By John R. Beverley
This examine of Góngora’s Soledades is meant to summarize and talk about a few of the difficulties which appeared vital for a greater knowing of those poems. designated cognizance is paid to the 2 opposing ‘camps’ that constructed over the years; one customarily focussing at the shape and the opposite at the content material of Soledades. during this quantity the authors attempts to combine the tools and result of either one of the ‘camps’.
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Additional info for Aspects of Gongora's 'Soledades'
Taken together, the two periods that follow, 15-21 and 22-28, are syntacti cally isomorphic with the first. But where 1-14 needs the semicolon to contain and carry over the tissue of allusion which composes the storm and shipwreck, the latter form two independent sentences and narrative moments of six and seven lines respectively. The first represents the effects of the pilgrim's "querellas" which have moved Venus to mediate the violence of the storm and provide an instrument of rescue: Del siempre en la montaña opuesto pino al enemigo Noto, piadoso miembro roto -breve tabla-delfín no fué pequeño al inconsiderado peregrino que a una Libia de ondas su camino fió, y su vida a un leño.
Confined on the ship, from which there is no escape, the madman is delivered to the river with its thousand arms, the sea with its thousand roads. . 6 The venerean metonymies of sea foam and feather (or quill) may thus serve also to signify the act of writing itself, the poet's pen tracing its mental voyage on the silent whiteness of the page. Góngora's language is psychagogic, an attempt to form consciousness in and through a reformation of language. After the turbulent chaos of the storm, a temporary calm ensues: Besa la arena, y de la rota nave aquella parte poca que le expuso en la playa dio a la roca: que aun se dejan las peñas lisonjear de agradecidas señas.
The epitome of the figure in the Spanish Renaissance was Garcilaso's framing of the Egloga primera within a sunrise exordium and a sunset epilogue which begin and close the "quejas" of Salicio and Nemoroso: . . y recordando ambos como de sueño, y acabando el fugitivo sol, de luz escaso, su ganado llevando, se fueron recogiendo paso a paso. But Góngora is also close to the sense the figure acquires in Baroque didactic allegory as the representation of the span of human life and history, the time of vanitas.