Luis de Góngora 2021

8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Luis de Góngora Humberto Huergo LAST REVIEWED: 23 JUNE 2020 LAST MODIFIED: 25 AUGUST 2021 DOI: 10.1093/OBO/9780195399301-0383 Introduction Luis de Góngora y Argote (Córdoba, b. 1561–d. 1627) is one of Spain’s most celebrated poets and the main exponent of Baroque poetry in the Spanish-speaking world, comparable to John Donne in England and Giambattista Marino in Italy. Author of over four hundred poems, he exceeded in all poetic forms, including sonnets, letrillas (rondelets), décimas, romances, canciones, villancicos, and most notably the octava real and the silva, which he cultivated in his longest and most ambitious compositions, the epico-lyrical Fábula de Polifemo y Galatea (1612), based on Ovid’s famous tale, and the Soledades (1613), a two-thousand-line poetic maze essentially about nothing, in the sense that Flaubert’s Madame Bovary is a novel about nothing. Boasting bold syntactic twists and esoteric metaphors that almost obliterate their referent, the linguistic subversion of the Soledades sparked a heated debate among Gongora’s contemporaries, who argued passionately about whether to consider the text a Spanish Aeneid or utter gibberish. Besides poetry, Góngora also wrote two (some would say three) plays that departed from Lope de Vega’s popular and populist model—Las firmezas de Isabela (1610) and the unfinished El doctor Carlino (1613). Revered and vilified with equal passion throughout the 17th century, he tended to fall out of grace during the 18th and first half of the 19th centuries, to be rediscovered at the turn of the century by the French Symbolists and the Spanish modernistas, who often compared his disdain for empirical reality to that of Mallarmé. His definite consecration, however, only came in 1927, when a group of scholars and poets led by Dámaso Alonso and Federico García Lorca officially crowned him the poet’s poet. Since then, his reputation as Spain’s enfant terrible and his influence among both Spanish and Latin American writers has grown exponentially, with ardent admirers like José Lezama Lima in Cuba and Pere Gimferrer in Spain. Introductory Studies English-speaking readers might want to start with Chaffee-Sorace 2010, followed by Terry 1993. Roses 2012 provides the best introduction in Spanish, but it presupposes some familiarity with Góngora. Carreira 1990 provides an excellent introduction in Spanish. Readers who know French or Italian are invited to consult Jammes 2009 and Poggi 2019, respectively. Carreira, Antonio. “Introducción.” In Antología poética. 3d ed. By Luis de Góngora. Edited by Antonio Carreira, 25–66. Castalia Didáctica 13. Madrid: Castalia, 1990. A student edition including a chronological chart, a basic introduction touching on topics like the Petrarchan tradition, theory of wit, culteranismo, and others, and a short, annotated bibliography. Not to be confused with other, more specialized anthologies by the author not in the collection Castalia Didáctica. Chaffee-Sorace, Diane. Góngora’s Shorter Poetic Masterpieces in Translation. Tempe: Arizona Center for Medieval and Renaissance Studies, 2010. A modern translation of Góngora’s shorter poems, accompanied by a brief introduction that outlines his biography, style, critical reception, and poetic themes. See Chaffee-Sorace 2010, cited in English Translations. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 1/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Gahete Jurado, Manuel. Luis de Góngora. The site includes biographical information, a list of Góngora’s works with links to the texts, some bibliography, and more. Jammes, Robert, ed. “Introduction: Vie et œuvre de don Luis de Góngora.” In Comprendre Góngora: Anthologie bilingue. By Luis de Góngora, 7–32. Toulouse, France: Presses Universitaires du Mirail, 2009. Authoritative introduction to Góngora’s life and works (pp. 7–32), with selective bibliography in French (pp. 33–35) and bilingual edition of one hundred and fourteen poems (pp. 38–290). The introduction is in French only. Poggi, Giulia. Góngora. Rome: Salerno Editrice, 2019. In Italian. An excellent introduction to Góngora, covering all aspects of his life and literary production. Chapters in order of appearance include: A short biography; early romances, letrillas and décimas; sonnets; the tercets “Mal haya el que en señores idolatra”; Góngora’s theater; Polifemo; Soledades; the literary controversy surrounding Góngora; the sonnet “Restituye a tu mudo horror divino”; the Panegyric for the Duque of Lerma; late romances; late sonnets; Lorca’s conference “La imagen poética de don Luis de Góngora”; Góngora’s influence on Latin American writers; and Ungaretti and the Italian translations. Includes an essential bibliography. Roses, Joaquín, ed. Góngora, la estrella inextinguible: Magnitud estética y universo contemporáneo. Madrid: Sociedad Estatal de Acción Cultural, 2012. A collection of introductory essays by some of the leading scholars in the field covering all aspects of Góngora’s life and literary production as well as his influence on 20th-century Spanish and Latinoamerican literatures. Terry, Arthur. “Luis de Góngora: The Poetry of Transformation.” In Seventeenth-Century Spanish Poetry. By Arthur Terry, 65–93. Cambridge, UK: Cambridge University Press, 1993. An excellent overview of Góngora’s poetic evolution, peppered with perceptive remarks about individual works. Bibliographies Carreira 2012 and Rojas Castro, et al. 2015 offer the most comprehensive bibliographies. For later entries, see Dialnet, a Spanish database created in 2011 that indexes most of the important European and American scholarly journals. Digital libraries and databases like Academia.edu, EBSCO.com, Hispadoc.es, JSTOR.org, Project MUSE.edu, ProQuest.com, ResearchGate.net, Semantic Scholar.org, and Scribd.com also list entries (and often full texts) not always covered in Dialnet. Carreira, Antonio. “Bibliografía gongorina.” In Góngora, la estrella inextinguible: Magnitud estética y universo contemporáneo. Edited by Joaquín Roses, 249–321. Madrid: Sociedad Estatal de Acción Cultural, 2012. The single most comprehensive bibliography about the writer with nearly two thousand entries covering approximately the years 1900 to 2012. Rojas Castro, Antonio, Amanda Pedraza, and Cèlia Nadas, eds. CABIGO: Catálogo bibliográfico sobre Góngora. Biblioteca virtual Miguel de Cervantes, 2015. Around eight hundred entries covering the years 2000 to 2014. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 2/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Biography A full biography has yet to appear to replace Miguel Artigas’s dated Don Luis de Góngora y Argote: Biografía y estudio crítico (Madrid: Tipografía de la Revista de Archivos, 1925). The closest thing to a modern biography is Paz’s succinct “Vida del poeta” (Paz 2012b), fruit of the author’s patient, painstaking research in archives and libraries from all over Spain. Carreira, Antonio. “Góngora y el duque de Lerma.” In Gongoremas. By Antonio Carreira, 201–222. Barcelona: Península, 1998a. Remarks about the place of the artist in 17th-century Spain, the life of the nobility, and Góngora’s belated involvement with the House of Lerma. Carreira, Antonio. “El conde-duque de Olivares y los poetas de su tiempo.” Nueva Revista de Filología Hispánica 64.2 (2016): 429–456. A sweeping inventory (inventario) of the count-duke of Olivares’s involvement with poets like Quevedo, Vera y Zúñiga, Bocángel, Lope, and others, ending with a meticulous reconstruction (pp. 447–456) of his presence in Góngora’s poetry, epistolary, and life. Díaz Rodríguez, Antonio J. “El mundo eclesiástico de don Luis de Góngora.” In La Edad del Genio: España e Italia en tiempos de Góngora. Edited by Begoña Capllonch, Sara Pezzini, Giulia Poggi, and Jesús Ponce Cárdenas, 179–200. Pisa, Italy: ETS, 2013. Archival documents showing what it meant to be a prebendary (racionero) like Góngora in 16th-century Córdoba. Lawrence, Jeremy. “Las Obras de don Luis de Góngora y el conde-duque: Mecenazgo, polémica literaria y publicidad en la España barroca.” In Poder y saber: Bibliotecas y bibliofilia en la época del conde-duque de Olivares. Edited by Oliver Noble Wood, Jeremy Roe, and Jeremy Lawrence, 157–181. Madrid: Centro de Estudios Europa Hispánica, 2001. Góngora and the patronage of the Count-Duke of Olivares. Paz, Amelia de. “La huerta de don Marcos.” Nueva Revista de Filología Hispánica 60.1 (2012a): 181–198. Góngora’s often idealized huerta as it really was—an ordinary and rough patch of land bearing little resemblance to the mythological Arcadia or to the Soledades. Paz, Amelia de. “Vida del poeta.” In Góngora, la estrella inextinguible: Magnitud estética y universo contemporáneo. Edited by Joaquín Roses, 31–45. Madrid: Sociedad Estatal de Acción Cultural, 2012b. The single best introduction to Góngora’s life by his most zealous biographer. Paz, Amelia de. “El testamento del licenciado Cristóbal de Heredia, administrador de Góngora.” Nueva Revista de Filología Hispánica 61.1 (2013): 99–145. New biographical details concerning Góngora’s administrator in his late years, including a full transcript of his will and an authoritative account of their relationship. Paz, Amelia de. “Las cuentas de don Luis.” In El universo de Góngora: Orígenes, textos y representaciones. Edited by Joaquín Roses, 31–80. Córdoba, Spain: Diputación de Córdoba, 2014a. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 3/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies New archival documents that detail Góngora’s precarious finances. Paz, Amelia de. Todo es de oídas. Seville, Spain: Renacimiento, 2014b. The transcription of the case brought against the inquisitor Alonso Jiménez de Reinoso in which Góngora intervened as an important witness for the prosecution. The trial offers an unflattering picture of a previously unknown Góngora consumed by vengeance and cronyism. The book expands upon Paz’s previous Góngora y el Señor Inquisidor: Un autógrafo inédito de don Luis (Madrid: Ministerio de Educación, 2012). Ponce Cárdenas, Jesús. “Góngora y el conde de Niebla: Las sutiles gestiones del mecenazgo.” Criticón 106 (2009): 99–146. The first serious study about Góngora and the patronage of the Count of Niebla. Rico García, José Manuel, and Pedro Ruiz Pérez, eds. El duque de Medina Sidonia: Mecenazgo y renovación estética. Huelva, Spain: Universidad de Huelva, 2015. A collection of twenty-three scholarly essays about the House of Medina Sidonia, several of them touching on the relationship between Góngora and the Count of Niebla. Sliwa, Krysztof, ed. Cartas, documentos y escrituras de Luis de Góngora y Argote (1561–1627) y de sus parientes. 2 vols. Córdoba, Spain: Servicio de Publicaciones de la Universidad de Córdoba, 2004. A collection of 627 letters, documents, and deeds relating to Góngora and his relatives. Soria Mesa, Enrique. “Góngora judeoconverso: El fin de una vieja polémica.” In La Edad del Genio: España e Italia en tiempos de Góngora. Edited by Begoña Capllonch, Sara Pezzini, Giulia Poggi, and Jesús Ponce Cárdenas, 415–433. Pisa, Italy: ETS, 2013. New documents attesting “the poet’s clear Jewish background” (p. 415). Articles, Book Chapters, and Introductions (by Works) The number of studies and books devoted to Góngora by now probably exceeds three thousand. This section provides some representative examples of different trends in Góngora studies, divided in two main categories: General Reflections and studies devoted to specific works (Soledades, Polifemo, Panegírico al duque de Lerma, Sonnets, Theater, and other works). General Reflections Carne-Ross 1979 offers a philosophical interpretation of Góngora’s almost Spinozian conatus or “will to live.” The book in which the essay originally appeared—Instaurations—earned the praises of none other than George Steiner, who called its author a rare example of what a true reader should be. Lezama Lima 1976 is both an homage to and a settling of scores with his muse, Góngora. González Echevarría 2001 explores the relationship between Lezama and Góngora, in connection with Longinus’s On the Sublime. Ortega y Gasset 1998 is a serious critique of Góngora’s deshumanización by Spain’s most renowned philosopher. Smith’s elegant comparison between Roland Barthes and Góngora in Smith 1986 represents a rare combination of philological rigor and theoretical sophistication. Chemris 2021 examines Góngora’s engagement with Pedro de Valencia and Inca Garcilaso. Published in the first issue of Criticón, Jammes 1978 can be described only as a dogmatic, positivist manifesto in defense of “true” meaning. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 4/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Carne-Ross, Donald. “Dark with Excessive Bright: Four Ways of Looking at Góngora.” In Instaurations: Essays in and out of Literature; Pindar to Pound. By Donald Carne-Ross, 133–166. Berkeley: University of California Press, 1979. A lucid essay about Góngora’s “loyalty to the earth” (p. 161) by a reader who moves graciously among Pindar, Pound, Wallace Stevens, Nietzsche, Rilke, Hegel, Jorge Guillén, Milton, and, yes, Dámaso Alonso. As George Steiner remarked in his book review, “critics are legion. Good readers . . . are rare” (London Review of Books 2.11 [1980]: 18). Spanish translation by Carlos R. de Dampierre, “Una oscuridad con excesiva claridad: Cuatro modos de mirar a Góngora,” Cuadernos Hipanoamericanos 259 (1972): 5–43. Carreira, Antonio. “Defecto y exceso en la interpretación de Góngora.” In Gongoremas. By Antonio Carreira, 47–73. Barcelona: Península, 1998b. What is a literary interpretation? According to Carreira, “to follow a line of thought by selecting definitions and connotations that conduct meaning in a single direction that is perfectly compatible with bisemia or polysemia [seguir una línea de racionalidad seleccionando acepciones y connotaciones que encaucen el sentido en una forma unívoca perfectamente compatible con la bisemia o la polisemia]” (p. 70). In other words, interpreting a literary text is little more than “selecting” from the different possibilities of a word that which best captures the true meaning intended by the author. Cascardi, Anthony J. “The Exit from Arcadia: Reevaluation of the Pastoral in Virgil, Garcilaso, and Góngora.” Journal of Hispanic Philology 4 (1980): 119–141. One of the first studies to challenge the idée reçue of Góngora as a bucolic poet longing for the “candor primero” in an abstruse language that is anything but candid. Chemris, Crystal Anne. “Góngora and the Colonial Body Politic: Moriscos, Amerindians and Poetry as Protest.” In The Spanish Baroque and Latin American Literary Modernity: Writing in Constellation. By Crystal Anne Chemris, 29–53. Woodbridge, UK: Tamesis, 2021. Góngora’s “covert” (p. 33), “ambiguous” (p. 33), “subtle” (p. 34), and “fragmented” (p. 34) criticism—too many qualifiers, if you asked me— of the expulsion of the Moriscos and his relationship with Inca Garcilaso and the humanist Pedro de Valencia. The antithesis of Carreira, who argues that “no parece que la cosa le quitara el sueño” (see Carreira 2011, cited under Panegírico al duque de Lerma), “it does not seem that the expulsion of the Moriscos kept him awake.” Gimferrer, Pere. “Góngora o lo absoluto.” In El universo de Góngora: Orígenes, textos y representaciones. Edited by Joaquín Roses, 19–29. Córdoba, Spain: Diputación de Córdoba, 2014. A defense of Góngora’s essential “inhumanity” by an unabashedly neo-Gongorine poet. By “inhumanity,” Gimferrer understands not so much Ortega’s dehumanization as the impersonal and almost übermenschlich status achieved by the poetic “I” through the radical autonomy of poetic language. González Echevarría, Roberto. “Lezama, Góngora y la poética del mal gusto.” Hispania 84.3 (2001): 428–440. A discussion of “lo feo bello y lo sublime” (p. 432) in the two Góngoras of the Spanish language: Góngora y Argote and the Cuban poet Lezama Lima. Largely ignored by philological criticism, it discusses Gongora’s style in connection with the Longinian sublime years before other Góngora critics. Reproduced without mention of its original provenance in Joaquín Roses, ed., Góngora hoy IV–V (Córdoba, Spain: Diputación de Córdoba, 2004), pp. 73–94. Guillén, Jorge. “Góngora.” In Lenguaje y poesía: Algunos casos españoles. By Jorge Guillén, 31–71. Madrid: Alianza, 1969. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 5/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies An insightful study of Góngora’s style packed with tight, memorable turn of phrases like “circo de la sintaxis” (p. 42), “energía objetivadora” (p. 45), “impulso refrenado” (p. 51), and many others. Guillén’s succint definition of Góngora’s style—valid for his own poetry as well—is hardly surpassable: “Objective yet enigmatic [a la vez objetivo y enigmático]” (p. 55). Jammes, Robert. “Rétrogongorisme: Notes sur quelques travaux recents.” Criticón 1 (1978): 1–82. A scathing reviews of Góngora critics, like Maurice Molho, who do not share Jamme’s belief that “texts have one meaning, which is determined by their author [les textes on un sens, voulu par leur auteur]” (p. 80). Lezama Lima, José. “El secreto de Garcilaso” (1937). In Analecta del reloj. By José Lezama Lima, 7–39. Havana, Cuba: Orígenes, 1953. Written prior to, but lesser known than, “Sierpe de don Luis de Góngora” (1951), this essay draws a strict contrast between Góngora’s “fijeza óptica” (p. 34) and Garcilaso’s more fluid “espectralización ambiental” (p. 35). Visual studies decades before the name even existed. Required reading. Lezama Lima, José. “Sierpe de don Luis de Góngora” (1951). In Esferaimagen: Sierpe de don Luis de Góngora; Las imágenes posibles. Edited by José Agustín Goytisolo, 21–49. Barcelona: Tusquets, 1976. “If it is spirit, it has no more to do with sense (p. 27).” A critique of Góngora’s lack of negativity by his most fervent imitator. More quoted than actually read, the essay is finally available in English in a laudable translation by James Irby and Jorge Brioso—José Lezama Lima: A Poetic Order of Excess (Green Integer, 2019). Required reading. Ortega y Gasset, José. “Góngora, 1627–1927.” In El espíritu de la letra. Edited by de Ricardo Senabre, 143–154. Madrid: Cátedra, 1998. A counter reading of Góngora at the peak of his beatification in 1927, stressing the poet’s “monstrous” coldness and detachment. A provocative essay by Spain’s best-known philosopher that deserves more attention than it has received. Poggi, Giulia. “Góngora y los mecenas.” In El autor en el Siglo de Oro: Su estatus intelectual y social. Edited by Manfred Tietz y Marcella Trambaioli, 329–344. Vigo, Spain: Editorial Academia del Hispanismo, 2011. A “fragmented review of dedicatory poems and encomiastic sonnets” (p. 341), stressing the contradiction between Góngora’s inner convictions and his laudatory rhetoric. Rosales, Luis. “Discurso de apertura.” In El Barroco en América. Vol. 1 of XVII Congreso del Instituto Internacional de Literatura Iberoamericana. Edited by Centro Iberoamericana de Cooperación, 7–34. Madrid: Cultura Hispánica del Centro Iberoamericano de Cooperación, 1978. A remarkable essay about the “hallucinating character” (carácter alucinado) (p. 7) of Góngora’s language as a result of four factors: complexity (complejidad), its infinite reflecting quality (la relación espejeante), transitivity (el carácter de transitividad), and polysemy (polisemia). Old fashioned stylistics that often sounds like Deleuze’s rhizomatics. Sánchez Robayna, Andrés. “Un debate inconcluso (Notas sobre Góngora y Mallarmé).” In Silva gongorina. By Andrés Sánchez Robayna, 57–74. Madrid: Cátedra, 1993. A critical review of the literature comparing Góngora and Mallarmé from Alfonso Reyes to Milner, and from Ungaretti to Octavio Paz. An excellent survey of a controversy that is far from being settled. