But since it is the nun who happens to be the gallant in this pairing, it is she who must minister to the other’s need. In fact, it is the nun who has the most cause to be jealous and suspicious, because it is the lady who has other calls on her affections. The nun is speaking urgently and sincerely, trying to persuade and convince the lady that she has no need to feel tormented. Perhaps the evening light pouring through the window finds them ensconced in a quiet room, the nun’s private quarters, a large room filled with hundreds books and several scientific instruments, or perhaps they are in a secluded spot in the palace grounds or a convent garden. One of the women is a noble of the viceregal court, in fact she is married to no less a personage than the viceroy of Mexico himself. Tears are shed, words, exchanged, and a lovers’ quarrel or lovers’ misunderstanding is being intently addressed. Dusk has not yet fallen, and two young women are locked together in the grip of shared emotion. It is late afternoon or evening somewhere in the Colonial Mexico of over three centuries ago. My heart unmade, undone, within your hands. When now in liquid form you see and touch With foolish shadows tinged with vanities, Nor let vile suspicions your concern obstruct Neither let tyranny and jealousy torment you Was the essence of my dismantled heart distilled.Įnough my love, be done with harshness: Cease! Love came to my aid, to help me with my causeĪnd win what seemed to be beyond achieving. When on your face, your feelings I observed,Īnd when my words I saw could not persuade you This evening, my love, as I with you I was speaking, In which she allays mistrust with the rhetoric of tears. Pues entre el llanto, que el dolor vertía, Juana Inés de la cruz (12 November 1651 – 17 April 1695)Įn que satisface un recelo con la retórica del llanto.
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