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Reviews163 cas?) may be a Tudelano name for a portable silla de caderas (192). Gaurias may be meant to be either gavias or galerías (78). Although Pascual Bonis is not concerned with linguistic matters, some errors in the documents stand out: causaobientes should be causahabientes (100) and rescidenda, rescindendo (among several obscure terms from the language of provincial leguleyos). The sentence about actors' pay-scales reads better as aquel partido ... del dinero que por la ley y costumbre y estilo entre los representantes se suele ... dar según elpapel (177), and lace with figures worked in is encajes de imaginería not ... de imaginaria (169). Except for the surely incorrect metrical conversion (26, n. 10) the presentation is excellent. C. Alan Soons State University ofNew York at Buffalo Canonica-de Rochemonteix, Elvezio. El poliglotismo en el teatro de Lope de Vega. Kassel: Edition Reichenberger, 1991. Hard cover. 617 pp. In this work C.-de R. analyzes 73 of Lope's plays for their foreign language and foreign dialect content. Lope was a superb artist with the Castilian language, but his use of dialects and other languages, particularly of the non-Romance variety was of a very limited nature, yet credit must be given him for making the effort, however minuscule, to add a cosmopolitan flavor to his works. C.-de R. recognizes that Lope's use of different languages and dialects was primarily for comic purposes. Polyglotism was popular among the literati in the time of Lope. C.-de R. in his introduction comments on Golden Age writers who utilized foreign languages: Tirso de Molina, Quevedo, Góngora, Sor Juana de la Cruz, Quiñones de Benavente, Calderón, Gil Vicente, Encina, and especially Bartolomé de Torres Naharro, to whom Lope, it turns out, was quite indebted, though Lope never acknowledged this indebtedness. The use of foreign languages in the European theater dates back to the Greeks. Foreign languages and dialects appear in Spain's earliest drama in the 12th century, but become more common in the drama of the 16th century, particularly in Bartolomé de Torres Naharro's Soldadesca and Tinellaria, while inklings of polyglotism also appear in Gil Vicente's and in Lucas Fernandez's works. The plays studied by C.-de R. range from Lope's youthful efforts of 164BCom, Vol. 45, No. 1 (Summer 1993) his twenties to works composed in his seventy-third year, the year of his death in 1635. C.-de R.'s book consists of commentary derived from studies published by others on Lope's language. C.-de R. does not study Spanish dialects, although he mentions dialectal studies by Paul Teyssier and Frida Weber de Kurlat, while omitting Lihani's and Charlotte Stern's extensive studies on the sayagués, which was the preeminent dialect of Golden Age comedy. C.-de R's procedure is to give a brief plot summary for each selected play, and then to discuss the bilingual scenes within it. He notes their function as a characterization device, the effect ofthe language on versification of the play, and the connection of foreign terms to the story line. Sometimes C.-de R. draws conclusions on individual plays, and at other times he presents closing paragraphs for a chapter that embrace several plays with foreign languages. The author lists eleven languages used by Lope: macaronic Latin, Italian, Portuguese, French, Flemish, Arabic (for Turkish), Amerinidan, German, Catalan, Basque, and Greek, which appears in the form of toponyms . Some of these languages dominate entire scenes of a play, while others may be represented by only one word found in the entire text (260). C.-de R. finds that the use of foreign languages by Lope contributes not only humor but also a foreign ambience (443), as well as linguistic verisimilitude, along with dramatic realism. Lope ensures comprehension of the foreign languages by his hispanophone audience mostly by using cognates of Spanish, in a sense, a transnational vocabulary (9). Before publishing his plays, Lope often appealed to certain works and authors to verify his foreign language terms. Among his sources were the commedia dell'arte for Italian, and his Gallic brother-in-law for French. Lope's Italian also came from...

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