In honor of Women’s History Month, I want to honor my favorite (and too-little-known) feminist, Sor Juana Inés de la Cruz, a 17th century nun, poet and scholar.
Juana was born in 1648 in San Miguel Nepantla, Mexico, near Mexico City. She was officially registered as “a daughter of the Church” because her parents were unmarried. At the age of three, she followed an older sister to school and convinced a teacher to show her how to read. Juana taught herself all she could by reading her grandfather’s library and soon mastered logic, Latin and the Aztec language Nahuatl. She asked to be allowed to disguise herself as a man so that she could go to university, but was not given permission and had to continue to tutor herself. In a somewhat dramatic teenage display of commitment to her education, Juana cut off her hair every time she made a mistake in Latin.
In her mid-teens, Juana was sent to live with her aunt in Mexico City; by then, rumors of her prodigious intellect had spread to the capital and she was presented at the court of a new viceregal couple, Antonio Sebastian de Toledo (the Marquis de Mancera) and Leonor Carreto. They were so impressed with Juana that they invited theologians, jurists, philosophers and scholars to meet with her and conduct a question-and-answer test of her intellect. Juana surprised everyone with her impressive performance against the scholars and Leonor accepted Juana as a maid-in-waiting in her court. During her time in court, Juana was a bit of an intellectual celebrity and began to write poetry, often for celebratory occasions.
At 20, Juana entered the Convent of the Order of St. Jerome, which was then the only avenue through which she could continue her education (she even turned down several marriage proposals in order to continue focusing on her learning). There, she amassed a library of over 4,000 volumes, wrote poetry, carols and plays that were published and widely read, corresponded with nobles, held intellectual court and taught music and drama. Much of Sor Juana’s poetry is romantic and there is evidence to suggest that she was involved with the Countess de Pareda, one of her many benefactors.
Trouble began for Sor (Sister) Juana once her patronage from nobility waned. In 1690, Sor Juana critiqued a famous sermon given by Antonio de Vieira. The Bishop of Mexico, pretending to be impressed by her, asked Sor Juana to put her critique in writing. Without her knowledge, the Bishop published the critique under the pen name “Sor Filotea de la Cruz” and included a letter condemning her intellectualism as a woman. In a brave act of defiance, Sor Juana responded by publishing her most famous text, “Reply to Sor Filotea.” In it, Sor Juana defended the intellectual rights of women and the rights of women to have access to education, and condemned the Church for helping to keep women uneducated. Sor Juana explained the ways in which she believed education could be used to serve God and recounted her own life-long struggle to pursue education in a society that did not believe women should be learned. For daring to stand up to the patriarchal and misogynist policies of the Church, Sor Juana was officially censured. She was no longer allowed to publish her work, reading her work was prohibited by the Church and she was forced to give away her library of books. She died in the convent in 1695.
In his 1988 book Sor Juana: Or, The Traps of Faith Nobel Prize-winning author Octavio Paz rediscovered and contextualized Sor Juana’s texts for a new generation, since they had been mostly forgotten. Paz praised Sor Juana’s poetry and writings and even declared her a “universal poet.” In 1990, a powerful dramatic film was made about Sor Juana’s life, “I, the Worst of All,” which takes its title from an apology Sor Juana was forced to write to the Chuch. Sor Juana is now featured on Mexico’s 200 peso note and the former site of the Convent of the Order of St. Jerome, Sor Juana’s convent, is now the University of the Cloister of Sor Juana. I wrote a paper about Sor Juana in college and I’m still in awe of her fearless commitment to intellectual rights for women, her refusal to live a typical life and her unending determination to be educated in a time when women didn’t often have the chance to be.
Image of Sor Juana via Wikimedia Commons.
"Sor Juana Inés de la Cruz" redirects here. For the telenovela, see Sor Juana Inés de la Cruz (telenovela).
|Sor Juana Inés de la Cruz, O.S.H.|
Sor Juana Inés de la Cruz by Miguel Cabrera
|Born||Juana Inés de Asbaje y Ramírez de Santillana|
12 November 1651
San Miguel Nepantla,
New Spain, Spanish Empire
|Died||17 April 1695(1695-04-17) (aged 43)|
Mexico City, New Spain,
|Occupation||Nun, poet, writer|
|Relatives||Pedro Manuel de Asbaje and Isabel Ramírez (parents)|
Sor Juana Inés de la Cruz, O.S.H. (English: Sister Joan Agnes of the Cross; 12 November 1651 – 17 April 1695), was a self-taught scholar and student of scientific thought, philosopher, composer, and poet of the Baroque school, and Hieronymitenun of New Spain, known in her lifetime as "The Tenth Muse", "The Phoenix of America", or the "Mexican Phoenix".
