Soneto 70 Sor Juana Inés De La Cruz

SONETO 70 SOR JUANA INÉS DE LA CRUZ

Introduction

Sonnet 70 Sor Juana Inés de la Cruz is one of the most transcendent figures in Latin America, not only in the arts of literature, but also as a teacher of wisdom and knowledge;A self-taught and student of scientific and philosophical thought, she Sor Juana fought against the cultural and patriarchal barriers who tried to inhibit her ability to achieve what she wanted most: learn: learn. 

From a young age, I was obsessed with the notion of learning. Not only was his poetic work a representation of his defense of women, but a moral reaction, even visceral, to [their] experienced experiences, which were linked to their search for knowledge. This struggle is represented masterfully in its sonnet 70 through a variety of poetic instruments, inherent to the Spanish-American baroque era, which give a feeling of echoes and reflexes, parallels, but even more important, a philosophical -retical juxtaposition that strengthens its voicepoetics;The same voice that responded to Sor Filotea. 

To give an introduction to the analysis of the poem, would it be important to ask ourselves, what are you saying? After a first reading, we observed that the poetic voice, through a personification of the world, wonders why he should be persecuted for pursuing a noble cause to go behind knowledge, especially when the decision resulted in the rejection of certain vanities such aswealth and beauty. 

In addition, the use of a sonnet, in this case, is very appropriate given the structure it possesses;In addition to being a very popular type of stanza in the Baroque period, the limit in its verses and the need for a rhythmic structure motivate the poet to concentrate on each word, giving additional strengthening in each incorporated poetic tool;Sister Juana’s decision to maintain her structure is an intentional purpose behind her writing.

As for the organization of the poem, it can be divided into two parts;The first, which includes the first quartet, portrays the tension of the plot, since the poetic voice is dismayed before the offense that resulted from its behavior, while the second, which includes the rest of the poem, revolves around the reasoningPhilosophical that poetic voice uses to establish its position in its continuous search for knowledge and its continuous rejection of banalities such as wealth.

How does Sor Juana get to understand this? Continuing with an analysis of the poetic tools used in the sonnet, we see the use of hyperbaton, quiasm, the reinforcean and anaphora, which give the sense of echoes and reflexes, parallels. In the first verse, we witness the scrupulous use of hyperbaton, whose greater degree of difficulty in forcing a different syntax can not only be used as a resource to achieve a rhythmic scheme, but also highlights the underlying meaning of the displaced element, in this case, theword pursue. Likewise, the use of rhetorical questions throughout the first four verses illuminates an expression of concern, as well as the use of an anaphora in verses one and two, where through the repetition of the beginning of the verse in, it allows continuityof the argument. 

In the last two verses, through a chiasma, Sor Juana combines the terms beauty and understanding thus creating a word game where he rejects the option of putting his understanding in beauties or, in other words, putting his intelligence at the service of beautyand ephemeral banalities. I do not estimate treasures or riches (fifth verse), declaring once again in the seventh verse, and through parallelism with the third verse that allows it to use in this way the same structure already used before, that its eagerness is to enrich itswisdom. 

Likewise, it also repeats the quiasm already used in the third and fourth verses, this time in the eighth and ninth verses and using the terms wealth and understanding. The repetition of this structure, linked to the constant word game, is used by the author to extol the search for that knowledge, while her rejection continues for earthly, ephemeral and banal themes.

His eagerness is shown to ensure the defense of his search for wisdom by placing the terms that refer to the first position, thus emphasizing their importance. The anaphora (entry of the first third), as we can see, is fundamental in the sonnets, since its presence allows the author to delimit and design the poem, while reinforcing the message and performs a repetition of the sound, which, in manycases, responds to an aesthetic interest. 

You could also talk about the presence of the Topic of Carpe Diem in these two verses, when treating beauty as something passenger and ephemeral. Finally, in the third that closes the sonnet, we find again the use of a chiasm to, with that word game, deny the search for such vanities to which he accuses of feeding or faults of faith. In this way, the sonnet closes where, with a series of retrontan master, various terms have been compared, seeking the defense of their vocation towards the letters, which always places first in the word game, and whose alteration in theorder gives rise to the vices and material concepts that it intends to criticize. 

conclusion

In conclusion, Sor Juana Inés with this sonnet, in the same line as the answer, intends to make a defense of its intellectual claims, alleging repeatedly and strongly that it rejects any treasure, wealth or beauty, since its maximum is the achievement of wisdom.