Difference between revisions of "Luis de Gongora" - New World Encyclopedia

Luis de Góngora
Luis de Góngora
	; Luis de Góngora, in a portrait by Diego Velázquez.
Born	July 11, 1561; Córdoba, Spain
Died	May 24, 1627); Córdoba, Spain
Occupation	Poet, cleric
Literary movement	culteranismo

Revision as of 23:28, 10 June 2008

Luis de Góngora y Argote (July 11, 1561 – May 24, 1627) was a Spanish Baroque lyric poet. Góngora and his lifelong rival, Francisco de Quevedo, were the most prominent Spanish poets of their age. His style is characterized by what was called culteranismo, also known as Gongorism (Gongorismo). This style existed in stark contrast to Quevedo's Conceptismo.

Biography

Góngora was born to a noble family in Córdoba, where his father, Francisco de Argote, was corregidor, or judge. In a Spanish era when purity of Christian lineage (limpieza de sangre) was needed to gain access to education or official appointments, he adopted the surname of his mother, Leonor de Góngora. She claimed descent from an ancient hidalgo (lesser nobility) family. At the age of 15 he entered the University of Salamanca, where he studied civil law and Canon law. He was already known as a poet in 1585 when Miguel de Cervantes praised him in La Galatea; in this same year he took minor orders, drawing his income from the benefices of Cañete de las Torres and Guadalmazán^[1]. His uncle, Don Franscisco, a prebendary of Córdoba Cathedral, renounced his post in favor of his nephew, who took deacon’s orders in 1586.^[2]

As a canon associated with this Cathedral, he traveled on diverse commissions to Navarre, Andalusia and Castile. The cities that he visited included Madrid, Salamanca, Granada, Jaén, and Toledo. Around 1605, he was ordained priest, and afterwards lived at Valladolid and Madrid.

While his circle of admirers grew, patrons were grudging in their admiration. Ultimately, in 1617 through the influence of the Duke of Lerma, he was appointed honorary chaplain to King Philip III of Spain, but did not enjoy the honor long.

He maintained a long feud with Francisco de Quevedo, who matched him in talent and wit. Both poets composed lots of bitter, satirical pieces attacking one other, with Quevedo criticizing Góngora's penchant for flattery, his large nose, and his passion for gambling; He was also known to be gay.Quevedo even accused his enemy of sodomy, which was a capital crime in XVII century Spain. In his "Contra el mismo (Góngora)," Quevedo writes of Gongora: No altar, garito sí; poco cristiano, / mucho tahúr, no clérigo, sí arpía.^[3] Góngora's nose, the subject of Quevedo's "A una nariz," begins with the lines: Érase un hombre a una nariz pegado, / érase una nariz superlativa, / érase una nariz sayón y escriba, / érase un peje espada muy barbado.^[4]

This angry feud came to a nasty end for Góngora, when Quevedo bought the house he lived in for the only purpose of ejecting him from it. In 1626 a severe illness, which seriously impaired the poet's memory, forced him to return to Cordoba, where he died the next year. By then he was broke from trying to obtain positions and win lawsuits for all his relatives.

An edition of his poems was published almost immediately after his death by Juan López de Vicuña; the frequently reprinted edition by Hozes did not appear until 1633. The collection consists of numerous sonnets, odes, ballads, songs for guitar, and of some larger poems, such as the Soledades and the Fábula de Polifemo y Galatea (Fable of Polyphemus and Galatea) (1612), the two landmark works of the highly refined style called "culteranismo" or "Gongorism." Miguel de Cervantes, in his Viaje del Parnaso, catalogued the good and bad poets of his time. He considered Góngora to be one of the good ones.

Velazquez painted his portrait, and numerous documents, lawsuits and satires of his rival Quevedo paint a picture of a man jovial, sociable, and talkative, who loved card-playing and bullfights. His bishop accused him of rarely attending choir, and of praying less than fervently when he did go.^[5] Gongora's passion for card-playing ultimately contributed to his ruin.^[6] Frequent allusions and metaphors associated with card-playing in Góngora’s poetry reveal that cards formed part of his daily life.^[7] He was often reproached for activities beneath the dignity of a churchman.

Style

" Estas que me dictó, rimas sonoras, / Culta sí aunque bucólica Talía, / Oh excelso Conde, en las purpúreas horas / Que es rosas la alba y rosicler el día, / Ahora que de luz tu niebla doras, / Escucha, al son de la zampoña mía, / Si ya los muros no te ven de Huelva / Peinar el viento, fatigar la selva."

—Fábula de Polifemo y Galatea, 1612

Culteranismo existed in stark contrast with conceptismo, another movement of the Baroque period which is characterized by a witty style, games with words, simple vocabulary, and conveying multiple meanings in as few words as possible. The best-known representative of Spanish conceptismo, Francisco de Quevedo, had an ongoing feud with Luis de Góngora in which each criticized the other’s writing and personal life.

