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Title: Fuente Ovejuna
Author: Lope de Vega
Release Date: August 30, 2019 [eBook #60198]
Language: Spanish
Character set encoding: UTF-8
***START OF THE PROJECT GUTENBERG EBOOK FUENTE OVEJUNA***
| Note: | Images of the original pages are available through Internet Archive. See https://archive.org/details/fuenteovejunacom00vega |
COLECCION UNIVERSAL
N.os 5 y 6
LOPE DE VEGA
COMEDIA
Edición revisada por Américo Castro
Precio: Una peseta
MADRID, 1919
Talleres "Calpe", Ríos Rosas, 24.—MADRID
Como tantas otras comedias de nuestro teatro, la presente—publicada en 1619—se basa en un hecho histórico: en 1476, los vecinos de Fuente Ovejuna (Córdoba) tomaron venganza, en la persona del comendador de la Orden de Calatrava, de las vejaciones inhumanas que aquél les hacía padecer. La crónica de Rades y Andrada narra prolijamente la justicia hecha por los aldeanos y la pesquisa ordenada por los Reyes Católicos.
Culmina en este drama el espíritu rústico y primitivo, que animó los ternas populares, muy activos dentro del teatro de nuestro siglo XVII, siglo próximo a la Edad Media tanto por su pensamiento como por la forma de sentir la vida. Otras comedias de Lope poetizan la caballerosidad o la altivez aldeana (El alcalde de Zalamea, Peribáñez, El mejor alcalde, el rey, El villano en su rincón, etc.); Fuente Ovejuna, empero, tiene como héroe a toda una villa, cuya fisonomía va concretándose en una firme progresión y acaba por adquirir tremenda e indivisible personalidad.
Los aldeanos se rebelan contra una autoridad de privilegio y se someten a la monarquía nacional, que a la sazón representaba la uniformidad de la ley, un ideal más amplio, una mayor garantía de justicia para el pueblo. De esta suerte el drama es de una profunda lógica dentro de la historia: los vecinos de [6] Fuente Ovejuna dan a su pleito la única solución jurídica y democrática entonces posible. Si sólo pensáramos que se trata de un cambio de señores y que la villa aclama a la autoridad que, con bárbara tozudez, desgarra las carnes de sus habitantes, entonces nos parecería poco motivada aquélla grandiosa conspiración.
Es curioso observar que Fuente Ovejuna fué traducida al ruso y que sus representaciones provocaron frenético entusiasmo entre las masas oprimidas por el zarismo.
Literariamente, tenemos aquí una de las más intensas producciones del teatro nacional. Lope supo conducir maravillosamente los hilos sentimentales que le ofrecía el episodio narrado en la crónica. Diversos chispazos heroicos van preparando el momento trágico en que los habitantes de la villa, sin flaquear, gimen bajo las cuerdas de la tortura. Pero esta suprema belleza, las múltiples situaciones de interés y el atractivo de los versos se manifestarán al lector sin necesidad de que el editor lo advierta.
Para imprimir esta comedia se ha tenido en cuenta el texto de la parte XII de Lope, publicada en 1619. Los paréntesis cuadrados [ ] indican que se añade algo. No se advierte, sin embargo, la modificación de algunos pequeños errores del texto, de todo punto evidentes.
De esta comedia existe un manuscrito en la biblioteca de Parma, copia del texto de 1619, y otro no autógrafo, en poder de lord Ilchester (Londres), que no hemos podido consultar. Por consiguiente, carecemos [7] de recursos para enmendar ciertos pasajes defectuosos de la obra, que quizá sólo se aclararían si se conservara el autógrafo. Cuando éstos existen se notan siempre grandes diferencias entre el autógrafo y el impreso de la época; Fuente Ovejuna, pues, contiene también yerros, que no siempre podremos enmendar. El lector excusará este pequeño alarde de erudición; pero como las ediciones llamadas monumentales están hechas, en realidad, con una gran negligencia, no hemos podido limitarnos en este caso a reproducir, sin más, una edición anterior.
No hemos puesto más indicaciones escénicas que las que figuran en el original. En el siglo XVII apenas se usaban las decoraciones, y los cambios y movimientos escénicos se deducían de las palabras de los actores. Ahora el lector tendrá que deducirlos del contexto. Lo creemos preferible a alterar el carácter original de la obra con adiciones personales.
Hablan en ella las personas siguientes:
Fernán Gómez [comendador].
Ortuño.
Flores.
El Maestre de Calatrava.
Pascuala.
Laurencia.
Mengo.
Barrildo.
Frondoso.
Juan Rojo.
Esteban, Alonso, alcaldes.
Rey don Fernando.
Reina doña Isabel.
Un Regidor.
Cimbranos, soldado.
Jacinta, labradora.
Un Muchacho.
Algunos LABRADORES.
Un Juez.
La Música.
[Don Manrique].
[Leonelo].
(Salen el Comendador, Flores y Ortuño, criados.)
(Sale el Maestre de Calatrava y acompañamiento.)
(Vanse, y salen Pascuala y Laurencia. )
(Salen Mengo y Barrildo y Frondoso.)
(Sale Flores.)
(Salen el Comendador y Ortuño; Músicos; Juan Rojo y Esteban, Alonso, alcaldes.)
(Cantan.)
(Cantan.)
(Vanse.)
(Vanse.)
( Vanse los dos y salgan el Rey don Fernando, la Reina doña Isabel, Manrique y acompañamiento .)
(Salen dos Regidores de Ciudad Real.)
(Vanse todos y salen Laurencia y Frondoso.)
(Sale el Comendador.)
(Sale Frondoso y toma la ballesta.)[55]
(Vase.)
