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Content analysis of responses revealed systematic differences in the cultural prototypes of pride and shame; these differences can be seen as reflecting the influence of individualistic versus honor-based values on the way in which self-conscious emotions are conceptualized. (Fischer)
The focus on the traditional values of respect to royalty and honor of women has been a part of the Spanish tradition and much of traditional Spanish literature uses honor-related themes as a conspicuous backdrop, even if in a diluted form in modern Spanish Drama. Lope de Vega’s play Fuente Ovenjuna, written sometime between 1612 and 1614 portrays the conflict of these values as interpreted by the various strata of the social structure. This play not only structures itself around the play of ‘pride, anger and shame’ between the hoi-polloi and the riff-raff, but allows the reader to take a macro view of the use of these emotions by the characters to project their sense of ethics and morality; and thus, safeguard their own honor.
According to Alix Inger in ‘What is an honor play?’, an honor play essentially deals with the theme of conjugal honor; that is, the respect of a man threatened by the behavior of his wife. However, in the Golden Age, the preoccupation with conjugal honor came to acquire newer dimensions and the subject acquired larger proportions. Now, conflict of the type lay not only in gender but also in class, age, allegiance and a collective psyche. While one may largely agree with Inger’s inference of such development; it is pertinent to remark that in ‘Fuenteovejuna’, no matter where the conflict lay; the perpetration and the resolution of honor-conflicts lay mostly with the female protagonist of the play.
As ascribed in the paper ‘Courtesy, Altruism and Honor’, there is a direct correlation between the interpretation of honor and the issues of courtesy, opinion, authority and respect. Whether it is the Comendador’s use of the age-advantage
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