Sor Juana lived during Mexico's colonial period, making her a contributor both to early Mexican literature as well as to the broader literature of the Spanish Golden Age. Beginning her studies at a young age, Sor Juana was fluent in Latin and also wrote in Nahuatl, and became known for her philosophy in her teens. Sister Juana educated herself in her own library, which was mostly inherited from her grandfather. After joining a nunnery in 1667, Sor Juana began writing poetry and prose dealing with such topics as love, feminism, and religion. Her criticism of misogyny and the hypocrisy of men led to her condemnation by the Bishop of Puebla, and in 1694 she was forced to sell her collection of books and focus on charity towards the poor. She died the next year, having caught the plague while treating her fellow nuns.
She was born Juana Inés de Asbaje y Ramírez de Santillana in San Miguel Nepantla (now called Nepantla de Sor Juana Inés de la Cruz in her honor) near Mexico City. She was the illegitimate child of a Spanish Captain, Pedro Manuel de Asbaje, and a Criolla woman, Isabel Ramírez. Her father, according to all accounts, was absent from her life. She was baptized 2 December 1651 and described on the baptismal rolls as "a daughter of the Church". She was raised in Amecameca, where her maternal grandfather owned an Hacienda.
As a child, Juana often hid in the Hacienda chapel to read her grandfather's books from the adjoining library, something forbidden to girls. She learned how to read and write Latin at the age of three. By age five, she reportedly could do accounts. At age eight, she composed a poem on the Eucharist.
By adolescence, Juana had mastered Greek logic, and at age thirteen she was teaching Latin to young children. She also learned the Aztec language of Nahuatl and wrote some short poems in that language.
In 1664, at the age of 12, Juana was sent to live in Mexico City. She asked her mother's permission to disguise herself as a male student so that she could enter the university there. Not being allowed to do this, she continued her studies privately. She was a lady-in-waiting at the colonial viceroy's court, where she came under the tutelage of the Vicereine Leonor Carreto, wife of the Viceroy of New Spain Antonio Sebastián de Toledo. The viceroy (whom Appletons' Cyclopædia of American Biography names as the Marquis de Mancera), wishing to test the learning and intelligence of this 17-year-old, invited several theologians, jurists, philosophers, and poets to a meeting, during which she had to answer many questions unprepared and explain several difficult points on various scientific and literary subjects. The manner in which she acquitted herself astonished all present and greatly increased her reputation. Her literary accomplishments garnered her fame throughout New Spain. Her interest in scientific thought and experiment led to professional discussions with Isaac Newton. She was much admired in the viceregal court, and she received several proposals of marriage, which she declined.
As a nun
In 1667, she entered the Monastery of St. Joseph, a community of the Discalced Carmelite nuns, as a postulant. She chose not to enter that order, which had strict rules. Later, in 1669, she entered the monastery of the Hieronymite nuns, which had more relaxed rules. She chose to become a nun so that she could study as she wished since she wanted "to have no fixed occupation which might curtail my freedom to study."
In the convent and perhaps earlier, Sor Juana became friends with fellow savant, Don Carlos de Sigüenza y Góngora, who visited her in the convent's locutorio. She stayed cloistered in the Convent of Santa Paula of the Hieronymite in Mexico City from 1669 until her death, and there she studied, wrote, and collected a large library of books. The Viceroy and Vicereine of New Spain became her patrons; they supported her and had her writings published in Spain. She addressed some of her poems to paintings of her friend and patron María Luisa Manrique de Lara y Gonzaga, daughter of Vespasiano Gonzaga, Duca di Guastala, Luzara e Rechiolo and Inés María Manrique, 9th Countess de Paredes, which she also addressed as Lísida.
