Pedro Calderón de la Barca
Pedro Calderón de la Barca y Barreda González de Henao Ruiz de Blasco y Riaño was a Spanish dramatist, poet, and writer. He is known as one of the most distinguished poets and writers of the Spanish Golden Age, especially for the many verse dramas he wrote for the theatre. Calderón has been termed "the Spanish Shakespeare", the national poet of Spain, and one of the greatest poets and playwrights in the history of world literature.
Calderón de la Barca was born into the minor Spanish nobility in Madrid, where he lived for most of his life. He served as soldier and a knight of the military and religious Order of Santiago, but later became a Roman Catholic priest. His theatrical debut was a history play about the life of King Edward III of England, was first performed on 29 June 1623 at the Royal Alcázar of Madrid, during the surprise visit to Spain of Charles, Prince of Wales to negotiate for a dynastic marriage alliance with the Spanish Habsburgs.
As he continued writing verse dramas, Calderón's favorite theatrical genres included mystery plays illustrating the doctrines of Transubstantiation and the Real Presence for performance during the Feast of Corpus Christi and both comedy of intrigue and tragic theatre rooted in many of the same plot devices as Shakespeare's plays and in ethical dilemmas under the Spanish nobility's code of honour. Born while the unwritten rules of Spanish Golden Age theatre were still being defined by Lope de Vega, Calderón pushed their limits even further by introducing radical and pioneering innovations that are now termed metafiction and surrealism.
His masterpiece, La Vida es Sueño, combines a beauty and the beast plotline, a disguised woman reminiscent of Viola from Shakespeare's Twelfth Night, surrealist concepts, romantic complications, and the threat of a dynastic civil war, while exploring the philosophical question of whether each individual's fate has already been written without their involvement or if the future can be altered by free will.
Calderón's poetry and plays have since wielded an enormous global influence upon Romanticism, symbolism, literary modernism, expressionism, dystopian science fiction, and even postmodernism. His many admirers have included August Wilhelm Schlegel, Johann Wolfgang von Goethe, John Dryden, Lord Byron, Percy Bysshe Shelley, Fr. Félix Sardà y Salvany, Hugo von Hoffmannsthal, Vyacheslav Ivanov, Jorge Luis Borges, Konstantin Stanislavsky, and Boris Pasternak.
In 1881, the Royal Spanish Academy awarded a gold medal to Irish poet Denis Florence MacCarthy for his highly praised and accurate literary translations of Calderón's verse dramas into English. In 2021, a renewed search for Calderón's missing remains gained media attention worldwide.
Biography
Pedro Calderón de la Barca was born in Madrid on Friday 17 January 1600, and was baptized in the parish of San Martín. His father, Diego Calderón, was a mountain hidalgo with family origins in Viveda, Cantabria and had inherited his own father's position of secretary of the Council and Chief Accounting Office of the Treasury, serving in it the Spanish Habsburg Kings Felipe II and Felipe III, died in 1615. The playwright's mother, Ana Gonzalez de Henao, had family roots in the Spanish Netherlands and was of either Flemish or Walloon descent. According to James Fitzmaurice-Kelly, she claimed origin from the De Mons of Hainault. His parents married in 1595. Pedro was the third of the six children that the marriage produced, of whom only four survived childhood: Diego, the first-born; Dorotea — nun in Toledo—; Pedro and Jusepe or José. These brothers were always welcome, as Diego Calderón stated in his will :However, they also had a natural brother, Francisco, who hid under the surname of "González" and was expelled from the father's house by Don Diego, although he left written in 1615 that he be recognized as legitimate unless he had married "with that woman he tried to marry", in which case he would be disinherited.
His mother died when Calderón was ten years old, in 1610. Calderón was then educated at the Jesuit Collegio in Madrid, the Colegio Imperial, with a view to taking orders; but instead, he studied law at Salamanca.
Between 1620 and 1622 Calderón won several poetry contests in honor of the feast day of St. Isidore, the patron saint of Madrid. Calderón's debut as a playwright was Amor, honor y poder, about the life of King Edward III of England, was performed at the Royal Alcázar of Madrid during the visit of Charles, Prince of Wales to unsuccessfully negotiate for a dynastic marriage with Infanta Maria Anna of Spain, on 29 June 1623.
This was followed by two other plays that same year: La selva confusa and Los Macabeos. Over the next two decades, Calderón wrote more than 70 plays, the majority of which were secular dramas written for the commercial theatres.
