Pedro Calderón de la Barca
Don Pedro Calderón de la Barca | |
---|---|
Born | Pedro Calderón de la Barca y Barreda González de Henao Ruiz de Blasco y Riaño 17 January 1600 Madrid, Spain |
Died | 25 May 1681 Madrid, Spain | (aged 81)
Occupation | Playwright, poet, writer |
Alma mater | |
Literary movement | Spanish Golden Age |
Children | Pedro José |
Relatives | Diego Calderón (father) Ana María de Henao (mother) |
Pedro Calderón de la Barca (17 January 1600 – 25 May 1681) (UK: /ˌkældəˈrɒn ˌdeɪ læ ˈbɑːrkə/, US: /ˌkɑːldəˈroʊn ˌdeɪ lə -, - ˌdɛ lə -/; Spanish: [ˈpeðɾo kaldeˈɾon de la ˈβaɾka]; full name: Pedro Calderón de la Barca y Barreda González de Henao Ruiz de Blasco y Riaño) was a Spanish dramatist, poet, writer and knight of the Order of Santiago. He is known as one of the most distinguished Baroque writers of the Spanish Golden Age, especially for his plays.
Calderón de la Barca was born in Madrid, where he spent most of his life. During his life, he served as soldier and he was a Roman Catholic priest. Born when the Spanish Golden Age theatre was being defined by Lope de Vega, he developed it further, his work being regarded as the culmination of the Spanish Baroque theatre. As such, he is regarded as one of Spain's foremost dramatists and one of the finest playwrights of world literature.[a]
Biography
Pedro Calderón de la Barca was born in
All three of us have always conserved ourselves in love and friendship, and without dividing up assets... we have helped each other in the needs and jobs we have had.[13]
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.
Between 1620 and 1622 Calderón won several poetry contests in honor of St. Isidore at Madrid. Calderón's debut as a playwright was Amor, honor y poder, performed at the Royal Palace 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 with the Spanish army in Italy and
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
Though he did not adhere strictly to this resolution, he now wrote mostly mythological plays for the palace theatres, and
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
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.[15]
Style
Calderón initiated what has been called the second cycle of
As Goethe notes, Calderón tended to write his plays taking special care of their dramatic structure. He therefore usually reduced the number of scenes in his plays as compared to those of
¿Qué es la vida? Un frenesí. |
What is life? A frenzy. |
Indeed, his themes tended to be complex and philosophical, and express complicated states of mind in a manner that few playwrights have been able to manage. Like Baltasar Gracián, Calderón favoured only the deepest human feelings and dilemmas.
Since Calderón's plays were usually produced at the court of the King of Spain, he had access to the most modern techniques regarding scenography. He collaborated with Cosme Lotti in developing complex scenographies that were integrated in some of his plays, specially his most religious-themed ones such as the Autos Sacramentales, becoming extremely complex allegories of moral, philosophical and religious concepts.
Reception
Although his fame dwindled during the 18th century, he was rediscovered in the early 19th century by the German Romantics. Translations by
Although best known abroad as the author of Doctor Zhivago, Boris Pasternak produced acclaimed Russian translations of Calderón's plays during the late 1950s. According to his mistress, Olga Ivinskaya,
In working on Calderón he received help from Nikolai Mikhailovich Liubumov, a shrewd and enlightened person who understood very well that all the mudslinging and commotion over the novel would be forgotten, but that there would always be a Pasternak. I took finished bits of the translation with me to Moscow, read them to Liubimov at Potapov Street, and then went back to Peredelkino, where I would tactfully ask [Boris Leonidovich] to change passages which, in Liubimov's view departed too far from the original. Very soon after the "scandal" was over, [Boris Leonidovich] received a first payment for the work on Calderón.[17]
Already appropriated as a cultural and identitarian Conservative icon in Spain since
English
Although not well known to the current English-speaking world, Calderón's plays were first adapted into English during the 17th century. For instance, Samuel Pepys recorded attending some plays during 1667 which were free translations of some of Calderón's. Percy Bysshe Shelley translated a substantial portion of El Mágico prodigioso. Some of Calderón's works have been translated into English, notably by Denis Florence MacCarthy, Edward FitzGerald, Roy Campbell, Edwin Honig, Kenneth Muir & Ann L. Mackenzie, Adrian Mitchell, and Gwynne Edwards.
