This article analyses the endings of 120 plays by Pedro Calderon de la Barca (seven of them written in collaboration) and classifies the captatio benevo-lentiae formulas that appear in them, related to the Baroque taste for met-aliterary artifice. The study of the chronological evolution of the selection of such codified references is not only essential for understanding the modus scribendi of Calderon, but can also be considered a new tool for the dating of certain works and the establishment of authorship.
