TOPONYMS IN THE CONTEXT OF LOPE DE VEGA’S WORKS

Abstract

This article examines the originality of Lope de Vega's work. He was a representative of the Spanish Baroque, the founder of classical Spanish drama, which combined elements of comedy and tragedy. Lope de Vega was not a reformer in the field of dramaturgy in the full sense of the word, but he resolutely refused the principle of “unity of place, time and action” adopted at that time. However, the parameter of “place” remains significant for the outstanding author. Therefore, an important element of Lope de Vega’s style are toponyms, which perform various functions in his works, transforming from a real sign into an artistic one: the place of the event is often transformed into a city where the event takes place, and is interpreted as an element of visual perception, as a work of art (an echo of theoretical studies of the Renaissance), or as a panorama (the understanding of the world in the Baroque period). In the works of Lope de Vega, the city is often decorated with attributes of Baroque architecture, turning into a theatrical stage, and everyday life in the city is accompanied by an atmosphere of holiday. But at the same time, the city carries the concept of threat and death, since in the "human anthill" anyone can easily lose not only their body, but also their soul. Or, conversely, the city can symbolize the peace of their parents' home. In Lope de Vega’s artworks, toponyms artistically represent both real Spanish locations and serve as the basis for intrigues and conflicts characteristic of his prose or verse works. By setting his plays in recognizable or familiar places, Lope de Vega seeks to establish a connection with the society of his time and have a greater impact on the audience.