NUEVAS NOTAS SOBRE LOPE DE VEGA COMO FUENTE DRAMATICA DE "LOS HIJOS DE LA PIEDRA" DE MIGUEL HERNANDEZ

Abstract

All the social proliferation of the Spanish theatre al the end of the XIX^th century and at the beginning of the XX ^th has its starting point in the Golden Century theatre. A prolifie penchant for honour dramas, in which the dignification of common people is shown for the first time, already exists in the XVII ^th century; that dignification is made clear by polishing the peasants' rudeness, humoristic simplicities and vulgarities, and endowing them with emotions and feelings enough to consider and overestimate affairs of honour, soon converted into dramatic topics. Later rural and social dramas change the concept of self esteem on the part of the peasants of the classical comedy into country or working class idealisms; men and women who are models of perfection suffer and get blinded by anger because on the misbehaviour of the rich. In this short article the undeniable concomitances from the point of view of the argument, of the theatre technique and even verbal details between «Fuenteovejuna» and «Los hijos de la piedra» ('The sons of the stone') are underlined. Besides, new sources from Lope de Vega are added, which include a scene where a nobleman, in a remate town, lecherously tries to overcome, without success, a country woman's resistance. «Los hidalgos de la aldea» “The nobles of the village”, «El tirano castigado” ('The punished tyrant') and, especially, «Ya anda la de Mazagatos» ('There she goes again!') are three examples of just as many approaches .