Gongora emblematico

In this study we examine the origins, development and distribution (popularity) of emblem books throughout western Europe during the sixteenth and seventeenth centuries. Inherent in such a study is the clarification of the differences between and relationships among emblems, empresas, epigrams and conceits. After a brief review of pertinent traditional and modern criticism on Gongora, we study nine sonnets, a cancion, the Soledad primera and the Polifemo for emblematic allusions and/or content. All of these works seem to have emblematic allusions; however, many (at least six sonnets, the cancion and the beginning of the Soledad primera) are shown to be what we shall call emblemorphic poems, i.e., poems that are based on specific emblems (one from Cesare Ripa and the others from Andreas Alciati) and then metamorphosed into unique, Gongoristic poems. By combining classical mythology, emblematic conceits and autobiographical material, Gongora uses a variety of literary techniques (formulae of elocution, latinization of the lexical and syntactical units, hyperbaton, hyperbole, etc.) to create his own personalized emblems or emblemorphic poems. Based upon these findings, we propose at least nine more sonnets as possible emblemorphic sonnets which for a variety of reasons (themes, allusions, architecture (form), etc.) would lend themselves to this sort of analysis. We also suggest that the Soledades, the Polifemo and other major works be studied in the light of the emblem. Thus, it can be concluded that Luis de Gongora was, like many of his contemporaries, greatly influenced by the existent emblem literature of his time and, in fact, was one of the more active proponents of crafting these curious visual and conceptual images into his own repertoire of poetic materials and techniques. This then confirms the title of our study and the appropriateness of the label we apply to this complex baroque poet, Gongora emblematico