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Article Title

Emblematic Technique in the Auto Sacramental: Calderón's No hay más fortuna que Dios

Abstract

In lieu of an abstract, the first paragraph of the essay follows:

The autos sacramentales of Pedro Calderón de la Barca ( 1600-8 l) are little known or understood outside the circle of students of Spanish baroque literature. Yet these allegorical plays remain central to Calderón's dramaturgy and are probably the greatest achievement of Western religious theatre left to us. One would guess that the seemingly forbidding and obscure matters of Roman Catholic theology and doctrine embodied in these plays has turned away, if not repelled, readers and playgoers, particularly outside Spain. The prevalent view that Calderón's autos are dry as dust expositions of doctrine and not eminently stageworthy plays is mistaken in large part. Indeed, a more engaged criticism of these plays from a "theatrical" point of view would provide insights into not only Renaissance and baroque theatre but also into the medieval theatre.

Comparative Drama is carried by JSTOR and Project MUSE.

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