One noted critic of her writing was the bishop of Puebla, Manuel Fernández de Santa Cruz, who in November of 1690 published Sor Juana's critique of a 40-year-old sermon by Father António Vieira, a Portuguese Jesuit preacher. In addition to publishing that without her permission, under the pseudonym of Sor Filotea, he told her to focus on religious instead of secular studies. He published his criticisms to use them to his advantage against the Priest and while he agreed with her criticisms, he believed that as a woman, she should devote herself to prayer and give up her writings.
In response to critics of her writing, Juana wrote a letter, Respuesta a Sor Filotea de la Cruz (Reply to Sister Philotea), in which she defended women's right to education: "Oh, how much harm would be avoided in our country" if women were able to teach women in order to avoid the danger of male teachers in intimate setting with young female students. She said that such hazards "would be eliminated if there were older women of learning, as Saint Paul desires, and instructions were passed down from one group to another, as in the case with needlework and other traditional activities."
She famously remarked by quoting an Aragonese poet and echoing St. Teresa of Ávila: "One can perfectly well philosophize while cooking supper." In response, Francisco de Aguiar y Seijas, Archbishop of Mexico joined other high-ranking officials in condemning Sor Juana's "waywardness."
By 1693, she seemingly ceased to write, rather than risking official censure. However, there is no undisputed evidence of her renouncing devotion to letters, but there are documents showing her agreeing to undergo penance.
Her name is affixed to such a document in 1694, but given her deep natural lyricism, the tone of the supposed handwritten penitentials is in rhetorical and autocratic Church formulae; one is signed "Yo, la Peor de Todas" ("I, the worst of all women"). She is said to have sold all her books, then an extensive library of over 4,000 volumes, and her musical and scientific instruments as well. Other sources report that her defiance toward the church led to all of her books and instruments being confiscated although the bishop himself agreed with the contents of her letters.
Only a few of her writings have survived, which are known as the Complete Works. According to Octavio Paz, her writings were saved by the vicereine.
She died after ministering to other nuns stricken during a plague, on 17 April 1695. Sigüenza y Góngora delivered the eulogy at her funeral.
The Dream, a long philosophical and descriptive silva (a poetic form combining verses of 7 and 11 syllables), "deals with the shadow of night beneath which a person falls asleep in the midst of quietness and silence, where night and day animals participate, either dozing or sleeping, all urged to silence and rest by Harpocrates. The person's body ceases its ordinary operations, which are described in physiological and symbolical terms, ending with the activity of the imagination as an image-reflecting apparatus: the Pharos. From this moment, her soul, in a dream, sees itself free at the summit of her own intellect; in other words, at the apex of an own pyramid-like mount, which aims at God and is luminous.
There, perched like an eagle, she contemplates the whole creation, but fails to comprehend such a sight in a single concept. Dazzled, the soul's intellect faces its own shipwreck, caused mainly by trying to understand the overwhelming abundance of the universe, until reason undertakes that enterprise, beginning with each individual creation, and processing them one by one, helped by the Aristotelic method of ten categories.
The soul cannot get beyond questioning herself about the traits and causes of a fountain and a flower, intimating perhaps that his method constitutes a useless effort, since it must take into account all the details, accidents, and mysteries of each being. By that time, the body has consumed all its nourishment, and it starts to move and wake up, soul and body are reunited. The poem ends with the Sun overcoming Night in a straightforward battle between luminous and dark armies, and with the poet's awakening."
In addition to the two comedies outlined here (Pawns of a House [Los empeños de una casa] and Love is More a Labyrinth [Amor es mas laberinto]), Sor Juana is attributed as the author of a possible ending to the comedy by Agustin de Salazar: The Second Celestina (La Segunda Celestina). In the 1990’s, Guillermo Schmidhuber found a release of the comedy that contained a different ending than the otherwise known ending. He proposed that those one thousand words were written by Sor Juana. Some literary critics, such as Octavio Paz, Georgina Sabat-Rivers, and Luis Leal) have accepted Sor Juana as the co-author, but others, such as Antonio Alatorre and Jose Pascual Buxo, have refuted it.
