Abstract

This work reviews the resources that are used in dramatic works of Calderón de la Barca for the treatment of the representatives of the authority; that is, the presence on stage of what Gonzalo Correas calls «names of honor», for which the protocol of the sixteenth and seventeenth centuries imposes very strict guidelines, is analyzed. The study is based on a selection of works in which representatives of political, military and ecclesiastical power, and characters of different rank, sex and age participate.