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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).

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.

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.

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.

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 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 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.

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.

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.

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.

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.

Analysis of several gongorine papers of Robert Jammes.

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.

The article explains the allusion in the Soledad primera of Góngora, to the animal of darkness, carrying a carbuncle on his forehead, identifying this with the animal called carbuncle, documented in many texts, most of them belonging to the West Indian territories.

The Advertencias para la inteligencia de las Soledades of Andrés de Almansa y Mendoza were composed to be the first writing defending Góngora’s poem, but instead of that, they became the fuse propitiating the appearance of opposite voices (in particular Lope de Vega’s voice), beginning with them the so-called Gongorine controversy. The present work analyzes Almansa’s writing, showing its author’s lacks through the mistakes containing the text. From the analysis of the relationship between Góngora and Almansa, this article demonstrates that the poet had serious objections towards his «apocryphal correspondence», as he called Almansa due to a «long letter» written by him and received by Góngora in the summer of 1614, which is proposed to be the Advertencias in the present work. On the other hand, the coincidence of several of the arguments used by Almansa with other testimonies of the first stage of the Gongorine controversy (including the famous Carta en respuesta de la que le escribieron written by Góngora) allows to think about the existence of a common source of arguments of that Almansa would throw hand, and it would be the reason to be called for it precisely «apocryphal».

In his Examen del Antídoto in which he praises the Soledades of Góngora, Francisco Fernández de Córdoba, the abbot of Rute, compares this baroque poem with Flemish landscape painting or «canvas of Flanders». If he is not the only one who applied a pictorial speech to the poetry, he is however the first one, from what we know, who qualified the landscape aspect of the Soledades. Which paintings did this humanist of the seventeenth century have in mind when he talked about «the canvas of Flanders»? How is this term applied to the landscape of Góngora? We will try to identify which Flemish paintings the abbot of Rute could know, by limiting ourselves to works prior to 1617, date of writing of his praise, and focusing on Spanish and also Italian collections, since the abbot of Rute actually lived in Spain and Italy. The comparison will specify the similarities of the poem with Flemish painting but also show Góngora’s personal answer to the artistic problem, crucial at that time: the representation of nature.

Hernando Domínguez Camargo’s work is one of the master-pieces in the xviith century American Poetry. His most ambitious book, San Ignacio. Poema heroico, imitates Góngora’s lexic and style, and also proves how the writer was able to learn in the Fábula de Polifemo y Galatea and in the Soledades two revolutionary devices: the presence of humour in epic poetry, the effects of the Sublim, a heritage of Helenistic theory.

This paper is about the beginnings and the final establishment of the erotic landscape, defined as representation of female nudes in a natural setting, combining eroticism and idealization. This kind of images that owes its inspiration and legitimization to the humanist poetry is a typical product of Italian Renaissance. It became a vital and permanent part of European painting from 1600 on. We examine some aspects of its development, its connexion with the poetic genres of eclogue and epithalamium, and one of its favourite motives, the sleeping nymph or goddess. Its reputation and development was greatly favoured by the predilection of the Habsburg monarchs, in spite of the occasional oppositions of the church. Taking into account the triumph of the pictorial erotic landscape, we could explain more easily the emergence of a poetry that owes in turn its inspiration to this kind. We find such poetry in Lope de Vega and in Góngora and the second’s Fábula de Polifemo y Galatea could be seen as an erotic landscape in words, as close as possible of the visual arts.

In May 1613, Pedro de Valencia sent to Góngora the first opinion on the Soledades; he based his criticism on Classical sources, especially on the Greek treatise On the Sublime, quite unknown in 16th century Spain. This paper analyses the humanist’s letter, in its two versions, in order to find out why and how he used the ancient source, and emphasizes the way it could influence his evaluation of Góngora’s poetry. In particular, Pedro de Valencia found in Pseudo-Longinus’ theories good arguments to deal with such important problems as the obscurity of the poem o the difficulty of attaching it to a defined genre. This episode also reveals the critic’s deep intelligence and even the modernity of his thought.

This article offers a portrait of don Manuel Alonso de Guzmán y Silva, Earl of Niebla, and his role as protector of Arts and Literature in the Spanish Golden Age. The importance of this aristocrat as a patron can be understood within the wider context of the noble House of Guzmán y Zúñiga, whose members were the addressees of some of the most ambitious poems written by Luis de Góngora. Moreover, in our analysis we try to identify the setting of Góngora’s Soledades (in Western Andalusia, as Robert Jammes had already highlighted).

The whole poetry of Salazar y Torres has probably been the object of an inappropriate and unfair critique in the last fifty years. The study of a silva and a curious example of cento allows analysis of the complex diversity of Salazarian poetry in the second half of 17th century.

This article explores the process by which the legacy of Góngora was received —in the sense of the «theory of reception»— during the time of the novatores, in both theoretical production as well as in poetic discourse. Emphasis falls on the ambivalent reception of Góngora, i.e., either through a verbal exaltation of Góngora confronted to a poetic praxis rather neoclassicist, or through a classicist theory accompanied by a liking of Góngora’s poetry, or even through an inescapable inscription of Gongorist resources in a classicist poetic discourse. Ultimately, we analyse Góngora’s role in the complex process of cultural iconization associated to the elaboration of national identity, a more fruitful field than the one of «anxiety of influence».