![]() ![]() Both her life and her writings are marked by a series of tensions and contrasts. “But who has prohibited women private and individual studies? Do they not have a rational soul like men? … What divine revelation, what determination of the Church, what dictate of reason made for us such a severe law?” -Sor Juana Inés de la Cruz, in Autodefensa Espiritual (translated from Tapia Mendez 1993).īorn at the end of the Spanish “Golden Century,” Sor Juana Inés de la Cruz is, in many senses, the perfect embodiment of the Baroque spirit. Even if our translation has failed, savor the original, and even if you don't speak Spanish, attempt to read a few lines out loud, and you'll see how necessary it is to celebrate Sor Juana Inés de la Cruz, not just as an important historic figure, but as a true poetic master.Sor Juana Inés de la Cruz Portrait of Sor Juana attributed to Nicolás Enriquez de Vargas (18th century) Luckily, my older brother generously offered to help, and I'm able to share Cruz's original poem, and our translation, here. I can understand a little, but for the most part, even though my grandfather crossed the border in 1917, Spanish wasn't really spoken in our home. So, I thought I'd translate it on my own. I wanted to share how she drives a rhythm home, but when I found the poem I remembered loving so in Spanish, I couldn't find a translation that focused on the sounds. I wanted to show you how much her sound play influenced my own work. But it's her poetry that always struck me as fiercely powerful. We studied her for her revolutionary feminist views and writings, her possible secret lesbian leanings, her struggle between the Spanish and native cultures, but we didn't study her poetry, her wild yet utterly controlled sound, her focused and furious diatribes, her agonizing love sonnets. I didn't learn about her in poetry class, not as an undergraduate, nor as a graduate student instead, I learned about her in Chicana Studies. Though I could easily devote my life to studying her biography, it's her sound-packed, Baroque style poetry that I find electrifying and strange and worthy of worship.īorn just over one hundred years after Cortez landed on the Yucatán Peninsula, and alive during Mexico's storied Colonial period, Sor Juana Inés de la Cruz has been embraced for years by Feminist movements and Chicano/Latino movements. Known to be highly intelligent, Cruz, a youth, cut off a lock of her hair each time she failed to remember one of her Latin grammar lessons because, "It didn't seem right to me that a head so naked of knowledge should be dressed up with hair, for knowledge is a more desirable adornment." Born in Mexico in 1651 (or 1648 depending on the source) in San Miguel Nepantla, when Mexico was still a viceroyalty of New Spain, Cruz was a self-taught scholar who devoted her life to religious studies, languages, literature, and poetry. Sor Juana Inés de la Cruz knew well the weird and intense obsessions of language. The crazy fly of sound in the ear, the addicting earworm of a poem, has always been a weird and intense obsession for me. The obsession of poets the sounds we grind into our papers. It's not how I intended to write, with a tiny winged beast dive-bombing my brain, but it makes me think about sound. The sound it's making is all I can focus on while I write this. There is a fly buzzing around my head right now. ![]() Sor Juana Inés de la Cruz: The Immortality of Sound & Fury
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