Works
Plays
- Amor, honor y poder (Love, Honor and Power) (1623)
- El sitio de Breda (The Siege of Breda) (1625)
- La dama duende (The Phantom Lady) (1629)
- Casa con dos puertas (The House with Two Doors) (1629)
- La vida es sueño (Life is a Dream) (1629–1635)
- El purgatorio de San Patricio (The Purgatory of St. Patrick) (before 1635)
- El mayor encanto, amor (Love, the Greatest Enchantment) (1635)
- Los tres mayores prodigios (The Three Greatest Wonders) (1636)
- La devoción de la Cruz (Devotion to the Cross) (1637)
- El mágico prodigioso (The Mighty Magician) (1637)
- A secreto agravio, secreta venganza (Secret Vengeance for Secret Insult) (1637)
- El médico de su honra (The Surgeon of his Honor) (1637)
- El pintor de su deshonra (The Painter of His Dishonor) (1640s)
- El alcalde de Zalamea (The Mayor of Zalamea) (1651)
- La hija del aire (The Daughter of the Air) (1653)
- Eco y Narciso (Eco and Narcissus) (1661)
- La estatua de Prometeo (Prometheus' Statue)
- El prodigio de Alemania (The Prodigy of Germany) (in collaboration with Antonio Coello)
Operas
Autos Sacramentales (Sacramental plays)
- La cena del rey Baltazar (The Banquet of King Balthazar)
- El gran teatro del mundo (The Great Theater of the World)
- El gran mercado del mundo (The World is a Fair)
Comedies
For a time the comedic works of Calderón were underestimated, but have since been reevaluated and have been considered as masterfully composed works as being classified in the genre of
In modern literature
Calderón de la Barca appears in the 1998 novel The Sun over Breda, by
Notes
- ^ Diego Calderón de la Barca was born in Madrid in 1596. From his grandmother Inés de Riaño's will we know that he was in Mexico in 1612. He married Beatriz Núñez de Alarcón in February 1622 and in 1623 they had a son, José Antonio Calderón, He was a lawyer for the Royal Councils and a rapporteur for War and Justice, helping his parents and uncles several times in legal matters and married in 1653 to the widow Agustina Antonia Ortiz y Velasco. This nephew of Pedro Calderón lived on Calle de las Fuentes and housed the natural son of his uncle, the playwright Pedro José, but he lost his mind and died in 1658, when Pedro José had also died in 1657. As for his father Diego In early 1629 he and his brother, the playwright Pedro, participated in a brawl on Calle Cantarranas, today Lope de Vega, in which comedian Pedro de Villegas, brother of the famous actress Ana de Villegas, was seriously injured. After making a will in Madrid on 13 November 1647, he died later that year.
- ^ Dorotea Calderón de la Barca was born in 1598; She entered the convent of Santa Clara la Real as a novice before the age of fourteen and professed in there of the Order of San Francisco.
- ^ José Calderón, much loved by his brothers, was born in Valladolid in 1602. He completed his military career, in which he got the job of lieutenant-general-field master; He was wounded in the right leg during the siege of Fuenterrabía in 1638 and died in the Catalan war on 23 June 1645.
- ^ An ancestor of his was Hernando Sánchez Calderón, lord of the Torre de Viveda, near Santillana, Santander province. A son of this gentleman, Álvaro Calderón, went to Aguilar de Campoo, where he married Mencía Sanz; he had three children, Pedro, Juan and Francisco; the firstborn went to live in Sotillo, jurisdiction of Reinosa; his grandson, Diego Calderón, settled in Boadilla del Camino, in Tierra de Campos, Palencia province. Her son, Pedro Calderón, went to Toledo, where he would deal with the wealthy heiress Isabel Ruiz, with whom he married around 1570. They settled in Madrid, and Don Pedro obtained the position of secretary of the Council and Chief Accounting Office of the Treasury, in the one succeeded by his son Don Diego, father of the poet, around 1595.[3]
- ^ Eckermann 1837, p. 251.
- ^ a b Prat, Angel Valbuena (1965). Literatura española en sus relaciones con la universal (in Spanish). Sociedad Anónima Española de Traductores y Autores.
- ^ a b c Valbuena Briones 1977, p. 252.
- ^ a b González Mas, Ezequiel (1989). Historia de la literatura española Volume 3 (in Spanish). Editorial de la Universidad de Puerto Rico. p. 171.
- ^ a b Díaz-Plaja, Guillermo (1967). Historia general de las literaturas hispánicas: Renacimiento y barroco (in Spanish). Editorial Vergara. p. 399.
