by. Luis de Góngora. Other editions Poesía: Soledades, Fábula De Polifemo Y Galatea, Panegírico Al Duque De Lerma Y Otros Poemas (Temas De España). Fábula de Polifemo y Galatea has ratings and 10 reviews. Escrita en , sus temas son los amores de Acis y Galatea y la venganza del ciclope Polife. Fábula de Polifemo y Galatea Luis de Góngora y Argote Editor Alexander A. Parker Paperback / Published p. 18×11 cm (rústica).

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Thanks for telling us about the problem. Alejandro Ortiz marked it as to-read Sep 07, This fundamental debate between artistic clarity, intelligibility, lyricism, novelty and free expression first outlined in the Poetics of Aristotle and debated in the literary circles of posterity would never cease to divide artists throughout the modern galateaa.

The world, as the subject experiences it, remains exposed to an array of hostile outside influences that impinge upon our most gratifying experiences. The elaborate summoning of the Sicilian Muse Thalia celebrates antiquity and the pastoral genre. Return to Book Dee. His style is characterized by what was called culteranismo, also known as Gongorism Gongorismo.

Fábula de Polifemo y Galatea

Furthermore, as Leher points out, when displaying his wealth and fecundity: In writing the Metamorphoses, Ovid sought to compose a narrative of mythic time united by the theme of constant transformation. Essentially, the poem exposits the implausibility of Arcadiaof an ideal world, given the persistent problem of evil. Thus, beauty and ugliness, tranquility and turmoil allow for one another, making life sensible through their contrasts. The very self-contained and immutable reality of things propounded during the height of the Renaissance, in which entities remained suspended in their particular web of semblances and associations, is portrayed as a specious and unavailing contraption polifmeo constraining dogma that thoroughly undermines Immanence and the Present by denigrating the very sensibility of phenomena.

Furthermore, The tone is purely innocent and humorous, while hope for another love remains.

The poetic style also reflects the prevalent sense of anxiety characterizing both the Baroque period and the historical context of the Counter-Reformation. All conditions contrary to this understanding were in a sense flawed to various extents see Nichomean Ethics. Within the narrative, tension develops between this intractable and predetermined outlook characterizing Neo-Platonic thought and that of free will, personal accountability and the uniqueness of individual experiences.


Fábula de Polifemo y Galatea by Luis de Góngora (3 star ratings)

Essentially, life as a continuum of contingent experiences reflects the doctrine of Heracletan flux that greatly influenced the course of Western philosophy. Thanks for telling gongofa about the problem. Meg Sternworth rated it liked it Jun 27, Within the scope of the Polifemo, the presence of ugliness and the grotesque which taints the Arcadian landscape of the pastoral, proves predestined to annihilate both the beauty and harmony inherent in pastoral naivety, something which was cherished in both Renaissance art and the ancient bucolic.

Fabuoa injustice experienced on a personal level, of change and of loss, offers a different rendition of what is theorized on the plane of remote abstraction. La Domadora rated it liked it Feb 02, Within the Polifemo, Galatea transgresses the established gender roles that were rigidly maintained particularly in 17th century Spain. The Cyclops realizes his surrogate beauty in the form of discourse and song, which he contrasts with the tangible beauty of a lover.

Ellen rated it liked it May 02, Want to Read saving….

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Fábula de Polifemo y Galatea

Nevertheless, Ovid was not the first poet to exploit the poetic potential of these mythical figures. Ovid presents the tale as a recollection and incorporates it into other mythological accounts of transformation. Ovid’s intention is, thus, cosmological in nature. Tanja rated it liked it Dec 21, He goes on to deify her in the minds and rituals of the Polofemo locals.

Want to Read saving…. As with Baroque visual art, within the Polifemo, there is a genuine lack of easily recognizable forms.

This poetic trend entranced with antithesis is concurrent with the Chiaroscuro style that gqlatea in 17th century Western painting. Diana Gu rated it liked it Dec 01, In the context of Baroque aestheticsdepersonalization in this sense is not the complete abandonment or deterioration of the individual as a distinguishable entity, but emphasizes instead the justification of those characters as forms themselves.


A cultismothough often intuited as an umbrella term for a particular display of culteranismo, can be thought of as a poetic device that abandons the precision of ordinary language for the sake of artistic expression.

Within pre-Christian texts the portrayal of Galatea differs drastically from that of early modern depictions. There are several ornamental additions that detract from the narration that are obviously not present in its classical counterpart:. Furthermore, this introduction involving a Gobgora muse emphasizes ingenio itself over that of a more rudimentary imitation delineated by regulations and set expectations.

What an experience does not entail allows for the intellection of its reality. Within the poem, parallelism, proportionality, dissonance and intricate array of puns involving both similitude and antithesis also give the poem greater complexity than that of its classical predecessors. The aesthetic focus, for example, shifts towards the sublime and perhaps this is the most palpable distinction. This style existed in stark contrast to Quevedo’s Conceptismo.

The question of perfection, of a harmonious situation where nothing can be added without worsening conditions for individuals and set relationships, drives the narrative of the Polifemo.

The sanctification of feminine beauty and grace eventually leads to an emerging cult of Galatea. The interspersing of the unsavory and the melancholic with the idyllic deviates from the Renaissance ideal, which differentiated forms by establishing boundaries, namely foregrounds and backgrounds where central objects or figures displaced the prominence of other things.