In the scholarly article, “Humor in Spain’s American Colonies: The Case of Sor Juana Inés de la Cruz,” author Julie Greer Johnson describes how Sor Juana protested against the rigorously defined relationship between genders through her full-length comedies and humor. While literary dramas “became secularized and levity was added to otherwise austere moral themes,” women often emerged as comic characters, frequently exemplifying negative behavior. Although “such misconduct was regarded as serious, presenting the commission of folly within a humorous context was thought to make the lesson to women more palatable.” Humor “reinforced male authority and attempted to control female sexuality,” but Sor Juana was undaunted and ultimately turned this attitude to her advantage. By recognizing the power of laughter, she “endeavored to appropriate it on behalf of colonial women,” deducing that humor “has the capacity to defuse contention or even silence opposition,” and “the potential to provoke an imaginative framework in which reality may be restructured without provoking disapproval.” Through her use of humor, she “could call attention to the inequality of male-female images of femininity imposed upon them.”
Pawns of a House
The work was first performed on October 4, 1683, during the celebration of the Viceroy Count of Paredes’ first son’s birth. However, some critics maintain that it could have been set up for the Archbishop Francisco de Aguiar y Seijas’ entrance to the capital, even though this theory is not considered reliable.
The story revolves around two couples who are in love but, by chance of fate, cannot yet be together. This comedy of errors is considered one of the most prominent works of late baroque Spanish-American literature. One of its most peculiar characteristics is that the driving force in the story is a woman with a strong, decided personality who expresses her desires to a nun. The protagonist of the story, Dona Leonor, fits the archetype perfectly.
It is often considered the peak of Sor Juana’s work and even the peak of all New-Hispanic literature. Pawns of a House is considered a rare work in colonial Spanish-American theater due to the management of intrigue, representation of the complicated system of marital relationships, and the changes in urban life.
Love is More a Labyrinth
The work premiered on February 11, 1689, during the celebration of the inauguration of the viceroyalty Gaspar de la Cerda y Mendoza. However, in his Essay on Psychology, Ezequiel A. Chavez mentions Fernandez del Castillo as a coauthor of this comedy.
The plot takes on the well-known theme in Greek mythology of Theseus: a hero from Crete Island. He fights against the Minotaur and awakens the love of Ariadne and Fedra. Sor Juana conceived Theseus as the archetype of the baroque hero, a model also used by her fellow countryman Juan Ruis de Alarcon. Theseus’ triumph over the Minotaur does not make Theseus proud, but instead allows him to be humble.
Other notable works
Academic literature on her
There is a vast amount of scholarly literature on Sor Juana in Spanish, English, French, and German.
Her works have appeared in translation. An early translation of Sor Juana's work into English was Ten Sonnets from Sor Juana Inez de la Cruz [sic], 1651-1695: Mexico's Tenth Muse, published in Taxco, Guerrero, in 1943. The translator was Elizabeth Prall Anderson who settled in Taxco. One musical work attributed to Sor Juana survives from the archive at Guatemala Cathedral. This is a 4-part villancico, Madre, la de los primores.
An important translation to English of a work by Juana Inés de la Cruz for a wide readership is published as Poems, Protest, and a Dream in a 1997 Penguin Classics paperback, which includes her response to authorities censuring her.
Arguably the most important book devoted to Sor Juana, written by Nobel Prize laureate Octavio Paz in Spanish and translated to English in 1989 as Sor Juana: Or, the Traps of Faith (translated by Margaret Sayers Peden). This work examines and contemplates Sor Juana's poetry and life in the context of the history of New Spain, particularly focusing on the difficulties women then faced while trying to thrive in academic and artistic fields. Paz describes how he had been drawn to her work by the enigmas of Sor Juana's personality and life paths. "Why did she become a nun? How could she renounce her lifelong passion for writing and learning?"
In his book, Paz makes a thorough analysis of Sor Juana's poetry and traces some of her influences to the Spanish writers of the Golden Age and the Hermetic tradition, mainly derived from the works of a noted Jesuit scholar of her era, Athanasius Kircher. Paz analyses Sor Juana's most ambitious and extensive poem, "First Dream" ("Primero Sueño") as largely a representation of the desire of knowledge through a number of hermetic symbols, albeit transformed in her own language and skilled image-making abilities. In conclusion, Paz makes the case that Sor Juana's works were the most important body of poetic work produced in the Americas until the arrival of 19th-century figures such as Emily Dickinson and Walt Whitman.
