<P> Honor is a major theme in Spanish Golden Age drama . Theatre was used as a metaphor for life, and honor was therefore represented in a number of ways on stage, for example, reputation, and juxtaposed against disillusionment and hypocrisy . Right versus wrong is a common theme in plays from this period and Lope de Vega himself believed that everyone reacts to honor . Honorable (Christian) conduct is enforced by the public and to lose your honor is to live in shame and despair . A large number of plots focus on the fear of lost reputation and on masculine honor based on women's chastity . While women seem to control their men's honor, gender roles are only very conservatively challenged . While poverty is everywhere, the plays are filled with picturesque scenes, glorious churches, and courts . Still, the playwrights of the time throw a bit of cynicism in their work . The stock character of the gracioso (disillusioned clown) survives the stories without even wondering about right and wrong . </P> <Ul> <Li> Lope de Vega (November 25, 1562--August 27, 1635) One of the key figures in the Spanish Golden Century of Baroque literature . His reputation in the world of Spanish literature is second only to that of Cervantes, while the sheer volume of his literary output (between 800 and 1800 plays) is unequalled, making him one of the most prolific authors in the history of literature . His most notable play is Fuenteovejuna (1613). </Li> <Li> Calderón de la Barca (January 17, 1600--May 25, 1681) During certain periods of his life he was also a soldier and a Roman Catholic priest . Born when the theatre was being defined by Lope de Vega, he developed it further, his work being regarded as the culmination of the Spanish Baroque theatre . As such, he is regarded as one of Spain's foremost dramatists and one of the finest playwrights of world literature . One of his most notable plays is Life is a Dream (1629--1635). He also wrote about 80 Autos Sacramentales . </Li> <Li> Lope de Rueda (1510--1565) A very versatile writer, he wrote dramas, comedies, farces, and pasos . He was the precursor to what is considered the golden age of Spanish literature . His predecessors wrote mostly for court, but he was able to use his abundance of riotous humour, great knowledge of low life, and a most happy gift of dialogue to create a taste for drama . His works were issued posthumously in 1567 by Timoneda and include Eufemia, Med Ora, Arinelina, and Los Engañados . </Li> <Li> Sor Juana Inés de la Cruz (November 12, 1651--April 17, 1695) An important female Mexican self - taught playwright, poet, and nun . While she lived in colonial era Mexico during the time when it was ruled by Spain, she is considered both a Mexican and Spanish Golden Age dramatist . One of her notable works include Loa to the Divine Narcissus . She is also pictured on the 200 pesos bill issued by the Banco de Mexico . </Li> <Li> Juan del Encina (July 12, 1468--late 1529 or early 1530) Often called the Founder of Spanish Drama . One of his notable works is Cancionero (1496), a collection of lyrical and dramatic poems . </Li> <Li> Gil Vicente (1465--1536) Called the Trobadour, he was a Portuguese playwright and poet who acted in and directed his own plays . He worked in Portuguese as much as he worked in Spanish and is thus, with Juan del Encina, considered joint - father of Spanish drama . </Li> <Li> Tirso de Molina (March 24, 1579--March 12, 1648) A Baroque dramatist, poet, and Roman Catholic monk . During his lifetime he wrote around four hundred plays, of which only eighty still exist . One of his most famous plays is El Burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest), the piece in which Don Juan is first presented on the stage . </Li> <Li> Francisco de Rojas Zorrilla (October 4, 1607--January 23, 1648) Many of his works were adapted outside of Spain . His main pieces are Del rey abajo ninguno and No hay padre siendo rey, both published in the 1640s . </Li> </Ul> <Li> Lope de Vega (November 25, 1562--August 27, 1635) One of the key figures in the Spanish Golden Century of Baroque literature . His reputation in the world of Spanish literature is second only to that of Cervantes, while the sheer volume of his literary output (between 800 and 1800 plays) is unequalled, making him one of the most prolific authors in the history of literature . His most notable play is Fuenteovejuna (1613). </Li> <Li> Calderón de la Barca (January 17, 1600--May 25, 1681) During certain periods of his life he was also a soldier and a Roman Catholic priest . Born when the theatre was being defined by Lope de Vega, he developed it further, his work being regarded as the culmination of the Spanish Baroque theatre . As such, he is regarded as one of Spain's foremost dramatists and one of the finest playwrights of world literature . One of his most notable plays is Life is a Dream (1629--1635). He also wrote about 80 Autos Sacramentales . </Li>

Spanish golden age playwright who is said to have written 1 500 plays