Abstract
This article analyses the use of assonances in the romances included by Lope de Vega in his early comedies, by comparing them to other author’s observations on the role of auditory features and by examining their role in the contemporary debate on mimesis. We posit that assonances on /u/ and /o/ occur very frequently in scenes charged with negative affects. Thus, we conclude that with his comedia nueva Lope de Vega created a poetic form in which affects acquired a very high degree of expressiveness in the sonic structure of the verse.
Highlights
Resumen Este artículo analiza el uso de las asonancias en los romances de comedias tempranas de Lope de Vega, partiendo para ello de observaciones sobre la función de aspectos auditivos en otros autores y sobre el debate mimético de la época
afecto. Abstract This article analyses the use of assonances in the romances included by Lope de Vega in his early comedies
frequently in scenes charged with negative affects
Summary
Cita recomendada: Simon Kroll, «Sonido y afecto en el primer Lope», Anuario Lope de Vega. Resumen Este artículo analiza el uso de las asonancias en los romances de comedias tempranas de Lope de Vega, partiendo para ello de observaciones sobre la función de aspectos auditivos en otros autores y sobre el debate mimético de la época. Se podrá observar que las asonancias con /u/ y /o/ tónica aparecen con gran frecuencia en narraciones cargadas de afectos negativos. De manera que se concluye que Lope de Vega crea con la comedia nueva una forma poética en la que los afectos adquieren un grado de expresividad muy alto en las estructuras sonoras del verso. Palabras clave: Lope de Vega; primer Lope; romances; asonancias; afecto
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