The Colors of Curiosity: Ekphrasis from Marguerite de Navarre to María de Zayas’ <i>Tarde llega el desengaño</i>
María de Zayas’ <i>Tarde llega el desengaño</i>, the fourth tale in her <i>Desengaños amorosos</i> (1641), is one of the most studied novellas in the collection. The reader’s curiosity may stem in part from the main model for the tale, the Apuleian story of Cupid and Psyche,...
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| Format: | Article |
| Language: | English |
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MDPI AG
2025-04-01
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| Series: | Humanities |
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| Online Access: | https://www.mdpi.com/2076-0787/14/4/85 |
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| Summary: | María de Zayas’ <i>Tarde llega el desengaño</i>, the fourth tale in her <i>Desengaños amorosos</i> (1641), is one of the most studied novellas in the collection. The reader’s curiosity may stem in part from the main model for the tale, the Apuleian story of Cupid and Psyche, which has <i>curiositas</i> as its central motivation. Nevertheless, this essay argues that one of the reasons that the tale has attracted so much attention has to do with the vividness of its scenes, the chromatic design that Zayas uses to write for the eyes and the relationship of these topics to curiosity. The text induces characters and readers to marvel not only at a colorful scene but also to seek to understand the choice of colors in eight impacting ekphrasis in the novella. These colors color emotions and arouse our curiosity regarding scene, symbol, shade, and character. In addition, Zayas alludes to a painting included in one of Marguerite de Navarre’s novellas to further arouse curiosity and visual memory. |
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| ISSN: | 2076-0787 |