«Guarda corderos, zagala» Avatares de un romance gongorino en obras de Calderón de la Barca

Góngora’s fondness for music is beyond doubt because, in addition to his own affirmations, we have evident proof in the indisputable musicality of his verses, as well as in the use of musical principles as the basis of his poetic inspiration. It should not be surprising, therefore, the early and abundant musicalization of his romances and letrillas by composers of diverse training and employment, nor that they were used repeatedly in theatrical works of different genres and periods. Being considered Calderón the most gongorist author of the Golden Age authors, it is common for him to repeatedly include some of these poems in his own works. This is the case of the romance «Guarda corderos, zagala», reused in works as different as a corral comedy (El maestro de danzar), two palatial plays (Los tres afectos de amor y Fieras afemina amor) and a sacramental auto (El pastor fido). In this article I will try to decode and understand the expressive and structural use of the song in each of them. In addition, the way in which it is reused in works so different and far apart in time allows us to observe how the function of music in them evolved, as well as the progressive mastery of the author when using it.