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191
Shortened Title
SARAH FINLEY
Introduction
References to sound and music in Sor Juana Ins de la Cruzs
(1648/51-95) canon have long intrigued readers, for they offer insight
into the nuns sound world and evidence for her engagement with Western music culture. Poems like romance 21 and loa 384 (Encomistico
poema) comment on early modern music theory, while figured sound
and silences in Primero sueo and the Respuesta a Sor Filotea exceed
logos and its complement, reasonperhaps channeling mysticisms
orality.1 Despite these advances, disciplinary boundaries continue to
separate sound and music from areas like literature, philosophy and science.2 As a result, there are many unexplored resonances in Sor Juanas
acoustico-poetic production. One area that has received little attention
Revista de Estudios Hispnicos 50 (2016)
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Embodied Sound and Female Voice in Sor Juana Ins de la Cruzs Canon
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Embodied Sound and Female Voice in Sor Juana Ins de la Cruzs Canon
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and link it to light rays that shoot from the love object and make him/
her visible.
In contrast, Sor Juanas aural vulnus caecum draws upon geometric acoustics and responds to Ficinos ocularcentrism by replacing
light with sound as amorous weapon. The best example can be found
in romance 8, which links hearing and desire through re-workings of
Narcissus (sight or Eye) and Echo (sound or Ear). At the heart of Sor
Juanas poem, a fundamental question challenges Ficinian visuality: if
the same geometric principles guide light and sound reflection (respectively, catroptics and anacamptics), how does voice compare to eye as an
amorous weapon? For Sor Juana, the answer appears to lie in Kirchers
musical and acoustical theories.
The opening lines of romance 8 establish paradigms of Sor
Juanas aural vulnus caecum. Indeed, connections between Narcisas voice
and the wound of love become evident in the very first verse:
Hiri blandamente el aire
con su dulce voz Narcisa,
y l le repiti los ecos
por bocas de las heridas. (1.14)
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Embodied Sound and Female Voice in Sor Juana Ins de la Cruzs Canon
197
Sight and visual beauty were thus important concepts for lovesickness and desire in general. As Shadi Bartsch reminds us, in Antiquity it was a small step from ocular species physical contact with the
eye and an eroticized notion of vision (67). Indeed, love and erotic
obsession commonly originated with the vulnus caecum: the beloveds
beauty wounding the lovers eye. Vestiges of ancient optics corporeality along with visions links to fascination, memory, sacred and secular
devotion, possession and even immoral sensuality all resonated within
early versions of love at first sight.5
In romance 8, Narcisas harmonious song replaces visual beauty
as the wound of loves sensual dart, and Kirchers theories of geometric
acoustics offer a foundation for drawing aural themes into the ocular
conceit. Whereas the poems first verse establishes auditory motifs, a
description of the weapon/voices path in the second evokes the aural
vulnus caecum: De los Celestiales Ejes / el rpido curso fija (1.56).
Here, the repercussive trajectory of Narcisas song recalls an anacamptic
diagram from Phonurgia nova (Figure 1).6 Found at the opening of the
volumes first book Phonosophia anacamptica, the phonic triangle
illustration describes echoic pathways of sonic events. Sounda
straight line between source (A) and various receiving pointsreflects
or echoes according to principles of Euclidean geometry. Read through
this lens, Ejes (1.5) and curso (1.6) invoke the geometric contours
of Narcisas echo and recall Kirchers anacamptic theories.
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Embodied Sound and Female Voice in Sor Juana Ins de la Cruzs Canon
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Throughout these verses, Eye and Ear are aligned. The opening lines
juxtapose Cupids dual weapons by attending to Narcisas physical (bella) and harmonic (canora) beauty (1.13). The acoustical significance
of canora[s]onoro, entonado, y que tiene meloda en la voz y
dulzra en el modo de articular y cantar, according to the
Diccionario de autoridadescan lend insight into the aesthetics of Sor
Juanas aurality.