- ISBN 9781351349321.
- ^ ISBN 9780813183565.
- ISBN 9788817112628. Retrieved 6 December 2021.
- ^ Delmelle, Joseph (1966). L'expansion wallonne en Europe. Institut Jules Destrée. p. 77. Retrieved 6 December 2021.
- ^ "Pedro Calderón de la Barca". Larousse. Archived from the original on 22 November 2021. Retrieved 6 December 2021.
- ISBN 9783752352467.
- ^ Boix 1840, p. 1.
- ^ Valbuena Briones 1977, p. 263.
- ^ Sliwa 2008, p. 31.
- ^ "Pedro Calderón de la Barca".
- ^ Schlegel. August Wilhelm. Vorlesungen über dramatische Kunst und Literatur. 2 Vols. Ed. Erich Lohner. Stuttgart: Kohlhammer Verlag, 1967. Vol. 2, pp. 107ff.
- ^ Ivinskai︠a︡ 1978, p. 292.
- ^ Pérez Magallón 2010, pp. 417–448.
- ^ a b Hibbs-Lissorgues, Solange (1994). "Los centenarios de Calderón de la Barca (1881) y Santa Teresa de Jesús (1882): un ejemplo de recuperación ideológica por el catolicismo integrista". Hommage à Robert Jammes: 552.
- ISBN 9780900411106
References
- Boix, Ignacio (1840). Biografia De Don Pedro Calderon De La Barca [Biography of Don Pedro Calderon de la Barca] (in Spanish). Madrid: Boix.
- Calderón de la Barca, Pedro. Life's a Dream: A Prose Translation. Trans. and ed. Michael Kidd (Boulder, Colorado, 2004). Forthcoming in a bilingual edition from Aris & Phillips (U.K.).
- Calderón de la Barca, Pedro. Obras completas / don Pedro Calderon de la Barca. Ed. Angel Valbuena Briones. 2 Vols. Tolle: Aguilar, 1969–.
- Cotarelo y Mori, D. Emilio. Ensayo sobre la vida y obras de D. Pedro Calderón de la Barca. Ed. Facs. Ignacio Arellano y Juan Manuel Escudero. Biblioteca Áurea Hispánica. Madrid;Frankfurt: Iberoamericana; Veuvuert, 2001.
- Cruickshank, Don W. "Calderón and the Spanish Book trade." Bibliographisches Handbuch der Calderón-Forschung / Manual Bibliográfico Calderoniano. Eds Kurt y Roswitha Reichenberger. Tomo III. Kassel: Verlag Thiele & Schwarz, 1981. 9–15.
- Cruickshank, Don W. Don Pedro Calderón. Cambridge and New York: Cambridge University Press, 2009. ISBN 978-0521765152
- De Armas, Frederick A. The Return of Astraea: An Astral-Imperial Myth in Calderón. Lexington: University of Kentucky Press, 1986. ISBN 978-0813152134
- Eckermann, Johann Peter (1837). Gespräche mit Goethe [Conversations with Goethe] (in German). Vol. 1st. Leipzig: Brockhaus.
- Greer, Margaret Rich. The Play of Power: Mythological Court Dramas of Calderón de la Barca. Princeton, N.J.: Princeton UP, 1991.
- Ivinskai︠a︡, Olʹga (1978). A Captive of Time: My Years with Pasternak - The Memoirs of Olga Ivinskaya. Collins and Harvill Press.
- Muratta Bunsen, Eduardo. "Los topoi escépticos en la dramaturgia calderoniana". Rumbos del Hispanismo, Ed. Debora Vaccari, Roma, Bagatto, 2012. 185–192. ISBN 9788878061972
- Parker, Alexander Augustine. The Allegorical Drama of Calderon, an introduction to the Autos sacramentales. Oxford, Dolphin Book, 1968.
- Pérez Magallón, Jesús (2010). Calderón: Icono cultural e identitario del conservadurismo político [Calderón: Cultural and identity icon of political conservatism] (in European Spanish) (1. ed.). Madrid: Cátedra. ISBN 978-84-376-2688-8.
- Regalado, Antonio. "Sobre Calderón y la modernidad." Estudios sobre Calderón. Ed. Javier Aparicio Maydeu. Tomo I. Clásicos Críticos. Madrid: Istmo, 2000. 39–70.
