Luis de Góngora

"Góngora" redirects here. For other uses, see Góngora (disambiguation).

Luis de Góngora
Luis de Góngora (1622), by Velázquez (Museum of Fine Arts, Boston).
Born	(1561-07-11)July 11, 1561 Córdoba, Crown of Castile
Died	May 23, 1627(1627-05-23) (aged 65) Córdoba, Crown of Castile
Resting place	Mosque–Cathedral of Córdoba
Occupations	Poet and playwright
Writing career
Language	Castilian
Period	Golden Age
Movement	Culteranismo
Signature

Luis de Góngora y Argote (Córdoba, July 11, 1561 – Córdoba, May 23, 1627) was a Spanish poet and playwright of the Golden Age, the foremost exponent of the literary current later known as culteranismo or gongorismo.

Biography

He was born in Córdoba, in the house known as the Casa de las Pavas, owned by his uncle Francisco Góngora, a racionero (prebendary) of the cathedral, located on the site now occupied by number 10 of the street, where the Hotel Casa de La Judería currently stands, although doubts about this still remain. He was the son of the judge of property confiscated by the Holy Office of Córdoba, Don Francisco de Argote, and the noblewoman Leonor de Góngora.

He studied at the University of Salamanca, where he drew attention as a poet. He took minor orders in 1575 and was a beneficed canon of the Córdoba cathedral, where he was reprimanded before Bishop Pacheco for seldom attending choir and for chatting in it, as well as for attending profane amusements and composing satirical verses.

From 1589 he traveled on various commissions for his chapter through Navarre, Andalusia (Granada and Jaén), León (Salamanca, León) and Castile (Madrid, Cuenca or Toledo). He composed numerous satirical and lyrical sonnets, romances and letrillas, and musicians such as Diego Gómez, Gabriel Díaz and Claudio de la Sablonara took an interest in setting these poems to music.

During a stay at the Court in Valladolid in 1603 he fell out with Quevedo, whom he accused of imitating his satirical poetry under a pseudonym, whether this was true or not. It does seem that Quevedo wrote against the bad taste of the satires that the Cordoban wit was then displaying against the filthiness of the Esgueva River, which ran through the city, then serving as the Court and therefore heavily overpopulated.

In 1609 he returned to Córdoba and began to intensify the aesthetic force and the Baroque character of his verses. Between 1610 and 1611 he wrote the Oda a la toma de Larache (Ode on the Taking of Larache) and in 1613 the Polifemo, a poem in octaves that paraphrases a mythological passage from Ovid's Metamorphoses, a subject that had already been treated by his fellow Cordoban Luis Carrillo y Sotomayor in his Fábula de Acis y Galatea; that same year he circulated at Court his most ambitious poem, the unfinished Soledades. This poem unleashed a great controversy because of its obscurity and affectation, and it won him a great legion of followers, the so-called culterano poets (Salvador Jacinto Polo de Medina, Fray Hortensio Félix Paravicino, Francisco de Trillo y Figueroa, Gabriel Bocángel, the Count of Villamediana, Sor Juana Inés de la Cruz, Pedro Soto de Rojas, Miguel Colodrero de Villalobos, Anastasio Pantaleón de Ribera...), as well as enemies among conceptistas such as Francisco de Quevedo and classicists such as Lope de Vega, Lupercio Leonardo de Argensola and Bartolomé Leonardo de Argensola.

Some of these, however, eventually came to number among his defenders, such as Juan de Jáuregui. In any case, his figure was invested with even greater prestige, to the point that Philip III appointed him royal chaplain in 1617. To hold this office, he moved to Madrid and lived at Court until 1626, ruining himself in obtaining offices and prebends for almost all of his relatives.