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 6/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Smith, Paul Julian. “Barthes, Góngora, and Non-sense.” PMLA 101.1 (1986): 82–93. A study of Góngora’s radical sexual and textual indeterminacy against the background of poetics in the 16th and 17th centuries. Polifemo Poppenberg 2015 comes from a solid German philological tradition rooted in philosophy, like the missed Leo Spitzer, Américo Castro, and Stephen Gilman. Barnard 2002 and Bergmann 2013 offer two examples of recent trends in American Hispanism. Blanco 2010, Micó 2015, Poggi 1989, and Ponce Cárdenas 2010 are works by authors who are among the best practitioners of traditional philology, in contrast to Kluge 2014 and Torres 2007, whose authors are more theoretically minded. Barnard, Mary E. “The Gaze and the Mirror: Vision, Desire, and Identity in Góngora’s Fábula de Polifemo y Galatea.” Calíope 8.1 (2002): 69–85. A vaguely psychoanalytical interpretation of vision and desire in the Polifemo by a representative of Góngora studies in the United States. Bergmann, Emilie L. “Sor Juana, Góngora and Ideologies of Perception.” Calíope 18.2 (2013): 116–138. Metaphors of visual perception (otherwise called the “rejection of the imperial gaze”) in Sor Juana and Góngora’s Polifemo and Soledades. Blanco, Mercedes. “La estela del Polifemo o El florecimiento de la fábula barroca (1613–1624).” Lectura y Signo 5 (2010): 31–68. A diachronic study of the Spanish epyllion—mythological fable—in the wake of Góngora’s Polifemo. Kluge, Sofie. “A Monstruous Tale: Mosaical Mythography in Góngora’s Polifemo.” In Diglossia: The Early Modern Reinvention of Mythological Discourse. By Sofie Kluge, 156–174. Kassel, Germany: Edition Reichenberger, 2014. An expanded, pithier version of Kluge’s own “Un epilio barroco: El Polifemo y su género” (2013), exploring the etiological, aesthetic, philosophical, moral, and burlesque facets of Góngora’s epyllion, “the essential seventeenth-century medium for venting the precarious issue of ‘fiction’” (p. 153). Micó, José María. “Lectura del Polifemo.” In Para entender a Góngora. By José María Micó, 202–302. Barcelona: Acantilado, 2015. More than a properly post-structuralist “reading,” a sound, stanza-by-stanza philological commentary of the poem’s objective content by the translator of Dante’s Divine Comedy. Previously published as a separate book under the title El Polifemo de Luis de Góngora: Ensayo de crítica e historia literaria (Barcelona: Península, 2001). Parker, Alexander Augustine, ed. “Introduction.” In Luis de Góngora: Polyphemus and Galatea; A Study in the Interpretation of a Baroque Poem. By Luis de Góngora, 7–106. Edinburgh: Edinburgh University Press, 1977. An excellent introduction to the poem by the reputable British Hispanist. Topics covered include “The Mythological Fable,” “The Baroque Styles,” “Góngora’s Life and Fame,” “Wit and the Conceit,” “Polifemo and Gracián’s Theory of Wit,” “Analysis and Interpretation,” and “Culteranismo.” Spanish translation available: Fábula de Polifemo y Galatea, 4th ed., translated by Genovena Ruiz-Ramón (Madrid: Cátedra, 1990). https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 7/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Poggi, Giulia. “‘Negras violas, blancos alelíes’: Una nota di cromatismo gongorino.” In Symbolae Pisanae: Studi in onore di Guido Manzini. Vol. 2. Edited by Blanca Periñán and Francesco Guazzelli, 469–480. Pisa, Italy: Giardini Editori, 1989. One of Poggi’s many perceptive analyses of Góngora’s Polifemo. Reprinted in her authoritative Gli occhi del pavone. Quindici studi su Góngora (Florence: Alinea Editrice, 2009), 117–126. Ponce Cárdenas, Jesús, ed. “Introducción.” In Fábula de Polifemo y Galatea. By Luis de Góngora, 9–141. Madrid: Cátedra, 2010. An authoritative overview of the poem’s sources, literary history, genre, themes, and style. Includes bibliographical references. Poppenberg, Gerhard. “La Arcadia de la Fábula de Polifemo y Galatea de Góngora.” Creneida 3 (2015): 209–260. An illuminating analysis of the Polifemo and the pastoral genre. Translated from the German by Laura Selva and Rafael Bonilla Cerezo. The right place to start when thinking about the poem. Torres, Isabel. “Galatea Descending . . . Rereading Góngora’s Polifemo Stanzas 13–23.” In Rewriting Classical Mythology in the Hispanic Baroque. Edited by Isabel Torres, 55–70. Woodbridge, UK: Tamesis, 2007. A study of the Polifemo’s “constant dismantling of carefully constructed expectations” (p. 55) by a representative of critical theory in the United Kingdom. Waissbein, Daniel. “El ‘vario sexo’ de Polifemo.” In El universo de Góngora: Orígenes, textos y representaciones. Edited by Joaquín Roses, 177–214. Cordova, Spain: Diputación de Córdoba, 2014. Androgyny and sexual ambiguity in Góngora’s Polifemo. Soledades Góngora’s masterpiece has been the object of hundreds of studies covering practically all critical orientations. Rosales 1971 is one of the best essays ever written about Góngora’s “hallucinatory language.” Ly 1999 (cited under Rhetoric and Style) goes beyond Alonso’s stylistics to interpret Góngora’s abuse of the hyperbaton as both a liberation from the constrictions of discursive language and a mirror of the world’s discombobulation. Regarding gongoristas versus retrogongoristas (retrograde gongoristas), Carreira 2014 evidences the rift that separates positivist philology from literary interpretation. The entire controversy faintly recalls France’s querelle des Anciens e des Modernes. Spitzer 1940 is a cascade of unrelated notes, each more brilliant than the other, about different aspects of the Soledades. Sánchez Robayna 2011 touches on a topic that deserves more attention—Góngora’s poetics of incompleteness. Beverley 2008 represents the black sheep of Góngora studies, introducing a neo-Marxist perspective that does not sit well with philological circles. Alonso, Dámaso. “Claridad y belleza de las Soledades.” In Góngora y el gongorismo. Vol. 5 of Obras completas. By Dámaso Alonso, 293–317. Madrid: Gredos, 1978. A classic study that, despite all evidence to the contrary, tries to prove that the Soledades is not an obscure and ugly poem but rather a clear and beautiful one. A prime example of Freudian Verneinung (negation) by the father of Góngora studies. Beverley, John. “The Production of Solitude: Góngora and the State.” In Essays on the Literary Baroque in Spain and Spanish America. By John Beverly, 54–71. Woodbridge, UK: Tamesis, 2008. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 8/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies A study of “the relationship between a certain way of doing poetry and the dominant ideology and the society which represented and reproduced itself through that ideology” (p. 54). Capllonch, Begoña. “‘Sentido’ y ‘referencia’ en algunas imágenes de las Soledades: del cincel al cristal de azogue.” In La Edad del Genio: España e Italia en tiempos de Góngora. Edited by Begoña Capllonch, Sara Pezzini, Giulia Poggi, and Jesús Ponce Cárdenas, 149–161. Pisa, Italy: ETS, 2013. The author argues that Góngora’s language is not a chisel (cincel) that imprisons reality but a mercury mirror (espejo de azogue) that reflects and distorts its flickering, evanescent quality. Carreira, Antonio. “Las Soledades y la crítica posmoderna.” In Góngora y su estela en la poesía española e hispanoamericana: Actas del Congreso celebrado en Córdoba los días 17, 18, 19 y 20 de octubre de 2013. Edited by de Antonio Castro Díaz, 81–108. Córdoba, Spain: Asociación Andaluza de Profesores de Español Elio Antonio de Nebrija, 2014. Notwithstanding some valid remarks, a dialogue of the deaf between traditional philology and critical theory broadly defined as the attempt to display the meaning of a text as opposed to merely clarifying its objective content. Ferretti, Francesco. “Peregrini erranti: La Gerusalemme liberata nelle Soledades.” In La Edad del Genio: España e Italia en tiempos de Góngora. Edited by Begoña Capllonch, Sara Pezzini, Giulia Poggi, and Jesús Ponce Cárdenas, 253–278. Pisa, Italy: ETS, 2013. An extraordinary analysis of the relationship between Góngora’s Soledades and Tasso’s Gerusalemme liberata, focusing on the key word “peregrino” and the notion of enargeia. A model study, even if the author’s remarks about Flemish painting are off the mark. Jammes, Robert, ed. “Introducción.” In Soledades. By Luis de Góngora, 7–157. Madrid: Castalia, 1994. An authoritative introduction to the poem, divided into five sections: The writing stages, a handy plot summary, characters and themes, the poem’s reception, and rhetoric and style. Required reading in spite of the author’s entrenched positivism. Kluge, Sophie. “Góngora’s Heresy: Literary Theory and Criticism in the Golden Age.” Modern Language Notes 122 (2007): 251– 271. To quote the author, “the real problem of Gongorine poetry appears to be the question whether the monstrous form of the Soledades reveals an esoteric truth or whether it represents an aesthetic, ‘Neopagan’ indulgence in the beautiful and ephemeral matter of the physical and the historical world for its own sake” (p. 266). An excellent discussion of the secularization of allegory in Góngora. Kluge, Sophie. “Amazonas del mar y sátiros acuáticos: Góngora y la literature mitológica.” Revue Romance 44 (2009): 94–111. The domination of language and nature in the piscatory passage of the Second Solitude. A good companion piece to Ravasini’s more erudite “Éfire, Filódoces e i ‘prodigiosos moradores del líquido elemento’” (Ravasini 2013). Lara, Garrido. “Un nuevo encuadre de las Soledades. Esbozo de relectura desde la Economía renacentista.” Calíope 9 (2003): 5– 35. A comparison between Soledades and Torquatto Tasso’s Il padre di famiglia, arguing the poem espouses a utopian economic program. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 9/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Micó, José María. “La fragua de las Soledades.” In Para entender a Góngora. By José María Micó, 117–195. Barcelona: Acantilado, 2015. Poems by Góngora leading to the writing of the Soledades. Previously published as La Fragua de las Soledades: Ensayos sobre Góngora (Barcelona: Sirmio, 1990). Molho, Mauricio. “Soledades.” In Semántica y poética. By Mauricio Molho, 39–81. Barcelona: Crítica, 1977. A seminal study by the French Hispanist who probably introduced Jakobson’s structuralism in Spanish golden age studies. Required reading. Padrón, Ricardo. “Against Apollo: Góngoraʼs Soledad primera and the Mapping of Empire.” Modern Language Quarterly 68.3 (2007): 363–393. The role of cartography in the often-studied diatribe against navigation in verses 366–502 of the Soledad primera. Not only an excellent analysis of the passage but also a lesson in Renaissance cartography. Pérez Ruiz Pedro. “Pérdida y recuperación de la Arcadia en las Soledades.” In El espacio de la escritura: En torno a una poética del espacio del texto barroco. By Pedro Pérez Ruiz, 40–50. Bern, Switzerland: Peter Lang, 1996. Las Soledades understood as a “pastoral without shepherds” (p. 43) in which faith in Nature and humanity is lost. “The mythical space of Utopia makes room for historical discourse” (p. 44). A radical departure from the traditional view of the poem as an idealized Arcadia that follows the footsteps of Beverly’s Aspects of Góngora’s Soledades. Ravasini, Inés. “Éfire, Filódoces e i ‘prodigiosos moradores del líquido elemento’: La caccia marina della Soledad segunda.” In La Edad del Genio: España e Italia en tiempos de Góngora. Edited by Begoña Capllonch, Sara Pezzini, Giulia Poggi, and Jesús Ponce Cárdenas, 397–414. Pisa, Italy: ETS, 2013. Italian sources of the piscatory passage of the Second Solitude—Sannazaro, Tansillo, Marino, Antonio Ongaro, etc. See by the same author “Náuticas venatorias maravillas”: Percorsi piscatori nella letteratura spagnola del Siglo de Oro (Pavia, Italy: Ibis, 2011). Rosales, Luis. “La imaginación configurante: Ensayo sobre las Soledades, de don Luis de Góngora.” Cuadernos hispanoamericanos 257–258 (1971): 255–294. A stylistic analysis that transcends mere stylistics to become a profound inquiry into two of Góngora’s linguistic pirouettes: a scrambled syntax that obliterates discursive order and an unbridled metaphoricity (metaforicidad) that erases the very concept of “distinctness” by collapsing all things into one indiscernible totality. Also published under the title “Las Soledades de Góngora: Algunas características de su estilo,” in Atti del Convegno Internazionale sul tema: Premarinismo e pregongorismo (Roma, 19–20 aprile 1971) (Rome: Accademia Nazionale dei Lincei, 1973), pp. 59–93. Comparable only to Lezama Lima’s “Sierpe de don Luis de Góngora” (see Lezama Lima 1976, cited under General Reflections). Sánchez Robayna, Andrés. “Sobre el inacabamiento de las Soledades.” In El poeta soledad: Góngora, 1609–1615. Edited by Begoña López Bueno, 289–312. Zaragoza, Spain: Prensas Universitarias de Zaragoza, 2011. Parallelisms between Góngora’s unfinished texts and “el non finito de las artes plásticas” (p. 55). https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 10/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Spitzer, Leo. “La ‘Soledad Primera’ de Góngora: Notas críticas y explicativas a la nueva edición de Dámaso Alonso.” Revista de Filología Hispánica 2 (1940): 151–176. Some forty critical “notes” touching on a wide range of topics that include emblematic literature (p. 152), linguistic indeterminacy (p. 155), literary sources (p. 155), etymology and art history (p. 157), Góngora’s empirical transcendence (p. 158), stylistics, classical rhetoric, and “the technique of the enigma” (p. 160, n. 1), sexual ambiguity (p. 161), the counterpoint between lust and restraint (p. 162), wordplay, mythology, etc. A veritable gold mine. Sonnets Matas Caballero 2019 and Orozco Díaz 2009 offer a panoramic view of the topic. Asensi Pérez 1995, Hidalgo Serna 1980, and Steiner 1978—neither of the three considered legitimate autoritate—bring a philosophical perspective often missing in philological studies. Marras 1984 (cited under Books) offers a structural analysis of the funereal sonnet, whereas Andrews 2014 adopts a historical approach. Gaylord 1993, Güntert 2011, and, to some extent, Micó 2011 wonder about the role of the Romantic “I” in Góngora’s poetry. Amann 2013 examines the role of the singing nightingale—the role of language and the singing poet—in three metapoetic sonnets. Amann, Elizabeth. “‘Ave (aunque muda yo)’: The Image of the Nightingale in Góngora’s Love Sonnets.” Symposium 67 (2013): 63– 74. Singing, and not singing, in three metapoetic sonnets by Góngora: “Ya que con más regalo el campo mira,” “Con diferencia tal, con gracia tanta,” and “Oro no rayó así flamante grana.” Andrews, Jean. “The Staging of Góngora’s Three Funereal Sonnets for Margarita de Austria-Estiria.” In Spanish Golden Age Poetry in Motion. Edited by Jean Andrews and Isabel García, 131–146. Woodbridge, UK: Tamesis, 2014. A historical analysis of the exequies leading to the writing of three sonnets by Góngora: “A la España toda humilde estrado,” “No de fino diamante o rubí ardiente,” and the well-known “Máquina funeral que desta vida.” A step beyond more traditional close readings focusing exclusively on formal aspects of the text. Asensi Pérez, Manuel. “La configuración del fondo.” In Literatura y filosofía. By Manuel Asensi Pérez, 13–57. Madrid: Síntesis, 1995. See especially pp. 48–57. A philosophical approach to Góngora’s sonnet “Tonante monseñor, ¿de cuándo acá?,” focusing on Góngora’s disenchantment. An insightful essay that seems to have fallen through the cracks. Gaylord, Mary M. “Góngora and the Footprints of the Voice.” MLN 108.2 (1993): 230–253. The role of the feeling “I”—the role of voice—in Góngora’s well-known love sonnet “Descaminado, enfermo, peregrino” (sonnet 49). Güntert, Georges. “Góngora en primera persona: Rechazo de la imitatio vitae petrarquista e invención del autorretrato burlesco.” In El autor en el Siglo de Oro: Su estatus intelectual y social. Edited by Manfred Tietz and Marcella Trambaioli, 141–155. Vigo, Spain: Editorial Academia del Hispanismo, 2011. On Góngora’s rejection of sentimental autobiography in favor of a self-denigrating voice. Examples include letrillas, romances, and the famous sonnets “De pura honestidad templo sagrado” and “Mientras por competir con tu cabello.” https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 11/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Hidalgo Serna, Emilio. “Filosofía del ingenio: El concepto y el método ingenioso en Baltasar Gracián.” Revista de Filosofía 18.1 (1980): 69–85. A philosophical approach to Góngora’s sonnet “Ayer naciste y morirás mañana,” contrasting Aristotle’s hóros (concept) with Gracián’s agudeza (conceit). An analysis of wit that takes at face value Gracián’s remark that Góngora sings philosophically (“filósofos en el verso”). Matas Caballero, Juan, ed. “Introducción.” In Sonetos. By Luis de Góngora, 9–90. Madrid: Cátedra, 2019. A comprehensive study of the Gongorine sonnet, including evolutionary stages, literary influences, general themes, mythological allusions, use of emblems, and rhetoric. Includes an extensive bibliography. Micó, José María. “Un soneto di Góngora: Descaminado, enfermo, peregrino.” Italique: Poésie italienne de la Rennaissance 14 (2011): 119–132. A sensitive commentary of Góngora’s love sonnet “Descaminado, enfermo, peregrino,” showing its indebtedness to both the serranilla genre and the Petrarchan tradition, as well as its similarities with the future Soledades. Spanish translation in Para entender a Góngora, 133–149 (see Books). Orozco Díaz, Emilio. “Prólogo para una antología comentada de los sonetos de Góngora.” In Introducción al barroco: Ensayos inéditos. By Emilio Orozco Díaz. Edited by José Lara Garrido, 169–188. Granada, Spain: Universidad de Granada, 2009. An overview of the Gongorine sonnet in its relationship with the Petrarchan tradition and Herrera’s poetics. Previously unpublished, the essay is a good companion to Orozco’s equally useful Los sonetos de Góngora (Antología comentada) (see Books). Steiner, George. “On Difficulty.” Journal of Aesthetics and Art Criticism 36.3 (1978): 263–276. A philosophical approach to Góngora’s ecfrastic sonnet “Hurtas mi bulto, y cuanto más le debe,” placing it against “the Neo-Platonic and Petrarchan topos of identity and image . . . and Mallarmé’s paradoxalities on the ‘presentness’ to the spirit of that which is absent” (p. 271). A fresh look at Góngora by one of the most influential critics of the 20th century. Reprinted in George Steiner, On Difficulty and Other Essays (Oxford: Oxford University Press, 1978), pp. 18–47. Spanish version by Adriana Margarita Díaz Enciso, Sobre la dificultad y otros ensayos, 3rd ed. (Mexico City: Fondo de Cultura Económica, 2006), pp. 37–81. Panegírico al duque de Lerma Dismissed for centuries as a bombastic poem exclusively seeking to gain the Duke’s favor, the Panegyric to the Duke of Lerma has started only recently to receive critical attention, particularly after the publication of El duque de Lerma: Poder y literatura en el Siglo de Oro (Matas Caballero, et al. 2011, cited under Collective Works), with Blanco 2011, Carreira 2011, and Ponce Cárdenas 2011, among works by other gongoristas. More recent contributions include Ponce Cárdenas 2012 and Ly 2017. The best edition is Martos Carrasco’s unpublished doctoral dissertation (see Standard Editions). Blanco, Mercedes. “El panegírico al duque de Lerma como poema épico.” In El duque de Lerma: Poder y literatura en el Siglo de Oro. Edited by Juan Matas Caballero, José María Micó, and Jesús Ponce Cárdenas, 125–154. Madrid: Centro de Estudios Europa Hispánica, 2011. General remarks about the heroic poem. The author argues that the poem betrays the tension between Claudian’s model, the House of Lerma’s tumultuous history, and Góngora’s stylistic habits. