The Copla Real in Calderón's Theater

Abstract

Departing from the experience afforded by Calderón Digita, database for Calderón’s theater that includes a detailed metrical synopsis of each work included, this article underscores the presence of the copla real in eight of the fifty titles included to-date in the platform, plus some further cases whose experimental nature pose some doubts. We point out how Calderón uses two different rhyming patterns for the copla real: one previous to 1636, with pie quebrado verses and a preference for tragical contexts; the other, prevalent between 1637 and 1652, and mostly used in glosas. After that period, Calderón leans toward the décima espinela for glosas. The use of the copla real in Calderón’s theater, heretofore unknown by scholars, proves that his polymetry still awaits a detailed study in order to shed light onto its peculiarities.