Sor Juana To The Divine Narcissus Sparknotes

Personal Response Paper on Sor Juana’s Loa to the Divine Narcissus. For literature to be considered in the “Great Works” category, it must challenge the readers’ traditional way of thinking, encourage rereading and multiple interpretations, and inspire other creations about the work itself. It should also be historically significant yet expand beyond its time, exploring enduring themes of cultures, societies, morality, politics, and human nature that are still relevant in any time period. Based on these characteristics, Sor Juana Inés de la Cruz’s Loa to the Divine Narcissus, a prologue that attempts to navigate the complexities of cultural assimilation and resistance, was rightfully included in this “Great Works” course. It made a great introduction

She has a background related to both Spain and Mexico. She was very intelligent and dedicated to the Catholic religion, expanding her knowledge and writing literature, so much so that she became a nun. She disagreed with much in her time, particularly regarding patriarchal religious ideologies and practices, which reflected in her work. After learning more about Sor Juana, I saw themes of female empowerment, culture, and religion, and her identities clash. However, upon first encountering Sor Juana's work, I found myself confused by the portrayal of the Aztec-Spanish encounter. Unlike conventional narratives, which often depict indigenous peoples as either complete savages or victims, Loa to the Divine Narcissus presents a more nuanced perspective. While Sor Juana attempts to navigate the complexities of cultural assimilation, her portrayal may still be critiqued for oversimplifying the process. She emphasizes Catholicism while criticizing the conquistador's approach to forced conversion through violence. Instead, she prefers a gentler approach, focusing on the similarities between the two

And long live her king!” (Juana 124). Music never coming back represents the native culture that was lost through diseases, marriage, and forced assimilation brought by Spanish conquistadors. Religion is a representation of Sor Juana as a person and her thoughts. Religion is the voice of reason that prevents her husband Zeal, characterized as a brute, from killing the strong-willed natives, especially the Aztec noblewoman, America, and her husband Occident, so she could have the chance to convert them. She has a discussion with the natives to ultimately create an understanding of “who the true God of Seeds really is,” as America, Occident, and Zeal all sing (Juana 140), and make them realize they believe in the same Catholic god. Here, Religion demonstrates the gentle approach that Sor Juana advocates for and represents a powerful woman. In addition to America, who took a strong stance against her at first, which would be considered unlady-like at that time. To conclude, through its exploration of gender, religion, and cultural identity, the Loa to the Divine Narcissus invites readers to critically engage with the complexities of colonial history and reflect on their personal