The word culteranismo blends culto ("cultivated") and luteranismo ("Lutheranism") and was coined by its opponents to present it as a heresy of "true" poetry. The movement aimed to use as many words as possible to convey little meaning or to conceal meaning. "Góngora’s poetry is inclusive rather than exclusive," one scholar has written, "willing to create and incorporate the new, literally in the form of neologisms."^[8]

Góngora had a penchant for highly Latinate and Greek neologisms, which his opponents mocked. Quevedo lampooned his rival by writing a sonnet, “Aguja de navegar cultos,” which listed words from Gongora’s lexicon: “He would like to be a culto poet in just one day, / must the following jargon learn: / Fulgores, arrogar, joven, presiente / candor, construye, métrica, armonía...”^[9] Quevedo actually mocked Gongora’s style in several sonnets, including “Sulquivagante, pretensor de Estolo.”^[10] This anti-gongorine sonnet mocks the unintelligibility of culteranismo and its widespread use of flowery neologisms, including sulquivagante (he who plies the seas; to travel without a clear destination); speluncas (“caves”); surculos (sprouts, scions).^[11] He was also the first to write poems imitating the speech of blacks.^[12]

Góngora also had a penchant for apparent breaks in syntactical flow, as he overturned the limitations of syntax, making the hyperbaton the most prominent feature of his poetry.^[13]

He has been called a man of "unquestioned genius and almost limitless culture, an initiator who enriched his language with the vast power, beauty, and scope of a mighty pen.”^[14] As far away as Peru, he received the praise of Juan de Espinosa Medrano (ca. 1629—1688), who wrote a piece defending Góngora’s poetry from criticism called Apologético en favor de Don Luis de Góngora, Príncipe de los poetas lyricos de España: contra Manuel de Faria y Sousa, Cavallero portugués (1662).^[15]

As Dámaso Alonso has pointed out, Gongora’s contribution to the Spanish language should not be underestimated, as he picked up what were in his time obscure or little-used words and used them in his poetry again and again, thereby reviving or popularizing them. Most of these words are quite common today, such as "adolescente," "asunto," "brillante," "construir," "eclipse," "emular," "erigir," "fragmento," "frustrar," "joven," "meta," and "porción".^[16]

Works

Title page of the Chacon Manuscript.

Góngora's poems are usually grouped into two blocks, corresponding more or less to two successive poetic stages. His Fábula de Polifemo y Galatea (Fable of Polyphemus and Galatea) and his Soledades are his best-known compositions and the most studied.^[17] The Fábula is written in royal octaves (octavas reales) and his Soledades is written in a variety of metres and strophes, but principally in stanzas and silvas interspersed with choruses.^[18]

Góngora's Fábula de Polifemo y Galatea (1612) narrates a mythological episode described in Ovid's Metamorphoses: the love of Polyphemus, one of the Cyclops, for the nymph Galatea, who rejects him. In the poem's end, Acis, enamored with Galatea, is turned into a river.^[19]

Góngora's Fábula de Píramo y Tisbe (Fable of Pyramus and Thisbe) (1618) is a complex poem that mocks gossiping and avaricious women. Góngora also wrote sonnets concerning various subjects of an amatory, satirical, moral, philosophical, religious, controversial, laudatory, and funereal nature. As well as the usual topics (carpe diem etc.) the sonnets include autobiographical elements, describing, for example, the increasing decrepitude and advancing age of the author.

He also wrote plays, which include La destrucción de Troya, Las firmezas de Isabela, and the unfinished Doctor Carlino.^[20]

Although Góngora did not publish his works (he had attempted to do so in 1623), manuscript copies were circulated and compiled in cancioneros (songbooks), and anthologies published with or without his permission. In 1627, Juan Lopez Vicuña published Verse Works of the Spanish Homer, which is also considered very trustworthy and important in establishing the Gongorine corpus of work. Vicuña's work was appropriated by the Spanish Inquisition and was later surpassed by an edition by Gonzalo de Hozes in 1633.

Góngora and the Generation of '27

The Generation of '27 took its name from the year in which the tricentary of Góngora's death, ignored by official academic circles, was celebrated with recitals, avant-garde happenings, and an ambitious plan to publish a new critical edition of his work, as well as books and articles on aspects of his work that had not been fully researched.^[21].

The Generation of '27 was the first to attempt to self-consciously revise baroque literature.^[22] Dámaso Alonso wrote that Góngora’s complex language conveyed meaning in that it created a world of pure beauty.^[23] Alonso explored his work exhaustively, and called Góngora a “mystic of words.”^[24] Alonso dispelled the notion that Góngora had two separate styles –“simple” and “difficult” poems- that were also divided chronologically between his early and later years. He argued that Góngora’s more complex poems built on stylistic devices that had been created in Góngora’s early career as a poet. He also argued that the apparent simplicity of some of Góngora’s early poems is often deceptive.^[25]

Rafael Alberti added his own Soledad tercera (Paráfrasis incompleta)^[26]. In 1961, Alberti declared: “I am a visual poet, like all of the poets from Andalusia, from Góngora to García Lorca.”^[27]

Lorca presented a lecture called "La imagen poética en don Luís de Góngora" at the Ateneo in Seville in 1927.^[28] In this lecture, Lorca paid Jean Epstein the compliment of comparing the film director with Góngora as an authority on images.^[29]

