La aurora en Copacabana: A Calderonian Tapestry

Even as we approach the quincentenary of Columbus's arrival in America, Calderón's only drama americano has not received the crítical and bibliographical appreciation which it deserves. La aurora en Copacabana (c. 1661), is based on the Spanish conquest and christianization of Peru, its major sources being the chronicles of Fray Ramos Gavilán and the Inca Garcilaso. Anchored firmly in the traditions of the comedia and the auto sacramental, the play incorporates the thematic and dramatic features of Calderón's honor, philosophical and mythological dramas into its historico-religious framework.

La aurora has enjoyed some critical attention in at least two doctoral theses (excluding my own which forms the basis of this discussion) and a number of shorter studies. These, however, largely confine themselves to the religious and historical motives of the drama. Nobody seems to have noticed the composite nature of the play, and the critics have not succeeded in classifying it. The truth is that La aurora defies classification, and is best seen as the essential Calderonian play. This discussion will present the play, as one which comprehends all aspects of the poet's concerns and dramatic craft.