This Guide takes you through the Dedication and the first two hundred or so lines of Luis de Góngora’s Soledad Primera. The poem is presented by pages. A Poetics Sacralized: Luis de Góngora s ” Soledades ” 5 living in the Americas who led this revival of gongorism; it was the crio- llos and mestizos, the men. Among scholars of Spanish Baroque poetry, the dominant opinion has been that the writer Luis de Góngora was silent, indifferent, or even.
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Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Refresh and try again. Open Preview See a Problem? Thanks for telling us about the problem. Return to Book Page. Paperback solwdades, pages. Published January 1st by Ediciones Catedra S. To see what your friends thought of this book, please sign up.
To ask other readers questions about Soledadesplease sign up. Lists with This Book. Given the length, I expected a narrative poem, however there is no story to be found here. Instead, the reader finds an absolute plethora of sensuous description as a shipwreck survivor wanders about beautiful countryside.
The natural world and romantic love are the main focus of dizzying metaphors that meld soleddaes mythology with nature. Gongora loves crystals and nymphs from Greek myth, both of which recur constantly. Although I often had little idea what he was talking about, I enjoyed the overwhelming sumptuousness of everything. The first flies, frosting the waves; the second, in an indolent motion meets the sea, whose white-coloured foam makes of its dark slender prow the bright resplendent throat of an august Coya, empress of Peru, to whom the Southern Sea rendered each hour one hundred strands of pearls.
The pleasure was in the imagery rather than the assonance, I think. I agree with her that rhyme is probably easier to achieve in Spanish than English in general. Actually, this poem made me wish I could read Spanish, not for the first time. Mapping words to their translations was rather fun, although I didn’t attempt it systematically. Sadly, the only Spanish I know is some swearing. Although I thought the translation was beautifully done, I sometimes found fault with the explanatory notes.
Most are very helpful, as it often not remotely obvious what Gongora is referring to. Some seemed unnecessary – Sisyphus and Bacchus are pretty well glngora, right? Lustrum was new to me, for instance; apparently it means a period of five years. The inclusion of obscure words fitted well with the density of allusions to minor mythical figures, though, and my knowledge of mythology has definitely been enhanced.
Now I know who Pomona is and where the cornucopia came from. A reader’s visualization of Gongora’s poetry should be gonngora. A prerequisite is a thorough education in Greek mythology, for the poet repeatedly alludes to that substantial body of work. If you have this knowledge, then you will be amazed that Gongora is so little known outside of Spain.
He has inherited the vestments of the ancient Greek poets. And this is my impression by reading it gongorw English without the rhyme scheme in Spanish!
Truly a brilliant poet. His Solitudes stands as his artistic will and testament. This is definitely the translation to read; I tried Wilson’s first, and it was impossible. I subsequently compared the present translation with another recent one, by John Dent-Young, and that one seemed too disconnected from the original text, more a reconstruction than a translation.
The Solitudes were designed to be difficult at a moment when decorous rhetorical obscurity and conceited poetics were in vogue. That the syntactic experimentation — marked by flagrant and sometimes illegal hyperbaton and a flair for Latinate expression — read extreme for the seventeenth century, though, is the moral of the backlash against the text, in part.
I think the first Solitude might be my favorite epic poem. It is hypnotic, adventurous, peaceful, and gkngora.
The language is haunting and elusive, but never distant. At its most abstract, it remains centered on the most concrete human experiences: It is about a shipwrecked outcast who is welcomed home in a place that is very far from home.
Despite its very Spanish and Gongpra roots, I found myself thinking of the old Anglo-Saxon epics of wand I think the first Solitude might be my favorite epic poem.
Despite its very Glngora and Latin roots, I found myself thinking of the old Anglo-Saxon epics of solecades and outcasts, which perhaps speaks to both the universality of the poem and my own background as an English-speaker. I read the first Solitude twice in a soleedades in different translations just to experience the journey again. The second Solitudewhich I only read once in the Edith Grossman translation, was admittedly more abstract and slightly more difficult soledases all the allusions to myth.