On one hand, the musical representation of beauty in romance
8 and other sorjuanine poems can be interpreted as a symptom of
the Pythagorean inheritance that Paz (314), Ortiz (La musa 259)
and Trabulse (247) have recognized.7 Within the music of the spheres
framework, planetary rotation emitted sound, and the resulting cosmic
consonance or dissonance affected ones worldly experience. Man became a microcosm of the universe whose physical or spiritual properties
could be conceptualized as harmonic relationships. From this perspective, perfect (harmonic) mathematical ratios reflected cosmic order and
also signified beauty. Ortiz rightly argued that for Sor Juana, Pythagorean proportions were an overture to aesthetic pleasure. Beautylike
musicthus appears as a mathematical concept all throughout the
nuns oeuvre (El discurso especulativo musical 358).
Sor Juanas Pythagoreanism and its underlying aurality influenced other themes in her poetry as well. For instance, the concept
resonates within the poets re-imagining of female agency via music
and voice. One example is villancico 220, which draws upon musical
metaphors to represent the Virgin Mary as la encarnacin de la armona perfecta (Miranda 95). In this work, the Virgins consonant song
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Embodied Sound and Female Voice in Sor Juana Ins de la Cruzs Canon
201
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theories inform links among sound, Ear and spirit, all related through
their vaporous composition. This physical, embodied aurality becomes
essential to Sor Juanas re-imagining of female voices power.
Such themes turn out to be evident in Scene III of El divino
Narciso, where Eco, Soberbia and Amor Propio react to two choruses
song praising Narcissus and God. First, Soberbia affirms the musics affective impact through a description of her sympathetic response:
SOBERBIA
Yo atend
sus clusulas; por ms seas,
que mucho ms que el odo,
el corazn me penetran (3.1.3.27982).
In these lines, Soberbia attends to songs acoustical and lyrical qualities. She observes that poetic content (sus clusulas) heightens songs
sensibility (por ms seas) and thus intensifies her experience of it
(3.1.3.280). The heart (the seat of the soul) therefore engages song
more strongly than the ears. This privileging of musical affect recalls the
blend of Aristotelian sensory perception, Orphic poetics and Galenic
medicine that inform Kirchers musica pathetica and resonate in Sor
Juanas aurality.
Soberbias remarks particularly draw on early modern theories
of perception and cognition. First, song radiates specieslikenesses
of its sensible qualitiesthat activate its corresponding sense organ,
the ear. This reaction is possible because of physical likeness between
species and organ: air constitutes the medium of sound and also fills
the chambers of the inner ear. Although the choruses song does not
physically alter air in the ear, the organ senses the external stimulus as
different from its ordinary composition. The species then represents
itself to the internal senses as phantasman image or echo in this
case that becomes a sign of the choruses song (or rather, absence in
Giorgio Agambens conceptualization of phantasm, desire and memory
[7576]).
The body responds cognitively as the ear triggers a physical
reaction in the blood vessels connected to it. Both blood and pneuma,
a vital vaporous substance that is essential to internal corporeal balance, are fundamental links between the sense organ and other parts
of the body. These two elements flow through the blood vessels and
Embodied Sound and Female Voice in Sor Juana Ins de la Cruzs Canon
203
carry information from the senses to the heart, the organ most closely
related to the soul. In turn, the heart stimulates the souls perceptual
and intellectual functions (the Aristotelian common sense), which allow the perceiving subject to judge and react to her sensory encounter.9
When Soberbia notes that the choruses song penetrates her heart, she
refers to this complex cognitive process and highlights musics affective properties. The physicality of Soberbias musical experience recalls
Kirchers musica pathetica; specifically, his argument that the material
similarity between sound and the humorous vapors made aural stimuli
particularly effective in altering temperament.