References
ISBN links support NWE through referral fees

↑ Asociación Cultural Nueva Acrópolis en Gandía. GÓNGORA Y GARIBALDI
↑ Arthur Terry, An Anthology of Spanish Poetry 1500-1700. Part II (Pergamon Press, 1968), 19.
↑ "There's no altar, but there's a gambling den; not much of a Christian, / but he's very much a cardsharp, not a cleric, definitely a harpy."http://centros5.pntic.mec.es/cpr.de.ciudad.real/Textos/Quevedo.htm
↑ http://sonnets.spanish.sbc.edu/Quevedo_Nariz.html. Translation: "Once there was a man stuck to a nose, / it was a nose more marvellous than weird, / it was a nearly living web of tubes, / it was a swordfish with an awful beard."
↑ Asociación Cultural Nueva Acrópolis en Gandía. GÓNGORA Y GARIBALDI
↑ Bartolomé Bennassar, The Spanish Character: Attitudes and Mentalities from the Sixteenth to the Nineteenth Century (Los Angeles: University of California Press, 1979), 167.
↑ Bartolomé Bennassar, The Spanish Character: Attitudes and Mentalities from the Sixteenth to the Nineteenth Century (Los Angeles: University of California Press, 1979), 167.
↑ Roberto González Echevarría, Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature (Duke University Press,1993), 197.
↑ Quoted in Dámaso Alonso, La lengua poética de Góngora (Madrid: Revista de Filología Española, 1950), 114.
↑ CVC. Las sátiras de Quevedo. El soneto de Quevedo: «Sulquivagante, pretensor de Estolo»: ensayo de interpretación
↑ CVC. Las sátiras de Quevedo. El soneto de Quevedo: «Sulquivagante, pretensor de Estolo»: ensayo de interpretación
↑ Roberto González Echevarría, Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature (Duke University Press, 1993), 197.
↑ Roberto González Echevarría, Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature (Duke University Press,1993), 197.
↑ John Armstrong Crow, The Epic of Latin America (University of California Press, 1992), 300.
↑ Biografia de Juan de Espinosa Medrano
↑ Dámaso Alonso, La lengua poética de Góngora (Madrid: Revista de Filología Española, 1950), 112.
↑ Personas que escriben bonito
↑ Personas que escriben bonito
↑ Personas que escriben bonito
↑ Personas que escriben bonito
↑ César Augusto Salgado, From Modernism to Neobaroque: Joyce and Lezama Lima (2001, Bucknell University Press), 37.
↑ Roberto González Echevarría, Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature (Duke University Press,1993), 197.
↑ Roberto González Echevarría, Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature (Duke University Press,1993), 197.
↑ Personas que escriben bonito
↑ Arthur Terry, An Anthology of Spanish Poetry 1500-1700. Part II (Pergamon Press, 1968), 20.
↑ Argos 16/ Ensayo/ Guadalupe Mercado
↑ Quoted in C.B. Morris, This Loving Darkness: The Cinema and Spanish Writers 1920-1936 (Oxford: Oxford University Press, 1980), 87.
↑ Garcia Lorca, Federico - CanalSocial - Enciclopedia GER
↑ C.B. Morris, This Loving Darkness: The Cinema and Spanish Writers 1920-1936 (Oxford: Oxford University Press, 1980), 47.

External links

English translations of some of Góngora’s poems
Góngora website, Brown University Department of Hispanic Studies
(Spanish) Poems by Góngora
(Spanish) Luis de Góngora y Argote (1561-1627) (texts of his poems, in Spanish)

Credits

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Luis de Gongora ^history

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History of "Luis de Gongora"

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[1] Asociación Cultural Nueva Acrópolis en Gandía. GÓNGORA Y GARIBALDI

[2] Arthur Terry, An Anthology of Spanish Poetry 1500-1700. Part II (Pergamon Press, 1968), 19.

[3] "There's no altar, but there's a gambling den; not much of a Christian, / but he's very much a cardsharp, not a cleric, definitely a harpy."http://centros5.pntic.mec.es/cpr.de.ciudad.real/Textos/Quevedo.htm

[4] ttp://sonnets.spanish.sbc.edu/Quevedo_Nariz.html. Translation: "Once there was a man stuck to a nose, / it was a nose more marvellous than weird, / it was a nearly living web of tubes, / it was a swordfish with an awful beard."

[5] Asociación Cultural Nueva Acrópolis en Gandía. GÓNGORA Y GARIBALDI

[6] Bartolomé Bennassar, The Spanish Character: Attitudes and Mentalities from the Sixteenth to the Nineteenth Century (Los Angeles: University of California Press, 1979), 167.

[7] Bartolomé Bennassar, The Spanish Character: Attitudes and Mentalities from the Sixteenth to the Nineteenth Century (Los Angeles: University of California Press, 1979), 167.

[8] Roberto González Echevarría, Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature (Duke University Press,1993), 197.

[9] Quoted in Dámaso Alonso, La lengua poética de Góngora (Madrid: Revista de Filología Española, 1950), 114.

[10] CVC. Las sátiras de Quevedo. El soneto de Quevedo: «Sulquivagante, pretensor de Estolo»: ensayo de interpretación

[11] CVC. Las sátiras de Quevedo. El soneto de Quevedo: «Sulquivagante, pretensor de Estolo»: ensayo de interpretación

[12] Roberto González Echevarría, Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature (Duke University Press, 1993), 197.

[13] Roberto González Echevarría, Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature (Duke University Press,1993), 197.

[14] John Armstrong Crow, The Epic of Latin America (University of California Press, 1992), 300.

[15] Biografia de Juan de Espinosa Medrano

[16] Dámaso Alonso, La lengua poética de Góngora (Madrid: Revista de Filología Española, 1950), 112.

[17] Personas que escriben bonito

[18] Personas que escriben bonito

[19] Personas que escriben bonito

[20] Personas que escriben bonito

[21] César Augusto Salgado, From Modernism to Neobaroque: Joyce and Lezama Lima (2001, Bucknell University Press), 37.

[22] Roberto González Echevarría, Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature (Duke University Press,1993), 197.

[23] Roberto González Echevarría, Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature (Duke University Press,1993), 197.

[24] Personas que escriben bonito

[25] Arthur Terry, An Anthology of Spanish Poetry 1500-1700. Part II (Pergamon Press, 1968), 20.

[26] Argos 16/ Ensayo/ Guadalupe Mercado

[27] Quoted in C.B. Morris, This Loving Darkness: The Cinema and Spanish Writers 1920-1936 (Oxford: Oxford University Press, 1980), 87.

[28] Garcia Lorca, Federico - CanalSocial - Enciclopedia GER

[29] C.B. Morris, This Loving Darkness: The Cinema and Spanish Writers 1920-1936 (Oxford: Oxford University Press, 1980), 47.