An equally valuable feminist analysis and interpretation of Sor Juana’s life and work is found in The Answer/La Respuesta by Sor Juana Inés de la Cruz by Electa Arenal, a Sor Juana scholar who is recognized among feminists who changed America, and Amanda Powell, a poet and translator. The original publication, released in 1994 by The Feminist Press, was re-released in an updated second edition in 2009, also by The Feminist Press. The bilingual publication includes poems, an annotated publication of Sor Juana’s response to church officials and her impassioned plea for education of women, analysis and a bibliography. The Answer applies a valuable gender lens to Sor Juana’s writings and life. 
Tarsicio Herrera Zapién, a classical scholar, has devoted much of his career to the study of Sor Juana's works. Some of his publications (in Spanish) include Buena fe y humanismo en Sor Juana: diálogos y ensayos: las obras latinas: los sorjuanistas recientes (1984); López Velarde y sor Juana, feministas opuestos: y cuatro ensayos sobre Horacio y Virgilio en México (1984); Poemas mexicanos universales: de Sor Juana a López Velarde (1989) and Tres siglos y cien vidas de Sor Juana (1995).
Furthermore, Dr. Theresa Yugar who has written her Master's and Doctoral theses on Sor Juana, wrote Sor Juana Inés de la Cruz: Feminist Reconstruction of Biography and Text, a book in which she discusses the life of Sor Juana through a feminist lense and analyzes Sor Juana's La Respuesta and El Sueño. Dr. Yugar argues Sor Juana is the first feminist of the Americas and even one of the first ecofeminists. She claims that Sor Juana was ahead of her time and was able to intelligently critique the oppressive, patriarchal structures of the church. 
Historical memory and influence
Sor Juana was a famous and controversial figure in the seventeenth century. In the modern era, she has been honored in Mexico as well as being the part of a political controversy in the late twentieth century. During renovations at the cloister in the 1970s, bones were found that are believed to be those of Sor Juana. Also found at the same time was a medallion similar to the one depicted in portraits of Sor Juana. The medallion was kept by Margarita López Portillo, the sister of President José López Portillo (1976-1982). During the tercentennial of Sor Juana's death in 1995, a member of the Mexican congress called on Margarita López Portillo to return the medallion, which she said she had taken for "safekeeping". She returned it to Congress on November 14, 1995, with the event and description of the controversy reported in The New York Times a month later. Whether or not the medallion is Sor Juana's, the incident sparked discussions about Sor Juana and abuse of official power in Mexico.
Official recognition by the Mexican government
She was honored by the Mexican government in significant ways.
Inspiration and influence
Sor Juana has been the inspiration for film makers and authors of poetry, plays, opera, and literary fiction.
- American composer John Adams and director Peter Sellars used two of Sor Juana's poems, Pues mi Dios ha nacido a penar and Pues está tiritando in their libretto for the Nativity oratorio-opera El Niño (2000).
- The Spanish-language mini-series Juana Inés (2016) by Canal Once TV, starring Arantza Ruiz and Arcelia Ramírez as Sor Juana, dramatizes her life.
- María Luisa Bemberg wrote and directed the 1990 film, Yo, la peor de todas (I, the Worst of All), about the life of Sor Juana.
- A telenovela about her life, Sor Juana Inés de la Cruz was created in 1962.
- Diane Ackerman wrote a dramatic verse play, Reverse Thunder, about Sor Juana (1992).
- Alicia Gaspar de Alba wrote a historical novel, Sor Juana's Second Dream (1999).
- Jesusa Rodríguez has produced a number of works concerning Sor Juana, including Sor Juana en Almoloya and Striptease de Sor Juana, based on Juana's poem, "Primero Sueño".
- Canadian novelist Paul Anderson devoted 12 years writing a 1300 page novel entitled Hunger's Brides (pub. 2004) on Sor Juana. His novel won the 2005 Alberta Book Award.
- Helen Edmundson's play The Heresy of Love, based on the life of Sor Juana, was premiered by the Royal Shakespeare Company in early 2012 and revived by Shakespeare's Globe in 2015.
- Composer Daniel Crozier and librettist Peter M. Krask wrote With Blood, With Ink, an opera based around her life, while both were students at Baltimore's Peabody Institute in 1993. The work was premiered at Peabody and won first prize in the National Operatic and Dramatic Association's Chamber Opera Competition. In May 2000, excerpts from the opera were included in the New York City Opera's Showcasing American Composers Series. The work in its entirety was premiered by the Fort Worth Opera on April 20, 2014 and recorded by Albany Records.