Complementary to such engagement with sensory perception
and cognition, Soberbias comments also highlight affective connections between poetry and music. Read from this perspective, clusulas
becomes a pivotal term whose polysemy draws out songs lyrical and
acoustical content (3.1.3.280). On one hand, the clausula or cursus
could designate a metrical pattern Classical orators used to conclude a
sentence. On the other, the term might also refer to the first examples
of polyphony and more specifically, upper voices that the Notre Dame
School sometimes added to existing plainchant melodies during the
twelfth and thirteenth centuries. It thus becomes unclear whether
song, lyric or a combination of the two intensified Soberbias sensory
experience.
These musico-rhetorical links could not have escaped Sor Juana,
and it bears note that they seem to indicate the broader intersection of
poetry and song in the nuns thought. Continuing, Amor Propios reaction to the choruses song can deepen understanding of how Sor Juanas
Pythagoreanism informs the affective relationship between the two:
Yo tambin, que al escuchar
lo dulce de sus cadencias,
fuera de mi acuerdo estoy. (3.1.3.28385)
Here, Amor Propio notes that the chorus song has made her out of
tune, and Kirchers ideas about music and affect resonate once more. In
addition to the Jesuits engagement with early modern cognitive theories, Claude V. Palisca observed that the music of the spheres persisted
in Kirchers treatment of musical reception in Musurgia Universalis,
from which I quote:
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Here, Naturaleza Humana distinguishes between two types of metaphorresonant and reasoned. Veit Erlmanns contrapuntal analysis
of the two concepts can be useful for understanding the distinction:
[w]hile reason implies the disjunction of subject and object, resonance
involves their conjunction. Where reason requires separation and autonomy, resonance entails adjacency, sympathy, and the collapse of the
boundary between perceiver and perceived (10). Erlmanns reading
associates reason with detached observation of sight while resonance
fundamentally acousticalbecomes intimate and participatory. By
evoking songs aural/verbal duality as well as the reason/resonance
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dichotomy, Naturaleza Humana invites observers not only to contemplate the loas allegorical significance, but also to engage aurally through
sympathyphysical and psychic reactions that echo external stimuli
and thus transcend the limits of Self and Other.
Paradigms of Female Voice: Siren Song
In these final sections I consider how concerns about gender
intersect with auditory themes in Sor Juanas oeuvre. As we shall see,
(female) aurality often appears contrapuntal to (male) visuality. In
romance 8, Narcissuss foil, Narcisa, voices her agency through song,
an affective mode that the poem favorably compares to visual beauty.
El divino Narciso likewise explores the interstices of sight and sound
through the allegorical archetypes Narcissuswho falls in love with his
reflected countenanceand Echowhose reflected voice re-sounds and
destabilizes Narcissuss masculine dialogue. As elsewhere, scientific and
musical theories inform Sor Juanas reworking of poetic conceits, and
each piece develops tension between the unfulfilled Ovidian lovers as a
dialectic of visuality (Narcissus) and aurality (Echo). To this end, I will
attend to Siren song and Echo, two paradigms of womens voice whose
construction in Sor Juanas canon illustrates how sound as a feminine
mode responds to male and ocular hegemonies.
To begin, the Siren theme in romance 8 heightens links between
female voice and agency by highlighting the disruptive nature of Narcisas echo:
El mar la admira sirena,
y con sus marinas ninfas
le da en lenguas de las aguas
alabanzas cristalinas.
Pero Fabio, que es el blanco
adonde las flechas tira,
as le dijo, culpando
de superfluas sus heridas:
No dupliques las armas,
bella homicida,
que est ociosa la muerte
donde no hay vida! (1.2940)
Embodied Sound and Female Voice in Sor Juana Ins de la Cruzs Canon
207
These lines portrayal of Narcisas voice recalls the Homeric Sirens deadly song, which can lure unwary sailorssuitors, in this caseto their
deaths. Like the marine enchantresses, Narcisa attracts and wounds her
lover through voice. The Siren conceit underscores the powerful beauty
of womens song and also channels once more the aural vulnus caecum
by highlighting voice as an acoustical weapon. The theme thus contributes to romance 8s reframing of gender discourses as well as aural/visual
tensions that resonate throughout the poem.