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@@ Line 4: / Line 4: @@
 | caption    = Luis de Góngora, in a portrait by [[Diego Velázquez]].
-| birthdate  = [[July 11]], [[1561]]
+| birthdate  = July 11, 1561
 | birthplace = [[Córdoba, Spain]]
-| deathdate = [[May 24]], [[1627]])
+| deathdate = May 24, 1627)
 | deathplace = [[Córdoba, Spain]]
 | life =
@@ Line 16: / Line 16: @@
 | influenced  =
 }}
-'''Luis de Góngora y Argote''' ([[July 11]], [[1561]] &ndash; [[May 24]], [[1627]]) was a [[Spanish Baroque literature|Spanish Baroque]] lyric [[poet]]. Góngora and his lifelong rival, [[Francisco de Quevedo]], were the most prominent Spanish poets of their age.  His style is characterized by what was called ''[[culteranismo]]'', also known as ''Gongorism'' (''Gongorismo'').  This style existed in stark contrast to Quevedo's ''[[Conceptismo]]''.
+'''Luis de Góngora y Argote''' (July 11, 1561 &ndash; May 24, 1627) was a [[Spanish Baroque literature|Spanish Baroque]] lyric [[poet]]. Góngora and his lifelong rival, [[Francisco de Quevedo]], were the most prominent Spanish poets of their age. His style is characterized by what was called ''[[culteranismo]]'', also known as ''Gongorism'' ''(Gongorismo)''. This style existed in stark contrast to Quevedo's ''[[Conceptismo]]''.
 ==Biography==
-Góngora was born to a noble family in [[Córdoba, Spain|Córdoba]], where his father, Francisco de Argote, was ''corregidor,'' or judge. In a Spanish era when purity of Christian lineage ([[limpieza de sangre]]) was needed to gain access to education or official appointments, he adopted the surname of his mother, Leonor de Góngora. She claimed descent from an ancient ''hidalgo'' (lesser nobility) family. At the age of 15 he entered the [[University of Salamanca]], where he studied [[Civil law (legal system)|civil law]] and [[Canon law (Catholic Church)|Canon law]].  He was already known as a poet in [[1585]] when [[Miguel de Cervantes]] praised him in ''[[La Galatea]]''; in this same year he took [[minor orders]], drawing his income from the benefices of [[Cañete de las Torres]] and [[Guadalmazán]]<ref>[http://www.nueva-acropolis.es/gandia/pagina.asp?art=3968 Asociación Cultural Nueva Acrópolis en Gandía. GÓNGORA Y GARIBALDI<!-- Bot generated title —>]</ref>.  His uncle, Don Franscisco, a [[prebendary]] of [[Mezquita|Córdoba Cathedral]], renounced his post in favor of his nephew, who took [[deacon|deacon’s]] orders in [[1586]].<ref>Arthur Terry, ''An Anthology of  Spanish Poetry 1500-1700.  Part II'' (Pergamon Press, 1968), 19.</ref>
+Góngora was born to a noble family in [[Córdoba, Spain|Córdoba]], where his father, Francisco de Argote, was ''corregidor,'' or judge. In a Spanish era when purity of Christian lineage ([[limpieza de sangre]]) was needed to gain access to education or official appointments, he adopted the surname of his mother, Leonor de Góngora. She claimed descent from an ancient ''hidalgo'' (lesser nobility) family. At the age of 15 he entered the [[University of Salamanca]], where he studied [[Civil law (legal system)|civil law]] and [[Canon law (Catholic Church)|Canon law]]. He was already known as a poet in 1585 when [[Miguel de Cervantes]] praised him in ''[[La Galatea]]''; in this same year he took [[minor orders]], drawing his income from the benefices of [[Cañete de las Torres]] and [[Guadalmazán]]<ref>[http://www.nueva-acropolis.es/gandia/pagina.asp?art=3968 Asociación Cultural Nueva Acrópolis en Gandía. GÓNGORA Y GARIBALDI<!-- Bot generated title —>]</ref>. His uncle, Don Franscisco, a [[prebendary]] of [[Mezquita|Córdoba Cathedral]], renounced his post in favor of his nephew, who took [[deacon|deacon’s]] orders in 1586.<ref>Arthur Terry, ''An Anthology of  Spanish Poetry 1500-1700. Part II'' (Pergamon Press, 1968), 19.</ref>
-As a [[canon (priest)|canon]] associated with this Cathedral, he traveled on diverse commissions to [[Navarre]], [[Andalusia]] and [[Castile (historical region)|Castile]].  The cities that he visited included [[Madrid]], [[Salamanca]], [[Granada]], [[Jaén]], and [[Toledo, Spain|Toledo]]. Around [[1605]], he was ordained priest, and afterwards lived at [[Valladolid]] and [[Madrid]].
+As a [[canon (priest)|canon]] associated with this Cathedral, he traveled on diverse commissions to [[Navarre]], [[Andalusia]] and [[Castile (historical region)|Castile]]. The cities that he visited included [[Madrid]], [[Salamanca]], [[Granada]], [[Jaén]], and [[Toledo, Spain|Toledo]]. Around 1605, he was ordained priest, and afterwards lived at [[Valladolid]] and Madrid.
-While his circle of admirers grew, patrons were grudging in their admiration. Ultimately, in [[1617]] through the influence of the [[Duke of Lerma]], he was appointed honorary chaplain to King [[Philip III of Spain]], but did not enjoy the honor long.
+While his circle of admirers grew, patrons were grudging in their admiration. Ultimately, in 1617 through the influence of the [[Duke of Lerma]], he was appointed honorary chaplain to King [[Philip III of Spain]], but did not enjoy the honor long.
