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The Spanish Suffix -UDO

Published online by Cambridge University Press:  02 December 2020

Anne Wuest
Anne Wuest*
Affiliation:
University of Colorado
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Extract

In Classical Latin a small number of past participles had the ending -utus, e. g., argutus (arguo), locutus (loquor), secutus (sequor), solutus (solvo), volutus (volvo). In Vulgar Latin there is a proliferation of the -utus form, encroaching not only on -itus, but also on -atus. This verb form, so fecund in other parts of Romance territory, was common in Old Spanish but disappeared soon after the thirteenth century. The modern Spanish suffix -udo is an adjectival form which seems to spring rather from -utus forms which were already adjectives in Classical Latin, e.g., canutus, cornutus, nasutus. Meyer-Lubke says that -utus “jouit … en roman d'une vogue extraordinaire”, that “il indique très souvent … non la possession en général, mais une propriété extraordinaire, qui frappe: nasutus ne signifie pas simplement ‘pourvu d'un nez,’ mais ‘pourvu d'un grand nez’ etc.”

Type
Research Article
Information
PMLA , Volume 63 , Issue 4 , December 1948 , pp. 1283 - 1293
Copyright
Copyright © Modern Language Association of America, 1948

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References

1 W. Meyer-Lübke, Grammaire des Langues Romanes, 3 vols. (Paris: H. Welter, 1890), n, 409; C. H. Grandgent, An Introduction to Vulgar Latin (Boston: D. C. Heath, 1907), 42(2).

2 Friedrich Diez, Grammatik der Romanischen Sprachen, 3 vols. (Bonn: Eduard Weber, 1871), ii, 179–180; Ramón Menéndez Pidal, Manual elemental de gramática histórica espanola (Madrid: Victoriano Suárez, 1905), 121 (2).

3 Meyer-Lübke, ii, 565–566.

4 Décima sexta edición (1939).

5 La Anarquía dellenguaje en la America española, 2 vols. (México: author, 1925).

6 Diccionario de Argentinismos, Neologismos y Barbarismos (Buenos Aires: Imprenta de Coni hermanos, 1911).

7 Rufino José Cuervo, Apunlaciones Críticas sobre el Lenguaje Bogotano (Bogota: Editorial “El Gráfico”, 1939), p. 624, 861.

8 Crecimiento del habla (Buenos Aires: A. García Santos, 1925), pp. 76–77.

9 SPAIN: Benito Pérez Galdôs, Gloria (Madrid: Perlado, Páez y Cia, 1908); José M. de Pereda, Sotileza (Madrid: Viuda é hijos de Manuel Tello, 1894); Emilia Pardo Bazán, Los Pazos de Ulloa (Madrid: Administratión, n. d.); Vicente Blasco Ibáńez, La barraca (Valencia: F. Sempere y Cía, [1898?]); Ramón del Valle Inclán, Sonata de primavera (Madrid: Imprenta helénica, 1917), Sonata de estío (Madrid: Imprenta Rivadeneyra, 1928), Sonata de otońo (Madrid: Imprenta helénica, 1918), Sonata de invierno (Madrid: Imprenta cervantina, 1924); Pío Baroja, Aurora roja (Madrid: Rafael Caro Raggio, n. d.); Ricardo León, Casta de hidalgos (Madrid: Renacimiento, n. d.); Ramôn Pérez de Ayala, Belarmino y Apolonio (Madrid: Renacimiento, 1924).

AMERICA: Manuel Gálvez, La maestro normal (Buenos Aires: Agencia de librerfa y pu-blicaciones, 1925); Eduardo Barrios, El hermano asno (Madrid: Calpe, 1926); Pedro Prado, Unjuez rural (Santiago, Chile: Nascimento, 1924); José Eustasio Rivera, La vordgine (Nueva York: Editorial Andes, 1928); Ricardo Giiiraldes, Don Segundo Sombra (Buenos Aires: Espasa-Calpe Argentina, 1937); Rômulo Gallegos, Doña Barbara (New York: Crofts, 1942); Mariano Latorre, Chilenos del mar (Santiago de Chile: Imprenta universi-taria, 1929); Ramôn del Valle Inclán, Tirana Banderas (Madrid: Imprenta Rivadeneyra, 1927).

Works in each of the two groups are given in chronological order. Tirano Banderas is given as American because it is a tour de force in the use of American Spanish.