Their horses have bolted, and they fear that they will have to complete the remainder of their journey on foot. They are traveling to the royal court of Poland, and Rosaura is disguised as a man for protection as they make their way through the barbarous frontier country. Their weary way brings them at last to a forbidding fortress.
The topics of his dramas are diverse, ranging from religious faith and revenge to mythological fantasy and marital fidelity. The tone of his works likewise varies from frivolity to gravity.
Like Lope de Vega, he violates the classical sense of decorum by mixing humorous and tragic elements in the same play and by including in highly serious works a stock character known as the gracioso funny oneusually a servant, whose lack of dignity provides occasion for laughter.
Because most of his plays were written for the court, he adopted a style designed to appeal to his educated audience. Thus, his characters often speak a highly complex language, rich in poetic conceits, parallelism, and classical allusions, which is intentionally artificial.
More than any other Golden Age dramatist, he reworked material that had already been used, and he often succeeded in transforming a mediocre work into a quite memorable one. Both plays dramatize the legendary faith of a historic Portuguese prince who, when captured by the Arabs, allegedly chose to die as a martyr rather than order the surrender of the Portuguese-held city of Ceuta in order to gain his freedom.
Like him, she is constant—in her love for Muley. Fernando, on the other hand, can face even the knowledge that the stars which at the time the play was written were believed to influence human destiny are not permanent. Thus, he is neither captivated nor disturbed by temporary things; he recognizes that both physical beauty and misfortune will become lost in eternity, which he believes to be ordered according to a divine plan.
Cloak-and-Sword Plays The theme of appearance versus reality, which is handled seriously in The Constant Prince, is also present in The Phantom Lady and A House with Two Doors Is Difficult to Guard, two Calderonian plays typical of a genre referred to as comedias de capa y espada, or cloak-and-sword plays.
Cloak-and-sword plays have complicated plots revolving around the courtship of one or more sets of middle-class youths who devise ingenious measures to overcome the obstacles to their love. The obstacles are usually presented by a domineering father or brother, anxious to protect the honor or reputation of a daughter or sister, and the young people frequently resort to disguises and other forms of deception, which often backfire with comic results.
Duels are a frequent ingredient of these plays, but they never have grave consequences; cloak-and-sword plays invariably have happy endings involving at least one wedding. As he is unaware of her existence, Don Manuel is also puzzled by Angela, but he refuses to believe that she is a phantom and eventually follows her into her room, where the two of them are discovered by Don Luis.
The use of illusion in the play is obvious. As is typical of many cloak-and-sword plays, only the female characters—Angela and her cousin Beatriz—realize what is really happening. This is especially true of Don Luis, who, on an occasion when Angela has left the house in disguise, follows her and endeavors to seduce her, believing that she is another woman.
Thus, many of the elements of The Phantom Lady—the unknown entrance, disguises, a tyrannical brother, a mysterious and beautiful lady who appears and disappears—are also present in A House with Two Doors Is Difficult to Guard. At the beginning of the play, she is a happily married woman whose happiness is seriously threatened when a former suitor, Prince Enrique, is thrown from his horse a typical occurrence in Golden Age drama with men who are unable to control their passions and is brought to her house to recover.
That night, when her husband is absent, he bribes a servant to gain entry to her house. When her husband returns unexpectedly, for example, she conceals Enrique in her room and later arranges a diversion so that he may leave. In his hasty departure, however, Enrique leaves behind a dagger, which Gutierre discovers and which causes him to suspect his wife of infidelity.
He engages a bloodletter, brings him to the house blindfolded, and orders him to bleed his wife to death. The Surgeon of His Honor is thus typical of a peculiarly Spanish genre that is referred to informally as the wife-murder play. Various elements of the The entire section is 5, words.Sep 18, · Growing up, my grandmother and brothers were a big influence.
My grandmother was a strong woman and my brothers toughened me up. With both inspirations, I had “ . Pedro Calderón de la Barca Drama Analysis he violates the classical sense of decorum by mixing humorous and tragic elements in the same play and Pedro Calderón De La Barca.
Life Is a Dream. Life Is a Dream Historical Context Pedro Calderón de la Barca This Study Guide consists of approximately 57 pages of chapter summaries, quotes, character analysis, themes, and more - everything you need to sharpen your knowledge of Life Is a Dream. Life Is a Dream (Spanish: La vida es sueño [la ˈβiða es ˈsweɲo]) is a Spanish-language play by Pedro Calderón de la Barca.
First published in (or possibly in early ) during the Spanish Baroque period (NADV1), it is a philosophical allegory regarding the human situation and the mystery of life. "Life is a Dream," by Pedro Calderon de la Barca, is currently playing in London.
It is fine a and fun play. It is in many ways like Shakespeare's "Much Ado About Nothing," and it .
Literature. Themes in literature are often varied and hidden. Sometimes you can get through an entire book and not realize what the author meant.