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 12/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Carreira, Antonio. “Fuentes históricas al Panegírico al duque de Lerma.” In El duque de Lerma: Poder y literatura en el Siglo de Oro. Edited by Juan Matas Caballero, José María Micó, and Jesús Ponce Cárdenas, 105–124. Madrid: Centro de Estudios Europa Hispánica, 2011. Remarks about the poem’s historical accuracy. Ly, Nadine. “Del ‘Fénix de los Sandos’ a los eclipses del Duque: La invención de una agudeza compuesta en el Panegírico al duque de Lerma.” In Las artes del elogio: Estudios sobre el panegírico. Edited by Jesús Ponce Cárdenas, 185–210. Valladolid, Spain: Universidad de Valladolid, 2017. The poetic and political connotations of the phoenix topos and the structural role it plays in the poem. Reprinted in Ly 2020 (cited under Books), pp. 504–535. Ponce Cárdenas, Jesús. “Taceat superata vetustas: Poesía y oratoria clásicas en el Panegírico al duque de Lerma.” In El duque de Lerma: Poder y literatura en el Siglo de Oro. Edited by Juan Matas Caballero, José María Micó, and Jesús Ponce Cárdenas, 57– 103. Madrid: Centro de Estudios Europa Hispánica, 2011. Rhetorical patterns of the basilikos logos, an encomium addressed to an emperor. Ponce Cárdenas, Jesús. “El Panegírico al duque de Lerma: Trascendencia de un modelo gongorino (1617–1705).” Mélanges de la Casa de Velázquez, Nouvelle série 42.1 (2012): 71–93. Echoes of Góngora’s Panegírico in writers like Salcedo Coronel, Gabriel de Corral, Gabriel Bocángel, and others. Theater The leading authority on Góngora’s theater is the Italian critic Laura Dolfi (Dolfi 2017), with over twenty articles, two published books (and a third announced), and two editions on the subject (see Books and Standard Editions). Works by other authors include Blanco 2012, Collins 1991, Jammes 1987, Quintero 1991 (cited under Books), Bultman 2003, and Poggi 2019. Blanco, Mercedes. “Toledo como jeroglífico en las Firmezas de Isabela.” In Góngora o la invención de una lengua. By Mercedes Blanco, 255–292. León, Spain: Universidad de León, 2012. The influence of Garcilaso’s second eclogue and the role of wit in Góngora’s description of Toledo. “It is difficult not to recall Greco’s paintings” (p. 285). Bultman, Dana. “Scripted Oralities circa 1607–1610: Language and Intention in Góngora’s Las firmezas de Isabela and Lope’s Lo fingido verdadero.” Bulletin of the Comediantes 55.1 (2003): 47–67. The power and fluidity of written and spoken language in two plays by Góngora and Lope. Collins, Marsha S. “The Crucible of Love in Góngora’s Las firmezas de Isabela.” Bulletin of the Comediantes 43.2 (1991): 197–213. The “discrepancies between ser and parecer” (p. 198) in the comedy, with parallels with Cervantes’ novella El curioso impertinente. Dolfi, Laura. “Luis de Góngora: Un teatro para el teatro.” Criticón 129 (2017): 225–242. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 13/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Can a difficult play like Las firmezas de Isabela be staged? By analyzing the play’s numerous implicit stage directions—“en secreto,” “dice adentro un criado,” “llama de adentro,” etc.—the author concludes it is indeed possible. One of Dolfi’s many articles on Góngora’s theater, this time focusing on his awareness of the actor’s movement on stage. Jammes, Robert. “El teatro” (1967). In La obra poética de don Luis de Góngora y Argote. By Robert Jammes, 393–447. Translated by Manuel Moya. Madrid: Castalia, 1987. The first serious study of Góngora’s theatre. Poggi, Giulia. “Prove di scena.” In Góngora. By Giulia Poggi, 125–145. Rome: Salerno Editrice, 2019. A useful overview of Góngora’s theater, divided into four sections: the rivalry between Góngora and Lope, the influence of Tasso’s Aminta in the Comedia venatoria, the influence of Ariosto in Las firmezas de Isabela, and sex and money in Doctor Carlino with Boccaccio in the background. Other Works In addition to the works listed above—major mythological fables, panegyric, sonnets, and plays—Góngora also wrote hundreds of romances, décimas, letrillas, canciones, and other literary forms, both religious and profane, popular and learned, serious and parodic, accessible and extremely recherché. This sections covers some of these works, including the burlesque Fábula de Píramo y Tisbe (Kerr 2017), and two different takes on the tercets “Mal haya el que en señores idolatra” (Sánchez Robayna 1993 and Lawrence 2013), for many a turning point in Góngora’s production. The Italian philosopher Benedettoo Croce (Croce 1939) and the Catalan essayist Joan Ferraté (Ferraté 1968) offer two nonacademic interpretations of the famous canción “¡Qué de envidiosos montes levantados!,” while Thompson 2007 comments on three religious romances, one of the most neglected aspects of Góngora’s poetry. Croce, Benedetto. “Góngora.” La Critica 37 (1939): 334–349. A little-known study by Italy’s most famous thinker, celebrating “the power of thinking” and the “almost religious cult of things” in Góngora’s poetry. Translated poems include: “Que de envidiosos montes levantados,” “Hermana Marica,” “La más bella niña,” “Descaminado, enfermo, peregrino,” and others. Ferraté, Joan. “Ficción y realidad en la poesía de Góngora.” In Dinámica de la poesía: Ensayos de explicación, 1952–1966. By Joan Ferraté, 297–334. Barcelona: Seix Barral, 1968. A sensitive, nonacademic essay about Góngora’s “¡Qué de invidiosos montes levantados!” by the renowned Catalan critic. For an academic study of the same poem, see Jesús Ponce Cárdenas, “Evaporar contempla un fuego helado”: Género, enunciación lírica y erotismo en una canción gongorina (Malaga, Spain: Universidad de Málaga, 2006). Kerr, Lindsay G. “La fábula de Píramo y Tisbe.” In Luis de Góngora and Lope de Vega: Masters of Parody. By Lindsay G. Kerr, 51– 85. Woodbridge, UK: Tamesis, 2017. Metapoetry, tragic gloom, the questioning of tradition, and the circumvention of closed endings in Góngora’s melancholic farce. Lawrence, Jeremy. “‘Mal haya el que en señores idolatra’ (1609): Poetry of Gardens and Solitude.” In A Poet for All Seasons: Eight Commentaries of Góngora. Edited by Oliver Noble Wood and Nigel Griffin, 25–46. New York: Hispanic Seminary of Medieval Studies, 2013. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 14/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies A close reading of Góngora’s famous tercets that brings out the multiple contradictions and ambiguities underlying the consoling myth of Beatus ille. Sánchez Robayna, Andrés. “Los tercetos gongorinos de 1609 como epístola moral.” In Silva gongorina. By Andrés Sánchez Robayna, 83–99. Madrid: Cátedra, 1993. Moral and political overtones of Góngora’s seminal “Mal haya el que en señores idolatra.” The political overtones refer to the lines alluding to the expulsion of the Moriscos (“le escribe / la expulsión de los moros de Valencia”) that had barely started on the same year the poem was written. Thompson, Colin. “Góngora como poeta religioso: Los tres romances ‘Al nacimiento de Cristo Nuestro Señor.’” Calíope 13.2 (2007): 5–21. Close readings of three late religious romances, an underrated aspect of Góngora’s literary production. Articles, Book Chapters, and Introductions (by Theme) The following sections are devoted to articles dealing with two themes: Rhetoric and Style, and ut pictura poesis. The aim in future updates of this article is to cover other important themes, such as the literary controversy surrounding Góngora, Góngora and the New World, Góngora and modern poetry, etc. Rhetoric and Style While no study of Góngora’s philosophy of language is yet remotely comparable to Benjamin’s “Epistemo-Critical Prologue” (The Origin of the German Tragic Drama), a plethora of philological studies address his elocutio, including specific tropes and figures of speech, convoluted syntax, and grammatical and ungrammatical structures. The first serious study of Góngora’s style is Alonso 1978. For Góngora’s use of adjectives, see Conde Parrado 2019. For cacozelia or stylistic affectation, see Bèhar 2015. For metaphor, see Cancelliere 2004 and Molho 1977. For similes and hypallage, see Ponce Cárdenas 2009a. For ellipse, see Sarduy 1974. For Góngora’s hyperbaton, see Ly 1999. For Góngora’s idiosyncratic grammar, see also Ly 2020 (cited under Books). Recent editions of Soledades, Polifemo, and Sonetos also devote a section to stylistics (see Standard Editions). Alonso, Dámaso. “La lengua poética de Góngora (1935) and Estudios y ensayos gongorinos (1955).” In Góngora y el gongorismo. Vol. 5 of Obras completas. By Dámaso Alonso, 9–238 and 341–460. Madrid: Gredos, 1978. Two classics of stylistics, packed with specific observations about cultismos, syntactical formulas such as “A, if not B,” hyperbaton, verbal symmetries, phonetics, and other aspects of Góngora’s poetic language. Bèhar, Roland. “La cacocelía como argumento en la polémica contra la oscuridad.” Boletín Hispánico Helvético 25 (2015): 151– 166. Cacozelia (literally, “unhappy imitation,” “stylistic affectation”) from Quintilian to Scaliger to Jáuregui’s diatribe against Góngora. Blanco, Mercedes. “Les Solitudes comme système de figures: Le cas de la synecdoque.” In Crepúsculos pisando: Once estudios sobre las Soledades de Góngora. Edited by Jacques Issorel, 23–78. Perpignan, France: Presses Universitaires de Perpignan, 1995. A typology of synecdoches (and some metonymies) in the Solitudes. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 15/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Cancelliere, Enrica. “Góngora y Gracián: teoría y práctica de la metáfora.” In Baltasar Gracián: Antropología y estética: Actas del II Coloquio Internacional (Berlín, 4–7 de octubre de 2001). Edited by Sebastian Neumeister, 281–299. Berlin: Tranvia, 2004. One of several studies focusing on the relationship between Góngora and Gracián, from Parker’s “Polifemo and Gracián’s Theory of Wit” (see Parker 1977, cited under Polifemo) to Hidalgo Serna’s “Filosofía del ingenio” (see Hidalgo Serna 1980, cited under Sonnets) to Wood’s Gracián Meets Góngora: The Theory and Practice of Wit (1995) to Blanco’s “Góngora visto por Gracián” (2012) to Mazzochi’s “El Góngora de Gracián (con Tesauro al fondo)” (2015). Conde Parrado, Pedro. “La adjetivación en la poesía de Luis de Góngora y los Epitheta de Ravisius Textor.” Bulletin Hispanique 121.1 (2019): 263–312. Irrefutable evidence showing the extent to which Góngora ransacked Textor’s Epitheta in search of adjectives (elocutio) and motives (inventio). Ly, Nadine. “El orden de las palabras: Orden lógico y orden analógico (La sintaxis figurativa de las Soledades).” Bulletin Hispanique 101.1 (1999): 219–246. The author argues that Góngora’s infamous hyperbata do not obey the logical order of grammar but instead the illogical disorder of the world. Reprinted in Lecturas gongorinas: De gramática y poesía, 350–377 (see Ly 2020, cited under Books). Most of the articles included in this collection are concerned with Góngora’s rhetoric and grammatical formulas. Molho, Maurice. “Sobre la metáfora” (1977).” In Semántica y poética (Góngora y Quevedo). By Maurice Molho, 13–19. Barcelona: Crítica, 1977. “Negative knowledge” [saber negante]” (p. 16) in one metaphor by Góngora—“los raudos torbellinos de Noruega.” A short but insightful article that puts the finger on a crucial aspect of Góngora’s poetry—negativity. Ponce Cárdenas, Jesús. “La forja del estilo sublime: Aspectos de la hipálage en el Polifemo de Góngora.” In Cinco ensayos polifémicos. By Jesús Ponce Cárdenas, 371–449. Málaga, Spain: Universidad de Málaga, 2009a. The use of hypallage in the Polifemo in connection with the rhetoric—not the aesthetics—of the Longinian sublime. Ponce Cárdenas, Jesús. “El símil en el Polifemo: Función y alcance de una figura elocutiva.” In Cinco ensayos polifémicos. By Jesús Ponce Cárdenas, 241–369. Málaga, Spain: Universidad de Málaga, 2009b. A brief history of simile, with examples derived from Virgil, Ariosto, Góngora, and others. Sarduy, Severo. “Elipsis: Góngora.” In Barroco. By Severo Sarduy, 67–78. Buenos Aires: Editorial Sudamericana, 1974. A comparison between Gongorine ellipsis, Kepler’s ellipse, and the psychoanalytical concept of repression. A loose interpretation of Baroque aesthetics that first introduces terms that decades later will become buzzwords even among traditional gongoristas: “decentering,” “subject,” Lacanian “anamorphosis,” Derridean “supplementarity,” “the small object (a),” etc. Reprinted in Ensayos generales sobre el Barroco (Mexico City: Siglo XXI, 1987), pp. 186–194. Sister Arts https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 16/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies A renewed interest in the relationship between literature and the arts since the 1980s harks back to Horace’s famous ut pictura poesis (“as is painting, so is poetry”). After Lezama Lima 1953 (cited under General Reflections), the first critic in calling attention to the “visual” character of Góngora’s poetry was Emilio Orozco (Orozco 1984). Blanco 2004 gives us a panoramic view of the subject. Huergo Cardoso 2001, Huard-Baudry 2012, and Castellví Laukamp 2020 discuss the possible links between the Solitudes and Flemish painting. Cancelliere 1992 focuses on vision and the use of color in the Polifemo. Ponce Cárdenas 2013 studies portraiture in several poems dedicated to the Ayamonte family. Blanco 2012 offers an analysis of the sonnet to El Greco, while Huergo Cardoso 2017 examines Góngora’s poetics of incompleteness and El Greco’s pintura de borrones. Finally, Castellví Laukamp 2020 and Huergo Cardoso 2021 examine some of the pictorial motives of the Second Solitude. For other examples, see Steiner 1978 (cited under Sonnets) and Sánchez Robayna 1993 (cited under General Reflections). Blanco, Mercedes. “Góngora et la peinture.” Locus Amoenus 7 (2004): 197–208. Remarks about artistic patronage, painting, and the pleasures of seeing in Góngora’s work. A good introduction to the subject. Of related interest by the same author see: “Les Solitudes de Góngora: Una poétique du paysage?” in Nature et paysages: L’émergence d’une nouvelle subjectivité à la Renaissance, edited by Dominique de Courcelles and Jean-Pierre Bat (Paris: École nationale des chartes), pp. 117–138; and “El paisaje erótico entre poesía y pintura,” Criticón 114 (2012): 101–137. Blanco, Mercedes. “El pincel y la llave: El soneto al Greco de Góngora o la apoteosis del artiste.” In Góngora o la invención de una lengua. By Mercedes Blanco, 122–142. León, Spain: Universidad de León, 2012. A comparison between Góngora’s “Inscripción para el sepulcro de Domínico,” Paravicino’s “Del Griego aquí lo que encerrarse pudo,” and Marino’s “La tua man, che tra noi sì ben dipinge.” With illustrations by Michelangelo, Luis Tristán, Gómez de Mora, and others. Cancelliere, Enrica. “Dibujo y color en la Fábula de Polifemo y Galatea.” In Actas del X Congreso de la Asociación Internacional de Hispanistas: Barcelona, 21–26 de Agosto de1989. Vol. 2. Edited by Antonio Villanova, 789–798. Barcelona: Promociones y Publicaciones Universitarias, 1992. Cancelliere’s first of several studies on painting and vision in the Polifemo. Of related interest by the same author, see: “Stereotipie iconiche nelle Soledades di Góngora” (1997), “Forma y color en el Polifemo de Góngora” (2012), and “El ‘encarnado’ de Galatea” (2014). Castellví Laukamp, Luis. Hispanic Baroque Ekphrasis: Góngora, Camargo, Sor Juana. Cambridge, UK: Legenda, 2020. A perceptive book on 17th-century Hispanic ekphrasis devoting two full chapters to Góngora’s Solitudes—“The Panoramic landscape of the Soledad primera” (pp. 21–43) and “The Panoramic Seaside in the Soledad segunda” (pp. 44–67). With illustrations by Patinir, Titian, Jan Brueghel, Dürer, and others. Also by Castellví: “Food for Thought: The Fruit Still Life in Góngora’s Polifemo,” Bulletin of Hispanic Studies 92.6 (2015): 629–644. Huard-Baudry, Emmanuelle. “En torno a las Soledades: El abad de Rute y los lienzos de Flandes.” Criticón 114 (2012): 139–178. Remarks about some of the paintings Fernández de Córdoba—not Góngora—might have seen in Rome before comparing the poem with a Flemish landscape. With illustrations by Patinir, Jan Brueghel, Paul Bril, Van Eyck, and others. Huergo Cardoso, Humberto. “Las Soledades de Góngora, ¿‘lienço de Flandes’ o ‘pintura valiente’?” La Torre 6.20–21 (2001): 193– 231. A critical reappraisal of Fernández de Cordoba’s often-quoted comparison between the Solitudes and Flemish painting shifting the focus instead to Venetian pintura de borrones and the aesthetics of incompleteness. Of related interest by the same author, see “‘De una encina embebido en lo cóncavo’: Las Soledades y la iconografía eremítica,” Creneida 7 (2019): 121–167. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 17/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Huergo Cardoso, Humberto. “Góngora y la estética del borrón: Otra vez el soneto al Greco.” Creneida 5 (2017): 280–332. An in-depth analysis of the aesthetics of incompleteness in Góngora and El Greco focusing on the technical term morbidezza, or softness, as in the phrase “pincel süave.” Huergo Cardoso, Humberto. “‘Extraño todo’: El palomar de las Soledades de la A la Z.” Arte Nuevo 8 (2021): 84-179. Garden architecture, agricultural treatises, and Bosch in a “strange” passage of the Second Solitude, with Adorno’s negative dialectics in the background. With illustrations by Bosch, Pietro de’ Crescenzi, Patinir, Jan Steen, and others. Orozco, Emilio. “Algo más de lo visual y pictórico en la poesía de Góngora: Los emblemas.” In Introducción a Góngora. By Emilio Orozco, 162–164. Barcelona: Crítica, 1984. Remarks about enargeia (“vivid description”) and the use of emblems in Góngora, showing his “clear understanding . . . of the pictorical technique of his time [un claro conocimiento . . . de la técnica pictórica de su tiempo]” (p. 163). The article mentions other pioneering studies about Góngora and the arts by the author, including Granada en la poesía barroca (1963), “Estructura manierista y estructura barroca en poesía (con el comentario de unos sonetos de Góngora” (1964), and Manierismo y Barroco (1970). Ponce Cárdenas, Jesús. “El ciclo a los marqueses de Ayamonte: Laus naturae y panegírico nobiliario en la poesía de Góngora.” In Góngora y el epigrama: Estudios sobre las décimas. Edited by Juan Matas Caballero, José María Picó, and Jesús Ponce Cárdenas, 143–166. Madrid: Iberoamericana, 2013. Remarks about portraiture and ut pictura poesis in the fourteen poems that Góngora dedicated to the Ayamonte family between 1606 and 1607. Of related interest by the same author see “Sociabilidad cortesana y elogio artístico: Epigramas al retrato en la poesía de Góngora,” in Sociabilidad y literatura en el Siglo de Oro, edited by Mechthild Albert (Madrid: Iberoamericana, 2013), pp. 141–163. Books Since the publication of Dámaso Alonso’s La lengua poética de Góngora (Madrid: S. Aguirre, 1935) and Robert Jammes’s Études sur l’oeuvre poétique de don Luis de Góngora y Argote (Bordeaux, France: Université de Bordeaux, 1967), the number of books on Góngora has grown markedly. Baena 2011 offers an interpretation of Góngora based on Adorno’s negative dialectics and Kristeva’s notion of the semiotic. Blanco 2012 is authored by one of the leading figures in the field. The author published two books on Góngora in the same year. Beverley 1980 is authored by probably the first Góngora critic to mention the name of Walter Benjamin. He and the author of Chemris 2008 share a neo-Marxist perspective that sheds light on the societal tensions informing Góngora’s works. Cancelliere 1990 is an early example of visual studies. Diodato 1997 offers a rare combination of philosophy, aesthetics, and literary criticism that deserves more attention than it has received. Dolfi 2011 and Ly 2020 represent the culmination of a lifetime devoted to the study of Góngora. Micó 2015, Ponce Cárdenas 2009, and Sánchez Robayna 2018 combine the philological skills of their authors with a broad knowledge of the classical tradition and Italian literature. Poggi 2019 is the best introduction to Góngora in the last decade. Roses Lozano 1994 offers the first systematic study of Góngora’s obscurity. Torres 2013 represents the latest tendencies in critical theory in the United Kingdom. Baena, Julio. Quehaceres con Góngora. Newark, DE: Juan de la Cuesta, 2011. “¿Cómo renunciar a entender?” (p. 10). How to interpret Góngora without interpreting away his deliberate opacity? A laudable effort to interpret Góngora’s refusal to make sense, written in a digressive, teresiano style that sent the academic establishment through the roof. As the author repeatedly claims, “lo que Góngora inaugura es lo que Adorno estudiaba” (p. 183), (“Góngora inaugurates what Adorno studied,” namely, meaning as non-meaning. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 18/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Beverley, John. Aspects of Góngora’s Soledades. Amsterdam: John Benjamins, 1980. The Soledades seen as both “a reflection and a symptom of the Spanish Decadence” (p. 8), while concealing the promise of a Communist society. The first serious sociological study of the poem and the Bible of American gongoristas eager to dismantle the imperial gaze. Blanco, Mercedes. Góngora o la invención de una lengua. León, Spain: Universidad de León, 2012. A collection of eleven previously published essays touching on different aspects of Góngora’s production—conceptismo and Graciáns theory of wit, Toledo in the Firmezas de Isabela (see Theater), literary sources, humor in the Soledades, pastoral motifs, and semantic isotopies that the author calls “paradigmas.” Rich in observations about specific poems. Blanco is the author of a second book on Góngora, Góngora heroico: Las Soledades y la tradición épica (Madrid: Centro de Estudios Europa Hispánica, 2012). Cancelliere, Enrica. Góngora: Percorsi della visione. Palermo, Italy: S. F. Flaccovio, 1990. “Scopic drive” or pulsione scopica (p. 18, p. 19, p. 159 et passim) in the Polifemo, vaguely inspired by Christine Buci-Glucksmann’s influential La folie du voir (Paris: Galilée, 1986). A timid Lacanian interpretation of vision that barely mentions Lacan. Spanish version by Rafael Bonilla and Linda Garosi, Góngora: Itinerarios de la visión (Cordóba, Spain: Diputación de Córdoba, 2006). Carreira, Antonio. Gongoremas. Barcelona: Península, 1998. A collection of nineteen studies addressing different aspects of Góngora’s life and works from a philological and historical perspective —“Defecto y exceso en la interpretación de Góngora” (see Carreira 1998b, cited under General Reflections), “Góngora y Madrid,” “Góngora y el duque de Lerma” (see Carreira 1998a, cited under Biography), “La novedad de las Soledades,” “La maurofilia en los romances de Góngora,” and others. Chemris, Crystal Anne. Gongora’s Soledades and the Problem of Modernity. Woodbridge, UK: Tamesis, 2008. The Soledades understood as a symptom of cultural, political, and epistemological crisis. Diodato, Roberto. Vermeer, Góngora, Spinoza: L’estetica come scienzia intuitiva. Milan, Italy: Bruno Mondadori, 1997. A rare combination of philosophy, literary criticism, and aesthetics (not only art history) by the author of the equally extraordinary The Sensible Invisible: Itineraries in Aesthetic Ontology (Milan, Italy: Mimesis International, 2015). To fully appreciate the chapter on Góngora, the book needs to be read in its entirety. It is not a book about Góngora per se, but rather a rigorous examination of Spinoza’s intuitive science as it emerges in certain works, such as those of Góngora and Vermeer. Required reading. Dolfi, Laura. Luis de Góngora: Cómo escribir teatro. Seville, Spain: Renacimiento, 2011. A collection of sixteen previously published essays on Góngora’s theater, written between 1989 and 2010 or later. Góngora’s theater from A to Z—manuscripts, sources, rivalry with Lope, language, themes, and up-to-date bibliographical references. Ly, Nadine. Lecturas gongorinas: De gramática y poesía. Edited by Emre Özmen. Córdoba, Spain: Editorial Universidad de Córdoba, 2020. A collection of twenty-one essays written between 1985 and 2017, covering a variety of topics, including Góngora’s notion of imitatio—the respectful betrayal of tradition—his relationship with the Count of Niebla and the Duque of Lerma, self-reference in Góngora’s poetry, and especially his lexicon and syntax, in particular his revolutionary use of the hyperbaton (“the syntactic liberation of words”) (see Rhetoric and Style). Sensitive close readings packed with observations about specific poems. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 19/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Marras, Giana Carla. Il sonetto funebre in Góngora. Nuoro, Italy: La Poligrafica Solinas, 1984. A structural approach to Góngora’s funerary sonnets rich in observations about their meaning and style. Micó, José María. Para entender a Góngora. Barcelona: Acantilado, 2015. A collection of fourteen essays that represents the summa of Micó’s writings on Góngora, from the early “Las guerras de los comentaristas” (1985) to his latest “Dante y Góngora” (2013). The anthology includes his two previous books on Góngora: La fragua de las Soledades (Micó 2015, cited under Soledades) and El Polifemo de Luis de Góngora. Ensayo de crítica e historia literaria (Micó 2015, cited under Polifemo). Molho, Maurice. Semántica y poética: Góngora y Quevedo. Barcelona: Crítica, 1977. Four seminal essays on Góngora by the well-known French Hispanist—“Sobre la metáfora” (1977) (see Molho 1977, cited under Rhetoric and Style), “Semántica y poética” (1969), “Soledades” (see Molho 1977, cited under Rhetoric and Style) (1959), and “Sobre un soneto a un pintor” (1977). Orozco Díaz, Emilio. Los sonetos de Góngora (Antología comentada). Edited by José Lara Garrido. Cordova, Spain: Diputación de Córdoba, 2002. Transcription and commentary of eighty-five sonnets by Góngora with an introduction by Lara Garrido. Poggi, Giulia. Góngora. Rome: Salerno Editrice, 2019. Also cited under Introductory Studies and Theater. Ponce Cárdenas, Jesús. Cinco ensayos polifémicos. Málaga, Spain: Universidad de Málaga, 2009c. Close readings of the Polifemo focusing on elements of humor, classical sources, fauna, and rhetorical figures. See also Ponce Cárdenas 2009a and Ponce Cárdenas 2009b, cited under Rhetoric and Style. Quintero, María Cristina. Poetry as Play: Gongorismo and the Comedia. Philadelphia: John Benjamins, 1991. A study of the comedia nueva and poetic practice in the Golden Age, devoting four chapters to Góngora and gongorismo: “Las firmezas de Isabela: Transforming the Model,” “Parody as Performance in El doctor Carlino,” “The Critique of Góngora and Culteranismo in Lope’s Comedias,” and “Gongorismo and Dramatic Practice after Lope.” Roses Lozano, Joaquín. Una poética de la oscuridad: La recepción crítica de las Soledades en el siglo XVII. Madrid: Támesis, 1994. The first in-depth study of the Góngora controversy, focusing on the idea of obscurity. Preface by Robert Jammes. Sánchez Robayna, Andrés. Nuevas cuestiones gongorinas: Góngora y el gongorismo. Madrid: Biblioteca Nueva, 2018. A collection of twelve essays by the translator of Valéry’s Cahiers, focusing on different aspects of Góngora’s production—the notion of incompleteness (see General Reflections), the reception of Góngora in Europe and Latin America during the 17th and 18th centuries, Góngora and 20th-century European poetry, poetry and translation, and others. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 20/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Tenorio, Marta Lilia. El gongorismo en Nueva España: Ensayo de restitución. Mexico City: El Colegio de México, 2013. A basic introduction to the subject, arranged chronologically: “Primera etapa (c. 1589–1650),” “Segunda etapa (c. 1650–1770),” and “Tercera etapa (1700–c. 1806).” Includes up-to-date bibliographical references. Torres, Isabel. Love Poetry in the Spanish Golden Age: Eros, Eris and Empire. Woodbridge, UK: Tamesis, 2013. Critical theory on steroids, the book devotes two chapters to Góngora: “Luis de Góngora y Argote (1561–1627): Into de Dark” (pp. 95–133) and “Luis de Góngora y Argote: Out of the Dark—Emulative Poetry in Motion” (pp. 134–159). Collective Works Capllonch, et al. 2013; López Bueno 2011; Matas Caballero, et al. 2011; Matas Caballero, et al. 2013; and Roses 2012 are the collaboration of a reduced group of Spanish, French, and Italian scholars who often work together. Noble Wood and Griffin 2013 represents the philological aisle of British Góngora studies with O’Reilly and Robbins 2013 representing the theoretical one. Quintero 2002 offers an example of recent trends in American criticism. Roses 2002–2010 and Roses 2014 gather dozens of articles by international scholars representing all schools and methodologies. Capllonch, Begoña, Sara Pezzini, Giulia Poggi, and Jesús Ponce Cárdenas, eds. La Edad del Genio: España e Italia en tiempos de Góngora. Pisa, Italy: ETS, 2013. One of the best collections to come out recently, with important essays by Begoña Capllonch (“‘Sentido’ y ‘referencia’ en algunas imágenes de las Soledades: Del cincel al cristal de azogue”), Francesco Ferretti (see Ferretti 2013, cited under Soledades), Ines Ravasini (“Éfire, Filódoces e i ‘prodigiosos moradores del líquido elemento’: La caccia marina della Soledad segunda”), and Enrique Soria Mesa (see Soria Mesa 2013, cited under Biography), among others. López Bueno, Begoña, ed. El poeta soledad: Góngora, 1609–1615. Zaragoza, Spain: Prensas Universitarias de Zaragoza, 2011. Twelve essays dealing with different aspects of Góngora’s life and poetry around 1609–1615. Contributors include Jammes (“Góngora en el espacio y en el tiempo”), Carreira (“Cuestiones filológicas relativas a algunos poemas gongorinos del periodo 1609–1615”), Paz (“Góngora en entredicho, o la superstición del codex optimus”), Ly (“Gramática gongorina del hipérbaton”), and Sánchez Robayna (see Sánchez Robayna 2011, cited under Soledades), among others. Matas Caballero, Juan, José María Micó, and Jesús Ponce Cárdenas, eds. El duque de Lerma: Poder y literatura en el Siglo de Oro. Madrid: Centro de Estudios Europa Hispánica, 2011. A collection of sixteen studies centering on the Duke of Lerma, his times, and Góngora’s uninspired Panegírico. Contributors include Mercedes Blanco (“El Panegírico al duque de Lerma como poema heroico”), Antonio Carreira (“Fuentes históricas del Panegírico al duque de Lerma”), and María Luisa Lobato (“Las fiestas de Lerma”), among others. Matas Caballero, Juan, José María Picó, and Jesús Ponce Cárdenas, eds. Góngora y el epigrama: Estudios sobre las décimas. Madrid: Iberoamericana, 2013. A collection of twelve studies focusing exclusively on Góngora’s décimas, with valuable contributions by Sara Pezzini (“Las décimas de Góngora: Algunos problemas de edición”) and Jesús Ponce Cárdenas (see Ponce Cárdenas 2013, cited under Sister Arts), among others. