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| This is a user sandbox of Apocean. You can use it for testing or practicing edits. This is not the sandbox where you should draft your assigned article for a dashboard.wikiedu.org course. To find the right sandbox for your assignment, visit your Dashboard course page and follow the Sandbox Draft link for your assigned article in the My Articles section. |
Dramas
In addition to the two comedies outlined here (House of Desire [Los empeños de una casa][1] 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)[2]. 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 Pas, [3]Georgina Sabat-Rivers[4], and Luis Leal[5]) have accepted Sor Juana as the co-author, but others, such as Antonio Alatorre[6] and Jose Pascual Buxo, have refuted it[7].
House of Desire
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. House of Desire 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[8].
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[9]
- ^ de la Cruz, Juana Inez. Los empenos de una casa. ISBN 9781931010177.
- ^ Luciani, Frederick (2004). Literary self-fashioning in Sor Juana Inés de la Cruz. ISBN 0838755801.
- ^ 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.
- ^ Schmidhuber, Guillermo (2000). The three secular plays of Sor Juan Inéz de la Cruz A critical study. University Press of Kentucky. ISBN 0813120888.
- ^ García Valdés, pág. 45-50
- ^ Chávez, pág. 140-142