Let us further explore the Siren motif s significance. First, romance 8s reflective take on the vulnus caecum resonates in the final two
verses, where Narcisas weapons seem to bounce harmlessly off of their
target and channel themes of echo by initiating a reciprocal response in
the singer (1.3940). Taking note of voices paradoxical repercussions,
Merrim remarked: [i]t [song] may kill them [Narcisas victims], but the
implication contained in Narcisas name, if left unstated in the poem,
is that the song also kills her, the poet-singer (172). Indeed, Narcisa
appears as deadly singer and victim. Just as she recalls both Narcissus
and Echoreflected in her name as well as the nymphs bodily absence
in romance 8, so Narcisa also becomes both Siren singer and the
hapless audience. Complementary to her Narcissan resonances then,
Narcisa also adopts the masculine role of Ulysses and further distorts
the gendered archetypes that the poem engages.
Reading Narcisa as both Siren and Ulysses deepens the relationship between womens voice and agency by portraying aurality as locus
of female intellect. First, Narcisas Siren song appears to exceed finite
knowledge. Adriana Cavareros feminist reading of the Odyssean Sirens
can clarify this point: [t]hey . . . sing words, they vocalize stories, they
narrate by singing. And they know what they are talking about. Their
knowledge is, in fact, total: we know all [idmen], they sing . . . (105).
For Cavarero, the Sirens omniscience is as alluring as their vocal beauty.
In fact, song turns out to be linked to knowledge, and Narcisas Siren
voice likewise becomes the locus of (feminine) intellect. To this end,
the heroines capacity to sound divine universal harmony along with
the poems references to Sirens can be understood as overtures to her
omniscience. Such resonances illustrate the poems paradoxical attitude
towards womens intellectual production, seen as both beautiful and
threatening.
Narcisa as Ulysses also channels themes of intellect and aurality and thus heightens Siren songs power by embodying its reciprocal
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Embodied Sound and Female Voice in Sor Juana Ins de la Cruzs Canon
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Since Sor Juana appears to have subscribed to Kirchers idea that the
semantic properties of language can intensify sounds affective impact,
Ecos repetition of words like quejosa (3.4.12.1651) and later amar
(3.4.12.1669) signal the nymphs capacity to reflect the sentiments of
Narcisos original utterance back to him through repercussion. Nevertheless, while Eco may feel similar emotions upon hearing Narcisos
voice, her own experience transforms lovesickness and lends a different
meaning to the response. If indeed Narciso pines for his own likeness
in Naturaleza Humana, Eco transposes such feelings via resonance and
voices her own longing for Narciso. Although the nymphs echo may
appear phonemically imitative or perhaps even secondary, themes of
embodied voice and sympathy suggest otherwise. Ecos repercussed
voice therefore becomes a resonance of Narcisos that offers a semantic
and affective reply.
Conclusion
In conclusion, both romance 8 and El divino Narciso develop
embodied womens voice as feminine counterpoint to Ovids tale of
Narcissus and Echo. By exploring the interstices of sight and sound,
acoustics, harmony, desire, sensory perception and universal order
through the Echo motif, these works privilege female voice as the locus
of knowledge as well as for its physical and pathetic effects. Romance
8 replaces Narcissuss visual reflection with Narcisas echoed Siren song
and draws upon musical, philosophical and scientific theories to construct female voice as an alternative to hegemonic discourses. Likewise,
El divino Narciso distinguishes between languages semantic properties
and embodied sounds sympathetic ones. The former becomes linked
to such concepts as sight and logic while the latter echoes universal
harmony and heightens ones sense of the divine. Such tension between
reasoned and resonant metaphor subsequently informs Ecos transformation of Narcisos lovesick lament near the end of the loa. Although
the nymphs deformed repetition of her beloveds lines at first seems
unremarkable, the feminine response in fact constitutes a re-sounding
that semantically and sympathetically exceeds Narcisos original words.
