At her death in 1695 Sor Juana Inés de la Cruz left a remarkable body of writing-religious, courtly, and popular poems in a wide variety of verse forms; intellectual treatises; religious and secular plays; a long epistemological poem; “Primero Sueño”; and an autobiographical essay, the “Respuesta a Sor Filotea”, wich, to date, remains the most reliable literary potrait we have of this woman of genius.
What we know of Sor Juana merely awakens our appetite for further information. We are unsure of date of her birth. We do not know wheter she ever knew her father. We know approximately when she was sent to Mexico City to live with her mother’s sister, but not why. We can approxiamte the dates of her life in court under the protection and patronage of the Marqués and Marquesa de Mancera, but we know nothing of the everyday details of those years. We can only speculate as to why at the heigt of her popularity and the full flush of her beauty she left the court to enter tne convent. In addition to the guesses we can make from her writing, and beisdes the autobioraphical “Respuesta”, and the nearly contemporary biography written by Father Diego Callejas, we have only a handful of birth, death, and marriage records relating to her family, and a few papers concedrning Sor Juana’s entrance into and subsequent professiomns of faith in firts the Carmelite Order, and then the convent of Saint Jerome, where she died.
1. According to the text, biographical material on sor Juana is
a) accurate in its general content
b) abundant in cronological information
c) distorted for the study of her work
d) insufficient for understanding her life
2. The reasons Sor Juana entered the convent are
3. When the author says “the most reliable literary portrait”, the means that
a) the information is true
b) the datails are perfect
c) the details are correct
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