Velázquez portrayed him in 1622 with a broad, open forehead. From the lawsuits, documents and satires of his great enemy, Francisco de Quevedo, it can be deduced that he was jovial, sociable, talkative and fond of luxury and of entertainments such as cards and bullfighting, to the point that he was frequently reproached for how little he dignified his ecclesiastical habit. In his time he was considered a master of satire, although he did not reach the expressionist extremes of Quevedo or the very blackest hues of Juan de Tassis y Peralta, second Count of Villamediana, who was his friend and one of his best poetic disciples; hard to please as he was, the latter paid him great praise, calling him rara avis in terra.

Tomb of Luis de Góngora in the Mosque–Cathedral of Córdoba.

In 1627, having lost his memory because of a serious illness, he left for Córdoba, where he died of apoplexy in extreme poverty. His remains lie in the Mosque–Cathedral of Córdoba.

Works

Although Góngora did not publish his works (an attempt of his in 1623 came to nothing), they passed from hand to hand in manuscript copies that were collected and compiled in cancioneros, romanceros and anthologies, published with or without his permission.

Title page of the Chacón Manuscript, which transmitted the poetic work of Luis de Góngora

The most authoritative manuscript is the so-called Chacón Manuscript (copied by Antonio Chacón, Lord of Polvoranca, for the Count-Duke of Olivares), since it contains clarifications by Góngora himself and the chronology of each poem; but this manuscript, given the high personage for whom it was intended, omits the satirical and vulgar works.

In the very year of his death Juan López Vicuña published an edition titled Obras en verso del Homero español (Works in Verse of the Spanish Homer), which is also considered very reliable and important in establishing the Gongorine corpus; its attributions are usually accurate; even so, it was seized by the Inquisition and later superseded by that of Gonzalo de Hoces in 1633. Furthermore, Góngora's works, like those of Juan de Mena and Garcilaso de la Vega before them, enjoyed the honor of being extensively glossed and commented upon by figures of the stature of Díaz de Rivas, Pellicer, Salcedo Coronel, Salazar Mardones, Pedro de Valencia and others.

Although the typical conceptismo of the Baroque is already found in his early works, Góngora, whose temperament was that of a hard-to-please aesthete ("the harshest prosecutor of my works is myself," he used to say), remained dissatisfied and decided to attempt, in his own words, "to do something not for the many" and to intensify still further the rhetoric and the imitation of classical Latin poetry, introducing numerous cultismos and a syntax based on hyperbaton and symmetry; he was likewise very attentive to the sonority of verse, which he tended like a true musician of the word; he was a great painter for the ear and epicureanly filled his verses with sensory nuances of color, sound and touch. What is more, through what Dámaso Alonso, one of his principal scholars, called elusions and allusions, he turned each of his last minor and major poems into an obscure exercise for alert and erudite minds, like a kind of riddle or intellectual emblem that gives pleasure in its deciphering. This is the Baroque aesthetic that was named gongorismo in his honor or, with a word that has fared better and which originally had a pejorative value because of its analogy with the word luteranismo (Lutheranism), culteranismo, since his adversaries regarded the culterano poets as veritable heretics of poetry.

Criticism, since Marcelino Menéndez Pelayo, has traditionally distinguished two periods or two manners in Góngora's work. The first, the period of the "Prince of Light," would correspond to his first stage as a poet, in which he composed simple romances and letrillas unanimously praised up to the Neoclassical period, making use of short meters and light subjects. For this he used décimas, romances, letrillas, etc. The second period, that of the "Prince of Darkness," in which, from 1610, when he composed the ode A la toma de Larache, he became the author of obscure and unintelligible poems, making use of difficult metaphors, many mythological allusions, cultismos, hyperbatons, etc.

Until the Romantic period this second part of his work was harshly criticized and even censured by the Neoclassicist Ignacio de Luzán himself. This theory was refuted by Dámaso Alonso, who showed that complication and obscurity were already present in his first period and that, as the fruit of a natural evolution, he reached the daring extremes for which he has been so reproached. In romances such as the Fábula de Píramo y Tisbe and in some letrillas there appear wordplay, allusions, conceits and a Latinizing syntax, although these difficulties are masked by the brevity of his verses, their musicality and rhythm, and by the use of traditional forms and themes.

