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''La Fábula de Polifemo y Galatea'' (''The Fable of Polyphemus and Galatea''), or simply the ''Polifemo'', is a literary work written by Spanish poet Luis de Góngora y Argote. The poem, though borrowing heavily from prior literary sources of Greek and Roman Antiquity, attempts to go beyond the established versions of the myth by reconfiguring the narrative structure handed down by Ovid. Through the incorporation of highly innovative poetic techniques, Góngora effectively advances the background story of Acis and Galatea’s infatuation as well as the jealousy of the Cyclops Polyphemus. The ''Polifemo'' was completed in manuscript form in 1613 and was subsequently published in 1627 after Góngora’s death (see 1627 in poetry). The work is traditionally regarded as one of Góngora’s most lofty poetic endeavors and is arguably his finest artistic achievement along with the Soledades. The ''Polifemo'', in sum, realizes the final stage of Góngora’s sophisticated poetic style, which slowly developed over the course of his career. In addition to the ''Soledades'' and other later works, the ''Polifemo'' demonstrates the fullest extent of Góngora’s highly accentuated, erudite and impressionistic poetic style known as culteranismo. As made evident in the opening of the poem, the ''Polifemo'' was dedicated to the Count of Niebla, a Castilian nobleman renowned for his generous patronage of 17th century Spain’s most preeminent artists.〔Hanak 3〕 The work’s predominant themes, jealousy and competition, reflect the actual competitive environment and worldly aspirations that drove 17th-century poets such as Góngora to cultivate and display their artistic ingenuity. Góngora wrote his ''Polifemo'' in honor of Luis Carillo y Sotomayor's Fabula de Acis y Galatea, which was a contemporary poem depicting the same mythological account. Additionally, the poem of Carillo y Sotomayor was in deed dedicated to the very same Count of Niebla. Luis Carrillo y Sotomayor was both Góngora’s friend and a fellow “culteranist” poet who died at the age of 27 in 1610, three years before Góngora’s ''Polifemo'' was completed. The premature death of a promising pupil in a sense prompted the creation of the Polifemo. ==Conventional restraints; the ''Polifemo'' and poetic liberation in the Spanish Baroque== The ''Polifemo'' is unprecedented for Góngora in terms of its length, its florid style, and its ''ingenio'' (artistic ingenuity or innovation). Regarding its literary form, the poem develops in a manner that is distinctively unmindful of the mediating artistic clarity outlined in Aristotle’s Poetics〔see Aristotle's ''Poetics'' (Quotation Pending)〕 Contemporary critics such as Luis Carrillo y Sotomayor would come to see these Aristotelian precepts as artistically stifling. In his Libro de la Erudición Poética, Carillo formally denounces both clarity and straightforwardness, particularly when such artistic ideals placed parameters on poetic expression in an effort to make "oneself intelligible to the half-educated." 〔see Carillo's ''Libro de la Erudición Poética'' (1611)〕 Though culteranismo maintained this elitist and aristocratic quality well after Carillo's death, this seemingly haughty comment on the part of Góngora's pupil was actually a jibe at Góngora's fiercest critics whose periodic vitriol sought to discredit the artist and his work. 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 era. Culteranismo, which was particularly fond of playful obscurity, has consequently incurred the disdain of several critics for its liberal artistic outlooks, which critics lampooned as frivolous and pedantic.〔see Jauregi's "Discurso poético contra el hablar culto y oscuro" (1624) and "Antídoto contra la pestilente poesía de las Soledades" (1624)〕 The primacy of ''ingenio'' contradicted the claims of more traditional critics who sought to tame instinct by imposing a rigorous aesthetic framework of poetic regulations derived from the ancients in order to establish a more coherent dialogue with the audience or reader. Critics such as Juan Martínez de Jáuregui y Aguilar and Francisco de Quevedo, for reasons related to their obscure lyricism, saw ''culternanist'' poets as highly affected, superficial and purposefully obscure with the intention of masking poetic mediocrity with highly ornate phraseology.〔see Quevedo's "Aguaja de Navegar Cultos"〕 Regardless of the charges levied against his style, Góngora would remain one of the most influential poets of the Spanish Baroque and would influence in turn the styles of even his most malicious critics.〔See "Nueva Poesía. Conceptismo, Culteranismo en la Crítica Española" by Collard (in Progress)〕 The sophisticated metaphors displayed in the ''Polifemo'' would later inspire French symbolists such as Paul Verlaine〔Warshaw 1〕 as well as modern Spanish poets such as Federico García Lorca and fellow members of the Generation of '27. Culteranismo has always retained a highly arcane and esoteric quality throughout the centuries which would eventually inform the mystical nostalgia definitive to the poetry of other 20th century modernist poets. Along with conceptismo, culteranismo largely defined Spanish Baroque Poetry. ''Culteranismo'', as a 17th-century artistic movement, sought to elevate pure ''ingenio'' over the ideal of ''imitatio'' (Latin term for artistic imitation), a tendency that dominated Renaissance poetry (see ad fontes). The ambiguity of ''culternanists'' would continue to incur criticism from more conservative Spanish poets and thinkers for centuries. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「La Fábula de Polifemo y Galatea」の詳細全文を読む スポンサード リンク
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