(Salen Esteban y Regidor 1.°)
(Salen el licenciado Leonelo y Barrildo.)
(Salen Juan Rojo y otro labrador.) [65]
(Salen el Comendador, Ortuño y Flores.)
(Vanse.)
(Sale Cimbranos, soldado.)[76]
[Vanse.]
(Salen Mengo y Laurencia y Pascuala, huyendo.)
(Sale Jacinta.)
(Vase.)
(Vase.)
(Salen Flores y Ortuño.)
(Salen el Comendador y Cimbranos.)
(Vanse.)
(Llévanla y vanse, y salen Laurencia y Frondoso.)
(Escóndese.)
(Salen Esteban, alcalde, y el Regidor.)
(Vanse, y quedan Frondoso y Laurencia.)
[Vanse.]
(Salen el Maestre, el Comendador, Flores y Ortuño.)
(Dentro.)
(Sale la boda. Músicos, Mengo, Frondoso, Laurencia, Pascuala, Barrildo, Esteban y Alcalde [Juan Rojo].)
(Salen el Comendador, Flores, Ortuño y Cimbranos.)
(Vase él y los suyos.)
(Vase.)
(Vase.)
(Salen Esteban, Alonso y Barrildo.)
(Salen Juan Rojo y el Regidor.)
(Sale Mengo.)
(Sale Laurencia, desmelenada.)
( Vanse todos.)
(Salen Pascuala, Jacinta y otras mujeres.) [118]
(Vanse.)
( Sale Frondoso, atadas las manos; Flores, Ortuño, Cimbranos y el Comendador.)
(Ruido suene.)
(Ruido.)
(Vase.)
(Salen todos.)
(Vanse, y salen las mujeres armadas.)
(Vase.)
(Sale Flores huyendo, y Mengo tras él.)
(Sale Ortuño huyendo de Laurencia.)
(Vanse, y salen el Rey don Fernando y la Reina doña Isabel, y don Manrique, maestre.)
(Sale Flores, herido.)
(Vanse, y salen los labradores y labradoras, con la cabeza de Fernán Gómez en una lanza.)
(Saca un escudo Juan Rojo con las armas [reales])
(Sale el. Regidor)
(Vanse, y salen el Maestre y Un soldado.)
(Vanse; sale Laurencia sola.)
(Sale Frondoso.)
(Voces dentro.)
(Dice dentro el Juez, y responden.)
(Salen con Mengo, Barrildo y el Regidor.)
(Vanse.)
(Vanse, y salen el Rey y la Reina y Manrique [luego].)
(Sale Don Manrique.)
([Vase, y] sale el Maestre.)
(Sale Manrique.)
(Sale el Juez.)
(Salen los dos Alcaldes, Frondoso, las mujeres y los villanos que quisieren.)
FIN
| Páginas. | |
|---|---|
| Acto primero | 13 |
| Acto segundo | 61 |
| Acto tercero | 109 |
[1] Seguro, descuidado, ajeno.
[2] El original, pretenden.
[3] Juana la Beltraneja, hija, según se supuso, de D. Beltrán de la Cueva, privado del rey Enrique IV y amante de la reina.
[4] El original, entrambos.
[5] Lunada, pernil.
[6] Zalacatón, trozo de pan.
[7] Vasija untada de pez.
[8] Nombre de las pascuas, «putas, bellacas, alcahuetas». (Correas, Vocabulario.)
[9] El original, al gracioso, entremetido.
[10] Descompuesto, audaz, atrevido.
[11] Moscatel, hombre pesado e importuno. El original, liberal, al moscatel.
[12] Madeja, hombre flojo y dejado.
[13] Soncas, a fe, en verdad.
[14] El original, materia.
[15] Puesto que, aunque.
[16] «Frase que se entiende de los caballos, para dar a entender que tienen alguna señal blanca en el hocico, de la cual se infiere que serán buenos y leales.» (Diccionario de Autoridades, de 1726.)
[17] Regimiento, el concejo municipal.
[18] Tirte ahuera, ¡anda allá!
[19] Instrumento de música, llamado también bajón.
[20] Saludar, usar de ciertas fórmulas (hacer cruces con saliva, etcétera), pretendiendo curar la rabia y otros males.
[21] Falta un verso para el romance, pero no para el sentido.
[22] Botón con que se disparaba la ballesta.
[23] El original, y ignorantes.
[24] El que será después y fué antes.
[25] Al muchacho que llegaba primero a la escuela le daban la palmeta para que aplicase los castigos.
[26] El original, del.
[27] Falta un verso para la octava.
[28] El original, a un.
[29] Quistión, cuestión, tormento.
[30] Hacer pariente, juntar, reunir.
[31] El original, les honran.
[32] El original, obras.
[33] El original, quieren.
[34] Falta un verso.
[35] Melecina, lavativa.
[36] El original, Mengo.
[37] Seta, secta.
[38] Obsequias, funerales.
[39] La frase está construída como si hubiese escrito el autor: «En tanto que Fernando humilla a tantos enemigos.»
[40] Aunque.
[41] Inorme, forma anticuada de «enorme».
[42] Cabo, el jefe.
[43] El original, agora.
[44] El pueblo.
[45] Falta un verso para la redondilla, pero no para el sentido.
[46] Falta el principio del verso.
[47] Punta, sabor agrio del vino. Mengo ha debido hacer antes un gesto de desagrado.
[48] El original, lea.
Nota del Transcriptor:
Se ha respetado la ortografía y la acentuación del original.
Se han corregido los errores obvios de imprenta.
***END OF THE PROJECT GUTENBERG EBOOK FUENTE OVEJUNA***
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