CRITICISM

Calcraft, R. P. “The Lover as Icarus: Góngora's Quéde invidiosos montes levantados.” In What's Past is Prologue: A Collection of Essays in Honour of L. J. Woodward, edited by Salvador Bacarisse, Bernard Bentley, Mercedes Clarasó, and Douglas Gifford, pp. 10-16. Edinburgh: Scottish Academic Press, 1984.

Shows how Góngora reinterpreted the classical myth of Icarus in his poem “Qué de invidiosos montes levantados.”

Crawford, J. P. Wickersham. “Italian Sources of Góngora's Poetry.” The Romanic Review 20 (1929): 122-30.

Analyzes Italian poetry as a likely source for much of Góngora's work.

Hitchcock, Richard. “Góngora and the Hyrcanian Tigress.” In What's Past is Prologue: A Collection of Essays in Honour of L. J. Woodward, edited by Salvador Bacarisse, Bernard Bentley, Mercedes Clarasó, and Douglas Gifford, pp. 82-7. Edinburgh: Scottish Academic Press, 1984.

Compares a speech in the Soledad primera about the sixteenth-century Spanish conquistadors with hunting allusions from the Dedicatoria.

Jones, R. O. “The Poetic Unity of the Soledades of Góngora.” Bulletin of Hispanic Studies 31 (1954): 189-204.

Argues that the Soledades is principally concerned with the relationship between nature and technology.

———. “Neoplatonism and the Soledades.” Bulletin of Hispanic Studies 40 (1963): 1-16.

Argues that the Soledades was inspired by the Neoplatonic philosophy of Plotinus.

———. “Góngora and Neoplatonism Again.” Bulletin of Hispanic Studies 43 (1966): 117-20.

Responds to C. C. Smith's 1965 essay, reiterating his own 1963 argument that the primitiveness of nature in Góngora's poetry is not inconsistent with Neoplatonism.

Schmidt, Rachel. “Challenging the Order of the Sun in Góngora's Soledades.” In Imagining Culture: Essays in Early Modern History and Literature, edited by Jonathan Hart, pp. 165-82. New York: Garland Publishing, Inc., 1996.

Examines mythological imagery in the Soledades, paying particular attention to the role of the sun.

Smith, C. Colin. “An Approach to Góngora's Polifemo.” Bulletin of Hispanic Studies 42 (1965): 217-38.

Argues against Jones's claim that Góngora's poetry was inspired by Neoplatonism, suggesting instead that the themes are something closer to the evolutionary theories of Darwin.

———. “Rich Rhyme in Góngora's Polifemo.” Bulletin of Hispanic Studies 42 (1965): 106-112.

Argues that the real genius of Góngora's Polifemo y Galatea is found in the musical quality of the poem's rhyme scheme.

Taylor, David N. “Góngora's Sonnet Acredita la Esperanza con Historias Sagradas: An Emblemorphic Reading.” Caliópe 3, no. 1 (1997): 35-50.

Argues that the topos of Góngora's sonnet is not biblical as most critics have claimed, but rather derived from classical mythology.