Dubravka is a drama of mythological-pastoral content and allegorical meaning written in the mid-third decade of the 17th century by the Croatian author Ivan Gundulić.

Historians of literature agree that Dubrava allegorically represents the city of Dubrovnik and/or the Republic of Ragusa as a country with a long tradition of independence and freedom, which cultivated since medieval times.

Main characters, Dubravka and Miljenko, are nice and noble young couple on whose fate Gundulić builds the dramatic storyline.

Grdan, however, fails in his plan because of the interference of god Lero who causes shakes and thunder and shades flames on the fire just before the wedding ceremony.

In the last scene of the play, on the feast of freedom, priest first offers symbolic votive gift - releasing from a cage birds of the god of love - followed by the appearance of Miljenko with an olive branch and Dubravka with a rose.

Ivan Gundulić, telling the story of the obstacles in the way of a happy love of Miljenko and Dubravka, follows the structure of the pastorals characteristic for his time, especially in Italy, unusually popular in the century in which infatuation between shepherd and shepherdess prevailed in literature.

Dubravka was formed under the influence of the very popular plays like Guarini's Il pastor fido, Tasso's Aminta and Sanazzaro's Arcadia, which were at the time considered peaks of pre-Baroque literature.

Fisherman "emphasizes the fact that Dubrovnik is an independent state ruled by local people with Turkish leadership being only formal with a cost of paying tribute."

[3] According to Ravlić's opinion, Miljenko was a figure that spoke in a poet's name against "accepting citizens among the nobility, and consequently against the possibility that Grdan should marry Dubravka, i.e. the power into his own hands".

[4] Because of the possibility that Gundulić remained isolated in his opinions (as Miljenko on stage), he set problem in the mythical world in order for it to be resolved by gods.

Also, Miljenko, due to his uncertainty in the proclamations of love toward Dubravka as his predetermined companion, brings kind of inappropriate dramatic turn to the pastoral.

[5] Ljubdrag's objurgation of Zagor, because he left his flock and ran away, is an allusion to the economic crisis of Dubrovnik of the time, caused by free citizens fleeing with their possessions and herds, which mostly affected the nobility who lived from estates on which those mercenaries worked.

[6] According to its content, Dubravka is a social satire against progressive and justified demands of young citizens of Dubrovnik; just because of that it also at the same time defends the nobility status quo.

Most significant director of Dubravka was Adam Mandrović, followed by Stjepan Miletić who set it in the St. Mark's Square in 1895 as part of the national repertoire with an emphasis on realistic scenery.

The play was directed by Petar Selem who adjusted it to the war-torn Croatia and the world in which there was fear of terrorism and in which the political corruption has become part of the government and every aspect of society.

Roles: ''Ivan Gundulić'' - Božidar Alić, ''Fishermen'' - Kruno Šarić and Zijad Gračić, ''Miljenko'' - Radovan Ruždjak, ''Dubravka'' - Barbara Vicković.