Poems

Monument to Góngora, by Severiano Grande, in Salamanca, the city at whose university he studied. It is a tribute to the poet; the writer's face is inspired by the painting of him by Velázquez, alongside other elements such as an eagle representing Góngora. Beneath these figures appear others from the Fábula de Polifemo y Galatea, one of Góngora's principal poems.

His poetry is usually grouped into two blocks, minor and major poems, corresponding more or less to the two successive poetic stages. In his youth, Góngora composed numerous romances, of literary inspiration, such as that of Angélica y Medoro, about captives, on picaresque themes or of a more personal and lyrical tone, some of them autobiographical in character, in which he recounts his childhood memories or his travels:

En los pinares del Júcar / vi bailar a unas serranas, / al son del agua en las piedras / y al son del viento en las ramas.

In the pine groves of the Júcar / I saw some mountain girls dancing, / to the sound of the water on the stones / and to the sound of the wind in the branches.

Also numerous lyrical, satirical or religious letrillas and burlesque romances.

[Ándeme yo caliente / y ríase la gente. / Traten otros del gobierno / del mundo y sus monarquías, / mientras gobiernan mis días / mantequillas y pan tierno, / y, las mañanas de invierno, / naranjada y aguardiente, / y ríase la gente. / Coma en dorada vajilla / el príncipe mil cuidados, / como píldoras dorados, / que yo, en mi pobre mesilla, / quiero más una morcilla / que en el asador reviente, / y ríase la gente. / Cuando cubra las montañas / de blanca nieve el enero, / tenga yo lleno el brasero / de bellotas y castañas / y quien las dulces patrañas / del rey que rabió me cuente, / y ríase la gente. / Busque muy en hora buena / el mercader nuevos soles; / yo, conchas y caracoles / entre la menuda arena, / escuchando a Filomena / sobre el chopo de la fuente, / y ríase la gente. / Pase a media noche el mar, / y arda en amorosa llama / Leandro, por ver su dama, / que yo más quiero pasar / del golfo de mi lagar / la blanca o roja corriente, / y ríase la gente. / Pues Amor es tan crüel, / que de Píramo y su amada / hace tálamo una espada, / do se junten ella y él, / sea mi Tisbe un pastel, / y la espada sea mi diente, / y ríase la gente] Error: {{Lang}}: text has italic markup (help) (L. de Góngora, 1581).

Let me be warm / and let people laugh. / Let others deal with the government / of the world and its monarchies, / while my days are governed / by butter and soft bread, / and, on winter mornings, / orangeade and brandy, / and let people laugh. / Let the prince eat from golden dishes / a thousand cares, / gilded like pills, / for I, at my poor little table, / would rather have a blood sausage / bursting on the spit, / and let people laugh. / When January covers the mountains / with white snow, / let me have my brazier full / of acorns and chestnuts / and someone to tell me the sweet tall tales / of the king who raved, / and let people laugh. / Let the merchant seek, and good luck to him, / new suns; / I, shells and snails / among the fine sand, / listening to Philomel / on the poplar by the fountain, / and let people laugh. / Let Leander cross the sea at midnight, / and burn in an amorous flame / to see his lady, / for I would rather cross / from the gulf of my wine press / the white or red current, / and let people laugh. / Since Love is so cruel / that for Pyramus and his beloved / it makes a sword their marriage bed, / where she and he are joined, / let my Thisbe be a pie, / and the sword be my tooth, / and let people laugh.

The great majority are a constant accumulation of conceptista games, double meanings, paronomasias, hyperboles and typically Baroque wordplay. Among them is the long romance Fábula de Píramo y Tisbe (1618), an extremely complex poem that cost its author the most work and which he held in the highest esteem, and in which he attempts to raise parody, a typically Baroque procedure, to a category as artistic as the others, but it already belongs to his last stage. Most of the letrillas are aimed, as in Quevedo, at mocking grasping ladies and attacking the desire for riches. Also deserving their place are the satires against various writers, especially Quevedo or Lope de Vega, a genre in which his only rivals were Francisco de Quevedo himself or the Count of Villamediana.

