Calderón’s life is a dream

In Calderón’s play the king of Poland, Basilio, is an astrologer. The stars tell him his son Segismundo will be a tyrant, so he raises the boy chained in a tower in the mountains. Years later he tests the prophecy. Segismundo is drugged, carried to the palace and wakes up as a prince. He’s violent. He throws a servant off a balcony and threatens his own father. So they drug him again and put him back in the tower, and his jailer tells him it was all a dream.

Segismundo’s speech at the end of the second act is one of the most quoted in Spanish: “What is life? A frenzy. What is life? An illusion, a shadow, a fiction, and the greatest good is small; for all of life is a dream, and dreams are only dreams.” He can no longer tell the palace from the tower. Both felt completely real while he was in them.

The third act is where the play turns into philosophy. Soldiers free him and offer him the throne. Segismundo isn’t sure he isn’t dreaming again, and he decides it doesn’t matter. He’ll act well either way. If it’s real, it’s right for its own sake. If it’s a dream, then doing good, as his jailer told him, isn’t lost even in dreams. He spares his father and wins the kingdom.

For the simulation hypothesis, this is the most practical answer on the list. You may never know if your world is base reality. The play says you don’t need to know in order to act. A good act done in a simulation is still a good act, and if there’s waking up, you take your character with you. The play makes a second point too. Basilio’s prediction comes true only because he locked his son away in fear of it.