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Regarding Cervantes and Góngora, thematic coincidences have already been mentioned, such as those of Camacho's weddings in Don Quixote and those of the villains in the First Solitude, or the episode of Montesinos and Belerma. It should be added that the coincidences are also perceived in the verbal expressions. The purpose of this article is to observe the related concepts and expressions in the works of the two writers to see once again how close the two are despite all the apparent differences.

Having long cultivated the image of a ‘provincial gongorist’, Robert Jammes nevertheless chose to publish the last and definitive edition of Góngora’s Solitudes, in 2017, with Éditions Rue d’Ulm, at the École Normale Supérieure, the institution he had joined in 1947. Our contribution provides some elements for reading this gesture in the light of the tensions with the Parisian university that marked Robert Jammes throughout his life.

Solitude, as one of the essential feelings of the human being, has received an inveterate and very broad attention in literature, especially in poetry, which, for Spanish literature, was examined by the German philologist Karl Vossler in a well-known monograph of 1940. The analysis offered in this article is based on very different methodological assumptions: it is not so much an attempt to present a complete panorama – which would exceed its scope – but rather to establish a systematic approach to the fundamental tendencies that feature the Poetics of Solitude in the Golden Age. After revisiting the most successful rhetorical formula, re-elaborations of other secular topos (Golden Age, beatus ille, aurea mediocritas, natura paucis contenta, etc.), it is proposed to frame them in two basic categories: solitude as a path towards personal improvement, which is perceived as an achievement; and loneliness as a form of abandonment, which is perceived as a defeat. Humanistic solitude and elegiac loneliness. The former is fundamentally associated with moral poetry, with stoic roots and occasionally with a transcendent drift, whereas the latter is mostly inspired by the expression of amorous experiences. In any case, both provide an excellent portrayal of the longings and emotions that solitude/loneliness can arouse in human beings.

This article revises critical works and contributions by Robert Jammes in the area of studies on Luis de Góngora’s literature. Drawing from the analytical premises included in Antonio Alatorre’s extensive review of Jammes’ 1994 edition of the Soledades, («Notas sobre las Soledades. (A propósito de la edición de Robert Jammes)», (Nueva Revista de Filología Hispánica, 44, 1996, pp. 57-97), this text recaptures the passion, the rigor and the knowledge with which Jammes analyzes Góngora’s poetry and, at the same time, serves as an invitation to current scholars in the field to evaluate and continue along the path pioneered by R. Jammes.

In this article we study the presence and uses of the myth of Phaeton in Luis de Góngora’s sonnets, focusing on the ‘mannerist’ youth poems he based on that myth, without neglecting later appearances until 1617, when he wrote the sonnet dedicated to Villamediana’s Fábula de Faetón. We will study with special care the elocutio of several of these poems in the light of recent contributions on the uses of adjectives in the poetry of Luis de Góngora.

The projection and survival of the Golden Age’s poetry in contemporary Spanish poetry has been very intense, continuous and varied and, although it has been receiving some critical attention, the phenomenon should be studied systematically in order to reveal the bundle of literary relationships that is established between the writers and works of both periods. From this perspective, my purpose in this work is to add a new tile to this vast and rich mosaic of the influences, echoes and resonances of our golden poets in contemporaries, hence I focus on the study of the importance and meaning that the poetry and the figure of Luis de Góngora have in that of Antonio Colinas and, in a particular way, in the analysis of the poetic keys that, heirs of the Cordovan poet, are found in the poem if Si yo cerrara los ojos escucharía a Góngora, which the Leonese poet has published in his latest book, En los prados sembrados de ojos (2020).

The romance «Ensíllenme el asno rucio» (1585) by Luis de Góngora is a satirical-burlesque parody of the Moorish romance «Ensíllenme el potro rucio», recognized as a model of the genre and attributed to Lope de Vega. First, we analyse how the parodic poem maintains the necessary formal, thematic and lexical links with the original Moorish romance it parodies. Then, we measure the distance taken from the model in order to degrade its idealistic elements and introduce a comic dimension. Finally, we look at a major addition, specific to Góngora and fundamental to his poetic aesthetic: the place given to sensuality, in complete opposition to the model of courtly love developed in the original romance. The sensuality, dominated by the evocation of numerous culinary references, will largely contribute to the degradation of the idealist model.

This work identifies the recipient of Góngora’s ten-line stanza «Sin duda os valdrá opinión», proposes a new dating and establishes the circumstances in which it was composed. The epigraph assigned to the poem by Chacón is dismissed as erroneous.

This article offers an analytical study circumscribed to the survival of The Golden Ass in verses 767-779 of the Soledad primera, by Luis de Góngora. This Apuleyan tradition, with special reception of the myth of Psyche and Cupid in Seville in the mid-sixteenth century, had its rise and spread in the humanistic context of Seville. In fact, in this place of knowledge, prominent poets such as Fernando de Herrera and Juan de Arguijo offered their respective versions devoted to the literary treatment of the fable in the heat of the epic-mythographic poem La Psyche, by Juan de Mal Lara. Arguijo himself, on his part, was interested in the Soledades, attending to the obscurity of Góngora as a conceptual aesthetic category. In this way, we are witnessing, in short, a visible continuum, for the purposes of Andalusian cultured poetics, from the poetic-humanistic environment of Herrera and Arguijo to Góngora.

