By G. Ayres
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1–6) It is obvious to most readers that the essence of these verses is not in the story but in the telling of the story, in the voluptuous verbal construction that somehow, through sounds and images, constructs a musical picture that, like a riddle, must be disentangled for sense. But this disentanglement is, as it were, a posthumous operation. The first, the immediate experience of the reader is one of pure verbal pleasure, an erotic play of tongue and ear before soliciting our intelligent reflection.
Otherwise, he is merely a witness to the world that unfolds before him. Not everything in Góngora is perfectly understandable for the reader today, not even in translation, which tends to ease complexities and clarify obscurities. This is partly because he sometimes wrote verses in which the sound of the majestic syllables overrides the need for sense, and partly because, even with the guidance of erudite notes, our poetic vocabularies are far poorer now than they were for his seventeenth-century readers.
To restructure and enrich the language he was using for poetic purposes, Góngora returned to the Latin roots of Spanish, which allowed him greater freedom of syntax and wordplay. Borges saw in this “nostalgia of Latin”9 a destructive tendency. ”10 And yet, Góngora’s excesses were not merely formal. While it is true that Spain used the rhetoric and style of the baroque for its own purposes, it is also true that Spanish writers, by and large, subverted them. Cervantes created with Don Quixote a reverse image of the Spain promoted by officialdom: the supposed author of the novel is Cide Hamete Benegeli, one of the converted Moors expelled from Spain in 1610, thus bringing back one of the forbidden cultures to the very core of his story.
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