Abstract

This essay studies two myths that have been proposed as sources for La vida es sueño: the myth of Uranus castrated by Saturn and the story of Saturn dethroned by Jupiter. While both have to do with the confrontation between father and son (Basilio and Segismundo), each brings different themes and motifs to the work. The first has to do with the retention of power and the opposition to freedom; while the second appears in its astrological sense. Basilio is related to the malefic influence of Saturn that leads to incarceration. In its positive aspects, the saturnine influences that fall upon Segismundo allow him to eventually conceive a broader vision, thus pardoning the father and becoming part of a new Golden Age presaged by Rosaura/Astraea. Ruben’s painting, Saturn Devouring his Son, help us to visualize the complementarity that exists between the two major myths that are at the basis of the conflict in Calderón’s work

Abstract

This paper challenges Don Cruickshank’s interpretation of Amor, honor y poder who speculates on the parallels between some play’s characters (Rey Eduardo, Flérida, Teobaldo) and historical personnages in 1623, when the play was performed in Madrid (Philip IV, María Anna of Spain, Prince of Wales). The author shows the flaws in Cruickshank’s arguments and at the end provides some methodological reflections on the analysis and interpretation of dramatic texts.

Abstract

El valido reapareció en España con el duque de Lerma y Felipe III a finales del siglo XVI. A partir de ese momento se escribieron obras de teatro en las que este personaje se convirtió en protagonista. Lo interesante es que no solo encontramos validos en las comedias y dramas, sino también en autos sacramentales. En El lirio y el azucena, representado en 1660, Calderón retrata a don Luis de Haro, primer ministro de Felipe IV, que jugó un papel importante en las conversaciones de paz entre España y Francia y en la boda de María Teresa de Austria y Luis XIV. El análisis del auto sacramental demuestra que, según Calderón, don Luis de Haro fue el último valido o primer ministro de Felipe IV.The favourite reappeared in Spanish politics at the end of the 16th century with the duke of Lerma and Philip III. From that moment,  works were published presenting that minister as main character. Interestingly, these these characters cannot only be found in comedies or dramas but in sacramental plays as well. El lirio y el azucena by Pedro Calderón, performed in 1660, portrays don Luis de Haro, primeminister of Philip IV, who played an important role in the peace talks between Spain and France, and in the marriage of María Teresa de Austria and Luis XIV. The analysis of the sacramental play proves that, according to Calderón, don Luis de Haro was the last favourite or prime minister of Philip IV.