ABSTRACT:Lope de Vega’s El caballero de Olmedo, El perro del hortelano, and El castigo sin venganza historically have been viewed as plays concerned primarily with questions of love and honor. It has been argued that because Lope favors theme over action, his plays generally exhibit little psychological depth and his characterization may not appear as complex or nuanced as it could otherwise be. Lope’s aim as a playwright was to entertain and please his audience by giving them dramas that were exciting and that had a high degree of verisimilitude in terms of popular language, thinking, feeling, and behavior. As such, the plays tend to relegate psychology and other less immediate aspects of human existence to a secondary plane, using them only to the extent that they lend themselves to a lively illustration of theme or action. Be that as it may, a good number of Lope’s works do reveal a metaphysical dimension and owe much of their structure and appeal to the psychological dynamics of complex love triangles. The mechanics of these triangles and the role they play in the three comedias in question constitute a promising avenue of exploration. Concepts such as Denis de Rougemont’s notion of passionate love and René Girard’s theory of mimetic desire can be used productively in a reinterpretation of these plays, thus affording new perspectives into the development of the intrigues so much at the heart of Golden Age comedias. (JS)

中文翻译：

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为爱而死：Lopean 戏剧中的爱欲与暴力

摘要：Lope de Vega 的 El caballero de Olmedo、El perro del hortelano 和 El castigo sin venganza 在历史上被视为主要关注爱和荣誉问题的戏剧。有人认为，由于洛佩偏爱主题而非动作，因此他的戏剧通常表现出很少的心理深度，而且他的人物塑造可能不会像其他方式那样复杂或细致入微。洛佩作为剧作家的目标是通过给观众提供令人兴奋的戏剧，并在流行语言、思想、感情和行为方面具有高度的真实性，从而娱乐和取悦观众。因此，这些戏剧倾向于将人类存在的心理学和其他不那么直接的方面降级到次要层面，仅在它们有助于生动地说明主题或行动的情况下才使用它们。是因为它可能，Lope 的许多作品确实揭示了形而上学的维度，它们的大部分结构和吸引力都来自复杂的三角恋的心理动力。这些三角形的机制以及它们在三部喜剧中所扮演的角色构成了一条有希望的探索途径。丹尼斯·德·鲁日蒙 (Denis de Rougemont) 的激情爱情概念和勒内·吉拉德 (René Girard) 的拟态欲望理论等概念可以有效地用于重新诠释这些戏剧，从而为黄金时代喜剧的核心阴谋的发展提供新的视角。(JS) 这些三角形的机制以及它们在三部喜剧中所扮演的角色构成了一条有希望的探索途径。丹尼斯·德·鲁日蒙 (Denis de Rougemont) 的激情爱情概念和勒内·吉拉德 (René Girard) 的拟态欲望理论等概念可以有效地用于重新诠释这些戏剧，从而为黄金时代喜剧的核心阴谋的发展提供新的视角。(JS) 这些三角形的机制以及它们在三部喜剧中所扮演的角色构成了一条有希望的探索途径。丹尼斯·德·鲁日蒙 (Denis de Rougemont) 的激情爱情概念和勒内·吉拉德 (René Girard) 的拟态欲望理论等概念可以有效地用于重新诠释这些戏剧，从而为黄金时代喜剧的核心阴谋的发展提供新的视角。(JS)