧中世纪的宗教剧剧，即世俗剧院，距离艺术家和表演者在短的旗帜中勉强保持活力。西班牙人前往意大利带来了著作humanisticas16世纪中叶，意大利戏剧剧团来到西班牙，为受古典启发的戏剧表演提供了补充。戏剧在皇家宫廷、贵族家庭和露天庭院中演出(腐蚀）。第一个永久性露天剧院在1579年在马德里成立，劳伦队是17岁。常规发表的舞台，通常代表一个在马德里街上的阳台的房子的两层门面。如伊丽莎白郡剧院，地下室有一个坑，周围房屋的上窗户担任盒子。女性观众在被称为众所周知的区域中被隔离La Cazuela.（斯威尔潘），但在女演员扮演的妇女零件上。
它是制定了一种新的戏剧性形式的诉诸喜剧演员Nueva它打破了亚里士多德在文艺复兴时期对古典戏剧传统的阐释，后者要求在五幕结构中严格区分喜剧和悲剧，并限制戏剧人物和场景的数量。相反，Lope开创了一种灵活多样的戏剧形式，旨在吸引他的观众。在他的戏剧论文中Arte Nuevo de Hacer Comedias en Este Tiempo（1609;戏剧写作的新艺术）诉诸宣布他的艺术独立性从既定的戏剧性装饰规则宣布并阐述了一种解放的戏剧方法。守护者坚持认为，他的戏剧是基于古典规则和西班牙流行传统的同化和改进。据诉诸卢普，行动喜剧演员应该限制为包含博览会，并发症和结局的三项行为，具有愉快的感觉和悬念。他避免了一种高度风格化的典型诗歌风格和狭隘的规定科目，更倾向于一种旨在捕捉日常生活丰富性的表现力的方法。“当我开始写一场比赛时，”他观察到的时候，“我锁定了十个键下的所有规则，并从我的研究中宣传了Plautus和terence。。。。因为我写了那些寻求公众掌声的人的风格，而是只是在他们的愚蠢中幽默，因为他们是他们支付的。“如果艺术模仿自然，乐观断言，那么各种性质是无限的，因此应该是主题在场。为了提供各种各样的受众要求卢克混合漫画和悲剧，允许贵族的人物与谦虚，违反了一定的时间和地点，宣传西班牙戏剧师如果没有在两个小时内显示出来的不耐烦人类历史从创世纪到最后的判断。“
在他的观众中，毫无讨厌的饮气往往是不成熟的品味，卢普将他的戏剧视为他的其他着作，冲破了钱。所有人都表现出匆忙和重复的迹象，如果其中很少有人在其特征或想法的复杂性中升到莎士比亚深度和丰富的程度，他们仍然是西部戏剧史上的一个重要的解放功能。To reach his audience Lope turned drama into a stirring vehicle for embodying an age’s values in a form flexible enough to incorporate stories from ancient mythology, the Bible, the lives of the saints, legends, ancient and Spanish history, and the social life of contemporary Spain. On Lope’s stage kings mix with commoners, and both are entitled to comic or tragic treatment. Lope transformed the often crude Spanish dramatic folk tradition with a new artistry, while he expanded the rigidly prescribed neo-classical drama by his genius and the breadth of his vision into an all-purpose entertainment that could both give pleasure and mount an effective criticism of life. As literary historians Richard E. Chandler and Kessel Schwartz summarize, Lope’s eminence “derived from the fact that he breathed the essence of national life into his drama, identified totally with the popular mind, adapted folk poetry to the stage, dramatized ballads, and wrote what the audience wanted. He was the voice of the people and the echo of a dynamic, proud, vigorous, active nation.”