Footnotes are required for both Solitudes, but I also recommend reading through them once without consulting the footnotes, just for the pleasure of being lost — sometimes literally, in the case of the second gnogora — in the text. This is required reading for lovers of the written word. Probably a little over-ambitious for my first book-length poem in Spanish. But Edith Grossman’s facing translation is a masterful lifeline. It is there to be evoked for its own sake in the most rarefied, figurative, sensuous language because language itself, not its emotive referent or expressive content, is the intrinsic aesthetic component of poetry.
Gongora belongs in the great pantheon of classic poets. Mythology sings throughout nearly ever stanza. He also belongs in every age, as elements can be found in nearly each style. It is difficult stuff, but beautiful. My favorite verses are from the First Solitude: Wonder is mute, it speaks by being silent, and, blind, it follows a river, that-shining child of those precipices– in convoluted discourse, and digressive, benevolent it tyrannizes the fields; with its banks ornamented by fruit trees, Copia herself desires it for her horn -if the creature of Amalthea soledares been armed with crystal transparency-; setting edifices in its silver, crowning itself with walls, it embraces, imprisons islands, from the high grotto where it first breaks free to the opaque jasper waters deep where pride is lost and memory hides away.
Astonishment, accoutered in cold marble, scarce could raise its eyebrows; emulation, shod in hard ice, is rooted, slow. Aug 23, Sam rated it really liked it Shelves: Let me start off by saying that well before finishing even the first Soledad there are twoI knew I would have to go back and re-read these poems which I intend to do. John Beverley’s introduction and footnotes are incredibly helpful, and sometimes nearly fill up entire pages.
Also, the inclusion of a back-and-forth between a critic and Gongora is wonderful because we get an idea of how the poet viewed his own writing. I feel like I spent so much time trying to unravel thes Let me start off by saying that well before finishing even the first Soledad there are twoI knew I would have to go back and re-read these poems which I intend to do.
I feel like I spent so much time trying to unravel these poetic knots just to follow the plot that I couldn’t fully appreciate the poet’s art and skill. Hence the required re-reading. I think I will be able to give a better review after that. The second Soledad’s closing image is incredible and probably my favorite part of either poem.
An extremely difficult yet marvelous poem that rewards multiple re-readings. The poem’s hyper-baroque syntax forces you to process its imagery in such a way that, in order to understand Gongora’s meaning, you have to engage with his language in extremely unusual ways. Ultimately, Gongora’s syntax performs the process of poetic perception itself in all its chaotic excitement, and in doing so transforms his readers into visionary poets, exulted yet burdened with poetic inspiration and imagery.
Adoro muchos de sus sonetos.
Creo que estos tres textos son mis favoritos Won’t pretend I read this whole poem, start to finish — but I did give it the old “college” try. His allusions to mythology, his descriptions of pastoral life and seaside scenes, they spoke to me. The spurned lover at the wedding… I wish that he had finished.
Great metaphorical reflections coupled with an infusing of the quotidian world with mythological reference. There’s some great lines about owls too!! Sometimes you have to read the most boring texts for classes and this was one of them. Feb 04, Francisco rated it it was amazing Shelves: Ian Lepine rated it it was amazing Jan 05, Alephz rated it it was gobgora Jun 09, Victor Cioban rated it it was amazing Feb 06, Beverly rated it it was amazing Aug 10, Diana rated it liked it Mar 24, Mike Brecon rated it liked it Sep 05, Ele rated it liked it Jan 14, GAKO rated it it was amazing Jun 28, Carolina rated it liked it Dec 15, Patricia rated it really liked it Aug 28, There are no discussion topics on this book yet.
His style is characterized by what was called culteranismo, also known as Gongorism Gongorismo. This style existed in stark contrast to Quevedo’s Conceptismo. No trivia or gongra yet. Yacen ahora, y sus desnudas piedras Visten piadosas yedras: Que a ruinas y a estragos, Sabe el tiempo hacer verdes halagos.
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