Alongside these poems, throughout his life Góngora never stopped writing perfect sonnets on all kinds of subjects (amorous, satirical, moral, philosophical, religious, occasional, polemical, laudatory, funerary), genuine autonomous verbal objects by virtue of their intrinsic aesthetic quality, in which the Cordoban poet explores different expressive possibilities of the style he is forging or even foreshadows works to come, such as the famous "Descaminado, enfermo, peregrino…", which heralds the Soledades.

Descaminado, enfermo, peregrino, / en tenebrosa noche, con pie incierto, / la confusión pisando del desierto, / voces en vano dio, pasos sin tino. / Repetido latir, si no vecino, / distinto oyó de can siempre despierto, / y en pastoral albergue mal cubierto / piedad halló, si no halló camino. / Salió el Sol y, entre armiños escondida, / soñolienta beldad con dulce saña / salteó al no bien sano pasajero. / Pagará el hospedaje con la vida; / más le valiera errar en la montaña / que morir de la suerte que yo muero. (L. de Góngora, De un caminante enfermo que se enamoró donde fue hospedado, 1594)

Lost, sick, a pilgrim, / in gloomy night, with uncertain foot, / treading the confusion of the wilderness, / he cried out in vain, took aimless steps. / A repeated barking, if not near, / he heard distinctly, of an ever-wakeful dog, / and in a poorly roofed pastoral shelter / he found pity, if he found no road. / The Sun rose and, hidden among ermines, / a sleepy beauty with sweet fury / waylaid the none-too-healthy traveler. / He will pay for his lodging with his life; / he would have done better to wander lost on the mountain / than to die in the way that I am dying. (Of a Sick Traveler Who Fell in Love Where He Was Lodged)

Among the usual topoi (carpe diem, etc.), however, those of greatest tragic grandeur are the ones devoted to revealing the ravages of old age, poverty and the passage of time on the poet, which are the last ones: "Menos solicitó veloz saeta...", "En este occidental, en este, ¡Oh Licio!..." etc.

En este occidental, en este ¡oh Licio! / climatérico lustro de la vida, / todo mal afirmado pie es caída; / toda fácil caída es precipicio. / ¿Caduca el paso?, ilústrese el jüicio. / Desatándose va la tierra unida; / ¿qué prudencia, del polvo prevenida, / la rüina aguardó del edificio? / La piel, no sólo sierpe venenosa, / mas con la piel, los años se desnuda, / y el hombre no. ¡Ciego discurso humano! / ¡Oh aquel dichoso que la ponderosa / porción depuesta en una piedra muda, / la leve da al zafiro soberano! (L. de Góngora, Infiere, de los achaques de la vejez, cercano el fin a que católico se alienta, 1623)

In this western, in this, O Licius! / climacteric lustrum of life, / every ill-planted foot is a fall; / every easy fall is a precipice. / Does the step falter? Let judgment be enlightened. / The united earth is coming loose; / what prudence, forewarned by the dust, / ever waited for the building's ruin? / The venomous serpent sheds not only its skin / but, with its skin, its years, / and man does not. Blind human reasoning! / Oh, happy he who, having laid down the ponderous / portion in a mute stone, / gives the light one to the sovereign sapphire! (He Infers from the Ailments of Old Age the Nearness of the End, for Which as a Catholic He Takes Heart)

The major poems, however, were the ones that brought about the culterano revolution and the ensuing scandal, caused by the great obscurity of the verses of this aesthetic. They are the Fábula de Polifemo y Galatea (1612) and the unfinished and misunderstood Soledades (the first composed before May 1613). The former narrates, in the octava real stanza, a mythological episode from Ovid's Metamorphoses, that of the love of the cyclops Polyphemus for the nymph Galatea, who rejects him. In the end, Acis, Galatea's lover, is turned into a river. Here the complex and difficult culterano style is already tried out, full of symmetries, transpositions, metaphors of metaphors or pure metaphors, hyperbaton, periphrasis, Latin turns of phrase, cultismos, allusions and elusions of terms, seeking to suggest rather than name and dilating the form so that the meaning vanishes as it is being deciphered.

