Burla y mito en los sonetos de Góngora
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Universidad de León
info
ISSN: 2297-2692
Argitalpen urtea: 2021
Zenbakien izenburua: Monográfico "Poesía, Arte y Cultura a principios del siglo XVII: homenaje a Baltasar de Medinilla"
Zenbakia: 8
Orrialdeak: 362-389
Mota: Artikulua
Beste argitalpen batzuk: Arte Nuevo: Revista de Estudios Áureos
Laburpena
In some of his sonnets, Luis de Góngora adopted a tongue-in-cheek attitude towards mythology, and attitude that allowed him to express his own interests or even biographical memories, be they on love («Muerto me lloró el Tormes en su orilla»), death («Ícaro de bayeta, si de pino» and «Tonante monseñor, ¿de cuándo acá?»), or literary wars («Pisó las calles de Madrid el fiero» and «Es el Orfeo del señor don Juan»). This new optics was possible because, through mocking transgression, the poet makes his gods and heroes descend from Olympus, and therefore they inhabit in human terrain, and, more concretely, in the more or less personal and biographical sphere of the poet. In the sonnets in question, Góngora projected his artistic ideas on burlesque poetry, obtaining results which, in happy consonance with his parodic epyllia, have reached the highest peaks of aesthetic value.