La herida que sangra en presencia de la amada: evolución de una imagen en la poesía renacentista, de Cetina a D’Aubigné

In the second half of the sixteenth century, various Spanish, Italian and French poets resorted to an image foreign to the usual repertoire of amorous subjects: the wound of the lover begins to bleed due to the proximity of the lady. This reflects a popular belief that the mere presence of the murderer can cause "accusing" blood to ooze from the corpse. The idea is already found in earlier Petrarchists, such as Serafino Aquilano or Bernardo Pulci. In addition to trying to clarify the possible relations of influence between these verses, whose sources have not yet been sufficiently studied in some cases, we will see how the theme seems ideal for bringing out the genius of each poet. Finally, we will allude to a passage from the famous De Amore of Ficino which could explain the origin and success of this motif in European Petrarchan poetry.