The Two Lovers of Heaven: Chrysanthus and Daria A Drama of Early Christian Rome   By: Pedro Calderón de la Barca (1600-1681)

Pedro Calderón de la Barca's The Two Lovers of Heaven: Chrysanthus and Daria is a captivating and thought-provoking drama set in early Christian Rome. Through the tale of Chrysanthus and Daria, the author skillfully weaves a story of love, faith, and sacrifice, showcasing the challenges faced by those who dared to defy societal norms during a tumultuous period in history.

The play revolves around the forbidden love between Chrysanthus, a young Roman nobleman, and Daria, a Christian slave. As their feelings deepen, they are thrust into a world torn between their desires and the expectations of family, society, and religion. The author masterfully portrays the inner conflicts faced by the two protagonists, challenging readers to ponder the limits imposed on love and personal freedom.

One aspect that sets this drama apart is Calderón de la Barca's extraordinary character development. The complex and multi-dimensional personalities of Chrysanthus and Daria enable readers to empathize with their struggles and wrestle with the profound questions they face. Their internal dilemmas and external conflicts are depicted with great psychological depth, leaving an indelible mark on the reader long after turning the final page.

Another strength of this play lies in Calderón de la Barca's ability to vividly depict the historical and cultural context of early Christian Rome. The author's extensive knowledge of the time period allows him to create a believable and immersive world, capturing the essence of a society grappling with religious tensions, political instability, and personal dilemmas. This attention to detail adds depth and authenticity to the narrative, enhancing the reader's engagement with the story.

Furthermore, the play's exploration of religious themes and the clash between pagan traditions and early Christianity offers a profound reflection on matters of faith and devotion. Calderón de la Barca does not shy away from tackling complex theological questions, inviting readers to contemplate the nature of divine love, conversion, and redemption. The inclusion of theological debates and discussions within the play adds intellectual rigor and philosophical depth to the narrative, elevating it beyond mere entertainment.

However, despite these strengths, The Two Lovers of Heaven is not without its flaws. At times, the plot feels slightly predictable, following a familiar pattern of tragic love stories. Additionally, the dialogue, while poetic and rich in symbolism, may be too verbose for some readers, occasionally slowing down the pace of the narrative.

In conclusion, Pedro Calderón de la Barca's The Two Lovers of Heaven: Chrysanthus and Daria stands as a remarkable piece of dramatic literature, offering a powerful exploration of love, faith, and societal expectations. With its memorable characters, evocative setting, and thought-provoking themes, this play continues to resonate with readers, challenging them to contemplate the complexities of human nature and the primacy of love in the face of adversity.

First Page:

THIS motto is taken from the engraved coat of arms prefixed to an historical account of "the very noble and ancient house of Calderon de la Barca" a rather scarce work which I have never seen alluded to in any account of the poet. The circumstances from which the motto was assigned to the family are given with some minuteness at pp. 56 and 57 of the work referred to. It is enough to mention that the martyr who first used the expression was Don Sancho Ortiz Calderon de la Barca, a Commander of the Order of Santiago. He was in the service of the renowned king, Don Alfonso the Wise, towards the close of the thirteenth century, and having been taken prisoner by the Moors before Gibraltar, he was offered his life on the usual conditions of apostasy. But he refused all overtures, saying: "Pues mi Dios por mi murio, yo quiero morir por el", a phrase which has a singular resemblance to the key note of this drama... Continue reading book >>