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Luis de Góngora y Argote ((:lwiz ðe ˈɣoŋɡoɾa); 11 July 1561 – 24 May 1627) was a Spanish Baroque lyric poet. Góngora and his lifelong rival, Francisco de Quevedo, are widely considered the most prominent Spanish poets of all time. His style is characterized by what was called ''culteranismo'', also known as ''Gongorism'' (''Gongorismo''). This style existed in stark contrast to Quevedo's ''conceptismo''. ==Biography== Gongora was born to a noble family in Córdoba, where his father, Francisco de Argote, was ''corregidor,'' or judge. In a Spanish era when purity of Christian lineage (limpieza de sangre) was needed to gain access to education or official appointments, he adopted the surname of his mother, Leonor de Góngora.〔(Asociación Cultural Nueva Acrópolis en Gandía. GÓNGORA Y GARIBALDI )〕 His uncle, Don Franscisco, a prebendary of Córdoba Cathedral, renounced his post in favor of his nephew, who took deacon's orders in 1586.〔Arthur Terry, ''An Anthology of Spanish Poetry 1500-1700. Part II'' (Pergamon Press, 1968), 19.〕 As a canon associated with this Cathedral, he traveled on diverse commissions to Navarre, Andalusia and Castile. The cities that he visited included Madrid, Salamanca, Granada, Jaén, and Toledo. Around 1605, he was ordained priest, and afterwards lived at Valladolid and Madrid. While his circle of admirers grew, patrons were grudging in their admiration. Ultimately, in 1617 through the influence of the Duke of Lerma, he was appointed honorary chaplain to King Philip III of Spain, but did not enjoy the honor long. He maintained a long feud with Francisco de Quevedo, who matched him in talent and wit. Both poets composed lots of bitter, satirical pieces attacking one other, with Quevedo criticizing Góngora's penchant for flattery, his large nose, and his passion for gambling. Quevedo even accused his enemy of sodomy, which was a capital crime in 17th century Spain. In his "Contra el mismo (Góngora)", Quevedo writes of Gongora: ''No altar, garito sí; poco cristiano, / mucho tahúr, no clérigo, sí arpía.''〔"There's no altar, but there's a gambling den; not much of a Christian, / but he's very much a cardsharp, not a cleric, definitely a harpy."http://centros5.pntic.mec.es/cpr.de.ciudad.real/Textos/Quevedo.htm〕 Góngora's nose, the subject of Quevedo's "A una nariz", begins with the lines: ''Érase un hombre a una nariz pegado, / érase una nariz superlativa, / érase una nariz sayón y escriba, / érase un peje espada muy barbado''.〔http://sonnets.spanish.sbc.edu/Quevedo_Nariz.html. Translation: "Once there was a man stuck to a nose, / it was a nose more marvellous than weird, / it was a nearly living web of tubes, / it was a swordfish with an awful beard."〕 This angry feud came to a nasty end for Góngora when Quevedo bought the house he lived in for the only purpose of ejecting him from it. In 1626 a severe illness, which seriously impaired the poet's memory, forced him to return to Córdoba, where he died the next year. By then he was broke from trying to obtain positions and win lawsuits for all his relatives. An edition of his poems was published almost immediately after his death by Juan López de Vicuña; the frequently reprinted edition by Hozes did not appear until 1633. The collection consists of numerous sonnets, odes, ballads, songs for guitar, and of some larger poems, such as the ''Soledades'' and the ''Fábula de Polifemo y Galatea'' (''Fable of Polyphemus and Galatea'') (1612), the two landmark works of the highly refined style called "culteranismo" or "Gongorism." Miguel de Cervantes, in his ''Viaje del Parnaso'', catalogued the good and bad poets of his time. He considered Góngora to be one of the good ones. Velázquez painted his portrait. Numerous documents, lawsuits and satires of his rival Quevedo paint a picture of a man jovial, sociable, and talkative, who loved card-playing and bullfights. His bishop accused him of rarely attending choir, and of praying less than fervently when he did go.〔 Gongora's passion for card-playing ultimately contributed to his ruin.〔Bartolomé Bennassar, ''The Spanish Character: Attitudes and Mentalities from the Sixteenth to the Nineteenth Century'' (Los Angeles: University of California Press, 1979), 167.〕 Frequent allusions and metaphors associated with card-playing in Góngora's poetry reveal that cards formed part of his daily life.〔 He was often reproached for activities beneath the dignity of a churchman. 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「Luis de Góngora」の詳細全文を読む スポンサード リンク
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