- Puerto Rican singer ILE (singer) recites part of one of Sor Juana's sonnets in her song "Rescatarme".
- Playwright, director, dramaturg, teacher, and producer Kenneth Prestininzi wrote Impure Thoughts (Without Apology) which follows Sor Juana's experience with Bishop Francisco Aguilar y Seijas. "".
- ALATORRE, Antonio, Sor Juana a través de los siglos. México: El Colegio de México, 2007.
- BENASSY-BERLING, Marié-Cécile, Humanisme et Religion chez Sor Juana Inés de la Cruz: la femme et la cultura au 17e siècle. Paris: Editions Hispaniques, 1982. ISBN 2-85355-000-1
- BEAUCHOT, Mauricio, Sor Juana, una filosofía barroca, Toluca: UAM, 2001.
- BUXÓ, José Pascual, Sor Juana Inés de la Cruz: Lectura barroca de la poesía, México, Renacimiento, 2006.
- CORTES, Adriana, Cósmica y cosmética, pliegues de la alegoría en sor Juana Inés de la Cruz y Pedro Calderón de la Barca. Madrid: Vervuert, 2013. ISBN 978-84-8489-698-2
- GAOS, José. "El sueño de un sueño". Historia Mexicana, 10, 1960.
- JAUREGUI, Carlos A. "Cannibalism, the Eucharist, and Criollo Subjects." In Creole Subjects in the Colonial Americas: Empires, Texts, Identities. Ralph Bauer & Jose A. Mazzotti (eds.). Chapel Hill: Omohundro Institute of Early American History & Culture, Williamsburg, VA, U. of North Carolina Press, 2009. 61-100.
- JAUREGUI, Carlos A. "El plato más sabroso’: eucaristía, plagio diabólico, y la traducción criolla del caníbal."Colonial Latin American Review 12:2 (2003): 199-231.
- MERKL, Heinrich, Sor Juana Inés de la Cruz. Ein Bericht zur Forschung 1951-1981. Heidelberg: Winter, 1986. ISBN 3-533-03789-4
- MURATTA BUNSEN, Eduardo, "La estancia escéptica de Sor Juana". Sor Juana Polímata. Ed. Pamela H. Long. México: Destiempos, 2013. ISBN 978-607-9130-27-5
- NEUMEISTER, Sebastian, "Disimulación y rebelión: El Político silencio de Sor Juana Inés de la Cruz". La cultura del barroco español e iberoamericano y su contexto europeo. Ed. Kazimierz Sabik and Karolina Kumor, Varsovia: Insituto de Estudios Ibéricos e Iberoamericanos de la Universidad de Varsovia, 2010. ISBN 978-83-60875-84-1
- OLIVARES ZORRILLA, Rocío, "The Eye of Imagination: Emblems in the Baroque Poem 'The Dream,' by Sor Juana Inés de la Cruz", in Emblematica. An Interdisciplinary Journal for Emblem Studies, AMC Press, Inc., New York, vol. 18, 2010: 111-161.
- ----, La figura del mundo en "El sueño", de Sor Juana Inés de la Cruz. Ojo y "spiritus phantasticus" en un sueño barroco, Madrid, Editorial Académica Española, 2012. ISBN 978-3-8484-5766-3
- PERELMUTER, Rosa, Los límites de la femineidad en sor Juana Inés de la Cruz, Madrid, Iberoamericana, 2004.
- PAZ, Octavio. Sor Juana Inés de la Cruz o las trampas de la fe. México: Fondo de Cultura Económica, 1982.
- PFLAND, Ludwig, Die zehnte Muse von Mexiko Juana Inés de la Cruz. Ihr Leben, ihre Dichtung, ihre Psyche. München: Rinn, 1946.
- RODRÍGUEZ GARRIDO, José Antonio, La Carta Atenagórica de Sor Juana: Textos inéditos de una polémica, México: UNAM, 2004. ISBN 9703214150
- ROSAS LOPATEGUI, Patricia, Oyeme con los ojos : de Sor Juana al siglo XXI; 21 escritoras mexicanas revolucionarias. México: Universidad Autónoma Nuevo León, 2010. ISBN 978-607-433-474-6
- SABAT DE RIVERS, Georgina, El «Sueño» de Sor Juana Inés de la Cruz: tradiciones literarias y originalidad, Londres: Támesis, 1977.
