Abstract

This paper analyses the variants found in the courtly loas of Calderón de la Barca according to the generic type of this dramatic genre in the second half of the seventeenth century. The conclusion shows how the imprecise pattern noticed in the Loa de Los tres mayors prodigios (1636) and in the Loa de El golfo de las sirenas (1657) can be explained by taking the rest of Calderon’s plays into account and considering the increasing popularity of the comical within the court theatre at that time.