This paper offers fulfilled news about all the «gongoremas» imitated, celebrated or —considerably less— mocked by Alonso de Castillo Solórzano throughout his width narrative corpus. It is divides into four sections: 1) introduction: critical ideas about the novela culta of the Baroque; 2) table 1: «gongoremas» used by the polygraph of Tordesillas, with quotation of the title of his respective books, the paragraphs that interest us, the texts of the author of the Soledades that he chose as a model and the date of writing and/or print (both the poems of Don Luis as of the collections published by Castillo); 3) table 2: «culturemas» (not purely of Góngora) imitated or mocked from Tardes entretenidas (1625) to La quinta de Laura (1649); and 4) conclusions about the most alluded compositions and their frequency index.

In between Quevedo’s relationships with power, the present work examines a poetical series dedicated to the duke of Lerma and his family, to focus specially on the «Elogio al duque de Lerma», which is a song of Pindaric roots that designs a courtesan encomium from a classical image (Marcus Curtius). As a complement, the analysis presents a comparison with Góngora’s Panegírico al duque de Lerma.

This article proposes a critical re-evaluation of the main poem of the poet of Loja José de Cobaleda y Aguilar, the Panegírico a Carlos V, datable in the years 1640-1650, and very marked by the influence of Góngora. It highlights some of the variations between the different textual testimonies preserved and, leaving a thorough stylistic analysis for another occasion, examines the general structure of the poem, which is inspired by previous encomiastic works dedicated to the figure of the Emperor. Finally, it shows the strong link between Cobaleda and two eminent supporters of Góngora in Andalusia, García de Salcedo Coronel and Martín de Angulo y Pulgar.

Gongorism scholar Francisco de Amaya (Antequera, 1585-Valladolid, c. 1640) wrote in his youth some comments to the Ibis of Ovid that remained manuscripts and that were, at their age, practically unknown. Thanks to Manuel Ruiz Luque and the Foundation that bears his name we have managed to recover this original work written by the author and presented here for your knowledge.

The article confirms the identification of the “animal tenebroso” evoked by Gongora in Soledad I, and adds some new important texts for reading the Góngora‘s poem, especially one of El Paraíso en el Nuevo Mundo, by Leon Pinelo, who comments precisely the Gongora‘s passage.

Taking as starting point some interesting pages by Robert Jammes, this article analyses in details the stage directions that complete (or should complete) the action of the protagonists. It tries to demonstrate that, for its amusing plot and for the reiterate mistakes that characterize it, the play Las firmezas de Isabela was written for the stage and that, therefore, it has all the necessary qualities to be successfully represented also In the theaters today.

Analysis of several gongorine papers of Robert Jammes.

In 1399, in the southwest of Cordova, the Old Alcázar neighborhood was founded. Together with the Jewish Quarter, they formed the district of San Bartolomé. In 1449, Juan II gave the people of San Bartolomé a permanent prerogative: if they watched over the Royal Fortress, they wouldn’t have to pay taxes. Over the years, this privilege would cause many conflicts of interest. In 1482, the Inquisition settled in the Royal Fortress and took control of the situation. One of these conflicts happened at the start of the 17th century. Breaking the king’s prerogative, in 1606 a census of San Bartolomé’s inhabitants was taken by the Council of Cordova in order to tax them. The Inquisition confiscated it. The following year, the Council took a new register, but again it was requisitioned. These are the only two censuses known in which Góngora appears.

This essay examines the presence of oblivion in the Solitudes of Góngora. First at all, I consider some theoretical foundations about memory and forgetfulness and I return to a controversial critical debate about the verses 732-742 of the first Soledad. After the analysing and interpretation of some passages of the poem where concepts like sleep, silence, night, memory and nothing are recurrent, I propose the following exegesis is proposed: the protagonist’s mission is to obtain the forgetfulness of his love’s sorrows through a long pilgrimage along time and in a far but natural environment full of life; in those circumstances fixed by the classical tradition at least since Ovid, but opposed to the prodigy of the surrounding life that Góngora describes and narrates, both nature and writing appear in certain fragments of the poem as allies of memory and rebellious to the strength of oblivion. Everything seems to conspire against the task of the pilgrim. As we don’t know what could be the continuation of the poem, which according to an original project should end in the loneliness of the wilderness, we must conclude that, in the verses that have come to us, the mission of the hero seems doomed to failure.

New perspective on Góngora’s role in the episcopal visitation of Cordova Cathedral carried out by Bishop Francisco Pacheco in 1588-1589. After reviewing how the image of him as an outsider is based on partial readings of that source, all references to Góngora appearing in the manuscript are published for the first time and put into context.