Está bien y hasta ahí. Temática interesante, buenas rimas y una historia rápida. Pero, aun así, no alcanza a ser nada impactante o fuera de este mundo

3,5FUENTE OVEJUNA, TODOS A UNA.Nunca pensé que me acabaría gustando este libro porque al principio de todo no entendía nada. Yo venía de leer las locuras del Quijote y ahora al leer la prosa de Lope tuve que hacer un cambio muy grande. El caso es que me ha gustado, o sea, está bien y tiene un mensaje de rebelión muy potente. Ver como el pueblo se une en contra de los abusos del Comendador y hacer justicia, me ha encantado sobretodo cuando Laurencia llama a todas las mujeres para que se unan. Personajes que me han gustado: Mengo y Laurencia <3

Me gusta el teatro en verso y me gusta el verso de Lope, pero la verdad es que "Fuenteovejuna" me ha decepcionado un poco porque me perdía en los aspectos políticos de la obra.

Fuente Ovejuna... Por fin me he enterado de la historia, y por fin he entendido eso de "Fuente Ovejuna, todos a una". Pensaba que esa frase aparecería en el libro y NO lo hace, pero su significado es el protagonista de esta obra.A pesar que, estoy segura, hay fragmentos que no he entendido completamente {por estar escrito en castellano antiguo}, el libro me ha gustado. Para los que no se animan con este tipo de libros, éste es perfecto para hacerlo, porque es cortito y ameno. Y como frase, muy apropiada para esta época, me quedo con: "Y al cabo, al cabo, se siembre o no se siembre, el año se remata en Diziembre"

Morir, o dar muerte a los tiranos, pues somos muchos, y ellos poca gente.Fuenteovejuna is the most famous of the roughly 500 plays that Lope de Vega wrote throughout his lifetime. The man could produce plays faster than the most seasoned potboil scribbler, it seems, and write well enough to make many of them classics. He was an enviable man, and fully earned Cervantes envious appellation for him: the Monster of Nature. Indeed, though not much widely read in the Anglophone world, in Spain his reputation is second only to that of Cervantes himself. The contemporaneous pair can be roughly compared to Shakespeare and Ben Johnsonif the latter were somewhat more famoussince they had a prolonged rivalry in life, from which the prolific Lope de Vega normally came out the winner. I was lucky enough to see this work performed last year at the Teatro de la Comedia in Madrid. From the acting to the set design it was an excellent show; and seeing the action on stage allowed me to follow the story, even though I could hardly understand the dialogue. I probably would not have been able to read the play at all if not for this experience. For Lope de Vegas Spanish is exactly contemporary with Shakespeares Englishand thus full of antiquated words. Not only that, but the Spanish playwright also writes in poetic verse, doubling the challenge. So there were many parts that, even with the aide of a dictionary, proved too much for me.But the central plot is easy enough to follow, and still compelling. If anything the play has only grown more relevant, since it treats of the male abuse of power and democratic revolt. The final rebellion has proven so iconic that Fuenteovejuna has entered everyday Spanish as a synonym for a popular uprising. Given the anonymous nature of the rebellion, it is sensible that Lope de Vega didnt draw strongly memorable characters in the play. They are differentiated just enough to keep track of them, but no more. This is one reason why the play benefits from being performed, since different actors will naturally individualize these roles. Whats more, the commander's disdainful abuse of power, and the fear, hopelessness, and anger of the villagers, becomes really electric when you see it live.It seems that Lope de Vega, an ardent monarchist, intended the plays message to be monarchical in addition to democratic. The villagers rebel against a tyrannous noble and the king pardons them. But he perhaps unwittingly created a genuinely democratic play. The shouted hails to the king sound like pure irony in the peasants mouths, especially since they are later tortured under the orders of the same king. And the final royal pardon is given by force of circumstance, not kingly tolerance, since nobody confesses to the deed. The king thus comes off as rather callouswhich may not be what Lope de Vega intended, but which definitely helps to remove it from the orthodoxies of former ages.