Narciso desdoblado : Narcissistic Strategems in El Divino Narciso and the Respuesta a sor Filotea de la Cruz
1987; Liverpool University Press; Volume: 64; Issue: 2 Linguagem: Inglês
10.1080/1475382872000364111
ISSN1469-3550
Autores Tópico(s)Early Modern Spanish Literature
ResumoClick to increase image sizeClick to decrease image sizeBSS Subject Index: DIVINO NARCISO, EL [JUANA INÉS DE LA CRUZ]JUANA INÉS DE LA CRUZ, SOR (1648–1695)MYTH/MYTHOLOGYRELIGION [AS LITERARY, CULTURAL & IDEOLOGICAL THEME]RESPUESTA A SOR FILOTEA DE LA CRUZ [JUANA INÉS DE LA CRUZ]WOMEN/GENDER ISSUES — LATIN AMERICA Notes 1. Sor Juana Inés de la Cruz, ‘Auto Sacramental de "El Divino Narciso" ‘, in Autos sacramentales de Sor juana Inés de la Cruz, ed. Alfonso Méndez Plancarte (Mexico City: UNAM, 1970). All references are to this edition and will be included in the body of the text under the abbreviation EDN with page reference. 2. Ludwig Pfandl, Sor Juana Inés de la Cruz: La décima musa de México, trans. Francisco de la Maza (Mexico City: UNAM, 1963), 231 ff. 3. Respuesta de la poetisa a la muy ilustre sor Filotea de la Cruz, in Sor Juana Inés de la Cruz, Antología, ed. Elias L. Rivers (Madrid: Ediciones Anaya, 1965), 76. All references are to this edition and will be included in the body of the text under the abbreviation Resp. 4. Octavio Paz, Sor Juana Inés de la Cruz, o las trampas de la fe (Barcelona: Seix Barral, 1982), 320. Paz, we note, considers the eco and the reflejo to be analogous: ‘Los dos son metáforas del espíritu: el eco es voz, palabra, música; el reflejo es luz, inteligencia’. This study, however, will argue that at least as verbal functions they are both similar and different. 5. Sergio Fernández, ‘Los autos sacramentales de Sor Juana Inés de la Cruz’, in his Homenaje a Sor Juana, a López Velarde, a José Gorostiza (Mexico City: Sepsetentas, 1972), 75. 6. Louise Vinge, The Narcissus Theme in Western European Literature up to the Early 19th Century, trans. Robert Dewsnap (Lund: Skanska Centraltryc Keriet, 1967), 247. 7. Fernández, ‘Los autos sacramentales’, 77. 8. The diagram to which we refer appears on p. 4 of John Hollander's The Figure of Echo: A Mode of Allusion in Milton and After (Berkeley, Los Angeles, London: Univ. of California Press, 1981). For a discussion of the relations of Sor Juana and A. Kircher, see Paz, p. 335, and Manuel Durán, ‘Hermetic Traditions in Sor Juana's Primero sueño’, University of Dayton Review, XVI (1983), 107 ff. 9. Hollander, The Figure of Echo, 12. 10. Vinge, The Narcissus Theme, 149. 11. Princeton Encyclopedia of Poetry and Poetics, ed. Alex Preminger (Princeton: Princeton U.P., 1965), 104. 12. Electa Arenal, ‘Sor Juana Inés de la Cruz: Speaking the Mother Tongue’, University of Dayton Review, XVI (1983), 96. 13. Pedro Calderón de la Barca, Eco y Narciso, ed. Charles V. Aubrun (Paris: Centre de Recherches de l'Institut d’Études Hispaniques, 1963), 26 and passim. All references are to this edition and will be included in the body of the text under the abbreviation EyN. With reference to the relation between El Divino Narciso and Eco y Narciso, Méndez-Plancarte notes that Calderón's play was ‘tan famosa y sabida, que Sor Juana, al re-crear ese mito "a lo Divino", trae de ella literales citas implícitas que el público captaba indudablemente …’, Introduction to Obras completas de Sor Juana Inés de la Cruz, III (Autos y loas) (Mexico City: Fondo de Cultura Económica, 1955), lxxiii. 14. Josefina Ludmer, ‘Tretas del débil’, in La sartén por el mango: encuentro de escritoras latinoamericanas, eds. Patricia González and Eliana Ortega (Puerto Rico: Ediciones Huracán, 1984), 47-54. 15. Sor Juana Inés de la Cruz, 551. 16. The acts of persecution in the Madre Castillo's life as narrated in her autobiography, where the boundaries between the real and the unreal melt into a single oneiric vision, incur her incomprehension at every step. Spiritually, her yo has become the unwitting battleground for forces of good and evil, through visions and trances. Physically, her person has inspired violent, inexplicable acts of hatred. With her protestations of incomprehension, and hallucinated narration, the Madre Castillo implicitly disabuses herself of any responsibility for these events. 17. René Girard's notion from his Violence and the Sacred (Baltimore: The Johns Hopkins U.P., 1977) of the persecuted scapegoat or sacrificial victim, held responsible for events far beyond his or her control, which Girard later extended to texts of persecution, proves germane here. Textually, the persecution authorizes and makes uniform breaches of verisimilitude and logical discrepancies within a single document, expecting the reader to accept as true both what is real and what is patently unreal. Somewhat analogously, in making of her yo the sacrificial victim in a defence against persecution, Sor Juana places the largely discrepant attitudes to which we have referred, on the same plane, understood as coexisting within the same body, her yo. 18. On pp. 94-95 of the Respuesta, Sor Juana presents the respected theologian Arce's question of whether women can dedicate themselves to the study of the scriptures, and his answer that they may indeed study on their own, but not preach. On p. 96, with the words, ‘… volviendo a nuestro Arce’, she notes his agreement with San Jerónimo's plan for the education of young women. With the same words, on p. 102, she cites Arce's remarks about two erudite Mexican nuns: ‘y se duele de que tales talentos no se hubieran empleado en mayores estudios con principios científicos … que no sólo es lícito, pero utilísimo y necesario a las mujeres el estudio de las sagradas letras, y mucho más a las monjas …’, which opinions clearly echo Sor Juana's own and represent the very crux of the Respuesta’s argument.
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