It becomes apparent that aurality in romance 8 and El divino Narciso strongly resonates with early modern sound culture. All
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NOTES
Mario Lavista, Pamela Long, Ricardo Miranda, Mario Ortiz and Octavio Paz have all
advanced understanding of Sor Juanas engagement with early modern music culture.
Likewise, Electa Arenal (Reclaiming the Mother Tongue), Emilie Bergmann, Josefina
Ludmer and Elena del Ro Parra contributed to debates about the poetic significance
of metaphors of voice, music and silence in the nuns oeuvre.
1
The pioneer of geometric acoustics is Giuseppe Biancani, who proposed that light
and sound waves behaved similarly in Echometria (1620). Marin Mersenne took up
Biancanis ideas and further explored the concepts in LHarmonie Universelle (1636).
Kircher adapted theories of geometric acoustics from both treatises in agreement with
the results of his frequent experiments with music and sound.
There is much to support my hypothesis about Sor Juanas engagement with Kirchers
musical and acoustical treatises. Kirchers works circulated widely in New Spain,
and many have written of Sor Juanas engagement with them. To name only a few,
Marie-Ccile Bnassy-Berling, Jos Pascual Bux, Paula Findlen, Francisco de la Maza,
Ignacio Osorio Romero, Octavio Paz and Elas Trabulse have all notably contributed to
understanding of Kircherian resonances in Sor Juanas canon. Furthermore, epistolary
Embodied Sound and Female Voice in Sor Juana Ins de la Cruzs Canon
213
and archival evidence indicates that at least two copies of the encyclopedic musical
treatise Musurgia Universalis (1650) circulated in the region during Sor Juanas time.
In a letter from February 2, 1661, Alejandro Favin (b. 1624), one of Kirchers New
Spanish correspondents, writes that he is sending 250 reales de a ocho for ten volumes,
including the musical treatise (Osorio Romero 1011). Additionally, Sor Juanas
good friend Carlos de Sigenza y Gngora (1645-1700) indicates in his last will and
testament that he owned a nearly complete set of the Jesuits works. The four volumes
that would complete Sigenza y Gngoras collection, the will goes on to indicate,
were part of the Colegio de San Pedro y San Pablos holdings (17172). Today, two
seventeenth-century copies of Musurgia Universalis are preserved in the Palafox Library.
Bartsch amply attended to the intersection of sight and touch in Antiquity (5868).
Likewise, see Jay (3848) and Clark (2224) for discussions of Eyes complex and
sometimes contradictory significance in medieval and early modern cultures.
Both Paz and Trabulse connected Sor Juanas Pythagoreanism to Kirchers in Musurgia
Universalis, whereas Ortiz read it as a vestige of her engagement with Italian Renaissance
theorist Pietro Cerones El melopeo y maestro: Tractado de musica theorica y pratica: en
que se pone por extensor, lo que uno para hazerse perfecto Musico ha menester saber (1613).
7
Bartolomeo Ramos de Pareias Musica practica (1482), Marsilio Ficinos De vita coelitus comparanda (1489) and Tommaso Campanellas Del senso delle cose e della magia
(1590) are several important precursors to Kirchers theories of musics psychosomatic
effects and particularly to his ideas about sounds restorative potential. See Tomlinson
16467 for a discussion of Kirchers engagement with these.
8
Tarantism was a physical and psychological affliction that the bite of the Lycosa
Tarantula supposedly caused. This condition, which was especially prevalent in Apulia
and other regions in Naples, could be cured with compulsory dancing, induced by a
specific musical stylethe tarantella.
10
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Keywords: Sor Juana Ins de la Cruz, Athanasius Kircher, Sound Studies, music,
female voice.
Palabras clave: Sor Juana Ins de la Cruz, Athanasius Kircher, Estudios de sonido,
msica, voz femenina.