The date of Calderon's death is variously stated, but that of 1681, on the 25th of May, Whitsuntide day, which is given by an old biographer, his great friend and panegyrist, appears to be the most correct.
To revert to the parallel between the two great Spanish dramatists. Lope was bolder and ruder, Calderon more brilliant and refioed, a keener observer of the female mind and manners, a readier contriver of plots, which are full of business and bustle, naturally arising from intricacies which are most happily disentangled In his denoftements. In this respect he surpasses even Morcto and Solis, but be does not always keep within the rules of strict morality. He allows vice too frequently to triumph, out of deference, probably, as some would have it by way of apology for him, to the fashionable morals of the time. The chivalrous delicacy as to the point of honour, which often supplies the place of morality, is displayed in its most favourable aspect in some of his dramas. Sometimes he appears to be seized with a moralising fit, which contrasts strangely with the levity, merriment, intrigues, and mad gallantry which were exhibited for the first time on the Spanish stage in his ' Comedies de Capa y Espicla ' (Playa of Cloak and Sword). These pieces take their name from the dress in which they were performed (then the general costume of the gentry throughout Europe), and in contradistinction to the ' Comedies heroicaa' (Historical Dramas), which were intended to excite surprise and admiration. In the latter, love is the feeling which actuated the
champions of chivalry, while in the former it is merely a verbose and glozing gallantry which succeeded to the poetical worship of the fair. These being a sort of dramatised novels, on subjects selected from fashionable life, gave full scope to Calderon's elegance of language, gracefulness of dialogue, facility of versification, richness of diction, and fertility of imagination; qualities indeed which sometimes make him too diffuse.
Calderon gave the last polish to the Spanish theatre without changing its nature. He imparted dignity to the historical, or, as they were styled ' heroic' comedies ; but while some of them are the best, others are the most trivial of his productions, and are full of historical blunders.
The greater part of Calderon's works were published at Madrid in 9 vole. 4to, 1689: the first three volumes contain his comedies, and the six last a great number of his 'Autos Sacmmentales: They were reprinted at Madrid in 1726 and 1760 in 10 vols. 4to. A collection of his Autos ' appeared also at Madrid in 1759 in 6 vols. 4to. In 1830 George Keil published at Leipzig a splendid edition of Calderon in 5 vols. 8vo; other editions of his plays have since been published. The Teatro Espailol,' published by La Huerta, gives but a partial idea of Calderon'e talent; for he has selected the ' Comedies de Cepa y Espada,' two only excepted, one of which is styled 'heroica,' although it belongs to the mythological class.