Calderón served in the Spanish Royal Army in Italy and Flanders between 1625 and 1635. By the time Lope de Vega died in 1635, Calderón was recognized as the foremost Spanish dramatist of the age. Calderón had also gained considerable favour in the court, and in 1636–1637 he was made a knight of the Order of Santiago by Philip IV, who had already commissioned from him a series of spectacular plays for the royal theatre in the newly built Buen Retiro palace. On 28 May 1640 he joined a company of mounted cuirassiers recently raised by Gaspar de Guzmán, Count-Duke of Olivares, took part in the Catalan campaign, and distinguished himself by his gallantry at Tarragona. His health failing, Calderón retired from the army in November 1642, and three years later was awarded a special military pension in recognition of his services in the field.
Calderón's biography during the next few years is obscure. His brother, Diego Calderón, died in 1647. A son, Pedro José, was born to Calderón and an unknown woman between 1647 and 1649; the mother died soon after. Calderón committed his son to the care of his nephew, José, son of Diego. Perhaps for reasons relating to these personal trials, Calderón became a tertiary of the order of St Francis in 1650, and then finally joined the priesthood. He was ordained in 1651 and served as a parish priest at San Salvador Church in Madrid, which was later demolished as part of the 19th-century Spanish confiscations. According to a statement Calderón made a year or two later, he decided to give up writing secular drama for the commercial theatres.
Though he did not adhere strictly to this resolution, he now wrote mostly mythological plays for the palace theatres, and autos sacramentales—one-act allegories illustrating the Real Presence in the Eucharist—for performance during the feast of Corpus Christi. In 1662, two of Calderón's autos, Las órdenes militares and Mística y real Babilonia, were the subjects of an investigation by the Spanish Inquisition; the former was censored, its manuscripts confiscated, and it remained banned until 1671.
Even so, Calderón was appointed honorary chaplain to Philip IV in 1663, and continued as chaplain to his successor. In his eighty-first year he wrote his last secular play, Hado y Divisa de Leonido y Marfisa, in honor of Charles II's marriage to Maria Luisa of Orléans.
Notwithstanding his position at court and his popularity throughout Spain, near the end of his life Calderón struggled with financial difficulties, but with the motivation of the Carnival of 1680 he wrote his last work of comedy, Hado y divisa de Leonido y de Marfisa. He died on 25 May 1681, leaving only partially complete the autos sacramentales that he had been working on for that year. His burial was austere and unembellished, as he desired in his will: "Uncovered, as if I deserved to satisfy in part the public vanities of my poorly spent life". In this manner he left the theatres orphaned in which he was considered one of the best dramatic writers of his time.
Style
Theatrical innovator
Calderón initiated what has been called the second cycle of Spanish Golden Age theatre. Whereas his predecessor, Lope de Vega, pioneered the dramatic forms and genres of Spanish Golden Age theatre, Calderón polished and perfected them. Whereas Lope's strength lay in the spontaneity and naturalness of his work, Calderón's strength lay in his capacity for poetic beauty, dramatic structure and philosophical and theological depth. Calderón was a perfectionist who often revisited and reworked his plays, even long after they were first performed.His perfectionism was not just limited to his own work: several of his plays adapt and reimagine existing plays or scenes by other dramatists, improving their depth, complexity, and unity. Calderón excelled above all others in the genre of the "auto sacramental", in which he showed a seemingly inexhaustible capacity to giving new dramatic forms to a given set of theological and philosophical constructs. Calderón wrote 120 "comedias", 80 "autos sacramentales" and 20 short comedic works called entremeses.
As Goethe notes, Calderón tended to take special care with the dramatic structures of his plays. He usually included fewer scenes than other contemporary playwrights so as to avoid any superfluous distractions from the essential focus of the plays. He also worked towards a greater stylistic uniformity by reducing the number of different metres in his plays.
Calderón realized that any play was a work of fiction, and that the structure of the baroque play was entirely artificial. He therefore, probably influenced by Cervantes, made regular use of metafictional techniques, such as making his characters joke about the clichés they are expected to slavishly follow.
Most famously in his masterpiece, La Vida es Sueño, Calderón uses an astrological prophecy made decades before the beginning of the play as a way to deliberately mislead the audience about how the plot will unfold. Calderón intended to subtly defend the Catholic doctrine of free will against the Calvinist doctrine of predestination and to depict the unwritten nature of each individual's future based on their choices.
Although his poetry and plays leaned towards culteranismo, Calderón usually reduced the level and obscurity of that style by avoiding metaphors and references that uneducated viewers would not understand. However, he had a great influence anyway in later centuries upon Symbolism, for example by making a fall from a horse a metaphor for a fall into disgrace or dishonour.