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This article highlights the difficulties in analyzing the short stroy Al fin se paga todo on the basis of ideological presuppositions in place of the letter of the text. The question of irony, comic and honor are at the center of this analysis.

En este trabajo nos interesamos por las mujeres violentas en La burlada Aminta y venganza del honor, novela corta de María de Zayas que forma parte de las Novelas amorosas y ejemplares publicadas en 1637. Ponemos en relación este tema con un aspecto muy comentado entre la crítica contemporánea; a saber, el feminismo de la autora, preguntándonos si forma parte esta mujer violenta del discurso feminista de Zayas. Un estudio de los personajes y de la narración permite mostrar que, si bien existe una dimensión didáctica de índole feminista, la novela no traduce una preocupación de coherencia ideológica sino que traduce una preocupación por complacer al lector, gracias a los resortes de la narración y de la escritura, una escritura que se funda en una literarización estetizante de la violencia.

By means of a critical thought under the double standpoint of theatrically and the narrativity of La Prudente venganza, this article endeavours to show that this Lope de Vega’s short story does not belong exactly to any generic structure which one could confine it. Neither transposition of an urban «comedia», neither true tragedy in prose, nor really an exemplary short story, La Prudente Venganza is unquestionably original thanks to its generic imprecision, as with the novelty of the connection established between the narrator and the narrataire.

Taking as our corpus the narrative fiction of Lope de Vega, the present study demonstrates how the separation between the story and the micro-structures that interrupt it takes place, and identifies the formal and semantic textual markers that constitute the border between the micro-structures and the text as a whole. Using an approach that is more theoretical than analytical, we attempt to state the criteria for determining the border between the macro-narrative structure of the story and the micro-structures that disturb it. Therefore, we view the question of «micro-narratives and borders» within a larger perspective by placing the micro-narratives within the ensemble of micro-structures that interrupt the narrative continuum.