Soledades

Main article: Soledades

First page of the Soledades (vol. I, p. 193) in the Chacón Manuscript.

Monument to Luis de Góngora in the Plaza de la Trinidad, Córdoba. Work by Amadeo Ruiz Olmos.

The Soledades was to be a poem in silvas, divided into four parts, each corresponding allegorically to an age of human life and a season of the year, and they would be called Soledad de los campos (Solitude of the Fields), Soledad de las riberas (Solitude of the Shores), Soledad de las selvas (Solitude of the Forests) and Soledad del yermo (Solitude of the Wasteland). But Góngora composed only the dedication to the Duke of Béjar and the first two, although he left the latter unfinished, its last 43 lines being added quite some time later. The stanza was not new, but it was the first time it had been applied to such a long poem. Its form, astrophic in character, was the one that gave the poet the most freedom, who in this way came ever closer to free verse and advanced poetic language to extremes that would only be reached by the poets of French Parnassianism and Symbolism in the 19th century.

At the beginning there is a dedication to the Duke of Béjar:

Pasos de un peregrino son, errante, / cuantos me dictó versos dulce Musa, / en soledad confusa, / perdidos unos, otros inspirados. / ¡Oh tú, que de venablos impedido, / muros de abeto, almenas de diamante, / bates los montes que, de nieve armados, / gigantes de cristal los teme el cielo, / donde el cuerno, del eco repetido, / fieras te expone que, al teñido suelo, / muertas, pidiendo términos disformes, / espumoso coral le dan al Tormes. / Arrima a un fresno el freno...

The steps of a wandering pilgrim are / all the verses a sweet Muse dictated to me, / in confused solitude, / some lost, others inspired. / O you who, encumbered with hunting spears, / walls of fir, battlements of diamond, / beat the mountains which, armed with snow, / the sky fears as giants of crystal, / where the horn, repeated by the echo, / exposes to you wild beasts which, on the stained ground, / dead, demanding misshapen boundaries, / give foaming coral to the Tormes. / Rest your bridle against an ash tree...

The plot of the Soledad primera (First Solitude) is quite unconventional, although it is inspired by an episode of the Odyssey, that of Nausicaa: a young castaway reaches a coast and is taken in by some goatherds. But this plot is only a pretext for a veritable descriptive frenzy: the poem's value is lyrical rather than narrative, as Dámaso Alonso pointed out, although more recent studies vindicate its narrative relevance. Góngora presents an Arcadian nature, where everything is marvelous and where man can be happy, aesthetically refining his vision, which is nevertheless rigorously materialist and epicurean (it tries to impress the senses of the body, not only the spirit), so as to make everything ugly and unpleasant disappear. In this way, through elusion, a periphrasis makes an ugly and unpleasant word disappear (cured meat becomes "purple threads of fine scarlet" and tablecloths "spun snow," for example).

The Soledades caused a great scandal because of their aesthetic daring and hyper-learned obscurity, and sometimes behind this debate lies displeasure at their homosexual themes. They were attacked by Francisco de Quevedo, Lope de Vega, the Count of Salinas and Juan de Jáuregui (who composed a measured Antídoto contra las Soledades and an Ejemplar poético against them, but nevertheless ended up professing the same or a very similar doctrine), among many other poets, but they also had great defenders and followers, such as Francisco Fernández de Córdoba, Abbot of Rute, the Count of Villamediana, Gabriel Bocángel, Miguel Colodrero de Villalobos, Agustín de Salazar and, across the Atlantic, Juan de Espinosa Medrano, Hernando Domínguez Camargo and Sor Juana Inés de la Cruz. Góngora's influence extended still further in time, to the point that his fellow townsman José de León y Mansilla composed and printed a Soledad tercera (Third Solitude) in 1718, and Rafael Alberti ("Soledad tercera," in Cal y canto, 1927) and Federico García Lorca (Soledad insegura) wrote two more as late as the 20th century. With the Soledades, Castilian lyric poetry was enriched with new words and new and powerful expressive instruments, forging a looser and freer syntax than had existed until then.