宽容宣传为他的一天剧院多个新的类型和更新的旧式形式，产生宗教戏剧，牧师戏剧，神话戏剧，源于过去和当代事件的历史剧，以及对嫉妒和复仇的兴趣和冒险。卢普队的几个戏剧中，已经进入了世界戏剧性文学的佳能，包括El acero de Madrid(马德里的钢铁)，Peribáñez y El comendador de Olmedo(来自奥尔梅多的骑士)，El castigo sin venganza(惩罚没有报复)，El perro del hortelano(马坑里的狗)，Fuente Ovejuna, El mejalcalde, elrey(最佳市长，国王)是最好的选择来说明剧作家的艺术的优势和局限性。这是洛普历史的一个例子喜剧演员，在12世纪的Alfonso VII举行。Sancho，“Hidalgo出生，虽然谦卑地穷，”爱上了美丽的农民Elvira。在他们的婚礼前夕，桑托寻求批准该地区的霸王，唐特诺·德尼拉。贵族首先是慷慨慷慨，并坚持看到新娘，密封他对婚礼的批准。然而，由她的美丽而淹没，唐特诺停止婚礼，并盯着他的城堡绑架到他的城堡，忽略了桑托的伤心欲了解她的释放。由于埃尔维拉努力保护她尊重唐特诺的淫荡的进步，桑托寻求来自国王的正义，并在莱昂旅行到他的法院。在同情地听到桑托的故事之后，国王谴责唐特诺和埃尔维拉立即恢复到桑托的订单，但他的命令被忽略了。正如唐特诺断言一样，“我在这里统治，在这里，我会尽我的意志，因为国王在他的卡斯蒂利亚。我的祖先从来没有欠他的土地 - 他们从荒野中赢得了它。“Alfonso接下来决定让自己能够提出正义，宣称“国王是最好的裁判官”。 Arriving in disguise he first verifies Sancho’s story, is abused by the haughty nobleman, and then confronts Don Tello as the king only to find that he is too late. Elvira, dramatically coming on stage with clothes torn and hair disheveled, reveals that she has been forcibly taken, and she recounts her disgrace in moving verse. The king responds by ominously ordering a “priest and a hangman.” He commands Don Tello to marry Elvira, restoring her honor, and immediately after has Don Tello executed. As his widow Elvira now has a rich dowry for her second husband, Sancho. Justice is served on the level of the state, in which the duty of a liege lord to his king is affirmed; in the community, in which the rights of the victims of the powerful are protected;, and at the personal level, in which mutual love is shown as the basis of marriage. Alfonso displays the ideal quality of kingship in the responsibility he takes on to serve the interests of even the most humble of his subjects.
游戏是一个悲剧，混合浪漫的爱情故事和幽灵，与西班牙农民生活的现实细节。它包含历史的田园的标准元素。Despite Sancho and Elvira’s idealized love for each other, their less-than-naturalistic speeches, and the poetic justice of the play’s conclusion, there is a striking realism to the plot in Lope’s refusal to preserve Elvira’s chastity, as she is raped before the king can restore her to her proper lover and redeem her honor. Moreover, the play’s pathos surrounding the entitlement of love over class deference and its moral about the proper working of justice are firmly set in the wider context of new social forces operating among the peasants, a feudal lord, and the king. If depth of character generally gives way in Lope’s plays for the demands of plot, it is the thematic purposes that the plot serve that make his dramas more than trivial entertainments and give them relevance that transcends their culture and time. For all its sensational circumstances and suspense the play enacts the breakup of a feudal society, its replacement by a nation-state, and its core values of love, charity, and justice. Don Tello’s supremacy as a feudal lord is replaced by the peasant’s protection under the law of the state as represented by the monarch. The gratification of the lust of the powerful is bested by the triumphant passion of the humble. Commoners, who previously were depicted onstage as comic clowns, here claim the moral and emotional high ground, worthy of a king’s respect. Lope’s persistent advocacy on behalf of the claims of the lower class and the poor has caused many to see in his plays one of the earliest instances of a proletarian drama. An additional strong case can be made that Lope de Vega in Spain, like William Shakespeare and the Elizabethan dramatists in England, played a crucial role in widening the reach of Western drama to consider the claim of monarch and commoner alike.
资料来源：Daniel S. Burt戏剧100排名所有时间的最大戏剧
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