(Society and Self, Critical Representations in Literature)

Sor Juana Inés de la Cruz was known throughout seventeenth century Mexico and Spain for her skill in almost all forms of baroque poetry: pastoral poems, sonnets, love poems, romances, religious poetry in several traditional forms, portrait poetry, and drama. In poetry written mostly for religious and civil ceremonies, she cleverly displays the customary poetic devices of the age—parallelism, oxymoron, paradox, mythological allusion (even in her religious poetry), and metaphors drawn from physics, mathematics, and music. A birthday poem states: “Let your age, my lord, so greatly exceed/ The capacity embraced by zero/ That the ars combinatoria of Kircher/ Are unable to multiply its quantity.” Even her love poetry is intellectual and expressed in careful, mannered, and elegant language. A love poem begins: “Halt, reflection of my elusive love,/ Image of the charm I most adore,/ Lovely illusion for whom I gaily die,/ Sweet fiction for whom I sadly live.”

What sets her poetry apart from all other of the time is her theme: the equality of women and their right to an education and an intellectual life. A love poem that begins in a very traditional way: “Feliciano adores me, and I abhor him;/ Lisardo abhors me, and I adore him” ends with a surprisingly feminist declaration: “But I, as the better alternative, choose/ To serve him whom I don’t love, against my will/ Rather than be, of him who doesn’t love me, the despised victim.”...

(The entire section is 410 words.)


(Society and Self, Critical Representations in Literature)

Suggested Readings

Cohen, J. M. The Penguin Book of Spanish Verse. New York: Penguin, 1956.

Flynn, Gerard. Sor Juana Inés de la Cruz. New York: Twayne, 1971.

Paz, Octavio. Sor Juana: Or, The Traps of Faith. Translated by Margaret Sayers Peden. Cambridge, Mass.: Harvard University Press, 1988.