The time when the Spain's everlasting play-writer Lope de Vega gained public popularity and achieved successful dramatic reformation was the early 17th century when the baroque trend was starting to sprout throughout the Spanish literature. Thus, in Lope's plays, these new literature trend called the baroque trend was reflected upon through many diverse methods. At the time, Lope and his followers' new plays were even called the "Teatro nacional" and the big success it enjoyed was in big part due to the original and complex story development through its distinctive comic mood. Thus, even though Lope's works belong to early baroque period, the disillusionment of the gloomy reality and the pessimism of the life, the two big factors that are inherent in baroque, are not easily seen on Lope's major dramatic plays which made it different from other writers and other genre of literature of the same time period. However, there are cases when the disillusionment and the pessimistic attitude towards life and reality are explicitly shown in Lope's plays and this is realized through the specific tragic accidents called "death" in his works. Consequently, this paper is to shed light on the death images in Lope's plays with the following two types of method. The first method will cover how Lope criticized the illogicality of the world through the pitiful and illogical death of Alonso who is the main character of the El caballero de Olmedo and how he expressed the disillusionment of the world he saw. The second method will take a look at how tragic and extreme humans and human lives can change into through the tragic and miserable last moment of Federico and Casandra who are the main characters in El castigo sin venganza. Through this paper, the justification of baroque generality that Lope's plays carried could be justified more soundly. Also, even though it may be a little bit humble, this paper will serve as a momentum to approach Lope's dramatic world in a more general way.