-He maintained a long feud with Francisco de Quevedo, who matched him in talent and wit. Both poets composed lots of bitter, satirical pieces attacking one other, with Quevedo criticizing Góngora's penchant for flattery, his large nose, and his passion for [[gambling]]; He was also known to be gay.Quevedo even accused his enemy of [[sodomy]], which was a [[capital crime]] in XVII century Spain. In his "Contra el mismo (Góngora)", Quevedo writes of Gongora: ''No altar, garito sí; poco cristiano, / mucho tahúr, no clérigo, sí arpía.''<ref>"There's no altar, but there's a gambling den; not much of a Christian, / but he's very much a [[cardsharp]], not a cleric, definitely a [[harpy]]."http://centros5.pntic.mec.es/cpr.de.ciudad.real/Textos/Quevedo.htm</ref>  Góngora's nose, the subject of Quevedo's "A una nariz", begins with the lines: ''Érase un hombre a una nariz pegado, / érase una nariz superlativa, / érase una nariz sayón y escriba, / érase un peje espada muy barbado''.<ref>http://sonnets.spanish.sbc.edu/Quevedo_Nariz.html. Translation: "Once there was a man stuck to a nose, / it was a nose more marvellous than weird, / it was a nearly living web of tubes, / it was a swordfish with an awful beard."</ref>
+He maintained a long feud with Francisco de Quevedo, who matched him in talent and wit. Both poets composed lots of bitter, satirical pieces attacking one other, with Quevedo criticizing Góngora's penchant for flattery, his large nose, and his passion for [[gambling]]; He was also known to be gay.Quevedo even accused his enemy of [[sodomy]], which was a [[capital crime]] in XVII century Spain. In his "Contra el mismo (Góngora)," Quevedo writes of Gongora: ''No altar, garito sí; poco cristiano, / mucho tahúr, no clérigo, sí arpía.''<ref>"There's no altar, but there's a gambling den; not much of a Christian, / but he's very much a [[cardsharp]], not a cleric, definitely a [[harpy]]."http://centros5.pntic.mec.es/cpr.de.ciudad.real/Textos/Quevedo.htm</ref>  Góngora's nose, the subject of Quevedo's "A una nariz," begins with the lines: ''Érase un hombre a una nariz pegado, / érase una nariz superlativa, / érase una nariz sayón y escriba, / érase un peje espada muy barbado''.<ref>http://sonnets.spanish.sbc.edu/Quevedo_Nariz.html. Translation: "Once there was a man stuck to a nose, / it was a nose more marvellous than weird, / it was a nearly living web of tubes, / it was a swordfish with an awful beard."</ref>
-This angry feud came to a nasty end for Góngora, when Quevedo bought the house he lived in for the only purpose of ejecting him from it. In [[1626]] a severe illness, which seriously impaired the poet's memory, forced him to return to Cordoba, where he died the next year. By then he was broke from trying to obtain positions and win lawsuits for all his relatives.
+This angry feud came to a nasty end for Góngora, when Quevedo bought the house he lived in for the only purpose of ejecting him from it. In 1626 a severe illness, which seriously impaired the poet's memory, forced him to return to Cordoba, where he died the next year. By then he was broke from trying to obtain positions and win lawsuits for all his relatives.
-An edition of his poems was published almost immediately after his death by Juan López de Vicuña; the frequently reprinted edition by Hozes did not appear until [[1633]]. The collection consists of numerous sonnets, odes, ballads, songs for guitar, and of some larger poems, such as the ''[[Soledades]]'' and the ''[[Fábula de Polifemo y Galatea]]'' (''Fable of [[Polyphemus]] and [[Galatea]]'') (1612), the two landmark works of the highly refined style called "culteranismo" or "Gongorism."  [[Miguel de Cervantes]], in his ''[[Viaje del Parnaso]]'', catalogued the good and bad poets of his time.  He considered Góngora to be one of the good ones.
+An edition of his poems was published almost immediately after his death by Juan López de Vicuña; the frequently reprinted edition by Hozes did not appear until 1633. The collection consists of numerous sonnets, odes, ballads, songs for guitar, and of some larger poems, such as the ''[[Soledades]]'' and the ''[[Fábula de Polifemo y Galatea]]'' ''(Fable of [[Polyphemus]] and [[Galatea]])'' (1612), the two landmark works of the highly refined style called "culteranismo" or "Gongorism."  [[Miguel de Cervantes]], in his ''[[Viaje del Parnaso]]'', catalogued the good and bad poets of his time. He considered Góngora to be one of the good ones.
 [[Velazquez]] painted his portrait, and numerous documents, lawsuits and [[satire]]s of his rival Quevedo paint a picture of a man jovial, sociable, and talkative, who loved [[card games|card-playing]] and [[Spanish-style bullfighting|bullfights]]. His bishop accused him of rarely attending [[choir]], and of praying less than fervently when he did go.<ref>[http://www.nueva-acropolis.es/gandia/pagina.asp?art=3968 Asociación Cultural Nueva Acrópolis en Gandía. GÓNGORA Y GARIBALDI<!-- Bot generated title —>]</ref>  Gongora's passion for card-playing ultimately contributed to his ruin.<ref>Bartolomé Bennassar, ''The Spanish Character: Attitudes and Mentalities from the Sixteenth to the Nineteenth Century'' (Los Angeles: University of California Press, 1979), 167.</ref>  Frequent allusions and metaphors associated with card-playing in Góngora’s poetry reveal that cards formed part of his daily life.<ref>Bartolomé Bennassar, ''The Spanish Character: Attitudes and Mentalities from the Sixteenth to the Nineteenth Century'' (Los Angeles: University of California Press, 1979), 167.</ref>  He was often reproached for activities beneath the dignity of a churchman.
@@ Line 37: / Line 37: @@