- SORIANO, Alejandro, La hora más bella de Sor Juana Inés de la Cruz, México, CONACULTA, Instituto Queretano de la Cultura y las Artes, 2010.
- WEBER, Hermann, Yo, la peor de todas – Ich, die Schlechteste von allen. Karlsruhe: Info Verlag, 2009. ISBN 978-3-88190-542-8
- ^ abMurray, Stuart (2009). The Library: An Illustrated History. Chicago: Skyhorse Publishing. ISBN 978-0-8389-0991-1.
- ^ ab"Sor Juana Ines de La Cruz, famous women of Mexico". Mexonline.com. Retrieved 11 March 2017.
- ^TOWNSEND, C. (2015). SOR JUANA'S NAHUATL. Le Verger – bouquet VIII, September 2015 .
- ^ ab"Sor Juana Ines de la Cruz Biography". Biography.com. A&E Television Networks. Retrieved 11 March 2017.
- ^Stephanie, Merrim. "Sor Juana Ines de la Cruz". Encyclopædia Britannica. Retrieved 11 March 2017.
- ^ abc Wilson, James Grant; Fiske, John, eds. (1900). "Cruz, Juana Inés de la". Appletons' Cyclopædia of American Biography. New York: D. Appleton.
- ^"Sor Juana Inés de la Cruz". poets.org. Academy of American Poets. Retrieved 2016-04-15.
- ^ abcMurray, Stuart (2009). The Library: An Illustrated History. Chicago: Skyhorse Publishing. ISBN 978-0-8389-0991-1.
- ^ abcd"Sor Juana Inés de la Cruz Biography". Biography.com. A&E Television Networks. Retrieved 2016-04-15.
- ^ abLeonard, Irving A. (1960). Baroque Times in Old Mexico: Seventeenth-Century Persons, Places, and Practices (12th ed.). University of Michigan Press. pp. 191–192. ISBN 9780472061105.
- ^"Manuel Fernandez de Santa Cruz, bishop of Puebla". Encyclopædia Britannica. Retrieved 2016-04-15.
- ^Murray, Stuart (2012). Library : an illustrated history. New York: W W Norton. p. 139. ISBN 1-61608-453-7.
- ^"Sor Juana Inés de la Cruz". www.ensayistas.org.
- ^Murray, Stuart A.P. (2009). The library : an illustrated history. New York, NY: Skyhorse Pub. ISBN 9781602397064.
- ^"Sor Juana Ines de la Cruz, Mexican poet and scholar". Encyclopædia Britannica.
- ^Paz, Octavio (1988). Sor Juana, Or, The Traps of Faith. Harvard University Press. ISBN 9780674821064.
- ^In the final verse we come to know it is Sor Juana herself because she uses the first person, feminine.
- ^Sor Juana is inspired by Fray Luis de Granada's Introducción al Símbolo de la Fe, where an extended verbal description of physiological functions is the closest match to what is found in the poem.
- ^It must be understood that this light of intellect is Grace given by God.
- ^This pinnacle of contemplation is clearly preceded by Saint Augustine (Confessions, X, VIII, 12), who also inspired Petrarch's letter about the contemplation of the world created by God from the summit of a mountain (in his letter Familiares, IV, 1)
- ^ abOlivares Zorrilla, Rocío. "The Eye of Imagination. Emblems in the Baroque Poem The Dream, by Sor Juana Inés de la Cruz", Emblematica. An Interdisciplinary Journal for Emblem Studies, volume 18 (2010): 111-61: 115-17.
- ^Kirk Rappaport, Pamela (1998). Sor Juana Inés de la Cruz. Continuum International Publishing Group. ISBN 978-0826410436.
- ^Paz, Octavio. «¿Azar o justicia», La segunda Celestina, ed. Guillermo Schmidhuber. México: Vuelta, 1990, págs. 7-10.
- ^Georgina Sabat-Rivers, “Los problemas de La segunda Celestina” (Nueva Revista de Filología Hispánica 40 (1992), pp. 493-512.
- ^Buenos Aires: Biblioteca de textos universitarios, 1995, págs. 76-105
- ^Alatorre, Antonio. «La Segunda Celestina de Agustín de Salazar y Torres: ejercicio de crítica». Vuelta, 46 (diciembre de 1990), págs. 46-52.
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