Góngora's poems earned the honor of being commented upon shortly after his death as contemporary classics, as those of Juan de Mena and Garcilaso de la Vega had been long before in the 16th century. The most important commentators were José García de Salcedo Coronel, author of an annotated edition in three volumes (1629–1648), José Pellicer de Ossau, who composed Lecciones solemnes a las obras de don Luis de Gongora y Argote (1630), and Cristóbal de Salazar Mardones, author of an Ilustración y defensa de la fábula de Piramo y Tisbe (Madrid, 1636). In the 18th and 19th centuries, however, there was a reaction against this extreme Baroque style, at first by using the style for low and burlesque subjects, as Agustín de Salazar did, and shortly afterward, in the 18th century, by relegating the second phase of Gongorine lyric poetry and his major poems to oblivion. However, through the work of the Generation of '27 and especially of its scholar Dámaso Alonso, the Cordoban poet came to be an admired model for his complex major poems as well. The admiration went so far that there was even an attempt to continue the poem, successfully in the case of Alberti (Soledad tercera).

Theater

Luis de Góngora also composed three plays, Las firmezas de Isabela (1613), the Comedia venatoria and El doctor Carlino, the last unfinished and later reworked by Antonio de Solís.

Early editions

• Obras en verso del Homero español, que recogio Iuan Lopez de Vicuña. Al Ilustrísimo y reverendísimo Señor don Antonio Zapata, Cardenal de la santa Iglesia de Roma, Inquisidor general en todos los Reynos de España, y del Consejo de Estado el Rey nuestro señor. Madrid: Widow of Luis Sánchez, 1627. Dámaso Alonso produced an edition of this work: Madrid: CSIC, 1963.
• Todas las obras de don Luis de Góngora en varios poemas recogidos por don Gonzalo de Hozes y Córdova, natural de la ciudad de Córdova, diigidas a don Francisco Antonio Fernández de Córdova, marqués de Guadalcázar, etc. Madrid: Imprenta del Reino, 1633 (two editions in that same year, one with shorter preliminaries and one more sonnet). In 1634 there were two more, also from the same publishing house and compiler, the first from Madrid, the second a counterfeit made in Seville; the Madrid one suppresses several dozen poems, surely because of an inquisitorial denunciation. There was another in 1644, also Madrid: Imprenta Real, and Seville: Nicolás Rodríguez, 1648; the latter copies the Madrid edition of 1633. Yet another: Madrid, idem, 1654, and a counterfeit that imitates it but dates from around 1670. Another important edition of Todas las obras is Zaragoza, 1643.
• Obras. Primera parte y Segunda parte, Lisbon, Oficina de Paulo Craesbeck, 1646–1647. It follows the Madrid editions. It was reprinted in 1667, with the addition of "Canción a las Lusiadas de Camoēs, que traduxo de Portugués en castellano Luis de Gómez de Tapia."
• Obras, Brussels: Francisco Foppens, 1659. It follows a copy of the expurgated Madrid edition of 1634, until at a certain point it is replaced by a complete one.
• Delicias del Parnaso, en que se cifran todos los Romances Liricos, Amorosos, Burlescos, glosas, y decimas satiricas del regosijo [sic] de las musas el prodigioso don Luis de Gongora. Recogido todo de sus originales, y corregido de los errores con que estauan corruptos, Barcelona: 1634. Co-edition produced by Pedro Esquer and Pedro Lacavallería. Two issues were made, one for each publisher, and it includes selected romances, letrillas and décimas. Another edition: Barcelona: Pedro Lacavallería, 1640. Three others from Zaragoza, 1640, 1640–1642(?), 1643.
• El Polifemo, commented by García de Salcedo Coronel, Madrid: 1629.
• Lecciones solemnes..., by José Pellicer de Salas, Madrid: 1630.
• Soledades y Polifemo, commented by Salcedo Coronel, Madrid: 1636.
• Ilustración y defensa de la Fábula de Píramo y Tisbe, by Cristóbal Salazar Mardones, Madrid: 1636.
• Primera parte del segundo tomo de las obras de don Luis de Góngora, comentadas por Salcedo Coronel, Madrid: 1644.
• Segunda parte del segundo tomo de las obras de don Luis de Góngora, comentadas por Salcedo Coronel, Madrid: 1648.
• Apologético en favor de don Luis de Góngora, por Espinosa Medrano, Lima: 1662.
• Apologético en favor de don Luis de Góngora, por Espinosa Medrano, Lima: 1694.