 ''Culteranismo'' existed in stark contrast with ''[[conceptismo]]'', another movement of the Baroque period which is characterized by a witty style, games with words, simple vocabulary, and conveying multiple meanings in as few words as possible. The best-known representative of Spanish ''conceptismo'', Francisco de Quevedo, had an ongoing feud with Luis de Góngora in which each criticized the other’s writing and personal life.
-The word culteranismo blends ''culto'' ("cultivated") and ''luteranismo'' ("[[Lutheranism]]") and was coined by its opponents to present it as a [[heresy]] of "true" poetry.  The movement aimed to use as many words as possible to convey little meaning or to conceal meaning.  "Góngora’s poetry is inclusive rather than exclusive," one scholar has written, "willing to create and incorporate the new, literally in the form of [[neologisms]]."<ref>[[Roberto González Echevarría]], ''Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature'' (Duke University Press,1993), 197.</ref>
+The word culteranismo blends ''culto'' ("cultivated") and ''luteranismo'' ("[[Lutheranism]]") and was coined by its opponents to present it as a [[heresy]] of "true" poetry. The movement aimed to use as many words as possible to convey little meaning or to conceal meaning. "Góngora’s poetry is inclusive rather than exclusive," one scholar has written, "willing to create and incorporate the new, literally in the form of [[neologisms]]."<ref>[[Roberto González Echevarría]], ''Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature'' (Duke University Press,1993), 197.</ref>
-Góngora had a penchant for highly Latinate and Greek neologisms, which his opponents mocked.  Quevedo lampooned his rival by writing a [[sonnet]], “Aguja de navegar cultos,” which listed words from Gongora’s [[lexicon]]: “He would like to be a culto poet in just one day, / must the following jargon learn: / ''Fulgores, arrogar, joven, presiente / candor, construye, métrica, armonía...''”<ref>Quoted in Dámaso Alonso, ''La lengua poética de Góngora'' (Madrid: Revista de Filología Española, 1950), 114.</ref>  Quevedo actually mocked Gongora’s style in several sonnets, including “Sulquivagante, pretensor de Estolo.”<ref>[http://cvc.cervantes.es/obref/quevedo_critica/satiras/arellano.htm CVC. Las sátiras de Quevedo. El soneto de Quevedo: «Sulquivagante, pretensor de Estolo»: ensayo de interpretación<!-- Bot generated title —>]</ref>  This anti-gongorine sonnet mocks the unintelligibility of culteranismo and its widespread use of flowery neologisms, including ''sulquivagante'' (he who plies the seas; to travel without a clear destination); ''speluncas'' (“caves”); ''surculos'' (sprouts, [[Grafting|scions]]).<ref>[http://cvc.cervantes.es/obref/quevedo_critica/satiras/arellano.htm CVC. Las sátiras de Quevedo. El soneto de Quevedo: «Sulquivagante, pretensor de Estolo»: ensayo de interpretación<!-- Bot generated title —>]</ref>  He was also the first to write poems imitating the speech of blacks.<ref>Roberto González Echevarría, ''Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature'' (Duke University Press, 1993), 197.</ref>
+Góngora had a penchant for highly Latinate and Greek neologisms, which his opponents mocked. Quevedo lampooned his rival by writing a [[sonnet]], “Aguja de navegar cultos,” which listed words from Gongora’s [[lexicon]]: “He would like to be a culto poet in just one day, / must the following jargon learn: / ''Fulgores, arrogar, joven, presiente / candor, construye, métrica, armonía...''”<ref>Quoted in Dámaso Alonso, ''La lengua poética de Góngora'' (Madrid: Revista de Filología Española, 1950), 114.</ref>  Quevedo actually mocked Gongora’s style in several sonnets, including “Sulquivagante, pretensor de Estolo.”<ref>[http://cvc.cervantes.es/obref/quevedo_critica/satiras/arellano.htm CVC. Las sátiras de Quevedo. El soneto de Quevedo: «Sulquivagante, pretensor de Estolo»: ensayo de interpretación<!-- Bot generated title —>]</ref>  This anti-gongorine sonnet mocks the unintelligibility of culteranismo and its widespread use of flowery neologisms, including ''sulquivagante'' (he who plies the seas; to travel without a clear destination); ''speluncas'' (“caves”); ''surculos'' (sprouts, [[Grafting|scions]]).<ref>[http://cvc.cervantes.es/obref/quevedo_critica/satiras/arellano.htm CVC. Las sátiras de Quevedo. El soneto de Quevedo: «Sulquivagante, pretensor de Estolo»: ensayo de interpretación<!-- Bot generated title —>]</ref>  He was also the first to write poems imitating the speech of blacks.<ref>Roberto González Echevarría, ''Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature'' (Duke University Press, 1993), 197.</ref>
 Góngora also had a penchant for apparent breaks in [[syntactical]] flow, as he overturned the limitations of syntax, making the [[hyperbaton]] the most prominent feature of his poetry.<ref>Roberto González Echevarría, ''Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature'' (Duke University Press,1993), 197.</ref>
@@ Line 45: / Line 45: @@
 He has been called a man of "unquestioned genius and almost limitless culture, an initiator who enriched his language with the vast power, beauty, and scope of a mighty pen.”<ref>John Armstrong Crow, ''The Epic of Latin America'' (University of California Press, 1992), 300.</ref>  As far away as [[Peru]], he received the praise of [[Juan de Espinosa Medrano]]  (ca. 1629—1688), who wrote a piece defending Góngora’s poetry from criticism called ''Apologético en favor de Don Luis de Góngora, Príncipe de los poetas lyricos de España: contra Manuel de Faria y Sousa, Cavallero portugués'' (1662).<ref>[http://www.biografiasyvidas.com/biografia/e/espinosa_medrano.htm Biografia de Juan de Espinosa Medrano<!-- Bot generated title —>]</ref>
