El paradigma métrico del siglo XVII: el Primus Calamus de Juan Caramuel

Abstract

This article approaches the theoretical discussion on the form of the verse in the XVIth and XVIIth century. After a long demonstration, the author affirms that the sonorous aspect was fundamental. Which caused a specialization in the performance of the versified speeches. The point jointly among all the theorist of both analyzed centuries, relapses in applying a method of analysis based on the scansion to the speeches structured in verse. This idea is central and from two applications arise: first, a methodology for receipt of the text. That is to say, in the measure that the reader educates his ear and distinguishes the intrinsic harmony of the poem, then the artistic work comes to his brilliance, of not being like that the recipient conforms to the referential element. Secondly, if a scholar insists that "leya cantando" the poem, does this only reverberate in the reader or also in the creator of the work? Said otherwise, first the poetical text is created and Said otherwise, first is poetical text created and then escande?, where the autor focuses: in the letter or in the voice? The author concludes that it was in the oralization of the speech where the artistic object was created. If we accept the previous thing, we will realize the mistake in which they find the modern studies of metrics on having searched in the abstract units as the "metric foot" or in the syllabic count the response to the harmony of the poem.