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 21/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Noble Wood, Oliver, and Nigel Griffin, eds. A Poet for All Seasons: Eight Commentaries of Góngora. New York: Hispanic Seminary of Medieval Studies, 2013. A collection of close readings by a new generation of British scholars, including Noble Wood, Jeremy Lawrence (see Lawrence 2001, cited under Biography), Nigel Griffin, Colin Thompson, Ronald Truman, and Daniel Waissbein. O’Reilly, Terence, and Jeremy Robbins, eds. Special Issue: Essays on Góngora’s Polifemo and Soledades. Bulletin of Spanish Studies 90.1 (2013). The issue comprises six essays by British scholars informed by critical theory in one way or another, including Tyler Fischer, Anne Holloway, Terence O’Reilly, Jeremy Robbins, Colin Thompson, and Isabel Torres. Quintero, María Cristina, ed. Special Issue: Góngora. Calíope 8.1 (2002). A representative sample of American Góngora studies, with essays by Gonzalo Sobejano, Laura Dolfi, Edward H. Friedman, Mary E. Barnard (see Barnard 2002, cited under Polifemo), and Carroll B. Johnson. Two of the essays touch upon what some scholars call queer studies: Frederick A. de Armas, “Embracing Hercules/Enjoying Ganymede: The Homoerotics of Humanism in Góngora’s Soledad Primera,” and Adrienne L. Martín, “Góngora: ‘Poeta de bujarrones.’” Roses, Joaquín, ed. Góngora Hoy. 7 vols. Córdoba, Spain: Diputación de Córdoba, 2002–2010. Seven volumes comprising over sixty articles dealing with the most various aspects of Góngora’s life, style, sources, and imitations—most, but not all, philological in nature. Roses, Joaquín, ed. Góngora, la estrella inextinguible: Magnitud estética y universo contemporáneo. Madrid: Sociedad Estatal de Acción Cultural, 2012. The book is the exhibition catalogue of the show held at the Biblioteca National de España during the summer of 2012, with valuable introductory essays by some of the leading experts in the field. Particularly useful are Amelia de Paz, “Vida del poeta” (see Paz 2012b, cited under Biography), and Antonio Carreira, “Bibliografía gongorina” (see Carreira 2012, cited under Bibliographies). Roses, Joaquín, ed. El universo de Góngora: Orígenes, textos y representaciones. Córdoba, Spain: Diputación de Córdoba, 2014. A rare collection of essays by poets and scholars on both sides of the Atlantic, representing a variety of tendencies and methodologies. Authors include Pere Gimferrer (see Gimferrer 2014, cited under General Reflections), Amelia de Paz (“Las cuentas de don Luis en 1619”), Melchora Romanos (“La soledad confusa de la selva de los comentaristas gongorinos”), and María José Osuna Cabezas (“La polémica gongorina: Estado de la cuestión y tareas pendientes”), among others. Standard Editions Authoritative, digital editions of Góngora’s poetry and theater (but not his epistolary) are available at “Œuvres de Góngora” online, a scholarly site dedicated exclusively to his work. The site Todo Góngora from the Universitat Pompeu Fabra also features reliable digital editions of Góngora’s poetry, divided by genre: canciones, décimas, letrillas, madrigales, octavas, etc. The most reliable printed editions are cited here. Carreira, Antonio, ed. Romances. By Luis de Góngora. 4 vols. Barcelona: Quaderns Crema, 1998. https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 22/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Góngora’s complete romances carefully edited and annotated by Carreira. It supersedes previous editions. Critical edition. Carreira, Antonio, ed. Epistolario completo. By Luis de Góngora. Zaragoza, Spain: Pórtico Librerías, 1999. Góngora’s letters; prologued and edited by Carreira. Concordance by Antonio Lara. Carreira, Antonio, ed. Obras completas. By Luis de Góngora. 2 vols. Madrid: Fundación José Antonio de Castro, 2000. Góngora’s complete works, carefully edited and free of notes. Includes the epistolary. Carreira, Antonio, ed. Antología poética. By Luis de Góngora. Madrid: Austral, 2015. An excellent selection of Góngora’s poetry, expertly edited and annotated by Carreira. Dolfi, Laura, ed. Teatro completo. 2d ed. By Luis de Góngora. Madrid: Cátedra, 2015. Góngora’s three plays, two of them unfinished, edited and annotated by the leading authority on the subject. Jammes, Robert, ed. Letrillas. 2d ed. By Luis de Góngora. Madrid: Castalia, 2001. Góngora’s rondelets; prologued, edited, and annotated by Jammes. Jammes, Robert, ed. Soledades. 2d ed. By Luis de Góngora. Madrid: Castalia, 2016. Edition and paraphrase of the poem with introduction and notes by one of the fathers of Góngora studies. Martos Carrasco, José Manuel, ed. “El Panegírico al duque de Lerma de Luis de Góngora: Estudio y edición crítica.” PhD diss., Universitat Pompeu Fabra, 1997. Unpublished doctoral dissertation accompanied by a critical edition of the poem. Available online. Matas Caballero, Juan, ed. Sonetos. By Luis de Góngora. Madrid: Cátedra, 2019. A mammoth, 1,740-page edition of Góngora’s sonnets, including originals and attributions. With an extensive introduction, comprehensive bibliography, and a detailed commentary of each sonnet. See Matas Caballero 2019, cited under Sonnets. Micó, José María, ed. Canciones y otros poemas de arte mayor. By Luis de Góngora. Madrid: Espasa-Calpe, 1990. A careful edition of Góngora’s relatively little-studied canciones, silvas, octaves, and tercets Includes a brief introduction and notes. Pezzini, Sara, ed. Décimas. By Luis de Góngora. Alessandria, Italy: Edizini dell’Orso, 2018. Eighty-one décimas carefully edited and annotated, including sixty-two by Góngora and nineteen attributed. Includes an introduction by Pezzini (pp. 5–43), bibliographical references (pp. 377–393), and an epilogue by Giulia Poggi (pp. 395–404). https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0383.xml?print 23/24 8/25/2021 Luis de Góngora - Renaissance and Reformation - Oxford Bibliographies Ponce Cárdenas, Jesús, ed. Fábula de Polifemo y Galatea. By Luis de Góngora. Madrid: Cátedra, 2010. An authoritative edition of the poem with introduction, bibliography, and notes. See Ponce Cárdenas 2010, cited under Polifemo. English Translations English-speaking readers can now enjoy reliable translations of most of Góngora’s important poems, including his Soledades (Grossman 2012), Polifemo (Dent-Young 2007), and Fábula de Píramo y Tisbe (Dent-Young 2007), as well as representative selections of his sonnets, romances, and letrillas (Chaffee-Sorace 2010)—truly a remarkable achievement. Chaffee-Sorace, Diane, trans. Góngora’s Shorter Poetic Masterpieces in Translation. By Luis de Góngora. Tempe: Arizona Center for Medieval and Renaissance Studies, 2010. An annotated translation of some seventy sonnets, romances, and rondelets organized thematically into amorous, moral, consolatory, laudatory, religious, satirical and burlesque, funereal, and lyrical poetry. With a useful introduction and fastidious notes. Dent-Young, John, trans. Selected Poems of Luis de Góngora. By Luis de Góngora. Chicago: University of Chicago Press, 2007. Forty-one Góngora poems, skillfully edited and translated. Selections include romances, rondelets, sonnets, the First Solitude (but not the Second), the entire Fable of Polyphemus and Galatea, and Pyramus and Thisbe. Bilingual edition. Grossman, Edith, trans. The Solitudes: A Dual-Language Edition with Parallel Text. By Luis de Góngora. New York: Penguin, 2012. It supersedes Stanley (1651), Wilson (1931), Cunningham (1964 and 1968), and Polack (1997), although readers are free to disagree. Thomas, Henry. “Three Translators of Góngora and Other Spanish Poets.” Revue Hispanique 48 (1920): 180–256. A little-known study and compilation of Góngora’s first translations into English, including Thomas Stanley’s The Solitude and Richard Fanshawe’s “Thou clearer honour of the chrystall mayne” (“Oh claro honor del líquido elemento”), “With such variety and dainty skill” (“Con diferencia tal, con gracia tanta”), “Those whiter lilies which the early morne” (“Los blancos lilios que de ciento en ciento”), “Thee, senseless stock, because th’art richly guilt” (“Lugar te da sublime el vulgo ciego”), “Cloris i’th sunne proyning her locks did sit” (“Peinaba al sol Belisa sus cabellos”), “The blody trunck of him who did possesse” (“Sella el tronco sangriento, no lo oprime”), and “Blowne in the morning, thou shalt fade ere noone” (“Ayer naciste y morirás mañana”). Also represented is Philip Ayre’s “This mortal spoil which so neglected lies,” that he falsely attributed to Góngora. back to top Copyright © 2021. 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