Die Semantik der Assonanzen in Calderóns autos sacramentales

Abstract

This article shows the highly conceptual use of rhyming structures in the Calderonian autos sacramentales, focussing on the assonances of the romances. Based on prior evidences presented by the author, it demonstrates the use of assonances on u-a and a-a in different plays and its interferences with world harmony ideas and its theological implications. Thus, the acoustic materiality of the plays is an important carrier of semantics during the decisive moments of the autos: Assonances on u-a are signals for danger, namely the fall into disgrace, and assonances on a-a usually mark the possibility of reconciliation, that is redemption, and the end of the plays.