- Kurt & Roswitha Reichenberger: "Bibliographisches Handbuch der Calderón-Forschung /Manual bibliográfico calderoniano (I): Die Calderón-Texte und ihre Überlieferung". Kassel, Edition Reichenberger 1979. ISBN 3-87816-023-2
- Kurt & Roswitha Reichenberger: "Bibliographisches Handbuch der Calderón-Forschung /Manual bibliográfico calderoniano (II, i): Sekundärliteratur zu Calderón 1679–1979: Allgemeines und "comedias". Estudios críticos sobre Calderón 1679–1979: Generalidades y comedias". Kassel, Edition Reichenberger 1999. ISBN 3-931887-74-X
- Kurt & Roswitha Reichenberger: "Bibliographisches Handbuch der Calderón-Forschung /Manual bibliográfico calderoniano (II, ii):Sekundärliteratur zu Calderón 1679–1979: Fronleichnamsspiele, Zwischenspiele und Zuschreibungen. Estudios críticos sobre Calderón 1679–1979: Autos sacramentales, obras cortas y obras supuestas". Kassel, Edition Reichenberger 2003. ISBN 3-935004-92-3
- Kurt & Roswitha Reichenberger: "Bibliographisches Handbuch der Calderón-Forschung /Manual bibliográfico calderoniano (III):Bibliographische Beschreibung der frühen Drucke". Kassel, Edition Reichenberger 1981. ISBN 3-87816-038-0
- Rodríguez, Evangelina y Antonio Tordera. Calderón y la obra corta dramática del siglo XVII. London: Tamesis, 1983.
- Ruano de la Haza, José M. "La Comedia y lo Cómico." Del horror a la Risa / los géneros dramáticos clásicos. Kassel: Edition Reichenberger, 1994. 269–285.
- Ruiz-Ramón, Francisco Calderón y la tragedia. Madrid: Alhambra, 1984.
- Roger Ordono, "Conscience de rôle dans Le Grand Théâtre du monde de Calderón de la Barca", Le Cercle Herméneutique, n°18 – 19, La Kédia. Gravité, soin, souci, sous la direction de G.Charbonneau, Argenteuil, 2012. ISSN 1762-4371
- Sliwa, Krzysztof (2008). Cartas, documentos y escrituras de Pedro Calderón de la Barca [Letters, documents and deeds of Pedro Calderón de la Barca]. València: University of Valencia. ISBN 978-84-370-8334-6.
- Sullivan, Henry W. Calderón in the German Lands and the Low Countries: His Reception and Influence 1654–1980."Cambridge: Cambridge University Press, 1983. ISBN 9780521249027
- Valbuena Briones, Angel (1977). Calderón y La Comedia Nueva [Calderón and The New Comedy] (in European Spanish). Madrid: Espasa-Calpe. ISBN 84-239-1626-X.
- Attribution
- public domain: Chisholm, Hugh, ed. (1911). "Calderón de la Barca, Pedro". Encyclopædia Britannica (11th ed.). Cambridge University Press. This article incorporates text from a publication now in the
Sources
- Corrections have been made to biographical information using
- Cotarelo y Mori, D. Emilio. Ensayo sobre la vida y obras de D. Pedro Calderón de la Barca. Ed. Facs. Ignacio Arellano y Juan Manuel Escudero. Biblioteca Áurea Hispánica. Madrid;Frankfurt: Iberoamericana; Veuvuert, 2001.
- The style section uses the following bibliographical information
- Kurt & Roswitha Reichenberger: "Bibliographisches Handbuch der Calderón-Forschung /Manual bibliográfico calderoniano (I): Die Calderón-Texte und ihre Überlieferung durch Wichser". Kassel, Edition Reichenberger 1979. ISBN 3-87816-023-2
- Enrique Ruul Fernandez, "Estudio y Edición crítica de Celos aun del aire matan, de Pedro Calderón de la Barca", UNED, 2004. ISBN 978-84-362-4882-1
- "A Hundred Years dressing Calderón", Sociedad Estatal para la acción cultural exterior, 2009. ISBN 978-84-96933-22-4
External links
- Works by Pedro Calderón de la Barca at Project Gutenberg
- Works by or about Pedro Calderón de la Barca at Internet Archive
- Works by Pedro Calderón de la Barca at LibriVox (public domain audiobooks)
- A site in Spanish about Calderón at the Biblioteca Virtual Miguel de Cervantes. Includes texts, video, images, and more biographical information.