-As [[Dámaso Alonso]] has pointed out, Gongora’s contribution to the [[Spanish language]] should not be underestimated, as he picked up what were in his time obscure or little-used words and used them in his poetry again and again, thereby reviving or popularizing them.  Most of these words are quite common today, such as "adolescente", "asunto", "brillante", "construir", "eclipse", "emular", "erigir", "fragmento", "frustrar", "joven", "meta", and "porción".<ref>Dámaso Alonso, ''La lengua poética de Góngora'' (Madrid: Revista de Filología Española, 1950), 112.</ref>
+As [[Dámaso Alonso]] has pointed out, Gongora’s contribution to the [[Spanish language]] should not be underestimated, as he picked up what were in his time obscure or little-used words and used them in his poetry again and again, thereby reviving or popularizing them. Most of these words are quite common today, such as "adolescente," "asunto," "brillante," "construir," "eclipse," "emular," "erigir," "fragmento," "frustrar," "joven," "meta," and "porción".<ref>Dámaso Alonso, ''La lengua poética de Góngora'' (Madrid: Revista de Filología Española, 1950), 112.</ref>
 == Works ==
 {{main|Soledades|Fábula de Polifemo y Galatea}}
 [[Image:Portada Manuscrito Chacón.jpg|thumb|250px|Title page of the Chacon Manuscript.]]
-Góngora's poems are usually grouped into two blocks, corresponding more or less to two successive poetic stages.  His ''[[Fábula de Polifemo y Galatea]]'' (''Fable of Polyphemus and Galatea'') and his ''[[Soledades]]'' are his best-known compositions and the most studied.<ref>[http://www.conevyt.org.mx/cursos/enciclope/luis_de_gongora.html Personas que escriben bonito<!-- Bot generated title —>]</ref>  The ''Fábula'' is written in [[royal octaves]] (''octavas reales'') and his ''Soledades'' is written in a variety of metres and strophes, but principally in [[stanzas]] and [[Silva (Spanish strophe)|''silvas'']] interspersed with choruses.<ref>[http://www.conevyt.org.mx/cursos/enciclope/luis_de_gongora.html Personas que escriben bonito<!-- Bot generated title —>]</ref>
+Góngora's poems are usually grouped into two blocks, corresponding more or less to two successive poetic stages. His ''[[Fábula de Polifemo y Galatea]]'' ''(Fable of Polyphemus and Galatea)'' and his ''[[Soledades]]'' are his best-known compositions and the most studied.<ref>[http://www.conevyt.org.mx/cursos/enciclope/luis_de_gongora.html Personas que escriben bonito<!-- Bot generated title —>]</ref>  The ''Fábula'' is written in [[royal octaves]] ''(octavas reales)'' and his ''Soledades'' is written in a variety of metres and strophes, but principally in [[stanzas]] and [[Silva (Spanish strophe)|''silvas'']] interspersed with choruses.<ref>[http://www.conevyt.org.mx/cursos/enciclope/luis_de_gongora.html Personas que escriben bonito<!-- Bot generated title —>]</ref>
-Góngora's ''[[Fábula de Polifemo y Galatea]]'' (1612) narrates a mythological episode described in [[Ovid]]'s ''[[Metamorphoses]]'': the love of [[Polyphemus]], one of the [[Cyclops]], for the [[nymph]] [[Galatea (mythology)|Galatea]], who rejects him.  In the poem's end, [[Acis]], enamored with Galatea, is turned into a river.<ref>[http://www.conevyt.org.mx/cursos/enciclope/luis_de_gongora.html Personas que escriben bonito<!-- Bot generated title —>]</ref>
+Góngora's ''[[Fábula de Polifemo y Galatea]]'' (1612) narrates a mythological episode described in [[Ovid]]'s ''[[Metamorphoses]]'': the love of [[Polyphemus]], one of the [[Cyclops]], for the [[nymph]] [[Galatea (mythology)|Galatea]], who rejects him. In the poem's end, [[Acis]], enamored with Galatea, is turned into a river.<ref>[http://www.conevyt.org.mx/cursos/enciclope/luis_de_gongora.html Personas que escriben bonito<!-- Bot generated title —>]</ref>
-Góngora's ''Fábula de Píramo y Tisbe'' (''Fable of [[Pyramus and Thisbe]]'') (1618) is a complex poem that mocks gossiping and avaricious women.  Góngora also wrote sonnets concerning various subjects of an amatory, satirical, moral, philosophical, religious, controversial, laudatory, and funereal nature.  As well as the usual topics (''[[carpe diem]]'' etc.) the sonnets include autobiographical elements, describing, for example, the increasing decrepitude and advancing age of the author.
+Góngora's ''Fábula de Píramo y Tisbe'' ''(Fable of [[Pyramus and Thisbe]])'' (1618) is a complex poem that mocks gossiping and avaricious women. Góngora also wrote sonnets concerning various subjects of an amatory, satirical, moral, philosophical, religious, controversial, laudatory, and funereal nature. As well as the usual topics (''[[carpe diem]]'' etc.) the sonnets include autobiographical elements, describing, for example, the increasing decrepitude and advancing age of the author.
 He also wrote plays, which include ''La destrucción de Troya'', ''Las firmezas de Isabela'', and the unfinished ''Doctor Carlino''.<ref>[http://www.conevyt.org.mx/cursos/enciclope/luis_de_gongora.html Personas que escriben bonito<!-- Bot generated title —>]</ref>
