Fuenteovejuna

The second act opens with several critiques of education versus wisdom. First, Esteban criticizes the astrologers, who undermine his calls for caution, claiming that they don’t really know anything, as they are unable to make specific, prescient predictions, and instead rely on vague or obvious ones:

They foretell the death of an important person

And lo, a king drops dead in Transylvania.

They say there will be lots of beer in Germany,

It will almost definitely rain in England,

You can be sure of bright sunshine in Morocco,

But do beware of biting frost in Russia! (42)

Following this, Leonelo critiques the relatively new technology of the printing press and the newfound abundance of books it has produced. He acknowledges that mass printing has “made known the work of some great minds,” but argues that such wisdom is drowned by drivel, and that society as a whole is lost in “information overload” (43). The view presented is not entirely against education—Barrildo, for example, questions Leonelo’s harsh view—but does serve to question the value of the learned in contemporary society, even aligning the Commander with the educated when he mocks Esteban by suggesting he study Aristotle.

Act Two likewise furthers the juxtaposition between the city and the country; however, it also blurs the line to some extent. The Commander, for example, thanks God “for the big cities / Where a man of taste and style / Can enjoy himself without censure,” yet Esteban questions this perspective, insisting that “God’s commandments still exist, / Even in big cities” (48). Even Flores and Ortuño undermine the Commander’s view, pointing out to him that he doesn’t hide that he doesn’t care about the townspeople, even indirectly suggesting that it isn’t the people who are the problem (49-50). This is, of course, undermined by their willingness to assist in his brutality, but through this act, we also see the townspeople not only reluctant to stand up for themselves, but willing to push aside their fellow peasants to save themselves, as in the case of Laurencia and Pascuala, who disappear rather than assist Jacinta.

Perspective becomes important through this act. The Commander frequently reasons with Laurencia that the other women of the town are more than willing to sleep with him, and that she is the only one who won’t; however, in at least one instance, we get a different version of events: Esteban describes the wife of Pedro Redondo, Sebastiana, as having been gang-raped by the Commander and his soldiers (66), whereas earlier the Commander insisted—and Laurencia appeared to accept—that Sebastiana had been more than willing (37). The dialogue likewise plays with perspective: for example, when Ortuño says that “The little tyrant’s getting jealous” (52), it’s unclear if he is referring to the husband of Marcella, whom the Commander wants to bed, or the Commander himself.

Part of that perspective is that of the value of change, or lack thereof. Broadly, the backdrop of the play is that of tumultuous change, as Ferdinand and Isabella are set to take over Spain, while the Knights of Calatrava fight to resist this change. To that end, the Commander represents conservative tradition, even if that conservatism lasts only as long as it takes him to lose. Tradition is likewise antiquated through Esteban, who acknowledges that seeking the fathers’ blessings for a marriage is more of a formality in contemporary society, which is rapidly changing, such that the young have more agency in the process, a fact he does not appear to bemoan (and in fact, he and Alonso appear to embrace, however shakily). On the other hand, Leonelo, in rejecting the state of contemporary education, also rejects the printing press, exclaiming that society was perfectly fine without it. It’s unclear if we are meant to sympathize with these views, but they do appear to align with Esteban, who values not the learned astronomers but the instincts of farmers. Further, although the view is complicated with regards to cities, it isn’t entirely clear if Esteban’s willingness to give the morality of cities the benefit of the doubt is meant to be naiveté; regardless, cities historically represent progress, warts and all, so juxtaposing the country against the city is another way of juxtaposing tradition against change.

The climax of the play, at the end of the second act, likewise brings all of these factors into conflict with one another. Marriage is simultaneously an agent of change and tradition: it is an institution and, often, a social requirement, but it is one that requires a great change in the lives of those involved. Not coincidentally, after being defeated and potentially changing sides to Ferdinand and Isabella’s, the Commander returns and arrests Frondoso at his own wedding, simultaneously halting the change and undermining tradition, the latter of which is reinforced by his assertion that Laurencia can simply choose someone else to marry, as if the partner is inconsequential. (Alternatively, this could be viewed as reinforcing the institution of marriage as functional, not passionate.) This brings the conflict to its most tense point: if viewed as a conflict between the Commander and Laurencia/Frondoso, the latter have been imprisoned; if viewed as a conflict between the Commander and the townspeople, the latter finally appear to have reached a breaking point.