Modern editions

There are several modern editions of the work of Luis de Góngora; the first was undoubtedly that of the French Hispanist Raymond Foulché Delbosc, of Obras poéticas de Góngora (1921); these were followed by those of Juan Millé Giménez and his sister Isabel Millé Giménez (1943) and the editions and studies of Dámaso Alonso (critical edition of the Soledades, 1927; La lengua poética de Góngora, 1935; Estudios y ensayos gongorinos; Góngora y el Polifemo, 1960, three vols.); Sonetos completos, ed. Biruté Ciplijauskaité (Madrid, Castalia, 1969); Romances, ed. Antonio Carreño (Madrid, Cátedra, 1982); Soledades, editions by John R. Beverley (Madrid, Cátedra, 1980) and by Robert Jammes (Madrid, Castalia); Fábula de Polifemo y Galatea, ed. Alexander A. Parker (Madrid, Cátedra, 1983); Letrillas, ed. Robert Jammes (Madrid, Castalia, 1980); Canciones y otros poemas de arte mayor, ed. José M.ª Micó (Madrid, Espasa Calpe, 1990), Romances, ed. Antonio Carreira (Barcelona: Quaderns Crema, 1998) and Sonetos, ed. Juan Matas Caballero (Madrid, Cátedra, 2019).

See also

• Spanish Baroque literature
• Spanish literature

External links

• Portrait of Luis de Góngora with an epitome of his life included in the book Retratos de Españoles ilustres, published in 1791.
• Portal devoted to Luis de Góngora (Biblioteca Virtual Cervantes)
• Digitized titles of the work of Luis de Góngora in the Biblioteca Virtual Cervantes
• Digitized works of Luis de Góngora in the Biblioteca Digital Hispánica of the National Library of Spain
• Study of the Fábula de Píramo y Tisbe
• Poetics of Góngora
• Complete works of Don Luis de Góngora on CD-ROM
• Canto a Córdoba, translated into Esperanto
• Góngora became personal chaplain to Philip III
• Clean versions of his sonnets, letrillas, romances, Soledades and Polifemo
• El Polifemo de D. Luis de Gongora comentado por Don Garcia de Salzedo Coronel... En Madrid: en la Imprenta Real a costa de Domingo Gonçalez, 1636
• Epístolas satisfatorias. Vna a las obieciones que opuso a los Poemas de D. Luys de Gongora el Licenciado Francisco de Cascales ... en sus cartas filologicas, otra a las proposiciones que contra los mismos poemas escriuio cierto Sugeto graue y docto / por D. Martin de Angulo... En Granada : en casa de Blas Martinez..., 1635
• Soledades de D. Luis de Gongora comentadas por D. Garcia de Salzedo Coronel... En Madrid: en la Imprenta Real a costa de Domingo Gonçalez, 1636