By John R. Beverley

This examine of Góngora’s Soledades is meant to summarize and speak about many of the difficulties which appeared vital for a greater figuring out of those poems. particular consciousness is paid to the 2 opposing ‘camps’ that constructed through the years; one usually 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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Fire may fight with water, But heat and moisture generate all things, Their discord being productive. Ovid Metamorphoses (trans. Humphries) No los confundió Dios a ellos con darles lenguaje confuso, sino en el mismo suyo ellos se confundieron, tomando piedra por agua, y agua por piedra... Góngora "Carta en respuesta" There is throughout Góngora's poetry a constant attraction to the sea; more concretely, it tends to explore over and over the boundary between earth and water—"la incierta ribera"—the play of tide and surf, the vision of land becom­ ing water, water giving way to land: Muros desmantelando, pues, de arena, centauro ya espumoso el Ocëano -medio mar, medio n a ­ dos veces huella la campaña al dǐa (II, 9-12) The Pilgrim 27 This setting permits the activation of the themes of the sea and navigation.

4) Fourth period of a day (combining, that is, the nominal first and fifth days of the story): lines 1-175 of the Soledad primera, 611 to end of the Soledad segunda (411 lines). This day is formed, as noted, by the conceited identity of beginning and ending. Its "dawn" is in the second canto, its "sunset" in the first. The initial wilderness and steep shore cliff metamorphose into a "desigual­ dad del horizonte, / que deja de ser monte / por ser culta floresta" (II, 692-94), the rustic albergue into a marble palace, the goatherds into the prince and his retinue of hawkers.

The periphrasis defines the implicit psychology of the 22 Aspects of Góngora's Soledades pilgrim, compounding around the visual datum a whole trajectory of memory, anxiety, and hope ("recelando"). It also follows a spatial logic in which the progressive metamorphoses of the light correspond to its changing visual character as the pilgrim approaches it. ) The "luz poca" becomes in this double process emblematic of luminosity—the Platonic image of the numinous—in the expanding network of metaphors and allusions made possible by the relativity of the pilgrim's spatial and sentimental perspectives.

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