-Although Góngora did not publish his works (he had attempted to do so in 1623), manuscript copies were circulated and compiled in cancioneros (songbooks), and anthologies published with or without his permission.  In 1627, Juan Lopez Vicuña published ''Verse Works of the Spanish [[Homer]]'', which is also considered very trustworthy and important in establishing the Gongorine corpus of work.  Vicuña's work was appropriated by the [[Spanish Inquisition]] and was later surpassed by an edition by Gonzalo de Hozes in 1633.
+Although Góngora did not publish his works (he had attempted to do so in 1623), manuscript copies were circulated and compiled in cancioneros (songbooks), and anthologies published with or without his permission. In 1627, Juan Lopez Vicuña published ''Verse Works of the Spanish [[Homer]]'', which is also considered very trustworthy and important in establishing the Gongorine corpus of work. Vicuña's work was appropriated by the [[Spanish Inquisition]] and was later surpassed by an edition by Gonzalo de Hozes in 1633.
 ==Góngora and the [[Generation of '27]]==
 The [[Generation of '27]] took its name from the year in which the tricentary of Góngora's death, ignored by official academic circles, was celebrated with recitals, avant-garde happenings, and an ambitious plan to publish a new critical edition of his work, as well as books and articles on aspects of his work that had not been fully researched.<ref> César Augusto Salgado, ''From Modernism to Neobaroque: Joyce and Lezama Lima'' (2001, Bucknell University Press), 37.</ref>.
-The Generation of '27 was the first to attempt to self-consciously revise baroque literature.<ref>Roberto González Echevarría, ''Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature'' (Duke University Press,1993), 197.</ref> Dámaso Alonso wrote that Góngora’s complex language conveyed meaning in that it created a world of pure beauty.<ref>Roberto González Echevarría, ''Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature'' (Duke University Press,1993), 197.</ref>  Alonso explored his work exhaustively, and called Góngora a “mystic of words.”<ref>[http://www.conevyt.org.mx/cursos/enciclope/luis_de_gongora.html Personas que escriben bonito<!-- Bot generated title —>]</ref>  Alonso dispelled the notion that Góngora had two separate styles –“simple” and “difficult” poems- that were also divided chronologically between his early and later years.  He argued that Góngora’s more complex poems built on stylistic devices that had been created in Góngora’s early career as a poet.  He also argued that the apparent simplicity of some of Góngora’s early poems is often deceptive.<ref>Arthur Terry, ''An Anthology of Spanish Poetry 1500-1700.  Part II'' (Pergamon Press, 1968), 20.</ref>
+The Generation of '27 was the first to attempt to self-consciously revise baroque literature.<ref>Roberto González Echevarría, ''Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature'' (Duke University Press,1993), 197.</ref> Dámaso Alonso wrote that Góngora’s complex language conveyed meaning in that it created a world of pure beauty.<ref>Roberto González Echevarría, ''Celestina's Brood: Continuities of the Baroque in Spanish and Latin American Literature'' (Duke University Press,1993), 197.</ref>  Alonso explored his work exhaustively, and called Góngora a “mystic of words.”<ref>[http://www.conevyt.org.mx/cursos/enciclope/luis_de_gongora.html Personas que escriben bonito<!-- Bot generated title —>]</ref>  Alonso dispelled the notion that Góngora had two separate styles –“simple” and “difficult” poems- that were also divided chronologically between his early and later years. He argued that Góngora’s more complex poems built on stylistic devices that had been created in Góngora’s early career as a poet. He also argued that the apparent simplicity of some of Góngora’s early poems is often deceptive.<ref>Arthur Terry, ''An Anthology of Spanish Poetry 1500-1700. Part II'' (Pergamon Press, 1968), 20.</ref>
-[[Rafael Alberti]] added his own ''Soledad tercera'' (''Paráfrasis incompleta'')<ref>[http://argos.cucsh.udg.mx/16oct-dic00/16emercado.htm Argos 16/ Ensayo/ Guadalupe Mercado<!-- Bot generated title —>]</ref>.  In 1961, Alberti declared: “I am a visual poet, like all of the poets from [[Andalusia]], from Góngora to García Lorca.”<ref>Quoted in C.B. Morris, ''This Loving Darkness: The Cinema and Spanish Writers 1920-1936'' (Oxford: Oxford University Press, 1980), 87.</ref>
+[[Rafael Alberti]] added his own ''Soledad tercera'' ''(Paráfrasis incompleta)''<ref>[http://argos.cucsh.udg.mx/16oct-dic00/16emercado.htm Argos 16/ Ensayo/ Guadalupe Mercado<!-- Bot generated title —>]</ref>. In 1961, Alberti declared: “I am a visual poet, like all of the poets from [[Andalusia]], from Góngora to García Lorca.”<ref>Quoted in C.B. Morris, ''This Loving Darkness: The Cinema and Spanish Writers 1920-1936'' (Oxford: Oxford University Press, 1980), 87.</ref>
 [[Lorca]] presented a lecture called "La imagen poética en don Luís de Góngora" at the Ateneo in [[Seville]] in 1927.<ref>[http://www.canalsocial.net/GER/ficha_GER.asp?id=1300&cat=biografiasuelta Garcia Lorca, Federico - CanalSocial - Enciclopedia GER<!-- Bot generated title —>]</ref>  In this lecture, Lorca paid [[Jean Epstein]] the compliment of comparing the film director with Góngora as an authority on images.<ref>C.B. Morris, ''This Loving Darkness: The Cinema and Spanish Writers 1920-1936'' (Oxford: Oxford University Press, 1980), 47.</ref>

Luis de Góngora
Luis de Góngora, in a portrait by Diego Velázquez.
Born	July 11, 1561 Córdoba, Spain
Died	May 24, 1627) Córdoba, Spain
Occupation	Poet, cleric
Literary movement	culteranismo