The Portrait Of Poetry

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The portrait of poetry


In the text the painting of Lizarda the beauty Sor Juana describes the difficulty that implies to elaborate a portrait, because for her in her century everything had already been written and there was no original idea, all the metaphors had been written and the beauty of her centuryIt was only a copy of the creations of other authors, while in the text he serves the sky to the portrait herself prepares a lady’s portrait with the characteristics that she accuses of being too used. From the last verse of the first stanza of his portrait he speaks of the stars, and in his other writing he says that the stars can no longer be used 


"Garcilaso is very mistreated" explains that the stars are a comparison that has already been used many times and even, if he mentions Garcilaso it is because he affirms that there was already a great poet who used the stars as a metaphor and therefore noIt makes sense to do it again if someone so big already did, this is the central theme of the poem and explicitly mentions in several verses, constantly highlights the difficulty of creating something new and the joy that should have been to live in ancient times where it had more valueUse metaphors and style figures that are already spent for your time, during the poem will give several examples of metaphors already used. 

In her portrait of the Countess of Paredes, it only seeks to extol her and win her pay, there is no comment about the difficulties of making portraits such as in the painting of Lizarda beauty, this text is actually a classic poem to describe a woman, in this, we can even find numerous comparisons, because it is one of the most used ways to highlight beauty, while in verse 254 of her poem she says that "not everything must be comparisons" she explains that the comparisons do notThey are all that must be in a portrait and that there are other ways to show beauty. 

In his portrait, Sor Juana uses the calm, roses, jasmine and even mentions the gardens of Venus to exalt the beauty of the Countess of Paredes;But, in her other poem she shows that she is not the first to use flowers for this purpose and that therefore she no longer wants to do it, she has no desire to "make her beauty bouquet", the same thing happens with the sun and thebrightness, which she uses throughout her portrait, since she speaks of the splendor of her forehead, of the glows that throw her eyes and towards the beginning of the poem mentions the sun;On the other hand, in her poem of Lizarda she begins to say that her ancestors were happy.

Because then comparing a lady with the sun and admiring her brightness was still something new: "The bright was so valid / that saying that the hair was a treasure / worth the same thing so much gold."In his poem on Lizarda, he tells how snow is" spent "on his neck and then there is nothing left;This is a resource to demonstrate that the use of snow to describe the white skin of beautiful women is already spent;In his portrait of the Countess of Paredes, he uses the glass and snow to talk about her. In his poem for Lizarda, he makes a jocular comment that his waist is so slender that with a line is painted.

This works to demonstrate the beauty canon at that time, in general the figures and comparisons that she mentions in this poem and that uses in her portrait serve to show what should be an ideal woman at that time, she had to have theWhite skin, being thin, having the perfectly white smile, and it is through this comment that a "line" serves to draw it that tells us that the thinness that is expected of the ladies is exaggerated. In both poems he mentions the hands of the ladies that he describes, in the portrait of the Countess of Paredes compares his hands with the alabaster for his whiteness.

In the other poem he mentions that Lizarda’s hands are flesh and blood, remarking that ivory and other stones are for statues and not for ladies. He talks about the grace with which the Countess moves and the beatitude of her feet, De Lizarda says that he has not really seen them and it would be a lie to talk about them, with the latter shows that the feet are not really the most important qualitythat a woman is funny. In both texts the author is present, towards the end of the Poem Plate serves the sky to the portrait, there is a sample of the false modesty that we have observed in other texts of Sister Juana.

In this case, he says that her lines are "rustic" in order to demonstrate that the beauty of the lady she describes is greater than she can illustrate in her verses. In the painting of Lizarda beauty, Sor Juana constantly comments on the situation in which Lizarda’s portrait is to do, she says that it is difficult, but that as she promised she is obliged, she also says that despite her criticism she is notCensor and that other poets can do whatever they please, after comparing Lizarda’s mouth with a piece of cecina says comically that she knows how to make very own comparisons.


There are verses in which he expresses tired. In general, the tone of the two poems is different, the countess’s portrait is serious and only concentrates on describing and exalting its beauty, while Lizarda’s portrait is comic, since the author shows us how I know how to write when writing thePoem, shows desires to change Lizarda’s name for Menga, and makes comic comments and comparisons throughout the text in order to highlight the central theme of the difficulty of creating a unique and original production in its century.

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